86 Results for : borrows

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    Visual Diary/The Mouth of Boredom
    Sergio Cervetti, born in Uruguay and a U.S. citizen since 1979, is a composer whose works include electronic, instrumental and vocal music. He graduated from Peabody Institute after studying with Ernst Krenek, Lazlo Halasz, and Stefan Grové. He went on to win the Caracas Festival prize and was subsequently invited by the DAAD to be composer-in-residence in Berlin. After moving to New York City he taught at Brooklyn College, worked for Virgil Thomson, and studied electronic music with Vladimir Ussachevsky at Columbia University. Cervetti joined the faculty of New York University's Tisch School of the Arts in 1972 where he taught history of music, composition and choreography until 1997 and returned in 2007-08. Cervetti's vocabulary draws from an early brush with twelve-tone and minimalism while his current approach is free and flexible. Each work is treated in an individual manner and may often reflect his South American, French and Italian heritage. A review of Concerto for Harpsichord aptly describes his style which "...does not make a distinction between folk elements, European tradition and minimalist aesthetics, they are all fearlessly and deftly blended together in a music that defies any classification." -Ritmo Magazine, Spain Noted works include: Guitar Music: Bottom of the Iceberg, a minimalist solo guitar piece "... is one of the most effective works in this style." -Los Angeles Times The Hay Wain, an electronic work inspired by the Hieronymus Bosch triptych. Sections are used in the soundtrack of Oliver Stone's film, Natural Born Killers. "The Hay Wain is a substantial recording, noteworthy in the sea of fluff that passes for electronic music these days." -Option Magazine ...from the earth... is a controlled improvisation for a variable number of sustaining instruments which borrows five notes from Mahler's Das Lied Von Der Erde. Elegy For A Prince, opera in two acts based on Oscar Wilde's The Happy Prince, libretto by Elizabeth Esris. Premiered in excerpt by New York City Opera at VOX 2007: Showcasing American Composers. Funded in part by American Music Center's Composer Assistance Program. Madrigal III, for two sopranos and chamber ensemble with a text by 15th century Aztec poet, Nexahualcoyotl, ruminating on life's transient brevity. Candombe II, for orchestra, the orchestrated version of Candombe for harpsichord with rhythms based on a national dance of Uruguay with African origins. 3 Estudios Australes, for piano "...is a contemporary distillation of the piano works of Liszt and Ravel without any of the acidities of contemporary piano music and without sounding like a dry exercise...a language that is direct and full of virtuosity." -El Pais, Montevideo, Uruguay YUM!, chamber opera in one act for three voices and chamber ensemble with an original libretto by Elizabeth Esris described as a culinary comedy. Plexus, for orchestra is "...the evening's great find...gives further evidence of Cervetti's unusually discerning ear, his strong sense of both fantasy and order...a range of sonorities that are truly novel and genuinely intriguing." -Washington Post.
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    Velena
    The French guitarist Roland Dyens is a uniquely gifted composer and improviser, who was born in Tunisia and strongly influenced by the music of Brazil. Since the Portuguese word saudade translates as a 'longing for one's homeland,' these three works may serve as homages to Dyens's three greatest terrestial influences. The first Saudade is filled with elements of early twentieth-century French music: richly voiced major-ninth chords, punctuated bass lines, and it maintains a graceful balance between twentieth-century tonalities and more traditional phrasing and expressive gestures. The second Saudade is unabashedly Brazilian, and is expertly constructed on the framework of a standard Brazilian choro, or chorinho. The final Saudade is intriguingly dark and fiery, with a flavor that evokes the music of North Africa, and instruments such as the ud and the rebab. It's introduction, labeled 'Rituel,' is an abstract expression of the sonorities that are to emerge and meld into the charming dance rhythm that serves as the primary motif of the piece. The energy builds and intensifies in the section titled 'Fête et Final,' before returning to a beautiful resetting of the main theme at a slower, reflective pace. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: A highly skilled guitarist, singer, and luthier, Luigi legnani who wrote many works for guitar. His Opus 1 is a theme and variations, with a slow introduction, and ends with a pensive larghetto, a capricious moderato, and a climactic finale. Although this work has not been frequently performed or recorded, it features all of the character and cohesion of Legnani's later works. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Felix Mendelssohn composed no music for the guitar, but his Songs Without Words fit the personality of the instrument extremely well, matching the expressive tones of the guitar. The third movement of Mendelssohn's String Quartet Number 1, Opus 12, titled 'Canzonetta,' provides material for a challenging arrangement that captures the excitement and clean lines of Mendelssohn's style. It was originally arranged by Francisco Tárrega, then altered by Andrés Segovia, and the arrangement recorded here borrows from both, while also reflecting the sleek character of the scalar violin passages. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Leo Brouwer is a prolific composer and guitarist, and his works are frequently performed and recorded. In his Sonata for solo guitar, Brouwer presents a masterfully constructed dialog featuring musical elements that shaped and influenced his own musical style. The first movement, 'Fandangos y Boleros,' provides the setting for this complex discussion, and utilizes a variety of input-from rhythmic dance motives to an interaction between Antonio Soler and Ludwig van Beethoven. It is in this first movement that Brouwer most fully illuminates these elements that influenced his compositional style, and it is his unique style that allows these elements to meld into a sum that is strengthened and transformed by it's parts. The second movement is a straightforward homage to Alexander Scriabin, and the final movement, 'La Toccata de Pasquini,' is where Brouwer allows his voice to speak above all others, unleashing a flurry of arpeggios in a climactic completion of the Sonata. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Agustin Castillavila is an accomplished composer and guitarist from the Jerez region of Spain, and his compositions encompass a wide variety of characteristics and settings. His Suite Veleña is dedicated to Jeff Copeland, and this is the world premiere recording of the suite. The first movement begins under the tempo descriptor "Misterioso," and introduces focused vibrations of simple opposites: the deep growl of the guitar's lowest string along with the crystalline chime of high-pitched harmonics. Thicker textures emerge, as well as short breaths of scalar passages, dancing on a variety of rhythms. The second movement compresses this energy as taught thirds and speedy triplets fly forward, almost out of control, towards an aggressive flurry of rasgueados that briefly interrupt their path. Once their wits are about them, the third movement takes over, and immediately wrestles to take them away once more. A humorous scherzo, this section of the suite continues to juxtapose thick textures against thin lines, and contains a beautiful interlude, reminiscent of a gondolier's barcarolla, resting in the middle of the chaos. As the suite continually expands and condenses thematic material, the final result is the 'Danza,' where all of the suite's elements are free to celebrate the harmony and order of their union. The motion is swift and relentless, free of hesitation and untethered by restraints. Motives morph, and tensions are released as the entire suite swells to it's final and unwavering climax.
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    Universal Horror Collection: Volume 1
    Four-disc set includes: The Black Cat (1934) Boris Karloff and Bela Lugosi teamed up for the first time in director Edgar G. Ulmer's macabre Pre-code chiller that borrows the title (and little else) from Edgar Allan Poe. A Balkan castle, built over a WWI graveyard, is the site for a bizarre battle of wills between psychiatrist Dr. Vitus Werdegast (Lugosi) and devil-worshipping cult leader Hjalmar Poelzig (Karloff). With David Manners, Julie Bishop. 65 min. BW/Rtg: NR The Raven (1935) Grand exercise in terror and suspense stars Bela Lugosi as Dr. Richard Vollin, a plastic surgeon obsessed with the works of Poe and a beautiful patient (Irene Ware) who spurns his advances. Vollin invites the woman, her fiancé, and her father to his retreat and, with the aid of a criminal (Boris Karloff), he disfigured, imprisons, and tortures them. With Irene Ware, Samuel Hinds. 62 min. BW/Rtg: NR The Invisible Ray (1936) When his time-spanning technology pinpoints the African location of a radium-bearing meteorite, researcher Janos Rukh (Boris Karloff) silences his critics. However, prolonged radiation exposure imbues him with a paranoia that turns him against his inner circle... and a death touch that let's him make good on his demented threats. Bela Lugosi, Frances Drake, Violet Kemble Cooper, Beulah Bondi also star. 80 min. BW/Rtg: NR Black Friday (1940) Scientist Dr. Ernest Sovac (Boris Karloff) transfers the brain of a gangster into the body of an English professor injured in a car accident. When the academician takes on the characteristics of the hood and seeks revenge against a rival mobster (Bela Lugosi), Sovac faces the consequences of his well-intended but diabolical experiment. Stanley Ridges, Anne Nagel also star. 70 min. BW/Rtg: NR Standard, Soundtrack: English Dolby Digital mono, Subtitles: English (SDH).
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    Strike Commando 2
    Director Bruno Mattei and screenwriters Claudio Fragasso & Rossella Drudi return to the Philippine jungles with a higher budget, bigger action and Richard Harris (yes, that Richard Harris) for a crowd-pleaser that shamelessly borrows from APOCALYPSE NOW, RAIDERS OF THE LOST ARK, RAMBO and beyond. This time, Sgt Mike Ransom (Brent Huff of GWENDOLINE fame) battles the KGB, rogue CIA agents, an army of ninjas, a tough bar owner (Miss World 1977 Mary Stavin) and "all the stuntman craziness and explosions you can cram into 90 minutes" (DTV Connoisseur). Mel Davidson (ROBOWAR) and Vic Diaz (THE BIG BIRD CAGE) co-star in this slow-motion machine-gun of Mattei mayhem that's "just as insane as it's predecessor" (Good Efficient Butchery), now featuring a 2K scan from the original negative for the first time ever.
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    SpongeBob SquigglePants - SpongeBob, SquarePants, Action, Video, Game, WayForward, Technologies
    Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. SpongeBob SquigglePants is an action video game based on the SpongeBob SquarePants television series, developed by WayForward Technologies and published by THQ. The game was first announced on March 23, 2011 and was released for Wii in North America on April 12, 2011, April 14, 2011 in Australia, and in Europe on April 15, 2011. The Nintendo 3DS version was released on May 17, 2011 in North America and in Europe on May 27, 2011. It is the fourth game to use the uDraw GameTablet accessory and borrows its concept from the WarioWare series, consisting of a series of minigames. SpongeBob SquigglePants also features appearances from Patchy the Pirate, the president of the SpongeBob fan club, as its live-action host. The Wii version received mixed reviews, receiving an 57/100 on Metacritic, as well as the 3DS version, and sold 26,636 copies 10 weeks after its release. It has been announced that the game, along with other uDraw Games, will be coming to Xbox 360 and PlayStation 3 consoles this fall.
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    Beach Babes From Beyond
    Hot! Tan! Alien! An intergalactic babe borrows her dad's T-bird ship to do a little planet hopping with her two friends, but they run out of fuel unexpectedly, and must land on earth. They land on the California coast and run into some guys, where they have fun and a few close encounters at the beach. One of the guys' Uncle Bud, who just wants to meditate and hang out, is being threatened with condemnation of his beach house unless he puts some money into repairs. The alien babes offer to enter the bikini contest with their way-out designs to try and win the money he needs, but they are hampered by the garment designer who will stop at nothing to win. It s up to the three out-of-this-world beauties to help the holistic hipster the only way they know how by busting loose in a wet and wild bikini contest that sets the strand a-sizzle, and proves once and for all that the Pacific Coast Highway leads straight to hard-body heaven!
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