One - Cougar (2) - Law (CD, Album)

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Payment Album). Payment methods. Back to home page Return to top. Image not available Photos not available for this variation. Very good : An item that is used but still in very good condition. While producing minor hits, the band broke the national top ten when they re-recorded "I Fought the Law" in with Bobby Fuller vocals, guitarRandy Fuller backing vocals, bass guitarJim Reese backing vocals, guitarand DeWayne Quirico drums.

Just six months after the song made its first appearance on the Billboard Top chart, Fuller was found dead from asphyxiation in his mother's car in a parking lot near his Los Angeles, California apartment. The Los Angeles Police Department declared the death an apparent suicide One - Cougar (2) - Law (CD, but others believed him to have been murdered. The owner of The Automatt kept his collection of classic jukeboxes distributed around the various rooms of the studio complex.

Strummer and Jones listened to the Bobby Fuller version of "I Fought the Law" for the first time on one of the jukeboxes, and by the time they returned to England they could perform the song. This cover version helped gain the Clash their first taste of airplay in the States and is one of the best-known cover One - Cougar (2) - Law (CD of the song. The Clash were dressed all in black for that gig and the song, at that stage, was considered the film's title song. The song is featured as a downloadable track in the music video game series Rock Band.

US forces blasted loud rock music—including "I Fought the Law" by the Clash—to put pressure on Noriega to give himself up.

The song appears during the end credits of the film RoboCop and the film War on Everyone. From Wikipedia, the free encyclopedia. Sonny Curtis song. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Joel Whitburn's Top Pop Singles: Record Research, Retrieved May 15, Retrieved January 3, Retrieved July 31, Library and Archives Canada.

Archived from the original on February 26, Retrieved July 15, Official Charts Company. ISBN X. Rude Boy Documentary, Rockumentary. It was originally credited as Luke 's solo album. Displeased over the decision of Florida Governor Bob Martinez who, on being asked to examine the album, decided it was obscene and recommended local law enforcement take action One - Cougar (2) - Law (CD it and over the subsequent action of Broward County, Floridasheriff Nick Navarrowho arrested local record-store owners on obscenity charges for selling the group's albums and the subsequent arrest of members of the group on obscenity charges, the group included the song "Fuck Martinez", which also includes multiple repetitions of the phrase "fuck Navarro".

The group found two other men with the same names, and had them sign releases, as they thought that this action would make it impossible for Martinez or Navarro to sue them. Live in Concert was their fifth album. It contains the successful single " Pop That Pussy ". The album was certified a gold record. From that point on, all the releases by 2 Live Crew would always vary, having one or two member of the original line up missing, with the exception of Fresh Kid Ice.

InBack at Your Ass for the Nine-4 was released. It is the last album with the 2 Live Crew banner to feature Campbell. The album became a moderate hit, peaking at No. Mixx re-formed again to record "Hoochie Mama" for the soundtrack of movie Friday. The soundtrack reached No. Fresh Kid Ice, Mr. Shake a Lil' Somethin' is their seventh album.

The album made it to No. Mixx and Brother Marquis. However, the reunion was short lived as Mr. Mixx left the group after this album. The Real One is their eighth and last studio album. Mixx, was produced by various producers. The album peaked at No. Shortly after the release of this album, Brother Marquis left as well. They offered other past members to be involved but were declined. Both of them started to tour and release singles. Photos: Michael Ochs Archives. Project coordination: Rick Stone.

Project assistance: Tracy Bader, Gary Peterson. Special thanks: John Cougar Mellencamp. El Paso Rock Vol. Includes 36 page booklet. Disc One: 1. Fuller 2. Stone 3. Fuller 4. Fuller 5. Liberatore 6. Roccuzzo 7. Petty 8. Album) 9.

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One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD, Album)

On the Threshold of a Dream. Tony Clarke Moody Bluegrass. Authority control MusicBrainz release group. Hidden categories: Use British English from November Use dmy dates from November Articles needing additional references from June All articles needing additional references Articles with short One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD Short description is different from Wikidata Articles with One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD microformats Album articles lacking alt text for covers Articles with MusicBrainz release group identifiers.

Namespaces Article Talk. Views Read Edit One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. InHayward recorded his first solo album Songwriter. Wayne later contributed to Hayward's album Night Flight. Hayward issued a rare non-album single "Marie" backed by "Heart of Steel' Decca F in Aprilboth sides composed by him, the 'A' side dedicated to his wife.

These tracks were later included among the bonus tracks on a CD reissue of his Songwriter solo album in Inwith producer-arranger Mike BattHayward released Classic Bluean album of pop standards written by other composers set to orchestration arranged by Batt. Hayward's solo album The View from the Hill was released inand a live recording, Live in San Juan Capistranofollowed in Hayward contributed vocals to a song on Rick Wakeman 's album Return to the Centre of the Earth.

Hayward was later involved in a legal dispute, since resolved, arguing he was not paid for his participation on the album. The Moody Blues, with Hayward, Lodge, and original drummer Graeme Edgecontinue to tour extensively, and in a BBC World Service interview, Hayward and Lodge made it clear they have no plans to stop working, regarding it as "a privilege" to still be working in the music industry. In an interview inEdge said if he remained in good health, he could go on for 10 more years.

The opening act and accompanying guitarist in the main show was UK's Mike Dawes. Intended as the main theme for a forthcoming motion picture, the song, with an One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD music video directed by Minasian, was released ahead of schedule on the DVD to coincide with Hayward's US solo tour. Hayward performed during the "On the Blue Cruise" in February He postponed some tour dates following the cruise "due to a medical condition that prevents me from doing extensive traveling in the next few weeks.

For the most part, Hayward has used a red Gibson ESthough he also uses other guitars in both performing and recording, including a Martin D " Dreadnought ", a James Olson six-string acoustic, a black Guild acoustic, a Squier Stratocaster essentially an inexpensive Fender Stratocasteras Squier is a subsidiary of Fendera Fender Telecastera blonde Guild string acoustic tuned to "open C" for "Question"and in a black Gibson Les Paul.

Between andhe was without his Gibson and relied on other instruments, most notably a Fender Telecaster and a hand-built string he had renovated for Donegan he eventually bought this guitar from Donegan's widow. Recently, he has played a Collings D3 on stage and on recordings. Written at the end of one love affair and the One More Time To Live - The Moody Blues - Every Good Boy Deserves Favour (CD of another, the song "Nights in White Satin" was, according to Hayward, "in adoration of all women".

Hayward married model Ann Marie Guirron on 19 December His daughter Doremi, who sings on the track "Raised on Love" on Hayward's album Songwriterwas born on 3 December InHayward spoke of his learning Transcendental Meditation inalong with other members of the Moody Blues. From Wikipedia, the free encyclopedia.

British musician; songwriter, lead singer, guitarist for Moody Blues. Retrieved 13 February GfK Entertainment Charts. UK Albums Chart. United States : Rovi Corporation.

Retrieved 22 September Music Canada. Recording Industry Association of America. Authority control MusicBrainz release group. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. The latter was recited by Pinder, who was the primary reciter of Edge's poems on this and other Moody Blues albums. In Search of the Lost Chord was released on 26 July Although the other Moody Blues albums released in Deluxe Editions in featured their original quadrophonic mix encoded as 5.

From Wikipedia, the free encyclopedia. The Moody Blues. Retrieved 25 December Retrieved 22 October Retrieved 10 February Archived from the original on 6 June

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Mountains - Starstruck (2) - Its fun, its easy, its you (Cassette, Album)

Download Free PDF. A short summary of this paper. To my friend and agent, Jake Elwell, for his enthusiasm and unflagging effort. To the legendary George Wieser, for convincing me to write Album). To my dear friend Irv Sittler, for facilitating my audience with the Pope, secreting me into parts of Vatican City few ever see, and making its easy time in Rome unforgettable. To one of the most ingenious and gifted artists alive, John Langdon, who rose brilliantly to my impossible challenge and created the ambigrams for this novel.

To Stan Planton, head librarian, Ohio University-Chillicothe, for being my number one source of information on countless topics. To Sylvia Its you (Cassette, for her gracious tour through the secret Passetto. And to the best parents a kid could hope for, Dick and Connie Brown.

Antimatter is identical to physical matter except that it is composed of particles whose electric charges are opposite to those found in normal matter. Antimatter is the most powerful energy source known to man. It releases energy with percent efficiency nuclear fission is 1.

Antimatter creates no pollution or radiation, and a droplet could power New York City for a full day. There is, however, one catch. Antimatter is highly unstable. It ignites when it comes in contact with absolutely anything. A single gram of antimatter contains the energy of a kiloton nuclear bomb—the size of the bomb dropped on Hiroshima. Until recently antimatter has been created only in very small amounts a few atoms at a time. But CERN has now broken ground on its new Antiproton Decelerator—an advanced antimatter production facility that promises to create antimatter in much larger quantities.

One question looms: Will this highly volatile substance save the world, or will it be used to create the most deadly weapon ever made?

They can still be seen today. The brotherhood of the Illuminati is also factual. He stared up in terror at the dark figure looming over him. There was the hiss of broiling flesh. Vetra cried out in agony. The figure glared. I was afraid of that. The blade hovered. But it was too late. I knew I should have married a younger man! He struggled to keep up, but his legs felt like stone. There was a thundering in his ears. I must reach her! But when he looked up again, the woman had disappeared.

In her place stood an old man with rotting teeth. The man stared down, curling his lips into a lonely grimace. Then he let out a scream of anguish that resounded across the desert. Robert Langdon awoke with a start from his nightmare.

The phone beside his bed was ringing. Dazed, he picked up the receiver. Langdon sat up in his empty bed and tried to clear his mind. It was A. I have something you need to see. This had happened before. One of the perils of writing books about religious symbology was the calls from religious zealots who wanted him to confirm their latest sign from God.

Last month a stripper from Oklahoma had promised Langdon the best sex of his life if he would fly down and verify the authenticity of a cruciform that had magically appeared on her bed sheets.

The Shroud of Tulsa, Langdon had called it. The site for your book. The man was obviously lying. He closed his eyes and tried to fall back asleep. It was no use.

The dream was emblazoned in his mind. Reluctantly, he put on his robe and went downstairs. The April moon filtered through the bay windows and played on the oriental carpets. The image was distorted and pale. An aging ghost, he thought, cruelly reminded that his youthful spirit was living in a mortal shell. On weekends he could be seen lounging on the quad in blue jeans, discussing computer graphics or religious history with students; other times he could be spotted in his Harris tweed and paisley vest, photographed in the pages of upscale art magazines at museum openings where he had been asked to lecture.

As Langdon sat alone, absently gazing into the darkness, the silence of his home was shattered again, this time by the ring of his fax machine. Too exhausted to be annoyed, Langdon forced a tired chuckle. Wearily, he returned his empty mug to the kitchen and walked slowly to his oak-paneled study. The incoming fax lay in the tray. Sighing, he scooped up the paper and looked at it. Instantly, a wave of nausea hit him. The image on the page was that of a human corpse. The body had been stripped naked, and its head had been twisted, facing completely backward.

The man had been branded. It was a word Langdon knew well. Very well. He stared at the ornate lettering in disbelief. In slow motion, afraid of what he was about to witness, Langdon rotated the fax degrees. He looked at the word upside down. Instantly, the breath went out of him.

It was like he had been hit by a truck. Barely able to believe his eyes, he rotated the fax again, reading the brand right-side up and then upside down. Stunned, Langdon collapsed in a chair. He sat a moment in utter bewilderment. Gradually, his eyes were drawn to the blinking red light on his fax machine.

Whoever had sent this fax was still on the line. Langdon gazed at the blinking light a long time. Then, trembling, he picked up the receiver. You want to explain yourself? I run a research facility. You saw the body. His mind was racing from the image on the fax.

The Worldwide Web. The site for your book, The Art of the Illuminati. His book was virtually unknown in mainstream literary circles, but it had developed quite a following on-line. The image was overpowering, possibly representing the epigraphical find of the century, a decade of his research confirmed in a single symbol. Illuminati, he read over and over.

His work had always been based on the symbolic equivalent of fossils—ancient documents and historical hearsay—but this image before him was today. Present tense. He felt like a paleontologist coming face to face with a living dinosaur. The implications were frightening. He gazed absently through the bay window. The first hint of dawn was sifting through the birch trees in his backyard, but the view looked somehow different this morning.

As an odd combination of fear and exhilaration settled over him, Langdon knew he had no choice. The chamber was dark. He was seated in the shadows, out of sight.

Do you have what I asked for? He produced a heavy electronic device and set it on the table. The man in the shadows seemed pleased. Get some rest. Tonight we change the world. Three hundred yards down the access road a hangar loomed in the darkness. He pulled into the parking lot and got out of his car. A round-faced man in a blue flight suit emerged from behind the building. Follow me, please. He was not accustomed to cryptic phone calls and secret rendezvous with strangers.

Not knowing what to expect he had donned his usual classroom attire—a pair of chinos, a turtleneck, and a Harris tweed suit jacket. As they walked, he thought about the fax in his jacket pocket, still unable to believe the image it depicted. Branded corpses are a problem for me.

Flying I can handle. The man led Langdon the length of the hangar. They rounded the corner onto the runway. Langdon stopped dead in his tracks and gaped at the aircraft parked on the tarmac. What the hell is it? It was vaguely reminiscent of the space shuttle except that the top had been shaved off, leaving it perfectly flat.

Parked there on the runway, it resembled a colossal wedge. The vehicle looked as airworthy as a Buick. The wings were practically nonexistent—just two stubby fins on the rear of the fuselage.

A pair of dorsal guiders rose out of the aft section. The rest of the plane was hull—about feet from front to back—no windows, nothing but hull. The director must be in one helluva a hurry to see you. The pilot smiled. You can kiss conventional jets good-bye. Watch your step. The pilot buckled him into the front row and disappeared toward the front of the aircraft.

The cabin itself looked surprisingly like a wide-body commercial airliner. The only exception was that it had no windows, which made Langdon uneasy. He had been haunted his whole life by a mild case of claustrophobia—the vestige of a childhood incident he had never quite overcome.

It manifested itself in subtle ways. He avoided enclosed sports like racquetball or squash, and he had gladly paid a small fortune for his airy, high-ceilinged Victorian home even though economical faculty housing was readily available. The engines roared to life beneath him, sending a deep shudder through the hull.

Langdon swallowed hard and waited. He felt the plane start taxiing. Piped-in country music began playing quietly overhead.

A phone on the wall beside him beeped twice. Langdon lifted the receiver. Geneva, Switzerland. He was a powerful man.

Dark and potent. Deceptively agile. His muscles still felt hard from the thrill of his meeting. It went well, he told himself. Had it really been only fifteen days since his employer had first made contact? The killer still remembered every word of that call. We share an enemy. I hear your skills are for hire. The caller told him.

The brotherhood is legendary. The most dangerous enemy is that which no one fears. Our roots infiltrate everything you see. They are invulnerable. A single act of treachery and proof.

The killer became a believer. The brotherhood endures, he thought. Tonight they will surface to reveal their power.

As he made his way through the streets, his black eyes gleamed with foreboding. One of the most covert and feared fraternities ever to walk the earth had called on him for service. They have chosen wisely, he thought. His reputation for secrecy was exceeded only by that of his deadliness. So far, he had served them nobly. He had made his kill and delivered the item to Janus as requested.

The placement. The killer wondered how Janus could possibly handle such a staggering task. The man obviously had connections on the inside. Janus, the killer thought. A code name, obviously. Was it a reference, he wondered, to the Roman two- faced god. Not that it made any difference. Janus wielded unfathomable power.

He had proven that beyond a doubt. As the killer walked, he imagined his ancestors smiling down on him. Today he was fighting their battle, he was fighting the same enemy they had fought for ages, as far back as the eleventh century. His ancestors had formed a small but deadly army to defend themselves.

The army became famous across the land as protectors—skilled executioners who wandered the countryside slaughtering any of the enemy they could find. They were renowned not only for their brutal killings, but also for celebrating their slayings by plunging themselves into drug-induced stupors. Their drug of choice was a potent intoxicant they called hashish. The word was still used today, even in modern English.

It was now pronounced assassin. A crisp breeze rustled the lapels of his tweed jacket. The open space felt wonderful. He squinted out at the lush green valley rising to snowcapped peaks all around them. Langdon checked his watch. It read A. We were at sixty thousand feet.

Lucky we only did a puddle jump. All things considered, the flight had been remarkably ordinary. A handful of technicians scurried onto the runway to tend to the X The pilot escorted Langdon to a black Peugeot sedan in a parking area beside the control tower.

Moments later they were speeding down a paved road that stretched out across the valley floor. A faint cluster of buildings rose in the distance. Outside, the grassy plains tore by in a blur. Langdon watched in disbelief as the pilot pushed the speedometer up around kilometers an hour—over miles per hour. What is it with this guy and speed? Why not make it three and get us there alive?

The car raced on. A woman started singing. His female colleagues often ribbed him that his collection of museum-quality artifacts was nothing more than a transparent attempt to fill an empty home, a home they insisted would benefit greatly from the presence of a woman.

Langdon always laughed it off, reminding them he already had three loves in his life—symbology, water polo, and bachelorhood—the latter being a freedom that enabled him to travel the world, sleep as late as he wanted, and enjoy quiet nights at home with a brandy and a good book. Without warning the pilot jammed on the brakes. The car skidded to a stop outside a reinforced sentry booth. Langdon read the sign before them. He suddenly felt a wave of panic, realizing where he was.

The sentry ran it through an electronic authentication device. The machine flashed green. He turned and checked a computer printout, verifying it against the data on his computer screen.

Then he returned to the window. Looming before them was a rectangular, ultramodern structure of glass and steel. He had always had a fond love of architecture. Physics is the religion around here. Quarks and mesons? No border control? Mach 15 jets?

Who the hell ARE these guys? The driver did not answer. The director will meet you at this entrance. He looked to be in his early sixties. Even at a distance his eyes looked lifeless—like two gray stones. The driver looked up. The man in the wheelchair accelerated toward Langdon and offered a clammy hand. We spoke on the phone. My name is Maximilian Kohler. It was a title more of fear than reverence for the figure who ruled over his dominion from a wheelchair throne. Although few knew him personally, the horrific story of how he had been crippled was lore at CERN, and there were few there who blamed him for his bitterness.

The wheelchair was like none Langdon had ever seen—equipped with a bank of electronics including a multiline phone, a paging system, computer screen, even a small, detachable video camera. The Glass Cathedral, Langdon mused, gazing upward toward heaven. Overhead, the bluish glass roof shimmered in the afternoon sun, casting rays of geometric patterns in the air and giving the room a sense of grandeur. Angular shadows fell like veins across the white tiled walls and down to the marble floors.

The air smelled clean, sterile. A handful of scientists moved briskly about, their footsteps echoing in the resonant space. His accent was rigid and precise, like his stern features. Kohler coughed and wiped his mouth on a white handkerchief as he fixed his dead gray eyes on Langdon. Langdon followed past what seemed to be countless hallways branching off the main atrium. Every hallway was alive with activity.

The scientists who saw Kohler seemed to stare in surprise, eyeing Langdon as if wondering who he must be to command such company. They see us as nothing but a quaint shopping district—an odd perception if you consider the nationalities of men like Einstein, Galileo, and Newton. He pulled the fax from his pocket. Not here. I am taking you to him now. Kohler took a sharp left and entered a wide hallway adorned with awards and commendations. A particularly large plaque dominated the entry.

Langdon slowed to read the engraved bronze as they passed. Langdon had always thought of the Web as an American invention.

Then again, his knowledge was limited to the site for his own book and the occasional on-line exploration of the Louvre or El Prado on his old Macintosh. It enabled scientists from different departments to share daily findings with one another. Of course, the entire world is under the impression the Web is U.

CERN is far greater than a global connection of computers. Our scientists produce miracles almost daily. Miracles were left for the School of Divinity. Do you not believe in miracles? Particularly those that take place in science labs. I was simply trying to speak your language. How simple of me. One does not need to have cancer to analyze its symptoms.

As they moved down the hallway, Kohler gave an accepting nod. As the pair hurried on, Langdon began to sense a deep rumbling up ahead. The noise got more and more pronounced with every step, reverberating through the walls. It seemed to be coming from the end of the hallway in front of them. He felt like they were approaching an active volcano.

He offered no other explanation. He was exhausted, and Maximilian Kohler seemed disinterested in winning any hospitality awards. Langdon reminded himself why he was here. He assumed somewhere in this colossal facility was a body. They rounded the bend, and a viewing gallery appeared on the right. Four thick-paned portals were embedded in a curved wall, like windows in a submarine.

Langdon stopped and looked through one of the holes. Professor Robert Langdon had seen some strange things in his life, but this was the strangest. He blinked a few times, wondering if he was hallucinating. He was staring into an enormous circular chamber. Inside the chamber, floating as though weightless, were people. Three of them. One waved and did a somersault in midair. My God, he thought. The floor of the room was a mesh grid, like a giant sheet of chicken wire.

Visible beneath the grid was the metallic blur of a huge propeller. For stress relief. One of the free fallers, an obese woman, maneuvered toward the window. She was being buffeted by the air currents but grinned and flashed Langdon the thumbs-up sign.

Langdon smiled weakly and returned the gesture, wondering if she knew it was the ancient phallic symbol for masculine virility. The heavyset woman, Langdon noticed, was the only one wearing what appeared to be a miniature parachute. The swathe of fabric billowed over her like a toy.

He never suspected that later that night, in a country hundreds of miles away, the information would save his life. The scene before him looked like an Ivy League campus. A grassy slope cascaded downward onto an expansive lowlands where clusters of sugar maples dotted quadrangles bordered by brick dormitories and footpaths.

Scholarly looking individuals with stacks of books hustled in and out of buildings. Our physicists represent over five hundred universities and sixty nationalities. The universal language of science. He dutifully followed Kohler down the path.

Halfway to the bottom, a young man jogged by. Langdon looked after him, mystified. Where did we come from? What are we made of? The questions seem spiritual. Langdon, all questions were once spiritual. The rising and setting of the sun was once attributed to Helios and a flaming chariot. Earthquakes and tidal waves were the wrath of Poseidon. Science has now proven those gods to be false idols.

Soon all Gods will be proven to be false idols. Science has now provided answers to almost every question man can ask. There are only a few questions left, and they are the esoteric ones. Where do we come from? What are we doing here? What is the meaning of life and the universe? These are questions we are answering. As they walked, a Frisbee sailed overhead and skidded to a stop directly in front of them. Kohler ignored it and kept going. A voice called out from across the quad.

Langdon picked up the Frisbee and expertly threw it back. The old man caught it on one finger and bounced it a few times before whipping it over his shoulder to his partner. My lucky day. It took Langdon and Kohler three more minutes to reach their destination—a large, well-kept dormitory sitting in a grove of aspens. Compared to the other dorms, this structure seemed luxurious. Imaginative title, Langdon thought. It had a red brick facade, an ornate balustrade, and sat framed by sculpted symmetrical hedges.

As the two men ascended the stone path toward the entry, they passed under a gateway formed by a pair of marble columns. Someone had put a sticky-note on one of them. Langdon mused, eyeing the column and chuckling to himself. Ionic columns are uniform in width. A common mistake. Ionic means containing ions—electrically charged particles.

Most objects contain them. Langdon was still feeling stupid when he stepped from the elevator on the top floor of Building C. He followed Kohler down a well-appointed corridor. The decor was unexpected—traditional colonial French—a cherry divan, porcelain floor vase, and scrolled woodwork. Evidently, Langdon thought. One of your upper-level employees? I came up here to locate him and found him dead in his living room. His stomach had never been particularly stalwart. Kohler led the way to the far end of the hallway.

Album) was a single door. Langdon eyed the lone oak door before them. He was one of the most brilliant scientists of our time. Oh, never mind, Peachy pop is wearing it. Hope she keeps slamming them but maybe with milkshakes and more soda. With her body though good lord her OF would be fire. Love it. She would look great with another pounds on top of her current weight. Moobsonbelly - Friday 1 October What a beautiful sexy woman. The big hangers on her sweet belly make me crazy!!!!!

Please more! She was on a roll with that belly. In Charlotte's case, of course, this takes seconds. One strategy she has learnt is to Album) her family close. Her second husband, film producer George Waud, 54, sits on the board. Her seven-year-old son, Valentine brother Flynn, from her first marriage, is 11recently came up with a drone-to-door delivery scheme that cannot be long away.

So what of the future? Could there ever be Charlotte Tilbury without Charlotte Tilbury? The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. Argos AO. Privacy Policy Feedback. Share this article Share. Comments Share what you think.

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Buckwheat Zydeco - Ya Ya (Vinyl)

GfK Entertainment Charts. Retrieved June 25, Retrieved September 10, Single track Top 40 lista. Retrieved August 5, Archived from the original on July 15, Federazione Industria Musicale Italiana. Retrieved June 19, Dutch Top 40 Retrieved July 17, Single Top Retrieved July 23, Polish Airplay Top Retrieved June 14, AFP Top Singles. Retrieved September 4, Note: insert into search. Retrieved July 2, Swiss Singles Chart.

Retrieved June 20, Official Charts Company. Retrieved August 27, Small Jam — Iko Iko" in Italian. Select "" in the "Anno" drop-down menu. Select "Iko Iko" in the "Filtra" field. Select "Singoli" under "Sezione".

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QQQ - Heimer - Teilzeit Swag (Vinyl, LP)

Heimer is an up-and-coming electronic musician, producer and visual artist based in Berlin, Germany. With his hip-hop, dance and pop influences, he bridges the gap between genres like grime, dubstep, footwork, skweee, acid-jazz and soul.

His debut album Teilzeit Swag is an adventurous musical journey, that is as visceral as it is meditational, as intricately composed as it is eclectic, all while telling a story about part-time living, the joy of skiing and a shady hill named "Beverly".

Meticulously dug out samples are layered with funky synths, gruff rock guitars, bold melodies, and dry electronics before they melt into a unique kaleidoscope of musical styles. II's" dark grime theme, onto "Smacks United's" mellow jazzy outro - Teilzeit Swag has a common thread that runs through recurring parts QQQ - Heimer - Teilzeit Swag (Vinyl deep flows, strong melodies and unexpected breaks. Important information when ordering with Fatbeats. Please note, we are still shipping QQQ - Heimer - Teilzeit Swag (Vinyl attending to customer service inquiries as per usual.

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Goodnight, Sweetheart

Goodnight, baby. And that something is you, my sweetness. So, I reach out for my cell phone and send you a sweet text — a text that matches your sweetness. Goodnight, dear. The last person that appears in my thoughts while retiring to bed is you. Have a lovely and sweet dream. Goodnight, pearl. Good night, my everything.

Good night, dear. Good night. I can boldly say this because I know how really you want us to always be together. Goodnight want such, too. Have a splendid night rest. This message is like a document depicting my love for you. Though I can express the full package of my feelings, I know I can give you an idea of it through my message. Good night, my love. Good night! Good night, sweet. Good night honey I love you.

The day is a hundred percent busy enough to keep me engaged. Good night, dearest. Goodnight I set my eyes into your eyes, all I can see is the reflection of heaven in them. Good night, honey.

I love you. I know that time is coming. Good night, my sweetheart. Every day of my life, I look forward to seeing that beautiful face of yours immediately I wake up in the morning. Good night, darling. See you in the morning. With my loneliness, I just cannot deal. All I am thinking of right now is meeting you. Good night honey I love. Baby, I want you to know that you have a special place in my heart, in my thought and most especially, in my life.

I love you, honey. And I always will. Good night, my pretty damsel. I just wish I could meet you right now, and I also wish that I could hold you tight. Instead of just wishing you an incredible night, I also want you to dream about the two of us tonight. Sleep tight. Although I love looking at the beauty of the night sky, because of the stars sprinkled in it — I love the stars I can find in your eyes even more.

You know that the moon and the sun are destined to rise at a set time, right? I miss you badly. Good night my dear love. I really do not want to be your blanket in which you snuggle, and I do not want to be your sheets on which you wriggle. I just want to be that very guy with whom you can share lovely moments. Fluffy puppies and marshmallow clouds, golden cars and chocolate trains, may your imagination go beyond your expectations.

And may your dreams be filled with nothing but the most amazing fun. Place your right hand on your left shoulder, and also place your left hand on the right one. The only and last person I remember before going to bed is the person reading every word contained in this message. Ryan Sampson as Jimmy's son, Alex did emerge with his dignity intact, but Celia Imrie's portrayal of Jimmy's mother-in-law Diana sporting an apron, an item of clothing that's only ever worn in British domestic Goodnight, never in real life was so recklessly far over the top that she could have been leading the infantry out of the trenches on the first morning of Passchendaele.

Not only was the age gap between the three generations implausibly narrow, but Imrie's poshly spoken yet fishwife-tongued character simply didn't chime true, and she ended up providing more low-grade ham than an entire chain of supermarkets in the run-up to Christmas.

The story lines were equally unbelievable, with daddy and mother- in-law vying for the affections of the teenage children, while mother Ann Samantha Spiro ran off with a new boyfriend to a disaster area in Africa wisely leaving this disaster area behind her. And although sparkling dialogue can sometimes rescue even the flimsiest of plots, there was no chance of that here, thanks to wretchedly contrived exchanges like "the Buddhists call it tit for tat", "but he gets the tit while I get the tat.

How can that be? Perhaps they'd all worked together in one room, pacing the floor for inspiration, and some sort of mass concussion had ensued, because surely only a massive collective brain injury could explain a disaster of this calibre.

Having inherited The Royle Family in its prime, he was instantly raised shoulderhigh and mistakenly given credit for Caroline Aherne and Craig Cash ' s masterpiece, but where Claudius was smart enough to ride his good fortune and leave well alone, Allen seems dim enough to mistake his luck for talent, and has been tempted to meddle in productions ever since.

I'm told that he had a hands-on role in this one, and he's now provided us with one of the most excruciatingly vacant situation comedies in the BBC's history, after which the only decent thing for him to do would surely be to provide the BBC with a Situation Vacant. And in return, the Corporation should cancel all scheduled broadcasts now, seal the master tapes of the entire series in a lead- lined box, and bury it deep within Sellafield, without delay.

Apart from that, it was fantastic. Details Edit. Release date January 12, United Kingdom. United Kingdom. Kaum bist du fort. Technical specs Edit. Runtime 45min. Related news. Jun 15 The Film Stage. Mar 11 Den of Geek. A flirty, sexy text message will surely wake your boyfriend up in the right mood any morning.

Don't be afraid to be a little spicy for your boyfriend in your good morning text message. Sweet messages don't always have to be bland and sappy. You can think about it this way: with every dose of sweetness, there needs to be a hint of spice to balance things out. Also, try to add some winky face emojis, so he knows that you're flirting with him. It will add that little touch of sweetness and affection. Make your man feel loved with a few of these spicier text messages to start off his morning:.

Can't wait to see you! I love you. I just got dressed, but I can't wait for tonight when you're taking all these clothes off of me! Have a great day. Hope your morning is full of recovery. I hope I have a spot on your busy to-do list today! Good morning and stay hydrated!

I'm willing to wait to see you tonight. I know you're looking extra sexy with the bedhead hair! Well, good morning! Good morning, sexy! Just saying!

A silly message will not only make him feel Goodnight, but he will laugh when he sees your message. Depending on his age, maybe school or work or the combination of both and life in general is stressful for your boyfriend. In that case, a silly little good morning text message will get him giddy.

Silly text messages can help your boyfriend wake up on the right side of the bed and start his day with a smile. Guys like a funny girl and they like to laugh.

Yes Sweetheart. The following two tabs change content below. Harini Natarajan. As Chief Editor, Harini sets the tone and editorial direction for StyleCraze to deliver engaging, interesting, and authentic content revolving around women's health, wellness, and beauty.

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The title is a result of his Basque heritage: meaning 'The Seven Are One', it refers to the seven Basque regions, and was a motto often used in association with the idea of a Basque nation. Ravel also used other folk themes including Hebraic, Greek, and Hungarian.

In reality Ravel is much more than an Impressionist and in fact he resented being labelled as such. For example, he made extensive use of rollicking jazz tunes in his Piano Concerto in G in the first and third movements. Borodine In the manner of BorodinRavel plays with the ability to both mimic and remain original. In a more complex situation, A la maniere de He also composed short pieces in the manner of Haydn and his teacher Faur.

Ravel considered himself in many ways a classicist. He often relied on traditional forms, such as the A-B-A form, as well as traditional structures as ways of presenting his new melodic and rhythmic content, and his innovative harmonies. He confined himself to saying that there is nothing that music cannot undertake to do, or dare, or portray, provided it continues to charm and always remain music. This is apparent in his Valses. Maurice Ravel nobles et sentimentales inspired by Franz Schubert's collections, Valses nobles and Valses sentimentales where the seven movements begin and end without pause, and in his chamber music where many movements are in sonata-allegro form, hiding the change from developmental sections to recapitulation.

Methods His own composing method was craftsman-like and perfectionistic. Igor Stravinsky once referred to Ravel as "the most perfect of Swiss watchmakers", a reference to the intricacy and precision of Ravel's works. I can strive unceasingly to this end, since I am certain of never being able to attain it. The important thing is to get nearer to it all the time. During this interval I come progressively, and with growing precision, to see the form and the evolution that the final work will take in its tonality.

Thus I can be occupied for several years without writing a single note of the work, after which composition goes relatively quickly. But one must spend much time in eliminating all that could be regarded as superfluous in order to realize as completely as possible the definitive clarity so much desired.

The moment arrives when new conceptions must be formulated for the final composition, but they cannot be artificially forced for they come only of their own accord, often deriving their original from some far-off perception and only manifesting themselves after long years.

Many of his most innovative compositions were developed first as piano music. Ravel used this miniaturist approach to build up his architecture with many finely wrought strokes. To fill the requirements of larger works, he multiplied the number of small building blocks. Walter Gieseking found some of Ravels piano works to be among the most difficult pieces for the instrument but always based on musically perfectly logical concepts; not just technically demanding but also requiring the right expression.

He usually notated the string parts first and insisted that the string section sound perfectly in and of itself. To add surprise and added color, the melody might start with one instrument and be continued with another.

Most of his works were thought out over considerable lengths of time, then noted quickly, and refined painstakingly. Ravels body of work includes pieces for piano, chamber works, two piano concerti, ballet music, opera, and song cycles.

Maurice Ravel Ravel crafted his manuscripts meticulously, and relentlessly polished and corrected them. He destroyed hundreds of sketches and even re-copied entire autographs to correct one mistake. Unfortunately, early printed editions of his works were prone to errors so he worked painstakingly with his publisher, Durand, to correct them. Pianist and conductor Though a competent pianist, Ravel decided early on to have virtuosi, like Ricardo Vies, premiere and perform his work.

As his career evolved, however, Ravel was again called upon to play his own piano music, and to conduct his larger works, particularly during a tour, both of which he considered chores in the same mold as "circus performances".

Only rarely did he conduct works of other composers. He just stood there beating time and keeping watch. Transcriber and Orchestrator Ravel was and is a leading figure in the art of transcription and orchestration.

During his life Ravel studied the ability of each orchestral instrument carefully in order to determine its possible effects while being sensitive to their individual color and timbre. He was always careful to ensure that the writing for each family of instruments worked in isolation as well as in the complete ensemble.

While he disapproved of tampering with his own works once completed, orchestration gave him the opportunity to view works in a different context. The orchestral version clarifies the harmonic language of the suite and brings sharpness to its classical dance rhythms. Modest Mussorgsky's Pictures at an Exhibition is best known through its orchestration by Ravel.

In this version, produced inRavel omits thePromenadebetween"Samuel" Goldenberg und "Schmule"andLimogesand applies artistic license to some particulars of dynamics and notation as well as putting forth the virtuoso effort of a master colourist throughout. Musical influence Ravel was always a supporter of young musicians, through his society and associations, and through his personal individual advice and his help in securing performance dates.

Ravel's preferred way of teaching would be to have a conversation with his students and demonstrate his points at the piano.

He was rigorous and demanding in teaching counterpoint and fugue, as he revered Johann Sebastian Bach without reservation. But in all other areas, he considered Mozart the ideal, with the perfect balance between François-Joël Thiollier - LOeuvre Pour Piano (CD symmetry and the element of surprise", and with works of clarity, perfect craftsmanship, and measured amounts of lyricism.

Often Ravel would challenge a student with "What would Mozart do? In creating his own music, he tended to avoid the more monumental composers as models, finding relatively little kinship with or inspiration from Beethoven, Brahms, Tchaikovsky, Hector Berlioz, or Franck. However, as an outspoken commentator on the Romantic giants, he found much of Beethoven "exasperating", Wagner's influence "pernicious" and Berlioz's harmony "clumsy".

He had considerable admiration for other 19th century masters such as Chopin, Liszt, Mendelssohn, and Schubert. Notable compositions Menuet antique piano,orchestrated in Shhrazade ouverture de ferie Pavane pour une infante dfunte "Pavane for a dead infanta" pianoorchestra Jeux d'eau piano, String Quartet in F major Shhrazade orchestral song cycle, Setting poems by his friend Tristan Klingsor Sonatine piano, Introduction and allegro pedal harp, flute, clarinet, string quartet, Miroirs "Reflections" piano, :.

Prelude II. Fugue III. Forlane IV. Rigaudon V. Minuet VI. Media depictions Canadian filmmaker Larry Weinstein has produced two documentaries about Ravel, Ravel [] and Ravel's Brain Further reading "Maurice Ravel". Ivry, Benjamin Maurice Ravel: a Life. New York: Welcome Rain. Larner, Gerald Maurice Ravel. London: Phaidon. Mawer, Deborah, ed. The Cambridge Companion to Ravel. Cambridge Companions to Music. Cambridge: Cambridge University Press.

Lamaze, David The Watchmaker's heart. Miscellaneous Maurice Ravel Frontispice [] at www. References [1] Kavanaugh, Patrick Grand Rapids, MI: Zondervan. The Guardian. Oxford Music Online. James,p. Maurice Ravel [50] James,p. The Lives of the Great Composers revised ed. New York, London: W. Jewish Women's Archive, Michele Siegel. Wheaton IL: Crossway Books. New York Times. Grassi, and F. Boller January European Journal of Neurology subscription access 9 1 : Solfges Nouv.

Paris: Seuil. Lettres, crits, entretiens. Orenstein, Arbie, ed. Paris: Flammarion. La peinture, ah, a, c'est autre chose! Monet et son cole taient impressionnistes. Mais dans l'art sur, il n'y a pas d'quivalent cela. Maurice Ravel [99] Orenstein,p. Toronto: Rhombus Media. Abstract: Follows Ravel's life and career through the presentation of his many works by the Montreal Symphony Orchestra. Ravel's Brain. Oley, PA: Bullfrog Films. Produced by Rhombus Media.

Abstract: The film portrays the inner being of a great artist who was rendered incapable of communicating with the outside world. For the last five years of his life, Maurice Ravel was the victim of his own lamentable circumstances. Afflicted with aphasia and apraxia, his brain produced music, but he was unable to write it down. From September he settled in Munich, where he obtained concert offers and where his rapid rise to fame began.

During his first Munich season, Reger appeared in ten concerts as an organist, chamber pianist and accompanist. He continued to compose without interruption. From he worked in Leipzig, where he was music director of the university until and professor of composition at the conservatory until his death. In he moved to Jena, commuting once a week to teach in Leipzig. He died in May on one of these trips of a heart attack at age Max Reger, postcard He had been also active internationally as a conductor and pianist.

Reger was the cousin of Hans von Koessler. Works During a composing life of little more than 25 years, Reger produced an enormous output, nearly always in abstract forms, although few of his compositions are well known today.

Many of his works are fugues or in variation form, including what is probably his best known orchestral work, the Variations and Fugue on a Theme by Mozart based on the opening theme of Mozart's Piano Sonata in A major, K.

He also wrote a large amount of music for organ, including the Fantasy and Fugue on BACH this piece, based on the BACH motif, is considered one of the most difficult and demanding in organ literature. He was particularly attracted to the fugal form his entire life. Once he remarked: "Other people write fugues - I live inside them".

He created music in almost every genre, opera and the symphony being the two exceptions. A firm supporter of absolute music, he saw himself as being part of the tradition of Beethoven and Brahms. His work often combines the classical structures of these composers with the extended harmonies of Liszt and Wagner, to which he added the complex counterpoint of Bach.

His organ music, though also influenced by Liszt, was provoked by that tradition. Of his orchestral pieces, his richly elaborate Variations and Fugue on a Theme of Hiller and Mozart Variations are still performed now and then; few others are. Among his chamber compositions the lighter-textured trios have retained a small place in the repertory, and the Clarinet Quintet, his swan-song, is widely admired.

Some of the works for solo string instruments turn up often on recordings, though less regularly in recitals. His solo piano and two-piano music places him as a successor to Brahms in the central German tradition. He pursued intensively, and to its limits, Brahms's continuous development and free modulation, often also invoking, like Brahms, the aid of Bach-influenced polyphony.

He was a prolific writer of vocal works, Lieder, works for mixed chorus, men's chorus and female chorus, and extended choral works with orchestra such as Der Psalm and Requiem. His works could be considered retrospective as they followed classical and baroque compositional techniques such as fugue and continuo.

The influence of the latter can be heard in his chamber works which are deeply reflective and unconventional. Max Reger. Bibliography Liu, Hsin-Hung. Gott zu loben, bleibe meine Seelenfreud! Dissertation, University of Washington, Seattle.

Anderson, Christopher Aldershot, Hampshire: Ashgate Publishing. Bittmann, Antonius Max Reger and Historicist Modernisms. Baden-Baden: Koerner. Cadenbach, Rainer Max Reger und Seine Zeit. Laaber, Germany: Laaber-Verlag. Grim, William Max Reger: A Bio-Bibliography. Westport, Connecticut: Greenwood Press.

His innovations include using tape loops to create phasing patterns examples are his early compositions, "It's Gonna Rain" and "Come Out"and the use of simple, audible processes to explore musical concepts for instance, "Pendulum Music" and "Four Organs". These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US.

Reich's work took on a darker character in the s with the introduction of historical themes as well as themes from his Jewish heritage, notably the Grammy Award-winning Different Trains. Reich's style of composition influenced many other composers and musical groups. Reich has been described by The Guardian as one of "a handful of living composers who can legitimately claim to have altered the direction of musical history",[2] and the critic Kyle Gann has said Reich "may When he was one year old, his parents divorced, and Reich divided his time between New York and California.

He was given piano lessons as a child and describes growing up with the "middle-class favorites", having no exposure to music written before or after At the age of 14 he began to study music in earnest, after hearing music from the Baroque period and earlier, as well as music of the 20th century.

Reich studied drums with Roland Kohloff in order to play jazz. While attending Cornell University, he took some music courses, but he graduated in with a B. Reich's B. For a year following graduation, Reich studied composition privately with Hall Overton before he enrolled at Juilliard to work with William Bergsma and Vincent Persichetti Subsequently he attended Mills College in Oakland, California, where he studied with Luciano Berio and Darius Milhaud and earned a master's degree in composition.

He was involved with the premiere of Riley's In C and suggested the use of the eighth note pulse, which is now standard in performance of the piece. The soundtrack of Plastic Haircut, composed inwas a short tape collage, possibly Reich's first. The Watermelons soundtrack used two old Stephen Foster minstrel tunes as its basis, and used repeated phrasing together in a large five-part canon. The music for Thick Pucker arose from street recordings Reich made walking around San Francisco with Nelson, who filmed in black and white 16mm.

This film no longer survives. A fourth film fromabout 25 minutes long and tentatively entitled "Thick Pucker II", was assembled by Nelson from outtakes of that shoot and more of the raw audio Reich had recorded. Nelson was not happy with the resulting film and never showed it. Reich was influenced by fellow minimalist Terry Riley, whose work In C combines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work, It's Gonna Rain.

Written inthe piece used recordings of a sermon about the end of the world given by a black Pentecostal street-preacher known as Brother Walter. Reich built on his early tape work, transferring the sermon to multiple tape loops played in and out of phase, with segments of the sermon cut and rearranged. The minute "Come Out" uses similarly manipulated recordings of a single spoken line given by Daniel Hamm, one of the falsely accused Harlem Six, who was severely injured by police.

The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruises blood come out to show them.

They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns.

A similar, lesser known example of process music is "Pendulum Music"which consists of the sound of several microphones swinging over the loudspeakers to which they are attached, producing feedback as they do so. Steve Reich Reich's first attempt at translating this phasing technique from recorded tape to live performance was the Piano Phase, for two pianos.

In Piano Phase the performers repeat a rapid twelve-note melodic figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure.

Violin Phase, also written inis built on these same lines. Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composed Clapping Musicin which the players do not phase in and out with each other, but instead one performer keeps one line of a quaver-long eighth-note-long phrase and the other performer shifts by one quaver beat every 12 bars, until both performers are back in unison bars later.

The prototype piece Slow Motion Sound was never performed, but the idea it introduced of slowing down a recorded sound until many times its original length without changing pitch or timbre was applied to Four Organswhich deals specifically with augmentation. The piece has maracas playing a fast eighth note pulse, while the four organs stress certain eighth notes using an 11th chord. This work therefore dealt with repetition and subtle rhythmic change.

It is unique in the context of Reich's other pieces in being linear as opposed to cyclic like his earlier works the superficially similar Phase Patterns, also for four organs but without maracas, is as the name suggests a phase piece similar to others composed during the period. Four Organs was performed as part of a Boston Symphony Orchestra program, and was Reich's first composition to be performed in a large traditional setting.

Reich also studied Balinese gamelan in Seattle. From his African experience, as well as A. Jones's Studies in African Music about the music of the Ewe people, Reich drew inspiration for his minute piece Drumming, which he composed shortly after his return.

Composed for a nine-piece percussion ensemble with female voices and piccolo, Drumming marked the beginning of a new stage in his career, for around this time he formed his ensemble, Steve Reich and Musicians, and increasingly concentrated on composition and performance with them.

Steve Reich and Musicians, which was to be the sole ensemble to interpret his works for many years, still remains active with many of its original members. After Drumming, Reich moved on from the "phase shifting" technique that he had pioneered, and began writing more elaborate pieces. He investigated other musical processes such as augmentation the temporal lengthening of phrases and melodic fragments.

InReich began writing what many would call his seminal work, Music for 18 Musicians. This piece involved many new ideas, although it also hearkened back to earlier pieces. It is based on a cycle of eleven chords introduced at the beginning called "Pulses"followed by a small section of music based on each chord "Sections I-XI"and finally a return to the original cycle "Pulses". This was Reich's first attempt at writing for larger ensembles.

The increased number of performers resulted in more scope for psychoacoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". Reich remarked that this one work contained more harmonic movement in the first five minutes than any other work he had written. Reich explored these ideas further in his frequently recorded pieces Music for a Large Ensemble and Octet In these two works, Reich experimented with "the human breath as the measure of musical duration the chords played by the trumpets are written to take one comfortable breath to perform".

Steve Reich musical palette in Music for a Large Ensemble but the wordless vocal parts simply form part of the texture as they do in Drumming. With Octet and his first orchestral piece Variations for Winds, Strings and Keyboards alsoReich's music showed the influence of Biblical cantillation, which he had studied in Israel since the summer of After this, the human voice singing a text would play an increasingly important role in Reich's music.

The technique [] consists of taking pre-existing melodic patterns and stringing them together to form a longer melody in the service of a holy text. If you take away the text, you're left with the idea of putting together small motives to make longer melodies - a technique I had not [8] encountered before.

In Reich published a book, Writings About Music ISBNcontaining essays on his philosophy, aesthetics, and musical projects written between and TehillimHebrew for psalms, is the first of Reich's works to draw explicitly on his Jewish background. The work is in four parts, and is scored for an ensemble of four women's voices one high soprano, two lyric sopranos and one altopiccolo, flute, oboe, English horn, two clarinets, six percussion playing small tuned tambourines without jingles, clapping, maracas, marimba, vibraphone and crotalestwo electronic organs, two violins, viola, cello and double bass, with amplified voices, strings, and winds.

A setting of texts from psalms in Christian translations,andTehillim is a departure from Reich's other work in its formal structure; the setting of texts several lines long rather than the fragments used in previous works makes melody a substantive element. Use of formal counterpoint and functional harmony also contrasts with the loosely structured minimalist works written previously.

Different Trainsfor string quartet and tape, uses recorded speech, as in his earlier works, but this time as a melodic rather than a rhythmic element. In Different Trains Reich compares and contrasts his childhood memories of his train journeys between New York and California in with the very different trains being used to transport contemporaneous European children to their deaths under Nazi rule. The composition was described by Richard Taruskin as "the only adequate musical responseone of the few adequate artistic responses in any mediumto the Holocaust", and he credited the piece with earning Reich a place among the great composers of the 20th century.

The work, for percussion, voices, and strings, is a musical documentary, named for the Cave of Machpelah in Hebron, where a mosque now stands and Abraham is said to have been buried.

The two collaborated again on the opera Three Tales, which concerns the Hindenburg disaster, the testing of nuclear weapons on Bikini Atoll, and other more modern concerns, specifically Dolly the sheep, cloning, and the technological singularity. As well as pieces using sampling techniques, like Three Tales and City LifeReich also returned to composing purely instrumental works for the concert hall, starting with Triple Quartet written for the Kronos Quartet that can either be performed by string quartet and tape, three string quartets or piece string orchestra.

This series continued with Dance PatternsCello Counterpointand sequence of works centered around Variations: You Are Variations a work which looks back to the vocal writing of.

Invited by Walter Fink, he was the 12th composer featured in the annual Komponistenportrt of the Rheingau Musik Festival in In an interview with The Guardian, Reich stated that he continues to follow this direction with his piece Double Sextet commissioned by eighth blackbird, an American ensemble consisting of the instrumental quintet flute, clarinet, violin or viola, cello and piano of Schoenberg's piece Pierrot Lunaire plus percussion.

Reich states that he was thinking about Stravinsky's Agon as a model for the instrumental writing. Godspeed You! Black Emperor composed a song, unreleased, entitled "Steve Reich". John Adams commented, "He didn't reinvent the wheel so much as he showed us a new way to ride. In featuring a sample of Reich's Electric Counterpoint the British ambient techno act the Orb exposed a new generation of listeners to the composer's music with its production Little Fluffy Clouds. Bach, Debussy and Stravinsky as composers he admires, whose tradition he wished as a young composer to become part of.

Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalists Ella Fitzgerald and Alfred Deller, whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works. Miller, a. DJ Spooky. Quotations [ Phil Glass and I had a moving company for a short period of time.

I did all kinds of odd jobs [ I would never have thought that it was how I was going to survive financially. It was a complete wonder. From an interview with Gabrielle Zuckerman, [22]. Steve Reich The point is, if you went to Paris and dug up Debussy and said, 'Excusez-moi Monsieurare you an impressionist? That is a legitimate concern of musicologists, music historians, and journalists, and it's a convenient way of referring to me, Riley, Glass, La Monte Young [ But, anybody who's interested in French Impressionism is interested in how different Debussy and Ravel and Satie areand ditto for what's called minimalism.

From an Interview with Rebecca Y. Kim, [23] All musicians in the past, starting with the middle ages were interested in popular music. Bla Bartk's music is made entirely of sources from Hungarian folk music. And Igor Stravinsky, although he lied about it, used all kinds of Russian sources for his early ballets.

Kurt Weill's great masterpiece Dreigroschenoper is using the cabaret-style of the Weimar Republic and that's why it is such a masterpiece. Only artificial division between popular an classical music happened unfortunately through the blindness of Arnold Schoenberg and his followers to create an artificial wall, which never existed before him. In my generation we tore the wall down and now we are back to the normal situation, for example if Brian Eno or David Bowie come to me, and if popular musicians remix my music like The Orb or DJ Spooky it is a good thing.

This is a natural normal regular historical way. From an Interview with Jakob Buhre [24]. Tehillim for voices and ensemble Vermont Counterpoint for amplified flute and tape The Desert Music for chorus and orchestra or voices and ensembletext by William Carlos Williams. Selected discography Drumming. Various performers Nonesuch. Further reading D. Steve Reich: A Bio-Bibliography. Greenwood Press, Steve Reich.

Writings about Music. Robert Schwarz. Phaidon Press, References Potter, Keith Music in the Twentieth Century series. Writings on Music, Reich, Steve Writings About Music. External links SteveReich. Celebrating Steve Reich. References [1] "Say How? National Library Service. May Retrieved October 15, Whitney Museum of American Art. October Retrieved September 27, The Village Voice. Minimalists, Phaidon Press,p. The New York Times.

Retrieved on September 27, Dirio de Notcias. Stylus Magazine. Rolling Stone. Guelph Jazz Festival. Steve Reich [17] Stratton, Jeff May 10, Broward-Palm Beach New Times. For him, pulsation and tonality were not just cultural artifacts. They were the lifeblood of the musical experience, natural laws. It was his triumph to find a way to embrace these fundamental principles and still create a music that felt genuine and new.

He didn't reinvent the wheel so much as he showed us a new way to ride. Accessed September 20, Writings on Music. Ottorino Respighi Ottorino Respighi Italian pronunciation:[ot:o'rino rez'pi:gi]; July 9,Bologna - April 18, was an Italian composer, musicologist and conductor. His musicological interest in 16th- 17th- and 18th-century music led him to also compose pieces based on the music of this period.

Many sources Elsa and Ottorino Respighi in the s indicate that he also studied briefly with Max Bruch, but in her biography of the composer, Respighi's wife asserts that this is not the case. He lived in Rome from Biography Ottorino Respighi was born in Bologna, Italy. He was taught piano and violin by his father, who was a local piano teacher.

He continued studying violin and viola with Federico Sarti at the Liceo Musicale in Bologna, composition with Giuseppe Martucci, and historical studies with Luigi Torchi, a scholar of early music. A year after receiving his diploma in violin inRespighi went to Russia to be principal violist in the orchestra of the Russian Imperial Theatre in St Petersburg during its season of Italian opera; while there he studied composition for five months with Rimsky-Korsakov.

He then returned to Bologna, where he earned a second degree in composition. Until his principal activity was as first violin in the Mugellini Quintet. In he spent some time performing in Germany before finally returning to Italy and turning his attention entirely to composition. Upon being appointed a teacher of composition at the Conservatorio di Santa Cecilia inRespighi moved to Rome and lived there for the rest of his life.

In he married a former pupil, singer Elsa Olivieri-Sangiacomo. The main theme of this music comes from Mozart's opera The Magic Flute, a very well-known melody which is sometimes associated with sacred words. It is a beautiful tune which lends itself to variation treatment including these very light-hearted examples. While working on this music, the composer had the idea of incorporating references to other well-known Mozart themes, again, with a rather tongue-in-cheek approach.

The result is a high-spirited, flamboyant solo that will be fun to play and to listen to. Always a real concert favourite, enjoyable for the performer, with excellent band parts, and always well received by the audience. For the first time we Album) now now able to offer the full score and full set of wind band parts as well as solo part at the Euphoniumstore. The composer wrote a series of these for different instruments, and with each trying to bring out the essential characteristics, both lyrical and virtuosic, of the instrument he was writing for.

This is a really popular euphonium duet, with the classic melody Perhaps Love, by John Denver being set beautifully for both alternate voices and duet harmonic parts, with brass band accompaniment. Youtube recording featuring Steven Mead and Romain Gumy.

Supplied with: duet parts in TC onlybrass band score and full set of brass band parts. This is the well known solo version with its characteristic piano part. It's full of verve and energy, 10- That Certain Feeling - George Gershwin well loved by so many soloists over the years. This is a really outstanding euphonium concerto and deserves to be played a lot more than it is currently.

Although active in all main areas of composition, in recent years Michael Ball has contributed particularly substantially to the repertoire for wind and brass. The piece falls naturally into four interconnected sections. A gentle opening, marked 'as if awakening'leads into an initially aggressive Allegro, gaining in energy and momentum as it proceeds. The succeeding slow movement is lyrical and wistful in character in its outer parts although containing a more urgent central passage this leads into a thoughtful cadenza which in its turn leads without a break into the scherzo finale.

The section now combines new figures with, in its later stages, return to the main ideas from the first movement. Robin Robin was especially adapted for David Thornton euphonium from the song of the same name, originally recorded by Belinda Evans soprano with Stephen Marquis pianoto help raise funds for Yeovil Hospitals Flying Colours Appeal.

Words written by Jennifer Henderson trace a robin's journey through the seasons: Spring-'fearless and bold', Summer-'a bird with attitude', through to Autumn-'when other birds fly away, you're loyal'. Here is a brand-new collection of late 19th century pieces, perfect for study material, stylistic work, sight reading and etudes for audition etc.

And, they are so much fun! There is a wealth of inventive and absolutely delightful historic pieces here, a compendium of four books. A high quality facsimile copy of a Compendium of 4 books originally published c. Over pages of music by composers including Strauss, Schubert, Musard, Rossini and many more.

These were arranged and compiled for cornet and Saxhorns now the modern day brass band family and would have been played in Victorian parlours. They are perfect for sight reading and technical development. Suitable for all treble clef reading brass instrumentalists!

Duration: It will take you hours to play them all!!! Difficulty level: 2,3, 3. Supplied with : Book in TC. This is the brand-new version with piano accompaniment as performed by Steven Mead and composer Howard J. Evans on Steven Mead's facebook page recently. It is very highly regarded by brass musicians who have heard it.

You can enjoy the first performance of this that was done recently by Steven Mead and Howard J. Bandmaster Howard J. Although the song formed the basis of a major band work entitled 'Elegiac Variations', I have often been presented with requests for a solo version of the melody. This recording, and the work of Steven, provided the inspiration and impetus to complete a solo version presented here on this disc. I dedicate this solo version to my two lovely daughters, Sarah and Louise.

After payment has been made, go to the front page of euphoniumstore. If you click on that you should see When He Cometh there to click and download. This piece was originally composed for euphonium tuba octet 4 euphs and 4 tubas ideallycommissioned by Roger Bobo in There are many difficult pieces for euphonium in the world, so the composer wrote it especially for young students and amateur players.

So here is a perfect suite of five pieces for young students and amateur players. Great fun, original and very creative!! Here is a really fun and interesting 'classical' style concerto composed by Stuart Johnson, ex Head of music for Staffordshire. This has some very challenging writing, but all of it a real joy to play. Concerto Grosso was premiered at St. Here is a beautiful reflective solo from Stephen Roberts; an original that really captures the spirit of remembrance and casts a fond eye to the past.

It's a truly lovely solo, not difficult and one that should be played well by players of intermediate standard and higher. Ideal for a contrasting work in a recital, or a church service. Altgough the melodic line is clearly central, there are some lovely extended florid passagesWhich gives the setting a really nice original and fresh touch.

A good soloist will really make this sound beautiful and free. Here is the youtube video where this is performed beautifully by Katrina Marzella and the Black Dyke Band. The first use of this tune seems to have been as an eighteenth-century rebel song.

A hundred years later, Belfast writer Samuel Ferguson wrote these words, that were to make it one of the most famous romantic songs in the tradition.

Dear thoughts are in my mind and my soul it soars enchanted As I hear the sweet lark sing in the clear air of the day For a tender beaming smile to my hope has been granted And tomorrow he shall hear all my fond heart longs to say I will tell him all my love, all my soul's pure adoration And I know he will hear my voice and he will not answer me nay It is this that gives my soul all it's joyous elation As I hear the sweet lark sing in the clear air of the day.

Maria Theresia Paradis also von Paradies May 15, — February 1,was an Austrian musician and composer who lost her sight at an early age, and for whom Mozart may have written his Piano Concerto No.

This arrangement by Stephen Roberts makes it very accessible to brass players, in a nice friendly key and not too high at the high climax. All are in beautiful stylistic settings, demanding quite advanced technique and a good high range.

The last movement in particular with its rapid mixed meter writing will be quite a challenge. This is a very welcome addition to the repertoire and short to be in demand from good students and players looking for something fresh in their recital.

Here is a really fun original suite for brass soloist and piano, suitable for young and intermediate players, composed by Stephen Roberts. The pieces are all composed in a light fun style, and is sure to popular with young players, and not so young players who have a youthful spirit! Stephen Roberts' famous arrangement of the classic traditional Irish air Carrickfergus, as played by many fine euphonium, baritone and trombone soloists.

Here is the brand-new euphonium concerto by the Polish composer Adam Wesolowski, composed for Steven Mead and premiered by him in Poland in November This brilliant and fresh sounding concerto is now available for everyone to perform.

As you can hear from the YouTube links. The first movement is a beautiful slow melody shared between soloist and the orchestra. It explores the rich lyrical sound of the euphonium, in the most romantic setting.

The second movement is the most original and daring, And we have happily described this movement as the beatbox movement, as you will see from the video. Maybe you need this challenge! The final movement is a virtuoso tour-de-force with rapid scales, double tonguing, and contrasting motives. We highly recommend this Concerto for outstanding students, advanced players and professionals, and all players who relish a challenge! This page is for the version with piano accompaniment.

Of special note for euphonium players is the premier performance and recording of the Euphory Concerto performed by Steven Mead accompanied by the Silesian Chamber Orchestra. This is the first CD recording where Steven has recorded with string orchestra. And long overdue perhaps! The three movement Euphory Concerto begins the CD, and this 12 minute concerto has three very contrasting movements, Andante, Allegretto com umore and Presto con Fermazza.

Silver Concerto for harpsichord, string orchestra and sounds of the Historic Silver Minefeaturing harpsichordist Aleksandra Gajecka Antosiewicz accompanied by François-Joël Thiollier - LOeuvre Pour Piano (CD Silesian Chamber Orchestra.

Encore Concerto for flute and string orchestrafeaturing flautist Lukaszz Dlugosz accompanied by the Silesian Chamber Orchestra. With special thanks to Adam Wesolowski for the wonderful music, the brilliant concept and for inviting me to perform and record with the orchestra. It's one of Mozart's best-known piano pieces. Mozart himself titled the rondo "Alla turca".

It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Misa Mead has made a new arrangement of this classic work, and it's scored for two unaccompanied euphoniums.

Misa has also just recorded of herself playing both parts on this super video, please take a look! Difficulty : 4 or 4. Misa has made this very skilful arrangement of this famous brass player's classic, Vittorio Monti's Czardas. Great for concerts, as an encore piece, low brass events The solo part is pretty tough, but of course small easier 'alterations' can be made if the high notes are too scary! Here is a video of Misa playing all the parts! This is the arrangment. This piece was composed for euphonium tuba octet 4 euphs and 4 tubas ideallycommissioned by Roger Bobo in There are 4 movements in this octet ensemble version there are 5 movements for euphonium and piano version.

So here is a perfect suite of four pieces for young students and amateur players. Misa writes: "I composed this piece about seven years ago. I was always thinking I should publish it, and finally I did it! It's an easy and fun piece for all levels of euphonium and tuba players". Although the song formed the basis of a major.

It's dedicated to Steve's father Rex Mead. Howard penned this arrangement of the beautiful hymn tune Ascalon in the spring of and dedicated this euphonium solo to Rex Mead, the father of our soloist. The tune was originally a Silesian folk song, and the German text were printed for the first time in Howard Evans is a Mus. B Hons graduate from the University of Manchester.

From to he held the post as Director of Classical Performance at the University of Salford. He was also Bandmaster of the Boscombe Salvation Army band from Howard was often worked as a guest conductor for a number of major bands, including: appearing with the Leyland Band and Grimethorpe Colliery Band to name but two.

Once you have purchased this piece of music, then return to the front page of Euphoniumstore. Please do not circulate this music.

This has been sold to you for your use. Please understand the situation, thank you, Steve. Arranger Eric Wilson has unearthed a real gem here, and we hear it may be be on an Associated Board Euphonium exam list soon! Only 3. Misa writes: " I composed this piece about seven years ago. It is a much anticipated release awith some incredible repertoire and its marks another reocrding milestone for our soloist. He writes: "Recording this album with the famous Brighouse and Rastrick band was an absolute delight!

The broad range of literature including several world premiere recordings has made this truly a gem in my recording career.

Whilst composer Johan de Meij does not claim that his Concerto is concerned with extra-terrestrial beings, one might be forgiven for indulging in some thoughts relating to our world and the mysteries of our existence. The simple beauty of nature, and the love for our family, is at the very heart of this album.

Dad has always been my biggest supporter in my career, from my earliest memory as a young brass player aged five. Now he is being cared for in the Castle Dene nursing home in Bournemouth, and his favourite hymn tune, Ascalon is given a sublime setting in this work that concludes the CD.

I hope you enjoy it". The CD comes in a full colour digipak format with a 12 page colour booklet inserted in the digipak with all the info on the band, personnel, photos and full info on each piece. The XR range was introduced to great critical acclaim with its extra-comfortable curved rim edge and massive projection in the high range. The 5XR is the latest addition and we feel sure that it will meet the needs of many euphonium players around the world, especially those used to be slightly smaller rim diameter.

Comfort and stability are the watchwords here, giving the musician hours of pleasure without fatiguing the lips. Such was the success of the ultra 4XR it was inevitable that due to public demand we would produce a mouthpiece with the same design and specifics, with the number three rim. This is a powerful mouthpiece that has outstanding flexibility and big range of tone. The new comfort rim will be of great interest to many musicians. With you in control it can create huge tone and presence in any band situation.

They have a significant modification from the current Ultra range in that they have a differently contoured internal cup shape and cup depth. As with the Ultra 3X and 4X, this has great power, flexibility, and a fantastic mix of tonal centre and traditional colour. It will facilitate greater ease throughout the whole range especially with this rim, in the upper register, also facilitating greater stamina and control. This super release is one the Adventures in Brass is a series of 6 six brass solos written by Anthony Plog and commissioned by M.

Each of them can enrich a recital program. Anthony Plog was born on November 13th, in Glendale, California. He has a successful international career as a soloist and has made many recordings.

Here is the brand new concerto for baritone or euphonium composed for and performed by Katrina Marzella. Whereas the gentlemen in question in the latter work were fictional e. Sherlock Holmes and Phileas Foggthe former pays tribute to three real life women who were very much true pioneers and heroines of their age. Turbulence: Harriet Quimby b. Sadly, in her lifetime very few people were aware of her accomplishment; potential press coverage was dominated by the sinking of The Titanic only two days before.

Grace Darling b. A humble lighthouse keeper's daughter from Northumberland, her participation in the rescue of survivors from the wrecked paddle-steamer Forfarshire is well documented a museum dedicated to her achievements located in Bamburgh, the town of her birth.

This movement, Tide, develops a main theme from my large scale work Harrison's Dream, reflecting on the souls lost in the disaster. The final movement Torque, opens with a sudden gear change such as might have been undertaken by Dorothy Levitt b. Levitt, who following her record-breaking achievement was described as the Fastest Girl on Earth, went on to write extensively about her experiences, encouraging females to take up motoring through her articles in The Graphic newpaper.

Here an audio clip for euphonium and band. In a light easy style, in swing time, which should be very popular for audiences and soloists alike. Robin also has contributed to the euphonium repertory with his Panache, composed around 20 years ago!! It has been sometime since we've seen a new release from Mnozil Brass. Here is a CD release of their brilliant touring show Cirque. For those that have seen the show you will be delighted to see that all the major pieces from the show are here on this CD.

This is from a live concert s? Gustav Mahler Arr. Leonard Paul. It features four new and important works including the Symphony Concertante by Roland Szentpali which was used as the final test in the Jeju Euphonium Competition.

This is an outstanding recording in every way. I'm delighted to say that we can present this new published arrangement of this much-loved classic from Astor Piazzolla. Several euphonium artists including Steven Mead have performed and recorded this work, and this appears to be a virtually identical arrangements to those played by these artists during the last years. It's sure to be very popular indeed. It was Piazzolla's lifes work to bring the tango from the bordello's and dance halls of Argentina Into the concert halls of Europe and America.

It attempted to convey their history and evolution of the tango in four movements, BordelloCafeNightcluband Concert d'Aujourd'hui. Cafe describes another age of the tango. People stopped dancing it as they did inpreferring instead simply to listen to it. It became more musical, and more romantic.

This tango has undergone total transformation: the movements are slower, with new and often melancholy harmonies. Tango orchestras came to consist of two violins, two concertinas, a piano, and a bass. The tango is sometimes sung as well. UFO Concerto, my first solo work for euphonium and wind orchestra, is not a traditional concerto in the classical sense.

It consists of five movements that are thematically related to one another. This chord has been obsessively present in my head ever since -- I could not resist using it again! Both the chord as well as the main theme make appearances in various shapes and forms throughout the entire piece. Jason also invited British virtuoso David Childs to join the consortium and play the European performances.

At the request of both players, I also made a version for euphonium and brass band. Supplied with Solo parts in TC and BC and full brass band score and full set of brass band parts, including parts for piano and harp.

Bugaku is a very ancient form of traditional Japanese dance music. Executed only by men at imperial court ceremonies, Bugaku reinforces the gravity of Gagaku by the absence of string instruments. Some pieces are danced with masks, others with the face bare and without make-up.

The Togaku left-hand dancers enter the stage from the left and are dressed in red with gold ornaments. The Komagaku right-hand dancers enter from the right and have blue costumes with silver accessories.

A very good arrangment of this classic Gershwin song. Not difficult and can be used in a vareity of situations. This solo is another virtuoso piece from Gilles Rocha, dedicated to the superb bass trombonist Lionel Fumeaux. Despite it's creation for the talened Mr. Fumeaux, it works great on euphonium.

There are several writeen glisses, but we can have some fun trying to reaslise these! In this euphonium edition there are not the crazy pedal tones that we have come to expect from the combination of Rocha and Fumeaux! Another exciting solo from the pen of Gilles Rocha, originally composed for trombone but in this edition for euphonium and piano it's clear it's a very effective and exciting solo for euphonium.

Faure did not intend these pieces to be published as a set; they were composed as individual works between and When he moved on to another publisher, Hamelle ignored his earlier instructions and issued subsequent editions with titles for each piece. It was originally written as a sight-reading test for students at the Paris Conservatoireof which Faure was the professor of composition from and director from to Adagietto An andante moderato, "serious, grave, at once firm and pliant, attaining real beauty" Koechlin.

Improvisation Orledge calls this piece a middle period "song without words". It was composed as a sight-reading test for the Conservatoire. It would not be listed among them were it not for the publisher's unauthorised use of the title in this case. It is the longest of the eight pieces of Op 84, but is much shorter and simpler than the other 12 nocturnes, consisting of a song-like main theme with a delicate semiquaver accompaniment in the left hand.

What a super collection of music, and brilliantly edited and arranged by Gabriel Faure. Movements can of course by played separately. Here is the brand new album from the top Japanese euphonium soloist Kyohei Ando, accompanied by the brilliant pianist Hatsumi Shimizu. Three extended works make up this terrific CD and two of the works are very well known in the euphonium repertoire, euphonium concerti by Linkola and Sparke.

December Master's degree at the same university. Demondrae Thurman. In addition to holding regular recitals every year sincehe plans and conducts concerts across genres to open up the new world of euphonium. He is also active in professional brass band music, symphony orchestra extra work and euphonium coaching. On this fabulous first disc there is most definitely an Italian flavour to the repertoire, but also some exciting works from other European countries, including a world premiere recording and performance of the Shamanda Dance by Thomas Doss, the wonderful showpiece Move Their Mind by Stan Nieuwenhuis, and Bliss by Hermann Pallhuber.

Luciano is joined by his friend and colleague Fausto Bottoni in the beautiful and mesmerising duet, Two Part Meditation. We highly recommend this debut recording from Luciano. Enjoy his lyrical phrasing and astonishing virtuosity. His ambassadorial work for the euphonium over the last years in Austria is well known to all those who had contact with him and the brass band scene in that country. So now he has released an album entitled Austrian Colors, and this demonstrates his fine sound, outstanding control and a desire to put the euphonium on the map in Austria by commissioning, performing and now recording new works by leading Austrian composers.

These are well played with sensitivity and complete understanding of the styles. The development of the euphonium in Austria has been slow but significant, enhanced by the rising popularity of brass bands. I myself have been involved with the Austrian scene, working with ensembles and bands for many years, and during this time I have noticed the developing skill and musical intelligence of Georg Pranger which is now fully realised on this magnificent CD.

This CD is highly recommended, and congratulations to Georg and everyone else involved in making this such an outstanding project. After purchase you must log into your account to see the PDF ready to be downloaded, under the heading: My Downloads.

Please do not copy this book for others. This purchase is for you alone. Thank for your understanding. Misa Mead has created this outstanding 75 page book of 40 extended technical studies for euphonium, that covers all tonalities and the full extended range of the instrument.

It is definitely not a book for beginners, but would suit good intermediate level, advanced and professional players. Misa originally created 40 technical videos which she put on social media, and such was the overwhelming response to these, this book has now been written. This is how this wonderful book originated. This book covers so many areas of technical study, and allows the student of freedom to work at them at their own pace and increase the tempo as facility comes.

This book covers all aspects of performance technique: different articulation exercises, range, intervals, finger studies, rhythmic studies, harmonic studies. This book is almost unique in the range that it demands, and reflects the range that is demanded by the modern euphonium player. Misa writes: Technical skills for brass players also help with musicality. When we have developed the perfect technique we can play any music as we want. I hope this book helps you to enjoy your music-making.

This book is available in TC and BC, and this page is for the treble clef book. It is attractively produced in high quality, with wire bound binding. It contains the autograph from each band member,soloist and conductor, the CD cover image, and the photo of the band at the recording in Perwex, Belgium. Released May I was thrilled that he and the band accepted the idea and they have been absolutely wonderful to work with.

As we know Belgium is home to some of the finest wind players in the whole of Europe, and this outstanding band sounds quite brilliant on this album. I want to say a special thank you to recording engineer and producer Richard Scott for his marvellous work once again. This is the first album that I have recorded with my new euphonium, the gold lacquered Besson Prestige This album is totally outstanding, from start to finish, from the brilliance of her own arrangement of Flight of the BumbleBee to the dashing final phrases of Fernando Deddos' Ratata for euphoniun and snare drum.

Benjamin Powell is the consummate accompanist on this album, and we hear his great skills and sensitivity to the full. The Denis Wick baritone wooden mute offers a uniquely warm tone unmatched by any other material, especially in soft dynamics. The sidewalls are constructed from quality birch faced plywood that provides a warm and rich sound. Through careful design, Denis Wick has produced the wooden mute to attenuate your tone while retaining accurate intonation with a perfect level of resistance.

For enhanced durability, the Denis Wick wooden mute has a marine ply base which is lined with vulcanised fibre to ensure it can survive the lifestyle of a touring musician. Made from high purity spun aluminum, these handmade mutes blend perfectly, provide unmatched brilliance and projection, and have excellent intonation.

Denis Wick offers the most comprehensive line of straight mutes available. This beautiful mute is coloured gold to celebrate the Golden Anniversary and has a sparkling finish to add to the sense of celebration. We have taken a regular DW and have given it a fantastic new look, which will shine on any concert stage. This Special Edition mute will only be available in the Anniversary year ofand is already becoming a sought-after item for collectors, as well as for players seeking a mute with some added bling!

Already one of the most popular euphonium mouthpieces in the world, we have developed a modification to this great mouthpiece.

It has a new rounded rim, giving great comfort to the player, with a newly-designed inner shape and slightly reduced cup depth. The result is a new feel, almost a 'sports' model if you like, with enormous possibilities in the higher register, with an ease of playing and crystal clear high tones.

The middle range is further energised. Perhaps it doesnt have the weight of sound in the lower register of the regular U4X but the notes speak so clearly.

Could this be the mouthpiece to give you massive confidence in the higher range, and add valuable time to your stamina? We think so! Nearly a year in the design, we are happy to launch this exciting new 4XR to the hugely popular Ultra and Ultra X range.

Philip Sparke's 15 Intermediate Christmas Carols, a bundle that is part of the Anglo Music Play-Along Series, is intended for the young instrumentalist who can play about one and a half octaves.

The book, which in terms of notes is tailored to the instrument in question, is a sequel to 15 Easy Christmas Carols and allows musicians in development to discover some of the world's most popular Christmas songs - simple yet beautiful melodies that suit their limited range.

This book contains valuable material that is an excellent addition to every teaching method; it comes with piano accompaniment and a CD with demo and play-along tracks.

Philip Sparke's 15 Easy Christmas Carols, a bundle that is part of the Anglo Music Play-Along Series, is meant for the young instrumentalist who can play just over an octave. The book is custom-tailored to the instrument concerned and introduces the novice musician to some of the world's most popular Christmas songs - simple yet beautiful melodies that suit their limited range.

This is a challenging three movement work that Demondare Thurman and Kathryn Fouse premiered at the U. This is a wonderful addition and perfect all aspiring college Euphonium players. Barbara York b. Her minute scripted, children's piece, A Butterfly in Time was nominated for a Canadian "Juno Award" for recordings in and is available through Amazon. As an accompanist, Barbara plays regularly at school, university and professional concert venues throughout the United States and Canada, has recorded for CBC Radio and has premiered numerous works for other composers at International congresses.

Barbara York writes, "This piece was not written specifically in response to either the poem by Maya Angelou or that by Paul Dunbar that both refer to the 'caged bird'. However, there is no doubt that both poems have inspired my own further exploration and now musical extrapolation on the subject of being 'caged' and still 'singing' in spite of this Even within the many bonds and restrictive boundaries that we often find ourselves, it still seems to be a fundamental part of Nature as both human and spiritual beings that we cannot help but sing in both joy and praise both from ourselves and to our own Creator despite the sometimes, even apparently insurmountable obstacles we encounter.

The composer wrote: "July the international tuba and euphonium conference was held under the motto Verson il Millenio at Riva del Garda. During those days that I spent at Lake Garda under sunny Italian skies, I met so many outstanding international instrumentalists and heard so much fascinating and wonderfully interpreted music, that I spontaneously resolved to compose a new work for euphonium.

It would be a companion piece to my Concertino for Tuba and Wind Instruments which we also performed there. The present work is herewith made available to performing artists, and I hope that they, the musicians, as well as the public, receive it as well and enjoy it as much as they did its predecessor.

This new work is also a short, uncomplicated peace, striving solely to express the love of music and joie de vivre. Written in three movements: Allegro mon troppo; Andante ma non troppo, piacevole; Moderato con animo. A contemporary classic for the euphonium, the Concertino highlights the qualities of the euphonium very well. The opening movement features a slightly technical style with a great energy.

There are no extremely awkward sections, but Wilhelm does occasionally use a bar with numerous accidentals. The second movement allows the soloist to show excellent control and features very lovely writing, especially the descending motive that reappears three times.

The technique is manageable as the level dictates, but the range does occasionally create problems in the final movement. This remains the main challenge and features the most range extremes. The articulations are very detailed.

This is the version for euphonium and concert band wind band. The piano accompaniment version is also available on this site. Robert Childs, then principal euphonium with Black Dyke, requested Evelyn's permission to make the arrangement for his son, David.

The composer obliged, and Robert presented the score and parts to his son as a seventeenth birthday present. Evelyn Glennie revealed: "When I wrote this chorale for marimba, it expressed my spiritual feelings and displayed a pleasantly relaxed dimension of the instrument.

Over the years my exposure to brass bands has filled me with wonder; their musical diversity is considerable. Having composed the work when she was only 13, Evelyn continued: "As a child I would never have believed that such a short and simple piece of music, would come to grow this much. A little Prayerserves to prove that one should always bet their chips on what they believe in, for nine out of ten it will be worth it!

After twenty years of exclusivity, Prima Vista Musikk is proud to make this beautiful arrangement available to all. A Little Prayer provides the perfect reflective interlude for concert or devotional use by euphonium soloists and bands of all abilities.

This is the version for euphonium and piano. The concert band set is also available, and please contact us directly regarding this. At night The Big Friendly Giant catches dreams and nightmares in jars. All his lyrical and technical capacities are used in function of creating beautiful musical dreams.

As in a classical concerto, the soloist combats with the orchestra. At first they are playing alternately, afterwords they play fraternal together. Besides being a versatile and prolific composer he is also very much in demand as an adjudicator, clinician and guest conductor. His musical activities have taken place in various countries in three continents and his compositions have been performed and recorded around the world. Houben also orchestrated the special composition Hymne by Hans Zimmer for the event.

This is a brand-new album from Glenn Van Looy, who once again, in collaboration with the conductor and arranger Luc Vertommen, has put together a superb album of 'Lost Treasures', from the 19th century, with piano accompaniment and also this time with string quartet. With nearly 70 minutes of music, this album is sure to appeal to all lovers of the euphonium.

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De Belgische zanger Jos Meli zong in Alles is nu voorbij. Co Hagedoorn zong in de Nederlandse versie van Bonanza. De Belgische zanger Eddy Wally zong in Maria van de pizzeriaeen zwakke cover dat te langzaam gaat en uit zijn verband gerukt is.

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De Amerikaanse zanger Harry Belafonte zong in over Matilda. De Belgische zanger Eddy Wally zong in over Matilda. Paul Severs zong in Ik draag jou in m'n hart. Opnieuw is het Paul Severs die in het nummer coverd met als titel Ik weet nog heel goed Cliff Richard had in een grote hit met Congratulations. Paul Severs zong in de cover Op Mijn Woord. Paul Severs zong in Rode lippen moet je kussen.

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De Duitse zangeres Ina Deter zong in Ohne mich. Eric Beekes zong in de Nederlandse cover Zonder mij. In Nederland zong annelies de graaf de cover memories of heidelberg. Jan Smit zong de Nederlandse cover Zeven Zonden. Danny Terp zong de cover Geef mij jou liefde. Bob Offenberg zong in Jij bent te gek. Wesly Bronkhorst zong de cover Zal ik jou ooit nog zien. De Spaanse zanger Julio Iglesias zong het nummer Hey. Wesly Bronkhorst zong in de cover Wij.

Vinzzent zong in de Nederlandse cover Cecilia. De Amerikaanse zanger Neil Diamond zong in You don't bring me flowers. De Nederlandse zanger Vinzzent en de Belgische zangeres Dana Winner zongen als gelegenheidsduo in de cover Vroeger bracht je bloemen. De Oostenrijkse schlagerzanger Nik P. Jannes zong de cover Zie die ster.

Simone Kleinsma zong in de cover Foto van vroeger. Feestzanger Denans kwam met de cover Het Sunshine Life For Me (Sail Away Raymond) - Ringo Starr - Ringo (Vinyl. George Baker Selection had in een hit met Holy Day. De Engelse band The Beatles zongen in Can't buy me love. De Amerikaanse zangeres Amii Stewart zong in haar grote hit Knock On Wood dat in die tijd erg populair was in de discotheken. Annet Nikamp zong in de Nederlandse cover Stop de tijd!

Aanvankelijk was de muziekstijl Reggae vooral populair onder de Surinamers die in Nederland woonden. In schreef en zong Johnny Hoes de Nederlandse cover van Michaela. De Duitse zanger Martin Lauer zong in Sacramento. In schreef en zong Johnny Hoes de Nederlandse cover van Sacramento. Madonna scoorde in een grote hit met Borderline. In zong de Belgische zangeres Ann Christy het lied Ik mis hem zo. Het werd allesbehalve een dansversie. De Nederlandse meidengroep HIT!

Mike Peterson zong in de cover Dansen. Elvis Presley zong in de grote hit Devil In Disguise. Jack Jersey zong in de cover van Mexico.

The Ames Brothers zongen in het nummer Sentimental Me. Jack Jersey zong in de cover van Sentimental Me.

Mario Massa zong in het nummer Torna a Sorrento. In kwam Jack Jersey met de cover Surrender op de proppen. Jack Jersey zong in de cover van Suspicious Minds. In gebruikt in Offenbach's opera "Tales of Hoffmann". Jack Jersey zong in zijn cover van White Christmas.

De Nederlandse band Bibits zongen in de cover Toe,liefste dans met mij. De Belgische zanger Eddy Wally zong Album) de cover Neem mij nog eens in je armen. Gezamelijk stonden beide versies 17 weken lang in de Nederlandse hitlijsten. Later dat jaar werd deze plaat opnieuw uitgebracht door de The Melody Sisters.

De Amerikaanse zangeres Connie Francis zong in haar hit Napoli. Willy Alberti zong in de cover van Buona Notte Bambina. In zong Sandy Coast de cover van Eleanor Rigby. In kwam Hessel Wijkstra met de Nederlandse cover Als ik aan het rijden ben. Maite Kelly zat vroeger bij de populaire groep The Kelly Familie. Dennie Christian kwam in met de cover Waarom heb jij geen nee gezegd?

In zong de Duitse schlagerzanger Nic het nummer Zwei weisse Pferde. Ook voor de fans in Zuid-Afrika is er goed nieuws: er is van het nummer ook een Zuid-Afrikaanse versie opgenomen. Die versie komt op het album 'Pure', dat daar normaal gezien in juli verschijnt. Het wordt een album met Engelstalige en Zuid-Afrikaanse bewerkingen van de nummers uit het album 'Puur'.

Gaatze Bosma vertaalde het nummer in in Kom Op. Ook maakte Gaatze Bosma van het nummer een Friese versie. De single is natuurlijk in het Nederlands maar er is ook een Engelse versie uitgebracht. De Amerikaanse band The Drifters zongen in het nummer When my little girl is smiling. In kwam Peter Bakx met de Nederlandse cover Als mijn kleine meisje naar me lacht. De in het Brabantse Steenbergen woonachtige zangeres Doenja maakte in een Nederlandse bewerking van de hit Atemlos durch die Nacht van de Duitse megaster Helene Fischer uit Theo Verwoerd kwam in met een uptempo versie van deze oude hit in een Nederlandstalige versie getiteld Jij Bent De Liefste.

Arjan van Zanten hoorde op zijn vakantie in Barcelona een op trommels uitgevoerde cover van dit nummer, de Zuid-Europse klank trok hem zo aan dat zijn echtgenote een Nederlandse tekst schreef en in de single Jij Laat Me Zweven werd uitgebracht. Marjan Berger kwam in met de Nederlandse cover Deze Nacht. Peter Marnier kwam in met de bewerkte Nederlandse cover Ik droom nog elke dag van jou.

Corry Brokken kwam in met de Nederlandse cover Danswijsje. Willeke Alberti zong in de Nederlandse cover van Tom Pillibi. Patricia Paay zong in de Nederlandse cover Dat is de liefde. Sandra Reemer in haar jonge tienerjaren, zong in de Nederlandse cover Als jij maar wacht Willeke Alberti zong in de Nederlandse cover Zijn eigen wonder. Imca Marina zag de hitpotentie van de Spaanse bijdrage van het Eurovisie Songfestival van en vertaalde samen met Joop Braakhekke ja, die!

Ondanks de geslaagde bewerking werd het nummer geen hit. Annie de Reuver zong in de cover Waarom ben je boos op mij? Ze wonnen verassend de voorronde en op het Songfestival zongen ze zich naar een tweede plaats.

De Nederlandse zangeres Astrid zong in de cover Alleen bij jou. Reggy van der Burgt zong in de Nederlandse cover Morgen als de dag begint. Mary Lou zong in het nummer Ich geh'die grosse strasse. Reggy van der Burgt zong in de Nederlandse cover Speelbal in de wind.

Reggy van der Burgt zong in Maar morgen is hij mij vergeten. De Amerikaanse zangers Connie Francis die in al bekend werd bij het grote publiek zong in het nummer Colombino op de B-kant van de single Baracole In Der Nacht. Elly de Wit zong in de Nederlandse cover Colombino. De Belgische zangeres Lilian zong in de cover Te jong om alles te begrijpen. De Duitse zangeres Manuela und die 5 Dops bracht in het nummer Wirf deine Liebe niemals fort uit op single.

Barbie Gaye zong in de hit My Boy Lollipop. Ellis de Waal zong in op jarige leeftijd de Nederlandse cover van My boy lollipop. Ellis de Waal zong in de Nederlandse cover van Caroline. Album) Britse band The Tremeloes zongen in hun grote hit Even the bad times are good. Ellis de Waal zong in de Nederlandse cover Als de zon mij een dag vergeet.

De Amerikaanse zangeres Joni James zong in Mama, don't cry at my wedding. Elly de Wit zong in de Nederlandse cover Mama, huil niet op mijn trouwdag. Elly de Wit zong in de Nederlandse cover Barcarolle in de nacht. De Duitse groep Tahiti tamoures hadden in een grote hit met het nummer Wini-wini-wana-wana.

Elly de Wit zong in de Nederlandse cover Wini-wini-wana-wana. De Britse zangeres Petula Clark zong in Mille mille grazie. Elly de Wit zong in de Nederlandse cover Mille, mille grazie.

Anita Berrydie werd geboren als Greetje Gerritse, zong in de Nederlandse cover Als meisje heb je nog dromen. De Zweedse schlagerzangeres Siw Malmkvist zong in Mr. Carla van Someren zong in de Nederlandse cover Mr. Carla van Someren zong in de Nederlandse cover Lieveling, lieveling.

De Amerikaanse zanger Billy Vaughn zong in het nummer Wheels. The Cocktail Sisters zongen in de cover Meisjes van het ballet. De Limburgse Zusjes zongen in de Nederlandse cover Het lied van de mijnwerker. De Oostenrijkse schlagerzangeres Lolita zong in Der jodelnde Postillion. Tom Jones scoorde in een wereldhit met Sexbomb. In komt Dennis Jones met zijn cover Wat ik ook doe op de proppen, tevens heeft hij deze versie ook in het Engels opgenomen.

Corry van Gorp kwam in met de carnavalsplaat Kokosnoten-Coco. In zong de Nederlandse popgroep Mai Tai de cover van Automatic. Robbie van Leeuwen heeft dit nummer in gestolen en herschreef de tekst in Venus waarmee de Nederlandse band Shocking Blue een wereldhit mee scoorde. De Achterhoekse formatie Normaal kwam in met de cover Grote Beer.

De Achterhoekse formatie Normaal kwam in met de cover Hallo Ajouw. De Achterhoekse formatie Normaal kwam in met de cover Henkie Boy. De Achterhoekse formatie Normaal kwam in met het nummer Kisjeskearl. Chuck Berry and His Combo zongen in het nummer Tulane.

De Achterhoekse formatie Normaal zong in de cover Kleine Dinie. De Britse band The Beatles zongen in P. I Love You. Frank Chacksfield and His Orchestra kwam in met het klassieke nummer Limelight op de proppen. De Amerikaanse countryzanger Don Williams zong in over Amanda.

In had de Engelse popzanger Elton John een grote hit te pakken met Nikita. Archived from the original on 1 May Retrieved 14 May New York: Methuen. ISBN The Beatles Solo on Apple Records. New Orleans, LA: Productions. Fab Four FAQ 2. New York: Backbeat Books. London: Music Sales Group. The Ringo Starr Encyclopedia. London: Virgin Books. ISBN X. Retrieved 13 March — via robertchristgau. The Encyclopedia of Popular Music 5th edn.

London: Omnibus Press. The Essential Rock Discography. Edinburgh, UK: Canongate. Acclaimed Music. Retrieved 17 November Record Collector.

New York, NY: Fireside. Retrieved 31 January Milwaukee, WI: Backbeat Books. The Beatles Forever. The Official Charts Company. Retrieved 12 February Archived from the original on 17 April Retrieved 19 March The New York Times. Rolling Stone. Archived from the original on 1 October Retrieved 28 June Retrieved 31 May

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