Disco Lives

SKU: HL.275913

ISBN 9781495177538. UPC: 888680745134. 9.0x12.0x0.756 inches. As Told By The Artists Foreword by George Martin Introductory Essays - Robert Santelli.

This book was inspired by the eight-part Grammy(r) nominated film series titled, Soundbreaking: Stories from the Cutting Edge of Recorded Music. As Executive Producer, Sir George Martin, was the inspiration and intellectual force behind the series, which explores a century's worth of innovation and experimentation in the creation of music to present a behind-the-scenes look at the birth of new sounds. From the Beatles' groundbreaking use of multitrack technology to the synthesized stylings of Stevie Wonder, from disco-era drum machines to the modern art of sampling, Soundbreaking tells the stories behind the sounds and reveals how innovation redefined not only what we listen to and how we listen to it, but our very sense of what music is and can be. Soundbreaking features original interviews with more than 150 of the most celebrated artists, producers, and music industry pioneers of our time. This volume presents a curated selection of those interviews from across eras and genres. The twenty-one artists featured here share their personal insights, which point to themes that emerge and echo throughout: the importance of varied cultural influences on music careers; the role of technology innovation in the creative process; and most commonly, the human connection to music. Through their lens we discover fascinating new insights into music and especially into the relationship between artist and genres, an area that has been rarely studied. For some readers, this book will evoke many of the sounds and textures of days gone by. For others, it will serve to open doors to further enjoyment and that those readers will pursue artists and others whose names may not be familiar. Robert Santelli's introductions to each of the profiles puts each artist in context. They have all made valuable contributions to what has often been referred to as the soundtrack of our lives. Their music is as relevant today as when we first heard it. Recorded music has crossed the lines that separate cultures, ideas, and generations. In exploring the story of their own music, the voices in this book provide thoughtful insight to the extraordinary influences of recorded music on the modern world.

SKU: AP.43434

SKU: HP.GC1000O

UPC: 763628143701.

Powerful anthem From the early moments of discouragement as the women approached the tomb on Easter morning, to their awareness of Christ's resurrection, and even the reference in verse three of our future resurrection, this powerful anthem reminds us that the tomb is empty! Jesus lives.

SKU: M7.DOHR-68461541

ISBN 9783868461541. English.

Franco Ambrosetti (born 1941 in Lugano, Switzerland) successfully managed two lives for a long time: on the one hand as a world class jazz trumpeter, on the other hand as manager of an international company with two offices in Switzerland and Italy and 600 employees having taken over from his father. His musical career is related to celebrities like Kenny Clarke, Cannonball Adderley, Dexter Gordon, Phil Woods, Michael Brecker, Steve Coleman, John Scofield, Greg Osby, Geri Allen, Kenny Barron and many others. Ambrosetti has played in many venues around the world. In his autobiography, he takes the reader to these places, plus his encounters with many colourful figures of the jazz world. At the same time, he recounts how he managed to master the balancing act of his life in a charming and modest tone. The result is a fascinating walk through jazz history - with some serious side views to the world of business and its changing ethics. The autobiography is introduced by Jess Levenson and Roland Spiegel and contains a discography (2019). Translated from the Italian by Flavia Ambrosetti and Paul Kilbey. The table of contents is available as PDF.

SKU: BR.DV-6081

ISBN 9790200460032. 9.5 x 12 inches.

Duration: full evening

Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines)
Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century

Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )

There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.

Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.

Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.

Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.

Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.

The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.

In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.

SKU: HL.14027980

ISBN 9788759856819. 12x16.5 inches. Danish.

Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre, a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually, different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cum Figuris. The piece has no literal content at all, even though the title leads the thought to Adrian Leverkühn's Apocalipsis cum Figuris from Thomas Mann's Doctor Faustus. More likely, my piece will arouse associations as with all my music. It has to be heard in it's own conditions, in this case as a big body of music or perhaps as a great screen where the details, of course, are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984, commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

SKU: GI.G-9818

ISBN 9781622773534.

“For a long time, there has been a perception that Catholics can’t or won’t sing in church. But this is not accurate: Catholics can and do sing… We all are called by Christ to love one another. If singing is a way to do that, why hold back?” --Diana Kodner Gökçe “Singing with one another,” the author reminds us, “is both prayer and an act of love. It heightens our worship, and helps us remember words of praise, thanks, petition, and most importantly, the Word of God. A great voice is not required. Singing is beneficial, and a precious gift from God.”Music is sung prayer, when we sing, we give voice to a mystery that cannot be expressed in mere words…and yet, many are hesitant to raise their voices in song when we gather together to worship.   Filled with wisdom for new Catholics as well as those who have been attending liturgy all their lives, this book gives the person in the pews prayerful insight and solid foundation in the basics of the music we sing every week at Mass. Why Do We Sing? examines why but also when and how we sing in church: What is the significance of the different things we sing? What difference does it make if I sing, especially since I am not a very good singer? How do I get over my self-consciousness with singing? A book for everyone in the parish, this book seeks to help every liturgical gathering find its musical voice and more fully embrace its ability to participate fully, actively, and consciously in the liturgy.  Diana Kodner Gökçe is the author of Handbook for Cantors, 3rd edition (GIA Publications, Inc.). She has taught liturgical music at Loyola University and worked as a music minister in numerous Chicagoland parishes including Holy Name Cathedral. She is currently Liturgical Music Coordinator at The Frances Xavier Warde School.  To receive the quantity discount (25 or more copies—$4.00 each) call our customer service department at 1-800-GIA-1358.  .