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Vilhelm Parfumerie Unisexdüfte Smoke Show Eau d...
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212,00 € *
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Einer der Düfte, die wie Musik anmuten, ist Smoke Show von Vilhelm Parfumerie. Allerdings ist es keine leichte Ballade, die hier daherkommt. Dieses Eau de Parfum Spray steht für rauchige Bars - vielleicht auf Kuba oder irgendwo anders, wo die Schwüle ohne einen kühlen Drink und heiße Rhythmen kaum zu ertragen ist. Jazz. Ein Saxophon-Solo. Ein prickelnder Flirt: Sind Sie bereit für die Smoke Show?Düfte wie Smoke Show aus dem Hause Vilhelm Parfumerie bedienen kein Klischee. Das Eau de Parfum Spray bricht sich wild und ungezügelt Bahn, erobert Herzen im Sturm und steht für die ganz großen Gefühle. Dann verändert sich der Duft: Eine ungeahnte Sanftheit und Sinnlichkeit entwickelt sich, die immer wieder durchbrochen wird von markanten Akkorden. Musik liegt in der Luft, eine Komposition erotisierend-knisternder Abenteuerlichkeit, die darauf wartet, erkundet zu werden.In der Kopfnote eröffnet das Eau de Parfum Spray von Vilhelm Parfumerie mit kostbarem Safran und rosa Pfeffer. Im Herzen pulsiert echtes Rosenöl, das überraschend exquisit mit den Noten von herbem Leder harmoniert. Die Basis sorgt mit Oud, Zedernholz und echtem Vetiver für den holzig-markanten Grundtenor, der Düfte wie diesen so einzigartig und unergründbar macht. Dies ist kein Duft für Anfänger, sondern für Kenner, die ihre Träume kompromisslos leben.

Anbieter: parfumdreams
Stand: 01.10.2020
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To the Best of Our Knowledge: The 51%, Hörbuch,...
9,95 € *
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In this hour, whatever happened to feminism? Critic Caitlin Moran thinks it's alive and well - in fact, most women are leading feminist lives even if they don't know it yet. She's here to set them straight. Moran is the author of How to be a Woman, and Moranthology.Next, Madeline Kunin was the first female governor of Vermont - she served three terms and went on to serve as the Deputy Secretary of Education in the Clinton Administration. So, ask a product of feminism where the movement is heading next and she'll tell you, it's all about women, work, and family. Kunin is the author of The New Feminist Agenda.Then, Tia Fuller's life is steeped in jazz. She's a saxophone player who composes, teaches, and has several albums under her belt. If that's not enough, she also spent five years touring the world with Beyonce's all-woman R & B band. Her new album is called Angelic Warrior. She says when women make music together, something special happens. And finally, maybe feminism is a moot point. According to journalist Hanna Rosin, in the rapidly changing world we live in, women are far outpacing men in areas like education, family, and work. She writes about the trend in her book The End of Men. [Broadcast Date: November 23, 2012] 1. Language: English. Audio sample: http://samples.audible.de/rt/tbon/121123/rt_tbon_121123_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 01.10.2020
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To the Best of Our Knowledge: The 51%, Hörbuch,...
9,95 € *
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In this hour, whatever happened to feminism? Critic Caitlin Moran thinks it's alive and well - in fact, most women are leading feminist lives even if they don't know it yet. She's here to set them straight. Moran is the author of How to be a Woman, and Moranthology.Next, Madeline Kunin was the first female governor of Vermont - she served three terms and went on to serve as the Deputy Secretary of Education in the Clinton Administration. So, ask a product of feminism where the movement is heading next and she'll tell you, it's all about women, work, and family. Kunin is the author of The New Feminist Agenda.Then, Tia Fuller's life is steeped in jazz. She's a saxophone player who composes, teaches, and has several albums under her belt. If that's not enough, she also spent five years touring the world with Beyonce's all-woman R & B band. Her new album is called Angelic Warrior. She says when women make music together, something special happens. And finally, maybe feminism is a moot point. According to journalist Hanna Rosin, in the rapidly changing world we live in, women are far outpacing men in areas like education, family, and work. She writes about the trend in her book The End of Men. [Broadcast Date: August 7, 2013] 1. Language: English. Narrator: Jim Fleming. Audio sample: http://samples.audible.de/rt/tbon/130807/rt_tbon_130807_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 01.10.2020
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Alive AG Broomfield (Bonus Tracks Edition) Funk CD
14,18 € *
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Broomfields Sound vermischt Elemente von Marvin Gaye, Stevie Wonder, Donny Hathaway und Brian McKnightnnBroomfields Sound vermischt Elemente von Marvin Gaye, Stevie Wonder, Donny Hathaway und Brian McKnight. Alfred Lamar Broomfield was born September 29, 1954 in Vidalia, Georgia a small town well known for its sweet onions. In many local churches, Al nurtured his vocal abilities and upon entering high school, began to play the tenor saxophone. Tenor Saxophone was the first instrument this musical prodigy mastered. Soon after came the guitar, which led him to the beat of the drums that he played for fifteen years. During the late 1960 s and early 70 s Broomfield played in a local band where he became frustrated with the musical interpretation of his compositions. From this chaos emerged a new an innovative pianist with ingenious, soulful and charismatic vocal styling. Broomfield stirs the elements of Marvin Gaye, Stevie Wonder, Donny Hathaway, Brian McKnight and many others as you listen to his music. Broomfield s music has been heard in more than 40 countries beginning with the 1987 selftitled Broomfield on Vision Records. Broomfield has not released an album since 1991 when he produced Certain Kinds of Weather on the independent N Effekt Records label. TRACKS: 1. Where Do I Go From Here 2. She Can't Get Serious 3. Read My Letter 4. Good Times 5. You Better Get Ready 6. Is It So Hard 7. Through All the Years 8. Don't Cover Up Your Feelings 9. Light Up the World 10. Certain Kinds of Weather (Non Album)

Anbieter: Dodax
Stand: 01.10.2020
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Triosonate V in C-Dur
23,90 CHF *
zzgl. 3,50 CHF Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Orell Fuessli CH
Stand: 01.10.2020
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Berio, L: Sequenza VIIb
21,90 CHF *
zzgl. 3,50 CHF Versand

Luciano Berio dedicated his 'Sequenza VII', which was composed in 1969, to the oboist Heinz Holliger. The version of this piece published here was arranged for one soprano saxophone by Claude Delangle in 1993. Instrumentation: for soprano saxophone

Anbieter: Orell Fuessli CH
Stand: 01.10.2020
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Growing up with Jazz
27,90 CHF *
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A jazz writer for three decades, W. Royal Stokes has a special talent for capturing the initial spark that launches a musician's career. In Growing Up With Jazz , he has interviewed twenty-four instrumentalists and singers who talk candidly about the early influences that started them on the road to jazz and where that road has taken them. Stokes offers a kaleidoscopic look at the jazz scene, featuring musicians from a dazzling array of backgrounds. Ray Gelato recalls the life of a working class youth in London, Patrizia Scascitelli recounts being a child prodigy in Rome who became the first woman of Italian jazz, and Billy Taylor tells about his childhood in Washington, DC, where his grandfather was a Baptist minister and his father a dentist--and everyone in the family seemed well trained in music. Perhaps most exotic is Luluk Purwanto, an Indonesian violinist who as a child listened to gamelan music in the morning and took violin lessons in the afternoon (on an instrument so expensive she didn't dare quit). For some, the flame burned bright at an early age. Jane Monheit sang before she could speak and was set on a musical career by age eight. Lisa Sokolov played classical piano, sang opera and choral music, and was in a jazz band--all by high school. But Carol Sudhalter, though born into a very musical family ('a Bix Beiderbecke family'), was a botany major at Smith, and only became a serious musician after college, quitting a government job to study the flute and saxophone in Italy. From Art Blakey to Claire Daly to Don Byron, here are the compelling stories of two dozen top musicians finding their way in the world of jazz.

Anbieter: Orell Fuessli CH
Stand: 01.10.2020
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Triosonate V in C-Dur
20,60 € *
ggf. zzgl. Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Thalia AT
Stand: 01.10.2020
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Berio, L: Sequenza VIIb
16,40 € *
zzgl. 3,00 € Versand

Luciano Berio dedicated his 'Sequenza VII', which was composed in 1969, to the oboist Heinz Holliger. The version of this piece published here was arranged for one soprano saxophone by Claude Delangle in 1993. Instrumentation: for soprano saxophone

Anbieter: Thalia AT
Stand: 01.10.2020
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Goldberg Variations
7,99 € *
zzgl. 3,00 € Versand

Bach's set of 30 variations on an original theme were first published in 1742 and composed (so the legend has it) for Johann Gottlieb Goldberg (1727-56), harpsichordist to the Russian ambassador to the court of Saxony Count Keyserlingk. Since that time they have attracted countless arrangements for and by musicians, sometimes in order to lend further colour or tease out the complex counterpoint of the variations, but more often for the privilege and the pleasure of playing this music for themselves, on instruments and in combinations that the composer could never have envisaged: string trio; saxophone quartet, even full chamber orchestra. The fine young recorder quintet Seldom Sene now makes its own contribution to this rich history of Goldberg interpretation with a version created by one of their number, Maria Martinez Ayerza. As she observes in the booklet note for this new recording, it may seem surprising that an ensemble of five musicians chooses to arrange and perform a work which is mostly written in two or three parts, four at most. Indeed, on this disc they play all together for just a couple of minutes, in the Quodlibet, which quotes two rustic folk tunes. However, due to the relatively small range of the recorder, five players are needed to play the complete Goldberg Variations comfortably without making any modifications, which, for us, is an essential condition. The toccata-style variations in particular require a wide range and agile playing in very high and low registers and provide plenty of work for all five players, while some of the canons, arias, fugues and dances work well in smaller settings from duo to quartet. 'The homogeneous sound of a consort of instruments of the same family suits keyboard music very well,' says Ayera. 'Ideally a consort is one instrument in the hands of five players. This is exactly the challenge we have enjoyed the most while preparing the Goldberg Variations: how to think, feel, articulate, time, breath, tune and phrase as one player. On the other hand, the singularity of each musician always remains and is in fact a great advantage, colouring each passage and contributing to shape our common interpretation.' A previous pair of Brilliant Classics recordings by Seldom Sene was widely reviewed and welcomed in the critical press. Of 'El aire el Serena' (music from the courts and cathedrals of 16th-century Spain, BC95304), the MusicWeb reviewer observed that 'This disc is a model of creative and thoughtful programming... The playing is of the highest order: immaculate intonation and perfect ensemble.' Their debut album was Taracea ('A Mosaic of Ingenious Music Spanning Five Centuries', BC94871), praised by Gramophone: 'The range of styles in this enterprising recital is only the most striking of several distinctive features. The programme is carefully chosen, the passage between styles cleverly judged on the whole, the contemporary works included here being especially well integrated.' Bach's Goldberg Variations have gained iconic status. Ever since the legendary recording of Glenn Gould in 1955 it took the world by storm, and its popularity reaches well beyond the boundaries of traditional classical music audiences. Originally written for 'Clavecimbel mit zwei Manuale' the perfect counterpoint and instrumental brilliance of the 30 variations invite for performances on other instruments, finding new facets and hidden treasures in this immensely rich music. This new recording presents a new arrangement for recorder consort, written by the ensemble Seldom Sene. Recorder Consort Seldom Sene has already recorded two highly praised albums for Brilliant Classics: Taracea (BC94871) and 'El aire se serena' (BC 95204).

Anbieter: Thalia AT
Stand: 01.10.2020
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