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Above the door there was a painting by Helgi which inspired Sveinn Ludvik deeply; he had the sense it was very somber in it's mood-a naked woman with her back turned. Moved by the scene he wrote Tranquility. Later, when discussing the piece with Helgi and admiring the tragic impact of the naked woman in the picture, Sveinn was shocked to discover that the painting, in fact, was of bananas and oranges.Veronique Vaka Jacques, a Canadian-Icelandic composer and trained classical cellist, grounds her work in the geology and topography of Iceland. In Ofdune (track 9), a map of North Iceland serves as groundwork, with the geographical details of a descending river abstractly translated into the work's time progression, using the river's path through hills and valleys as a loose blueprint. 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The presence, emotionalism, warmth, and dimensionalityof the textures alone make this audiophile release a treat for bothlisteners who know the record inside-out and for audiophilesembarking on Television's incomparable journeys for perhaps thefirst time. 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Menuetto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 33 in B-Flat Major, K. 319: IV. Finale. Allegro assai\u003c\/li\u003e\n\u003cli\u003eSymphony No. 31 in D Major, K. 297 \"Paris\": I. Allegro assai\u003c\/li\u003e\n\u003cli\u003eSymphony No. 31 in D Major, K. 297 \"Paris\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 31 in D Major, K. 297 \"Paris\": III. Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 31 in D Major, K. 297 \"Paris\": II. Andante (Alternate Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": I. Adagio - Allegro spiritoso\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": III. Menuetto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 36 in C Major, K. 425 \"Linz\": IV. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 32 in G Major, K. 318: I. 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Andante di molto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 34 in C Major, K. 338: III. Finale. Allegro vivace\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": I. Adagio - Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 38 in D Major, K. 504 \"Prague\": III. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": I. Allegro vivace\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": II. Andante cantabile\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": III. Menuetto. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 41 in C Major, K. 551 \"Jupiter\": IV. Molto allegro\u003c\/li\u003e\n\u003cli\u003eConcerto for Two Pianos No. 10 in E-Flat Major, K. 365: I. Allegro\u003c\/li\u003e\n\u003cli\u003eConcerto for Two Pianos No. 10 in E-Flat Major, K. 365: II. Andante\u003c\/li\u003e\n\u003cli\u003eConcerto for Two Pianos No. 10 in E-Flat Major, K. 365: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eFantasy for Two Pianos\u003c\/li\u003e\n\u003cli\u003ePing-Pong\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 26 in D Major, K. 537 \"Coronation\": I. Allegro\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 26 in D Major, K. 537 \"Coronation\": II. Larghetto\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 26 in D Major, K. 537 \"Coronation\": III. Allegretto\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 23 in A Major, K. 488: I. Allegro\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 23 in A Major, K. 488: II. Andante\u003c\/li\u003e\n\u003cli\u003ePiano Concerto No. 23 in A Major, K. 488: III. Allegro assai\u003c\/li\u003e\n\u003cli\u003eCosì fan tutte, K. 588 Complete Opera\u003c\/li\u003e\n\u003cli\u003eDon Giovanni, K. 527: Complete Opera\u003c\/li\u003e\n\u003cli\u003eLe nozze di Figaro, K. 492: Complete Opera\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 1: Chor. \"Schon weichet dir, Sonne\"\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 1: Interlude\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 2: Interlude\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 3: Interlude\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 4: Interlude\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 5: Chor. \"Gottheit, über alle mächtig!\"\u003c\/li\u003e\n\u003cli\u003eThamos, K. 345, Act 5: Interlude - Solo von Sethos und Chor \"Ihr Kinder des Staubes, erzittert und bebet\"\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Sinfonia\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Duetto. \"Signor Poeta mio\" (Poeta, Maestro)\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Recitativo. \"Non dubitar, verrò\" (Eleonora)\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Aria. \"Là tu vedrai chi sono\" (Eleonora)\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Trio. \"Cari oggetti\" (Eleonora, Poeta, Maestro)\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Aria. \"Via largo, largo, largo\" - Recitativo. \"Voi non piangete, o perfidi?\" (Tonina, Poeta, Ma\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Cavatina. \"Cucuzze! Che concorso\" (Tonina)\u003c\/li\u003e\n\u003cli\u003ePrima la musica e poi le parole: Finale. \"Se questo mio pianto il cor non ti tocca\" (Eleonora, Tonina, Poeta, Maestro)\u003c\/li\u003e\n\u003cli\u003eDer Schauspieldirektor, K. 486: Ouvertüre\u003c\/li\u003e\n\u003cli\u003eDer Schauspieldirektor, K. 486: Ariette. \"Da schlägt die Abschiedsstunde\" (Madame Herz)\u003c\/li\u003e\n\u003cli\u003eDer Schauspieldirektor, K. 486: Rondo. \"Bester Jüngling! Mit Entzücken\" (Mademoiselle Silberklang)\u003c\/li\u003e\n\u003cli\u003eDer Schauspieldirektor, K. 486: Terzett. \"Ich bin die erste Sängerin\" (Madame Herz, Mademoiselle Silberklang, Monsieur Vogelsan\u003c\/li\u003e\n\u003cli\u003eDer Schauspieldirektor, K. 486: Vaudeville. \"Jeder Künstler strebt nach Ehre\" (Madame Herz, Mademoiselle Silberklang, Monsieur\u003c\/li\u003e\n\u003cli\u003eSymphony No. 93 in D Major, Hob. I:93: I. Adagio - Allegro assai\u003c\/li\u003e\n\u003cli\u003eSymphony No. 93 in D Major, Hob. I:93: II. Largo cantabile\u003c\/li\u003e\n\u003cli\u003eSymphony No. 93 in D Major, Hob. I:93: III. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSymphony No. 93 in D Major, Hob. I:93: IV. Finale. Presto ma non troppo\u003c\/li\u003e\n\u003cli\u003eSymphony No. 100 in G Major, Hob. I:100 \"Military\": I. Adagio - Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 100 in G Major, Hob. I:100 \"Military\": II. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 100 in G Major, Hob. I:100 \"Military\": III. Menuetto. Moderato\u003c\/li\u003e\n\u003cli\u003eSymphony No. 100 in G Major, Hob. I:100 \"Military\": IV. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 68 in B-Flat Major, Hob. I:68: I. Vivace\u003c\/li\u003e\n\u003cli\u003eSymphony No. 68 in B-Flat Major, Hob. I:68: II. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSymphony No. 68 in B-Flat Major, Hob. I:68: III. Adagio cantabile\u003c\/li\u003e\n\u003cli\u003eSymphony No. 68 in B-Flat Major, Hob. I:68: IV. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 94 in G Major, Hob. I:94 \"Surprise\": I. Adagio cantabile - Vivace assai\u003c\/li\u003e\n\u003cli\u003eSymphony No. 94 in G Major, Hob. I:94 \"Surprise\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 94 in G Major, Hob. I:94 \"Surprise\": III. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSymphony No. 94 in G Major, Hob. I:94 \"Surprise\": IV. Finale. Allegro di molto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 95 in C Minor, Hob. I:95: I. Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 95 in C Minor, Hob. I:95: II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 95 in C Minor, Hob. I:95: III. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSymphony No. 95 in C Minor, Hob. I:95: IV. Finale. Vivace\u003c\/li\u003e\n\u003cli\u003eSymphony No. 96 in D Major, Hob. I:96 \"Miracle\": I. Adagio - Allegro\u003c\/li\u003e\n\u003cli\u003eSymphony No. 96 in D Major, Hob. I:96 \"Miracle\": II. Andante\u003c\/li\u003e\n\u003cli\u003eSymphony No. 96 in D Major, Hob. I:96 \"Miracle\": III. Menuetto. Allegretto\u003c\/li\u003e\n\u003cli\u003eSymphony No. 96 in D Major, Hob. I:96 \"Miracle\": IV. Finale. Vivace assai\u003c\/li\u003e\n\u003cli\u003eSymphony No. 97 in C Major, Hob. I:97: I. 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Davis, a renowned drummer in the funk\/soul world. The dry flute tones weaving through the tightly laid-down beat create a fresh appeal distinct from the original. Side B features a cover of\"Smilin' Billy Suite,\" a 1976 track by The Heath Brothers, also widely recognized as the source material for Nas's classic\"One Love.\" Both sides deliver a modern, chic, and superbly polished finish.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSIDE A\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eA New Day (45 Edit)\u003c\/li\u003e\n\u003cli\u003eSIDE B\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eSmilin' Billy Suite (45 Edit)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 4582782931889\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Jet Set\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.6.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Medline","offers":[{"title":"Default Title","offer_id":45760644841670,"sku":"159427201","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4509688-3569293.jpg?v=1777059934"},{"product_id":"pre-order-bruckner-syms-4-7-remastered-hybrid-sacd-cd","title":"Bruckner: Syms 4 \u0026 7 (Remastered - Hybrid Sacd) [CD]","description":"\u003cp\u003eThese recordings exemplify Karajan's mastery of the expansive forms and forces of late Romanticism. Two Bruckner symphonies recorded in 1970 and 1971 show just how much the orchestra's musical signature had changed since the recordings of the 1950s. The pitch had historically always been a little higher in Berlin, but under Karajan's leadership the orchestra lightened it's palette, finding a balance in the medium high range that was absolutely foreign to the Germanic tradition. In Berlin, Karajan was drawing straight lines, unbending verticals, clear designs, smooth slopes - building his orchestra up layer by layer, developing the sound he was after, aided by the supreme legato playing of his string section. In addition, any soloistic leanings had been eliminated: the Philharmonic now played as a single instrument, and when the recordings of the 1970s were released more than one music-lover compared it to an organ. Absolute harmony was achieved in the above-mentioned Bruckner symphonies Nos. 4 and 7, the sheer perfection of whose sound is almost unearthly. Newly remastered in 192kHz\/24-bit from original tapes by Circé Studio\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": I. Bewegt, nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": II. Andante, quasi allegretto (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": III. Scherzo. Bewegt - Trio. Nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 4 in E-Flat Major \"Romantic\": IV. Finale. Bewegt, doch nicht zu schnell (1881 Haas Version)\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: II. Adagio. Sehr feierlich und sehr langsam\u003c\/li\u003e\n\u003cli\u003eSymphony No. 7 in E Major, WAB 107: III. 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