Why has time stopped for no one but you? Once upon a time there lived a vampire named Noël Rousseau. While his existence was one of monotony, it was familiar. All was well, and he was content...until a curious demonic girl and her magpie stumbled across the small cabin he called home. Placed upon a crossroads, Noël must decide whether to continue on in ignorance or confront the mysteries of his past--particularly the reasons as to why he was trapped in that lonesome, isolated house for over fifty years, and the disappearance of his Aunt Delia. Unfortunately, the outside world is not as he remembers it to be.

The Holy Night Festival has arrived, and Belland the rest of Hestia Familia have worked hard to afford a lovely dress for their goddess to wear during the festivities, so there’s only one thing left to do—celebrate! Their merriment is soon interrupted, however, by a mysterious girl from a foreign land, and it’s up to Bell to help the girl evade her would-be captors! But his new friend isn’t content to simply escape—she wants to enjoy the festival just like everyone else! Just who is this young lady, and why has she made the long journey to Orario...?

A collection of exercises, for Violin, composed by Henry Schradieck.

Great performers have proven that the viola can be successfully used for playing not only classic music, but also symphonic or chamber music from the classical, romantic or modern 36 period just as well as any other musical instrument. No longer is the contemporary repertoire considered unfit for the viola.This collection contains music which has been adapted and arranged especially for the viola. Ideal for the beginning player, it focuses on simple, well known melodies which are both easy and enjoyable. the arranger has carefully chosen the best keys for viola and therefore many songs are not in the keys in which they were originally written. A number of other adaptations have also been introduced to make the music more suitable for performance on the viola.The structure of the music has not been altered. the selections in the beginning of this book use more the treble clef than alto clef, making them easier for beginners and violinists transferring to viola. the piano accompaniment is available as a free download.

Great performers have proven that the trumpet can be successfully used for playing not only classic music, but also symphonic or chamber music from the classical, romantic or modern period just as well as any other musical instrument. No longer is contemporary repertoire considered unfit for the trumpet.Every sincere instrumentalist needs a regular study program. A daily practice of technical exercises and etudes is necessary for improving and maintaining the desired results. Regularly playing works of music should be the aim of every musician, amateur as well as professional. the best keys have been carefully chosen for trumpet and therefore many songs are not in the keys in which they were originally written. Also a number of other adaptations have been introduced to make the music more suitable for performance on the trumpet in B flat.The structure of the music has not been altered. Composers include: Mozart, Beethoven, Haydn, Praetorius, Corrette, Mozart, Händel, Bach, Hook, Lully, Boismortier, Schumann, Rameau, Saint-Saëns, Purcell, and Martini. the piano accompaniment is available as a free download.

This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices. In addition to drawing upon an unusually wide range of source materials - from instructional methods to poetry, novels and film - Kennaway acknowledges the instability and ambiguity of the data that supports historically informed performance. By examining nineteenth-century assumptions about the very nature of the cello itself, he demonstrates new ways of thinking about historical performance today. Kennaway’s treatment of tone quality and projection, and of posture, bow-strokes and fingering, is informed by his practical insights as a professional cellist and teacher. Vibrato and portamento are examined in the context of an increasing divergence between theory and practice, as seen in printed sources and heard in early cello recordings. Kennaway also explores differing nineteenth-century views of the cello’s gendered identity and the relevance of these cultural tropes to contemporary performance. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.

This book explores how the women’s orchestra at Auschwitz-Birkenau has been remembered in both media and popular culture since the end of the Second World War. In particular it focuses on Fania Fenelon’s memoir, Playing for Time (1976), which was subsequently adapted into a film. Since then the publication has become a cornerstone of Holocaust remembrance and scholarship. Susan Eischeid therefore investigates whether it deserves such status, and whether such material can ever be considered reliable source material for historians. Using divergent source material gathered by the author, such as interviews with the other surviving members of the orchestra, this Pivot seeks to shed light on this period of women’s history, and questions how we remember the Holocaust today.