Szczypce do zaciskania końcówek Grene Grene

Gospodarstwo, ogród i warsztat / Narzędzia warsztatowe / Narzędzia ręczne / Narzędzia ślusarskie / Nożyce, szczypce, obcęgi

Crimping pliers, ergonomic handle covered with TPR. Precisely designed leverage provides optimal power. The pliers allow clamping connection terminals of the following sizes: - red AVG 20 - 16 0.5 - 1.0 mm

Sklep: grene.pl

MAC Petal Power Mineralize Blush Róż 3,2g (W) (P2) MAC

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Sklep: Estetic Dent

Vivaldi & Chedeville: Complete Recorder Sonatas from "Il Pastor Fido" MAC

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The first thing to say about these six flute sonatas is that they are not by Vivaldi, nor did they ever have anything to do with the Italian composer. They are instead the work of Nicolas de Chédeville (1705-1782), an oboist and musette player, a student of the great French recorder virtuoso Louis Hotteterre who by the age of 25 had acquired a sufficient name for himself to publish his own compositions. He in turn became an esteemed teacher who worked for the royal households. In 1737 he made a secret agreement with Jean-Noël Marchand for the latter to obtain a privilege to engrave, print and sell a work as Vivaldi's Il pastor fido, op.13, but in a notarial act dated 17 September 1749 Marchand declared that Chédeville was the composer, also revealing that Chédeville had provided the money for the publication and was receiving the emoluments. It is not certain why Chédeville chose to have his own work attributed to Vivaldi and issued under the privilege of Marchand, but perhaps, as Lescat has suggested, he was trying to give the musette, his favourite instrument, the endorsement of a great composer that it had lacked up until then. But Chédeville, Vivaldi, whoever: what counts is the dancing vitality and simple, beguiling charm of these sonatas, which are played here by an experienced Italian early-music ensemble, whose previous recordings on Brilliant have met with warm critical response. These include concertos by Fiorenza and Mele (BC93956), Sammartini (BC94157), CPE Bach, Telemann – and even some authentic Vivaldi. The Baroque recorder sonatas on this CD bear the title “Il pastor fido”, a hugely popular play by Giovanni Guarini, which inspired many composers with its sensuous, pastoral and “romantic” atmosphere. The sonatas were attributed to Antonio Vivaldi (because of the commercial power of his fame) till in 1990 proof was found they have been written by the French composer Nicolas Chédeville, who borrowed material from Vivaldi and other composers, and developed it in the same idiom. Excellent performances by the Ensemble Pro Musica, elite players from the Italian Early Music scene: Stefano Bagliano (recorder), Andrea Coen (harpsichord and organ). Extensive liner notes on the history of this exquisite and charming music in English and Italian in the booklet.

Sklep: Literacka.pl

Andriessen: The Four Chorals and other Organ Music MAC

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In the booklet to this CD of otherwise largely unavailable music, the composer Louis Andriessen remembers his father Hendrik (1892-1981). "Certainly due to his Catholic background, my father’s grand love for the French culture was of ultimate importance to his development as a composer… It comes as no surprise that he preferred French Romantic organs... My father criticised German Romanticism: “They composed in excitement or intoxication, throwing masses of tears around.” And so on. He could be sharp, but he was also very elegant and witty. He was a beloved man, as a father, as a teacher, and as an organist. His improvisations in the Cathedral after the High Mass were renowned. People were known to rush from their (Protestant) churches to the Cathedral to hear him play." We may hear all these characteristics and more in his four Chorals, undoubtedly influenced by the works of the same name by César Franck, as they wind through intricately chromatic rhapsodising, finally to reveal the power of a late-Romantic, Cavaille-Coll-style instrument in full. To one unfamiliar with the Four Chorals, the first two sound as though they might almost have been lost compositions of Franck, whilst the latter two speak in a new language that belongs distinctively to Andriessen. The Theme and Variations is perhaps his best-known work for his instrument, the theme launched in formal Baroque splendour and then pursuing artful imitation of earlier models from the French and Italian schools without ever sounding remotely like Couperin or de Grigny, for example. Hendrik Andriessen (1892-1981) was one of the most important Dutch composers of the 20th century. Born into a family of church musicians he became the organist of the churches in Haarlem and Utrecht, and held several prominent positions in Dutch musical life. One of his highly gifted children is Louis Andriessen, the famous avant-garde composer. Andriessen’s organ works are firmly rooted in his Roman-Catholic faith and its church music tradition. His monumental Chorales are modelled on the Chorales by César Franck: the grand symphonic conception, the spiritual depth and the harmonic language. Performed by Benjamin Saunders on the magnificent Grand Organ of Leeds Cathedral, perfectly suited to the large scale of these visionary works. Booklet contains liner notes by the artist, and the specifications of the organ.

Sklep: Literacka.pl

Brilliant Opera Collections: Pfitzner: Palestrina MAC

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Hans Pfitzner’s musical legend Palestrina was first performed during the height of the First World War, a period when sensitive minds such as Pfitzner’s felt uneasy about the cultural scene of bourgeois society. Even then, when the headlong descent into Nazi tyranny was still a long way off, the composer saw himself as an artist representing an era that was rapidly drawing to its close. He therefore projected his own situation onto the historical personality of the 16th-century composer Giovanni Pierluigi da Palestrina, who was credited with saving the art of contrapuntal church music during the Council of Trent. Like all artists, the composer treated the facts rather freely to suit his own artistic intentions. He recycles thematic material from Palestrina’s Missa Papae Marcelli, the work that allegedly settled the argument back in the uncertain days of the 16th century, after the upset of Martin Luther. As the librettist as well as composer, Pfitzner certainly moulds the truth to suit his own situation, and he backs up his artistic licence with some solemn, powerful and audaciously pastiche music, imbued with archaisms borrowed from Palestrina and his contemporaries. He adds to these Wagnerian motifs, such as the bells that symbolise the Catholic Church. Pfitzner portrays a composer who refuses to allow his music to be abused for bolstering the power of the Church. Palestrina’s crisis, brought on by the loss of his office, his faith and his wife, as well as by the new style emanating from Florence, reflects the crisis of Pfitzner’s own world in which art is needed only to preserve the existing order, not to seek out new horizons. This dramatic opera was recorded live in the Schauspielhaus, Berlin, giving it a powerful sense of space and atmosphere. Otmar Suitner is a conductor of great experience and sympathy with the work, and the title role is played by Peter Schreier who “sings with great intelligence, deep expression and care for words, and with the slightly piercing, fundamentally German tenor sound for which the role was surely conceived“ (Gramophone). First performed in 1917 in Munich (conducted by Bruno Walter), Pfitzner’s opera on the great 16th-century composer Palestrina became popular with those in German musical society who had become hostile to the direction which Schoenberg and Busoni had taken. Composed in “traditional” late romantic style it has a particularly Wagnerian flavour, a kind of catholic “Meistersinger” with hints of Palestrinian counterpoint and plainchant. A superb cast in this exciting live recording from Berlin: Peter Schreier, Siegfried Lorenz, Rosemarie Lang and the Staatskapelle Berlin conducted by the great Otmar Suitner, a specialist in late romantic repertoire. The libretto is available online at www.brilliantclassics.com, the booklet contains liner notes on the music. Other information: Recorded live in Berlin in 1986 and 1988.

Sklep: Literacka.pl

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Numer oryginalny: 91458 & 68685   Długość: 75mm Szerokość: 55mm Pasuje do modelu: power MAC, MAC6

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Głośniki samochodowe Mac Audio Power Star 69.3 Mac Audio

Głośniki samochodowe > Głośniki eliptyczne > Głośniki 6x9"

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Sklep: Car-tronic

Głośniki samochodowe Mac Audio Power Star 10.2 Mac Audio

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Głośniki samochodowe Mac Audio Power Star 2.16 Mac Audio

Głośniki samochodowe > Głośniki samochodowe 165 mm

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Sklep: Car-tronic

Głośniki samochodowe Mac Audio Power Star 13.2 Mac Audio

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Sklep: Car-tronic

Filtr powietrza MC CULLOGH power MAC, MAC6 GARDINERY

Filtry powietrza i wstępne > Filtry powietrza > MC CULLOGH

Dł. = 75mm / Szer. = 55mm

Sklep: e-kosiarka.pl

Mac Os X Snow Leopard For Power Users

Książki Obcojęzyczne>Angielskie>Computing & information technology>Operating systems>Macintosh OS

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Filtr powietrza MC CULLOGH Mod. : power MAC, MAC6 GARDINERY

Części maszyn ogrodniczych i leśnych > Filtry powietrza i wstępne > Filtry powietrza > MC CULLOCH

Oryg. : 91458 & 68685,Dł. = 75mm / Szer. = 55mm

Sklep: Rokapil

OLEO-MAC GS 370 pilarka z układem POWER SHARP !!! Oleo-Mac

Pilarki łańcuchowe , okrzesywarki > Spalinowe

Pilarki łańcuchowe skonstruowano w odpowiedzi na potrzeby użytkowników prywatnych, którzy wykonują czynności okrzesywania, podkrzesywania, przecinania drewna o małej lub średniej średnicy, a także do cięcia drewna do kominka. P

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Dysk zewn SILICON POWER

Dyski zewnętrzne

Format dysku : 2,5 cala Informacje dodatkowe : Wymiary: 132.5 x 92.3 x 25.9 mm Waga: 364g Obudowa: Aluminium, guma, plastik Kolor: Srebrny Zasilanie: przez port USB Certyfikaty: CE/FCC/BSMI/Green dot/WEEE/RoHS/KCC/EAC/RCM Zgodny z wojskow

Sklep: 1001produktów