The traveling orchestral show The Legend of Zelda: Symphony of the Goddesses presents nearly 30 years of music from the incomparable The Legend of Zelda video game series, performed live in four movements and with multi-media backing. For those wanting to bring that epic music to life for themselves, this folio presents the music from the show as piano solo arrangements, also including a full-color 4-page insert with art from the games. Titles: I) The Ocarina of Time * Enter Ganondorf * Zelda's Lullaby * Enter Ganondorf * Great Deku Tree * Title Theme * Hyrule Field---Day * Lost Woods * Sheik * Ganon's Tower * Ganondorf's Theme * Ganondorf Battle * Ganon Final Battle * Majora's Theme II) The Wind Waker * The Legendary Hero * Outset Island * Ocean Motif * Aryll's Theme * My Grandma * Departure/Pirate Ship Theme * Aryll's Kidnapping * Ocean * Zelda's Awakening * Hero of the Wind * Ganondorf Battle * Staff Roll III) The Twilight Princess * Title Screen * Light Spirit * Midna's Theme * Hyrule Field * Excerpt from Title Screen * The Sages' Theme * Final Battle with Ganondorf * Ganondorf's Theme * Excerpt from Main Theme * Staff Roll * Zelda Theme * Zelda's Lullaby * Excerpt from Midna's Theme IV) Time of the Falling Rain * Time of the Falling Rain * Hyrule Castle * Dark World * Princess Zelda's Rescue * Triforce Chamber * Legend of Zelda Theme * Dark World * Soldiers of Kakariko Village * Lost Ancient Ruins * Anger of Guardians * The Legend of Zelda Theme

The Triumph Of Death is a romance by Gabriele D'Annunzio. It delves into the darks side of love with it's two protagonists, on a merry go round of emotions and treason.

"The story is set in the Abruzzo region, the birthplace of the author. The noble aesthete Giorgio Aurispa, besotted with his unhappily-married lover Ippolita, leaves Rome after witnessing a suicide. After a brief interlude with Ippolita in Albano, Giorgio receives a telegram from his mother, who lives in the small mountain village of Guardiagrele. Giorgio arrives in the beautiful city of stone, and is fascinated by the sculptures; however, he is equally haunted by popular superstitions and the memories of the suicide of his uncle Demetrio, whom he had loved as a father. Worse, Giorgio discovers that his actual father has squandered the family fortune, forcing his mother and siblings to live in poverty while he carries on with a prostitute. Giorgio curses his father, abandoning his family, and runs to the sea, buying a house on a hill in San Vito Chietino. Ippolita joins him, and the two pursue a summer of decadent languor marred only by Giorgio's developing paranoia towards her. Giorgio is additionally obsessed with death, and matters only become worse after the pair undertake a pilgrimage to the shrine of Casalbordino, where the multitude of desperate supplicants begging cures of the statue of the Madonna drives them away in horror. While Giorgio becomes more and more unmoored and desperate to leave both Abruzzo and what he perceives as Ippolita's unwholesome influence, she remains amused and fascinated by their surroundings. Finally Giorgio decides that his only recourse is to carry her over a seaside cliff, killing the both of them."--Wikipedia

Welcome to the Essential Novelists book series, were we present to you the best works of remarkable authors. For this book, the literary critic August Nemo has chosen the two most important and meaningful novels of Gabriele D'Annunzio which are The Intruder and The Triumph of Death. Gabriele D'Annunzio was an Italian poet, journalist, playwright and soldier during World War I. He was often referred to under the epithets Il Vate ("the Poet") or Il Profeta ("the Prophet"). Some of his ideas and aesthetics influenced Italian fascism and the style of Benito Mussolini; he has been described as "the father of Fascism". Novels selected for this book: - The Intruder - The Triumph of Death This is one of many books in the series Essential Novelists. If you liked this book, look for the other titles in the series, we are sure you will like some of the authors.

An icon of British national identity and one of the most widely performed twentieth-century composers, Ralph Vaughan Williams has been as much misunderstood as revered; his international impact and enduring influence on areas as diverse as church music, film scores and popular music has been insufficiently appreciated. This volume brings together a team of leading scholars, examining all areas of the composer's output from new perspectives, and re-evaluating the cultural politics of his lifelong advocacy for the music-making of ordinary people. Surveys of major genres are complemented by chapters exploring such topics as the composer's relationship with the BBC and his studies with Ravel; uniquely, the book also includes specially commissioned interviews with major living composers Peter Maxwell Davies, Piers Hellawell, Nicola Lefanu and Anthony Payne. The Companion is a vital resource for all those interested in this pivotal figure of modern music.

With hundreds of interviews conducted over a 35-year span, this book is the most comprehensive history of television scoring to date. Music composed for television had, until recently, never been taken seriously by scholars or critics. Catchy TV themes, often for popular weekly series, were fondly remembered but not considered much more culturally significant than commercial jingles. Yet noted composers like John Williams, Henry Mancini, Jerry Goldsmith and Lalo Schifrin learned and/or honed their craft in television before going on to major success in feature films. Oscar-winning film composers like Bernard Herrmann, Franz Waxman and Maurice Jarre wrote hours of music for television projects, and such high-profile jazz figures as Duke Ellington, Dave Brubeck and Quincy Jones also contributed music to TV series. Concert-hall luminaries from Aaron Copland to Leonard Bernstein, and theater writers from Jerome Moross to Richard Rodgers, penned memorable scores for TV. Music for Prime Time is the first serious, journalistic history of music for American television. It is the product of 35 years of research and more than 450 interviews with composers, orchestrators, producers, editors and musicians active in the field. Based on, but vastly expanded and revised from, an earlier book by the same author, this wide-ranging narrative not only tells the backstory of every great TV theme but also examines the many neglected and frequently underrated orchestral and jazz compositions for television dating back to the late 1940s. Covering every series genre (crime, comedy, drama, westerns, action-adventure, fantasy and sci-fi), it also looks at music for animated series, news and documentary programming, TV-movies and miniseries, and how music for television has evolved in the era of cable and streaming options. It is the most comprehensive history of television scoring ever published.