Why I Am an Atheist And Other Works

Why I Am an Atheist and Other Works [Audiobook]  Audiobooks

Posted by AvaxKevin at July 4, 2020
Why I Am an Atheist and Other Works [Audiobook]


Why I Am an Atheist and Other Works [Audiobook]
English | ASIN: B086VTJXTB | April 08, 2020 | 3 hrs | MP3@56 kbps | 72 MB
Bhagat Singh (Author), Siddhanta Pinto (Narrator)

Faith in Faithlessness: An Anthology of Atheism  eBooks & eLearning

Posted by insetes at June 15, 2023
Faith in Faithlessness: An Anthology of Atheism

Faith in Faithlessness: An Anthology of Atheism By Andrea T. Levy; Dimitrios I. Roussopoulos
2008 | 224 Pages | ISBN: 1551643138 | DJVU | 4 MB
Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Saul (1998)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Saul (1998)
EAC | FLAC | Image (Cue & Log) ~ 660 Mb | Total time: 72:20+41:13+42:38 | Scans included
Classical | Label: MDG | # 332 0801-2 | Recorded: 1997

When Handel had a difficult time as opera manager, in the 1730s, he turned to oratorios, which required neither the expensive Italian soloists nor complicated sets. Saul, based on the First Book of Samuel, written in 1738, and first performed in 1739, was relatively popular, with Handel reviving it several times through 1754. With all of the dramatic features of Handel’s oratorios, this work, featuring a bass in the starring role, opens with a festive four-movement instrumental Symphony.
Helmuth Rilling, Bach Kollegium Stuttgart, Gächinger Kantorei Stuttgart - George Frideric Handel: Saul (2007)

Helmuth Rilling, Bach Kollegium Stuttgart, Gächinger Kantorei Stuttgart - George Frideric Handel: Saul (2007)
EAC | FLAC | Image (Cue & Log) ~ 635 Mb | Total time: 60:12+70:26 | Scans included
Classical | Label: Hänssler Classic | # CD98.280 | Recorded: 2006

Handel's Saul is an operatic oratorio with ever intensifying action and increasingly drastic scenes. Handel seems to have been especially moved by this particular text. He gives each of the five main soloists a distinctive profile. Even the vocal supporting roles are unique and intentionally individual. In none of his other oratorios does Handel call for a more differentiated orchestra. Alongside the strings, he uses oboes, recorders, bassoons, trumpets, timpani and trombones. For me, Saul is one of the great high points of Handel's works. All of the performers on this recording thoroughly enjoyed taking on the challenges brought forth by this music.