At the Mountains of Madness, H. P. Lovecraft "Another race - a land race of beings shaped like octopi and probably corresponding to fabulous pre-human spawn of Cthulhu - soon began filtering down from cosmic infinity and precipitated a monstrous war which for a time drove the Old Ones wholly back to the sea - a colossal blow in view of the increasing land settlements."
The Shadow over Innsmouth, H. P. Lovecraft Part II "There was only one person in sight—an elderly man without what I had come to call the 'Innsmouth look'—and I decided not to ask him any of the questions which bothered me; remembering that odd things had been noticed in this hotel... One side of the cobblestoned open space was the straight line of the river; the other was a semicircle of slant-roofed brick buildings of about the 1800 period, from which several streets radiated away to the southeast, south, and southwest."
The Gnostic Bible (eds. Willis Barnstone and Marvin Meyer) From chapter "Early Wisdom Gospels", section "The Gospel of Thomas" "Yeshua said, I shall choose you as one from a thousand and as two from ten thousand and they will stand as a single one."
Laus Deo, Sydney Dobell "'He is not dead, but sleepeth,' said the Priest, and smooth'd his brow. 'Sleepeth?' said she, looking up, and the sun rose in her face! 'He must be better than I thought, for the sleep is very sound.'"
The Premature Burial, Edgar Allan Poe "In fact, I no longer dared trust myself out of the immediate presence of those who were aware of my proneness to catalepsy, lest, falling into one of my usual fits, I should be buried before my real condition could be ascertained. I entered into a series of elaborate precautions. Among other things, I had the family vault so remodelled as to admit of being readily opened from within."
Großes Präludium in e-Moll von Nicolaus Bruhns. Source: http://www.free-scores.com/download-sheet-music.php?pdf=158, according to that page public domain. The instrument has been changed to church organ and the tempering to Werckmeister III.
Penulis: No machine-readable author provided. Phrood~commonswiki assumed (based on copyright claims).
Català: Partitura inèdita d'Enric Granados dedicata a Issac Albèniz. Font: Museu d'Art de Girona Score by Enrique Granados dedicated to Issac Albeniz. Source: Girona Art Museum. Granados wrote, "A mi queridísimo Isaac" which translates as "To my beloved Isaac"
Penulis: Obra inèdita d'Enric Granados trobada al Museu d'Art de Girona. Fotografia de Rafel Bosch.Transcripció pròpia
Georges Bizet: L'Arlésienne Suite Nr. 1, 1. Satz (Ausschnitt) Sinfonie-Orchester des Hessischen Rundfunks, Kurt Schröder (Dirigent) Aufnahme vom 8. September 1948 im großen Sendesaal Eschersheimer Landstraße Georges Bizet: L'Arlésienne Suite no. 1, first movement (excerpt) Frankfurt Radio Symphony, Kurt Schröder (conductor) recording from 8 September 1948 in the Eschersheimer Landstraße broadcasting studio
I'll See You In My Dreams on tenor saxophone by Beachcomber. With Band in a Box accompaniment. Gear: Selmer (USA) Liberty TS501L Bronze tenor Sax with Vandoren Optimum TL4 mouthpiece and Rico Reserve #3 reed.
Label: Parlophone (Carl Lindström Company) Cat. no.: P 9118 Order number: 20200 Matrix/StamperID: 2-20200 1st release date: 1927? 1st recording date: 30 March 1927 Place of recording: Hochschule für Musik, Berlin (German Reich) Author(s)/Composer(s): Franz von Suppé (1819-1895) Lyricist(s): Karl Costa (1832-1907) Conductor(s): Fritz Zweig (1893-1984) Performer(s): Orchester der Staatsoper Berlin Vocal range: instrumental Title/Work: Leichte Kavallerie (operetta) (Light Cavalry) Content: Ouverture - Part 2 Genre(s): Operetta terminology Comments: RCM and ELP
Francois Couperin: "L'Art de toucher le Clavecin" (complete) performed by David Joseph Stith on a harpsichord built by Gerald Self in 2020. No equalization performed here on the recording produced from a TASCAM DR-100MKIII using its internal electret condensor microphones.
Synthesized MIDI rendering of Guillaume Dufay's "Ave Regina", c.1450, Ox. Bod. Can. misc. 213 f.62, after facsimile in W. Apel, The Notation of Polyphonic Music (1960), facs. 26. Created with Lilypond.
