Aaron Hallam (Benicio Del Toro) é um perigoso assassino, que mata suas vítimas de um modo peculiar: ele perseguia caçadores de cervos como se fosse um esporte, em uma floresta de Portland.
Após muita procura, Hallam é enfim capturado pelo agente do FBI L.T. Bonham (Tommy Lee Jones) e levado para a cidade. Porém, lá Hallam consegue escapar e passa a usar o caos urbano para se esconder e não ser novamente capturado.
Para reencontrá-lo o agente Bonham precisará da ajuda de outra agente do FBI, Abby Durrell (Connie Nielsen), sendo que ambos precisam encontrar Hallam antes que ele recomece sua caçada, agora na cidade.
Elenco principal: Tommy Lee Jones (L.T. Bonham), Benicio Del Toro (Aaron Hallam), Connie Nielsen (Abby Durrell), Leslie Stefanson (Irene Kravitz), John Finn (Ted Chenoweth), José Zúniga (Bobby Moret, Jose Zuniga), Ron Canada (Harry Van Zandt), Mark Pellegrino (Dale Hewitt), Jenna Boyd (Loretta Kravitz), Aaron DeCone (Stokes, Aaron Brounstein), Carrick O’Quinn (Kohler), Lonny Chapman (Zander), Rex Linn (Powell), Eddie Velez (Richards), Alexander MacKenzie (Sheriff)
Seal Henry Olusegun Olumide Adeola Samuel (Londres, 19 de fevereiro de 1963) é um músico, cantor e compositor, entre seus maiores sucessos está a canção Kiss from a Rose, trilha sonora do filme Batman Forever, pela qual recebeu três prêmios Grammy em 1995. É casado com a modelo alemã Heidi Klum.
Filho de pais nigerianos e neto de brasileiro, Seal passou seus primeiros quatro anos de vida com seus pais adotivos, Frank e Barbara, em Romford, Essex, até que sua mãe biológica veio buscá-lo.
Sentado com ela no ônibus, ele se lembra de ter gritado durante todo o caminho até a casa, em Brixton. Dois anos depois, sua mãe e o namorado decidiram voltar para a Nigéria e Seal foi viver com o pai, um homem violento, que trabalhava como bombeiro em Paddington, distrito da City of Westminster, no centro de Londres, onde Seal cresceu. Mais tarde obteve um diploma de arquitetura e teve vários empregos em Londres, antes de se tornar cantor profissional.
Embora sempre tenha havido especulações sobre a causa das cicatrizes no seu rosto, elas não são o resultado de nenhum tipo de rito tribal de escarificação. O cantor sofre de lúpus eritematoso discóide (DLE). Seal revelou que se afligia com essa síndrome quando adolescente, uma condição em que as células do sistema imune atacam vários tecidos do corpo.
Uma inflamação intensa que se desenvolve na pele, particularmente nas áreas expostas ao sol; se não tratada com protetor solar e anti-inflamatórios, pode deixar cicatrizes. A doença não somente causou-lhe as cicatrizes na face como também provocou perda de cabelos, mas está em remissão há anos.
Chicago is an American rock band formed in 1967 in Chicago, Illinois. The self-described “rock and roll band with horns” began as a politically charged, sometimes experimental, rock band and later moved to a predominantly softer sound, becoming famous for producing a number of hit ballads. They had a steady stream of hits throughout the 1970s and 1980s.
Second only to The Beach Boys in terms of Billboard singles and albums chart success among American bands, Chicago is one of the longest running and most successful pop/rock and roll groups.
Chicago re-teamed with producer Phil Ramone in October 2010 to begin work on a new album.
According to Billboard, Chicago was the leading US singles charting group during the 1970s. They have sold over 38 million units in the US, with 22 gold, 18 platinum, and 8 multi-platinum albums. Over the course of their career they have charted five No. 1 albums, and have had 21 top ten hits.
The band was formed when a group of DePaul University students, together with Marvin Cantera and Andre Jugo (music students who had been playing local late-night clubs), recruited a couple of other students from the university and decided to meet in saxophonist Walter Parazaider’s apartment.
The five musicians consisted of Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane. The last to arrive was keyboardist Robert Lamm, a music major from Chicago’s Roosevelt University.
The group of six called themselves The Big Thing, and continued playing top-40 hits, but realized that they were missing a tenor voice (Lamm and Kath both sang in the baritone range); the voice they were missing belonged to local bassist Peter Cetera.
While gaining some success as a cover band, the group began working on original songs. In June 1968, they moved to Los Angeles, California under the guidance of their friend and manager James William Guercio, and signed with Columbia Records. After signing with Guercio, The Big Thing changed their name to Chicago Transit Authority.
Their first record (released in April 1969), the eponymous The Chicago Transit Authority (sometimes informally referred to simply as CTA), was a double album — very rare for a first release — featuring jazzy instrumentals, extended jams featuring Latin percussion, and experimental, feedback-laden guitar abstraction.
It sold over one million copies by 1970, and was awarded a platinum disc.
The album began to receive heavy airplay on the newly popular FM radio band; it included a number of pop-rock songs — “Does Anybody Really Know What Time It Is?”, “Beginnings”, and “Questions 67 and 68″ — which would later be edited to an AM radio-friendly length, released as singles, and eventually become rock radio staples.
Soon after the album’s release, the band’s name was shortened to Chicago, when the actual Chicago Transit Authority threatened legal action.
Dois irmãos procurados pela polícia por 16 mortes sequestram um ex-pastor e seu casal de filhos, para poderem atravessar a fronteira com o México e lá se dirigem uma casa noturna frequentada por caminhoneiros e motoqueiros, que é uma mistura de cabaré e prostíbulo.
Porém, ao chegarem lá eles se deparam com algo totalmente inacreditável.
Os policiais seguem a vida obedecendo a um estrito código de honra: “proteja sempre os seus”.
A família Tierney é formada de diversos policiais; Francis Tierney, seus filhos Francis Tierney Jr. e Ray Tierney, e até Jimmy Egan, casado com Megan Egan, também filha de Tierney.
Para eles, o código não tem apenas a ver com trabalho, mas sim com família. Quando uma batida de rotina em um ponto de drogas dá terrivelmente errado, um esc¢ndalo de corrupção no coração da polícia acaba se tornando a principal manchete dos jornais.
Nomeado investigador do caso, Ray descobre mais do que gostaria quando percebe que o rastro do crime aponta direto para a sua própria casa. Qualquer decisão que ele tome pode mudar para sempre sua vida e também daqueles que ama.
Elenco principal: Colin Farrell (Jimmy Egan), Edward Norton (Ray Tierney), Jon Voight (Francis Tierney), Noah Emmerich (Francis Tierney Jr.), Lake Bell (Megan Egan), Jennifer Ehle (Abby Tierney), John Ortiz (Sandy), Frank Grillo (Eddie Carbone), Shea Whigham (Kenny Dugan), Manny Perez (Coco Dominguez), Rick Gonzalez (Eladio Casado), Ramon Rodriguez (Angel Tezo)
The Symphony No. 100 in G major, Hoboken I/100, is the eighth of the twelve so-called London Symphonies written by Joseph Haydn and completed in 1793 or 1794. It is popularly known as the Military Symphony.
The nickname “Military” derives from the second movement, which features prominent fanfares written for C-trumpets and percussion effects. One reviewer wrote after the premiere that the second movement evoked the “hellish roar of war increas[ing] to a climax of horrid sublimity!”
The work is in standard four movement form and scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, triangle, cymbals, bass drum and strings. In several editions there is only one flute.
Adagio; Allegro, 2/2
Allegretto, 2/2 in C major
Menuetto: Moderato, 3/4
The first movement is in sonata form with a slow introduction that hints at motifs that will appear later in the movement. The Allegro begins with a dancing theme which is unexpectedly scored only for flutes and oboes. The strings respond by repeating the theme an octave lower. The tutti then transitions the music to the dominant key for the second subject area, which begins with the first theme transposed to D major.
This theme is briefly developed in D minor before a new subject in the dominant is stated with a rocking motif in the violins. Haydn’s use of themes and keys here demonstrates an important point about sonata form: the second subject is defined by the new key , not (only) a new theme. The repetition of the 1st subject in the dominant in this movement, at bar 75, is therefore the beginning of the 2nd subject area, even though the new theme does not appear until some twenty bars later.
A tutti codetta brings the first movement exposition to a close. Following a repeat, the development begins with a grand pause of two measures, the rocking motif appears in the distant key of B-flat major and is developed upward through several keys. The first theme then returns in E major and is development in tandem with the rocking motif back towards the tonic for the recapitulation. In the recapitulation, the response to the dancing flute/oboe theme is by the full tutti instead of just the strings. The rocking motif returns several times and a full tutti brings the movement to a close without a coda.
Opening theme of the Vivace assai
The “Military” second movement is derived from a movement from an earlier Concerto for Lire Organizzata in G, Hob. VIIh/3, which Haydn had composed for Ferdinand IV, King of Naples. The movement is in ternary form with central section in the minor. The instrumentation is richer than the other movements of the symphony. It is the only movement that uses divided violas and clarinets, but most importantly is the use of “Turkish” instruments (triangle, cymbals and bass drum) which make their first appearance in the central minor section. The movement concludes with an extended coda featuring a bugle call for solo trumpet, a timpani roll, which was a revolutionary adaptation of the instrument, and a loud outburst in A flat major.
In contrast to Haydn’s trend of speeding up his minuets, here he slows the pace back to Moderato providing a more old-fashioned aristocratic minuet.
The finale is in sonata rondo form. The primary theme became a popular tune in its time. In the center of the movement is a development-like section which contains a surprise timpani strike followed by a traversal of many distant keys. Near the end of the movement, the “Turkish” instruments return coloring the tutti sections for the rest of the way.
The harpsichord concertos, BWV 1052-1065, are concertos for harpsichord, strings and continuo by Johann Sebastian Bach.
There are seven complete concertos for a single harpsichord, (BWV 1052-1058), three concertos for 2 harpsichords (BWV 1060-1062), two concertos for 3 harpsichords (BWV 1063-1064), and one concerto for 4 harpsichords, (BWV 1065).
Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg concerto no.5, BWV 1050, with the same scoring.
In addition there is a single 9-bar concerto fragment for a single harpsichord (BWV 1059) which adds an oboe to the strings and continuo.
All of Bach’s harpsichord concertos (with the exception of the Brandenburg concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived.
This harpsichord concerto is thought to be based on a lost violin concerto in D minor which was later arranged as an organ concerto in 1728 for use in two of Bach’s cantatas; the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 and the last movement is in Ich habe meine Zuversicht, BWV 188. The original is probably one of Bach’s earliest concertos and is very virtuosic, in a similar manner to Antonio Vivaldi’s Grosso Mogul violin concerto, RV 208, which Bach knew and transcribed for solo organ, BWV 594.
The harpsichord transcription was made by transferring the ripieno string parts without alteration and considerably augmenting the solo part for harpsichord to make it as comparatively virtuosic as the original must have been, as well as adding chords to fill in the harmony and figurative developments in the left hand. This is particularly notable in the first and third movements; in the second movement, however, the left hand almost exactly duplicates the ripieno continuo part, and the right hand plays a melody that is probably taken directly from the original violin part.
The first and third movements share a similar harmonic structure based upon which the movements can be divided into four sections. The opening section of both movements gives the theme in the tonic (D minor) followed by a statement of the theme in the relative major (F major). The second section modulates to the dominant (A minor) and then its relative major (C major). The third section modulates to the subdominant (G minor) and its relative major (B flat major). Finally, the fourth section gives a recapitulation of the theme in the tonic, with no subsequent major key statement.
This concerto has remained the most popular of the collection from the 19th century onwards; Felix Mendelssohn played it and Johannes Brahms wrote a cadenza for it; the first publication of it was in 1838 by the Kistner Publishing House. It was often played and recorded with the piano in the 20th century, though with the rise of historically informed performance from the 1960s, it is now regularly played on the harpsichord again.
There also exists a version of this harpsichord concerto transcribed by C. P. E. Bach in 1733 or 1734, listed as BWV 1052a; it is not executed particularly well but shows that the process was studied in Bach’s household.
Wachet auf, ruft uns die Stimme, BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, written in Leipzig for the 27th Sunday after Trinity and first performed on November 25, 1731.
History and text
The chorale cantata is based on the Lutheran chorale, Wachet auf, ruft uns die Stimme of Philipp Nicolai. This Lutheran hymn remains popular today both in its original German and in a variety of English translations. The text on which it is based is the parable of the ten virgins in Matthew 25:1–13, a reading that was scheduled in the Lutheran lectionary of the time for the 27th Sunday after Trinity. Because this Sunday only occurred in the church year when Easter was very early, the cantata was rarely performed. The infrequency of the occasion for which it was composed makes it one of the few cantatas whose date of composition is definitively known.
In the modern three-year Revised Common Lectionary, however, the reading is scheduled for Proper 27, or the 32nd Sunday in Ordinary Time, in the first year of the three-year cycle of lessons. Thus, the hymn or the cantata are commonly performed in churches on that Sunday. The text and its eschatological themes are also commonly associated with the early Sundays of the season of Advent, and so the cantata is also commonly performed during that season.
Scoring and structure
The cantata is scored for horn, 2 oboes, taille (an instrument similar to the oboe da caccia, today often replaced by an English horn), violino piccolo, violin, viola, basso continuo, and choir with soprano, tenor, and bass soloists.
I. Chorus: Wachet auf, ruft uns die Stimme (Wake up, the voice calls to us)
II. Recitative: Er kommt (He comes)
III. Aria (duet): Wann kommst du, mein Heil? (When will you come, my salvation?)
IV. Chorale: Zion hört die Wächter singen (Zion hears the watchmen singing)
V. Recitative: So geh herein zu mir (So come in with me)
VI. Aria (duet): Mein Freund ist mein! (My friend is mine!)
VII. Chorale: Gloria sei dir gesungen (May Gloria be sung to you)
The first movement is a chorale fantasia based on the first verse of the chorale, which is a common feature of Bach’s chorale cantatas.
The second movement is a recitative for tenor that precedes the third movement, a duet for soprano and bass with obbligato violin. In the duet, the soprano represents the soul and the bass represents Jesus as the Vox Christi (voice of Jesus).
The fourth movement, based on the second verse of the chorale, is written in a trio sonata-like texture for the tenors of the chorus, oboe da caccia, and continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schübler Chorales.
The fifth movement is a recitative for bass, preceding the sixth movement, which is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano soul and the bass Jesus.
The final movement is a four-part setting of the final verse of the chorale.