Glenella Blue Mountains
The last ten years have seen a revolution in our understanding of the mechanisms of biological crystal growth. While it had long been assumed that crystallisation would occur by the same classical mechanisms which form the basis for most descriptions of crystallisation processes, it is now becoming apparent that this is not the case. There are a number of key observations which have changed our view of crystallisation mechanisms. While it had long been assumed that crystalline biominerals typically form by ion-by-ion growth, it is now recognised that they often precipitate via amorphous precursor phases. This is well established for calcium carbonate and there is growing evidence that biogenic crystalline calcium phosphate phases may form via an analogous route. Recent re-examination of the structure of many calcium carbonate biominerals is also suggesting that "non-classical" crystallisation pathways, where crystals grow from the assembly of precursor particles, may also be widespread. Significantly, these mechanisms are not unique to the biological world. Possibly partly inspired by the identification of these biogenic mineralisation strategies, there is currently great interest from the general crystal growth community in these new and controversial ideas. A number of studies on crystal nucleation have recently re-examined classical nucleation theory, and the observation of pre-nucleation clusters is a recurrent theme of great interest. This controversial result apparently contradicts classical nucleation theory which leads the subject of crystal nucleation and growth via assembly to demand attention. The Scientific Committee warmly invites you to take part in this thought-provoking Discussion and looks forward to welcoming you to Leeds.
The Mountain and Tidewater Songs are a set of six pieces for baritone, cello, piano, and violin. The songs are drawn from a series of poems by Daniel Mark Epstein, which appear in "No Vacancies in Hell". A deep sense of place, as well as the sweep, lyricism, and warmth of nineteenth-century American life inform both the poetry and music. The cycle charts the journey and reflections of an exile as he leaves behind the towns, countryside, and people he has known. These places and characters, like the apparitions of memory, become an interior landscape, where romance, adventure, duels, buffoonery, loss, villainy, and kindness all play out in ever-swirling reverie and drama.
The violin and cello parts are included.
Praise for Damon Ferrante's music:
Tim Smith of "The Baltimore Sun" calls Ferrante's music "focused and colorful...with an unexpected, decidedly poetic touch."
"If the tune has the elegance of traditional opera, the harmonization is very modern as the vocal lines climb and descend the melodic staircases that Ferrante has constructed for them."
Geoffrey Himes, "The Baltimore City Paper"
Mary MacCauley of "The Baltimore Sun" describes Ferrante's music as "ebullient and full of shifts of direction."
See a video for "The Mountain & Tidewater Songs" on Damon Ferrante's author page at Amazon (just click on his name here for the link).
Glenella Blue Mountains Articles
Glenella Blue Mountains Books
Glenella Blue Mountains