Christine Brown Books

After losing his leg in a ballet accident, J Constantine uses his compensation to construct a hotel, employing his fellow out-of-work performers. Despite their lack of experience in hospitality, the eclectic group embraces the challenge, navigating the ups and downs of running a hotel together. Their journey is filled with humor and camaraderie as they learn to adapt and support one another in this new venture.

Adagio from Sonata in C, Hob. XVI/35 (Haydn) * Adagio from Sonata in E-flat, K. 282 (Mozart) * Allegro burlesco from Sonatina in A minor, Op. 88, No. 3 (Kuhlau) * Allegro from Viennese Sonatina in A No. 2 (Mozart) * Bagatelle in D, Op. 33, No. 6 (Beethoven) * Bagatelle in E-flat, Op. 33, No. 1 (Beethoven) * Finale from Sonata in D Hob. XVI/37 (Haydn) * Menuet from Sonata in B minor, Hob. XVI/32 (Haydn) * Minuet in D K. 355/576b (Mozart) * Moment Musical in F minor, Op. 94, No. 3 (Schubert) * Rondo from Sonatina in G, Op. 20, No. 1 (Dussek) * Scherzando from Sonatina in D, WoO 47/3 (Beethoven) * Scherzo in B-flat, D. 593/1 (Schubert) * To Alexis (Hummel) * Un Poco andante from Sonata in D, Op. 25, No. 6 (Clementi).

Berceuse, Op. 13, No. 7 (Ilynsky) * Butterfly from Lyric Pieces, Op. 43, No. 1 (Grieg) * Fantasy Dance from Album-Leaves, Op.124, No. 5 (Schumann) * Mazurka in G minor (Chopin) * Musical Sketch No. 2 (Mendelssohn) * Nocturne in B-flat (Field) * Perfect Happiness from Scenes of Childhood, Op. 15, No. 5 (Schumann) * Poetic Tone Picture, Op. 3, No. 1 (Grieg) * Prelude in B minor, Op. 28, No. 6 (Chopin) * Puck from Lyric Pieces, Op. 71, No. 3 (Grieg) * Romance sans paroles, Op. 17, No. 3 (Faur�) * Solitary Flowers from Woodland Scenes, Op. 82, No. 3 (Schumann) * Song of the Lark, Op. 39, No. 22 (Tchaikovsky) * Venetian Gondola Song, Op. 19, No. 6 (Mendelssohn) * Waltz in B minor, Op. 39, No. 11 (Brahms) * Waltz in C-sharp minor, Op. 64, No. 2.

Titles: A Little Joke, Op. 27 No. 9 (Kabalevsky) * The Buccaneer (Arnold) * Come With Us! from On an Overgrown Path (Janácek) * Evening Star from A Little Book of Hours (Sculthorpe) * Gymnopédie No. 1 (Satie) * The Little Shepherd from Children's Corner (Debussy) * Melody in the Mist (Bartók) * Paprikajancsi (Bartók) * Prelude No. 2 (Delius) * Prelude in B, Op. 2 No. 2 (Scriabin) * Prelude in E minor, Op. 11 No. 4 (Scriabin) * Rumba Toccata (Harvey) * Rumores de la Caleta, Op. 71 No. 6 (Albéniz) * The Sea Is Angry (Alwyn) * Silent and Soft and Slow Descends the Snow (Benjamin) * Singing Sun from A Little Book of Hours (Sculthorpe) * Spartacus from Red Blues (Vine) * Toccatina (Reizenstein) * The Top from Humorous Bagatelles, Op. 11 (Nielsen).

Titles: A New Ground in E minor, Z. T682 (Purcell) * Allegro from Suite in D minor (Handel) * Allemande in D minor from 'L'Art de toucher le clavecin' (Couperin) * Echo from the French Overture in B minor, BWV831 (Bach) * Invention in A minor, BWV784 (Bach) * Le coucou (Daquin) * Le rappel des oiseaux (Rameau) * Prelude from Suite No. 5 in C, Z666 (Purcell) * Presto from Sonata in A (Arne) * Sarabande from Suite in D minor (Handel) * Solo for the Cembalo, BWVAnh. 129 (C.P.E. Bach) * Sonata in C, K159 (Scarlatti) * Sonata in D, K430 (Scarlatti) * Sonata in D minor 'Pastorale, ' K9 (Scarlatti) * Toccata in A major from Sonata No. 6 (Paradies)

Presents a systematic course in the essential skills and techniques required for successful sight-reading, suitable for elementary pianists. This book covers a specific range of skills, starting with separate hands within a compass of five notes, moving up to reading two staves together with varied keys, dynamics and articulation.

This is a story of the visits I made over the years to men in one particular prison. When I started, I had no idea of what the inside of a prison would be like and even less what kind of men I would be meeting. Some had short sentences, some long and one or two had no prospect of release. Mostly, they just wanted to talk, ordinary day-to-day conversation, with someone from the outside. It was a bit like chatting to an acquaintance you would bump into in your local High Street. Sometimes we sat opposite each other in a noisy, crowded Visits Hall. I have no idea what if anything the men gained from the visits. For myself, I learned a lot, so I wouldn’t have missed these visits. I was sorry when they came to an end.

A child's view of her life, framed by her father's romantic tales of Old Ireland and her mother's strong Catholic faith, may not have been considered an ideal upbringing by today's standards. Living in poor tenement housing in a time of war might have been thought of as bleak. Not so, since this story is seen through a child's eyes. Her father's stories and his way of telling them stirred her imagination. These stories never left her while her mother's faith kept her feet on the ground and left a lifelong impression. Her parents had opposing views on the Catholic Church. For her mother, it was a lifeline; for her father, it was something of a joke. This went through their lives without disrupting them. Limited education with this background meant working life for a youngster started at age 14, which would be an eye-opener for a 14-year-old today. It is Christine Brown's unique way of telling the story through a child's eyes which makes it a heartfelt read.

Focusing on the practitioner's experience, this book offers a comprehensive introduction to the theory and concepts of the person-centred approach. It emphasizes the importance of personal development in understanding and applying these principles in practice, making it a valuable resource for both new and experienced practitioners.