The most straightforward signed coin transposition between you and two spectators. The most powerful and memorable magic is the one that happens in the hands of the audience. A half dollar is examined or borrowed and initialed on each side by two spectators. One spectator holds a purse from the start, the other is given the signed coin and closes the hand. He sees the signed coin in his hand before closing it. At that moment, the magic begins: The magician makes a quarter dollar transpose with the signed coin… now the spectator opens the hand, he has the quarter, and you have the signed coin. But that's NOT ALL! Now you point to the second spectator holding the purse, and making a gesture, the signed coin vanishes from you hand only to reappear inside the purse or wallet. The spectator HIMSELF removes the coin and checks the "Signatures"!
New York Coin Magic Seminar Volumes 1-13 (2005-2010) is a 13 DVD set dedicated to exploring the art of Coin Magic. For 8 years, Mike Rubinstein, David Roth, and Mike Gallo have hosted a weekend seminar featuring lectures, presentations and workshops on coin magic. Each of these seminars have been captured on film with the effects, lessons and methods taught in excellent detail. With 13 volumes of coin magic, the New York Coin Magic Seminar collection provides a complete collection of coin magic to learn, appreciate and study.
New York Coin Magic Seminar Volumes 1-4, 8-13 is a 16 DVD set dedicated to exploring the art of Coin Magic. For 8 years, Mike Rubinstein, David Roth, and Mike Gallo have hosted a weekend seminar featuring lectures, presentations and workshops on coin magic. Each of these seminars have been captured on film with the effects, lessons and methods taught in excellent detail. With 16 volumes of coin magic, the New York Coin Magic Seminar collection provides a complete collection of coin magic to learn, appreciate and study.
Nine cello sonatas by Vivaldi have survived. Six of them were published as a set in Paris in about 1740; that set, mistakenly known as the composer's Op. 14, contains the sonatas recorded in this release. The three remaining sonatas come from manuscript collections. All but one of the six works are cast in the slow-fast-slow-fast pattern of movements of the sonata da chiesa. The odd one out, RV46, in fact, retains the four movement sequence but inclines towards the sonata da camera in the use of dance titles. The music of these sonatas is almost consistently interesting, often reaching high points of expressive eloquence, as we find, for example, in the justifiably popular Sonata in E minor, RV40. Christophe Coin brings to life these details in the music with technical assurance and a spirit evidently responsive to its poetic content. Particularly affecting instances of this occur in the third movements of the A minor and the E minor Sonatas where Coin shapes each phrase, lovingly achieving at the same time a beautifully sustained cantabile.
Following his attractive performance of six of Vivaldi's cello sonatas, Christophe Coin has recorded six of the composer's 24 or so concertos for the instrument. Five of these, Michael Talbot tells us in an interesting accompanying note, probably belong to the 1720s while the sixth, the Concerto in G minor (RV416), is evidently a much earlier work. Coin has chosen, if I may use the expression somewhat out of its usual context, six of the best and plays them with virtuosity and an affecting awareness of their lyrical content. That quality, furthermore, is not confined to slow movements but occurs frequently in solo passages of faster ones, too. It would be difficult to single out any one work among the six for particular praise. My own favourite has long been the happily spirited Concerto in G major (RV413) with which Coin ends his programme. Strongly recommended. (Gramophone Magazine)
Somehow the grandfather of British blues still had the fire in his belly to record a strong album almost 40 years after he began his storied career. Buddy Whittington acquits himself well as the latest in a long line of hotshot guitarists for this multi-instrumentalist, who still does his best work on harmonica. He still admires long-dead bluesman J.B. Lenoir, including "Voodoo Music" here. A lot of credit for this strong outing goes to R.S. Field, lyricist and sometime producer for Webb Wilder. "Long Story Short" would pass for a Wilder tune were it not for Mayall's distinctive voice.