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    https://sophisticatedspectra.com/article/drosia-serenity-a-modern-oasis-in-the-heart-of-larnaca.2521391.html

    DROSIA SERENITY
    A Premium Residential Project in the Heart of Drosia, Larnaca

    ONLY TWO FLATS REMAIN!

    Modern and impressive architectural design with high-quality finishes Spacious 2-bedroom apartments with two verandas and smart layouts Penthouse units with private rooftop gardens of up to 63 m² Private covered parking for each apartment Exceptionally quiet location just 5–8 minutes from the marina, Finikoudes Beach, Metropolis Mall, and city center Quick access to all major routes and the highway Boutique-style building with only 8 apartments High-spec technical features including A/C provisions, solar water heater, and photovoltaic system setup.
    Drosia Serenity is not only an architectural gem but also a highly attractive investment opportunity. Located in the desirable residential area of Drosia, Larnaca, this modern development offers 5–7% annual rental yield, making it an ideal choice for investors seeking stable and lucrative returns in Cyprus' dynamic real estate market. Feel free to check the location on Google Maps.
    Whether for living or investment, this is a rare opportunity in a strategic and desirable location.

    Kim Kashkashian, Robyn Schulkowsky, Robert Levin - Dmitri Shostakovich, Linda Bouchard, Paul Chihara (1991)

    Posted By: Designol
    Kim Kashkashian, Robyn Schulkowsky, Robert Levin - Dmitri Shostakovich, Linda Bouchard, Paul Chihara (1991)

    Dmitri Shostakovich: Viola Sonata Op. 147; Linda Bouchard; Pourtinade; Paul Chihara: Redwood (1991)
    Kim Kashkashian, viola; Robyn Schulkowsky, percussion; Robert Levin, piano

    EAC | FLAC | Image (Cue&Log) ~ 219 Mb | Mp3 (CBR320) ~ 159 Mb | Scans included
    Label: ECM | # ECM New Series 1425, 847 538-2 | Time: 01:00:50
    Classical, Chamber Music

    The first two works are for viola and a battery of percussion instruments. Pourtinade, in nine sections with highly descriptive titles whose order is decided by the performers, elicits every possible sound and color effect from the viola, and an extraordinary range of blending and contrasting textural timbres from the instrumental combinations. "Redwood," inspired by Japanese woodcuts, uses the percussion as melody instruments; often it seems incredible that a single player can produce such a wealth of sounds. Opening softly and mysteriously, it becomes quite active, and then a beautiful viola solo fades away. The Shostakovich Sonata, written in the shadow of death, is heartbreakingly moving in its lamentatious mournfulness and turbulently desperate outbursts. The piano texture is pared down to skeletal spareness; the viola mourns in the dark low register and soars radiantly up high. The Scherzo is defiantly sardonic; the Finale, full of quotes from Beethoven, ends in resignation. The playing is beautiful and projects the changing moods with a riveting, inwardly experienced expressiveness.