Search results for ""Author Brückner"

Neue Sicht auf Anton Bruckner. Zu Lebzeiten erst spät gewürdigt, zählt der Komponist heute zu den großen und einflussreichen Symphonikern des 19. Jahrhunderts. Die Meinungen über Bruckners Werke gingen von Anfang an auseinander. Die widersprüchlichen Standpunkte zu seiner Person und seinem Schaffen setzen sich bis heute fort. Das ausführliche Handbuch zu Leben, Werk und Rezeption erleichtert den Zugang zu dem kontrovers rezipierten Komponisten und vermittelt neue Perspektiven jenseits von Stereotypen.

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Das Buch ist keine klassische Werkschau, sondern eine Annäherung an das architektonische Denken und Handeln, vor allem aber an die Emotionen, die das Werk von Brückner & Brückner Architekten transportiert. Am Anfang steht die Heimat und damit das Wissen darum, wie wichtig die Wurzeln sind, um auf Neues zugehen zu können. Dem folgt der Weg in die Herzkammer der Architektur von Christian und Peter Brückner, die ihr architektonisches Denken und Handeln auf wenige Begriffe herunterbrechen: Mensch, Ort, Raum und Material. Nicht die konkrete Architektur, sondern diese Essenzen des Bauens werden in den Mittelpunkt gerückt. Danach werden 36 ausgewählte Projekte präsentiert. Dabei werden Geschichten erzählt, die anekdotisch verdeutlichen, wie Brückner & Brückner bauen.

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A bold, deeply researched, and long-needed debunking of the platitudes and prejudices that have long clouded our view of the personality and compositional habits of Anton Bruckner. Bruckner was, and continues to be, among the most divisive figures in the history of nineteenth-century music, in large part owing to the complexities and contradictions of his personality and the amalgam of differing stylistic features that characterize his musical language. Miguel J. Ramirez's insightful book scrutinizes the stereotypes about Bruckner's personality that loom large in the public imagination, the controversial editorial policies behind the publication of his collected works, and the trends in the reception of his music that were set early on by a handful of Viennese journalists. Working to undo the platitudes and prejudices that cloud our view of Bruckner's true personality and compositional habits, this study debunks the entrenched misconception that he was a helpless victim of "the Vienne

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Zum 200. Geburtstag von Anton Bruckner legt Felix Diergarten die lang erwartete, grundlegend neu recherchierte Biographie vor. Zugänglich und anschaulich geschrieben, werden alte und neue Bruckner-Bilder anhand der Quellen überprüft. Jedes der 25 chronologisch angeordneten Kapitel beleuchtet eine Lebensphase, eine Begebenheit, einen Ort oder ein besonderes Thema aus Bruckners Leben mit Musik. Das Buch macht so erfahrbar, wie sich Bruckners Kompositionen in seine Lebenswelten fügen: vom oberösterreichischen Dorf in die Metropolen Europas, vom Dorfschulhaus an die Universität, von der Dorfkirche an den neugotischen Dom, von den Dorfmusikanten zu den Wiener Philharmonikern.

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The question of what medieval "courtliness" was, both as a literary influence and as a historical "reality", is debated in this volume. The concept of courtliness forms the theme of this collection of essays. Focused on works written in the Francophone world between the twelfth and fifteenth centuries, they examine courtliness as both an historical privilege and aliterary ideal, and as a concept that operated on and was informed by complex social and economic realities. Several essays reveal how courtliness is subject to satire or is the subject of exhortation in works intended for noblemen and women, not to mention ambitious bourgeois. Others, more strictly literary in their focus, explore the witty, thoughtful and innovative responses of writers engaged in the conscious process of elevating the new vernacular culture through the articulation of its complexities and contradictions. The volume as a whole, uniting philosophical, theoretical, philological, and cultural approaches, demonstrates that medieval "courtliness" is an ideal that fascinates us to this day. It is thus a fitting tribute to the scholarship of Matilda Tomaryn Bruckner, in its exploration of the prrofound and wide-ranging ideas that define her contribution to the field. DANIEL E O'SULLIVAN is Associate Professor of French at the University of Mississippi; LAURIE SHEPHARD is Associate Professor of Italian at Boston College in Chestnut Hill, Massachusetts. Contributors: Peter Haidu, Donald Maddox, Michel-André Bossy, Kristin Burr, Joan Tasker Grimbert, David Hult, Virgine Greene, Logan Whalen, Evelyn Birge Vitz, Elizabeth W. Poe, Daniel E. O'Sullivan, William Schenck, Nadia Margolis, Laine Doggett, E. Jane Burns, Nancy FreemanRegalado, Laurie Shephard, Sarah White

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Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony.Volume IV The Second Golden Age of the Viennese SymphonyBrahms, Bruckner, Dvorák, Mahler, and Selected ContemporariesAlthough during the mid-19th century the geographic center of the symphony in the Germanic territories moved west and north from Vienna to Leipzig, during the last third of the century it returned to the old Austrian lands with the works of Brahms, Bruckner, Dvorák, and Mahler. After nearly a half century in hibernation, the sleeping Viennese giant awoke to what some viewed as a reincarnation of Beethoven with the first hearing of Brahms's Symphony No. 1, which was premiered at Vienna in December 1876. Even though Bruckner had composed some gigantic symphonies prior to Brahms's first contribution, their full impact was not felt until the composer's complete texts became available after World War II. Although Dvorák was often viewed as a nationalist composer, in his symphonic writing his primary influences were Beethoven, Schubert, and Brahms. For both Bruckner and Mahler, the symphony constituted the heart of their output; for Brahms and Dvorák, it occupied a less central place. Yet for all of them, the key figure of the past remained Beethoven. The symphonies of these four composers, together with the works of Goldmark, Zemlinsky, Schoenberg, Berg, Smetana, Fibich, Janácek, and others are treated in Volume IV, The Second Golden Age of the Viennese Symphony, covering the period from roughly 1860 to 1930.

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Sixteen-year-old Walt thinks he's left his problems behind him when he runs away from a broken home to live with his eccentric uncle. The simple, semi-rural, semi-anti-social lifestyle seems at first to be exactly what Walt wants, but he soon learns his new life isn't just about ditching school and drinking beer with his friends.Uncle Brucker is a Rat Killer; a tireless rat tracker, an expert in rat lore, a speaker of the rat language, and a decorated veteran of two bloody uprisings. His uncle begins to train Walt in the ways of rat killing, and explains to his nephew the ancient and bloody history of men and rats. Before the rise of men, he says, rats ruled the earth. They've been hiding in another dimension ever since they were kicked out by humanity, planning to retake the planet.In the middle of Walt's training, Uncle Brucker is called away by mysterious men from the government. When he fails to return from his mission, Walt discovers a portal to the rat dimension and realizes he must travel alone to Rat Land to save his uncle. Perhaps the most unusual dark fantasy debut of the year, Uncle Brucker the Rat Killer is a surreal exploration of honor, duty, and inter-dimensional genocide.

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Fascism, communism, genocide, slavery, racism, imperialism--the West has no shortage of reasons for guilt. And, indeed, since the Holocaust and the end of World War II, Europeans in particular have been consumed by remorse. But Pascal Bruckner argues that guilt has now gone too far. It has become a pathology, and even an obstacle to fighting today's atrocities. Bruckner, one of France's leading writers and public intellectuals, argues that obsessive guilt has obscured important realities. The West has no monopoly on evil, and has destroyed monsters as well as created them--leading in the abolition of slavery, renouncing colonialism, building peaceful and prosperous communities, and establishing rules and institutions that are models for the world. The West should be proud--and ready to defend itself and its values. In this, Europeans should learn from Americans, who still have sufficient self-esteem to act decisively in a world of chaos and violence. Lamenting the vice of anti-Americanism that grips so many European intellectuals, Bruckner urges a renewed transatlantic alliance, and advises Americans not to let recent foreign-policy misadventures sap their own confidence. This is a searing, provocative, and psychologically penetrating account of the crude thought and bad politics that arise from excessive bad conscience.

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The sexual revolution is justly celebrated for the freedoms it brought--birth control, the decriminalization of abortion, the liberalization of divorce, greater equality between the sexes, women's massive entry into the workforce, and more tolerance of homosexuality. But as Pascal Bruckner, one of France's leading writers, argues in this lively and provocative reflection on the contradictions of modern love, our new freedoms have also brought new burdens and rules--without, however, wiping out the old rules, emotions, desires, and arrangements: the couple, marriage, jealousy, the demand for fidelity, the war between constancy and inconstancy. It is no wonder that love, sex, and relationships today are so confusing, so difficult, and so paradoxical. Drawing on history, politics, psychology, literature, pop culture, and current events, this book--a best seller in France--exposes and dissects these paradoxes. With his customary brilliance and wit, Bruckner traces the roots of sexual liberation back to the Enlightenment in order to explain love's supreme paradox, epitomized by the 1960s oxymoron of "free love": the tension between freedom, which separates, and love, which attaches. Ashamed that our sex lives fail to live up to such liberated ideals, we have traded neuroses of repression for neuroses of inadequacy, and we overcompensate: "Our parents lied about their morality," Bruckner writes, but "we lie about our immorality." Mixing irony and optimism, Bruckner argues that, when it comes to love, we should side neither with the revolutionaries nor the reactionaries. Rather, taking love and ourselves as we are, we should realize that love makes no progress and that its messiness, surprises, and paradoxes are not merely the sources of its pain--but also of its pleasure and glory.

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UN INTELIGENTE, BELLO, APASIONANTE Y CRUDO ENSAYO QUE NOS INVITA A VER DE FORMA DISTINTA ESA EDAD AVANZADA A LA QUE TODOS LLEGAMOS.Un libro imprescindible para hacer de la última etapa de nuestras vidas la más feliz y fundamental.Antonio BasantaEl excelente ensayo de Pascal Bruckner no se conforma con explorar las preguntas existenciales que conlleva la reciente extensión de los años de vida, sino que se fija también en sus trampas y ambivalencias.Le MondeEl ensayista francés Pascal Bruckner publica una elegante y personal reflexión filosófica sobre el arte de aceptar la vejez.L;ExpressAutobiografía intelectual y, al mismo tiempo, un manifiesto, este libro trata un solo tema: el largo tiempo de vida. Considera esta etapa intermedia, una vez rebasados los cincuenta años de edad, en la que no se es ni joven ni viejo, sino que siempre se está habitado por apetitos abundantes.PASCAL BRUCKNER, de la introducciónEl reconocido filósofo Pascal Bruckner plantea en est

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Money is an evil that does good, and a good that does evil. It inspires hymns to the prosperity it enables, manifestos about the poor it leaves behind, and diatribes for its corrosion of morality. In The Wisdom of Money, one of the world’s great essayists guides us through the rich commentary that money has generated since ancient times—both the passions and the resentments—as he builds an unfashionable defense of the worldly wisdom of the bourgeoisie.Bruckner begins with the worshippers and the despisers. Sometimes they are the same people—priests, for example, who venerate the poor from within churches of opulence and splendor. This hypocrisy endures in our secular world, he says, not least in his own France, where it is de rigueur even among the rich to feign indifference to money. It is better to speak plainly about money in the old American fashion, in Bruckner’s view. A little more honesty would allow us to see through the myths of money’s omnipotence but also the dangers of the aristocratic, ideological, and religious systems of thought that try to put money in its place. This does not mean we should emulate the mega-rich with their pathologies of consumption, competition, and narcissistic philanthropy. But we could do worse than defy three hundred years of derision from novelists and poets to embrace the unromantic bourgeois virtues of work, security, and moderate comfort. It is wise to have money, Bruckner tells us, and wise to think about it critically.

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‘Islamophobia’ is a term that has existed since the nineteenth century. But in recent decades, argues Pascal Bruckner in his controversial new book, it has become a weapon used to silence criticism of Islam. The term allows those who brandish it in the name of Islam to ‘freeze’ the latter, making reform difficult. Whereas Christianity and Judaism have been rejuvenated over the centuries by external criticism, Islam has been shielded from critical examination and has remained impervious to change. This tendency is exacerbated by the hypocrisy of those Western defenders of Islam who, in the name of the principles of the Enlightenment, seek to muzzle its critics while at the same time demanding the right to chastise and criticize other religions. These developments, argues Bruckner, are counter-productive for Western democracies as they struggle with the twin challenges of immigration and terrorism. The return of religion in those democracies must not be equated with the defence of fanaticism, and the right to religious freedom must go hand in hand with freedom of expression, an openness to criticism, and a rejection of all forms of extremism. There are already more than enough forms of racism; there is no need to imagine more. While all violence directed against Muslims is to be strongly condemned and punished, defining these acts as ‘Islamophobic’ rather than criminal does more to damage Islam and weaken the position of Muslims than to strengthen them.

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One of the most important medieval authors studied in historical and literary context. Chrétien de Troyes is arguably the creator of Arthurian romance, and it is on his work that later writers have based their interpretations. This book offers both crucial information on, and a comprehensive coverage of, all aspectsof the work of Chrétien de Troyes - the literary and historical background, patronage, his influence on other writers, manuscripts and editions of his work and, at the heart of the volume, major essays on his themes, techniques and artistic achievements in each of his compositions; the contributions, all from leading experts in Chrétien and related studies, have been commissioned especially for this volume and are designed to remain accessible to studentswhile also addressing specialists in Arthurian studies and Chrétien de Troyes. They reflect the most current critical and scholarly views on one of the greatest of medieval authors. CONTRIBUTORS: JOHN W. BALDWIN, JUNE HALL MCCASH, LAURENCE HARF-LANCNER, NORRIS J. LACY, DOUGLAS KELLY, KEITH BUSBY, PETER F. DEMBOWSKI, ROBERTA L. KRUEGER, DONALD MADDOX, SARA STURM-MADDOX, JOAN TASKER GRIMBERT, MATILDA TOMARYN BRUCKNER, TONY HUNT, RUPERT T. PICKENS, ANNIE COMBES, MICHELLE SZKILNIK, EMMANUELE BAUMGARTNER

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‘Islamophobia’ is a term that has existed since the nineteenth century. But in recent decades, argues Pascal Bruckner in his controversial new book, it has become a weapon used to silence criticism of Islam. The term allows those who brandish it in the name of Islam to ‘freeze’ the latter, making reform difficult. Whereas Christianity and Judaism have been rejuvenated over the centuries by external criticism, Islam has been shielded from critical examination and has remained impervious to change. This tendency is exacerbated by the hypocrisy of those Western defenders of Islam who, in the name of the principles of the Enlightenment, seek to muzzle its critics while at the same time demanding the right to chastise and criticize other religions. These developments, argues Bruckner, are counter-productive for Western democracies as they struggle with the twin challenges of immigration and terrorism. The return of religion in those democracies must not be equated with the defence of fanaticism, and the right to religious freedom must go hand in hand with freedom of expression, an openness to criticism, and a rejection of all forms of extremism. There are already more than enough forms of racism; there is no need to imagine more. While all violence directed against Muslims is to be strongly condemned and punished, defining these acts as ‘Islamophobic’ rather than criminal does more to damage Islam and weaken the position of Muslims than to strengthen them.

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Happiness today is not just a possibility or an option but a requirement and a duty. To fail to be happy is to fail utterly. Happiness has become a religion--one whose smiley-faced god looks down in rebuke upon everyone who hasn't yet attained the blessed state of perpetual euphoria. How has a liberating principle of the Enlightenment--the right to pursue happiness--become the unavoidable and burdensome responsibility to be happy? How did we become unhappy about not being happy--and what might we do to escape this predicament? In Perpetual Euphoria, Pascal Bruckner takes up these questions with all his unconventional wit, force, and brilliance, arguing that we might be happier if we simply abandoned our mad pursuit of happiness. Gripped by the twin illusions that we are responsible for being happy or unhappy and that happiness can be produced by effort, many of us are now martyring ourselves--sacrificing our time, fortunes, health, and peace of mind--in the hope of entering an earthly paradise. Much better, Bruckner argues, would be to accept that happiness is an unbidden and fragile gift that arrives only by grace and luck. A stimulating and entertaining meditation on the unhappiness at the heart of the modern cult of happiness, Perpetual Euphoria is a book for everyone who has ever bristled at the command to "be happy."

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Why are we fascinated by mountains? These outcrops of rock were once considered unsightly, something to be avoided at all costs, but, since Rousseau, they have been contrasted with our corrupt cities and viewed as serene enclaves of beauty and relaxation. But why climb to the summit only to come back down again? Why does the toil of climbing convert into joy? What metaphysics of the absolute is playing out here – what challenge does climbing pose to time and ageing, to fearful panic, to the brush with danger which leads to conquest? It’s not faith that elevates mountains – it’s mountains that elevate our faith in challenging us to overcome them. These hooded majesties crush some people while exalting others. For the latter, climbing means being born again, reaching a state of exhilaration. Being seized by exhaustion upon arriving at the summit is akin to casting your eyes upon paradise. Is it the stinging cold, the wind so strong that it almost knocks you down, or is it higher powers that speak to us in this mixture of terror and beauty? A child of the mountains who spent his youth in Austria and Switzerland, Pascal Bruckner has special ties to the subject of this book: the further he climbs, the more he reconnects to his past. In sparkling and sensual prose, Bruckner’s paean to the majesty of mountains weaves together things seen and things read, childhood memories, literature and philosophy, interlaced with reflections on life, ageing and the unrivalled beauty of an ecosystem that we are in danger of destroying.

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Un buen hijo es la historia de un amor imposible. El amor a un individuo despreciable. Un fascista autoritario y mujeriego que es a la vez un hombre culto y de firmes convicciones, y que resulta ser el padre del propio Bruckner. Semejante conflicto filial da paso a una maravillosa novela de formación, personal e intelectual, de quien es uno de los escritores más sólidos y controvertidos del panorama actual de las letras francesas. El hijo adulto se enfrenta en primera persona y sin ningún tipo de máscara narrativa a un personaje por el que siente, a un tiempo, rechazo y compasión, en un relato que nace del odio pero que va adquiriendo un inesperado y reconfortante tinte de ternura. Semejante giro acaba por sorprender al propio narrador. Bruckner no puede culminar su particular condena al padre, y ve cómo el inspirador rencor de partida se va derritiendo para dejar paso a un tímido cariño, que no comprensión, y a la certeza definitiva de que no es posible juzgar de forma absoluta los co

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The planet is sick. Human beings are guilty of damaging it. We have to pay. Today, that is the orthodoxy throughout the Western world. Distrust of progress and science, calls for individual and collective self-sacrifice to ‘save the planet’ and cultivation of fear: behind the carbon commissars, a dangerous and counterproductive ecological catastrophism is gaining ground. Modern society’s susceptibility to this kind of thinking derives from what Bruckner calls “the seductive attraction of disaster,” as exemplified by the popular appeal of disaster movies. But ecological catastrophism is harmful in that it draws attention away from other, more solvable problems and injustices in the world in order to focus on something that is portrayed as an Apocalypse. Rather than preaching catastrophe and pessimism, we need to develop a democratic and generous ecology that addresses specific problems in a practical way.

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Based in Vienna and Munich, AllesWirdGut was founded in 1999 by Andreas Marth, Friedrich Passler, Herwig Spiegl and Christian Waldner. The name is the office’s motto: in addition to high-quality housing, which also offers considerable flexibility and adaptability, the internationally operative office focuses on added social value. For instance, this is evident in the case of the widely appreciated social project magdas Hotel, a meeting place in Vienna. The most renowned projects among the office’s oeuvre of over 70 buildings include the Hanhoopsfeld campus in Hamburg and the Bruckner Tower in Linz, which was completed in 2021. Text in English and German.

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The planet is sick. Human beings are guilty of damaging it. We have to pay. Today, that is the orthodoxy throughout the Western world. Distrust of progress and science, calls for individual and collective self-sacrifice to ‘save the planet’ and cultivation of fear: behind the carbon commissars, a dangerous and counterproductive ecological catastrophism is gaining ground. Modern society’s susceptibility to this kind of thinking derives from what Bruckner calls “the seductive attraction of disaster,” as exemplified by the popular appeal of disaster movies. But ecological catastrophism is harmful in that it draws attention away from other, more solvable problems and injustices in the world in order to focus on something that is portrayed as an Apocalypse. Rather than preaching catastrophe and pessimism, we need to develop a democratic and generous ecology that addresses specific problems in a practical way.

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Great Unaccompanied Motets include the well known Gradual Motets Christus Factus est and Locus iste , which are central to this collection, featuring Anton Bruckner's stunning choral output . Set for SATB choir(some divisi), these pieces are among the most enduring choral masterworks of the 19th century. Simon Halsey's performing edition includes an informative introduction, keyboard reductions for rehearsal only and English translations of the Latin texts for reference. The Choral Programme Series is now a well-established programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles. Also offering great value for money as each volume in the series provides up to forty minutes of music.

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The novels of Paul Auster—finely wrought, self-reflexive, filled with doublings, coincidences, and mysteries—have captured the imagination of readers and the admiration of many critics of contemporary literature. In Beyond the Red Notebook, the first book devoted to the works of Auster, Dennis Barone has assembled an international group of scholars who present twelve essays that provide a rich and insightful examination of Auster's writings. The authors explore connections between Auster's poetry and fiction, the philosophical underpinnings of his writing, its relation to detective fiction, and its unique embodiment of the postmodern sublime. Their essays provide the fullest analysis available of Auster's themes of solitude, chance, and paternity found in works such as The Invention of Solitude, City of Glass, Ghosts, The Locked Room, In the Country of Last Things, Moon Palace, The Music of Chance, and Leviathan. This volume includes contributions from Pascal Bruckner, Marc Chenetier, Norman Finkelstein, Derek Rubin, Madeleine Sorapure, Stephen Bernstein, Tim Woods, Steven Weisenburger, Arthur Saltzman, Eric Wirth, and Motoyuki Shibata. The extensive bibliography, prepared by William Drenttel, will greatly benefit both scholars and general readers.

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Haydn to Humperdinck, show tunes to spirituals - variety is the spice of musical life and the essence of First Repertoire for Viola. These three books combine over 60 carefully graded elementary pieces which skilfully explore the viola's unique sonorities and provide a superb introductory literature for the young player. **ABRSM selected piece (Viola 2008-2015): Now is the month of Maying (Morley) Evening Hymn (Bruckner) March (Baklanova) **Trinity College London selected pieces (Viola 2010-2012): Country Gardens (Trad.) Now is the month of Maying (Morley) Lament (Trad. Hungarian) Aria: Love Leads to Battle (Bononcini) Rigaudon (Rameau) Papageno’s Song (Mozart)

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You could do insane twenty hours shifts in theatre. You could be mother of ten children. You could be toughest whore on the block. You contain all possibilities. You are the ultimate cliché of youth's incredible potential.Promiscuous, pitiless and bored, six sexually entangled medical students restlessly wander in and out of a boarding house, cramming, drinking, taunting, spying. Freder sets about savagely experimenting with the young, pretty maid, with half an eye on his former lover Desiree, a wild, disillusioned aristocrat. Petrell abandons Marie for the ruthless underdog Irene. Marie doesn't waste any time weeping - Desiree wants her. Bourgeois existence or suicide. There are no other choices. Vienna, 1923. A discontented post-war generation diagnose youth to be their sickness and do their best to destroy it. A shocking, erotically charged play by Austrian writer Ferdinand Bruckner, presented in a compelling new version by Martin Crimp.

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Das reich bebilderte Buch untersucht die Präsentation von Dingen und Ideen durch szenografische Raumgestaltung. Sein besonderer Schwerpunkt liegt in der Darstellung ihrer historischen Entwicklung, die durch thematische Exkurse ergänzt wird: Von Musentempeln der Antike über Schatzkammern und Sammlungen bis hin zu bekannten Gestaltern, Universal Design und Science Center werden räumliche Vermittlungsstrategien anschaulich dargestellt und erläutert. Die historische Chronologie wirkt dabei als ordnende Systematik, die vergessene, jedoch inspirierende Praktiken sichtbar macht, seien sie anonymer oder künstlerischer Natur. Der Leser kann so etwa über die Erfindung von Vitrinen nachlesen oder Arbeitsweisen großer Ausstellungsmacher wie Rudofsky und Szeemann oder zeitgenössischer Büros wie Brückner und Merz kennenlernen.

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The first detailed study of a prolific and influential early twentieth-century composer, critic, educator-a true sage of music. In the early 1900s, August Halm was widely acknowledged to be one of the most insightful and influential authors of his day on a wide range of musical topics. Yet, in the eighty years since his untimely death at age 59 (in 1929),Halm -- the author of six widely read books and over 100 essays -- has received much less attention than such contemporaries as Hugo Riemann, Heinrich Schenker, Ernst Kurth, and Arnold Schoenberg. Lee Rothfarb's engaging and deeply researched study provides the missing images that comprise the multifaceted life of this astute musical sage. August Halm: A Critical and Creative Life in Music begins by setting the cultural stage and examining Halm's life with rich details from unpublished personal letters, diaries, notebooks, and lecture notes. Further chapters explore Halm's notion of musical logic and his proposal that the evolution of compositional technique had, by hisday, culminated in three successive musical "cultures" epitomized in Bach (fugue), Beethoven (sonata), and Bruckner (symphony). Another chapter examines, for the first time anywhere, Halm's own compositions, their motivating aesthetic premises, and their connection with late twentieth-century postmodernism. The volume closes with an assessment of Halm's significance for present-day music theory, including its branches that deal with narrativity, plot theory, embodiment, and semiotics. Halm's subject matter and creative activities ranged widely, and he aimed at maintaining a style that would be accessible and intriguing to music amateurs and music educators at all levels. LeeRothfarb's book -- written in the same spirit -- will interest not only music theorists and musicologists but also composers and classroom and private music teachers. Lee Rothfarb is Professor of Music at the University of California, Santa Barbara. His previous publications include Ernst Kurth as Theorist and Analyst and Ernst Kurth: Selected Writings.

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A pathbreaking, new intellectual biography of the composer and conductor Wilhelm Furtwängler. Wilhelm Furtwängler (1886-1954) has entered the historical memory as a renowned interpreter of the canon of Austro-German musical masterworks. His extensive legacy of recorded performances of Beethoven, Brahms, Bruckner and Wagneris widely regarded as unsurpassed. Yet more than sixty years after his death he remains a controversial figure: the complexities and equivocacy of his high-profile position within the Third Reich still cast a long shadow over hisreputation. This book builds an intellectual biography of Furtwängler, probing this ambiguity, through a critical examination of his extensive series of essays, addresses and symphonies. It traces the development of his thought from its foundations in late nineteenth-century traditions of Bildung and associated discourses of conservative-minded nationalism, through the turbulent years of the Weimar Republic and the cultural and moral dilemmasof the Nazi period, to the post-World War II years of Bundesrepublik reconstruction, in which the beleaguered idealist found himself adrift in an alien cultural environment overshadowed by the unfolding narrative of the Nazi holocaust. The book will be of interest not only to music scholars but to cultural and intellectual historians as well. ROGER ALLEN is a Fellow of St Peter's College, Oxford and author of Richard Wagner's Beethoven (1870): A New Translation (Boydell Press, 2014)

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A pesar del tiempo transcurrido desde su redacción, este finísimo ensayo de PascalBruckner sobre los extravíos del cosmopolitismo? la globalización?sigue siendode una increíble actualidad: Un combate titánico enfrenta a dos posturas, tanalérgicas la una a la otra como el capitalismo al comunismo: la postura nacionalistay xenófoba, aferrada a su patrimonio, y la postura cosmopolita, ávida de losotros y de cambiar la estrechez nacional por un ropaje más amplio. Para superarla estéril confrontación de posiciones, el filósofo intenta pensar en el espacio de uncosmopolitismo no adocenado, en el que la diferencia entre las culturas no impida larelación, ni ésta anule las diferencias.

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The unique scholarship and artistic sensitivity of Prof. Dr Hermann Beckh (1875–1937) is in the process of being rediscovered. The great linguist, Orientalist and Christian priest – an active music-lover who also composed – penned pioneer works on our musical system that are respected by musicians and musicologists. This volume brings together two revised versions of his best-loved books. The Essence of Tonality is written ‘…for musicians and music-lovers who, because of their particular musicality experience something spiritual – and for spiritual seekers and sensitive people who, because of their particular spirituality, have experienced a connection with music.’ Beckh believed a spiritual view of tonality would ensure music’s, and humanity’s, future. The author elucidates the correspondence of the circle of fifths (the keys) to the zodiac. Research should be directed towards the twelve vital, spiritual key-centres, as expressing the cosmic rhythms in which we all live, rather than the abstract twelve chromatic notes of atonality. In The Parsifal Christ-Experience, Beckh’s original insights throw new and powerful light on the search for meaning in our age, for a knowledge of the heart. In the poetic libretto and remarkable music of his final creation, Wagner – acknowledged by Bruckner as ‘the Master’ – presents the Grail legend and its imagery. The psychological drama and its ultimate solution provide insights to anyone who is prepared to reflect on inner experience. Through Beckh’s references to Wagner’s own letters, as well as a remarkable letter from Nietzsche, the reader gains knowledge of the true nature of Wagner and his work.

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In the age of MapQuest and GPS, we take cartographic literacy for granted. We should not; the ability to find meaning in maps is the fruit of a long process of exposure and instruction. A ""carto-coded"" America - a nation in which maps are pervasive and meaningful - had to be created. The Social Life of Maps tracks American cartography's spectacular rise to its unprecedented cultural influence. Between 1750 and 1860, maps did more than communicate geographic information and political pretensions. They became affordable and intelligible to ordinary American men and women looking for their place in the world. School maps quickly entered classrooms, where they shaped reading and other cognitive exercises; giant maps drew attention in public spaces; miniature maps helped Americans chart personal experiences. In short, maps were uniquely social objects whose visual and material expressions affected commercial practices and graphic arts, theatrical performances and the communication of emotions. This lavishly illustrated study follows popular maps from their points of creation to shops and galleries, schoolrooms and coat pockets, parlors and bookbindings. Between the decades leading up to the Revolutionary War and the Civil War, early Americans bonded with maps; Martin Bruckner's comprehensive history of quotidian cartographic encounters is the first to show us how.

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German society's inability and/or refusal to come to terms with its Nazi past has been analyzed in many cultural works, including the well-known books Society without the Father and The Inability to Mourn. In this pathfinding study, Susan Linville challenges the accepted wisdom of these books by focusing on a cultural realm in which mourning for the Nazi past and opposing the patriarchal and authoritarian nature of postwar German culture are central concerns—namely, women's feminist auto/biographical films of the 1970s and 1980s. After a broad survey of feminist theory, Linville analyzes five important films that reflect back on the Third Reich through the experiences of women of different ages—Marianne Rosenbaum's Peppermint Peace, Helma Sanders-Brahms's Germany, Pale Mother, Jutta Brückner's Hunger Years, Margarethe von Trotta's Marianne and Juliane, and Jeanine Meerapfel's Malou. By juxtaposing these films with the accepted theories on German culture, Linville offers a fresh appraisal not only of the films' importance but especially of their challenge to misogynist interpretations of the German failure to grieve for the horrors of its Nazi past.

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Christopher Fifield's remarkable study explores the personality, life and work of a conductor who influenced and inspired the leading composers, singers and instrumentalists of his day. The Austro-Hungarian Hans Richter (1843-1916) was the first career-conductor to gain international fame. His first appointment was to Budapest, and he went on to dominate music-making in Vienna, Bayreuth, London, Manchester (withthe Hallé Orchestra) and other towns and cities in Britain and Europe between 1865 and 1912. Richter gave first performances of works by Wagner, Brahms, Elgar, Bruckner, Tchaikovsky, Stanford and Parry and helped to further the careers of Dvorák, Sibelius, Bartók and Glazunov. Christopher Fifield's remarkable study explores the personality, life and work of a conductor who influenced and inspired the leading composers, singers and instrumentalists of his day. Originally published in 1993, this revised and expanded edition contains extensive new material in the form of Richter's conducting books. Translated and reproduced in full, they detail every one of the 4,351 public performances Richter gave in a professional life spanning 47 years. Drawing on Richter's own diaries, the book also presents his correspondence with many contemporary composers (Wagner in particular) and performers. Fifield's biography of this seminal figure provides a revealing insight into British and European music and concert life during the long nineteenth century. CHRISTOPHER FIFIELD is a conductor, music historian, lecturer and broadcaster.He is the editor and author of the Letters and Diaries of Kathleen Ferrier and Max Bruch: His Life and Works, both published in new editions by The Boydell Press. He has also written Ibbs & Tillett - The rise andfall of a Musical Empire and The German Symphony between Beethoven and Brahms.

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_______________ ‘Edward Said had a lifelong passion for music, and possessed the rare ability to write about it for the general reader with a lucid and penetrating intelligence' - TLS ‘There are few whose command of words is sufficient not only to illuminate music, but to help music illuminate the world of those who make and listen to it. Said was one' - Daily Telegraph 'The sheer eloquence of Said's writings reminds us that with his untimely death we have lost one of our most distinguished music critics.' - Maynard Solomon, The Julliard School _______________ WITH A FOREWORD BY DANIEL BARENBOIM Music at the Limits brings together three decades of Edward W. Said's essays and articles on music. Addressing the work of a wide variety of composers and performers, Said analyses music's social and political contexts, and provides rich and often surprising assessments. He reflects on the censorship of Wagner in Israel; the relationship between music and feminism; and the works of Beethoven, Bruckner, Rossini, Schumann, Stravinsky and others. Always eloquent and often surprising, Music at the Limits reinforces Said's reputation as one of the most influential writers of the twentieth century. _______________ ‘This fine collection by one of the most perceptive music critics of the last half-century is highly recommended' - Library Journal

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