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  Wagner in Words and Music

  Davinia Caddy

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  The Bayreuth Festspielhaus stands today as a testament to Richard Wagner’s ambition and self-importance – a theatre designed and built solely for the performances of his immersive ‘music dramas’. From the influence of Beethoven to the transcendental properties of his greatest music, Wagner’s work became a cornerstone of European musical culture, but what kind of journey took him towards this remarkable achievement? In this fascinating audio biography we hear about Wagner’s tempestuous personal life, his controversial political views and his struggles to establish himself as one of the most influential musical visionaries of the 19th century. The narrative is illustrated with excerpts from all of the best-loved operas including the Ring cycle, Tristan und Isolde, Lohengrin, Der fliegende Holländer, Parsifal, and more.

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  XENOPHON: Athens vs Sparta - Why...

  Xenophon

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  The Polity of the Lacedaemonians talks about the laws and institutions created by Lycurgus, which train and develop Spartan citizens from birth to old age. It only because of Xenophon that we have most of our knowledge about the Spartans. Xenophon the Athenian was born 431 B.C. He was a pupil of Socrates. He marched with the Spartans, and was exiled from Athens which may explain why he is so negative and sarcastic when describing the Athenian democracy. Sparta gave him land and property in Scillus, where he lived for many years before having to move once more, to settle in Corinth. He died in 354 B.C.. 
  "But having realised at one time that Sparta, although one of the most sparsely populated of cities, proved to be the most powerful and most renowned city in Greece, I wondered how could this possibly have happened. However, when I perceived the practices of the Spartans, I wondered no longer".  This .is a treatise by the ancient Greek historian Xenophon, describing the institutions, customs, and practices of the ancient Spartans. The work examines the reasons for Sparta's power and renown, despite the city state's sparse population. There are fifteen chapters: the first thirteen enumerate the practices and institutions that made Sparta great; the last two describe Sparta's decline and the survival of its monarchy. The Polity dates to the period between 387 and 375 BC, and is the only contemporary account of the Spartan political system which survives. Together with Plutarch's "Life of Lycurgus", it provides the most detailed surviving description of the Spartan state, and is considered the best source of information about Spartan women during classical antiquity. 
  Xenophon then describes the laws and customs of the city state Athens in the Polity of the Athenians.

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  Rembrandt Is in the Wind -...

  Russ Ramsey, Makoto Fujimura

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  How do art and faith intersect? How does art help us see our own lives more clearly? What can we understand about God and humanity by looking at the lives of artists?   
  Striving for beauty, art also reveals what is broken. It presents us with the tremendous struggles and longings common to the human experience. And it says a lot about our Creator too. Great works of art can speak to the soul in a unique way. 
  Rembrandt Is in the Wind is an invitation to discover some of the world's most celebrated artists and works and how each of them illuminates something about God, people, and the purpose of life. Part art history, part biblical study, part philosophy, and part analysis of the human experience, this book is nonetheless all story. 
  From Michelangelo to Vincent van Gogh to Edward Hopper, the lives of the artists in this book illustrate the struggle of living in this world and point to the beauty of the redemption available to us in Christ. Each story is different. Some conclude with resounding triumph while others end in struggle. But all of them raise important questions about humanity's hunger and capacity for glory, and all of them teach us to love and see beauty. 
  "The artists featured in these pages—artists who devoted their lives and work to what is good, true, and beautiful—remind us that we can, and should, do the same." —Karen Swallow Prior, author of On Reading Well 
  Accompanying resources, visuals, and an outline of Western art are available in the audiobook companion PDF download.

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  NAZI MOVIES AS PROPAGANDA...

  Davis Truman

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  The German film industry transformed from a collection of independent studios into a division of the Nazi Party between 1933 and 1945. German film became a crucial component of the Nazi campaign to ideologically indoctrinate the German populace as part of the Ministry for Popular Enlightenment and Propaganda, led by Joseph Goebbels. However, the business kept up its prior commercial practices and made movies aimed at paying German consumers. Even though Goebbels worked hard to turn German cinema into an ideological weapon, the theater served as a popular consumer marketplace, and the various film tastes of German moviegoers continued to affect the kinds of films made. Therefore, filmmaking in Nazi Germany was influenced by popular taste and Goebbels' ideological objectives. 
  This book will look at several movies that demonstrate Goebbel's evolving propaganda objectives and the changing preferences of the German audience for movies during the Nazi era. Box office statistics from the years before and after the start of World War II offer unique insight into German film consumption and serve to highlight the extent to which the general public supported the war in Germany.

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  Nadja

  André Breton

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  In Paris, during the fall of 1926, André Breton met a young woman from the provinces who called herself Nadja because, she said, "in Russian it's the beginning of the word for hope, and because it's only the beginning." Their love affair was brief, intense, and intensely self-conscious. They both talked exuberantly of the book that Breton would make out of their days and nights. And indeed a year later (after Nadja was institutionalized and Breton had moved on to other love affairs) he began to write Nadja—a book of memory and analysis taking its cue in part from Freud's case studies, but also a book of ingeniously intercut images, drawing on Surrealist ideas to portray a soul whose very way of being approaches, in Breton's words, "the extreme limit of the Surrealist aspiration."In this, the first new translation of Nadja in more than sixty years, Mark Polizzotti captures the youthful excitement, the abiding strangeness, and above all the freshness of Breton's prose. He also provides an illuminating introduction about the fate of the real Nadja, whose identity remained jealously guarded until the twenty-first century. A gripping tale of infatuation and a meditation on the surrealism of everyday life, Nadja is still a thing of convulsive beauty, impossible to pin or put down, a precursor to works of Julien Gracq, Julio Cortázar, and W. G. Sebald.

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  Thinking in Jazz - The Infinite...

  Paul F. Berliner

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  A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.

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