Altri libri che potrebbero interessarti

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  Why We Read - Quotations for...

  Ellen Surrey

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  A beautiful keepsake extolling the magic of books.A collection of illustrated quotations—astute, profound, witty, and sweet—on the magic of books. Whether you were devoted to reading as a child or have discovered a new love for books as an adult, Why We Read reminds us what a power and privilege it is to read. Seventy-five quotations from writers and thinkers, such as Jane Austen, Carl Sagan, Margaret Atwood, Roald Dahl, Jorge Luis Borges, and Annie Dillard, celebrate this noble pursuit. Colorful illustrations by Ellen Surrey brightly interpret their words and create a lovely keepsake.

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  Classic Rock & Rock Radio...

  Various Authors

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  This fascinating audio program includes actual radio commercials from the 1960s for the following bands: Donovan, Joni Mitchell, Monterey Pop Festival, The Beach Boys, Traffic, The Velvet Underground

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  Love You to Death — Season 5 -...

  Crissy Calhoun, Heather Vee

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  With a foreword by co-creator Kevin Williamson, the fan-favorite Love You to Death series returns with an essential guide to the fifth season of The CW’s hit show The Vampire Diaries. As the series hits its 100th-episode milestone, this companion delves headlong into the twists and turns of each episode, exploring the layers of rich history, supernatural mythology, historical and pop culture references, and the complexities of the show’s memorable cast of characters. Add chapters on the making of the show, interviews with the people who bring Mystic Falls to life, and the intensely loyal audience that keeps it thriving, and you have a guide as compelling and addictive as the show itself.

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  Rogues' Gallery - The Rise (and...

  Philip Hook

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  This “expert and elegantly written” book reveals how dealers have been a major force in art history from the Renaissance to the avant garde (The Guardian, UK). Philip Hook’s riveting narrative takes us from the early days of art dealing in Antwerp, where paintings were sold by weight, to the unassailable hauteur of contemporary galleries in New York, London, Paris, and beyond. Along the way, we meet a surprisingly wide-ranging cast of characters—from tailors, spies, and the occasional anarchist to scholars, aristocrats, and connoisseurs, some compelled by greed, some by their own vision of art—and some by the art of the deal. Among them are Joseph Duveen, who almost single-handedly brought the Old Masters to America; Paul Durand-Ruel, the Impressionists’ champion; Daniel-Henry Kahnweiler, high priest of Cubism; Leo Castelli, dealer-midwife to Abstract Expressionism and Pop Art; and Peter Wilson, the charismatic Sotheby’s chairman who made a theater of the auction room. Full of unforgettable anecdotes and astute insight, Rogue’s Gallery offers “a front-row seat and a backstage pass to this arcane and obsessively secretive profession” (Hannah Rothschild, Mail on Sunday, UK).

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  Il trovatore

  Thomson Smillie

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  Il trovatore has been ruthlessly parodied. It is a tale of murder and mayhem, burned babies, roasted hags, would-be nuns, strolling minstrels and bad baritones. And indeed the libretto does call for a willing suspension of disbelief. The reward is in the music, a score as prodigally melodic as only the mature Verdi could write: the ‘Anvil’ Chorus, the ‘Miserere’ scene, two great tenor arias, a beautiful baritone aria – a richness without embarrassment.

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  Ferruccio Busoni and His Legacy

  Erinn E. Knyt

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  An analysis of the composer’s unconventional teaching style and philosophy, his relationship with his students, and his effect on twentieth century music. 
   
  Many students of renowned composer, conductor, and teacher Ferruccio Busoni had illustrious careers of their own, yet the extent to which their mentor’s influence helped shape their success was largely unexplored until now. Through rich archival research including correspondence, essays, and scores, Erinn E. Knyt presents an evocative account of Busoni’s idiosyncratic pedagogy—focused on aesthetic ideals rather than methodologies or techniques—and how this teaching style and philosophy can be seen and heard in the Nordic-inspired musical works of Sibelius, the unusual soundscapes of Varèse, the polystylistic meldings of music and technology in Louis Gruenberg’s radio operas and film scores, the electronic music of Otto Luening, and the experimentalism of Philip Jarnach. Equal parts critical biography and interpretive analysis, Knyt’s work compels a reconsideration of Busoni’s legacy and puts forth the notion of a “Busoni School” as one that shaped the trajectory of twentieth-century music. 
   
  “Erinn Knyt’s Ferruccio Busoni and His Legacy is a most welcome addition to the literature on Busoni as a fine example of research based on primary sources.” —Bach

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