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Oxford's highly successful listener's guides--The Symphony, The Concerto, and Choral Masterworks--have been widely praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now James Keller follows these greatly admired volumes with Chamber Music. Approaching the tradition of chamber music with knowledge and passion, Keller here serves as the often-opinionated but always genial guide to 192 essential works by 56 composers, providing illuminating essays on what makes each piece distinctive and admirable. Keller spans the history of this intimate genre of music, from key works of the Baroque through the emotionally stirring "golden age" of the Classical and Romantic composers, to modern masterpieces rich in political, psychological, and sometimes comical overtones. For each piece, from Bach through to contemporary figures like George Crumb and Steve Reich, the author includes an astute musical analysis that casual music lovers can easily appreciate yet that more experienced listeners will find enriching. Keller shares the colorful, often surprising stories behind the compositions while revealing the delights of an art form once described by Goethe as the musical equivalent of "thoughtful people conversing."
From the Pulitzer Prize-winning author of Martin Dressler—a collection of stories in the tradition of Nabokov, Calvino, and Borges that explores the magnificent obsessions of the unfettered imagination, as well as the darker, subterranean currents that fuel them. • "Tantalizing new stories.... Millhauser's ingenuity is delicious." —A. S. Byatt, The Washington Post Book World With the panache of an old-fashioned magician, Steven Millhauser conducts his readers from the dark corners beneath the sunlit world to a balloonist's tour of the heavens. He transforms department stores and amusement parks into alternate universes of infinite plentitude and menace. He unveils the secrets of a maker of automatons and a coven of teenage girls. And on every page of The Knife Thrower and Other Stories, Millhauser confirms his stature as a narrative enchanter.
Ingeniously blending fact and thrilling speculative fiction, this award-winning novel unveils a conspiratorial sabotage behind the Titanic disaster. How was it that the unsinkable Titanic, carrying 1320 passengers and a crew of 892, sank in freezing waters—especially when the technology of luxury liner was such that she could have easily avoided the impact with the iceberg? Was it a fated and bizarre accident? Or was it the result of a sinister plot to undermine the success of White Star Lines’ feature attraction on her maiden voyage? At the heart of the mystery: the most brilliant inventor of the era—Nikola Tesla—and a plot to hold the Titanic hostage that went catastrophically wrong. For more than a century, the secret lay hidden in the bowels of the Titanic at the bottom of the North Atlantic. Now, in this bracing and plausible novel of conspiracy and revenge, set in a gilded age of ruthless power barons, geniuses, and madmen, does the truth finally surface.
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Following the threads of Nick Hutchinson’s extraordinary life and adventures, A Mingled Yarn weaves together theatre, farming, family, horses, social unrest, Shakespeare, drugs, manic depression, love and more. ​ Son of renowned actress Dame Peggy Ashcroft and master advocate Lord Jeremy Hutchinson Q.C. Hutchinson grew up around the greats of British Theatre. ​As a young adult in the sixties, deeply uncomfortable with the class structure into which he was born, his idealism and passion involved him in direct action in Europe he encountered revolutionary theatre practices and in Paris the student protests. His move to Canada-first to Montreal, a city in the throes of its own revolution-brought him finally to the Wild West, where he began to live his childhood cowboy dream. As artistic director of the horse-drawn travelling show, The Caravan Stage Company he mounted thought- provoking, audience - immersive productions under the open skies, later founding the Caravan Farm Theatre for farm centred shows- from a masked Animal Farm among real pig pens to a winter production of the Snow Queen on horse drawn sleighs and the first Caravan Shakespeare productions. A Mingled Yarn is a journey through modern theatre history. It is a testament to the power of theatre and the creative process-even when it borders on mania. But it is also a celebration of community and a simpler life, lived on the land. Hutchinson’s sweeping autobiography has broad appeal, particularly for creative people and theatre lovers, as well as those who find their peace in wide open spaces on the back of a horse.
The Diva's Gift traces the far-reaching impact of the first female stars on the playwrights and players of the all-male stage. When Shakespeare entered the scene, women had been acting in Italian troupes for two decades, traveling in Italy and beyond and performing in all genres, including tragedy. The ambitious actress reinvented the innamorata, making her more charismatic and autonomous, thrilling audiences with her skills. Despite fervent attacks, some actresses became the first international stars, winning royal and noble patrons and literary admirers in France and Spain. After Elizabeth and her court caught wind of their success in Paris, Italian troupes with actresses crossed the Channel to perform. The Italians' repeat visits and growing fame posed a radical challenge to English professionals just as they were building their first paying theaters. Some writers treated the actress as a whorish threat to their stage, which had long minimized female roles. Others saw a vital new model full of promise. Lyly, Marlowe, and Kyd endowed innamorata parts with hot-blooded, racialized passions, but made them self-aware agents, not counters traded between men. Shakespeare, Jonson, Webster and others followed, ringing changes on the new type in comedy, tragedy, and romance. Like the comici they recycled actress-linked theatergrams and star scenes, such as cross-dressing, the mad scene, and the sung lament. In this way, the diva's prodigious virtuosity and stardom altered the horizons of playmaking even on the womanless stage. Capitalizing on the talents of boy players, the best playwrights created bold new roles endowed with her alien glamour, such as Lyly's Sapho and Pandora, Marlowe's Dido, Kyd's Bel-Imperia, Webster's Vittoria, and Shakespeare's Beatrice, Viola, Portia, Juliet, and Ophelia. Cleopatra is not alone in her superb theatricality and dazzling strangeness. As this book demonstrates, the diva's gifts mark them all.
Ever since Thoreau's Walden, the image of the American homesteader has been of someone getting away from civilization, of forging an independent life in the country. Yet if this were ever true, what is the nature and reality of homesteading in the media-saturated, hyper-connected 21st century? For seven years Philip Ackerman-Leist and his wife, Erin, lived without electricity or running water in an old cabin in the beautiful but remote hills of western New England. Slowly forging their own farm and homestead, they took inspiration from their experiences among the mountain farmers of the Tirolean Alps and were guided by their Vermont neighbors, who taught them about what it truly means to live sustainably in the postmodern homestead--not only to survive, but to thrive in a fragmented landscape and a fractured economy. Up Tunket Road is the inspiring true story of a young couple who embraced the joys of simple living while also acknowledging its frustrations and complexities. Ackerman-Leist writes with humor about the inevitable foibles of setting up life off the grid--from hauling frozen laundry uphill to getting locked in the henhouse by their ox. But he also weaves an instructive narrative that contemplates the future of simple living. His is not a how-to guide, but something much richer and more important--a tale of discovery that will resonate with readers who yearn for a better, more meaningful life, whether they live in the city, country, or somewhere in between.
Desires of Credit in Early Modern Theory and Drama traces the near-simultaneous rise of economic theory, literary criticism, and public theater in London at the turn of the seventeenth century, and posits that connecting all three is a fascination with creating something out of nothing simply by acting as if it were there. Author Brian Sheerin contends that the motivating force behind both literary and economic inquiry at this time was the same basic quandary about the human imagination--specifically, how investments of belief can produce tangible consequences. Just as speculators were realizing the potency of collective imagination on economic circulation, readers and dramatists were becoming newly introspective about whether or not the 'lies' of literature could actually be morally 'profitable.' Could one actually benefit by taking certain fictions 'seriously'? Each of the five chapters examines a different dimension of this question by highlighting a particular dramatization of economic trust on the Renaissance stage, in plays by Marlowe, Shakespeare, Heywood, Dekker, and Jonson. The book fills a gap in current scholarship by keeping economic and dramatic interests rigorously grounded in early modern literary criticism, but also by emphasizing the productive nature of debt in a way that resonates with recent economic sociology.