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This is a new release of the original 1927 edition.
Tchaikovsky's final symphony has fascinated generations of music lovers, amateur and specialist alike, since its first performance just over a century ago. Timothy L. Jackson explores sensitively and without prejudice the question of the Pathétique's program and its relation to Tchaikovsky's homosexuality and death. The book covers the work's conception, genesis, and reception, and presents an in-depth analysis of its remarkable formal structure. The reception chapter investigates the Pathétique's impact on Tchaikovsky's younger contemporaries, most notably Mahler and Rachmaninov, and on more recent Russian composers like Shostakovich and Schnittke. Also explored is the dark side of the symphony's political interpretation in the twentieth century, especially its transformation into a cultural icon of the Third Reich.
Tackling the myriad issues raised by Sander Gilman’s provocative opening salvo—”Are Jews Musical?”—this volume’s distinguished contributors present a series of essays that trace the intersections of Jewish history and music from the late nineteenth century to the present. Covering the sacred and the secular, the European and the non-European, and all the arenas where these realms converge, these essays recast the established history of Jewish culture and its influences on modernity. Mitchell Ash explores the relationship of Jewish scientists to modernist artists and musicians, while Edwin Seroussi looks at the creation of Jewish sacred music in nineteenth-century Vienna. Discussing Jewish musicologists in Austria and Germany, Pamela Potter details their contributions to the “science of music” as a modern phenomenon. Kay Kaufman Shelemay investigates European influence in the music of an Ethiopian Jewish community, and Michael P. Steinberg traces the life and works of Charlotte Salomon, whose paintings staged the destruction of the Holocaust. Bolstered by Philip V. Bohlman’s wide-ranging introduction and epilogue, and featuring lush color illustrations and a complementary CD of the period’s music, this volume is a lavish tribute to Jewish contributions to modernity.
In this powerful and wide-ranging study, Sander Gilman explores the idea of 'the multicultural' in the contemporary world, a question he frames as the question of the relationship between Jews and Muslims. How do Jews define themselves, and how are they in turn defined, within the global struggles of the moment, struggles that turn in large part around a secularized Christian perspective? Gilman uses his subject to unpack a sequence of important issues: what does it mean to be multicultural? Can the experience of diaspora Judaism serve as a useful model for Islam in today's multicultural Europe? What is a multicultural ethnic? Other chapters look at specific figures in Jewish cultural history – Albert Einstein, Franz Kafka, Israel Zangwill, Philip Roth, the hermaphrodite N.O. Body (aka Karl Baer, raised as Martha Baer) – to explore issues within Jewish identity. Throughout, Gilman pays keen attention to the ways in which contemporary literature – Chabon, Ozick, Zadie Smith, Jonathan Safran Foer, Gary Shteyngart – taking the idea of Jewishness and multiculturalism into new arenas.
"A gathering chiefly of talks given either by invitation or at conferences throughout the world over the last quarter century. The topics range widely, but recurrent themes include the place of classical music in contemporary society and culture, the fraught relationship between aesthetics and ethics, and the responsibilities of scholarship in an age of spin"--
"Index to newspapers" in each no., beginning with Mar. 1908.
In this fascinating study, Lewis L. Gould has brought a shadowy first lady into the light and restored her to a rightful place as a patron of music. Helen Herron Taft came to the White House intent on establishing Washington, D.C., as the nation's cultural capital. A stroke in May 1909 made her a semi-invalid, impaired her speech, and disrupted her agenda. Historians have written her off as a shrewish figure who pushed her portly husband into the presidency. Gould challenges this outdated narrative with new information on Helen Taft's campaign to bring the best of classical music to the White House during her four years. He draws on prodigious research about the musicians who performed there-including violinist Fritz Kreisler, pianist Fannie Bloomfield-Zeisler, and contralto Ernestine Schumann-Heink, and reveals for the first time how Nellie Taft enlisted a diverse array of top-notch artists for her musicales, recitals, and social events. The result is a major contribution to a better understanding of the White House as a cultural center at the turn of the last century. Beyond her musical agenda, Helen Taft enhanced the appearance of Washington with the planting of the cherry trees from Japan that now bloom each spring. Gould also delves with insight into Mrs. Taft's role in the politics of her husband's administration. He provides the most complete recounting into her part in the dismissal of Henry White as ambassador to France, a key moment in the emergence of her husband's split with Theodore Roosevelt. He discusses the nature of her stroke, based on letters from her husband and her doctors, and reveals how Mrs. Taft, her daughter Helen, and the journalist Eleanor Egan crafted the first ever memoir of any first lady. Drawing on memoirs and manuscripts not used before, Gould re-creates memorable occasions at the Taft White House, when dramatist Ruth Draper delivered her monologues, Charles Coburn staged Shakespeare on the White House lawn, and Lady Augusta Gregory of the Irish Players dropped by. Gould's path-breaking study of Helen Taft is a significant addition to the literature on first ladies and a tribute to a complex and brave woman who overcame illness and adversity to leave her own special imprint on the history of the White House.