In Yellow Leaf, discover the journey of pianist Will as he navigates the uncharted waters of starting again after the unexpected breakdown of his fourteen-year long marriage to his childhood sweetheart. As he reflects on his past and his marriage, Will must confront the question of who he is outside of his relationship and what he truly wants from life, work, and love. With humour and heart, the novel follows Will’s evolution as he immerses himself in the world of film making and encounters a diverse cast of characters from the music, media, academic and cultural spheres. Through this journey of self-discovery, Will not only reinvents himself but also challenges the perceptions of classical music. This introspective and thought-provoking story offers a rare glimpse into the mind and heart of a man amid a mid-life awakening.
Germany was the epicenter of the Cold War. Across the Iron Curtain, hundreds of thousands of soldiers faced each other, and if World War III were to break out, contemporaries feared, surely it would happen here. The country’s frontline status made it an El Dorado for spies, who gathered information on military targets, penetrated political parties, and trained partisans for stay-behind operations. For the Americans, the Central Intelligence Agency (CIA) came to take the lead in this silent – and sometimes not so silent – contest. In the heyday of the Cold War, the agency’s German station employed nearly two thousand officers – in addition to countless spies and informants. Ultimately, this covert empire reported to the CIA station chief in West Germany and his deputy. And for many years, either of those positions was held by Gordon Matthews Stewart. Gordon Stewart was well prepared for this assignment. He studied German history and literature during the 1930s and lived in Munich and Hamburg as a visiting student. Here, he personally witnessed the Nazi takeover, even catching a glimpse of Adolf Hitler at one of his notorious rallies. When the United States entered the war in 1941, the newly established Office of Strategic Services (OSS) recruited him as a specialist on German affairs. In the summer of 1945, he arrived in Germany with an OSS detachment. Eventually, the OSS morphed into the CIA, and Gordon Stewart would run the agency’s espionage organization in Germany for some twenty years. From CIA headquarters in Heidelberg, Karlsruhe, Frankfurt, and eventually, Bonn, Mr. Stewart directed all intelligence operations in central Europe. Initially, he hunted down Nazi war criminals, but the Cold War compelled him to bend his efforts toward the Soviet bloc. During the 1950s, Mr. Stewart directed espionage operations against East Germany, organized the training of Ukrainian partisans at U.S. bases in Bavaria, and participated in a scheme to dig a tunnel into East Berlin to eavesdrop on Soviet and East German communications. He also recruited and handled sources inside the West German government, including the chief of the Bundesnachrichtendienst, Reinhard Gehlen; the highest-ranking West German military officer, General Adolf Heusinger; and top policy-makers of the Christian and social democratic parties. Mr. Stewart’s memoirs, introduced by renowned intelligence scholar Thomas Boghardt, offer not only a fascinating look inside the CIA’s largest overseas station; they also tell the story of a deeply conscientious and highly accomplished intelligence officer, whose experience, intellect, and moral compass shaped American policy toward Germany and Europe during the turbulent years of the early Cold War.
While European civilization stagnated in the "Dark Ages," Asia flourished as the wellspring of science, philosophy, and religion. Linked together by a web of spiritual, commercial, and intellectual connections, the distant regions of Asia's vast civilization, from Arabia to China, hummed with trade, international diplomacy, and the exchange of ideas. Stewart Gordon has fashioned a compelling and unique look at Asia from AD 700 to 1500-a time when Asia was the world-by relating the personal journeys of Asia's many travelers.
Young pianists who decide to become professional musicians have many challenges to face. Carefully balancing aspiration with reality and inspiration with organization, experienced teacher Stewart Gordon creates a blueprint for transforming dreams into achievement. He guides young pianists through the details of how to prepare musically, navigate their college years, and forge a career that will provide a livelihood.
In Mastering the Art of Performance: A Primer for Musicians, Stewart Gordon offers seasoned advice to musicians intent on meeting the challenges of performance. Through real-life examples and pre-performance exercises, this accessible manual gives musicians and other performers practical insights into every aspect of performance. While other books merely identify and describe the problems associated with performance, this book offers detailed suggestions for solving them. First, Gordon tackles the critical planning and preparatory stages, helping performers to evaluate their strengths and weaknesses. The book's easy-to-follow exercises address the self-doubt and anxiety many musicians contend with, helping them to analyze why they perform, set goals and assess the level of energy needed to achieve them, and develop a performance philosophy. The book also offers techniques that will help musicians deal with some of the classic pitfalls of performance preparation, including repetition and drill, changing bad habits, and developing memory. For the performance itself, Gordon's insights help musicians with pacing and managing stage fright. For the aftermath, Gordon arms performers with strategies for dealing with criticism and conducting a constructive self-evaluation, equipping them to face the challenges of a lifetime of performances, including career plateaus and burnout. Gordon draws from more than forty years of experience in front of audiences to offer readers invaluable tips and personal reflections. While aimed primarily at musicians, the book will be useful to anyone facing the pressures of performance, such as actors, dancers, and even public speakers.
Be Still! Departure from Collective Madness echoes the call of the Navajo sage and the psalmist who invited their hearers to stop--"If we keep going this way, we're going to get where we're going"--and be still--"Be still, and know. . . ." Like pictures in a photo album taken from a unique lens, these essays zoom in on singular moments of time where the world is making headlines, drawing attention to the sin of exceptionalism in its national, racial, religious, cultural, and species manifestations. Informed by Japanese Christian theologian Kosuke Koyama, Elie Wiesel, Wendell Berry, and others, the author invites the reader to slow down, be still, and depart from "collective madness" before the Navajo sage is right. Told in the voice familiar to listeners of All Things Considered and Minnesota Public Radio, these poetic essays sometimes feel as familiar as an old family photo album, but the pictures themselves are taken from a thought-provoking angle.
Canadians long have engaged in in-depth, wide-ranging discussions about their nation's relations with the United States. On the other hand, American citizens usually have been satisfied to accept a series of unexamined myths about their country's unchanging, benign partnership with the "neighbor to the north". Although such perceptions of uninterrupted, friendly relations with Canada may dominate American popular opinion, not to mention discussions in many American scholarly and political circles, they should not, according to Stewart, form the bases for long-term U.S. international economic, political, and cultural relations with Canada. Stewart describes and analyzes the evolution of U.S. policymaking and U.S. policy thinking toward Canada, from the tense and confrontational post-Revolutionary years to the signing of the Free Trade Agreement in 1988, to discover if there are any permanent characteristics of American policies and attitudes with respect to Canada. American policymakers were concerned for much of the period before World War II with Canada's role in the British empire, often regarded as threatening, or at least troubling, to developing U.S. hegemony in North America and even, in the late nineteenth century, to U.S. trade across the Pacific. A permanent goal of U.S. policymakers was to disengage Canada from that empire. They also thought that Canada's natural geographic and economic orientation was southward to the U.S., and policymakers were critical of Canadian efforts to construct an east- west economy. The Free Trade Agreement of 1988 which prepared the way for north-south lines of economic force, in this context, had been an objective of U.S. foreign policy since the founding of the republic in 1776. At the same time, however, these deep-seated U.S. goals were often undermined by domestic lobbies and political factors within the U.S., most evidently during the era of high tariffs from the 1860s to the 1930s when U.S. tariff policies actually encouraged a separate, imperially-backed economic and cultural direction in Canada. When the dramatic shift toward integration in trade, investment, defense and even popular culture began to take hold in the 1930s, 1940s and 1950s in the wake of the Depression and World War II, American policymakers viewed themselves as working in harmony with underlying, "natural" converging economic, political and cultural trends recognized and accepted by their Canadian counterparts.
Roman triremes of the Mediterranean. The treasure fleet of the Spanish Main. Great ocean liners of the Atlantic. Stories of disasters at sea fire the imagination as little else can, whether the subject is a historical wreck - the Titanic or the Bismark - or the recent capsizing of a Mediterranean cruise ship. Shipwrecks also make for a new and very different understanding of world history. A History of the World in Sixteen Shipwrecks explores the ages-long, immensely hazardous, persistently romantic, and still-ongoing process of moving people and goods across far-flung maritime worlds. Telling the stories of ships and the people who made and sailed them, from the earliest ancient-Nile craft to the Exxon Valdez, A History of the World in Sixteen Shipwrecks argues that the gradual integration of localized and separate maritime regions into fewer, larger, and more interdependent regions offers a unique window on world history. Stewart Gordon draws a number of provocative conclusions from his study, among them that the European "Age of Exploration" as a singular event is simply a myth - many cultures, east and west, explored far-flung maritime worlds over the millennia - and that technologies of shipbuilding and navigation have been among the main drivers of science and technology throughout history. Finally, A History of the World in Sixteen Shipwrecks shows in a series of compelling narratives that the development of institutions and technologies that made terrifying oceans familiar, and turned unknown seas into sea-lanes, profoundly matters in our modern world.
The thirty-two Piano Sonatas of Ludwig van Beethoven form one of the most important segments of piano literature. In this accessible, compact, and comprehensive guidebook, renowned performer and pedagogue Stewart Gordon presents the pianist with historical insights and practical instructional tools for interpreting the pieces. In the opening chapters of Beethoven's 32 Piano Sonatas, Gordon illuminates the essential historical context behind common performance problems, discussing Beethoven's own pianos and how they relate to compositional style and demands in the pieces, and addressing textual issues, performance practices, and nuances of the composer's manuscript inscriptions. In outlining patterns of structure, sonority, keyboard technique, and emotional meaning evident across Beethoven's compositional development, Gordon provides important background and technical information key to understanding his works in context. Part II of the book presents each sonata in an outline-chart format, giving the student and teacher ready access to essential information, interpretive choices, and technical challenges in the individual works, measure by measure, all in one handy reference source. In consideration of the broad diversity of today's Beethoven interpreters, Gordon avoids one-size-fits-all solutions or giving undue weight to his own tastes and preferences. Instead, he puts the choices in the hands of the performers, enabling them to create their own personal relationship with the music and a more powerful performance.
Just as musical etudes focus on the development of skills and address the technical problems encountered in keyboard literature, the "etudes" in Stewart Gordon's new book also focus on ideas which prepare piano teachers for meeting the problems encountered in piano performing and teaching. This major new collection on the piano teacher's art opens with an assessment of the role of the piano teacher, and goes on to explore various types of students and the challenge each presents: the moderately talented, but ambitious, student; the late beginner; the unusually gifted. Drawing on thirty years of teaching and performing, Gordon then bring fresh ideas to bear on the often-discussed areas of inner-hearing, pulse regulation, improvisation, sight-reading, and collaborative music making. There are sections on performance procedures, memorizing, pedalling, and historical performance practices; a carefully-balanced consideration of the role of the piano student and teacher; and realistic looks at the problems facing the profession today, the dynamics of a performing career, and the stages through which musicians' careers often pass. Designed to open up new avenues of inquiry, to provoke discussion and creative thinking, and to challenge and motivate students, these essays will be vital reading for all serious piano students and teachers.
In Wrentham, authors C. Gordon aGoga Woodhams and Earle T. Stewart have crafted a fascinating, comprehensive portrait of this 22.6-square-mile, 325-year-old town. Illustrating the town from the post-Civil War to 1960, the authors examine a variety of topics, including the changes in the areaas geography and local transportation as well as the contributions made by famous residents such as Helen Keller. Compiled from personal collections and the archives of the Wrentham Historical Commission, this visual history contains over 200 rare and diverse scenes. See how the town changed as the horse and oxen were left behind for trains, and later, automobiles. Relive the big band era in the 1920s and 1930s with tantalizing scenes from the Lake Pearl Park and dance hall.
Writers of creative non-fiction are often expected to be able to recreate reality, to deal with, or even access, a singular truth. But the author, like any human, is not an automaton remotely tasked with capturing a life or an event. Whether we tell stories and understand them as fiction or non-fiction, or whether we draw away from these classifications, writers craft and shape writing all writing. No experience exists on a flat plane, and recounting or interpreting events will always involve some element of artistic manipulation: every instance, exchange, discussion, event is open to multiple interpretations and can be described in many ways, all of which are potentially truthful. Writing Creative Non-Fiction: Determining the Form contains essays and original writing from novelists, poets, songwriters, musicians and academics. The book covers topics that range from explorations of the role of the author, definitions and representations of the form, self and illness, to the spectral elements of non-fiction and its role in historical narratives. The essays included in this volume address everything from memoir, biography and autobiography to a discussion of musical approaches to criticism and a non/fiction interview. The book identifies key writers including Christopher Isherwood, David Shields, B. S. Jonson, James Frey, Åsne Seierstad, John D'Agata, W. G. Sebald, Jonathan Coe, Hilary Mantel, James Kelman, Liz Lochhead and Arthur Frank and is essential reading for students, researchers and writers of creative non-fiction. Contents Notes on Contributors Pathways to Determining Form Laura Tansley and Micaela Maftei A Bulgarian Journey Kapka Kassabova At the Will of Our Stories John I MacArtney She and I: Composite Characters in Creative Non-Fiction Katie Karnehm More Lies Please: Biography and the Duty to Abandon Truth Rodge Glass Ghosts of the Real: The Spectral Memoir Helen Pleasance One doesn t have much but oneself : Christopher Isherwood s Investigation into Identity and the Manipulation of Form in The Memorial Rebecca Gordon Stewart Menna, Martha and Me: The Possibilities of Epistolary Criticism Rhiannon Marks An Introduction to Schizoanalysis : The Development of a Musical Approach to Criticism Jo Collinson Scott Eyes! Birds! Walnuts! Pennies! Erin Soros Just Words Erin Soros It is in their Nature to Change: On Mis-leading Elizabeth Reeder Index
There was nothing unusual about that pleasant Wednesday morning. Henry and Martha Pickett, owners of a large rental house in Seattle had nothing planned. It was nine-thirty, Henry was out walking the dog, and Martha was sorting the day's mail; a utility bill, circulars read and disposed of, and then the letter. It was from Big Eye, Montana, home of Henry's twin brother, Homer. Martha was concerned; the twins are not letter writers, they keep in touch with infrequent phone calls and the annual Christmas card. The letter triggers a phone call, the phone call delivers a message that turns Henry Pickett's life upside down. His twin brother Homer has cancer.
Claude Debussy's Douze Études (Twelve Studies) for piano were written during the summer of 1915, a period in the composer's life filled with intense creativity. This scholarly edition, edited by Dr. Stewart Gordon, has been carefully researched from autographs and first editions. Discrepancies between sources are mentioned in footnotes. In prefatory matter, Dr. Gordon discusses Debussy's playing, pedaling considerations, and articulation issues. Also provided are detailed analyses of each study's structure, a chart of metronome marks corresponding with recorded performances of the Études by famous pianists, and a glossary of the French terms used throughout the Études. Additionally, valuable performance recommendations, helpful fingering, and pedaling suggestions are offered in this comprehensive edition. Titles: * I (pour les "cinq doigts" d'après Monsieur Czerny) * II (pour les tierces) * III (pour les quartes) * IV (pour les sixtes) * V (pour les octaves) * VI (pour les huit doigts) * VII (pour les degrés chromatiques * VIII (pour les agréments) * IX (pour les notes répétées) * X (pour les sonorités opposées) * XI (pour les arpèges composés) * XII (pour les accords)
The conditions of colonial politics in Canada between 1760 and 1848 produced features that became permanent landmarks of post-Confederation Canadian politics -- sharp partisan battles, intense use of patronage, strong one-man dominance in party leadership, and a 'statist' orientation not only in government in Ottawa but also in Ontario and Quebec. In this compelling book Gordon Stewart deals with these topics in an original way by placing Canadian politics in a comparative context against the background of political and constitutional developments in England and America between 1688 and the 1820's.
Gordon's survey of the topic makes it clear that slavery in the Americas can be understood much better if we put it in this larger context, in terms of both time and place. His chapters on East African and Mediterranean slavery are especially valuable, since these were contemporary with so-called Atlantic slavery and can provide students with valid points of comparison, revealing both the similarities and the variable nature of early-modern bondage. The final chapter is especially timely, reminding readers that much of what we think of as enslavement hasn't really gone away, but simply slipped below the radar of the world media. All in all, Gordon makes it clear that, though it has arisen in different guises and at many different times and places, slavery has been and remains deeply rooted in human society. A rewarding introduction for anyone looking to better understand slavery as a world-wide institution." —Robert Davis, The Ohio State University
In this book, Dr Stewart Gordon presents a comprehensive history of one of the most colourful and least-understood kingdoms of India: the Maratha Empire. The empire was founded by Shivaji in the mid-seventeenth century, spread across most of India during the following century, and was conquered by the British in the nineteenth century. Using administrative documents of the Maratha polity, family papers and Histories of the Empire, Stewart Gordon explores the origin of the Marathas, their emergence as elite families, patterns of loyalty and strategies for maintaining legitimacy. He traces how the armies developed into European-style infantry and artillery and assesses the economics that funded the polity, especially taxation and credit. Finally the author considers the lasting effects the empire had on administrations, law and trade patterns of Central India, Gujarat and Maharashtra.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.