THERE IS NO better way to introduce children to classical music than with Prokofiev’s musical fairy tale of the little boy who, with the help of a bird, outsmarted the big, bad wolf. A new retelling by Janet Schulman follows the basic story, but with a kinder ending for both the big, bad wolf and the argumentative duck. Peter Malone’s paintings have the luminous quality of old Russian masters.
THERE IS NO better way to introduce children to classical music than with Prokofiev’s musical fairy tale of the little boy who, with the help of a bird, outsmarted the big, bad wolf. A new retelling by Janet Schulman follows the basic story, but with a kinder ending for both the big, bad wolf and the argumentative duck. Peter Malone’s paintings have the luminous quality of old Russian masters.
Prokofiev's first symphony, which he mischievously dubbed "Classical," is a sprightly piece based on the symphonic models of Haydn. This is his most frequently performed symphonic work.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Volume 3 follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism, by the show trials and the purges, the Second World War, and the post-war proclamation of rigid cultural orthodoxy by Stalin's henchman, Zhdanov. Here we experience Eisenstein's reaction to this hostile environment, as filmmaker, theorist and teacher, from his public obeisance over 'Bezhin Meadow' to his private defiance with 'Ivan the Terrible'.
This distinguished edition from Dr. Murray Baylor includes works that Prokofiev composed for solo piano plus Prokofiev's own piano transcription of works he had written for the symphony orchestra or the stage. Within its pages you will find the sprightly "Diabolic Suggestion," Op. 4, No. 4, the virtuoso "Toccata," Op. 11, "Prelude," Op. 12, No. 7 and "March" and "Scherzo" from "The Love for Three Oranges," Op. 33B.
Throughout his career as composer, conductor, and pianist, Sergei Rachmaninoff (1873-1943) was an intensely private individual. When Bertensson and Leyda’s 1956 biography appeared, it lifted the veil of secrecy from several areas of Rachmaninoff’s life, especially concerning the genesis of his compositions and how their critical reception affected him. The authors consulted a number of people who knew Rachmaninoff, who worked with him, and who corresponded with him. Even with the availability of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson and Leyda were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labors masterfully incorporates primary materials into the narrative. Almost half a century after it first appeared, this volume remains essential reading. Sergei Bertensson, who knew Rachmaninoff, published other works on music and film, often with a documentary emphasis.
The classic orchestral fairy tale of a brave boy who captures a wolf comes to brilliant new life. Maria Carlson’s translation and Charles Mikolaycak’s soft, inviting illustrations make for a fine update of Sergei Prokofiev’s beloved story. Paired with the original orchestral composition or read by itself, this book makes a wonderful addition to any family’s story time. Received a Society of Illustrators notation.
For the first time in one volume, this book presents in concise, chronological form, Sergei Eisenstein's most significant work, including his famous theories of montage and articles on subjects as diverse as sound, film language and Russian history. The selection ranges from early writings on his silent masterpieces The Strike, October and The Battleship Potemkin, to later works, hatched in the hostile and paranoid environment of Stalin's Soviet Union. Drawn from the acclaimed four-volume Selected Works, this collection, which includes a new introduction and explanatory notes by Richard Taylor as well as many illustrations, further illuminates the startling originality, diversity and power of the greatest and most flamboyant of all Russian film-makers. Legendary director Sergei Eisenstein has emerged as cinema's most influential theorist and author of some of the most important aesthetic writings of the twentieth century.
Includes the original Russian text and, for the first time, an English translation of that version. “Antony Wood’s translation is fluent and idiomatic; analyses by Dunning et al. are incisive; and the ‘case’ they make is skillfully argued. . . . Highly recommended.”—Choice
A renowned Soviet director discusses his theory of film as an artistic medium which must appeal to all senses and applies it to an analysis of sequences from his major movies.
As readers of classic Russian literature know, the nineteenth century was a time of pervasive financial anxiety. With incomes erratic and banks inadequate, Russians of all social castes were deeply enmeshed in networks of credit and debt. The necessity of borrowing and lending shaped perceptions of material and moral worth, as well as notions of social respectability and personal responsibility. Credit and debt were defining features of imperial Russia’s culture of property ownership. Sergei Antonov recreates this vanished world of borrowers, bankrupts, lenders, and loan sharks in imperial Russia from the reign of Nicholas I to the period of great social and political reforms of the 1860s. Poring over a trove of previously unexamined records, Antonov gleans insights into the experiences of ordinary Russians, rich and poor, and shows how Russia’s informal but sprawling credit system helped cement connections among property owners across socioeconomic lines. Individuals of varying rank and wealth commonly borrowed from one another. Without a firm legal basis for formalizing debt relationships, obtaining a loan often hinged on subjective perceptions of trustworthiness and reputation. Even after joint-stock banks appeared in Russia in the 1860s, credit continued to operate through vast networks linked by word of mouth, as well as ties of kinship and community. Disputes over debt were common, and Bankrupts and Usurers of Imperial Russia offers close readings of legal cases to argue that Russian courts—usually thought to be underdeveloped in this era—provided an effective forum for defining and protecting private property interests.
These 24 preludes and 17 etudes-tableaux include what are possibly Rachmaninoff's finest compositions for solo piano. Reproduced from authoritative Russian editions, they include the popular C-sharp minor prelude, Op. 3, No. 2; the G-minor prelude, Op. 23, No. 5; and the B-minor prelude, Op. 32, No. 10.
It depends on the human being whether he merely conceives of anthroposophy or whether he experiences it.' - Rudolf Steiner During the Christmas period of 1923-4, Rudolf Steiner refounded the Anthroposophical Society at its headquarters in Dornach, Switzerland. This important event, which has come to be known as the Christmas Conference, can be studied on many levels, and its many mysteries have been central to Sergei O. Prokofieff's anthroposophical research over the years. His beginning point has been an enduring question: What did Rudolf Steiner mean when he called the Christmas Conference the 'start of a World-Turning-point of Time'? In this far-reaching work, the author - working from several different viewpoints - guides the reader towards an answer. Prokofieff suggests that the impulse of the Christmas Conference can only be reenlivened today through conscious action by individuals to experience its spiritual essence. Rather than offering dogmatic conclusions, he opens up paths of approaching this goal by throwing light on different aspects of the Conference and what lies at its heart: the Foundation Stone and its Meditation.In particular, Prokofieff explores three key perspectives: the connection of the Christmas Conference with humanity's evolution; the inner relationship of each individual anthroposophist to the Christmas Conference; and the significance of the Conference to Rudolf Steiner himself. Although this is major work of some length, the individual chapters of May Human Beings Hear It! are complete in themselves, and can therefore be studied independently of each other.
Sergei Eisenstein's greatness lies not only in his films, such as Potemkin or Ivan the Terrible, or his contributions to the technique and art of the cinema but also in his contributions as a theoretician and philosopher of the art. This edition includes a new translation of Eisenstein's essay on Orozco. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
After his escape from Hungary during the Revolt, Verga Caszar seeks to find freedom as a nomad, eventually wandering through the halls of the Akademischer Musikverein, a music school in Graz. His musical talent sends him to Vienna to compete in the Young Pianist International Talent Competition, where he experiences his first taste of true love and true vengeance. Verga must decide what he wants more: his dream of becoming a famous pianist or the well-being of his lover; but what happens when he isnt given the opportunity to choose? Verga finds himself in another desperate escape plan reminiscent of his fleeing from his home country, this time to America, the melting pot of freedom and democracy. In a nation founded on choices, Verga will have to comply, discovering a world and a direction he has never expected, a reevaluation of prior passions and affections.
This book presents invited reviews and original short notes of recent results obtained in studies concerning the fabrication and application of nanostructures, which hold great promise for the new generation of electronic and optoelectronic devices. Governing exciting and relatively new topics such as fast-progressing nanoelectronics and optoelectronics, molecular electronics and spintronics, nanophotonics, nanosensorics and nanobiology as well as nanotechnology and quantum processing of information, this book gives readers a more complete understanding of the practical uses of nanotechnology and nanostructures.
Sergei Eisenstein is arguably the most important single figure in the history of movies. He was certainly the most versatile. The director of the masterpieces Battleship Potemkin and Alexander Nevsky, Eisenstein also wrote ground-breaking essays on film art and taught classes on motion picture production. In this book Eisenstein writes about film directing.
A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as "The Battleship Potemkin" (1925) and "October" (1927). In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume. They present the essence of Eisenstein's thinking on cinema and aesthetics more generally and reveal him as one of the most significant philosophers of art of the twentieth century.
Bertensson's observations of life in Hollywood on the eve of the talkies revolution provide us with a compelling snapshot of movie history in the making, seen from the unusual perspective of an outsider.
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