Describes the important influence of Asia's great civilization on the West, as traveling merchants, scholars, philosophers, and religious figures brought the wisdom of China and the Middle East to medieval Europe during the Dark Ages.
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 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.
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.
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.
In Beethoven's 32 Piano Sonatas, renowned performer and pedagogue Stewart Gordon addresses textual issues, Beethoven's pianos, performance practices, composer's indications, and the composer's development, pointing to patterns of structure, sonority, keyboard technique, and emotional meaning. In addition, each sonata appears in a helpful outline-chart format for easy-access reference.
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.
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.
Though travelling is lauded as a means of enriching our lives, the emphasis is generally on the destination rather than the journey. Yet, throughout human history, routes have ferried not just people but books, scrolls, and art, in addition to armies, ambassadorial entourages, slaves, brides, and pilgrims. The interaction of people on routes generated surprising innovations. Through myths, memoirs, and songs associated with twelve such great routes across five continents, historian Stewart Gordon shows how they captured the collective imagination and shaped the expectations of generations of would-be travellers.
Coinciding with the reopening of the glamourous and famous New York eatery, the former owner releases this revealing memoir of anecdotes about its rich history, including many of the famous people who dined there.
Permission was recently granted for a 12-year embargo on the papers of James S. Stewart to be lifted and the material to be made available. 1996 is the centenary of James Stewart's birth, and this work contains a collection of his set piece sermons.
The essays in this book engage the original and controversial claims from Michael Boylan's A Just Society. Each essay discusses Boylan's claims from a particular chapter and offers a critical analysis of these claims. Boylan responds to the essays in his lengthy and philosophically rich reply.
Beethoven wrote 32 sonatas for piano. Volume 1, edited by Stewart Gordon, includes the first 8 sonatas (Op. 2, Nos. 1-3; Op. 7; Op. 10, Nos. 1-3; and Op. 13 ["Pathétique"]), written between 1795 and 1799. Since these autographs no longer exist, this edition is based on the first editions, published by various Viennese engravers. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempo; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions.
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)
Beethoven wrote 32 sonatas for piano. The final installment, Volume 4, edited by Stewart Gordon, contains Sonatas 25-32, written between 1809 and 1822 and published shortly thereafter. Of the eight sonatas in this volume, autographs exist in whole or in part for all but Op. 106, missing since World War II. This edition is based on the existing autographs and the first editions. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempi; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions. Titles: * Op. 79 ("Sonatine") * Op. 81a * Op. 90 * Op. 101 * Op. 106 ("Hammer-Klavier") * Op. 109 * Op. 110 * Op. 111
Count Ferdinand Ernest Gabriel von Waldstein, to whom the Sonata No. 21 in C Major, Op. 53, is dedicated, was a longtime patron of the composer. Waldstein wrote to Beethoven, "May you receive the spirit of Mozart through the hands of Haydn." The opening theme of repeated chords begins the excitement found throughout this work. Dr. Stewart Gordon's editions of Beethoven's most popular piano sonatas provide the key to a stylistic performance. Thorough research of the earliest available sources has enabled Dr. Gordon to produce the most accurate reflection of the composer's intent. Each sonata contains helpful fingering suggestions and performance recommendations. Other editors' conclusions are noted where performance options are open to interpretation.
Sonata No. 23 in F Minor, Op. 57 is considered by many, including Beethoven, to be one of his greatest sonatas. The nickname "appassionata" probably came from a four-hand version entitled Sonata appassionata, published in Hamburg in 1838. The famous opening thematic statement played two octaves apart and repeated immediately a half step higher sets a mood of tension and conflict in this majestic sonata. Dr. Stewart Gordon’s editions of Beethoven's most popular piano sonatas provide the key to a stylistic performance. Thorough research of the earliest available sources has enabled Dr. Gordon to produce the most accurate reflection of the composer’s intent. Each sonata contains helpful fingering suggestions and performance recommendations.
Many years ago, the papers of James S. Stewart were lodged in the library of New College, Edinburgh, by 'J.S.S.' himself under a twelve year embargo. Recently permission was granted for this embargo to be lifted and the material finally to be made available. Among the papers were some exceptional set piece sermons-examples of work upon which James S. Stewart bestowed such labour, which he honed and polished. Readers who remember his distinctive voice, and those who have learned about this magnificent preacher, may now hear the vibrant accents of his passionate delivery through the printed word. For twenty years the late James S. Stewart was Professor of New Testament Language, Literature and Theology, University of Edinburgh (New College). Former Moderator of the General Assembly of the Church of Scotland (1963-64), he is considered to be one of the Kirk's greatest communicators of the Gospel. As a scholar, family man and public figure, his may become a historic memory, a legend of a more spacious era of church life when men and women went on Sundays to 'hear' preachers of their day. This volume of sermons by James S. Stewart is offered as a lasting testament to his life and times.
Beethoven wrote 32 sonatas for piano. Volume 2, edited by Stewart Gordon, includes Sonatas 9--15 (Op. 14, Nos. 1--2; Op. 22; Op. 26; Op. 27, Nos. 1--2; and Op. 28), written between 1798 and 1801 and published shortly after they were written. Of the sonatas in this volume, autographs exist for Op. 26; Op. 27, No. 2 (the first and final pages are missing); and Op. 28. This edition is based on the existing autographs and the first editions, published by various Viennese engravers. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempo; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions.
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
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.
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.
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
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