Verlag: Glissato Edizioni Musicali
Opening fanfare from "Also Sprach Zarathustra" by R. Strauss, well known after its use in Stanley Kubrick's 1968 film 2001 "A Space Odysse". Arrangement for Trombone or Euphonium Quartet (key Bb) score and parts (8) in bass and clef key. Also suitable for bassoon.
“Similar in spirit to Lewis Mumford’s The City in History and Jane Jacobs’ The Death and Life of Great American Cities . . . wonderful, funny, idiosyncratic.” —Frederick R. Steiner, author of The Living Landscape Big Plans: The Allure and Folly of Urban Design springs from the idea that human aspirations for the city tend to overstate the role of rationality in public life. Inspired by the architectural and urban criticism of such writers as Lewis Mumford, Jane Jacobs, and John Brinckerhoff Jackson, Kolson adopts a user’s perspective on issues of urban design, an approach that highlights both the futility of social engineering and the resilience of the human spirit. “A book that should be read by all those people, and there seem to be more of them as week chases week, who are thinking about the fate of lower Manhattan right now.” —Bloomberg News “Kenneth Kolson has lots of material: Some of what’s been built in cities lately is astonishing and not in a good way.” —The Boston Globe “Kolson is a passionate critic of urban schemes, with well-founded skepticism about the role rationality has played in designing them.” —Journal of the Society of Architectural Historians “A fascinating read about the utopian goal of Big Plans and the dystopian reality of lived experience.” —Design IssuesZum Buch
Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.Zum Buch
In the 1930s, in the wake of the Nazi ascendancy in Germany, a wave of vicious anti-Semitism swept Europe, as Jews became outcasts in their own lands. As they clamoured to escape persecution, the world turned a blind eye to their plight. One man, Isaac Steinberg, had a vision of leading his people from the holocaust to a new paradise on the other side of the world. His enthusiastic and resolute efforts to realise his vision left large cracks in the smug Anglo-centrism that guarded his unpromised land. This lively account of the little-known Kimberley Jewish settlement scheme provides a fascinating insight into a series of events that came very close to changing the course of Australian history.Zum Buch
A “meticulously researched” dual biography on the lives and artistry of the father and son musicians whose lives were each cut short (Chicago Tribune). When Jeff Buckley drowned at the age of thirty in 1997, he not only left behind a legacy of brilliant music—he brought back haunting memories of his father, ’60s troubadour Tim Buckley, a gifted musician who barely knew his son and who himself died at twenty-eight. Both father and son made transcendent music that mixed rock, jazz, and folk; both amassed a cadre of obsessive, adoring fans. This absorbing dual biography—based on interviews with more than one hundred friends, family members, and business associates as well as access to journals and unreleased recordings—tells for the first time the intriguing, often heartbreaking story of these two musicians. It offers a new understanding of the Buckleys’ parallel lives—and tragedies—while exploring the changing music business between the '60s and the '90s. Finally, it tells the story of a father and son, two complex, enigmatic men who died searching for themselves and each other. Praise for Dream Brother “Ambitious. . . . Uses a wealth of reportage to depict convincingly two generations of pop music turmoil.” —Washington Post “An extraordinarily detailed account of the Buckleys’ personal and professional lives . . . Browne’s book is a seamless, readable narrative. . . . He’s not just a fine journalist but a natural storyteller.” —Boston Globe “Captures their respective legacies with the same kind of poetic sweep the Buckleys offered with their music.” —Fort Worth Star-TelegramZum Buch
They educate, inform and entertain through news, features and analysis in the press. They also produce documentaries, dramas, current affairs programmes, public service announcements, magazine programmes and other forms of programming for radio and televisionZum Buch
It whispers, it sings, it rocks, and it howls. It expresses the voice of the folk—the open road, freedom, protest and rebellion, youth and love. It is the acoustic guitar. And over the last five decades it has become a quintessential American icon. Because this musical instrument is significant to so many—in ways that are emotional, cultural, and economic—guitar making has experienced a renaissance in North America, both as a popular hobby and, for some, a way of life. In Guitar Makers, Kathryn Marie Dudley introduces us to builders of artisanal guitars, their place in the art world, and the specialized knowledge they’ve developed. Drawing on in-depth interviews with members of the lutherie community, she finds that guitar making is a social movement with political implications. Guitars are not simply made—they are born. Artisans listen to their wood, respond to its liveliness, and strive to endow each instrument with an unforgettable tone. Although professional luthiers work within a market society, Dudley observes that their overriding sentiment is passion and love of the craft. Guitar makers are not aiming for quick turnover or the low-cost reproduction of commodities but the creation of singular instruments with unique qualities, and face-to-face transactions between makers, buyers, and dealers are commonplace. In an era when technological change has pushed skilled artisanship to the margins of the global economy, and in the midst of a capitalist system that places a premium on ever faster and more efficient modes of commerce, Dudley shows us how artisanal guitar makers have carved out a unique world that operates on alternative, more humane, and ecologically sustainable terms.Zum Buch
