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Based on extensive archival research and containing rare and previously unpublished photos, this book provides the most detailed reconstruction ever of one of the most important events in Spanish theatrical history.
The essays in this volume of the Journal continue its proud tradition of presenting cutting-edge research with a wide chronological and geographical, range, from eleventh-century Georgia (David IV's use of the methods described in De velitatione bellica) to fifteenth-century England and France (a detailed analysis of the use of the under-appreciated lancegay and similar weapons). Iberia and the Empire are also addressed, with a study of Aragonese leaders in the War of the Two Pedros, a discussion of Prince Ferdinand's battle-seeking strategy prior to the battle of Toro in 1476, and an analysis and transcription of a newly-discovered Habsburg battle plan of the early sixteenth century, drawn up for the war against Venice. The volume also embraces different approaches, from cultural-intellectual history (the afterlife of the medieval Christian Warrior), to experimental archaeology (the mechanics of raising trebuchets), to comparison of 'the face of battle' in a medieval illuminated manuscript with its depiction in modern films, to archivally-based administrative history (recruitment among the sub-gentry for Edward I's armies).
Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions.
Reexamines the first twenty years of the East African revival movement in Uganda, 1935-1955, arguing that through the movement African Christians articulated and developed a unique spiritual lifestyle.
Of interest to linguists, artists, scholars of urban studies, educationalists, policy makers and language planners who are grappling with the challenges of multilingualism and language of education in Kenya.
Guides modern performers and scholars through the intricacies of German Baroque metric theory, via analyses of treatises and organ music by J. S. Bach and other leading composers, such as Buxtehude, Bruhns, and Weckman.
Demonstrates that the intersection between race, gender, and class formed the backbone of Progressive-Era debates over sex education, the policing of sexuality, and the prevention of venereal disease.
By exploring the concept of the 'tender gaze' in German film, theater, and literature, this volume's contributors illustrate how perspective-taking in works of art fosters empathy and prosocial behaviors.
The most striking example I can show of a man being wrong about the performance of his own work is actually Vaughan Williams and the Pastoral Symphony. Each movement had to be faster than I had imagined it.
Before conducting the first performance of A Pastoral Symphony with the orchestra of the Royal Philharmonic Society on 26 January 1922, Boult also rehearsed the new symphony with the student orchestra at the Royal College of Music. These rehearsals at the RCM provided a valuable opportunity for Vaughan Williams to decide on the speeds he wanted and any other adjustments he felt were needed. In 1966, Boult related some of the work’s prehistory to Robert Layton: ‘When the Pastoral Symphony was first brewing, Vaughan Williams used to say “Well, I’ve got a new tune” – he always called his works tunes – “I’ve got a new tune and it’s in four movements and they’re all slow. I don’t think anybody will like it much.” Well that was all we heard of the Pastoral Symphony for some time and finally we were allowed to see it. And we had the luck to be allowed to have the use of the parts and rehearse it two or three times with the Royal College of Music orchestra before the first professional performance – the first public performance. And all the time we were rehearsing it – and of course I’d had a bit of time with the score studying it – I’d been on what he felt was very much on the slow side. And the composer was continually at my elbow saying “You must take it faster, faster”.’
At first, before Boult took over, the RCM orchestra had played through the symphony under the college’s director, Charles Villiers Stanford. When illness forced Boult to withdraw from a concert to celebrate Vaughan Wil-liams’s eighty-fifth birthday in October 1957 (including the Pastoral and Job), the composer wrote on 1 October 1957 with some recollections of that time: ‘I still have fragrant memories of early rehearsals of Pastoral – when you were so wonderful & C.V.S[tanford] came & rehearsed & was very kind but rather a nuisance – & told somebody afterwards that it was fluff (I think that was the word).