Prince Yahshua and The Rosario Stone In a land far away, where the sun dipped into the horizon and painted the sky with hues of crimson and gold, Prince Yahshua wandered, seeking enlightenment. His heart was heavy with the suffering he had witnessed, and his mind was filled with questions about the mysteries of the universe. As he walked, he stumbled upon a humble stone, weathered by time and the elements. The stone, known as the Rosario Stone, radiated an aura of peace and wisdom. Prince Yahshua felt drawn to it, as if it held the secrets he sought. As he reached out to touch the stone, a gentle voice whispered in his mind, “Embrace compassion, dear prince. Let go of attachment and desire. The universe is a web of interconnectedness, and every action ripples outward like the gentle lapping of waves on a still pond.” Prince Yahshua sat in silence, absorbing the wisdom of the Rosario Stone. In that moment, he realized that the path to enlightenment lay not in the external world but within. He vowed to share this understanding with all beings, that they too might find peace and liberation. And so, Prince Yahshua’s journey became a testament to the power of compassion, wisdom, and the gentle guidance of the Rosario Stone. May its teachings echo through the ages, inspiring all who seek a path to inner peace and understanding.

The third volume in Alan Walker's magisterial biography of Franz Liszt. "You can't help but keep turning the pages, wondering how it will all turn out: and Walker's accumulated readings of Liszt's music have to be taken seriously indeed."--D. Kern Holoman, New York Review of Books "A conscientious scholar passionate about his subject. Mr. Walker makes the man and his age come to life. These three volumes will be the definitive work to which all subsequent Liszt biographies will aspire."--Harold C. Schonberg, Wall Street Journal "What distinguishes Walker from Liszt's dozens of earlier biographers is that he is equally strong on the music and the life. A formidable musicologist with a lively polemical style, he discusses the composer's works with greater understanding and clarity than any previous biographer. And whereas many have recycled the same erroneous, often damaging information, Walker has relied on his own prodigious, globe-trotting research, a project spanning twenty-five years. The result is a textured portrait of Liszt and his times without rival."--Elliot Ravetz, Time "The prose is so lively that the reader is often swept along by the narrative.... This three-part work... is now the definitive work on Liszt in English and belongs in all music collections."--Library Journal

Praise for War Beneath the Sea "I am truly filled with awe and admiration...fascinating and a great contribution to the entire lore of submarines.... I wish I had written the book." ?Capt. Edward L. Beach, USN (Ret.) author of Run Silent, Run Deep "Peter Padfield is the best British naval historian of his generation now working. [His] book...will now become the standard work on the subject." ?Daily Telegraph (London) "Peter Padfield has produced by far the best and most complete critical history of the submarine operations of all the combatants in the Second World War, at the same time providing vivid narrative accounts of particular actions and events." ?Lloyd?s List (London) "An excellent account of submarine warfare in 1939?45... [it] recreates the tribulations and horrors of that especially brutal form of warfare within a sturdily analytical and often critical framework." ?The Economist "[A] marvelously complete and detailed study of World War II submarine warfare...an interesting, serious, and timely book." ?Houston Chronicle "A brilliant submarine warfare study." ?Military Review

Elizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes these performances so special? Eloquently written and engagingly laid out, Murray Pomerance answers the tough question as to what makes an exceptional, or virtuosic performance. Pomerance intensively explores virtuosic performance in film, ranging from classical works through to contemporary production, and gives serious consideration to structural problems of dramatization and production, actorial methods and tricks, and contingencies that befall performers giving stand-out moments. Looking at more than 40 aspects of the virtuosic act, and using an approach based in careful meditation and discursion, Virtuoso moves through such themes as showing off, effacement, self-consciousness, performative collapse, spontaneity, acting as dream, acting and femininity, virtuosity and torture, secrecy, improvisation, virtuosic silence, and others; giving special attention to the labors of such figures as Fred Astaire, Johnny Depp, Marlene Dietrich, Basil Rathbone, Christopher Plummer, Leonardo DiCaprio, Alice Brady, Ethel Waters, James Mason, and dozens more. Numerous scenic virtuosities are examined in depth, from films as far-ranging as Singin' in the Rain and The Bridge on the River Kwai, and My Man Godfrey. As the first book about virtuosity in film performance, Virtuoso offers exciting new angles from which to view film both classical and contemporary.

Longlisted for the Swansea University Dylan Thomas Prize 2020 'A hint of Lynch, a touch of Ferrante, the cruel absurdity of Antonin Artaud, the fierce candour of Anaïs Nin, the stylish languor of a Lana del Rey song ... Moskovich writes sentences that lilt and slink, her plots developing as a slow seduction and then clouding like a smoke-filled room.' Guardian Zorka. She had eyebrows like her name. 1980s Prague. For Jana, childhood means ration queues and the smell of boiled potatoes on the grey winter air. But just before Jana's seventh birthday, a new family moves in to their building: a bird-eyed mamka in a fox-fur coat, a stubble-faced papka - and a raven-haired girl named Zorka. As the first cracks begin to appear in the communist regime, Zorka teaches Jana to look beyond their building, beyond Prague, beyond Czechoslovakia ... and then, Zorka just disappears. Jana, now an interpreter in Paris for a Czech medical supply company, hasn't seen her in a decade. As Jana and Zorka's stories slowly circle across the surreal fluctuations of the past and present, the streets of 1980s Prague, the suburbs of 1990s Wisconsin and the lesbian bars of present-day Paris, they lead inexorably to a mysterious door on the Rue de Prague ... Written with the dramatic tension of Euripidean tragedy and the dreamlike quality of a David Lynch film, Virtuoso is an audacious, mesmerising novel of love in the post-communist diaspora.

This book offers a novel interpretation of the sudden and steep decline of instrumental virtuosity in its critical reception between c. 1815 and c. 1850, documenting it with a large number of examples from Europe’s leading music periodicals at the time. The increasingly hostile critical reception of instrumental virtuosity during this period is interpreted from the perspective of contemporary aesthetics and philosophical conceptions of human subjectivity; the book’s main thesis is that virtuosity qua irreducibly bodily performance generated so much hostility because it was deemed incompatible with, and even threatening to, the new Romantic philosophical conception of music as a radically disembodied, abstract, autonomous art and, moreover, a symbol or model – if only a utopian one – of a similarly autonomous and free human subject, whose freedom and autonomy seemed increasingly untenable in the economic and political context of post-Napoleonic Europe. That is why music, newly reconceived as radically abstract and autonomous, plays such an important part in the philosophy of early German Romantics such as E. T. A. Hoffmann, Schelling, and Schopenhauer, with their growing misgivings about the very possibility of human freedom, and not so much in the preceding generation of thinkers, such as Kant and Hegel, who still believed in the (transcendentally) free subject of the Enlightenment. For the early German Romantics, music becomes a model of human freedom, if freedom could exist. By contrast, virtuosity, irredeemably moored in the perishable human body, ephemeral, and beholden to such base motives as making money and gaining fame, is not only incompatible with music thus conceived, but also threatens to expose it as an illusion, in other words, as irreducibly corporeal, and, by extension, the human subject it was meant to symbolise as likewise an illusion. Only with that in mind, may we begin to understand the hostility of some early to mid-19th-century critics to instrumental virtuosity, which sometimes reached truly bizarre proportions. In order to accomplish this, the book looks at contemporary aesthetics and philosophy, the contemporary reception of virtuosity in performance and composition, and the impact of 19th-century gender ideology on the reception of some leading virtuosi, male and female alike.

Magnus Carlsen’s brilliant endgame play has been one of the key reasons for his success. At the age of 13 the Norwegian became the youngest grandmaster in the world, at 19 the youngest number one in the FIDE world rankings, and at 22 the second youngest World Champion in history. With his fine technique, great inventiveness an iron determination Magnus has won countless endgame positions in which almost everyone else would have settled for a draw. He also has saved endgames that seemed impossible to hold. International Master Tibor Karolyi has studied Carlsen’s career and selected more than 90 of his best endgames. He reviews them in chronological order to show how Magnus developed his skills. His technique and his choices are being explained in a manner that is easy to understand for club players. Endgame Virtuoso Magnus Carlsen will help you to appreciate Magnus’ endgame magic and shows you how to become a better endgame player yourself. A highly instructive, inspiring and entertaining book.

From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Path que, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

Sonny Clark was a unique jazz pianist. Totally original, he never sounded like any other jazz pianist and no other piano player ever sounded like him. This is his story; the musicians he worked and recorded with included Rollins, Coltrane, Gordon and many others. His closeness to Nica, the jazz baroness, and her tireless efforts to help him and get him off the debilitating drugs that were destroying him. The crazy New York loft jazz scene and his friends there. His unique gift as a jazz pianist and everything that went with it including his ending and the ultimate tragedy. His life was like many other jazz musicians who lived hard and died young. The difference lies in the precise way he lived, his success as an improvising musician, and the obstacles that played a huge part in his life - and the final twist of fate at the end of his life.