Body & Soul, a song with music by Johnny Green and lyrics by Frank Eyton, Edward Heyman, and Robert Sour, was first published in 1930. It became a popular tune for jazz musicians. This volume presents transcriptions and analyses of recorded solos by Coleman Hawkins, Lester Young, Stan Getz, Sonny Rollins, John Coltrane, Dexter Gordon, Michael Brecker, and Chris Potter. With a foreword by Chris Potter.
The Tenor is a sweeping tale of historical fiction in the style of Ann Patchett's Bel Canto and De Burniere's Captain Corelli's Mandolin. It swiftly moves from Pino Vaggi's youth in pre-war Italy, to his coming of age as a soldier in war-torn Greece, before ending in a shattering surprise finale at Maria Callas' historic final performance ever on the stage of New York's Metropolitan Opera House in 1965. It is based loosely on the stories and anecdotes that the author learned from several of Maria Callas' personal friends and from nearly a dozen trips to Italy and Greece to research the subject.
The notions of the cosmic city and the common law are central to early Stoic political thought. As Vogt shows, together they make up one complex theory. A city is a place governed by the law. Yet on the law pervading the cosmos can be considered a true law, and thus the cosmos is the only real city. A city is also a dwelling-place--in the case of the cosmos, the dwelling-place of all human beings. Further, a city demarcates who belongs together as fellow-citizens. The thought that we should view all other human beings as belonging to us constitutes the core of Stoic cosmopolitanism. All human beings are citizens of the cosmic city in the sense of living in the world. But the demanding task of acquiring wisdom allows a person to become a citizen in the strict sense: someone who lives according to the law, as the gods do. The sage is the only citizen, relative, friend and free person; via these notions, the Stoics explore the political dimensions of the Stoic idea of wisdom. Vogt argues against two widespread interpretations of the common law--that it consists of rules, and that lawful action is what right reason prescribes. While she rejects the rules-interpretation, she argues that the prescriptive reason-interpretation correctly captures key ideas of the Stoics' theory, but misses the substantive side of their conception of the law. The sage fully understands what is valuable for human beings, and this makes her actions lawful. The Stoics emphasize the revisionary nature of their theory; whatever course of action perfect deliberation commands, even if it be cutting off one's limb and eating it, we should act on its command, and not be held back by conventional judgments.
Bach’s Operas of the Soul is the first introduction to Bach’s sacred cantatas for the general music lover. In clear and accessible language, Mark Ringer examines this vast output of masterpieces as the great musical dramatic creations that they. Bach’s sacred cantatas represent an almost superhuman artistic and spiritual achievement, arguably the richest investment by a great composer within a single genre. But outside of a handful of pieces, they remain a closed book to a majority of serious listeners already familiar with Bach’s large-scale religious works. Nevertheless, the same musical-dramatic genius of Bach’s Passions is fully evident in virtually all of the composer's sacred cantatas. Ringer approaches the sacred cantatas as sermons in musical-dramatic form, un-staged operas, planned for each occasion of the church year. Bach’s era relished dramatic contrast, and his use of the human voice offers a constantly changing pallet of vocal colors. The singers play ‘roles’ throughout the cantatas from penitent sinner, to ardent believer, to Christ himself. This book is accompanied by online audio tracks of select Bach canatatas from the Naxos music library. It will be of use to readers interested in opera and vocal music who have already come to love Bach’s Passions and who want to familiarize themselves with this wide array of masterpieces.
