Professor Vernon Bogdanor delivers a Gresham College lecture examining the IMF Crisis of 1976. From 19th January 2016.
Professor Joe Lee of New York University delivers a lecture on the Easter Rising of 1916 at the Irish Embassy in London, from 18th January 2016.
Kieron's lecture title is Kieron Johnson: Magic for the Insane, so what lies ahead is impossible to predict. What we know is this: We will learn how to perform magic with flash paper, sweets, cans, ice, coins, body tricks, sleeving, cards, metal bending, heat, flowers, chocolate bars, eggs, sharpies, business cards and magic with stickmen! And, this is no dealer demo style lecture. Kieron will be teaching you how to make all of his effects in full detail! You do not want to miss this!
British Humanist Association (BHA) President, physicist and broadcaster Professor Jim Al-Khalili gave the 2014 Voltaire Lecture at Conway Hall, London, on the theme of 'Lessons from the past: science and rationalism in medieval Islam.' The lecture was chaired by his predecessor as President, and current BHA Vice President, the journalist Polly Toynbee.
Professor Vernon Bogdanor delivers a lecture on the 1945 general election at the Museum of London.
Mr. Bernstein kicks off with Ravel's Rapsodie Espagnole, 4th Movement, to illustrate a total unawareness of a tonal crisis. The bigger and greater the ambiguities, the more immortal is tonality. There is still Rosenkavalier to be written, some operas by Puccini and Firebird. But 1908 breathes an air of disturbance indicating that tonality cannot last, nor figurative painting, nor syntactical poetry, nor the seemingly endless growth of colonial wealth or imperial power. A hint of social collapse. Marinetti's "Manifesto of Futurism" is to appear. Mahler, writing his 9th Symphony, agonizes over his reluctant and protracted farewell to tonality. Scriabin does so in his Prometheus. Sibelius in his 4th Symphony
One of the most fascinating of all the six Norton Lectures. Bernstein here juggles with Berlioz' Romeo and Juliet and shows us how it was he who set the tonal basis for Wagner to compose his Tristan and Isolde. The analysis of the diminished 7th chord, which has -in this instance- four resolutions but they are all ambiguous and lead us to other tonal possibilities. Bernstein discovers the analogies between Romeo and Juliet and Wagner's Tristan, in this his most enlightened exposition of compositional theory.