Two DVD over two and a half hours of material that is a masterclass in performance and knowledge. Neal Scryer has been described as the most influential mentalist since Annemann. Both Richard Webster and Neal Scryer were the first recipients of the "Annemann Award" for their highly sought after books featuring the works of Scryer. Material from these seven books are now in the repertoires of almost every professional mentalist around the world. What makes Neal Scryer's material so popular is that they use regular objects, and many use no props and can be performed completely impromptu.
After his success with Freischütz, Weber wanted to write a grand romantic opera and in the end the subject of Euryanthe was chosen, a tale inspired by a legend going back to the thirteen century. Euryanthe is music of inspiration and originality such as is rarely found in the history of German opera in the first half of the nineteenth century. The Italianisms that are occasionally glimpsed in Freischütz are eliminated almost completely. Euryanthe is set to music in its entirety, with accompanied recitative passages that are often of great beauty. We may say that in an opera that has many experimental features Weber sought for the first and only time in his life to overcome the traditional dichotomy between spoken and sung parts, between recitative and closed numbers, creating a highly supple musical structure. The present production features a cast of specialists of German opera and the outstanding direction of Pier Luigi Pizzi.
Within 24 hours of hearing the violinist Joseph Szigeti playing Bach, Ysaÿe had made sketches for his own six solo Violin Sonatas, which constitute his single most substantial and remarkable work, drawing together influences as diverse as Gregorian chant, Spanish and Walloon folk music, French impressionism and, of course, Bach himself. These are virtuoso showpieces, but, as Philippe Graffin demonstrates, there is much in them that is yielding and gentle, such as the stately Sarabandes fromthe Second and Fourth Sonatas (the latter is dedicated to Fritz Kreisler) and the radiant evocation of dawn in the Fifth Sonata. Graffin adroitly negotiates these technical and expressive demands, and if there is an occasional lapse in clarity, it is compensated for by a compelling vitality.
Between 1940 and 1945, 110,000 of the 140,000 Dutch Jews were deported to the death camps in Eastern Europe. 80% never returned. In Anne Frank and After the authors focus on two main questions: how exactly did this happen, and how has Dutch literature come to terms with this appalling event? In the book's final chapter they analyze the relationship between history and the literature of the Holocaust. …