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Oklahoma!
First published in 2007, "Oklahoma!": The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of this landmark show by a musicologist, it was also one of the first biographies of a musical, transforming a field that had previously tended to orient itself around creators rather than creations.In this new and fully revised edition, Carter draws further on recently released sources, including the Rouben Mamoulian Papers at the Library of Congress, with additional correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspectives these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theater.
R 1,661.96
Oklahoma!
First published in 2007, "Oklahoma!": The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of this landmark show by a musicologist, it was also one of the first biographies of a musical, transforming a field that had previously tended to orient itself around creators rather than creations.In this new and fully revised edition, Carter draws further on recently released sources, including the Rouben Mamoulian Papers at the Library of Congress, with additional correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspectives these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theater.
R 6,308.62
Oklahoma!
A complete behind-the-scenes look at the landmark show that launched Rodgers and Hammerstein’s creative partnershipOklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. In this book Tim Carter offers the first fully documented history of the making of this celebrated American musical. Drawing on research from rare theater archives, manuscripts, journalism, and other sources, Carter records every step in the development of Oklahoma! The book is filled with rich and fascinating details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show’s choreographer, and the drafts and revisions that ultimately gave the musical its final shape. Carter also shows the lofty aspirations of both the creators and producers and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.
R 2,237.00
Rodgers and Hammerstein's Carousel
Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.
R 860.23
Mozart
How can we best understand the rules of Mozart's musical games? His first symphony, written in E flat major when he was just nine years old, sits at the opposite end of the tonal spectrum of his final concerto in A major. Through his diligent attention to -- and the creative reconsideration of -- tuning and temperament, instrumentation, musical intertextualities, and key-specific idioms, Mozart demonstrated the breadth of his musical ingenuity. By incorporating distinctive musical techniques within and across keys, the composer pushed the boundaries of meaning in late eighteenth-century music in ways that still resonate today.In Mozart: A Tale of Two Keys, Tim Carter explores this unique approach to musical creativity, uncovering new insights that reveal the inventiveness and humor inherent in Mozart's works. With particular emphasis on the intention behind his technique, Carter argues that the composer used sound in unexpected, playful, and striking ways, revealing the intense joy and limitless possibility inherent in the art and craft of making music.
R 3,829.00
R 348.00
R 348.00
Understanding Italian Opera
Ever since its invention in Florence around 1600, opera has exerted a peculiar fascination for creative artists and audiences alike. A "Western" genre with a global reach, it is often regarded as the pinnacle of high art, where music and drama come together in unique ways, supported by stellar singers and spectacular staging. Yet it is also patently absurd-why should anyone sing on the stage?-and shrouded in mystique. In this engaging and entertaining guide, renowned music scholar Tim Carter unravels its many layers to offer a thorough introduction to Italian opera from the seventeenth to the early-twentieth century.Eschewing the technical music detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and words that lies at the heart of any opera, Carter then offers explorations of five of the most enduring, emblematic, and often performed Italian operas: Monteverdi's The Coronation of Poppaea; Handel's Julius Caesar in Egypt; Mozart's The Marriage of Figaro; Verdi's Rigoletto; and Pucini's La Bohème. Shedding light on the creative collusions and collisions involved in bringing opera to the stage, the various, and varying, demands of its text and music, and the nature of its musical drama, Carter shows how Italian opera has developed over the course of music history. Complete with synopses, cast lists, and suggested further reading for each opera discussed, Understanding Italian Opera is a must-read for anyone with an interest in and love for opera.
R 1,425.00
R 393.00
R 326.00
Monteverdi’s Musical Theatre
Claudio Monteverdi (1567–1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi’s music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi’s entire output of music for the theater—his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the “public” theaters of Venice. He places Monteverdi’s stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer’s individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi’s remarkable achievement as a man of the theater.
R 1,236.00
Staging 'Euridice'
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.
R 4,947.10
Rodgers and Hammerstein's Carousel
Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.
R 4,597.69
R 237.00
Monteverdi's Voices
"Ah, alas!" The "faithful shepherd" Mirtillo's woeful sigh of unrequited love, delivered with outrageous musical dissonances, has rung through the ages since the first publication of Claudio Monteverdi's madrigal "Cruda Amarilli" in 1605. But there is far more to the composer's nine books of madrigals than dissonant progressions--they are an integral part of the intellectual, artistic, and practical worlds of creation and performance in Italian musical and literary culture of the late sixteenth and early seventeenth centuries.While Monteverdi is also recognized for his operas and sacred works, it is no surprise that the madrigal dominated his output through his long career in Cremona, Mantua, and Venice. Author Tim Carter illustrates how the composer's wonderfully witty settings of Italian verse ran the gamut from compositions in the traditional polyphonic style for five unaccompanied voices to those in more modern idioms for one or more singers and instruments. Their poets included the major figures of the day--Torquato Tasso, Battista Guarini, and Giambattista Marino--as well as the classics, not least of all Petrarch, with texts that embraced all the current literary genres from lyric through epic to dramatic. Monteverdi also repeatedly asked and answered the fundamental question of any musical setting of poetry concerning the relationship between poetic and musical voice(s).Carter offers a more holistic perspective than has been adopted in the partial studies of Monteverdi's madrigals to date and moves far beyond conventional views of the composer and his work. He considers how Monteverdi engaged with poetry, with sound, and with the performers for whom he was writing. As Carter shows, Monteverdi was irascible, exasperating, and prone to error. Yet his astonishing musical mind was also inventive, playful, and capable of the most extraordinary wit--producing madrigals that continue to invite new approaches both to their study and to their performance.
R 3,674.00
Merchant Seamen's Health, 1860-1960
Discusses the many measures taken in this period to improve seamen's health and fitness.This book examines successive campaigns fought by reformers to improve seamen's health and fitness, sometimes aided by, often opposed by, bureaucracies and vested interests, such as ship-owners. It shows how these campaigns originated; how reformers, bureaucracies and vested interests interacted; and how far the campaigns succeeded. Among the many successes were the controls for infectious diseases such as malaria, yellow fever, tuberculosis and venereal infections; fewer accidents and health problems resulting from alcohol consumption; improvements to diet and medical care aboard ships; and improved assessment of seamen's fitness, including for colour blindness, an essential requirement following the introduction of coloured navigation lights. During this period up to three quarters of all merchant shipping was British-owned and, while some British approaches in the field of maritime safety were widely adopted internationally, it was often the case that other nations could teach Britain much about protecting the health of seamen. Tim Carter recently retired as the Chief Medical Adviser to the UK Maritime and Coastguard Agency. He is a Professor in the Norwegian Centre of Maritime Medicine at the University Hospital in Bergen. Previously he was the Medical Director of the Health and Safety Executive.
R 2,758.35
R 387.00
R 1,073.51
R 275.00
R 817.32
Monteverdi
Celebrated during his lifetime, Monteverdi disappeared from the repertory for centuries until interest in him gradually revived during the 1900s.Deni s Arnold's contribution to this revival was considerable. Here he pays tribute to Monteverdi's genius and such enduring achievements as the Vespers, other choral compositions, the operas, and the sacred and secular songs. In relating Monteverdi to the musical activity of his time, and in examining his years at the Court of Mantua and in Venice, Denis Arnold reveals a fascinating musician whose works epitomize in many varied ways the musical and cultural issues of his age The text and appendices of this edition were revised by Tim Carter, who added a new chapter taking account of recent scholarship.
R 1,786.67
Cambridge History of Seventeenth-Century Music
The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs.
R 2,605.17
W. A. Mozart: Le Nozze di Figaro
Le nozze di Figaro (1786) was Mozart's first mature opera buffa. It was also the first of his three major collaborations with the librettist Lorenzo da Ponte. Unlike Don Giovanni (1787) and Così fan tutte (1790), Figaro has few obvious problems, and even if it is not without flaws, it nevertheless contains a remarkable mixture of all those elements that go to produce a good opera: a sound plot, a well-structured text and fine music. This opera handbook examines the work from historical and musical perspectives, to set it in the context of Mozart's age.
R 1,099.76
R 610.00
R 367.00
Staging 'Euridice'
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.
R 1,073.00
R 611.00
Cambridge History of Seventeenth-Century Music
The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs.
R 10,219.26
German Cinema Book
This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women’s and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
R 1,617.00
How to Save a Life
In Eva Carter's How to Save a Life, saving a life is only the start of the story . . .'A sweeping, brave, epic love story. I was hooked from the very first page' – Josie Silver, author of One Day in December'I couldn't put it down until I reached the final page' – Beth O'Leary, author of The FlatshareIt’s nearly midnight on the eve of the millennium when eighteen-year-old Joel’s heart stops. A school friend, Kerry, performs CPR for almost twenty exhausting minutes, ultimately saving Joel’s life, while her best friend Tim freezes, unable to help. That moment of life and death changes the course of all three lives over the next two decades: each time Kerry, Joel and Tim believe they’ve found love, discovered their vocation, or simply moved on, their lives collide again.. . . Because bravery isn’t just about life or death decisions; it’s also about how to keep on living afterwards.
R 376.00
R 585.00
Weybridge Sailing Club Monologues
Six melodramatic tales, variously set upon the River Thames and its banks between Lechlade and Putney, The Weybridge Sailing Club Monologues were written for recitation as after-dinner entertainment. These tales, sometimes tragic, frequently hilarious, make marvellous fireside reading and will appeal to all those who love the River Thames. "The real piece de resistance was a recitation by club member Tim Carter, which had the entire room in stitches and rightly received a standing ovation." Mort Smith, "Riverwatch", Surrey Herald. "I imagine Old Father Thames chuckling as he reads this book with the occasional watery guffaw. It is a fine example of the old tradition of story-telling in light verse. Enjoy it!" Reverend Canon Peter Ball, formerly Vicar of Shepperton, 1968-1984. . "Terrific stuff! For slack times afloat in my punt I will certainly have a copy aboard!" Bill Rushmer, famous fisherman and Angler's Mail journalist.
R 503.31
R 367.00
Traders at Work
Shortly after most novice traders discover how trading works and begin to realize that they have the potential to make unlimited amounts of money in the financial markets, they start dreaming the near-impossible dream. They fantasize about buying that condo in Boca Raton for their parents or surprising their son with a brand-new car on his 16th birthday. They even begin to imagine themselves opening their own trading firm or milling about the pit of the Chicago Mercantile Exchange, lobbying against other professional traders for the perfect entry into a once-in-a-lifetime trade. But then … they watch the markets lurch in wildly unpredictable ways, lose their shirts in a few live trades, and then freeze in their tracks, wondering if they will ever be able to consistently trade in a manner that can even loosely be defined as “profitable.” To be sure, becoming a full-time, professional trader, working at a proprietary trading firm, or managing the trading activity of a hedge fund may sound like the perfect career, but it’s all too easy for beginner traders to overestimate their trading abilities, underestimate the movements of the markets, and find themselves in a financial hole of epic proportions after a few bad trades. So what does it really take to make a living in the markets? Tim Bourquin, co-founder of Traders Expo and the Forex Trading Expo and founder of TraderInterviews.com, and freelance writer and editor Nick Mango set out to answer that exact question in Traders at Work, a unique collection of over 20 interviews with some of the world’s most successful professional traders, from at-home hobbyists who have opened their own firms to those working at hedge funds, on proprietary trading desks, and in exchange pits. What mistakes did Anne-Marie Baiynd make early in her career? What does Michael Toma wish he had known about trading? What trading strategies work best for Linda Raschke? How does John Carter remain cool, calm, and collected when the markets are sending mixed signals? And how did Todd Gordon make the transition from part-time to full-time trader? Bourquin and Mango ask all of these questions and more in Traders at Work and in doing so reveal insider insights on what it takes to be a successful trader from those who are living that dream. Fascinating, compelling, and filled with never-before-told stories from the front lines of the trading arena, Traders at Work is required reading for anyone who has ever asked themselves if they have what it takes to trade for a living.
R 1,085.30
R 183.00
Weybridge Sailing Club Monologues Volume II
Six more melodramatic tales, variously set upon the River Thames and its banks between Thames Head and Hampton Court. The Weybridge Sailing Club Monologues were written for recitation and have all been performed as after-dinner entertainment. "Writing is a particular skill. Writing in an amusing style in rhyming couplets is an even more demanding art form-and writing in such a way as to reduce an entire room of listeners to helpless laughter requires real talent-and boy does Dr .Tim have it." Mort Smith, "Riverwatch", Surrey Herald. "Eccentric characters and River Thames landmarks mingle at breathless speed. Words pop up in rhyming surprises. The rhythm evokes a Thames rowing skiff and captures the reader's attention... a pleasure surpassed only by a live performance by the author." Paul Antrobus, yachting author and journalist.
R 512.89
Who Is Jimmy Carter?
How did a peanut farmer from a small town in Georgia become the 39th President of the United States? Find out in this addition to the #1 New York Times best-selling Who Was? series!Everyone was rather surprised when small-town farmer Jimmy Carter first announced that he’d be running for president in 1976. When Jimmy told his mother, she replied, “President of what?” But this former naval officer and governor of Georgia was ready for the role. Jimmy Carter went on to become one of America’s most beloved political figures thanks to his honesty, strong faith, and compassion. Even today, Jimmy Carter is still dedicated to helping Americans through his extensive work as a philanthropist. He and his wife, Rosalynn, volunteer with Habitat for Humanity, building houses for the less fortunate and inspiring others to a life of service. Who Is Jimmy Carter? details the entire life of Jimmy Carter, beginning with his 1924 birth in Plains, Georgia. Readers will learn about his life as a peanut farmer, a Sunday school teacher, a president, a Nobel Prize winner, and more.
R 160.00
R 336.00
R 725.95
