Gaston Crunelle (1898--1990) was Professor of Flute at the Paris Conservatory from 1941 to 1969 and taught an entire generation of the world's leading flutists. A leading orchestral, chamber music, and solo flutist, his recordings are among the best of the 78-rpm and early LP eras. Gaston Crunelle and Flute Playing in Twentieth-Century France establishes Crunelle's place in history as one of the most important flutists of the twentieth century and shines light on musical life in France during his lifetime from the silent film era, through the German Occupation, to the changes in music and education since 1968.

The French writer, editor, and drama critic Jacques Copeau (1879–1949) opened his Théâtre du Vieux-Colombier in Paris in 1913. Copeau was well on his way to exerting a major influence in the theater in the year that saw the end of the career of the dominant innovator of an earlier generation, André Antoine, whose Théâtre Libre (Free Stage) had featured an uncompromising realism. In marked contrast to Antoine, Copeau returned the poetry and freshness to Shakespeare and Moliére. By May 1914, Paris and Europe had recognized his genius and his special gift to the theater. Yet like Antoine, Copeau wanted to sweep "staginess" from the stage, to banish overacting, overdressing, and flashy house trappings. To cleanse the stage of its artificiality, he created a fixed, architectural acting space where dramatic literature and theater technique could live in harmony and thrive in freedom of thought and movement. A major part of his program was teaching actors and actresses their craft. Maurice Kurtz points out that the Théâtre du Vieux-Colombier incarnates the "ideal of Copeau's stubborn struggle to remain strong in the face of indifference, independent in the face of success, proud in the face of defeat. It is the story of group spirit in its purest, most eloquent form, the spirit of personal sacrifice of all for the dignity of their art." Kurtz here re-creates the vitality Copeau imbued in theater artists throughout the world. He conveys Copeau's enthusiasm, the crusading spirit that enabled Copeau and his Théâtre du Vieux-Colombier to transform experimentation into tradition, into the heritage of civilization. He has written a biography of a theater that was tremendously influential in Europe and America.

This research monograph studies and reinterprets the works and ideas of Richard Wagner that have had such a profound influence on the artistic and intellectual life of France. His Romanticism influenced the French symbolists so greatly that they named their major journal La Revue Wagnerians. His musical themes, dramatic structures and philosophical tropes recurred in the works of almost every major French composer before World war One. Massenet was so devoted that he earned the sobriquet "Madamoiselle Wagner". Proust employed Wagnerian concepts and allusions in his modernist fiction and publicly defended Wagner's artistic achievements against the general assault on German kultur during the 1914-1918 war. Wagner remained important during the interwar years as well as the occupation 1940-1944 and after the Liberation. Du Quenoy interprets the phenomenon of France's infatuation with Wagner and discusses why Wagner's influence has been misunderstood and understudied. The author points to the effects of competition, war and political recrimination on the French psyche. In the face of such bitter struggle who would expect a German cultural icon to have played such an important and consistent role in French life? The author points to the strength and uniqueness of Wagner's creativity and his spiritual universalism as the answer. The author also discusses Wagnerism and Wagnerites in France's literary, musical and political culture.

Richelieu and Mazarin compares these 2 striking, but very different, statesmen and evaluates their careers and achievements. It explores all aspects of the 2 men's careers including their personal characters, and their aims and values.

With over 150 photographs from late 19th century China, including stunning landscapes, architecture and city scenes, intimate portraits of Manchu brides in full wedding costumes and Mandarin officials in government attire.

This new edition (last, 1992) includes entries on some 500 musicians who were not included in the eighth edition (such as violin virtuoso Sarah Chang) and updates many others (such as composer John Cage, who died after the 8th edition was published). As before, entries also include musicians and composers of the 1800s and artists from other musical genres whose work has significantly influenced 20th century classical music. A glossary of terms is included at the end of the volume. c. Book News Inc.

A genuine historical document, written by a former Prussian officer charged with turning George Washington's demoralized army into an efficient fighting machine, this compendium of military drills and training techniques was the U.S. Army's official "blue book" until 1812. Presented here in a facsimile of its original 1794 printing, it offers a fascinating glimpse into the disciplinary routine of an American soldier in the early years of the Republic. FREDERICK WILLIAM BARON VON STEUBEN (1730-1794) served in the Prussian officer corps for 17 years before circumstances, and the attention of Benjamin Franklin, brought him to America's Revolutionary cause. After successfully reshaping the U.S. military and helping win the war, von Steuben retired to upstate New York.