This Kalmus Edition affords violinists exciting new repertoire. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.

« Souvenirs militaires de la République et de l’Empire. Paris, Dumaine, 1855, 2 vol. in-8°. Portr. Bon récit de la seconde campagne d’Italie (pp. 85-108) et surtout des opérations en Prusse et de l’occupation du pays : recensement des ressources (donations, problème de la monnaie... (pp. 111-168). Nombreux détails, mais des inexactitudes, sur la campagne d’Autriche (pp. 169-270), l’expédition d’Anvers (pp. 273-283). La guerre en Russie occupe les dernières pages du tome I et le début du tome II. La campagne de 1813 est également racontée de façon détaillée. A peu près rien en revanche sur la campagne de France. Les souvenirs s’achèvent sur les opérations de 1815. C’est par cette partie que Berthezène avait commencé la rédaction de ses mémoires en 1816. Malgré quelques erreurs, il a l’avantage sur d’autres généraux, de s’attacher à décrire les pays occupés ou envahis. » p 16 - Professeur Jean Tulard, Bibliographie Critique Des Mémoires Sur Le Consulat Et L’Empire, Droz, Genève, 1971

This new compact guide to the history and performance of music is both authoritative and a pleasure to use. With entries drawn and condensed from the widely acclaimed The New Harvard Dictionary of Music and its companion The Harvard Biographical Dictionary of Music, it is a dependable reference for home and classroom and for professional and amateur musicians. This concise dictionary offers definitions of musical terms; succinct characterizations of the various forms of musical composition; entries that identify individual operas, oratorios, symphonic poems, and other works; illustrated descriptions of instruments; and capsule summaries of the lives and careers of composers, performers, and theorists. Like its distinguished parent volumes, The Harvard Concise Dictionary of Music and Musicians provides information on all periods in music history, with particularly comprehensive coverage of the twentieth century. Clearly written and based on vast expertise, The Harvard Concise Dictionary of Music and Musicians is an invaluable handbook for everyone who cares about music.

Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirit trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function. Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner. At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.