The Cat Who Played Brahms by Lilian Jackson Braunby Lilian Jackson Braun
Reporter turned detective Jim Qwilleran heads for a cabin in the country with his two cats, Koko and Yum Yum. But from the moment he arrives there, things turn strange. Soon Qwilleran enters into a game of cat and mouse with a killer and Koko develops a fondness for classical music.
Added by: stoker | Karma: 5556.59 | Black Hole | 7 September 2010
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Great Masters: Brahms - His Life and Music
Course No. 757 (8 lectures, 45 minutes/lecture) Taught by Robert Greenberg San Francisco Performances Ph.D., University of California, Berkeley 1. J.B., We Hardly Knew You! 2. The Brothels of Hamburg 3. The Schumanns 4. The Vagabond Years 5. Maturity 6. Mastery 7. The Tramp of Giants 8. Farewells
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The Teaching Company In both his life and his music, Johannes Brahms (1833-1897) was a man of contrasts.
He composed serious Teutonic music and joyful dance music.
He was miserly with himself and exceedingly generous with family and associates.
He was kind to working people and known for his biting, malicious wit in artistic and aristocratic circles.
No one's idea of an easy man to know, Brahms destroyed a good deal of his own work and almost all of his lifetime's correspondence, in later years even collecting his letters from friends so that he could consign them to the flames.
This course links the complexities of Brahms the man with the electrifying music of Brahms the composer through biographical information and musical commentary. Brahms had vowed early in life to be lonely but free. He never married, owned a home, held a job for more than a few years, or took on a commissioned piece.
In art, he showed a similar independence of spirit. He believed in traditional musical genres and forms as challenges, not as hindrances to expressive freedom but as healthy sources of stimulation for his awesome artistic powers.
Unlike, for example, Beethoven, Brahms did not reinvent his art repeatedly in response to personal emotional crises, but rather found his essential compositional voice while in his mid-20s, and developed it in more of an evolutionary than a revolutionary fashion.
Johannes Brahms
