Ernst

A young crocodile with a vivid imagination celebrates a birthday.

An introduction to the German Expressionist painter, graphic artist and sculptor who, at the turn of the 19th century, was Germany's most influential artist.

A comprehensive look at the life and work of a pioneering 20th-century artist

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Path?que, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

A biography of the German-Jewish philosopher Ernst Cassirer (1874-1945), a leading figure on the Weimar intellectual scene and one of the last and finest representatives of the liberal-idealist tradition. It traces the development of Cassirer's thought in its historical and intellectual setting.

By exploring Mach's views on science as well as philosophy, this book attempts to wrest him free from his customary association with logical positivism and to reinterpret him on his own terms as a natural philosopher and naturalist about human knowledge. Physicists, psychologists, philosophers of science, historians of twentieth-century thought and culture, and educators will find this volume a valuable help in interpreting Mach's ideas.

Hans falls in love with the voice of Sarah in 1905 in Berlin. She marries Hans’s best friend Ernst Kroll. Because he fell in love with Sarah, Hans does not marry. In 1939, Ernst and Sarah go underground to live in the slum of Berlin. In 1943, in the south of France, waiting for an Italian ship to take them to Lisbon, Ernst decides to kill a Nazi. Before doing the killing, he has a dream of a dybbuk, a lost soul, which persuades him to do the killing. Sarah decides to return to Berlin to find the only other man she knows. She finds Hans. They marry and go to Lisbon, and then New York and then Del Mar, where Sarah’s granddaughter Mary Ann lives. There she confesses that she had slept with Hans when he sculpted her naked in 1918. Hans dies. The epilogue concerns the great-grandson Jacob, who marries a woman named Carol, who kicked him out of her home three times. A year before Carol divorces Jacob, he sleeps with their maid, Mirasol. Mirasol has a child, but her husband divorces her because the child is half white. After Jacob’s divorce becomes final, she appears bringing her child to Jacob, and they marry.