Malevolent Muse

Of all the colorful figures on the twentieth-century European cultural scene, hardly anyone has provoked more polarity than Alma Schindler Mahler Gropius Werfel (1879-1964), mistress to a long succession of brilliant men and wife of three of the best known: composer Gustav Mahler, architect Walter Gropius and writer Franz Werfel. To her admirers Alma was a self-sacrificing socialite who inspired many great artists. Her detractors found her a self-aggrandizing social climber and an alcoholic, bigoted, vengeful harlot - as one contemporary put it, "a cross between a grande dame and a cesspool." So who was she really? When historian Oliver Hilmes discovered a treasure-trove of unpublished material, much of it in Alma's own words, he used it as the basis for his first biography, setting the record straight while evoking the atmosphere of intellectual life in Europe and then in ŽmigrŽ communities on both coasts of the United States after the Nazi takeover of their home territories. First published in German in 2004, the book was hailed as a rare combination of meticulously researched scholarship and entertaining writing, making it a runaway bestseller and advancing Oliver Hilmes to his position as a household name in contemporary literature. Alma Mahler was one of the twentieth century's rare originals, worthy of her immortalization in song. Oliver Hilmes has provided us with an even-handed yet tantalizingly detailed account of her life, bringing Alma's singular story to a whole new audience.

Of all the colorful figures on the twentieth-century European cultural scene, hardly anyone has provoked more polarity than Alma Schindler Mahler Gropius Werfel (1879-1964), mistress to a long succession of brilliant men and wife of three of the best known: composer Gustav Mahler, architect Walter Gropius and writer Franz Werfel. To her admirers Alma was a self-sacrificing socialite who inspired many great artists. Her detractors found her a self-aggrandizing social climber and an alcoholic, bigoted, vengeful harlot - as one contemporary put it, "a cross between a grande dame and a cesspool." So who was she really? When historian Oliver Hilmes discovered a treasure-trove of unpublished material, much of it in Alma's own words, he used it as the basis for his first biography, setting the record straight while evoking the atmosphere of intellectual life in Europe and then in ŽmigrŽ communities on both coasts of the United States after the Nazi takeover of their home territories. First published in German in 2004, the book was hailed as a rare combination of meticulously researched scholarship and entertaining writing, making it a runaway bestseller and advancing Oliver Hilmes to his position as a household name in contemporary literature. Alma Mahler was one of the twentieth century's rare originals, worthy of her immortalization in song. Oliver Hilmes has provided us with an even-handed yet tantalizingly detailed account of her life, bringing Alma's singular story to a whole new audience.

A new biography of Alma Mahler (1879-1964), revealing a woman determined to wield power in a world that denied her agency History has long vilified Alma Mahler. Critics accused her of distracting Gustav Mahler from his work, and her passionate love affairs shocked her peers. Drawing on Alma's vivid, sensual, and overlooked diaries, biographer Cate Haste recounts the untold and far more sympathetic story of this ambitious and talented woman. Though she dreamed of being the first woman to compose a famous opera, Alma was stifled by traditional social values. Eventually, she put her own dreams aside and wielded power and influence the only way she could, by supporting the art of more famous men. She worked alongside them and gained credit as their muse, commanding their love and demanding their respect. Passionate Spirit restores vibrant humanity to a woman time turned into a caricature, providing an important correction to a history where systemic sexism has long erased women of talent.

"This is the second of four volumes in a multi-authored series of analytical essays on music by women composers from Hildegard of Bingen to the twenty-first century. Volume 2 presents detailed studies of compositions written between 1900 and 1960 by Alma Mahler-Werfel, Rebecca Clarke, Ethel Smyth, Ruth Crawford, Florence B. Price, Galina Ustvolskaya, J. M. Beyer, and Peggy Glanville-Hicks. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of a single representative composition, occasionally including other works where comparison strengthens the analytical argument. The repertoire explored by the authors includes art song, opera, choral, solo piano, chamber, and orchestral music. To enhance the volume's accessibility to readers who are not professional music theorists or musicologists, a glossary provides explanations of music-theoretical terms used in the book. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early twentieth-century music or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners-an endeavor of discovery for all those interested in twentieth-century music"--

In the dark, mystical heart of London, Valyrian Jacyn, a fourth-generation sorcerer, stumbles upon an ancient grimoire known as the Enchiridion Greco Daemons. This dusty tome, discovered in the cryptic basement of the Bloodfluke Manor, once belonging to his enigmatic Great Grandmother, the Witch Wilhelmina Bloodfluke, holds the key to a world of arcane secrets and forbidden rituals. As Valyrian delves deeper into the grimoire's pages, he unravels a tapestry of eerie and enchanting history surrounding the Bloodfluke Manor. The manor's legacy is steeped in darkness, rife with stories of malevolent spirits, hidden chambers, and a lineage of powerful witches and sorcerers. Among the grimoire's chilling incantations and ominous instructions, one particular ritual stands out—the capture of a muse. Valyrian, drawn by the allure of this forbidden act, decides to partake in the ritual, ensnaring the muse Euterpe in a web of magic and desire. With Euterpe as his captive muse, Valyrian's dreams of rock and roll stardom begin to take shape. His band, "Valyrian and the Misfits," rises to fame with the enchanting compositions Euterpe provides, compositions infused with otherworldly power that captivates audiences far and wide. Yet, beneath the surface, Euterpe's growing resentment simmers. Her once-enchanting music becomes tainted with a dark undertone as she yearns for her freedom. Amidst Valyrian's success, his inner struggle with newfound power and the consequences of his actions deepen. Paranoia creeps into his life, and a rival sorcerer, Geoffrey Fitzaidan, learns of Valyrian's secret, setting the stage for a dangerous confrontation. Euterpe, determined to turn the tables, hatches a plan to break free from her captor's grasp. Valyrian's life takes a sinister turn as the muse's powers begin to manifest in ways he never anticipated. Throughout this twisted tale, Valyrian maintains a conversant tone, sometimes breaking the fourth wall with dark humor. As he navigates the treacherous waters of fame, power, and magic, he grapples with his own demons while facing external threats from rival sorcerers and the captive muse herself. In a climactic showdown between Valyrian and Euterpe, the consequences of their actions unravel, and the true price of power becomes evident. Dark humor weaves through the narrative, providing a unique perspective on a tale of redemption and transformation. The story takes an unexpected turn in the epilogue when the mysterious narrator is unmasked as none other than Wilhelmina Bloodfluke, Valyrian's great-grandmother. Her enigmatic presence throughout the tale leaves room for interpretation, adding a cryptic twist to the narrative's conclusion. "Sorcerer's Serenade: A Muse’s Captive Descent" is a dark fantasy novel that explores the intricate interplay of music, magic, and the human psyche. With its conversational tone, dark humor, and enigmatic twists, it invites readers to ponder the depths of redemption and the enduring power of the arcane.

From the internationally bestselling author of Brooklyn and The Master comes the novel of a lifetime, Colm Tóibín's most dazzling and ambitious book yet. When the Great War breaks out in 1914 Thomas Mann, like so many of his fellow countrymen, is fired up with patriotism. He imagines the Germany of great literature and music, that had drawn him away from the stifling, conservative town of his childhood, might be a source of pride once again. But his flawed vision will form the beginning of a dark and complex relationship with his homeland, and see the start of great conflict within his own brilliant and troubled family. Colm Tóibín's epic novel is the story of a man of intense contradictions. Although Thomas Mann becomes famous and admired, his inner life is hesitant, fearful and secretive. His blindness to impending disaster in the Great War will force him to rethink his relationship to Germany as Hitler comes to power. He has six children with his clever and fascinating wife, Katia, while his own secret desires appear threaded through his writing. He and Katia deal with exile bravely, doing everything possible to keep the family safe, yet they also suffer the terrible ravages of suicide among Thomas's siblings and their own children. In The Magician, Colm Tóibín captures the profound personal conflict of a very public life, and through this life creates an intimate portrait of the twentieth century.

"This book presents a broad view of Busoni's compositional activities as not only connected to musical traditions of the past, especially the music of J.S. Bach and W.A. Mozart, but also as closely aligned with contemporary interest in experimentalism. Developments during the twentieth century included new means of pitch organization, the spatialization of sound, and the expansion of formal structures. Busoni helped pioneer these trends by writing pieces in which sound radiates from different directions, by creating montage formal structures, and by freely using all twelve pitches of the chromatic scale without avoiding consonances. In the process, the book brings Busoni's music into discourse with recent multivalent accounts of modernism in music that move beyond notions of rupture with the past as well as beyond elitist esotericism. In addition, it reveals that many of Busoni's innovations were rooted in interdisciplinary thinking that reconciled the spatial and the temporal in unique manners. While his abstract metaphysical notions of music transcended physical boundaries, the realization of his ideas was informed by an understanding of tangible architectural spaces and styles fostered by the study of buildings and floor plans. In addition, he engaged in a rich exchange of ideas with contemporary architects and artists, such as Henry Van de Velde and members of the Weimar Bauhaus. The book concludes by documenting ways Busoni's spatialized architectural music left a lasting imprint on future generations of composers, artists, and early film pioneers, such as Hans Richter, Heinrich Neugeboren, Wladimir Vogel, Stefan Wolpe, and Edgard Varèse"--

This collection presents cross-disciplinary explorations of the tropes, themes and representational frameworks constellating around the figure of the Goddess in South Asian cinema. It critically approaches the Goddess theme in various genres of South Asian cinema, using analytical tools culled from gender studies, comparative cultural studies, and religious studies, as well as film semiotics. The films discussed here represent variegated thematizations of the Goddess across regions in South Asia, including Nepal, Bangladesh, Sri Lanka and various geo-cultural locations in India. As the volume highlights the regional and politico-cultural differences and commonalities in representational schemes between South Asian films of different genres through the Goddess motif, it will appeal to scholars of film studies, South Asian studies and comparative religion, and will hold a special appeal for those interested in Goddess cultures and theology.