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The Silent Attack
“An enthralling account of how German Special Forces fought to take and hold the key river crossings to allow the main German Army to swarm into France.”—Firetrench Much has been written about the capture of Fort Eben-Emael in Belgium by German paratroopers, on May 10, 1940. This operation marked the first use of gliders and shaped charges—and proved it possible to drop paratroopers behind enemy lines. Training, secrecy, accuracy and speed linked to the element of surprise made these men lethal, causing chaos among Belgian soldiers. However, it should be stressed that these paratroopers were part of a larger group: The Sturmablteilung Koch (Koch Assault Group), the elite of the Luftw...
A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty’s unique position in the cultural life of early modern Europe. Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodríguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.
Bodenplatte
"One of our goals was to describe, as accurately as possible, the events taking place in the morning of January 1st, 1945... We had to refrain from going into the nightfighter attacks of December 31st, 1944, and for reasons of brevity we also had to let go of any other bomber or escort missions of the Allied air forces on January 1st. The contents of the book have been divided into chapters dealing with the individual attacks of the Luftwaffe Geschwader. As a result, the subject matter is dealt with primarily from a Luftwaffe point of view. After all, it was a Luftwaffe operation. However, we have endeavoured to create a balanced view of each attack, showing in just as much detail the Allied perspective. At the end of each chapter, we have drawn our conclusions, carefully evaluating all available Luftwaffe and Allied points of view"--P. ix.
Chamber Music
Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a "live" resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing.
Centre and Periphery, Roots and Exile
This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012), György Kurtág (1926–), and Sándor Veress (1907–92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, “Place and D...
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