A selection of Hans Keller's writings on Benjamin Britten including previously unseen correspondence and reprints of long unavailable writings. It was hearing an early performance of Benjamin Britten's Peter Grimes that turned the young emigre writer and musician Hans Keller from psychology to music. Thereafter he became the composer's most fervent advocate, devoting to him a whole issue of Music Survey (the journal he edited with Donald Mitchell) and the first comprehensive book on his music (again edited with Mitchell). This volume is a selection of the best of his writings, dealing withPeter Grimesthrough to Death in Venice and the Third String Quartet. It also includes an illustrated study by A. M. Garnham of the extensive correspondence between Britten and Keller (most of it hitherto unknown), areprint of the handbooks on The Rape of Lucretia and Albert Herring (long out-of-print), and items from the Hans Keller Archive in the University of Cambridge. The book is illustrated with drawings from life by Milein Cosman.

Hans Keller's text and Milein Cosman's vibrant illustrations combine to produce a unique and enlightening book on Stravinsky. Stravinsky the Music-Maker is the third incarnation of a book that has been greeted with superlatives on each previous appearance. Hans Keller and Milein Cosman collaborated down the decades of their married life, Keller'spen analysing music, Cosman's catching its makers at work. Stravinsky was a source of fascination for them both, and their Stravinsky at Rehearsal appeared in 1962, to be expanded, two decades later, as Stravinsky Seen and Heard. Stravinsky the Music-Maker offers the most generous compilation of their work yet: it includes Keller's complete articles on Stravinsky, written between 1954 and 1980, and augments Cosman's celebrated prints and drawings with a number not previously published. The introduction, by the composer Hugh Wood, sites the Keller-Cosman partnership in the framework of the British musical life they enriched. HANS KELLER (1919-85) fled Austria in1938 and became a commanding critical voice in British music journalism and on the BBC from the end of the war until his death. He is the author of numerous books, many illustrated by his wife Milein Cosman, including Criticism (Faber), The Great Haydn String Quartets (Dent), Essays on Music (CUP), Jerusalem Diary, Film Music and Beyond and Music and Psychology (all Plumbago). A critic of insight and integrity throughout his life, he remains a powerful influence to this day.

Hans Keller wrote the Jerusalem Diary in 1977 and 1979 during two visits to the Mishkenot Sha'ananim, a residence for writers and artists. As a senior figure at the BBC and as a shrewd and witty polymath steeped in music, sociology and psychoanalysis, he was better placed than most to record the artistic, social and political life of Israel at a crucial juncture in its history. The Diary, which he described as an anti-journal', was in the first place a reaction to Saul Bellow's To Jerusalem and Back. But the result is far more than a topical riposte: at a time of renewed turbulence in the Middle East, with another dramatic shift in favour of the right-wing Likud party, it is as sharp and relevant now as it was then. Milein Cosman has selected her own, remarkable drawings.

Thirteen years have passed since the seminal book on knapsack problems by Martello and Toth appeared. On this occasion a former colleague exclaimed back in 1990: "How can you write 250 pages on the knapsack problem?" Indeed, the definition of the knapsack problem is easily understood even by a non-expert who will not suspect the presence of challenging research topics in this area at the first glance. However, in the last decade a large number of research publications contributed new results for the knapsack problem in all areas of interest such as exact algorithms, heuristics and approximation schemes. Moreover, the extension of the knapsack problem to higher dimensions both in the number of constraints and in the num ber of knapsacks, as well as the modification of the problem structure concerning the available item set and the objective function, leads to a number of interesting variations of practical relevance which were the subject of intensive research during the last few years. Hence, two years ago the idea arose to produce a new monograph covering not only the most recent developments of the standard knapsack problem, but also giving a comprehensive treatment of the whole knapsack family including the siblings such as the subset sum problem and the bounded and unbounded knapsack problem, and also more distant relatives such as multidimensional, multiple, multiple-choice and quadratic knapsack problems in dedicated chapters."

This book provides a full-scale presentation of all methods and techniques available for the solution of the Knapsack problem. This most basic combinatorial optimization problem appears explicitly or as a subproblem in a wide range of optimization models with backgrounds such diverse as cutting and packing, finance, logistics or general integer programming. This monograph spans the range from a comprehensive introduction of classical algorithmic methods to the unified presentation of the most recent and advanced results in this area many of them originating from the authors. The chapters dealing with particular versions and extensions of the Knapsack problem are self-contained to a high degree and provide a valuable source of reference for researchers. Due to its simple structure, the Knapsack problem is an ideal model for introducing solution techniques to students of computer science, mathematics and economics. The first three chapters give an in-depth treatment of several basic techniques, making the book also suitable as underlying literature for courses in combinatorial optimization and approximation.

A selection of Hans Keller's writings on Benjamin Britten including previously unseen correspondence and reprints of long unavailable writings. It was hearing an early performance of Benjamin Britten's Peter Grimes that turned the young emigre writer and musician Hans Keller from psychology to music. Thereafter he became the composer's most fervent advocate, devoting to him a whole issue of Music Survey (the journal he edited with Donald Mitchell) and the first comprehensive book on his music (again edited with Mitchell). This volume is a selection of the best of his writings, dealing withPeter Grimesthrough to Death in Venice and the Third String Quartet. It also includes an illustrated study by A. M. Garnham of the extensive correspondence between Britten and Keller (most of it hitherto unknown), areprint of the handbooks on The Rape of Lucretia and Albert Herring (long out-of-print), and items from the Hans Keller Archive in the University of Cambridge. The book is illustrated with drawings from life by Milein Cosman.

Hans Keller (1919-1985) was one of the most brilliant and stimulating writers on music of his day, and this is the first large selection of his essays. His work draws on his rich and diverse experience as a string-player, composer, teacher, analyst and critic, and also reflects a deep interest in psychoanalysis. The first part of the book addresses psychological issues relating to critics, listeners, players and composers; the second analyses music by a wide range of composers from Haydn to the present day; and the third propounds his new theory of music, with essays on unity and contrast, motifs, themes, keys, timbre and rhythm. There is also a 'wordless functional analysis' of a Mozart piano sonata published here for the first time. The volume concludes with a magisterial account of what Keller deemed to be 'the principles of composition'.

A provocative collection of writings on film music by the celebrated critic, Hans Keller [1919-85]. Between 1946 and 1959, the most outspoken voice in British film music was that of the celebrated Austrian emigre critic, Hans Keller [1919-85]. He argued passionately for 'the need for competent film music criticism', laid out themain topics of the day, and studied the contribution of all the main British composers and many others besides. In particular he championed William Alwyn, Arthur Benjamin and Alan Rawsthorne as well as the more established namesof Auric, Bernstein, Britten, Thomson, Vaughan Williams and Walton. In 1959 he also devoted a column to 'television music'. This important collection of writings will form a vital complement to the contemporary Composing for the Film by Hanns Eisler and Theodor Adorno, and will provide an invaluable and unparalleled account of a great age for film music. Includes line drawings by Milein Cosman.

A provocative collection of writings on film music by the celebrated critic, Hans Keller [1919-85]. Between 1946 and 1959, the most outspoken voice in British film music was that of the celebrated Austrian emigre critic, Hans Keller [1919-85]. He argued passionately for 'the need for competent film music criticism', laid out themain topics of the day, and studied the contribution of all the main British composers and many others besides. In particular he championed William Alwyn, Arthur Benjamin and Alan Rawsthorne as well as the more established namesof Auric, Bernstein, Britten, Thomson, Vaughan Williams and Walton. In 1959 he also devoted a column to 'television music'. This important collection of writings will form a vital complement to the contemporary Composing for the Film by Hanns Eisler and Theodor Adorno, and will provide an invaluable and unparalleled account of a great age for film music. Includes line drawings by Milein Cosman.

The first publication of Hans Keller's celebrated broadcast lectures on Beethoven's String Quartet Op. 130, along with related materials and a volume of musical scores. In 1973, at the invitation of Alexander Goehr, then Professor of Music at Leeds University, Hans Keller gave four lectures on Beethoven's String Quartet in B flat Major, Op. 130, illustrated by the Aeolian Quartet. They were in part a response to Joseph Kerman's newly published monograph on The Beethoven Quartets, and in part a demonstration of his "two-dimensional theory" of music, which posits a vital tension between "well-defined expectations" and '"what the composer does instead". These lectures have now been transcribed, and appear in print here for the first time: they form Keller's most substantial examination of a single chamber work. Keller had intended a full-length monograph on the quartet, but never got further than three chapters, of which the second, on "String-quartet Playing", is included here along with related materials (the other chapters largely replicate the lectures). The book comes with a supplementary volume of music examples, including the entire score of Op. 130, and is illustrated with lively string-quartet drawings by Keller's wife, Milein Cosman.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Of the few composers who possessed an intrinsic mastery of the string quartet, Haydn was the first and, Hans Keller argues, the greatest. This seminal study of forty-five quartets by one of the leading music critics of his day provides an extraordinarily deep understanding of Haydn's methods and genius.