The five volumes of "A Shakespeare Music Catalogue" provide documentation of all music, published and unpublished, from Shakespeare's day to now, relating to Shakespeare's life and work. The music includes operas, ballets, overtures, tone-poems, songs and various types of incidental music for stage, radio, film and television productions. Each composition is cited with information on its vocal and instrumental requirements, its publication history and, when known, its first performance. The first three deal with music and musical stage-directions for the plays and settings of the sonnets and narrative poems. The fourth volume contains indices of Shakespeare's titles and lines, the titles of musical works, composers, arrangers, editors and librettists. The final volume provides an annotated bilbiography of writings, in all language, on the subject of Shakespeare and music.

The five volumes of "A Shakespeare Music Catalogue" provide documentation of all music, published and unpublished, from Shakespeare's day to now, relating to Shakespeare's life and work. The music includes operas, ballets, overtures, tone-poems, songs and various types of incidental music for stage, radio, film and television productions. Each composition is cited with information on its vocal and instrumental requirements, its publication history and, when known, its first performance. The first three deal with music and musical stage-directions for the plays and settings of the sonnets and narrative poems. The fourth volume contains indices of Shakespeare's titles and lines, the titles of musical works, and composers, arrangers, editors, librettists, etc. The final volume provides a selected, annotated bilbiography of writings, in all language, on the subject of Shakespeare and music.

The five volumes of "A Shakespeare Music Catalogue" provide documentation of all music, published and unpublished, from Shakespeare's day to the 20th century, relating to Shakespeare's life and work. The music includes operas, ballets, overtures, tone-poems, songs and various types of incidental music for stage, radio, film and television productions. Each composition is cited with information on its vocal and instrumental requirements, its publication history and, when known, its first performance. The first three deal with music and musical stage-directions for the plays and settings of the sonnets and narrative poems. The fourth volume contains indices of Shakespeare's titles and lines, the titles of musical works, composers, arrangers, editors and librettists. The final volume provides an annotated bilbiography of writings, in all language, on the subject of Shakespeare and music.

The five volumes of A Shakespeare Music Catalogue provide scholarship with an invaluable reference tool: a comprehensive and detailed documentation of all music - published and unpublished, from Shakespeare's day to our own - in any way related to Shakespeare's life and work. No single work has ever before attempted to draw together such a mass of information, from all countries of the world, on this neglected aspect of Shakespeare's dramatic art and cultural influence.
The music includes operas, ballets, overtures, tone-poems, songs, and various types of incidental music (for stage, radio, film, and television productions). Each composition is cited with information on its vocal and instrumental requirements, its publication history, and, when known, its first performance. The first three volumes deal with music and musical stage-directions for the plays (arranged alphabetically) and settings of the sonnets and narrative poems. The fourth volume contains indices: of Shakespeare's titles and lines, the titles of musical works, and composers, arrangers, editors, librettists, etc. The final volume provides a further, and unprecedented, research tool: a selected, annotated bibliography of writings, in all languages, on the subject of Shakespeare and music.
For the first time, readers of the Catalogue will have ready access to the broad range of musical works inspired by Shakespeare and to the diversity of critical viewpoints they have provoked. Theatrical directors will be able to consult it for appropriate music; musicologists and cultural historians study the history of taste; literary scholars examine any play or plays from a thoroughly documented musical standpoint. The Catalogue brings together the work of many scholars in the field, and goes far beyond existing available data.

The Frenchman Juan de Grimaldi was instrumental in the development of the Spanish theatre in the 1820s and 30s, at a time when censorship, repression, and economic chaos had left it in a state of stagnation. As impresario and stage director, he trained actors in the new style of declamation, made physical changes in sets and lighting, translated recent French plays into Spanish, and encouraged the writing of original Spanish plays. His own magical comedy, La Pata de Cabra (1829), was outstandingly successful. Grimaldi was also a wealthy businessman and newspaper editor, and the patron of many important Spanish Romantic writers. He was active in politics, vigorously defending the moderate policies of the Queen Regent, Maria Cristina, and of Prime Minister Ramon de Nervaez. Even after his return to Paris, Grimaldi continued to work secretly as an agent of the Spanish government. Based on original archival materials, this is the first in-depth study of Grimaldi's involvement in the literary and political progress of nineteenth-century Spain.

This is the first comprehensive study of the theatre of nineteenth-century Spain, a most important genre which produced more than 10,000 plays during the course of the century. David Gies assesses this mass of material - much of it hitherto unknown - as text, spectacle, and social phenomenon. His book sheds light on political drama during Napoleonic times, the theatre of dictatorship (1820s), Romanticism, women dramatists, socialist drama, neo-Romantic drama, the relationship between parody and the dominant literary currents of the day, and the challenging work of Galdos. A chapter on the battle to create a National Theatre reveals the deep conflicts generated by the various interested factions in the middle of the century. This readable account will at last allow students and scholars properly to re-evaluate the canon of texts.

This is the first comprehensive study of the theater of nineteenth-century Spain, a country that produced more than 10,000 plays in the course of the century. David Thatcher Gies reevaluates the canon of texts, uncovering dozens of plays and authors previously ignored by critics, and placing them in the social and political context of their times. His book provides a readable overview of the known and unknown elements of Spanish nineteenth-century drama, and stresses the vitality of the theater at that time and the strong reactions it aroused in its audiences.

The Frenchman Juan de Grimaldi was instrumental in the development of the Spanish theatre in the 1820s and 30s, at a time when censorship, repression, and economic chaos had left it in a state of stagnation.As impresario and stage director, he trained actors in the new style of declamation, made physical changes in sets and lighting, translated recent French plays into Spanish, and encouraged the writing of original Spanish plays. His own magical comedy, La Pata de Cabra (1829), was outstandingly successful.Grimaldi was also a wealthy businessman and newspaper editor, and the patron of many important Spanish Romantic writers. He was active in politics, vigorously defending the moderate policies of the Queen Regent, María Cristina, and of Prime Minister Ramón de Nerváez. Even after his return to Paris, Grimaldi continued to work secretly as an agent of the Spanish government.Based on original archival materials, this is the first in-depth study of Grimaldi's involvement in the literary and political progress of nineteenth-century Spain.

It is the dawning of the Golden Age, not imminent lockdown of prison planet earth We are Spirit incarnate, not mere participants in an indiscriminate, chance upwelling of evolutionary thrust. As star-sourced beings we long ago created this garden planet and incarnated to woo our shared creation to ever higher vibratory levels, embraced in our love. We are spirit beings and sun makers. This was our collective reality in Lemuria, which preceded Atlantis, until earth, spiralling through universal space, entered the 26,000 year cycle we depart on solstice, December 21, 2012. Eighty-eight constellations are known to humankind. There are 88 keys on the piano keyboard. Microcosm and macrocosm are intimately intertwined in our fractally generated universe. The earth, as part of our solar system, spirals through universal space along a celestial keyboard, bathing us in an ascending scale of frequencies. We spiralled into the influence of a 26,000 year "black note," along this living matrix, which allowed rebellion against spirit to emerge. Sin, from the Latin sine, means without. We chose the illusory experience of living without conscious communion with spirit. This "original sin" reached crescendo 18,000 years ago. A core of beings holding alignment with Spirit ascended leaving 3rd dimensional earth in the control of those who worshipped the world of form, a level vibrationally below them. This reversal of polarity in conscious orientation resulted in the reversal of polarity of the planet. As within, so without. As above, so below. The earth stopped spinning, then spun in reverse. Lemuria sank beneath the waves, no longer buoyed up by the conscious flow of love entering the world through divinely aligned presence. Polar reversal is again underway as we re-awaken to our Spiritual Source. Reading this "Alarm Clock" will help you understand and more fully participate in this Shift of the Ages as we proceed into the dawning Golden Age. Namaste