Indro Montanelli, Roberto Gervaso Storia D'italia Vol.01 a Vol.22 (completa) [repost]

Dai simboli del fascismo ai segni lasciati dal colonialismo, dalla toponomastica al cinema e alla letteratura fino a ricorrenze del calendario civile come il Giorno del Ricordo: sull'esempio delle proteste americane, anche in Italia si è diffusa un'ondata di revisionismo nei confronti di protagonisti e avvenimenti del passato considerati politicamente scorretti. Un'indignazione che chiede la cancellazione di targhe stradali, memorie, film, dipinti che non rispondono ai canoni etici attuali. I Sentinelli e altri gruppi, versione italiana dei social justice warrior, attaccano le statue che rimandano a capitoli di storia controversi e a personaggi che hanno agito secondo lo spirito del tempo cui appartenevano. Ma le conseguenze talvolta sono paradossali..

I grew up in Newark, New Jersey where such great artists as James Moody, Sarah Vaughan, Walter Davis Jr., Hank Mobley were my neighbors and Wayne Shorter was my dear friend. Wayne and I went to grammar school and Arts High School together. I was very influenced by Wayne in every way and knew at young age that he was a genius. But I could not tolerate the cold winters, so I decided to move to Los Angeles.

Tempi del pensiero è un manuale di filosofia per le scuole superiori che favorisce i processi di apprendimento e l'elaborazione di uno stile di riflessione individuale da parte degli studenti. Ogni capitolo è strutturato in modo da racchiudere un ciclo completo di apprendimento in tre momenti distinti ma connessi: 1. acquisizione dei contenuti filosofici; 2.confronto con i classici del pensiero; 3. verifica delle competenze culturali acquisite attraverso specifici esercizi. Il capitolo si apre con due pagine di anteprima in cui si dà conto in modo sintetico ed esaustivo della sua articolazione interna; i paragrafi forniscono le conoscenze di base necessarie alla comprensione e all'apprendimento del pensiero di un filosofo o di una corrente filosofica; l'esposizione è integrata da brevi passi antologici ripresi da opere salienti. Le schede di Approfondimento si soffermano su temi o questioni accennati nei paragrafi.

Tempi del pensiero è un manuale di filosofia per le scuole superiori che favorisce i processi di apprendimento e l'elaborazione di uno stile di riflessione individuale da parte degli studenti. Ogni capitolo è strutturato in modo da racchiudere un ciclo completo di apprendimento in tre momenti distinti ma connessi: 1. acquisizione dei contenuti filosofici; 2.confronto con i classici del pensiero; 3. verifica delle competenze culturali acquisite attraverso specifici esercizi. Il capitolo si apre con due pagine di anteprima in cui si dà conto in modo sintetico ed esaustivo della sua articolazione interna; i paragrafi forniscono le conoscenze di base necessarie alla comprensione e all'apprendimento del pensiero di un filosofo o di una corrente filosofica; l'esposizione è integrata da brevi passi antologici ripresi da opere salienti.

This will be quite a discovery for those who know the music of Bedrich Smetana only through his grand and nationalistic cycle of tone-poems, Ma Vlast, even if they are yet familiar with his more painfully intimate string quartets or his folkloristic operas. For Smetana, like most composers, needed to eat; and to do so he was happy to make his own contribution towards satisfying the seemingly insatiable appetite of the bourgeois 19th-century public for piano music that they could perform at home. Music of no great difficulty but boundless charm, these miniatures are now seldom heard and even less often recorded, and this is a shame, for works such as the Op.3 Characteristic Pieces show how the pianistic extroversion of Brahms and Liszt (who was a great admirer and supporter of the young Smetana, giving him valuable introductions to publishers) could be adapted to a domestic context, and with the particular inflection of Czech and Bohemian character, derived not only from simple and song-like melodies but also irregularly stressed dance-rhythms that the young Italian pianist Roberto Plano relishes to the full on this welcome new survey.

On 7th February 1857, after a delay of one year due to problems of copyright on a possible production of King Lear, Verdi accepted and signed a new agreement with the Teatro di San Carlo of Naples for an opera to be staged in January or February 1858. Not long after he had put behind the experiences of Simon Boccanegra (June 1857) and Aroldo (August), Verdi, then, had to face the issue of a new subject for Naples, which would no longer be King Lear, discarded for various reasons, and not even El tesorero del Rey by António García Gutiérrez or Ruy Blas by Hugo, to which he had given more serious thought, but Gustave III by Eugène Scribe, a play written in 1833 for Daniel Auber in which the king of Sweden is assassinated, in 1792, by a group of noblemen led by Jacob Ankarström.

The italian Viola Bastarda and the Division-viol can be named "sister viols". The Viola Bastarda is a middle size viol falling between the tenor viol and the bass viol, which allows for a greater extension thanks to different tunings, that unlike the typical viol contain intervals of a fifth. Its repertoire originates from polyphonic compositions in tablature as conceived for ‘perfect instruments’ on which one can exceed the normal range allowing for more virtuosic movement and space for one’s own fantasies which recall all of the different themes of the original composition, Madrigale, Chançon or Motteto. The literature for the Division-viol also comes from prior music in which there were improvised parts and fantasies, but instead of making use of vocal compositions, it exploits a “virtual” polyphony based on a Ground, or in other words the bass line of an Aria.

The italian Viola Bastarda and the Division-viol can be named "sister viols". The Viola Bastarda is a middle size viol falling between the tenor viol and the bass viol, which allows for a greater extension thanks to different tunings, that unlike the typical viol contain intervals of a fifth. Its repertoire originates from polyphonic compositions in tablature as conceived for ‘perfect instruments’ on which one can exceed the normal range allowing for more virtuosic movement and space for one’s own fantasies which recall all of the different themes of the original composition, Madrigale, Chançon or Motteto. The literature for the Division-viol also comes from prior music in which there were improvised parts and fantasies, but instead of making use of vocal compositions, it exploits a “virtual” polyphony based on a Ground, or in other words the bass line of an Aria.

The italian Viola Bastarda and the Division-viol can be named "sister viols". The Viola Bastarda is a middle size viol falling between the tenor viol and the bass viol, which allows for a greater extension thanks to different tunings, that unlike the typical viol contain intervals of a fifth. Its repertoire originates from polyphonic compositions in tablature as conceived for ‘perfect instruments’ on which one can exceed the normal range allowing for more virtuosic movement and space for one’s own fantasies which recall all of the different themes of the original composition, Madrigale, Chançon or Motteto. The literature for the Division-viol also comes from prior music in which there were improvised parts and fantasies, but instead of making use of vocal compositions, it exploits a “virtual” polyphony based on a Ground, or in other words the bass line of an Aria.