Virginia Lloyd spent much of her childhood and adolescence learning and playing the piano and thought she would make a career as a pianist. When that didn't happen, she spent a long time wondering about those years of study: had they been wasted? What was their purpose? This intriguing memoir explores those questions and investigates the mystery of the author's very musical and deeply unhappy grandmother Alice, and how their lives--both at and away from the piano--intersected and diverged. Girls at the Piano also explores the changing relationship between women and the piano over the course of the instrument's history, taking us from the salons of 18th-century Europe to an amateur jazz workshop in Manhattan in the early 21st century. Funny, tender and fascinating, Girls at the Piano is an elegant and multi-layered meditation on identity, ambition and doubt, and on how learning the piano had a profound effect on two women worlds and generations apart. It is essential reading for music lovers everywhere, and for anyone who has undertaken their own voyage around a piano.
Colorists of all ages as well as would-be artists and admirers of Renoir will love these magnificent re-creations of the master's works. Sensuous scenes of beautiful women, flowers, and atmospheric landscapes include On the Terrace, Woman with a Fan, Luncheon of the Boating Party, and Girls at the Piano. Each painting is identified, and all are depicted in full color on the inside covers.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied. The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose. Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
"Long ago in 1945 all the nice people in England were poor, allowing for exceptions," begins The Girls of Slender Means, Dame Muriel Spark's tragic and rapier-witted portrait of a London ladies' hostel just emerging from the shadow of World War II. Like the May of Teck Club itself—"three times window shattered since 1940 but never directly hit"—its lady inhabitants do their best to act as if the world were back to normal: practicing elocution, and jostling over suitors and a single Schiaparelli gown. The novel's harrowing ending reveals that the girls' giddy literary and amorous peregrinations are hiding some tragically painful war wounds. Chosen by Anthony Burgess as one of the Best Modern Novels in the Sunday Times of London, The Girls of Slender Means is a taut and eerily perfect novel by an author The New York Times has called "one of this century's finest creators of comic-metaphysical entertainment."
Spring 1944 and Europe is in the grip of war. For Alice Todd, it is the start of her second year as warden of the Land Army hostel in the Devonshire countryside and a time of change as she recovers from her broken marriage, learning to balance her new working lifestyle with her continuing role as a mother to her only son. Her leadership has won her the affection and confidence of the land girls in her charge and, as the seeds of friendship are sown, she finds herself increasingly caught up in the lives of the women who surround her. The Girl at the Farmhouse Gate continues the story begun in the much-loved Muddy Boots and Silk Stockings.
In Museum Masterpieces, Book 2, composer Catherine Rollin has created musical expressions of some of the great works of art found in museums throughout the world. The paintings that inspired these pieces are beautifully displayed on a four-page color insert at the center of the book, along with historical notes about each painting. Titles: *Car and Hunting Fox (Umberto Boccioni) *La charmeuse de serpents (The Snake Charmer) (Henri Rousseau) *Cirque (Circus) (Georges Seurat) *The Girl with a Pearl Earring (Johannes Vermeer) *Jeunes filles au piano (Young Girls at the Piano) (Pierre-Auguste Renoir) *Noah's Ark: Genesis (Charles McGee) *Nocturne in Black and Gold---The Falling Rocket (James Abbott McNeill Whistler) *Primavera (Sandro Botticelli) *Sunrise on the Matterhorn (Albert Bierstadt) *Washington Crossing the Delaware (Emanuel Gottlieb Leutze)
THE STORY: The play concerns a group of young girls who have come to New York to study acting and find jobs. The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining come
From a great master of historical fiction comes a brilliant tale of love amid war. James A. Michener combines powerful storytelling with deep sensitivity in this novel of a U.S. Army man who, against all odds, falls for a fascinating Japanese woman. Stationed in the exotic Far East, Major Lloyd Gruver considers himself lucky. The son of a general, dating the daughter of another powerful military family, he can look forward to a bright future. And he just can’t understand guys like Private Joe Kelly, who throw away their lives in the States by marrying local girls. But then Lloyd meets Hana-ogi. After that, nothing matters anymore . . . nothing but her. BONUS: This edition includes an excerpt from James A. Michener's Hawaii. Praise for James A. Michener “A master storyteller . . . Michener, by any standards, is a phenomenon.”—The Wall Street Journal “Sentence for sentence, writing’s fastest attention grabber.”—The New York Times “Michener has become an institution in America, ranking somewhere between Disneyland and the Library of Congress. You learn a lot from him.”—Chicago Tribune “While he fascinates and engrosses, Michener also educates.”—Los Angeles Times
Impressionism (Art) by Metropolitan Museum of Art (New York, N.Y.)