This unique contribution to the ongoing discussion of language acquisition considers the Argument from the Poverty of the Stimulus in language learning in the context of the wider debate over cognitive, computational, and linguistic issues. …
m Jahr 2052 macht Dr. Friedrich Sharavi, Leiter des Deutschen Instituts zur Dokumentation Zions, ein aufregendes Textkonvolut der Öffentlichkeit zugänglich: die Erinnerungen eines gewissen Professor Gunther Wanker, der 1962 im israelischen Ramat Gan geboren wurde – also in einem Staat, den es 2052 schon nicht mehr gibt. Wankers Erinnerungen sind für Sharavi nicht nur ein wertvolles Zeitdokument, sondern auch das Vermächtnis einer wichtigen mahnenden Stimme während der letzten Jahre vor dem Untergang des Staates Israel und vor dessen möglicher Erneuerung.
The Russian composer Elena Langer, now resident in Britain, draws on influences from her native country (Shostakovich, especially in the chamber orchestration of these songs), from Britain (from Britten to Thomas Adès), and from continental Europe. As a song composer she is able to convey lightness even when dealing with serious material such as the title song cycle setting poems by Lee Harwood (most of the songs on the album are in English). These songs subtly depict love triangles, some of them with both straight and gay elements. Even better are the genuinely playful pieces.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.