English-Czech Dictionary of English slang.
Jazyková příručka pro tlumočníky.
It’s a pukka book!
Parlate già molto bene l’inglese, ma non riuscite a seguire i dialoghi originali della vostra serie tv britannica preferita? O più semplicemente andrete qualche giorno in Gran Bretagna e non volete rischiare di passare per a wimp (un imbranato)?…
Joseph Martin Kraus was one of the most talented and progressive composers of the 18th century, and regarded by Haydn as one of the only two geniuses he knew, alongside Mozart. Following the successful audition of his opera Proserpin, Kraus became closely associated with the court of Gustav III in Stockholm. The highly dramatic Begrafnings-kantat overture was the composer’s emotional response to the assassination of his sovereign. The vocal pieces include works performed for the first time in over two centuries, ranging from Italian concert arias to rare survivals from the Royal Dramatic Theatre.
As Adolf Hitler tightened his control over Europe in early 1939, Jews living inside Nazi Germany and Austria were increasingly desperate to escape. But restrictive immigration policies in effect in the United States made it all but impossible for more than a handful to find freedom here. Gilbert and Eleanor Kraus, a Jewish couple from Philadelphia, were determined to do what they could to help bring a group of children into the safety of America. Against all odds, the couple came up with a rescue plan aimed at bringing 50 Jewish children out of Vienna and into the safety of the United States. This documentary film tells a dramatic story that has never been told before – how one courageous couple saved the lives of 50 children on the eve of the Holocaust.
Joseph Martin Kraus, the German-born Swedish composer who was an almost exact contemporary of Mozart, is primarily known as a late classical symphonist of extraordinary importance, and heretofore this is where recording of his output has been concentrated. On Bis' Joseph Martin Kraus: The Complete Piano Music, pianist Ronald Brautigam comes to terms with the slim amount of keyboard music that belongs to Kraus, a cycle previously addressed on Naxos by pianist Jacques Després on a modern instrument. On the Bis, Brautigam uses a reproduced Walther & Sohn fortepiano built by Paul McNulty, an 1802 instrument that has a sound almost indistinguishable from that of a modern piano, except for its more limited range and shorter decay time. This seems to suit Kraus' keyboard music, which is rich in ideas but spindly in texture, a bit better than a modern instrument. Likewise, Després interpretations of Kraus' music sound read through at times and betray a sense of less than complete familiarity. This is not a challenge for Brautigam, who clearly knows, and loves, these willful and eccentric pieces of Kraus.
The inaccurate and ineptly translated Wunderkind by a generation, and Mahaut was born 36 years before him. It’s not surprising that they share so little stylistically with the younger composer. What they do present are various solutions to the question of how to write a pleasing symphony at different stages of the Viennese and Parisian Classical traditions. Each succeeds, in his own inimitable way.