Showing results by narrator "NICHOLAS BOULTON" in All Categories

The G.K. Chesterton Fiction Collection brings together thirteen of Chesterton's major novels and short story collections, including the first four volumes of his beloved Father Brown stories. This collection takes you from his first published novel, The Napoleon of Notting Hill (often cited as inspiration for 1984) to stories of his monocled amateur sleuth, Father Brown, and all the way through to his final novel, the high satire The Return of Don Quixote.

The Bayreuth Festspielhaus stands today as a testament to Richard Wagner’s ambition and self-importance—a theatre designed and built solely for the performances of his immersive ‘music dramas’. From the influence of Beethoven to the transcendental properties of his greatest music, Wagner’s work became a cornerstone of European musical culture, but what kind of journey took him towards this remarkable achievement?

Evie, a phenomenally bright but socially marginalised fifteen year-old, has had it with Western Civilization. Self-educated in the ideas of the Luddites, Mao and T.E. Lawrence, she wants to launch a mission against technology and the damage she believes it has wrought on the human race. She's taken a look at human history and decided it's time things changed. For good. But can she get her mobile-addicted classmates to join with her? Written by Philip de Gouveia.

The Great Gate of Kiev resounds to the tumultuous bell rings that end Pictures an an Exhibition, one of the most magnificent and virtuosic of all piano pieces. However, to some of his contemporaries, Modest Mussorgsky was ‘insane’ and ‘a perfect idiot’. Born into a wealthy land-owning family, what drove this tormented man and why did he suffer psychological breakdowns and alcoholism? How did he achieve his command of the realist idiom in his stage works? d, of course, Pictures at an Exhibition.

Handel’s Music for the Royal Fireworks and Water Music, two of his greatest orchestral achievements, have become synonymous with mid-18th-century England and with the pomp, ceremony and tradition of British royalty. But is this music necessarily synonymous with Handel? Where did his eclecticism and experimentalism come from? How and why did he conquer the emerging genre of the English oratorio and what were the circumstances that allowed him to become one of opera’s greatest composers?