With the composer's consent, the manuscript was smuggled out of Soviet Russia - but Shostakovich, fearing reprisals, stipulated that the book should not appear until after his death. Ever since its publication in 1979 it has been the subject of controversy, some suggesting that Volkov invented parts of it, but most affirming that it revealed a profoundly ambivalent Shostakovich which the world had never seen before - his life at once triumphant and tragic. Either way, it remains indispensable to an understanding of Shostakovich's life and work. Testimony is intense and fiercely ironic, both plain-spoken and outspoken.

The true history of physics can only be read in the life stories of those who made its progress possible. Matvei Bronstein was one of those for whom the vast territory of theoretical physics was as familiar as his own home: he worked in cosmology, nuclear physics, gravitation, semiconductors, atmospheric physics, quantum electrodynamics, astro physics and the relativistic quantum theory. Everyone who knew him was struck by his wide knowledge, far beyond the limits of his trade. This partly explains why his life was closely intertwined with the social, historical and scientific context of his time. One might doubt that during his short life Bronstein could have made truly weighty contributions to science and have become, in a sense, a symbol ofhis time. Unlike mathematicians and poets, physicists reach the peak oftheir careers after the age of thirty. His thirty years of life, however, proved enough to secure him a place in theGreaterSovietEncyclopedia. In 1967, in describing the first generation of physicists educated after the 1917 revolution, Igor Tamm referred to Bronstein as "an exceptionally brilliant and promising" theoretician [268].

Over the past 20 years European theatre underwent fundamental changes in terms of aesthetic focus, institutional structure and in its position in society. The impetus for these changes was provided by a new generation in the independent theatre scene. This book brings together studies on the state of independent theatre in different European countries, focusing on the fields of dance and performance, children and youth theatre, theatre and migration and post-migrant theatre. Additionally, it includes essays on experimental musical theatre and different cultural policies for independent theatre scenes in a range of European countries.

Abraham A. Fraenkel was a world-renowned mathematician in pre–Second World War Germany, whose work on set theory was fundamental to the development of modern mathematics. A friend of Albert Einstein, he knew many of the era’s acclaimed mathematicians personally. He moved to Israel (then Palestine under the British Mandate) in the early 1930s. In his autobiography Fraenkel describes his early years growing up as an Orthodox Jew in Germany and his development as a mathematician at the beginning of the twentieth century. ​This memoir, originally written in German in the 1960s, has now been translated into English, with an additional chapter covering the period from 1933 until his death in 1965 written by the editor, Jiska Cohen-Mansfield. Fraenkel describes the world of mathematics in Germany in the first half of the twentieth century, its origins and development, the systems influencing it, and its demise. He also paints a unique picture of the complex struggles within the world of Orthodox Jewry in Germany. In his personal life, Fraenkel merged these two worlds during periods of turmoil including the two world wars and the establishment of the state of Israel. Including a new foreword by Menachem Magidor Foreword to the 1967 German edition by Yehoshua Bar-Hillel

Great masterpieces of intense, appealing originality, complex textures and development, and unprecedented instrumentation. Scores include No. 1 in F Major, No. 2 in F Major, No. 3 in G Major, No. 4 in G Major, No. 5 in D Major, and No. 6 in B-flat Major. Reprinted from definitive Bach-Gesellschaft edition.