Customer Reviews (4)

Astounding Biblical Discovery!
This is a very comprehensive book by Mahler. It is a very astounding and prophetic Biblical discovery, clearly unveiled for our endtimes!

Terrible
The so called 'code' in the book of Daniel is nothing more than a bunch of unintelligible gibberish.Stick with the 'forward' text and don't waste your brain space.

WARNING:Serious Bible and Torah lovers should read this!
For the first time (at least as far as the public knows)the book of Daniel has been unsealed by this linguist from the Hebrew and Aramaic text.
If you have ever felt the rush of the Holy Spirit before, hang on to your hats!
A few quick quotes are ,"God Rules!" and the text ends with "Repent Thou!".
Mahler has been through the text a number of times, but no doubt controversy and additional refinements will continue in the future.Scholars have had thousands of years to "rightly divide" the original "forward text" of Daniel, translate, meditate on, and interpret it.This linguist has had only a few short years, but has unsealed publicly the code and is working now on several other books of the Old Testament and is finding that every single letter is significant.
Beth Moore's new book and Donna Cain's on the book of Daniel are also good to review, as the more you know about the forward text, the more one can understand the back text.
Read this with an open mind while praying for discernment and wisdom, but read it!

A New Bible Code
The author and translator of this newly-discovered Bible Code has found something which is more important than even the finding of the Dead Sea scrolls for vindicating the authenticity of the Hebrew Old Testament. This shows that Scripture is speaking to us in two directions at once, both in the forward reading, as well as the back reading at the same time.This is indeed empirical evidence of a Divine Mind at work. Now after 2400 years we can read it.
... Read more

Customer Reviews (1)

INVALUABLE ADJUNCT TO HEARING MAHLER'S TENTH
For a musical layman, scores can be a useful adjunct to the listening experience.Often they are illuminating and invaluable in elucidating a composer's intentions above and beyond what the ear alone can tell us.And Mahler's scores are more fascinating than most, filled as they are with the composer's frequent and highly detailed, precise instructions and advice to his performers.

But this score is much more even than that.This is Deryck Cooke's performing edition of Mahler's Tenth, which comes with all the caveats about its nature that this brilliant but always self-effacing musicologist attached to his score.What makes it so invaluable is the vivid picture it gives us of the actualities of Mahler's writing - as far as he had got with it before his death.The musical line - the musical argument, if you will, - is complete throughout the entire piece - i.e. there is more `authentic' Mahler in it than in, say, Mozart's Requiem or Bartok's Viola Concerto.Yes, of course, Cooke has had to compose a lot of material, particularly in the final two movements, to fill in the harmonic and contrapuntal texture of the piece.Nevertheless, there is not a bar that is not, at least in a small sense, Mahler's own.And Cooke has been meticulous in spelling out exactly the nature of the source materials from which he worked and precisely what all his editorial emendations, corrections and additions have been bar by bar.Mahler had scored (not always fully, but nonetheless consistently) all the first two movements and the first half of the Purgatorio.For these movements, Cooke indicates very clearly what is Mahler's original and what has been added or corrected. For the latter half of the Purgatorio and in the final two movements, only a 4- (occasionally 5-) stave short score was completed at the time of Mahler's death.Here we are presented with that entire short score at the base of each page so that bar by bar comparisons with Cooke's performing score are always immediately apparent.And, of course, there are copious, comprehensive and clear notes at the back on editorial decisions throughout the piece.Cooke's introductory prefaces are also invaluable, eminently readable and - as al;ways with Cooke's work - a model of musicology and musicianship.

Before condemning this edition as some have, it is worth remembering how extensive Mahler's own changes could be to the scores of his symphonies, once he had heard them in the flesh.This was something he never had the opportunity to do with either Das Lied von der Erde or the Ninth Symphony.To that extent, even these two masterpieces could be said to be incomplete, not having undergone the corrections that Mahler would inevitably have made, at least to the orchestration.This performing edition of a great Mahler symphony takes us a stage further admittedly, but brings us closer to the music and the musician.

I shall never forget the impression made by the first performance of this wonderful performing edition of the Tenth at a Prom in the Albert Hall on a hot summer's evening in 1964 (yes, I was there), conducted by the man who had given Cooke so much invaluable help in preparing the score, Berthold Goldschmidt.As the miraculous flute melody in the finale rose out of the chthonic depths of muffled drum, tuba et al. you could have heard a pin drop in that vast space.And the final pages left the audience dumbstruck for some moments before the applause broke out.

From all that, you can tell that I have no reservations - ethical, musical or any other-wise - in saying that this edition should be performed alongsidethe rest of Mahler's symphonic canon - with all Cooke's caveats, yes, but also in the knowledge that this is Mahler's final intensely moving masterpiece, music we all have the right to hear, music which bears his imprint in every bar.

If you can read music, I would also encourage you to get hold of a copy of Cooke's score.It will add enormously to your understanding and enjoyment of the piece, I feel sure.

As a post scriptum, it is worth noting the irony that Deryck Cooke also left a masterpiece unfinished at his death - the wonderful torso of his study of Wagner's Ring, I Saw the World End. ... Read more

Product Description
This volume is produced from digital images created through the University of Michigan University Library's large-scale digitization efforts. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the original text that can be both accessed online and used to create new print copies. The Library also understands and values the usefulness of print and makes reprints available to the public whenever possible. This book and hundreds of thousands of others can be found in the HathiTrust, an archive of the digitized collections of many great research libraries. For access to the University of Michigan Library's digital collections, please see http://www.lib.umich.edu and for information about the HathiTrust, please visit http://www.hathitrust.org ... Read more

Product Description
This volume is produced from digital images created through the University of Michigan University Library's large-scale digitization efforts. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the original text that can be both accessed online and used to create new print copies. The Library also understands and values the usefulness of print and makes reprints available to the public whenever possible. This book and hundreds of thousands of others can be found in the HathiTrust, an archive of the digitized collections of many great research libraries. For access to the University of Michigan Library's digital collections, please see http://www.lib.umich.edu and for information about the HathiTrust, please visit http://www.hathitrust.org ... Read more

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This revised edition of Garland's 1989 publication updates the core bibliography on Gustave Mahler (as well as his spouse and fellow composer Alma Mahler) by incorporating new research gathered over the past dozen years on his life and professional works. Gustave Mahler, renowned conductor and composer of symphonies and song cycles, is one of the foremost musical figures of the late nineteenth and early twentieth centuries. His symphonies continue to be widely performed and studied through the twenty-first century.

Organized in sections according to subject matter, references are arranged alphabetically by the names of authors or editors. Filler’s research has produced sources for musicologists and students in nineteen languages, offering a resource that expands traditional English-language music scholarship.

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Foreword:

Product Description
This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

Product Description
This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more