A Moment for Stockhausen

by Tim Page

There are certain composers whose music we can recognize and identify immediately. It is unnecessary to listen to more than a few moments of any mature work by Olivier Messiaen, Elliott Carter, or Philip Glass (to name three dissimilar artists) to realize who was responsible for its creation. But there are others whose music may change radically from piece to piece—or, for that matter, from measure to measure. The German composer Karlheinz Stockhausen falls into this camp.

Authenticity All Right: Lee Friedlander’s New Orleans

by Nathaniel Rich

Lee Friedlander arrived in New Orleans at a high point in the jazz revivalist movement, when fans of jazz as it was originally played in New Orleans in the first two decades of the twentieth century (before the perceived corruptions of swing and bebop) descended on the city with tape recorders and notepads and cameras, hoping to catch some of the old magic and document it for posterity.

‘The Book of Miracles’

by Marina Warner

In the sixteenth century, a new focus on reading the Bible led to a resurgence of interest in stories of direct divine intervention, and Protestant Europe saw a “boom” in compendia of miracles, among them The Book of Miracles, a luxury manuscript produced in the Imperial City of Augsburg and only recently rediscovered.

The Queen and the Camera

by Geoffrey Wheatcroft

Photography, and Queen Victoria’s interest in it, emerged into public light with the Great Exhibition of 1851, partly Prince Albert’s brainchild. Many of the astonishing six million people who visited the exhibition in Hyde Park saw photographs for the first time, a number of which can be seen at a new exhibition at the J. Paul Getty Museum and in the handsome accompanying book by Anne M. Lyden, both called “A Royal Passion: Queen Victoria and Photography.”