Jonathan Walker – författare

The book is devoted to Shostakovich's most controversial symphony, composed at the height of Stalin's Purges. It rescued Shostakovich from official disfavour and deeply moved audiences. The critics recognized it as a masterpiece, but they were perplexed by its ambiguities, especially at the end of the Symphony: some imagined it as the joyful final victory of socialism, while others heard the triumph instead of a sinister and oppressive force. The second interpretation was pushed into the background, but the controversy persisted, with the further complication of two very different tempo markings for the closing section, both of which seemed to be approved by the composer. The authors give an authoritative account of the tempo controversy and the effect of the different tempos on the reception of the work in the West. Shostakovich's Symphony No. 5 delves into the history of the work's composition, the pressures Shostakovich experienced at the time, and the cultural environment from the time the composer began work on Symphony through to the settling of its official critical reception. At the center of this exploration is the musical score itself, which is full of secrets that have taken decades to uncover, the most colorful of which is the case for Shostakovich's extensive references to Bizet's Carmen, and the connection between these and Shostakovich's lover of the mid-30s, Lala Carmen (Elena Konstantinovskaya). The authors show how Shostakovich largely (but not entirely) set aside his influences from Mahler and German modernists, and in replacement absorbed Beethoven and Tchaikovsky with the same ingenuity as his previous influences. Shostakovich decided to make a virtue of a necessity, and created one of the richest of symphonic scores, allowing himself to retain his artistic pride while winning the official approval necessary for regaining his livelihood. These events all unfolded in the atmosphere of terror created by Stalin's "Great Purge". This book is the first to be devoted to this watershed symphony, and includes secrets of the score that took decades to uncover.

The book is devoted to Shostakovich's most controversial symphony, composed at the height of Stalin's Purges. It rescued Shostakovich from official disfavour and deeply moved audiences. The critics recognized it as a masterpiece, but they were perplexed by its ambiguities, especially at the end of the Symphony: some imagined it as the joyful final victory of socialism, while others heard the triumph instead of a sinister and oppressive force. The second interpretation was pushed into the background, but the controversy persisted, with the further complication of two very different tempo markings for the closing section, both of which seemed to be approved by the composer. The authors give an authoritative account of the tempo controversy and the effect of the different tempos on the reception of the work in the West. Shostakovich's Symphony No. 5 delves into the history of the work's composition, the pressures Shostakovich experienced at the time, and the cultural environment from the time the composer began work on Symphony through to the settling of its official critical reception. At the center of this exploration is the musical score itself, which is full of secrets that have taken decades to uncover, the most colorful of which is the case for Shostakovich's extensive references to Bizet's Carmen, and the connection between these and Shostakovich's lover of the mid-30s, Lala Carmen (Elena Konstantinovskaya). The authors show how Shostakovich largely (but not entirely) set aside his influences from Mahler and German modernists, and in replacement absorbed Beethoven and Tchaikovsky with the same ingenuity as his previous influences. Shostakovich decided to make a virtue of a necessity, and created one of the richest of symphonic scores, allowing himself to retain his artistic pride while winning the official approval necessary for regaining his livelihood. These events all unfolded in the atmosphere of terror created by Stalin's "Great Purge". This book is the first to be devoted to this watershed symphony, and includes secrets of the score that took decades to uncover.

The book is devoted to Shostakovich''s most controversial symphony, composed at the height of Stalin''s Purges. It rescued Shostakovich from official disfavour and deeply moved audiences. The critics recognized it as a masterpiece, but they were perplexed by its ambiguities, especially at the end of the Symphony: some imagined it as the joyful final victory of socialism, while others heard the triumph instead of a sinister and oppressive force. The second interpretation was pushed into the background, but the controversy persisted, with the further complication of two very different tempo markings for the closing section, both of which seemed to be approved by the composer. The authors give an authoritative account of the tempo controversy and the effect of the different tempos on the reception of the work in the West. Shostakovich''s Symphony No. 5 delves into the history of the work''s composition, the pressures Shostakovich experienced at the time, and the cultural environment from the time the composer began work on Symphony through to the settling of its official critical reception. At the center of this exploration is the musical score itself, which is full of secrets that have taken decades to uncover, the most colorful of which is the case for Shostakovich''s extensive references to Bizet''s Carmen, and the connection between these and Shostakovich''s lover of the mid-30s, Lala Carmen (Elena Konstantinovskaya). The authors show how Shostakovich largely (but not entirely) set aside his influences from Mahler and German modernists, and in replacement absorbed Beethoven and Tchaikovsky with the same ingenuity as his previous influences. Shostakovich decided to make a virtue of a necessity, and created one of the richest of symphonic scores, allowing himself to retain his artistic pride while winning the official approval necessary for regaining his livelihood. These events all unfolded in the atmosphere of terror created by Stalin''s "Great Purge". This book is the first to be devoted to this watershed symphony, and includes secrets of the score that took decades to uncover.

The book is devoted to Shostakovich''s most controversial symphony, composed at the height of Stalin''s Purges. It rescued Shostakovich from official disfavour and deeply moved audiences. The critics recognized it as a masterpiece, but they were perplexed by its ambiguities, especially at the end of the Symphony: some imagined it as the joyful final victory of socialism, while others heard the triumph instead of a sinister and oppressive force. The second interpretation was pushed into the background, but the controversy persisted, with the further complication of two very different tempo markings for the closing section, both of which seemed to be approved by the composer. The authors give an authoritative account of the tempo controversy and the effect of the different tempos on the reception of the work in the West. Shostakovich''s Symphony No. 5 delves into the history of the work''s composition, the pressures Shostakovich experienced at the time, and the cultural environment from the time the composer began work on Symphony through to the settling of its official critical reception. At the center of this exploration is the musical score itself, which is full of secrets that have taken decades to uncover, the most colorful of which is the case for Shostakovich''s extensive references to Bizet''s Carmen, and the connection between these and Shostakovich''s lover of the mid-30s, Lala Carmen (Elena Konstantinovskaya). The authors show how Shostakovich largely (but not entirely) set aside his influences from Mahler and German modernists, and in replacement absorbed Beethoven and Tchaikovsky with the same ingenuity as his previous influences. Shostakovich decided to make a virtue of a necessity, and created one of the richest of symphonic scores, allowing himself to retain his artistic pride while winning the official approval necessary for regaining his livelihood. These events all unfolded in the atmosphere of terror created by Stalin''s "Great Purge". This book is the first to be devoted to this watershed symphony, and includes secrets of the score that took decades to uncover.

Poland was the 'tripwire' that brought Britain into the Second World War, but it was largely the fear of the new Nazi-Soviet Pact rather than the cementing of an old relationship that created the formal alliance. But neither Britain, nor Poland's older ally, France, had the material means to prevent Poland being overrun in 1939. The broadcast, 'Poland is no longer alone' had a distinctly hollow ring. During the next four years the Polish Government in exile and armed forces made a significant contribution to the allied war effort; in return the Polish Home Army received a paltry 600 tons of supplies.Poland Alone focuses on the bloody Warsaw Uprising of 1944, when the Polish Resistance attempted to gain control of their city from the German Army. They expected help from the Allies but received none, and they were left helpless as the Russians moved in. The War ended with over five million Poles dead, three million of whom died in the concentration camps.Jonathan Walker examines whether Britain could have done more to save the Polish people in their crisis year of 1944, dealing with many different aspects such as the actions of the RAF and SOE, the role of Polish Couriers, the failure of British Intelligence and the culpability of the British Press.

In this essay collection, the contributors contend that academic drama represents an important, but heretofore understudied, site of cultural production in early modern England. Focusing on plays that were written and performed in academic environments such as Oxford University, Cambridge University, grammar schools, and the Inns of Court, the scholars investigate how those plays strive to give dramatic coherence to issues of religion, politics, gender, pedagogy, education, and economics. Of particular significance are the shifting political and religious contentions that so frequently shaped both the cultural questions addressed by the plays, and the sorts of dramatic stories that were most conducive to the exploration of such questions. The volume argues that the writing and performance of academic drama constitute important moments in the history of education and the theater because, in these plays, narrative is consciously put to work as both a representation of, and an exercise in, knowledge formation. The plays discussed speak to numerous segments of early modern culture, including the relationship between the academy and the state, the tensions between humanism and religious reform, the successes and failures of the humanist program, the social profits and economic liabilities of formal education, and the increasing involvement of universities in the commercial market, among other issues.

In this essay collection, the contributors contend that academic drama represents an important, but heretofore understudied, site of cultural production in early modern England. Focusing on plays that were written and performed in academic environments such as Oxford University, Cambridge University, grammar schools, and the Inns of Court, the scholars investigate how those plays strive to give dramatic coherence to issues of religion, politics, gender, pedagogy, education, and economics. Of particular significance are the shifting political and religious contentions that so frequently shaped both the cultural questions addressed by the plays, and the sorts of dramatic stories that were most conducive to the exploration of such questions. The volume argues that the writing and performance of academic drama constitute important moments in the history of education and the theater because, in these plays, narrative is consciously put to work as both a representation of, and an exercise in, knowledge formation. The plays discussed speak to numerous segments of early modern culture, including the relationship between the academy and the state, the tensions between humanism and religious reform, the successes and failures of the humanist program, the social profits and economic liabilities of formal education, and the increasing involvement of universities in the commercial market, among other issues.

In this essay collection, the contributors contend that academic drama represents an important, but heretofore understudied, site of cultural production in early modern England. Focusing on plays that were written and performed in academic environments such as Oxford University, Cambridge University, grammar schools, and the Inns of Court, the scholars investigate how those plays strive to give dramatic coherence to issues of religion, politics, gender, pedagogy, education, and economics. Of particular significance are the shifting political and religious contentions that so frequently shaped both the cultural questions addressed by the plays, and the sorts of dramatic stories that were most conducive to the exploration of such questions. The volume argues that the writing and performance of academic drama constitute important moments in the history of education and the theater because, in these plays, narrative is consciously put to work as both a representation of, and an exercise in, knowledge formation. The plays discussed speak to numerous segments of early modern culture, including the relationship between the academy and the state, the tensions between humanism and religious reform, the successes and failures of the humanist program, the social profits and economic liabilities of formal education, and the increasing involvement of universities in the commercial market, among other issues.

In this essay collection, the contributors contend that academic drama represents an important, but heretofore understudied, site of cultural production in early modern England. Focusing on plays that were written and performed in academic environments such as Oxford University, Cambridge University, grammar schools, and the Inns of Court, the scholars investigate how those plays strive to give dramatic coherence to issues of religion, politics, gender, pedagogy, education, and economics. Of particular significance are the shifting political and religious contentions that so frequently shaped both the cultural questions addressed by the plays, and the sorts of dramatic stories that were most conducive to the exploration of such questions. The volume argues that the writing and performance of academic drama constitute important moments in the history of education and the theater because, in these plays, narrative is consciously put to work as both a representation of, and an exercise in, knowledge formation. The plays discussed speak to numerous segments of early modern culture, including the relationship between the academy and the state, the tensions between humanism and religious reform, the successes and failures of the humanist program, the social profits and economic liabilities of formal education, and the increasing involvement of universities in the commercial market, among other issues.

Foot soldiers, commandos, parachutists, naval seamen, bomber and fighter pilots - their varied personal experiences of the Second World War have been widely recounted, and the parts they played in the conflict are well known. But there are specialized wartime roles that have received very little attention, notably the gallant actions of the men of the Glider Pilot Regiment. That is why Robert Ashby's rare and vivid pilot's memoir is so valua-ble. In it he offers a fascinating insight not only into the major operations he took part in - including D-Day, Arnhem and the Rhine crossing - but into the exacting flying skills required to carry out perilous glider landings on enemy territory while under fire.His account of his hair-raising training, together with his pen-portraits of his comrades and officers, takes the reader inside the world of a citizen soldier'. The glider landings at Arnhem and the intense fighting that followed are the climax of his narrative, offering us a remarkable insight into one of the most controversial Allied disasters of the entire war.

Foot soldiers, commandos, parachutists, naval seamen, bomber and fighter pilots – their varied personal experiences of the Second World War have been widely recounted, and the parts they played in the conflict are well known. But there are specialized wartime roles that have received very little attention, notably the gallant actions of the men of the Glider Pilot Regiment. That is why Robert Ashby''s rare and vivid pilot''s memoir is so valua-ble. In it he offers a fascinating insight not only into the major operations he took part in – including D-Day, Arnhem and the Rhine crossing – but into the exacting flying skills required to carry out perilous glider landings on enemy territory while under fire. His account of his hair-raising training, together with his pen-portraits of his comrades and officers, takes the reader inside the world of a ''citizen soldier''. The glider landings at Arnhem and the intense fighting that followed are the climax of his narrative, offering us a remarkable insight into one of the most controversial Allied disasters of the entire war.

Foot soldiers, commandos, parachutists, naval seamen, bomber and fighter pilots – their varied personal experiences of the Second World War have been widely recounted, and the parts they played in the conflict are well known. But there are specialized wartime roles that have received very little attention, notably the gallant actions of the men of the Glider Pilot Regiment. That is why Robert Ashby’s rare and vivid pilot’s memoir is so valua-ble. In it he offers a fascinating insight not only into the major operations he took part in – including D-Day, Arnhem and the Rhine crossing – but into the exacting flying skills required to carry out perilous glider landings on enemy territory while under fire. His account of his hair-raising training, together with his pen-portraits of his comrades and officers, takes the reader inside the world of a ‘citizen soldier’. The glider landings at Arnhem and the intense fighting that followed are the climax of his narrative, offering us a remarkable insight into one of the most controversial Allied disasters of the entire war.

This controversial and stirring account of one of the bloodiest battles of the Great War recounts a heroic but disastrous engagement which left a lasting rift between the British and Australians. Drawing from a wealth of unpublished sources and eyewitness accounts, Jonathan Walker's study of the Battle of Bullecourt is vital to an understanding of the difficulties that faced Great War commanders. Central to The Blood Tub is a reassessment of Sir Hubert Gough, one of the Great War's most colourful generals.
In the late spring of 1917, the Allies attacked at Arras, and a combined British and Australian force under General 'Thruster' Gough assaulted the fortress village of Bullecourt. Despite using the new wonder weapon, the tank, Gough's first attack ended in disaster and bitter recriminations. He then launched a second massive attack. For the next two weeks, the Battle of Bullecourt dominated British offensive action on the Western Front. It was the excessive brutality and ferocity of the hand-to-hand fighting that earned Bullecourt the name 'Blood Tub'.



'An excellent, even handed account of a highly contentious battle…Walker debunks many myths.' British Army Review

'Jonathan Walker has produced a comprehensive and most readable account… For serious students, and those simply interested in this period, it is a great read.' Journal of the Australian War Memorial 

'Walker's command of the sources held in archives in Britain and in Australia is masterly. This allows him to move easily from the concerns of high command to the experiences of the PBI, and to produce a picture of Bullecourt 'in the round'…The Blood Tub is a well-researched, well-written, and analytical account of the battles for Bullecourt in 1917.' Professor Gary Sheffield, Military Illustrated 

'Deeply researched and well-written. For the serious student of war, The Blood Tub will repay thoughtful reading.' Tank Journal

The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout.The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the 'socialist realist' period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets.The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state.While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout. MARINA FROLOVA-WALKER is Professor in Music History at the University of Cambridge anda Fellow of Clare College, Cambridge.JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.

During the early 1960s the Cold War reached its climax. Britain's dwindling power in the Middle East was under siege from Arab nationalism, the Communist bloc and from American designs in the region. Aden, with its strategic military base and old Protectorate buffer zone, was soon the main battleground. The 1962 Egyptian-inspired coup in the neighbouring Kingdom of North Yemen further tightened the noose. So began a bitter and bloody insurgency war in South Arabia. British regular an special forces were soon pitted against growing and formidable insurgency forces, fighting both a war in the mountains and an urban conflict in the backstreets of Aden. Intelligence agencies vied for control of 'hearts and minds'. The British launched a clandestine war in Yemen to keep their enemies at bay. But still the situation in Aden spiralled out of control, culminating in a bloody slaughter in 1967. In that November, the British Army finally withdrew from South Arabia.

Aden Insurgency is the extraordinary story of Britain's last colonial conflict. Using a wide range of recently released archive and eye-witness accounts, the author charts the collapse of the South Arabian state. Set against a background of ruthless political ambition, these events shaped the Yemen of today.

'A thrilling and ground-breaking account' - Eye-Spy magazineAs the war in Europe entered its final months, the world teetered on the edge of a Third World War. While Soviet forces hammered their way into Berlin, Churchill ordered British military planners to prepare the top secret Operation Unthinkable - the plan for an Allied attack on the Soviet Union - on 1 July 1945. Using US, British and Polish forces, the invasion would reclaim Eastern Europe. The controversial plan called for the use of Nazi troops, and there was the spectre of the atomic bomb. Would yet another army make the fatal mistake of heading East?In Churchill’s Third World War Jonathan Walker presents a haunting study of the war that so nearly was. He outlines the motivations behind Churchill’s plan, the logistics of launching a vast assault against an enemy who had bested Hitler, potential sabotage by Polish communists, and he speculates whether the Allies would have succeeded had the operation gone forward.Well supported by a wide range of primary sources from the Churchill Archives Centre, Sikorski Institute, National Archives and Imperial War Museum, this is a fascinating insight into the upheaval as the Second World War drew to a close and former alliances were shattered. Operation Unthinkable became the blueprint for the Cold War.

The Angels of L19 is a moving and entirely original story of young lives at the confluence of faith and doubt, angels and demons, life and death. And where redemption is possible, even for those we think might be lost forever.

'More speed, more light, more time.But this is the fastest possible film, pushed as hard as it can be pushed; the lens wide open to catch every drop of brightness; the slow exposure shaking the image apart. Right up at the edge.Go farther, closer.' VENICE, 2000.Richard is a postgraduate student living in the city to research its past. He's supposed to be working in the archive, but he meets Merlo and Lars, two art students who are more interested in Venice's present. He decides to pick up a camera and join them.The world comes alive for Richard through photographs: for the first time, he feels connected to a place - and other people. He's determined to continue, whatever the cost.Push Process is a novel about art, friendship and being European, illustrated with over fifty black-and-white photographs of Venice.

The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout.The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the "socialist realist" period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets.The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state.While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout. MARINA FROLOVA-WALKER is Reader in Music History at the University of Cambridge and Fellow of Clare College, Cambridge; JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.

The books in the Florida and the Caribbean Open Books Series demonstrate the University Press of Florida’s long history of publishing Latin American and Caribbean studies titles that connect in and through Florida, highlighting the connections between the Sunshine State and its neighboring islands. Books in this series show how early explorers found and settled Florida and the Caribbean. They tell the tales of early pioneers, both foreign and domestic. They examine topics critical to the area such as travel, migration, economic opportunity, and tourism. They look at the growth of Florida and the Caribbean and the attendant pressures on the environment, culture, urban development, and the movement of peoples, both forced and voluntary. The Florida and the Caribbean Open Books Series gathers the rich data available in these architectural, archaeological, cultural, and historical works, as well as the travelogues and naturalists’ sketches of the area in prior to the twentieth century, making it accessible for scholars and the general public alike. The Florida and the Caribbean Open Books Series is made possible through a grant from the National Endowment for the Humanities and the Andrew W. Mellon Foundation, under the Humanities Open Books program.