This edition contains all the music Mozart wrote for Don Giovanni, both for the original version performed in Prague (1787) and the alterations―Don Ottavio's aria "Dalla sua pace," Elvira's aria (and its transposition to D Major) "Mi tradì quell'alma ingrata," Zerlina and Leporello's duet "Per queste tue manine," the cut in the finale―made for the first Viennese performance six months later, as well as the concert ending of the overture.The editors, Georg Schünemann and Kurt Soldan, worked directly from Mozart's autograph manuscript and from early copies made under Mozart's supervision, correcting many errors that had persisted since Mozart's time. An extensive commentary lists all vague or controversial elements the editors encountered in the score. In addition the complete Italian libretto and stage directions by Lorenzo Da Ponte and a German translation of the vocal text by Georg Schünemann have also been included.Do not confuse this with a piano rendering; it is the full orchestral score. In addition to its obvious uses for study, this score is also an indispensable associate for anyone listening to the music. In no other manner can the listener or student keep full awareness of the many elements that make up this opera.

    It challenged the entire edifice of the philosophy and learning of Bacon's time, and left its mark on all subsequent discussions of scientific method. This volume presents a new translation of the text into modern English by Michael Silverthorne, together with an introduction by Lisa Jardine that sets the work in the context of Bacon's scientific and philosophical activities.

    It was first performed at a concert given for charitable purposes at Dublin, Ireland, on April the 13th, 1742, Handel conducting the performance in person. As the centuries have passed, a considerable number of vocal scores have, of course, been made after Flandel's partition; notably that by Dr. Clarke (Whitfield Clarke, 1809)., and a later one by Vincent Novello. Their value, however, was more or less doubtful, their character being rather that of transcriptions in pianoforte style, with not infrequent arbitrary or capricious aberrations, than a faithful and exact reduction of the orchestral score. Neither have the more recent editions of vocal scores based on the Mozart orchestra score, with its many contrapuntal charms, quite fulfilled expectations, as they materially increased the difficulty of the piano part. Hence, a vocal score which should be in every way reliable and practical has become a matter of prime necessity. The present edition agrees at every point with Handel's original score, as it follows the facsimile edition of this latter with most careful exactitude. Slight deviations from the original, which in the course of many years have obtained almost traditional authority, are inserted in small notes in every case, the professional artist being left free to employ them or not, at his discretion.

    Volume One contains the fifteen sonatas from Beethoven's first period, including the popular Pathétique, Moonlight, and Pastorale sonatas. Volume Two contains the 17 sonatas from Beethoven's second and third periods, including the Waldstein, the Appassionata, and the Hammerklavier.The music is reproduced directly from the exemplary Universal Edition set edited by Heinrich Schenker. Combining scrupulous scholarship and profound artistic vision, Schenker achieved an edition which is universally admired by musicians and scholars. He used more autographs as sources than any previous editor of the sonatas, and he was the first to reproduce in print the visual impression of the autographs. For this Dover edition, Schenker's footnotes have been translated into English and his preface translated. A new introduction by Carl Schachter has also been included.Noteheads have been reproduced in a size large enough to be read easily at the keyboard. Margins and spaces between staves are generous, permitting insertion of written notes, analysis, fingerings, etc. Running measure numbers and many fingerings have already been included by the editor — the last a particularly unusual and valuable feature of this edition. This edition will be welcomed by all pianists, both professional and amateur, for its accuracy and reliability; it is highly desirable for instruction, study, reference, and enjoyment.

    W. R. Dedekind. The first presents Dedekind's theory of the irrational number-the Dedekind cut idea-perhaps the most famous of several such theories created in the 19th century to give a precise meaning to irrational numbers, which had been used on an intuitive basis since Greek times. This paper provided a purely arithmetic and perfectly rigorous foundation for the irrational numbers and thereby a rigorous meaning of continuity in analysis.The second essay is an attempt to give a logical basis for transfinite numbers and properties of the natural numbers. It examines the notion of natural numbers, the distinction between finite and transfinite (infinite) whole numbers, and the logical validity of the type of proof called mathematical or complete induction.The contents of these essays belong to the foundations of mathematics and will be welcomed by those who are prepared to look into the somewhat subtle meanings of the elements of our number system. As a major work of an important mathematician, the book deserves a place in the personal library of every practicing mathematician and every teacher and historian of mathematics. Authorized translations by "Vooster " V. Beman.

    First explicit statement of law of conservation of matter in chemical change; first modern list of chemical elements; more. Facsimile reprint of original (1790) Kerr translation. Introduction by Professor Douglas McKie.Introduction1 Of the formation & decomposition of aeriform fluids, of the combustion of simple bodies & the formation of acids 2 Of the combination of acids with salifiable bases & of the formation of neutral salts3 Description of the instruments & operations of chemistryAppendix

    Now, in the first translation into English since 1930, Aristotle's thought is presented accurately, with a lucid introduction and extensive notes to explain the general structure of each section of the book, and shed light on particular problems. It simplifies and expands the style of the original, making for easier reading and better comprehension.

    This book varies in tone and substance from the other works so attributed, but it is dialectically related to them, as well as to the other pseudonymous writings. AnnotationThis translation of Kierkegaard's deals with the nature of doubt and faith in the realm of his existential philosophy.

    

    His public advocacy of the Copernican over the Aristotelian system of the universe flew directly in the face of biblical authority and ecclesiastical tradition. Condemned and placed under house arrest by the Inquisition, Galileo nonetheless devoted his last years to the completion of his Dialogues Concerning Two New Sciences, which deals with motion and the resistance of solids. The Two New Sciences, which Galileo called his most important work, may be regarded as the summary statement of a life devoted to scientific experimentation and free inquiry untrammeled by tradition and authority.

    These "Scenes of Pagan Russia" did indeed inspire primitive reactions among their opening night audience, who were so vociferous in their protests that the dancers could scarcely hear the music.Yet this powerful work, with its novel rhythms and hitherto unheard-of chordal combinations and orchestral effects would change forever the elements of musical language and exert an enormous influence on three generations of composers. Once a scandal, it is now perhaps the most famous orchestral work of the twentieth century. It is reprinted here from the full-score Russian edition published in 1965.Like Stravinsky's scores for The Firebird and Petrushka, The Rite of Spring was commissioned by Serge Diaghilev for the Ballets Russes. Choreographed by Nijinsky, it is still a favorite of ballet audiences, and the score is one of the most performed and recorded modern works in the orchestral repertoire. Now music lovers can enjoy every note of this brilliant and stirring landmark of twentieth-century music, faithfully reproduced in this inexpensive, high-quality edition — ideal for study and for following both live and recorded performances.

    Since the first release of this classic Schirmer edition over 100 years ago, almost anyone who has taken piano lessons for more than two years has played from The Virtuoso Pianist . Millions of copies have been sold of these progressive exercises which guide a player's technique, building finger independence and strength. This was the first American edition released of this music, and remains a classic at a remarkably affordable price.

    Heath's translation of the thirteen books of Euclid's Elements. In keeping with Green Lion's design commitment, diagrams have been placed on every spread for convenient reference while working through the proofs; running heads on every page indicate both Euclid's book number and proposition numbers for that page; and adequate space for notes is allowed between propositions and around diagrams. The all-new index has built into it a glossary of Euclid's Greek terms.Heath's translation has stood the test of time, and, as one done by a renowned scholar of ancient mathematics, it can be relied upon not to have inadvertantly introduced modern concepts or nomenclature. We have excised the voluminous historical and scholarly commentary that swells the Dover edition to three volumes and impedes classroom use of the original text. The single volume is not only more convenient, but less expensive as well.

    Anselm presents a philosophical argument for the existence of God. Anselm's proof, known since the time of Kant as the ontological argument for the existence of God, has played an important role in the history of philosophy and has been incorporated in various forms into the systems of Descartes, Leibniz, Hegel, and others. Included in this edition of the Proslogion are Gaunilo's "A Reply on Behalf of the Fool" and St. Anselm's "The Author's Reply to Gaunilo." All three works are in the original Latin with English translation on facing pages. Professor Charlesworth's introduction provides a helpful discussion of the context of the Proslogion in the theological tradition and in Anselm's own thought and writing.

    A masterpiece of technical exposition, it was the basic textbook of astronomy for more than a thousand years, and still is the main source for our knowledge of ancient astronomy. This translation, based on the standard Greek text of Heiberg, makes the work accessible to English readers in an intelligible and reliable form. It contains numerous corrections derived from medieval Arabic translations and extensive footnotes that take account of the great progress in understanding the work made in this century, due to the discovery of Babylonian records and other researches. It is designed to stand by itself as an interpretation of the original, but it will also be useful as an aid to reading the Greek text.