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This illustrated edition of two heartfelt holiday fables abounds in the Yuletide traditions of generosity and friendship, perfect sentiments for a gift book. "The First Christmas Tree" is a tale set during an eighth-century winter festival, where a struggle ensues between foresters worshipping pagan gods and a heroic pilgrim who has come to teach them about Christ's birth. In "The Story of the Other Wise Man," well-meaning Artaban prepares to join three fellow Magi in their journey to Judaea for the birth of a holy prince. But a needy stranger and a twist of fate will change his destiny. These timeless classics will capture the hearts of every family that loves Christmas readings.

• Sales Rank: #1682472 in eBooks
• Published on: 2013-01-16
• Released on: 2013-01-16
• Format: Kindle eBook

About the Author
Henry van Dyke was an American religious writer, lecturer, and clergyman. Educated at the Theological Seminary at Princeton University, van Dyke returned to the school after his graduation as a Professor of English Literature and became an elected member of the American Academy of Arts and Letters. In 1913 he was appointed by President Woodrow Wilson, his former classmate, as the ambassador to the Netherlands and Luxembourg, a job that he maintained throughout the First World War. His most famous short stories include "The Story of the Other Wise Man" and "The First Christmas Tree," which, like many of his other works, centered around moral and religious themes. After a lifetime of public service and religious leadership, Henry van Dyke died in 1933 at the age of 80.

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1 of 1 people found the following review helpful.
An enjoyable and fast read at Christmas
By J Martin
This book contains two short stories by Henry Van Dyke written in 1896-97: The First Christmas Tree and The Story of the Other Wise Man. It is somewhat tricky to review the short stories without giving too much away so I will cover them generally.

The titles explain exactly what each story is about. The Other Wise Man, which I read first and is the longer of the two at 68 pages, covers the story of Artaban, who, upon seeing the star, heads out to meet his fellow wise men on a journey to Bethlehem. The First Christmas Tree, much shorter at 37 pages, takes place in Europe in 722, and chronicles the story of Winfried and the first Christmas tree.

Both stories are wonderfully written and HVD describes scenes with flair. To be honest I did not know what to expect from stories written over 100 years ago, but I was not disappointed. This particular edition is also illustrated at chapter breaks in monochrome blue. I very much enjoyed the illustrations (especially for The Other Wise Man) as they had a traditional almost wood-block appearance that suited the overall mood of the book. Each story is steeped in Christmas meaning and although I like that aspect of them (I bought and expected as much), it does come across a bit thick in the First Christmas Tree. Both stories feel a bit “jumpy”, almost as if they have been edited for brevity. For me the stories start out strong but slip somewhat as they progress. Nevertheless, both are equally good and did leave a mark on me after I finished them.

Summary: The two short stories by Henry Van Dyke, though separated by over 700 years, cover similar themes of faith and firsts. Although the stories are short, they are very well written (if a bit choppy at times) and wonderfully illustrated in a traditional manner. An enjoyable and fast read at Christmas. Overall 80% = 4/5.

1 of 1 people found the following review helpful.
There is nothing more to be said. Except read it stupid
By S. Watson
I haven't read the "Christmas Tree Yet. However I would invite everyone in the world to read the "Other Wise Man". Words cannot express what you will feel as you travel on this journey with Artaban. You will never have a need to travel again except through the pages of one of Henry Van Dykes books.

1 of 1 people found the following review helpful.
Must read
By BNB
I was initially shopping for The Story of the Other Wise Man alone when I found this volume including The First Christmas Tree. I purchased 4 of them as gifts for some special women I know. I highly recommend this uplifting story.

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This classic of music criticism provides detailed studies of 23 of Mozart's piano concertos. In addition to establishing the lines along which the genre developed, the concertos also shed light upon the technical and inspirational growth of their creator.
The first full-length survey devoted to these works, this scholarly book presents a full, concrete musical analysis that makes liberal use of musical examples — 417 in all — and presents authoritative information on the concertos' form, tone, style, and balance as well as the circumstances of their composition. The author compares and contrasts each piece with Mozart's other works and with compositions by Beethoven, Haydn, and other composers. A definite text for musicologists, performers, teachers, and students, this study's clarity and personable tone make it accessible to any lover of Mozart's music.

• Sales Rank: #838080 in eBooks
• Published on: 2012-11-12
• Released on: 2012-11-12
• Format: Kindle eBook

About the Author
British musicologist and literary scholar Cuthbert Girdlestone (1895–1975) was educated at Cambridge and the Sorbonne and taught French at King's College in Newcastle from 1926 to 1960.

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19 of 19 people found the following review helpful.
Classic descriptive musical guidebook
By klavierspiel
(...)

The wonderfully named Cuthbert Morton Girdlestone first published this guide in 1948. It has been frequently re-issued, also under the title Mozart's Piano Concertos, and gone through several editions, though all versions I have seen are basically identical.

At the time it first appeared Mozart's piano concertos were not as widely known and performed as they are today (no complete recordings of the entire canon were available, for example), so if Girdlestone appears to be making a special plea for their recognition, he had ample reason. With several volumes of trenchant analysis of the Viennese Classical composers and their output now available by such luminaries as Charles Rosen, Girdlestone's work may now seem old-fashioned to the point of raising smiles, an impression only reinforced by the handwritten musical examples (not very well coordinated with the text, incidentally). It is amusing to read the Concerto in B-flat major K. 450 described as "a well-bred gentleman," and such examples of what might be called musical anthropomorphism crop up frequently. Girdlestone was not a trained musical theorist and when he tries to talk of technical matters such as harmony or key centers he is fuzzy and at times downright wrong, no small matter with a master of tonal harmony and musical form. He also denigrates the musical worth of the early concertos in what seems an unnecessarily harsh manner, and his insistence that a benchmark of quality for a piano concerto be "collaboration" between the solo instrument and orchestra, by which he seems to mean dialogue and contrapuntal combination, is dogmatic as well. By his standards, for example, the so-called "Coronation" Concerto, K. 537, is an inferior work; but Rosen and others have pointed out how its compositional techniques anticipate those of Beethoven and subsequent early Romantic composers of piano concertos.

Nevertheless, Girdlestone's passion for Mozart's music, and his recognition that its charm and grace does not preclude deep and profound emotion, override his frequently flawed analysis, drawing the sympathetic reader in. It is hard not to agree with, or be moved by his statement that the piano concertos are a medium by which "we penetrate... into the inner sanctuary where the harassed and overworked man [Mozart] found afresh the radiant life which never ceased to spring up within him." In addition, his placing of the piano concertos within the context of Mozart's entire output is interesting and frequently provides valuable insight into the composer's general aesthetic. When my first copy of this book finally fell apart I searched for another copy to replace it, and found it here on Amazon. I recommend that all musicians and music lovers acquaint themselves with this pioneering, loving musical guide.

9 of 9 people found the following review helpful.
Simply indispensable, without qualifications
By David Adams
One would do well to read the good reviews of this book printed in other editions for the content. Let me just add my voice to the fact that this is the indispensable volume on Mozart's piano concertos. My copy should be worn out by now since I have studied it faithfully for over 50 years, but since it is a Dover edition it is still well intact! I spent an entire summer reading Girdlestone's descriptions of each piano concerto with scores in front of me before I played them. The amount of useful information in this book is simply astounding.

0 of 0 people found the following review helpful.
Still the finest book about Mozart's piano concertos
By Michael Birman
Cuthbert Girdlestone has achieved something that few author's can claim: he has written two (currently) definitive books, this one on Mozart's luminous piano concertos and an excellent biography of the great French composer/musical theoretician Jean-Philippe Rameau, even though both books are quite old and are theoretically out-of-date. Given the renaissance in early music performance that has occurred over the last half-century, many of the ideas that Girdlestone espouses in the book can legitimately be described as extremely dated. This most frequently manifests itself in the generally Romantic cast with which he views both Mozart the composer and his piano concertos, as well as a pronounced tendency to engage in poetic descriptions of Mozart's music that recall an earlier era in music commentary. This is hardly surprising when you consider that the French version of this book was originally published in 1939. That was a time in which few of the Mozart piano concertos were played or recorded, with only No.20 in D minor generally known. But it is a tribute to Girdlestone's love of these concertos and his deep insight into their beauty and artistic perfection when we note that he was the first major music commentator to analyze them in depth in a book exclusively devoted to them and to immediately classify them as comparable in importance to that of Beethoven's nine symphonies when contemplating the history of orchestral music, Girdlestone quite early on recognized the primal significance of Mozart's piano concertos in the history of the genre. His comments about them in the book are brilliantly prescient, especially because they were utterly unique and decades ahead of their time.

Mozart and His Piano Concertos sometimes reads as if it were engaged in some serious hand waving, trying mightily to convince you of the value of these concertos despite their "Rococo" origins, which was a general prejudice of the time. Thankfully, all of the Mozart concertos are now considered masterpieces to a greater or lesser degree. Even his earliest piano concertos have great beauty with No.9 in E-Flat Major now universally considered to be Mozart's Eroica, a quantum leap forward in the genre and evidence (as if any were needed) of his greatness as a composer. Girdlestone analyzes each concerto from No.5 onward with great sensitivity, although his likes and dislikes may often strike the reader as somewhat quaint at times. There are numerous musical examples contained within the book but it is geared to the general reader rather than the expert. Girdlestone considers Mozart's piano concertos to be a universal treasure for all to enjoy so he has written this superb book for everyone to read. These piano concertos are the essence, the very soul of Mozart's artistry. In them he has poured all of his emotions, all of his hopes, his incomparable sense of beauty, order and perfection. If you love the piano concertos as I do and want to learn much more about them, this is the finest book available, even after all these years. An indispensable introduction and guide to some of the greatest music ever composed.

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• Sales Rank: #2837862 in Books
• Published on: 1994
• Number of items: 1
• Binding: Paperback

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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

• Published on: 2012-08-31
• Released on: 2011-06-04
• Original language: English
• Dimensions: 10.00" h x 1.31" w x 7.50" l,
• Binding: Paperback
• 580 pages

About the Author
Charles A. Beard (1874-1948) is regarded as one of the most influential American historians in the first half of the twentieth century. He is famous for his evaluation of the founding fathers of the United States, who he believed were motivated by economics as opposed to philosophical principles. Some of his works include An Economic Interpretation of the Constitution of the United States, Economic Origins of Jeffersonian Democracy, and The Administration and Politics of Tokyo.

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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

• Published on: 2012-08-31
• Released on: 2011-06-04
• Original language: English
• Dimensions: 10.00" h x 1.32" w x 7.50" l,
• Binding: Paperback
• 582 pages

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## Download Christian Mystics of the Middle Ages: An Anthology of WritingsFrom Dover Publications

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Reflections by 13 men and women, conveniently gathered into one volume, encompass the works of Angela of Foligno, John Ruysbroeck, Henry Suso, Richard Rolle, John Tauler, the author of The Cloud of Unknowing, Julian of Norwich, Catherine of Siena, Walter Hilton, Catherine of Genoa, St. Teresa, John of the Cross, and Francis de Sales.

• Sales Rank: #1337823 in eBooks
• Published on: 2012-04-03
• Released on: 2012-04-03
• Format: Kindle eBook

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A determination to survive….

Betrayed by everyone she loves, Valerie Dearborn will do anything to get out of Fey and avoid becoming Cerdwellyn’s queen. Even if it means she has to rely upon Lucas, the monster who betrayed her.

A bid for redemption….

Lucas felt nothing for hundreds of years, but Valerie’s blood has changed everything. Forced to confront his sins, he’ll do what he can to help Valerie survive. Even if it costs him his life.

A destiny cut short….

Cerdwellyn, King of the Fey lost his true queen centuries ago. He’s determined to make Valerie her replacement, but ghosts from his past have other plans.
The end of the story.

As Valerie struggles to survive she must choose between reality and illusion, between sacrifice and love, all in hopes of figuring out the truth: that if you love someone you must be willing to make the ultimate sacrifice.

• Sales Rank: #136465 in eBooks
• Published on: 2012-11-13
• Released on: 2012-11-13
• Format: Kindle eBook

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12 of 12 people found the following review helpful.
LIM is finally here! Please give us one more!!
By lala-lately
Oh man!! So I am really conflicted. On the one hand, I LOVE Caroline Hanson and especially adore this series. Caroline really did something amazing when she conceived Val and Lucas (and that psychotic biotch, Marion)---they are such awesome characters and in the first two books their energy jumped off the pages. But, on the other hand (and maybe this is 'cause I love them so much), I can't believe the third and "final" book has so LITTLE of the Val and Lucas I've come to love. I know there's a spinoff planned but it apparently won't focus on Val and Lucas. There are a lot of loose ends with other characters so I get the spinoff concept, but honestly I have a one track mind--I'm not particularly excited about Cer, a**hole Jack and weird Rachel, or creepy relative Molly starring in their own book/s.

**I don't think I can give a complete rundown of LIM without spoilers, but I will try. The ending shocked me so I definitely won't go anywhere near it in this review.**

So in LIM, what was backstory in the first two books (think Cer & Virginia) became front and center. Unfortunately for me, I never cared much for their story. So this third book was hard for me because it focused SO MUCH on Cer and all things Fey. In fact, there's very little vampire action, if at all. I thought Caroline did a fantastic job writing about the vamps before, and I am definitely sad that this was a book of Fey and fantasy, rather than a book of Val & Lucas in the real world. For me, that's where the main characters were most vibrant and where they had the best chemistry.

I think the things that make me most conflicted are that 1) we've been on a journey that we knew (hoped?) would end with Lucas' redemption and with Val's metamorphosis into her strong true self and 2) we finally get there but we never get the full view of them in those roles. There's very little 'real' dialogue between Val & Lucas, and I don't think the Val, Lucas, Jack triangle had the come to Jesus moment it deserved. And with the way the redemption concept is handled I think it took away too much of the Lucas who is so bad he's good. It felt like the compromise (sacrifice?) came too strongly from one side only.

All in all, this was a good book in a GREAT series. The fact that I devoured this book in one sitting on the day it was released speaks volumes about the author's talent. She's simply awesome! As fans, we hope for more of some things and less of others, but the story goes where the author takes you, and with a writer like Caroline, you are going to enjoy the ride. I love these books so much I am hoping for a fourth book where Lucas and Val can spend some time together (outisde of the dungeon!) and where redemption becomes a little less redeeming. Wishing and hoping for more is a fan's perogative, right!?!

If you're reading this Caroline--thank you, thank you, thank you for sharing your gift. I have read and re-read your books and love to escape into this world. Besitos!!

9 of 9 people found the following review helpful.
Valerie Dearborn, Book Three
By Detra Fitch
The Fey were weak, almost gone; their only chance of survival was to find the Sard, a mystical object that resembles a jewel. When used in combination with the Book of Life and Death, its power could restore Cerdewellyn, King of the Fey, to greatness. To save his people, Cer needs to make Valerie Dearborn, the last Empath, his new queen. But Val is fed up with all the supernatural crap in her life and wants only to return to her realm and live a normal life. The only real hold Cer has over Val is her feelings for Lucas, King of the Vampires, who is currently weak and chained in the dungeon. Cer looks forward to what he plans to do with Lucas, the vampire that slaughtered his people; however, in exchange for Valerie's aid, Cer promises not to kill Lucas for a certain amount of time and to listen to everything the dark creature has to say.

Valerie's life is out of her control. She is in love with the most cold-hearted vampire ever created. To keep Lucas alive, she must help another king, Cer. But life with the Fey king would be no better than life with the vampire king. To make matters worse, Jack, the man she loves as a brother, has been transformed into a werewolf and has chosen to bond himself with Rachel, the vampire witch, instead of to her, his family. Bad news usually comes in threes, so it is no real surprise to Valerie when the spirit of Cer's dead love, Virginia Dare, begins to make herself known to Val.

The fate of all Other races is about to be decided. Everything depends on who wields the Sard.

*** THREE STARS! This is the third title of the series. It begins where the previous story left off. (I detest cliff hanger endings.) Valerie's story concludes in this episode, but a couple of threads are left dangling. The author may begin a new series if she so desires.

This installment has a lot of suffering, a lot of pain and torture. The plot itself slows way down so that the character of Virginia Dare has her time in the spotlight. Because so much needs to be accomplished and several couples (Rachel/Jack, Cer/Virginia, Lucas/Valerie) need to be followed, sections of the story came across as rushed to me. Lucas's character goes from stone-cold-hearted to take-my-blood-so-you-may-escape,-because-your-mortal-life-means-everything-to-my-undead-heart. As for Virginia, her spirit takes over too swiftly and Valerie's return seemed a bit too easy for me to believe. I was totally disappointed in Marion.

In my personal opinion, the events in this book should have been spread out over two titles. Doing so would have allowed the author to include more details and give room so that each character could have been well developed and their actions more believable. In fact, I would have preferred it if Dare's character were totally deleted. ***

Reviewed by Detra Fitch of Huntress Reviews.

6 of 6 people found the following review helpful.
ok conclusion, but missing some heat, and a chapter before the epilogue
By Book Worm
3.5 Stars. The third and final book in a series is often hit and misses. I guess it would be hard for an author to keep everyone happy. The overall story worked for me, I liked the outcome, I liked the twists and turns it took, and I liked seeing different sides to people, that you can be both good and bad. It was really interesting to read, and I liked the whole plot. I was invested in the characters, and was eager to get my happy ever after. However, when I finished it I was disappointed as it was not everything I hoped for. For me the reason that this book was not everything I hoped for is simple. Lucas at times felt like a different character, Valerie lost some of her spunk, the Jack and Rachel relationship is a bit odd, where was the sex and is there a chapter missing? Now let me explain these a little better without giving too much away. Lucas is being held by Cer, so I understand how he cannot be this all mighty tough vamp, but he turns instead into overly sweet Lucas, who old Valerie could have walked over. I wanted him to be tougher and rougher, sure it was nice seeing him sweet, and finding out more of his past, but I felt he needed to take control at times. Valerie is also with Cer, he wants her to be queen, she wants to escape, but is torn between just getting out and saving Lucas too. In addition Valerie also has to contend with Virginia the true Fey queen. So yes I want her to save Lucas, but she just gives up too easily to Virginia, I wanted more of a struggle, and I would have liked for her to save herself from Virginia rather than needing so much from Lucas. However, her character does get that spunk back at the end so maybe i should forgive the rest. The whole Jack and Rachel relationship was odd for me. I never felt anything from them in the previous books so it just felt weird. And finally the sex, ok, the previous books have had some pretty impressive scenes between Valerie and Lucas, and this book, nothing, and there was room for it. I missed it, and I missed the heat between them.

The actual ending was also a little strange for me, sure we get the happy ever after, and a set up for a follow on series with the other characters in an epilogue but the jump that happens from the actual final chapter to the epilogue made me feel like the book was missing a whole chapter.

If you have read the previous books in this series, you will want to read this book to find out what happens to everyone. I hope that you are one of the readers that the author has been able to keep happy.
Will I read it again? No
Would I recommend it? Sure, you want to know how it ends.

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