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Rachmaninov is considered by many to be the greatest composer-pianist in history. But his very popularity has left the complexity and subtlety of his music underappreciated.
Charles Edward Stuart (‘Bonnie Prince Charlie’) is one of the most recognisable and romanticised figures of British history. Born in Rome as a Catholic prince on 31 December 1720, he led the Jacobite Rising of 1745, which came closer than anyone expected to changing Great Britain irrevocably.
London in the 1950s and 60s was a crucible in which West Indian writers, artists, thinkers and scholars imagined new futures for the Caribbean, Britain and the world.
Eve was the original Evil Woman. She was tempted by Satan, introducing sin into the world. In turn, she seduced Adam, bringing the wrath of the Creator upon humanity for all eternity.
Musorgsky was a proficient, but not virtuosic pianist, and most of his piano music is comprised of unambitious salon pieces. On the basis of these modest exploits, no one could have predicted his Pictures at an Exhibition.
Like James I, King William III was fundamentally unhappy with the stuffy formality of England’s vast crumbling royal estate. But unlike James, who virtually abandoned Edinburgh, William maintained a second court, and a parallel suite of royal houses, in the Netherlands.
Nowhere in Europe have the wars of religion lasted longer than in Ireland. At the heart of this are two rival sets of memories of atrocities: above all, Protestants recall the massacres of the 1641 rebellion, and Catholics recall the massacres perpetrated by Oliver Cromwell in 1649.
For a decade after the execution of Charles I the Stuart courts were based in the Low Countries and France. Always short of money, but determined to maintain splendour and dignity, Charles II rented a series of mansions and used them as the headquarters of the exiled monarchy.