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All surviving fragments of the Christian Palestinian Aramaic version of the early period (5th-8th centuries AD) and the middle period (9th-10th centuries AD) are collated, and the individual biblical books are arranged according to their original manuscript. The text is accompanied by a philological commentary and a glossary. --from publisher description.
Author: Mark J. Edwards
Publisher: InterVarsity Press
Release Date: 2014-03-19
Paul's letters to the Galatians, Ephesians and Philippians have struck an indelible impression on Christian tradition and piety. The doctrines of Christ, of salvation and of the church all owe their profiles to these letters. And for patristic interpreters, who read Scripture as a single book and were charged with an insatiable curiosity regarding the mysteries of the Godhead, these letters offered profound visions seldom captured by modern eyes. Trinitarian truth was patterned in the apostle's praise of God who is "over all, through all and in all" (Ephesians 4:6). Without a doubt, the greatest text in this collection of letters is the "Christ hymn" of Philippians 2:6-11. This commentary offers an unparalleled close-up view of the fathers weighing the words and phrases of this panoramic charting of the Savior's journey from preexistence, to incarnation, to crucifixion, to triumphant exaltation as universal Lord. This volume opens a treasury of resources for biblical study today. The expository voices of Jerome, Origen, Augustine, Chrysostom, Ambrosiaster, Theodoret, Marius Victorinus and Theodore of Mopsuestia speak again with eloquence and intellectual acumen, some in English translation for the first time.
Author: Michael O'Loghlin
Release Date: 2017-07-05
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.