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Recent Publications by New English Review Authors
Virgins? What Virgins?: And Other Essays
by Ibn Warraq
The New Vichy Syndrome:
by Theodore Dalrymple
Jihad and Genocide
by Richard L. Rubenstein
Second Opinion
by Theodore Dalrymple
The New English Review Symposium 2009 Booklet - Understanding the Jihad in Israel, Europe and America
Geert Wilders: Why I Am In America Fighting For Free Speech
Not With a Bang But a Whimper: The Politics and Culture of Decline
by Theodore Dalrymple
In Praise of Prejudice: The Necessity of Preconceived Ideas
by Theodore Dalrymple
Defending The West:
by Ibn Warraq
Nations, Language and Citizenship:
by Norman Berdichevsky
Romancing Opiates
by Theodore Dalrymple
Which Koran?
by Ibn Warraq
Our Culture, What's Left of It
by Theodore Dalrymple
What The Koran Really Says
by Ibn Warraq
Life at the Bottom
by Theodore Dalrymple
The Origins of the Koran
by Ibn Warraq
Why I Am Not Muslim
by Ibn Warraq
Spanish Vignettes: An Offbeat Look Into Spain's Culture, Society & History
by Norman Berdichevsky
Leaving Islam
Edited by Ibn Warraq
The Danish-German Border Dispute, 1815-2001: Aspects of Cultural and Demographic Politics
by Norman Berdichevsky
Date: 31/07/2010
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Last Night’s Concert

Yesterday evening, I attended a concert at The Bob Carr Concert Hall in downtown Orlando, a short walk from my home. The featured performance was Itzhak Perlman’s playing Beethoven’s Concerto for Violin in D major, op.61. The sell out audience of 4,000 was entranced and moved. To me, it was a testimony to the finest in human art, western civilization and the superb achievement of two individuals who overcame the enormous disabilities of the composer’s deafness and the violinist’s crippling polio to reward all of us for eternity.  Also making it possible was the talented work of conductor Christopher Wilkins and the dedication of the Orlando Philharmonic Orchestra’s seventy musicians.  

I had heard Beethoven’s concerto many times before on recordings but Perlman’s playing, those rich warm tones and the deft precise fingerwork made every note count and come alive with a soul of their own. More dramatically, his entry and exit from the stage on crutches, marked by each laborious step after the other was accompanied by rapturous applause from the audience. Several women sitting next to me had flown in to Orlando from Peoria, Illinois and had gotten up early in the morning to scrape the ice off their vehicle and clear a long driveway to get to the Chicago airport.

For me, each step and the audience’s ovation were a triumphal  recognition that Beethoven’s work will live forever and of the Jewish and Israeli will to survive and thrive in a hostile world and enrich it beyond measure against all adversity, calumny, and envy.   
 
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