“The summer has finally arrived to Paris: balmy 30 degrees, sweaty tourists…. It is even more amazing that the moment music begins sounding all those people who a minute ago were hurrying along busily , those people suddenly stop in their tracks and dive into the magic of sound, like it was a cool pool. Enjoy this short report for http://www.streetpianos.com and next time you suddenly hear piano sounds on a hot summer day on a street – it’s not an aural mirage , it’s for real – come and join in !” Continue reading →
I have recently experienced some unwanted activity on my website. To be more specific, some of the followers have associated with you too, my very welcome and followers.
In today’s world , I should think that the most fundamental right as a blog administrator would be to decides, upon revising the content who will, or not be approved to become your blogging family.
As I requested several times and through different avenues, WordPress.com so far dismissed my requests to implement Setting choices, allowing us to decide who will, or will not follow us, based upon subject matter, interests, language, and so many other valid criteria in existence here at WordPress.com.
At this time WordPress.com has no way to allow us the choice of moderating access, compared to Twitter, or even Facebook.
I think that Twitter services have a direct, easy to use, friendly way of empowering a member to freedom of association, and everyone of us is entitled to, without having o ask WordPress.com administration to do that for us upon request (which as I said earlier does not work, or even worse to have to directly contact such followers, which is beneath me (at least).
Here is how Twitter deal with this issue, at a immediate action of the twitter user (highlighted in yellow):
Twitter v. WordPress Settings
Following is a Poll (my first) asking for your input in this issue, and the question is:
“Should the administrator of a WordPress.com be allowed to decide upon the membership at their site?”
Should you need further clarification on this matter, please feel free to comment, before voting!
Thank you Friends! (as you can see this is NOT about you, it is about us all, I am sure you can too see why
Following is one example for the reasons I requested that word.press.com, allow for administrators’ settings. It would save time, and allow one the peace and tranquility of not having to interact with unwitty profane and vulgar characters!
This website is about art, artists and the way some of them have influenced my whole life.
If at times the content may seem nostalgic, is only when it resonate in quality, in message and in power to influence human knowledge of one’s feelings.
I am reminded of the little time we have to meditate upon the beauty around us, in an infinity of forms.
It is a duty, I think to share values, like leaflets over a monotonous life, and troubled civilization, away from the roll of coins that cannot buy neither a soul, nor that which makes us human.
So happy trails, and I hope you too will find something in theses pages that you’ll like to share with others.
Thank You Friends,
Danee Robinson is gifted with a pure, soprano angelic voice. She is an evolving presence in the world of classical music, and is getting more and more attention in the world of music, from an ever larger audience. How to describe in words her presence in the universe that’s larger than any imagination, the universe of music:
‘I am therefore I sing’
I feel her message throughout her musical career, in her album “Canto di Gioia” (Song of Joy) on stage, and in this beautiful interpretation of “Mandoline”, composed by Claude Debussy, in 1883, for piano and soloist on the poem of Paul Verlaine. A composition exuding youth, and its capacity of playfulness, freedom and happyness…Of love everlasting. Continue reading →
It’s Thanksgiving once again: that day, every year, when we are all gluttonous to celebrate the fact that ‘Pilgrims and Indians’ had a harmonious meal — at least that is how it has been framed historically.
Let’s be honest. On the last Thursday of November, every year, we celebrate the beginning of an European invasion that ends with the death or relocation of millions of native people. While many have tried to redefine the meaning of Thanksgiving into a time wherein we cultivate a sense of gratitude, the undeniable truth is that the blood of native people stains the genesis of the holiday. The colonial origins of Thanksgiving – or what many natives often refer to as Thankskilling or Thankstaking – is not something to celebrate. While we cannot pinpoint one specific or original “Thanksgiving” celebration, President Abraham Lincoln made it a national holiday in 1863 and conceived it as a national day of thanksgiving. “Pilgrims and Indians” weren’t included in the tradition until 1890. The national mythos surrounding this holiday does not take into consideration the long and violent history of contact between European settlers (in this case English pilgrims – puritans) and indigenous populations that already inhabited the land. It is in these forgotten histories that we see the history of this holiday for what it truly is: English pilgrims, unprepared to survive on the land and unfamiliar with the vegetation, waterways, and others food sources, stranded on Turtle Island who survive those early winters and ultimately engage in a brutal campaign of colonialism and genocidal activity. It is important that we think clearly and honestly about how the beatified pilgrims saw the natives. Five time Plymouth County Governor William Bradford said the natives were “savage people, who are cruel, barbarous, and most treacherous.” Clearly not the people you would like to feast with, yet our national narrative surrounding this holiday celebrates the first Thanksgiving as a moment of harmonious bridge building. This is clearly not the case. Especially when we learn about the Pequot Massacre of 1637. This is just one in a multitude of genocidal tactics employed against the indigenous peoples of this land since white Europeans arrived in 1492. Of this event, Governor Bradford said, Those that escaped the fire were slain with the sword; some hewed to pieces, others run through with their rapiers, so that they were quickly dispatched and very few escaped. It was conceived they thus destroyed about 400 at this time. It was a fearful sight to see them thus frying in the fire…horrible was the stink and scent thereof, but the victory seemed a sweet sacrifice, and they gave the prayers thereof to God, who had wrought so wonderfully for them. The occupiers celebrated the genocide — and thanked God for the victory. Immediately following the Pequot Massacre of 1637, the occupiers worked diligently to whitewash history. The name of the tribe was erased from the map. The Pequot River became the Thames, and the geographic space the Pequot inhabited became known as New London. It is as if they never existed. The whitewashing and erasure of indigenous histories is not unique to this holiday, but it is, perhaps, one of the most ironic instances of indigenous mass murder in service of white European colonial expansion. The idea that we celebrate the notion that indigenous peoples and the white European occupiers who literally sought their extinction were able to put their differences to the side long enough to sit down and feast upon food, in relative peace and harmony, is deeply problematic. Even more so is the idea that it was the white European occupiers who had to teach and demonstrate “civility” to these “barbarous savages.” With the Pequot massacre in mind, it is clear which group in the Thanksgiving picture were the real “barbarous savages” and who were the ones practicing civility.
The language and the rhetoric surrounding the holiday erase the true history of settler-colonialism. The Pequot Massacre is just one mere instance in the long history of evil acts that began with the white European occupation of Turtle Island. This is also not the first time we have seen the descendants of the occupiers attempt to create a new civic identity by whitewashing history and silencing indigenous voices while erasing indigenous bodies. We see this unfolding in Oklahoma (Okla-humma, Choctaw for “Red People”), where non-native occupiers see no shame in calling themselves “Sooners” (those who stole land prior to the Oklahoma Land Runs — a territory that was, by treaty, set aside specifically and solely for tribal communities “so long as the rivers run and the sun shines…”).
However, indigenous peoples and our co-conspirators cannot stand idly by as those who continue to employ colonial and, ultimately, genocidal tactics against our communities, rewrite, and revise history to justify both their actions and the actions of their ancestors. We must thoughtfully and intentionally intervene because while “Boomer Sooner,” “R*dsk*ns,” and “Thanksgiving” may seem inconsequential to some, the historical context that gave rise to these terms and celebrations contribute to real life consequences that still impact native people in this country.
Native women are the group most likely to be sexually assaulted in their lifetimes, with low estimates suggesting 1-in-3 in her lifetime. Upwards of 80% or more of these cases are perpetrated by non-native males. There are 2,000 reports of missing and murdered Indigenous Women from Turtle Island, and suicide in native communities far surpasses the national average for every age group. Natives have the shortest lifespan of any group living in the United States, and this rate is even lower for those living on reservations. Historical or intergenerational trauma is literally embedded in native DNA, and many of our parents and grandparents were stolen from their families and forced into boarding schools that had the expressed mission to “civilize the savage” and “kill the Indian but save the man.”
Physical torture, sexual assault, murder, public shaming, and stealing the culture of native children accomplished this. Psychological studies have demonstrated that native mascots negatively affect the psyche and wellbeing of native youth and many of these children have a difficult time making it through K-12, never mind college. Further, native people are virtually helpless when a non-native perpetrates a crime on native land. The victims have no jurisdiction over non-natives and the only way they could ever achieve justice is if the already overloaded federal government decides the case is worth pursuing. The silencing of native voices not only happened historically, but also continues today.
Whitewashing history, revising history, and developing rhetoric that celebrates the creation of a new civic identity for European occupiers—these all contribute to the oppression of indigenous peoples and tribal communities. The stories like those told about the Indians and Pilgrims at Thanksgiving ingrain a false sense of truth into the mind of the general public. These stories tell the populace that “everything is okay,” and, in fact, the “Indians owe a lot to the Pilgrims.” A closer examination and orientation with actual history, however, will negate these ideas and will enable the public to see how and, more importantly, why these stories – Columbus, Thanksgiving, Boomer Sooner – are told the way they are. These stories are extensions of colonialism and are in fact genocidal tactics. By erasing and replacing the true stories with those of “Thanksgiving,” the occupier continues to remain complicit in genocide.
So enjoy that turkey…but remember that you are doing so in a land that was stolen. Honor the dead by remembering their stories and their sacrifice.
Ashley Nicole McCray is a member of the Absentee Shawnee Tribe (Li-Si-Wi-Nwi) and the Oglala Lakota Nation (Oceti Sakowin). She is a Ph.D student/Graduate Assistant in the History of Science, Technology, & Medicine at the University of Oklahoma. She is a 2015 White House WHO Champion of Change: Young Women Empowering their Communities, a 2015 Norman Human Rights Commission’s Human Rights Award Recipient, and a CoreAlign Speaking Race to Power Fellow. Lawrence Ware is an Oklahoma State University Division of Institutional Diversity Fellow. He teaches in OSU’s philosophy department and is the Diversity Coordinator for its Ethics Center. A frequent contributor to the publication The Democratic Left and contributing editor of the progressive publication RS: The Religious Left, he has also been a commentator on race and politics for the Huffington Post Live, NPR’s Talk of the Nation, and PRI’s Flashpoint. He can be reached at email@example.com
IRON BUTTERFLY – IN A GADDA DA VIDA-ORIGINAL FULL VERSION -1968 VIDEO CONVERTED IN 3D (Red & Blue – 480P) The video track was recorded on May 27,1968, at Ultrasonic Studios in Hempstead, Long Island, New York. CD SOUND – HIGH QUALITY (856 X 480) – BEST VIDEO AND SOUND BY IRON BUTTERFLY ON YOUTUBE – 17:02 Minutes
In-A-Gadda-Da-Vida, honey, don’t you know that I love you? In-A-Gadda-Da-Vida, baby, don’t you know that I’ll always be true?
Gran presentación de la Orquesta Filarmónica de Viena dirigida por Valery Gergiev, interpretando la famosa obra “Scheherazade” del compositor ruso Nikolai Rimsky-Korsavov, en el Festival de Salzburgo 2005.
Great presentation of Vienna Phiharmonic conducted by russian Maestro Valery Gergiev, playing the russian work “Scheherazade” of Nikolai Rimsky-Korsakov, at Salzburg Festival 2005.
Greatpresentation of theVienna Philharmonic Orchestraconducted by ValeryGergiev, performing thefamous play“Scheherazade” by Russian composerNikolaiRimsky–Korsavovin the2005Salzburg Festival.
Great presentationof ViennaPhiharmonicrussianConducted byMaestroValeryGergiev,playing theRussianwork “Scheherazade” ofNikolaiRimsky–Korsakov, 2005atSalzburgFestival.
(C) ZDF and all their respective owners. No personal work here.
A vintage performance of The London Symphony Orchestra conducted by Leopold Stokowski presents Debussy’s “Prelude to the Afternoon of a Faun” – featuring the paintings and visual arts of William A. Bouguereau, Gustave Courbet, Otto Theodor Gustav, Jules Joseph Lefebvre, and Spadecaller.This Debussy prelude was inspired by the famous poem, “Afternoon of a Faun,” written by Stephane Mallarme.
Álbum: Händel: Water Music & Music The Royal Fireworks Interprete del álbum: Neville Marriner: Academy Of St. Martin In The Fields Compositor: Georg Friderick Händel Año: 1993 Genero: Barroca ******************************************************************
The Water Music is scored for a relatively large orchestra, making it suitable for outdoor performance. Some of the music is also preserved in arrangement for a smaller orchestra; this version is not suitable for outdoor performance, as the sound of stringed instruments does not carry well in the open air.[a]
There is evidence for the different arrangement found in Chrysander’s Gesellschaft edition of Handel’s works (in volume 47, published in 1886), where the movements from the “suites” in D and G were mingled and published as one work with HWV 348. This sequence derives from Samuel Arnold’s first edition of the complete score in 1788 and the manuscript copies dating from Handel’s lifetime. Chrysander’s edition also contains an earlier version of the first two movements of HWV 349 in the key of F major composed in 1715 (originally scored for two natural horns, two oboes, bassoon, strings and continuo), where in addition to the horn fanfares and orchestral responses, the original version contained an elaborate concerto-like first violin part.
The music in each of the suites has no set order today.
The first performance of the Water Music suites is recorded in the Daily Courant, a London newspaper. At about 8 p.m. on Wednesday, 17 July 1717, King George I and several aristocrats boarded a royal barge at Whitehall Palace for an excursion up the Thames toward Chelsea. The rising tide propelled the barge upstream without rowing. Another barge provided by the City of London contained about fifty musicians who performed Handel’s music. Many other Londoners also took to the river to hear the concert. According to the Courant, “the whole River in a manner was covered” with boats and barges. On arriving at Chelsea, the king left his barge, then returned to it at about 11 p.m. for the return trip. The king was so pleased with the Water Music that he ordered it to be repeated at least three times, both on the trip upstream to Chelsea and on the return, until he landed again at Whitehall.
It was rumoured that the reason for the spectacular performance of the Water Music was purposed to help King George steal some of the London spotlight back from the prince, who at the time was worried that his time to rule would be shortened due to his father’s long life and was throwing lavish parties and dinners to compensate for it. In a long term, the Water Music’s first performance on the water was the King’s way of reminding London that he was still there and showing he could carry out gestures of even more grandeur than his son.
Legend has it that Handel composed Water Music to regain the favour of King George I. Handel had been employed by the future king before George succeeded to the British throne while he was still Elector of Hanover. The composer supposedly fell out of favour for moving to London in the reign of Queen Anne. This story was first related by Handel’s early biographer John Mainwaring; although it may have some foundation in fact, the tale as told by Mainwaring has been doubted by some Handel scholars.[b]
Another legend has it that the Elector of Hanover approved of Handel’s permanent move to London, knowing the separation between them would be temporary. Both were allegedly aware the Elector of Hanover would eventually succeed to the British throne after Queen Anne’s death.
Popular culture and the media
Many portions of Water Music have become familiar. Between 1959 and 1988, a Water Music movement was used for the ident of Anglia Television. The D major movement in 3/2 metre subtitled “Alla Hornpipe” is particularly notable and has been used frequently for television and radio commercials, including commercials for the privatisation of the UK water companies in the late 1980s. The “Air” and “Bourrée” from the F major suite have also become popular with audiences, with the latter being the theme music to the popular PBS cooking show The Frugal Gourmet.
From 1977 to 1996, Walt Disney World featured movements from both instalments of Water Music as the background music for the Electrical Water Pageant, a parade of sea creatures lit up with electric lights off the coast of the Magic Kingdom.
16 Waltzes Op. 39
1. em Si Maior0:55 2. em Mi Maior 1:29 3. em Sol Sostenido Maior 0:58 4. em mi Menor 1:16 5. em Mi Maior 1:21 6. em Do Sostenido Maior 1:02 7. em Do Sostenido Menor2:12 8. em Si Bemol Maior 1:35 9. em Re Menor 1:24 10. em Sol Maior 0:35 11. em Si Menor 1:46 12. em Mi Maior 1:35 13. em Si Maior 0:42 14. em Sol Sostenido Menor 1:21 15. em La Bemol Maior1:35 16. em Do Sostenido Menor 1:21
Vienna Philharmonic Orchestra Leonard Bernstein, conductor ***********************************************
Symphony No. 4 (Schumann)
From Wikipedia, the free encyclopedia
The Symphony No. 4 in D minor, Op. 120, composed by Robert Schumann, was first completed in 1841. Schumann heavily revised the symphony in 1851, and it was this version that reached publication.
Clara Schumann, Robert’s widow, later claimed on the first page of the score to the symphony—as published in 1882 as part of her husband’s complete works (Robert Schumanns Werke, Herausgegeben von Clara Schumann, published by Breitkopf & Härtel)—that the symphony had merely been sketched in 1841 but was only fully orchestrated (“vollständig instrumentiert”) in 1851. However, this was untrue, and Johannes Brahms, who greatly preferred the earlier version of the symphony, published that version in 1891 despite Clara’s strenuous objections.
The 1851 (published) version of the work is in four movements which follow each other without pause:
Ziemlich langsam – Lebhaft (D minor-D major)
Romanze: Ziemlich langsam (A minor-A major)
Scherzo: Lebhaft (D minor)
Langsam; Lebhaft (D major)
The 1841 version, however, used Italian rather than Germantempo indications, with the four movements as follows:
Andante con moto – Allegro di molto (D minor-D major)
Romanza: Andante (A minor-A major)
Scherzo: Presto (D minor)
Largo – Finale: Allegro vivace (D major)
Schumann’s biographer Peter Ostwald comments that this earlier version is “lighter and more transparent in texture” than the revision, but that Clara “always insisted that the later, heavier, and more stately version [of 1851] was the better one. (Both versions are included on the recent recording of Schumann’s complete symphonies by John Eliot Gardiner cited below.)
Arguably, the greatest cellest of the last century, Mstislav Rostropovich plays Franz Joseph Haydn’s Cello Concerto # 2 in D major with the Academy of St. Martin in The Fields. The lead violinist is the wonderfully talented, lamented IONA BROWN. A treasured violinist in her own right, she left us much to early. *********************************************************************
In the first movement of the D Major Concerto, the tone is leisurely and soothing. However, the piece soon enters the development phase, where another theme, building upon the opening theme, is discovered. Finally, the recapitulation returns to the main theme.
In the second movement, the key shifts to the dominant, A major. The tempo marking is “Adagio“, slower than many of Haydn’s slow movements which are marked “Andante“. In the middle of the second movement there is an episode in the rather distant key C major.
The final movement is the shortest movement of the concerto. It is in rondo form, featuring an episode in the dominant key of A major and a more somber digression in D minor. The work ends with a rather cheerful affirmation, less overtly virtuosic than its sister C Major Cello Concerto.
The structure of the sonata is unconventional in that the piece opens with a relatively slow movement in the format of theme and variations. In contrast, the remaining movements of the sonata proceed according to classical principles in fast-slow-fast alternation. The third movement incorporates a funeral march, clearly anticipating the watershed of the Eroica Symphony that Beethoven wrote in 1803–1804. This is the only movement from his sonatas that Beethoven arranged for orchestra, and was played during Beethoven’s own funeral procession in 1827.
This sonata is also unusual in that none of its four movements is in sonata-allegro form.
In most of Beethoven’s four-movement sonatas, the third movement is in 3/4 and in ternary form, while the second movement is slow and in a different key from the other movements. In this sonata, the second and third movements have switched roles, where the second movement is the ternary scherzo and trio, while the third movement is the slow movement in the tonic minor.
The main theme of Schubert‘s Impromptu in A-flat major, Op. 142 No. 2 is strikingly similar to the theme in the first movement of Beethoven’s sonata. The four-bar phrases that open these pieces are almost identical in most musical aspects: key, harmony, voicing, register, and basic as well as harmonic rhythm. Another less immediate connection exists with the main theme, also in A-flat major, of the Adagio movement in Schubert’s piano sonata in C minor, D. 958. Indeed, Schubert may have borrowed these themes from Beethoven, as he often did in his compositions.
This sonata was greatly admired by Chopin, who repeated its basic sequence of scherzo, funeral march with trio, and perpetuum mobile finale in his own Piano Sonata in B-flat minor. His first movement, however, is also animated and in sonata form, unlike Beethoven’s Andante con variazioni.
Petty, Wayne C. (Spring 1999). “Chopin and the Ghost of Beethoven”. 19th-Century Music 22 (3): 281–299. JSTOR746802.
Rosen, Charles, Beethoven’s Piano Sonatas – A Short Companion, 2002, Yale University Press, pp. 150–152.
Adolph Bernhard Marx,”Introduction to the Interpretation of Beethoven Piano Works”, pp. 110–113. IMSLP Books.
Eldest son of a shoemaker, John was born at Diest, Brabant. He early wanted to be a priest, and when thirteen became a servant in the household of one of the Cathedral canons at Malines, John … continue reading
Thousands of visitors flock to Plymouth, Massachusetts, on Thanksgiving Day to watch the annual procession from Plymouth Rock to the First Parish Church. Each marcher represents one of the men, women, and children who survived the 1620 trip from England aboard the Mayflower to form the settlement known as Plimoth Plantation. The modern-day Plimoth Plantation is a living-history village that recreates Pilgrim life in 1627. Each November, Plimoth offers a variety of programs as well as period dining that features original Thanksgiving Day foods. More…Discuss
Schulzwasthecreator of theenormouslypopularsyndicatedcomicstripPeanuts, whichrancontinuouslyfrom1950until2000,whenSchulzannounceditsendshortlybeforehisdeath.Thestrip’sprincipalcharactersareCharlieBrown, a gentle,puzzledboy,usuallyfailing,yetalwayspersevering;Lucy,hisbossy,know-it-allfriend;Linus, a philosophicaltykewith a securityblanket;andSnoopy, a romantic,self-deludedbeagle.BeforePeanuts, Schulzworkedforwhatmagazine?More…Discuss
Thefirststreetcars,whichweredrawn by horses,wereintroduced in NewYorkCity.Thefirstelectricstreetcarsystemforurbanpassengerservice in the US wasintroducedabout 50 yearslater in Cleveland.Theuse of streetcarsexpanded in the US untilWorldWar I. Sincethen,mosthavebeenreplaced by buses,althoughmanystillremain in use,andnewstreetcarsystemshavebeenintroduced in somecities.What is thedifferencebetween a streetcarand a trolley?More…Discuss
Thecraft of bookbindingbegansimply,withtheuse of boards to protectparchmentmanuscripts. By the2ndcentury,sheets of parchmentwerebeingfoldedandsewntogether.DuringtheMiddleAges,thepractice of makingfinebindingsforthesesewnvolumesrose to greatheights;bookswererareandpreciousarticles,andmanyweretreatedwithexquisitegildedandjeweledbindings.What is theuncommonpractice of bindingbooks in humanskin, a techniquedatingback to the17thcentury,called?More…Discuss
Latest update : 2015-11-25European countries are stretched to their limits in the refugee crisis and cannot take in any more new arrivals, French Prime Minister Manuel Valls was quoted as saying in a German newspaper on Wednesday. Europe is grappling with its worst refugee crisis since World War Two. Germany so far has taken in the bulk of some 1 million people expected to arrive this year.“We cannot accommodate any more refugees in Europe, that’s not possible,” Valls told the Sueddeutsche Zeitung, adding that tighter control of Europe’s external borders would determine the fate of the European Union. “If we don’t do that, the people will say: Enough of Europe,” Valls warned.The comments were published only hours before German Chancellor Angela Merkel was scheduled to meet French President Francois Hollande in Paris. Merkel was initially celebrated at home and abroad for her welcoming approach to the refugees, many of whom are fleeing conflict in the Middle East. But as the flow has continued the chancellor has come under increasing criticism.Some conservatives say Merkel’s decision to open up Germany’s borders to Syrian refugees in September has spurred more migrants to come.The refugee debate has become more politically charged after the deadly attacks in Paris that stoked fears Islamic State militants could exploit the migrant crisis to send extremists to Europe. Valls avoided criticising Merkel directly for having suspended European asylum rules to allow in Syrian refugees stranded in Hungary. “Germany has made an honourable choice there,” he said.But he signalled that Paris was taken by surprise by Merkel’s decision: “It was not France that said: Come!” French Economy Minister Emmanuel Macron and his German counterpart, Sigmar Gabriel, have proposed setting up a 10 billion euro fund to pay for tighter security, external border controls and caring for refugees.The United Nations on Tuesday condemned new restrictions on refugees that have left around 1,000 migrants stuck at the main border crossing into Macedonia from Greece.(REUTERS)Date created : 2015-11-25
Russia on Wednesday accused Turkey of a “planned provocation” in downing one of its planes on the Syrian border, killing one pilot, amid fears the incident could escalate into a wider geopolitical conflict. As the diplomatic fallout from Tuesday’s incident continued, Moscow said Russian and Syrian special forces had rescued one of the pilots who ejected from the burning Russian plane but confirmed the second airman was dead. The jet downing has threatened ties between two major rival players in the Syrian war. Russian Foreign Minister Sergei Lavrov ratcheted up the pressure after talking to Turkish counterpart Mevlut Cavusoglu by phone in the first contact between the two sides since the plane went down. “We have serious doubts about this being an unpremeditated act, it really looks like a planned provocation,” Lavrov said at a press conference in Moscow. But the Russian response was also carefully calibrated. There was no sign Russia wanted a military escalation, or to jeopardise its main objective in the region: to rally international support for its view on how the conflict in Syria should be resolved. “We do not plan to go to war with Turkey, our attitude towards the Turkish people has not changed,” Lavrov said, but warned that Moscow would “seriously reevaluate” relations with Ankara. Turkey has sought to turn down the heat, with President Recep Tayyip Erdogan insisting Ankara was simply defending its border. “We have no intention to escalate this incident. We are just defending our security and the rights of our brothers,” Erdogan said in a speech in Istanbul.Prime Minister Ahmet Davutoglu called Russia “our friend and our neighbour” and said Ankara did not want to strain ties with Moscow. Second airman rescued The Russian Su-24 jet downed on Tuesday was hit by missile fire from Turkish aircraft as it flew a mission over Syria near the Turkish border, where the Russian air force has been bombing rebel targets.Turkey said the plane had encroached on Turkish air space and was warned repeatedly to change course, but Russian officials said the plane was at no time over Turkey. The crew ejected, and one pilot was shot dead by rebels as he parachuted to the ground. A Russian marine sent to recover the crew was also killed in an attack by rebels, Moscow said.Russian Defence Minister Sergei Shoigu said Wednesday that the second member of the plane’s crew had been rescued by Russian special forces alongside Syrian troops and that the serviceman was now safe at a Russian air base in Syria.”The operation ended successfully. The second pilot has been brought to our base. He is alive and well,” he said.In an apparent response to Turkey’s action, Russian President Vladimir Putin on Wednesday also ordered the dispatch of an advanced weapons system to Russia’s Khmeimim air base in Syria’s Latakia province. “I hope that this, along with other measures that we are taking, will be enough to ensure (the safety) of our flights,” Putin told reporters on a trip to the Ural mountains city of Nizhny Tagil. The dispatch of the weapons, which officials later said would be the S-400 missile system, is likely to be viewed as a stark warning to Turkey not to try to shoot down any more Russian planes. Threat to Syria peace efforts. The shooting risks derailing efforts to bring peace to Syria that were gaining tentative momentum following the November 13 Paris attacks claimed by the Islamic State (IS) group, which controls swathes of northern Syria. Ankara and Moscow are already on starkly opposing sides in the four-year Syrian civil war, with Turkey wanting to see the ouster of President Bashar al-Assad while Russia is one of his last remaining allies.Assad’s other key ally Iran also slammed Ankara. Turkey’s behaviour “sends the wrong message to the terrorists” in Syria, its Foreign Minister Mohammad Javad Zarif told Lavrov.There has been fears of such a mid-air incident since Russia launched air strikes in Syria in September, to the consternation of nations already involved in a US-led anti-IS group coalition. Turkey had protested that Russia’s campaign was aimed at hitting Syrian rebels and buttressing the Assad regime rather than hurting IS group jihadists.(FRANCE 24 with AFP, REUTERS)Date created : 2015-11-25
În această dimineaţă am fost întâmpinaţi de fulgi mari de zăpadă care nu se mai opresc. Zăpada începe să se aşterne pe acoperiş, maşini şi în parcuri.Ştiri pe aceeaşi temă Mesaj emoţionant al fiului pilotului Mircea Crăciun prăbuşit cu planor… Braşovul, în coaliţie a oraşelor împotriva radicalizării şi a extremis… Teatrul Sică Alexandrescu a câştigat majoritatea premiilor de la Festi…Totul începe să capete înfăţişarea pe care ne-o dorim pentru sărbătorile de iarnă. În Poiana Braşov, ninge mult mai serios. Din păcate, ieri nu a putut fi ridicată cu un elicopter epava planorului prăbuşit, iar vremea de astăzi face această misiune aproape imposibilă.La ora şase, trei utilaje de deszăpezire de la Primăria Braşov au intervenit pe drumul spre Poiana Braşov, „În partea de sus, unde a început să se adune zăpada pe carosabiol, au intervenit şi cu lama, iar pe întreg traseul s-a împrăştiat material antiderapant”, a declarat purtătorul de cuvânt al Primăriei Braşov, Sorin Toarcea. Braşov – Ninge în oraşul de poveste 00 (0 voturi)Vizionez mai târziuImagini din aceeasi galerieDistribuie imaginea 0 share Tweet 0 inShare Liveciteste totul despre: brasov zapada ninsoare
Unii absolvenţi de Drept care participă la concursul de admitere la Institutul Naţional al Magistraturii „se exprimă cu dificultate accentuată, comit numeroase erori gramaticale şi de comunicare, sunt inabili de a purta un dialog, nu au proprietatea termenilor sau sunt în imposibilitate de a formula definiţia unora”. Aceasta este concluzia unui raport al Consiliului Superior al Magistraturii (CSM).Ştiri pe aceeaşi temă VIDEO Descinderi în nordul Republicii Moldova. O grupare paramilitară … Moment de excepţie pentru handbalul românesc: CSM şi HCM sunt în Runda… Imunitatea lui Dan Şova, primul examen pentru Liviu Dragnea. Ce şanse …“În şedinţa Plenul CSM de marţi, 24 noiembrie 2015, am validat concursul de admitere la Institutului Naţional al Magistraturii (INM) desfăşurat în această vară. Cea mai discutată – dar nu şi discutabilă, zic eu – probă a fost cea a interviului. Membrii comisiilor în faţa cărora s-a susţinut această probă au formulat în scris un punct de vedere pe care, cu acordul lor, am ales să îl dau publicităţii”, a scris judecătorul Cristi Danileţ pe blogul său, într-o postare intitulată “Deficienţe în pregătirea candidaţilor pentru magistratură”.Judecătorul arată că susţinerile constituie o atenţionare foarte serioasă asupra stadiului educaţiei unor tineri şi a calităţii învăţământului românesc – „desigur, ne referim la tinerii candidaţi la concursul de admitere la INM sau la admiterea directă în magistratură, care este probabil cel mai greu şi mai serios concurs desfăşurat în România pentru o instituţie public”.Cristi Danileţ a precizat că în cadrul probei interviului se examinează trei aspecte: motivaţia, aptitudini specifice profesiei de magistrat (comunicarea, gândirea autonomă, cooperarea, înţelegerea realităţii sociale, folosirea corectă a limbii române), elemente de etică specifică persoanei (identificarea dilemei etice, identificarea opţiunilor, analiza valorii acestora alegerea justificată a variantei optime a acţiunii umane, implicarea subiectului în argumentarea alternativelor).Concluziile ComisieiComisia prin faţa căreia anul acesta s-au perindat sute de candidaţi a ajuns la anumite concluzii cu privire la candidaţi şi cu privire la măsuri necesare pentru îmbunătăţirea concursurilor următoare. Iată câteva constatări: din cei 3.297 de candidaţi la INM, 285 candidaţi au reuşit la probele anterioare, iar dintre aceştia 217 au trecut de proba interviului, astfel că în final au fost selectaţi primii 140 în ordinea mediilor; dintre cei respinşi 29 se situau pe primele 150 locuri, iar 39 în ultimele 135 locuri după parcurgerea primelor două probe; unii candidaţi au un nivel redus de instruire educaţională, de cultură generală, lipsă de orizont şi de repere culturale, profesionale, morale; unii se exprimă cu dificultate accentuată, comit erori gramaticale şi de comunicare, sunt inabili în a purta un dialog, nu au proprietatea termenilor folosiţi; unii au demonstrat o incapacitate de a înţelege problemele şi realităţile sociale; unii învaţă grile sau învaţă mecanic coduri; unii au anumite activităţi, dar nu dobândesc experienţa cuvenită în exercitarea acestora; unora le lipseşte gândirea logică, alţii simulează abilităţi, deprinderi sau calităţi inexistente.Potrivit raportului CSM, un semnal autentic de alarmă este acela că mulţi candidaţi se exprimă cu dificultate accentuată, comit numeroase erori gramaticale şi de comunicare, sunt inabili de a purta un dialog, nu au proprietatea termenilor sau sunt în imposibilitate de a formula definiţia unora.”Persoanele care se sacrifică pentru idealuri, principii sunt fanatice”Cu titlu exemplificativ, redăm câteva fragmente din răspunsurile formulate de candidaţi, exemple care relevă necunoaşterea semnificaţiei unor termeni:”Ignoranţa presupune, în viziunea mea, a nu acorda atenţie fiecărui element care construieşte drumul către realizarea ”justiţiei”. La insistenţele comisiei de a da un sinonim pentru ignoranţă, a afirmat că ”înseamnă a nu avea disponibilitatea de a te perfecţiona.””Libertatea este o valoare fundamentală a unui stat de drept, un atribut al tuturor oamenilor, care dacă îşi cultivă stăpânirea de sine pe un drum ce nu tot timpul este uşor o vor găsi în forma ei cea mai autentică.” Întrebare: O calitate? Răspuns: ” Perseveritatea.””Persoanele care se sacrifică pentru idealuri, principii sunt fanatice.”„Cunoaşterea de sine presupune cunoaşterea limitelor şi atunci eşti un om moral”.”Un prieten adevărat nu mi-ar putea cere aşa ceva, el cunoaşte etica mea faţă de justiţie.””Totodată, după trecerea în nefiinţă, din viaţa unui om rămân realizările sale, iar pentru el însuşi amintirile şi experienţele trăite pe parcursul vieţii.””Procurorii au prea mult liber-arbitru, iar eu nu o să tolerez aşa ceva ca judecător”.”Sunt foarte corectă, dar cu excepţii.””Prin verbul a discredita înţeleg a înjura.”
At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.
The work was premiered with Beethoven himself conducting in Vienna on 8 December 1813 at a charity concert for soldiers wounded in the Battle of Hanau. In Beethoven’s address to the participants, the motives are openly named: “We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.”
The piece was very well received, and the second movement, the Allegretto, had to be encored immediately. Spohr made particular mention of Beethoven’s antics on the rostrum (“as a sforzando occurred, he tore his arms with a great vehemence asunder … at the entrance of a forte he jumped in the air”), and the concert was repeated due to its immense success.
Performance time lasts approximately 40 minutes. The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. It is also tonally subtle, making use of the tensions between the key centres of A, C and F. For instance, the first movement is in A major but has repeated episodes in C major and F major. In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major.
The first movement starts with a long, expanded introduction marked Poco sostenuto (metronome mark: quarter=69) that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace (dotted quarter=104) is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a grinding four octave deep Pedal point of an E. The critic and composer Carl Maria von Weber took particular exception to this (see below).
The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of a quarter note, two eighth notes and two quarter notes is heard repeatedly. This movement is structured in a double variation form. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important melody, a melody described by George Grove as “a string of beauties hand-in-hand”. Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.
The last movement is in sonata form, the coda of which contains an example, rare in Beethoven’s music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo). In his book Beethoven and his Nine Symphonies (1896), Sir George Grove wrote, “The force that reigns throughout this movement is literally prodigious, and reminds one of Carlyle’s hero Ram Dass, who has ‘fire enough in his belly to burn up the entire world.’ ” Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement’s “Bacchic fury” and many other writers have commented on its whirling dance-energy: the main theme vaguely resembles Beethoven’s arrangement of the Irish folk-song “Save me from the grave and wise”, No. 8 of his Twelve Irish Folk Songs, WoO 154.
Critics and listeners have often felt stirred or inspired by the Seventh Symphony. For instance, one program-note author writes:
… the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written.
The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as “one of my best works”. Who are we to dispute his judgment?
On the other hand, admiration for the work has not been universal. Friedrich Wieck, who was present during rehearsals, said that the consensus, among musicians and laymen alike, was that Beethoven must have composed the symphony in a drunken state; and the conductor Thomas Beecham commented on the fourth movement: “What can you do with it? It’s like a lot of yaks jumping about.”
The oft-repeated claim that Carl Maria von Weber considered the chromatic bass line in the coda of the first movement evidence that Beethoven was “ripe for the madhouse”, seems to have been the invention of Beethoven’s first biographer, Anton Schindler. His possessive adulation of Beethoven is well-known, and he was criticised by his contemporaries for his obsessive attacks on Weber. According to John Hamilton Warrack, Weber’s biographer, Schindler was characteristically evasive when defending Beethoven, and there is “no shred of concrete evidence” that Weber ever made the remark.
St. Catherine of Alexandria, Virgin and Martyr whose feast day is November 25th. She is the patroness of philosophers and preachers. St. Catherine is believed to have been born in Alexandria of a … continue reading
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