Daily Archives: February 6, 2014

TODAY’S HOLIDAY: GRENADA INDEPENDENCE DAY


Grenada Independence Day

This is a national holiday commemorating Grenada‘s independence from Britain on this day in 1974. Britain had held the island since the 18th century, when France ceded it under the Treaty of ParisMore… Discuss

 

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QUOTATION: Abraham Lincoln


America will never be destroyed from the outside. If we falter and lose our freedoms, it will be because we destroyed ourselves.

Abraham Lincoln (1809-1865) Discuss

 

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TODAY’S BIRTHDAY: SINCLAIR LEWIS (1885)


Sinclair Lewis (1885)

Probably the greatest satirist of his era, Lewis wrote novels that present a devastating picture of middle-class American life in the 1920s. His first literary successes were Main Street (1920), a merciless portrayal of Midwestern provincialism, and Babbitt (1922), an equally satiric portrait of a conformist businessman. Lewis refused a Pulitzer Prize in 1926, citing his objection to the idealized view of America espoused by the Pulitzer panel. What award did he accept in 1930? More… Discuss

 

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THIS DAY IN THE YESTERYEAR: THE DREADNOUGHT HOAX (1910)


The Dreadnought Hoax (1910)

Nearly four years after the HMS Dreadnought entered service, the revolutionary battleship was “honored” with a visit from Abyssinian royalty. Though the ship’s commanders only received last-minute notice of the Abyssinian delegation’s impending arrival, they managed to arrange for their guests to be greeted with pomp and circumstance and then given a tour of the vessel. The royal visitors were later revealed to be mere pranksters in blackface. What now-famous author took part in the hoax? More… Discuss

 

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NEWS: TURN DOWN THE THERMOSTAT TO TRIM THE WAISTLINE (Or exercise, indoors, outdoors, to the same result!)


Turn Down the Thermostat to Trim the Waistline

A number of factors have been blamed for the obesity crisis gripping much of the industrialized world, and now researchers are adding indoor heating to the list. They say that heated buildings eliminate the need for the body to expend energy in order to keep warm, thereby reducing daily caloric burn. Other experts disagree, saying that cooler temperatures increase appetite, counteracting any caloric burn with an increased caloric intake. There is also some indication that cold indoor temperatures increase the risk of a stroke. More… Discuss

 

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Article: PYROPHORICITY


Pyrophoricity

Pyrophoric” comes from the Greek word for “fire-bearing”—purophoros—and describes substances, such as uranium or iron sulfide, that are highly reactive and ignite spontaneously when exposed to air or even, strange as it sounds, to water. Though it may seem like they should be handled only in controlled environments, pyrophoric alloys are used to produce the spark in a very common household item: the automatic lighter. What special equipment is needed to put out a pyrophoric fire? More… Discuss

 

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New U.S. law links whistleblowers defense to U.N. funds


 

New U.S. law links whistleblowers defense to U.N. funds.

Great Compositions/Performances: Jules Massenet – Meditation Thais Opera Itzhak Perlman


Great Compositions/Performances:  Jules Massenet – Meditation Thais Opera Itzhak Perlman – Live at Lincoln Center September 2012

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Great Compositions/Performances: Lawrence of Arabia title theme (live) – The BBC Concert Orchestra (dir. John Wilson)


Lawrence of Arabia title theme (live) – The BBC Concert Orchestra (dir. John Wilson)

Really wonderful to see this theme performed live at the BBC Proms 2007, just as if you were there at the original movie recording…

From Wikipedia, the free encyclopedia:  Lawrence of Arabia is a 1962 British epic adventure drama film based on the life of T. E. Lawrence. It was directed by David Lean and produced by Sam Spiegel through his British company, Horizon Pictures, with the screenplay by Robert Bolt and Michael Wilson. The film stars Peter O’Toole in the title role. It is widely considered one of the greatest and most influential films in the history of cinema. The dramatic score by Maurice Jarre and the Super Panavision 70 cinematography by Freddie Young are also highly acclaimed.[2] The film was nominated for ten Academy Awards and won seven in total including Best Director, Best Sound Editing, and Best Picture.

The film depicts Lawrence’s experiences in Arabia during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence’s emotional struggles with the personal violence inherent in war, his own identity, and his divided allegiance between his native Britain and its army and his newfound comrades within the Arabian desert tribes.

Lawrence-of-arabia-2.jpg

Theatrical release poster
Directed by David Lean
Produced by Sam Spiegel
Screenplay by Robert Bolt
Michael Wilson
Starring Peter O’Toole
Alec Guinness
Anthony Quinn
Jack Hawkins
Omar Sharif
Music by Maurice Jarre
Cinematography F.A. Young
Editing by Anne V. Coates
Studio Horizon Pictures
Distributed by Columbia Pictures
Release dates
  • 10 December 1962
Running time 222 minutes (Original release)
228 minutes[1] (1989 restoration)
Country United Kingdom
Language English
Arabic
Turkish
Budget $15 million
Box office $70,000,000
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Great Compositions/Performances: ENESCO: Romanian Rhapsody in A, Op. 11, No. 1 – London Symphony Orchestra



Scenes of Romania set to the music of George Enesco, conducted by Antal Dorati.

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Great Compositions/Performances: Leonid Kogan – Mozart – Adagio in E major, K 261


Leonid Kogan – Mozart – Adagio in E major, K 261

Wolfgang Amadeus Mozart:
Adagio in E major for violin and orchestra, K 261
Leonid Kogan, violin
Moscow Philharmonic Orchestra
Pavel Kogan, conductor
(Live recording, May 1981)

Buy “Adagio for Violin and Orchestra in E Major K 261” on

Google PlayiTunesAmazonMP3

  • Artist
    Leonid Kogan, Moscow Philharmonic Orchestra, Pavel Kogan

 

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Brilliant Compositions: Ravel’s Empress of the Pagodas – Christopher Parkening



This is Ravel‘s “Empress of the Pagodas” played by Christopher Parkening from the great CD: “The Artistry of Christopher Parkening”. Many thanks to ‘Music Publishing Rights Collecting Society‘ for graciously allowing this amazing recording to be shared world wide!

From wikipedia:

 

Soirée donnée par Éva Gauthier pour l'annivers...

 

“Ravel originally wrote Ma mère l’oye as a piano duet for the Godebski children, Mimi and Jean, ages 6 and 7. Ravel dedicated this work for four hands to the children (just as he had dedicated an earlier work, Sonatine to their parents). Jeanne Leleu and Geneviève Durony premiered the work.”

“The Green Serpent (a green dragon, known as

 

Dragon Green

 

Serpentin Vert in French), is a French fairy tale written by Marie Catherine d’Aulnoy, popular in its day and representative of European folklore, that was published in her book New Tales, or Fairies in Fashion (Contes Nouveaux ou Les Fées à la Mode), in 1698. The serpent is representative of a European dragon. His description is: “he has green wings, a many-coloured body, ivory jaws, fiery eyes, and long, bristling hair.”

The Green Dragon is really a handsome king placed under a spell for seven years by Magotine a wicked fairy. In many ways the tale is based on the story of Eros and Psyche, to which the narration pays conscious homage when referring to the “discovery” of the Green Dragon.”

 

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John Stricklin Sports Galleries…..(did you ever texted underwater?)


Texting UnderwaterJohn Stricklin Sports Galleries.

Great compositions/Interpretations:Debussy – Six Epigraphes Antiques – Piano Duet: Valeria Szervánszky & Ronald Cavaye


[youtube.com/watch?v=vwwU_3T8S60]

Great compositions/Interpretations:Debussy – Six Epigraphes Antiques – Piano Duet: Valeria Szervánszky & Ronald Cavaye
Painting by Jenö Szervánszky

Antique Epigraphs is a ballet made on New York City Ballet by balletmaster Jerome Robbins to an orchestrated version of Debussy’s Six épigraphes antiques, L131, for piano, four hands, from 1914:…..

  • “Pour invoquer Pan, dieu du vent d’été”
  • “Pour un tombeau sans nom”
  • “Pour que la nuit soit propice”
  • “Pour la danseuse aux crotales”
  • “Pour l’égyptienne”
  • “Pour remercier la pluie au matin”

…..and his Syrinx, L129, a melody for unaccompanied flute from 1913. Six épigraphes antiques were originally written to accompany Pierre Louys‘ Chanson de Bilitis, prose poetry which was purported to be a translation of freshly discovered autobiographical verse by Sappho (it was not).[1][2] The premiere took place on February 2, 1984, at the New York State TheaterLincoln Center, with costumes by Florence Klotz and lighting by Jennifer Tipton.

 

 

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Claude Debussy – Six Épigraphes antiques (1914): V. Pour l’Egyptienne


[youtube.com/watch?v=PyEwTkVEH80&list=PL5C9F7FC772D162F7]

Claude Debussy 
(1862 – 1918)
Complete music for piano solo (in chronological order)
Six Épigraphes antiques (1914)
V. Pour l’Egyptienne

Claude Debussy (1862-1918): “La plus que lente” ( part of Henry and June Playlist WOW….What enchanting music one and all!)



The composer Claude Debussy needs little introduction. As a pianist, he was noted for his avoidance of the crisp, dry and articulated style which typified French pianism of the nineteenth century. His style of playing was simple, highly tone-conscious and completely uncluttered by over-expressive angst.

The recording is a piano roll recording made by Debussy for Welte in 1913 (just three years after the work was composed). The piano rolls for Welte are amongst the most accurate we have, conveying the original performed dynamics, attack and pedalling rather faithfully, and when a good roll is played on a properly conditioned piano, the problems of dubious rhythmic bumpiness which infect many roll playbacks can vanish. This rendition seems as fine as we could hope for.

This work, “La plus que lente“, is a very slow waltz of sorts, composed in 1910.

 

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Erik Satie : Je te veux


[youtube.com/watch?v=wbT9DeULzU4&list=PL5C9F7FC772D162F7] 

From Wikipedia, the free encyclopedia  

Je te veux” (French for I want you) is a song composed by Erik Satie to a text by Henry Pacory. A sentimental waltz, it was written for Paulette Darty, whose accompanist Satie had been for a period of time. The text consists of two verses and a repeated chorus.

The song was registered with SACEM on 20 November 1902, but Roland-Manuel argued it had actually been composed in 1897. Satie composed various versions of theJe te veux waltz: for piano and voice, for an orchestra of brass instruments and for full orchestra (including a Trio). The piano and voice version was first published in 1903.[1]

The melody was performed to the public in 1903 at La Scala. In 1925 the song was recorded with Yvonne George as singer. Je te veux was also recorded by Mathé Altéry,Régine CrespinGigliola NegriNicolaï Gedda and Davide Bassino, and later by sopranos Jessye NormanMarie Devellereau and Angela Gheorghiu. Other notable renditions include the ones by Japanese group ALI PROJECT[2] and Japanese chip musician SAITONE.

John Cage instructs the performer to do the piano and voice version as part of his “Sonnekus²”.[1]

 

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Fossil Art (a second, and third look at the unintended art, and the artistic panacea of Planet EARTH and the Earthling)


Fossil Art 

Fossil Art (a second, and third look at the unintended art, and the artistic panacea of Planet EARTH and the Earthling.

‘Henry and June’ – Soundtrack and PLaylist (Lucienne Boyer – Parlez-Moi D’Amour [1930] and other 17 wonderful songs!)


From Wikipedia, the free encyclopedia
 
This article is about the book by Anaïs Nin. For other uses, see Henry and June (disambiguation).
Henry and June: From the Unexpurgated Diary of Anaïs Nin
Henryandjune cover.jpg

Front Cover
Author Anaïs Nin
Language English
Genre MemoirDiary
Publisher Harcourt Brace Jovanovich
Publication date
1986
Media type Print (Hardcover andPaperback)
ISBN 978-0-15-140003-4
OCLC 13333571
Dewey Decimal 818/.5203 B 19
LC Class PS3527.I865 Z4642 1986

Henry and June: From the Unexpurgated Diary of Anaïs Nin (full title Henry and June: From A Journal of Love: the Unexpurgated Diary of Anaïs Nin (1931–1932)) is a 1986 book that is based upon material excerpted from the unpublished diaries of Anaïs Nin. It corresponds temporally to the first volume of Nin’s published diaries, written between October 1931 and October 1932, yet is radically different, in that that book begins with a description of the landscape of and around her home and never mentions her husband, whereas “Henry and June” begins with discussion of Nin’s sex life and is full of her struggles and passionate relationship with husband Hugo, and then, as the novel/memoir progresses, other lovers.

This, the first of currently four volumes of unexpurgated diaries, concentrates on her passionate involvement with the writer Henry Miller and his wife June Miller.

It is noteworthy that Nin’s source material —her diaries —was able to spawn two dramatically different narratives about the same time period, both widely read and praised. The expurgated diary reveals Nin the philosopher and amateur but astute psychologist. The unexpurgated diary reveals a woman breaking out into wild sexual discovery. It is introduced by her second—coterminous—husband.

A film based on the book was released in 1990.

 

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Creativity, by George-B (“My creativity, my word…They don’t live within…”)


Creativity, by George-B

My creativity, my word…They don’t live within…
If I was to find the center of my word
I would look everywhere,
I would look upon my deep breathing pattern…
I took long walks strapped to a photo camera, to a reorder…
creativity came though, after I stumbled upon a rock,
kicked a pebble,
stepped over a fallen branch
took on more step,
with a well broken in PUMA running shoes –
I understood that humility travels with the maker…by walking carefully,
Stumble upon it, and feel with all your being. 

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Marlene Dietrich “Je m’ennuie” 1933


Marlene Dietrich “Je m’ennuie” 1933

Marlene Dietrich (1901-1992) enregistrée le 15 juillet 1933 à Paris.

The French lyrics are quite “benign” but don’t forget that it was the 1930s… If you never heard Dietrich sing, here’s your chance.

De ce que fut mon enfance, 
Je n’ai plus de souvenirs.
C’est peut-être que la chance
Ne m’offrit pas de plaisirs. 
Et chaque jour qui se lève
Ne m’apporte aucun espoir.
Je n’ai même pas de rêve
Quand luit l’etoile du soir.

Moi, je m’ennuie,
C’est dans ma vie
Une manie.
Je n’y peux rien..
Le plaisir passe,
Il me dépasse.
En moi sa trace
Ne laisse rien.
Partout je traîne,
Comme une chaîne,
Ma lourde peine,
Sans autre bien.
C’est dans ma vie
Une manie.
Moi, je m’ennuie…

Par de longs vagabondages,
J’ai voulu griser mon coeur,
Et souvent, sur mon passage,
J’ai vu naître des malheurs.
Sur chaque nouvelle route,
A l’amour j’ai dû mentir ;
Et le soir, lorsque j’écoute
La plainte du vent mourir…

Moi, je m’ennuie…
C’est dans ma vie
Une manie.
Je n’y peux rien..
Le plaisir passe,
Il me dépasse.
En moi sa trace
Ne laisse rien.
Partout je traîne,
Comme une chaîne,
Ma lourde peine,
Sans autre bien.
C’est dans ma vie
Une manie.
Moi, je m’ennuie…

visit: http://lannghiemphu.blogspot.com/2011/07/je-mennuie.html

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Mylène Farmer performing Je M’Ennuie (Live From Stade De France). © 2010 Stuffed Monkey


Mylène Farmer – Je M’Ennuie (Stade De France DVD)

Music video by Mylène Farmer performing Je M’Ennuie (Live From Stade De France). © 2010 Stuffed Monkey

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10 MOST POPULAR TOPICS on the WEB


Infography-Top10_most_popular_topics

Infography-Top10_most_popular_topics (want larger?… CLICK!)

Drought Prompts More Fishing Closures in California | Fish | ReWild | KCET


Drought Prompts More Fishing Closures in California | Fish | ReWild | KCET.

The poem of everything, by George-B


The poem of everything, by George-B

Poems have been written about
air, water, clouds and humus
mountains, deserts, everything that moves, and that’s been dead

loves, loves, love and lovers, and its heartaches
colors and the transparent fragrance of flowers and the air
surrounding the sea
the fantasm of the night and total exposure of days to the skin-
guiding verses to fry eggs in the dry sands, and find seashells.

poems have been written just about everything…

now the poet writes the unifying poem of all things,
the poem of all poems,
the universal poem…
quiet! let the poet write!

Daniel François Esprit Auber – Ouverture Gustave III (1833)


[youtube.com/watch?v=AtJecfTIGKM&list=TLkvXiF1Ed1uiGJJeLkW_X1G66VTJPhhrI]

 

Daniel François Esprit Auber – Ouverture Gustave III (1833)

 

Daniel François Esprit Auber portrait

Daniel François Esprit Auber portrait (Photo credit: Bergen Public Library)

 

Daniel François Esprit Auber (29 January 1782 — 12/13 May 1871) was a French composer.
Ouverture “Gustave III”, ou “Le bal masqué”
Librettist Eugène Scribe (1791-1861)
English Chamber Orchestra conducted by Richard Bonynge
Paris: E. Troupenas, n.d.(1833). Plate 721.
Reprinted:
New York: Garland, 1980

 

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Change.org · The world’s platform for change


Image caption

Change.org · The world’s platform for change.

Make Change.org your platform for change!

 

Petition | A STAND FOR DEMOCRACY IN THE DIGITAL AGE | Change.org


DON’T ASK WHAT YOUR COUNTRY CAN DO FOR YOU…PETITION YOUR COUNTRY FOR THE CHANGE YOU NEED INSTEAD!
CHANGE.ORG FIND THE WIDGET ON THE SIDEBAR @ EUZICASA (IT’S YOURS!)

euzicasa

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Let’s learn from Voni: http://foodbabe.com/subway/ Azodicarbonamide: banned in the rest of the world…striving in our food…Question: WHY?


[youtube.com/watch?v=lHjm8lbgc3I]
Visit:  http://foodbabe.com/subway/
From Wikipedia, the free encyclopedia
Azodicarbonamide
Identifiers
CAS number 123-77-3 Yes
PubChem 31269
ChemSpider 4575589 Yes
UNII 56Z28B9C8O Yes
EC-number 204-650-8
ChEMBL CHEMBL28517 Yes
Jmol-3D images Image 1
Properties
Molecular formula C2H4N4O2
Molar mass 116.08 g mol−1
Appearance Yellow to orange/red crystalline powder
Hazards
MSDS External MSDS
EU classification Harmful (XN)
R-phrases R42 R44
S-phrases S22 S24 S37
NFPA 704
NFPA 704.svg
1
2
2
 
 Yes (verify) (what is: Yes/?)
Except where noted otherwise, data are given for materials in their standard state (at 25 °C (77 °F), 100 kPa)
Infobox references

Azodicarbonamide, or azobisformamide, is a chemical compound with the molecular formula C2H4O2N4.[1] It is a yellow to orange red, odorless, crystalline powder. As a food additive, it is known by the E number E927.

Use as a food additive

Azodicarbonamide is used as a food additive, a flour bleaching agent and improving agent. It reacts with moist flour as an oxidizing agent.[2] The main reaction product is biurea,[3] a derivative of urea, which is stable during baking. Secondary reaction products include semicarbazide[4] and ethyl carbamate.[5] The United States permits the use of azodicarbonamide at levels up to 45 ppm.[6] In Australia[citation needed] the use of azodicarbonamide as a food additive is banned. In Singapore, use is punishable by up to 15 years in prison and a fine of $450,000[citation needed].

Other uses

The principal use of azodicarbonamide is in the production of foamed plastics as an additive. The thermal decomposition of azodicarbonamide results in the evolution of nitrogen, carbon monoxide, carbon dioxide, and ammonia gases, which are trapped in the polymer as bubbles to form a foamed article.

Azodicarbonamide as used in plastics, synthetic leather and other uses can be pure or modified. This is important because modification affects the reaction temperatures. Pure azodicarbonamide generally reacts around 200 °C, but there are some products that the reaction temperature must be lower, depending on the application. In the plastic, leather and other industries, modified azodicarbonamide (average decomposition temperature 170 °C) contains additives that accelerate the reaction or react at lower temperatures.

Azodicarbonamide as a blowing agent in plastics has been banned in Europe since August 2005 for the manufacture of plastic articles that are intended to come into direct contact with food.[7]

Safety

In the United States, azodicarbonamide has generally recognized as safe (GRAS) status and is allowed to be added to flour at levels up to 45 ppm.[8]

In the UK, the Health and Safety Executive has identified azodicarbonamide as a respiratory sensitizer (a possible cause of asthma) and determined that products should be labeled with “May cause sensitisation by inhalation.”[9] TheWorld Health Organization has linked azodicarbonamide to “respiratory issues, allergies and asthma.” Britain, Europe, and Australia now ban its use in food.[10]

Toxicological studies of the reactions of azodicarbonamide show that it is rapidly converted in dough to biurea, which is a stable compound not decomposed upon cooking.[11]

 

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CFR – Code of Federal Regulations Title 21


 

CFR – Code of Federal Regulations Title 21.

The Power of Petitioning: Subway Takes Chemical Out of Sandwich Bread After Protest – ABC News


PHOTO: Vani Hari, the "food babe" blogger, is petitioning Subway to take a plastic chemical out of its bread.Subway Takes Chemical Out of Sandwich Bread After Protest – ABC News.

[youtube.com/watch?v=lHjm8lbgc3I]

 

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Brilliant Music: Bach – Cantata BWV 140 – Peter Schreier – Sleepers wake


Bach – Cantata BWV 140Peter Schreier – Sleepers wake

Zion hoert die Waechter singen 
Conductor: Karl Richter
Tenor: Peter Schreier
Orchestra: Munich Bach Choir, Munich Bach Orchestra
Sleepers Wake

from wikipedia

Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), BWV 140, also known as Sleepers Wake, is achurch cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 27th Sunday afterTrinity and first performed it on 25 November 1731. It is based on the hymn “Wachet auf, ruft uns die Stimme” (1599) by Philipp Nicolai. Movement 4 of the cantata is the base for the first of Bach’s Schübler Chorales, BWV 645. The cantata is a late addition to Bach’s cycle of chorale cantatas, featuring additional poetry for two duets of Jesus and the Soul which expand the theme of the hymn.

History and text

Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. This Sunday occurs only when Easter is extremely early.[1] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).[2] The chorale cantata is based on the Lutheran hymn in three stanzas, “Wachet auf, ruft uns die Stimme” of Philipp Nicolai, which is based on the Gospel.[1] Bach composed the cantata to complete his cycle of chorale cantatas which he had begun in 1724.[3][4] The text of the three stanzas appears unchanged in movements 1, 4 and 7, while an unknown author supplied poetry for movements 2 and 3, 5 and 6, both a sequence ofrecitative and duet.[5] He refers to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul.[3] According to Christoph Wolff, the text was already available when Bach composed his cycle of chorale cantatas.[6]

Bach performed the cantata only once, in Leipzig’s main church Nikolaikirche on 25 November 1731.[3] According toChristoph Wolff, Bach performed it only this one time, although the 27th Sunday after Trinity occurred one more time during his tenure in Leipzig, in 1742.[1] He used movement 4 of the cantata as the base for the first of his Schübler Chorales, BWV 645.[6]

Related articles

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Great Composers/Compositions: Frédéric Chopin – Grande valse brilliante


Frédéric Chopin (1810-1849)

Les Sylphides“, op. 18; Finale: Grande valse brillinate

Cincinnati Pops Orchestra
Erich Kunzel

 

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Great Coomposers/Compositions: Pachelbel – Canon In D Major


Pachelbel’s Canon

From Wikipedia, the free encyclopedia

Pachelbel’s Canon is the name commonly given to a canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358). It is his most famous composition. It was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major.

Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919 the piece became extremely popular. The piece was particularly prevalent in the pop charts of the 1990s, being sampled and appropriated in numerous commercial hits such asCoolio‘s “C U When U Get There” and Green Day‘s “Basket Case“.[1] It is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as ‘Air on the G String‘.

Although a true canon at the unison in three parts, it also has elements of a chaconne. It has been frequently arranged and transcribed for many different media.

History

In his lifetime, Pachelbel was renowned for his chamber works,[citation needed] but most of them were lost. Only Musikalische Ergötzung—a collection of partitaspublished during Pachelbel’s lifetime—is known, apart from a few isolated pieces in manuscripts. The Canon and Gigue in D major is one such piece. A single 19th-century manuscript copy of them survives, Mus.MS 16481/8 in the Berlin State Library. It contains two more chamber suites. Another copy, previously in Hochschule der Künste in Berlin, is now lost.[2] The circumstances of the piece’s composition are wholly unknown. One writer hypothesized that the Canon may have been composed forJohann Christoph Bach‘s wedding, on 23 October 1694, which Pachelbel attended. Johann Ambrosius Bach, Pachelbel, and other friends and family provided music for the occasion.[3] Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a former pupil of Pachelbel.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel’s chamber music.[4] His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the Canon and Gigue in his Organum series.[5] However, that edition contained numerous articulation marks and dynamics not in the original score. Furthermore, Seiffert provided tempihe considered right for the piece, but that were not supported by later research.[6] The Canon was first recorded in 1940 by Arthur Fiedler,[7] and a popular recording of the piece was made in 1968 by the Jean-François Paillard chamber orchestra.[8]

Analysis

Pachelbel’s Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel’s piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.

 

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Romanian Folk Dances – Bela Bartok (orchestral version)



Tom Van den Eynde conducting the Chamber Orchestra Mechelen in the Romanian Folk Dances of Bela Bartok (Jocul Cu Bâta, Brâul, Pe Loc, Buciumeana, Poarga Româneascâ & Mâruntel). 
Live recording 2 october 2011 Culturel Center Mechelen.

The belgian born conductor Tom Van den Eynde (1980) studied classical guitar, violin, piano, harmony and counterpoint at the Conservatory of Mechelen. When he was fifteen he started taking private conducting lessons with Silveer Van den broeck. 
At the age of eighteen, he went to the Netherlands (Maastricht & Rotterdam) to continue his musical studies : orchestral conducting with Sir Jan Stulen and classical guitar with Cees Dirkx. After three years, he finished his guitar studies as a teaching and performing musician. 

In June 2000, he conducted the Dutch première of Previns « Concerto for guitar and orchestra ». In September 2000, he also assisted his present teacher Jan Stulen in « Le jongleur the Notre-Dame », a church opera of Peter Maxwell Davies which was broadcasted by the Dutch radio and television. 

Tom joined in July 2001 the Wiener Meisterkurse with Sir Salvador Mas Conde. There he was one of the few applicants to conduct the Plovdiv Philharmonic Orchestra (Bulgaria) at the final concert in Vienna. 

One year later, he conducted the Orquestra Sinfónica del Vallès in Barcelona during the International Conducting Course Igualada with maestro Antoni Ros Marba (July 2002). 

In August 2002, Tom made his debut with the Brabant Orchestra (Eindhoven, the Netherlands) conducting the Franck Symphony during the final concert of a masterclass with maestro Marc Soustrot. A year later, he conducted this orchestra for a second time in a Beethoven program. 

Tom also have been conducting the Dutch Promenade Orchestra (Amsterdam) in concert for several times. 

From 1998 till 2003, Tom was serving as assistant-conductor of the Flemish Symphony Orchestra. In November 2003, he finished his conducting studies at the Conservatory of Maastricht by conducting the University Orchestra of Louvain (Belgium) in “Harold in Italy” (Berlioz) and Symphony n°9 “From the New World” (Dvorak). 

In april 2004 he founded the Mechels Chamber Orchestra. It is a semi-professional orchestra of 35 musicians. In a short time, Tom raised this orchestra into a high level. Many international soloists as André De Groote (piano), Luc Tooten (cello), Marc Tooten (viola), Olsi Leka (cello), Jean-Luc Votano (clarinet), etc, have been working together with the orchestra and praised the orchestra for their enthousiasm and precise playing. 

In august 2007 Tom made his first CD recording in Slovak Republic. Together with guitarist Wim Brioen and recording engineer Jaroslav Stranavksi (Brilliant Classics), he made a recording of three excellent flemish guitar concerto’s. For this opportunity, Tom conducted the Slovak State Chamber Orchestra of Zilina.

 

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Ukraine: a voice from the barricades


 

Ukraine: a voice from the barricades.

February 6, 1934 – February 6, 2014 What similarities, what are the differences? | Julien Dray


2014, the Left is struck by some form of consideration. Extraordinary absence of the left, his weakness and his apparent inability to react to the reaction can only mark the astute observer. There is a majority that France is re-engage. This mixed France that carries the name of the Republic, this France who wants emancipation and progress, that France refuses a minority speaks on its behalf, must find an opportunity to express themselves and reasons of hope. By the reaction, it is time to react. The left has come out of his torpor.

via February 6, 1934 – February 6, 2014 What similarities, what are the differences? | Julien Dray.

6 février 1934 – 6 février 2014: quelles similitudes, quelles différences? | Julien Dray


 

6 février 1934 – 6 février 2014: quelles similitudes, quelles différences? | Julien Dray.

2014, la Gauche est frappée par une forme de sidération. L’extraordinaire absence de la gauche, son atonie et son incapacité apparente à réagir à la réaction ne peuvent que marquer l’observateur avisé. Il existe une France majoritaire qu’il s’agit de remobiliser. Cette France métissée qui porte le beau nom de République, cette France qui ne désire que l’émancipation et le progrès, cette France qui refuse qu’une minorité parle en son nom, doit trouver une occasion de s’exprimer et des raisons d’espérer. Face à la réaction, il est temps de réagir. La gauche doit sortir de sa torpeur.

Microwaved Food and your Health


microwave-kills-nutrientsMicrowaved Food and your Health.