Gaza conflict: US zigzag between support, criticism of Israel more pronounced (+video) – CSMonitor.com

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Gaza rivals ‘agree 72-hour truce’

Gaza rivals ‘agree 72-hour truce’ http://www.bbc.co.uk/news/world-middle-east-28651610

Amgen Blood Cancer Drug Meets Primary Endpoint In Late-Stage Study

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Food fight builds as U.S. regulators weigh ‘added sugar’ label

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Questions of Weapons and Warnings in Past Barrage on a Gaza Shelter – NYTimes.com

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The Hot Zone Quotes

The Hot Zone by Richard Preston

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The Hot Zone Quotes (showing 1-16 of 16)

“In biology, nothing is clear, everything is too complicated, everything is a mess, and just when you think you understand something, you peel off a layer and find deeper complications beneath. Nature is anything but simple.”
― Richard Preston, The Hot Zone

Read all quotations HERE

Tekmira says its Ebola drug not used to treat U.S. aid workers, report – The Globe and Mail

Tekmira says its Ebola drug not used to treat U.S. aid workers, report – The Globe and Mail.

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Franz Liszt – Tasso, Lamento e Trionfo: make music part of your life series

Franz Liszt – Tasso, Lamento e Trionfo

FROM

  Fledermaus1990
Happy 200th Birthday to Franz Liszt!

Franz Liszt (October 22, 1811 — July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.

Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time.

Tasso, Lamento e Trionfo.

Franz Liszt composed his Tasso, Lamento e trionfo (Tasso, Lament and Triumph) in 1849, revising it in 1850-51 and again in 1854. It is numbered No. 2 in his cycle of 13 symphonic poems written during his Weimar period.

Liszt’s first sketch for this work is dated August 1, 1849. He had heard the principal theme for Tasso in Venice, Italy several years earlier, however, using it in the 1840 version of his piano piece “Chant do Goldolier” in Venezia e Napoli. Liszt completed the 1849 verion of Tasso as an overture in two sections, giving it to August Conradi to orchestrate. This version was performed in Weimar, Germany on the centennial of Johann Wolfgang von Goethe‘s birth as an overture to his drama Torquato Tasso. Liszt later corrected Conradi’s score and had Joachim Raff produce a new score in 1850–51. Liszt then revised this score extensively, adding a central section. This version was performed on April 19, 1854 in Weimar, conducted by Liszt.

Conductor: Michel Plasson
Orchestra: Dresdner Philharmonie

Saint Saens – Piano conc.No.2 – Arthur Rubinstein: great compositions/performances

Saint Saens – Piano conc.No.2 – Arthur Rubinstein

From: wittekjmusic

Saint Saens: Piano Concerto No.2, Piano: Arthur Rubinstein – Conducted: Andre Previn London Symphony Orchestra 1975. Arthur Rubinstein was born in Łódź (January 28, 1887 — December 20, 1982), Congress Poland (part of the Russian Empire for the entire time Rubinstein resided there) on January 28, 1887, to a Jewish family. He was the youngest of seven children, and his father owned a small textile factory. Arthur Rubinstein. However, his United States impresario Sol Hurok insisted he be billed as Artur, and records were released in the West under both versions of his name. At the age of two, Rubinstein demonstrated perfect pitch and a fascination with the piano, watching his elder sister’s piano lessons. By the age of four, he was recognised as a child prodigy. His father had a predilection for the violin and offered Rubinstein a violin; but Rubinstein rejected it because he thought his instinct was for harmony and polyphony. The Hungarian violinist Joseph Joachim, on hearing the four-year-old child play, was greatly impressed, told Arthur’s family, 1894, seven-year-old Arthur Rubinstein had his debut with pieces by Mozart, Schubert and Mendelssohn. At the age of ten, Rubinstein moved to Berlin to continue his studies, and gave his first performance with the Berlin Philharmonic in 1900, at the age of 13. Rubinstein made his New York debut at Carnegie Hall in 1906, and thereafter toured the United States, Austria, Italy, and Russia. In 1912, he made his London debut, and found a home there in the Edith Grove, Chelsea, musical salon of Paul and Muriel Draper, in company with Kochanski, Igor Stravinsky, Jacques Thibaud, Pablo Casals, Pierre Monteux and others. During World War I, Rubinstein stayed in London, giving recitals and accompanying the violinist Eugène Ysaÿe. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music of Enrique Granados, Isaac Albéniz, Manuel de Falla, and Heitor Villa-Lobos. He was the dedicatee of Villa-Lobos’s Rudepoêma and Stravinsky’s Trois mouvements de Petrouchka. Rubinstein was disgusted by Germany’s conduct during the war, and never played there again. His last performance in Germany was in 1914. In 1921 Rubinstein gave two American tours, travelling to New York with Karol Szymanowski and his close friend Paul Kochanski. In 1932, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice. Rubinstein toured the United States again in 1937, his career becoming centered there during the World War II years when he lived in Brentwood, California. He became a naturalized American citizen in 1946. A cast of the pianist’s hands, at the Łódź museum During his time in California, Rubinstein provided the piano soundtrack for several films, including Song of Love with Katherine Hepburn. He appeared, as himself, in films Carnegie Hall and Of Men and Music. Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries as Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky, and the Guarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of the Romantic composers. At the time of his death, the New York Times in describing him wrote, “Chopin was his specialty . . . it was [as] a Chopinist that he was considered by many without peer”. With the exception of the Études, he recorded most of the works of Chopin. He was one of the earliest champions of the Spanish and South American composers and of French composers who, in the early twentieth century, were still considered “modern” such as Debussy and Ravel. In addition, Rubinstein was the first champion of the music of his compatriot Karol Szymanowski. Rubinstein, in conversation with Alexander Scriabin, named Brahms as his favorite composer, a response that enraged Scriabin. In 1975, a documentary named Artur Rubinstein, Love of Life was on; a TV special named Rubinstein at 90 represented he had been playing for people for eight decades. By the mid-1970s, Rubinstein’s eyesight had begun to deteriorate. He retired from the stage at age eighty-nine in May 1976, giving his last concert at London’s Wigmore Hall, where he had first played nearly seventy years before. Rubinstein, who was fluent in eight languages, held much of the repertoire, not simply that of the piano, in his formidable memory.

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Benjamin Britten: Simple Symphony op.4: make music part of your life series

FROM:

Chuhei Iwasaki

Benjamin Britten: Simple Symphony op.4

1. Boisterous Bourree 0:00
2. Playful Pizzicato 3:17
3. Sentimental Saraband 6:45
4. Frolicsome Finale 13:07

Filharmonický orchestr Iwasaki / Iwasaki Philharmonic Orchestra Prague
dirigent: Chuhei Iwasaki

recorded XI.2013 in recording studio HAMU, Prague
Recording director: Kristina Štanclová
Recording engeneer: Jaroslav Pokorný

Europe Prepares to Commemorate Centenary of World War I – NYTimes.com

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Blast Hits Gaza Within Minutes of Truce – WSJ

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Thousands stranded, at least 1 killed by Southern California mudslides | Fox News

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