Category Archives: IN THE SPOTLIGHT

Tudor Duică : Blaj, clădirea fostei mânăstiri Bizantine a Bunei Vestiri


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Clădirea fostei mănăstiri bazilitane a Bunei Vestiri (primul stareț a fost viitorul episcop Atanasie Rednic), aparținând confesiunii greco-catolice, devenită mai apoi sediul Cancelariei Mitropolitane.

După interzicerea BRU și după naționalizare, a aparținut de  Stațiunea de Cercetări Viticole.

Prin anii ’70 din bibliotecile confiscate ale Blajului dublurile și în general alte lucrări fără mare valoare, au fost aduse aici de la Biblioteca Academiei din Cluj, înjghebându-se ”Biblioteca documentară Timotei Cipariu”, retrocedată scriptic la începutul anilor ’90, faptic prin 2010…

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Vietnam Protesters Seek Answers Over Mass Fish Deaths – WSJ


http://www.wsj.com/articles/vietnam-protesters-seek-answers-over-mass-fish-deaths-1462088637

In the past 24-hours, over 2,500 people have signed a petition on change.org seeking my help in a fight against a major polluter… Formosa Plastic Group a Taiwan-United States… an International Conglomeration. http://www.fpcusa.com

While I recognize it will clearly be an international challenge… I will conduct an investigation into how we can help these people. Multinational corporations must be held accountable when they destroy a local industry, and way of life, a culture.

Not sure where to begin… but I will… and with everyone’d help, we can try to give these hard working people some glimmer of hope.

https://www.change.org/p/erin-brockovich-please-represent-us-to-file-a-class-action-law-suit-against-formosa-plastics?response=642aceb99797&utm_source=target&utm_medium=email&utm_campaign=five_thousand

This day in history: May 3rd, 1889: Trude Schulerus, was born in the City of Agnita, Transilvania, România (From Tudor Duică)


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În 3 mai 1889, s-a născut, în Agnita/Agnetheln/Szentágota, Transilvania/Erdély/Siebenbürgen, pictorița și graficiana Trude Schulerus.

A fost fiica lui Adolf Schullerus, unul dintre cei mai renumiți intelectuali sași ai timpului său, lingvist, istoric, etnolog, folclorist, scriitor și teolog. Între 1919-1926 a fost senator din partea Partidului German din România.

Ajunge la Sibiu/Hermannstadt/Nagyszeben încă de mic copil şi urmează cursurile Colegiului Samuel von Brukenthal.

A studiat pictura la Sibiu și Munchen, între anii 1906 – 1914.
Până în 1923 a pictat cu precădere schițe, acuarele și pânze pe ulei reprezentând peisaje natale care vor fi expuse publicului în 1922 în cadrul unei prime expoziții proprii.

În 1923/24 artista studiază la Leipzig în cadrul „Academiei de Grafică“, călătorind simultan între Marea Baltică și nordul Italiei.

Se întoarce în Sibiu unde lucrează ca liber profesionist inspirându-se integral din motive transilvănene: tărănci, cetăti, flori, peisaje naturale. Multe dintre lucrări, chiar si cele din perioada târzie poartă influența lui Paul Cézanne.

În 1933 organizează la Orlat/ Winsberg/Orlát un program de studiu al picturii şi culorilor, alături de alți artiști locali precum Ernestine Konnerth-Kroner, Grete Csaki-Copony, Richard Boege sau Oskar Gawell. În urma acestui program ei propun o nouă teorie a culorii.

Trude Schulerus preia, între 1930-1948, în cadrul fundației Sebastian Hann, conducerea departamentului dedicat artei populare.
Este înmormântată în Cimitirul Municipal din Sibiu.

Herman 1979, Curte Interioară :Virgil Simionescu Photography


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Harman 1979 _ Curte interioara 4_Tentatia scarilor

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My birds on the wire today no.2


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My pot with flowers today No.3


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My Duck today No.1


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My pot with flowers today No.2


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My pot with flowers today No.1


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My Chakra Today no.2


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Citat/Quotation: Socrates!


“The children now love luxury. They have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise.”
― Socrates

American Rivers | Stop the Power Grab by Hydropower Companies sign on line


It shouldn’t come as a surprise that massive, coal-fired utilities like Duke Energy and Southern Company are pushing these anti-environment provisions.

http://act.americanrivers.org/page/speakout/power-grab-hydropower-companies

American Rivers | Stop the Power Grab by Hydropower Companies sign on line


It shouldn’t come as a surprise that massive, coal-fired utilities like Duke Energy and Southern Company are pushing these anti-environment provisions.

http://act.americanrivers.org/page/speakout/power-grab-hydropower-companies

Hubert Rossel: Le livre / Transylvanie – Les églises fortifiées du pays des Sicules / Hubert Rossel


La « petite église » (Szent Katalin templom) de Gyergyóditró/ Ditrău, celle de Gyergyóalfalu/Joseni et celle de Csíkdelne/Delniţa sont toutes les trois parmi les 80 églises fortifiées à être analysées et replacées dans leur contexte historique dans le livre “Les églises fortifiées du pays des Sicules”… Pour plus d’informations on peut aussi se rendre sur le site http://eglises-fortifiees-sicules.prossel.net

TRANSYLVANIE – ERDÉLY – SIEBENBÜRGEN – TRANSYLVANIA

La Transylvanie a été choisie par les guides Lonely Planet comme la région la plus tendance pour un voyage en 2016. Parmi les différents points d’attraction de cette région figurent les églises fortifiées des communautés saxonne et sicule. De nombreux ouvrages existent en français pour présenter les églises saxonnes, les plus grandes et les plus connues. Mais il n’y en a qu’un seul en français pour parler des églises sicules et les remettre dans leur contexte historique et culturel : Transylvanie – Les églises fortifiées du pays des Sicules (http://eglises-fortifiees-sicules.prossel.net/). Songez-y lorsque vous préparez votre voyage, si vous compter aller dans cette région!
La photo ci-dessous présente l’église fortifiées de Zabola/Zăbala, dans le judeţ de Kovaszna/Covasna.

Transylvania has been selected by the Lonely Planet travel guidebooks as the first of the most likely areas for a trip in 2016. Of the various points of attraction of this area are the fortified churches of the Saxon and the Szekler communities. Many books exist in French to introduce the Saxon churches, the largest ones and best known. But there is only one in French to talk about the Szekler churches and put them in their historical and cultural context: Transylvanie – Les églises fortifiées du pays des Sicules. (http://eglises-fortifiees-sicules.prossel.net/). Consider this when planning your trip, if you plan to go to this region!
The picture below figures the Zabola/Zăbala fortified church, in the judeţ Kovaszna/Covasna
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Le livre / Transylvanie – Les églises fortifiées du pays des Sicules / Hubert Rossel


http://eglises-fortifiees-sicules.prossel.net/
TRANSYLVANIE – ERDÉLY – SIEBENBÜRGEN – TRANSYLVANIA

La Transylvanie a été choisie par les guides Lonely Planet comme la région la plus tendance pour un voyage en 2016. Parmi les différents points d’attraction de cette région figurent les églises fortifiées des communautés saxonne et sicule. De nombreux ouvrages existent en français pour présenter les églises saxonnes, les plus grandes et les plus connues. Mais il n’y en a qu’un seul en français pour parler des églises sicules et les remettre dans leur contexte historique et culturel : Transylvanie – Les églises fortifiées du pays des Sicules (http://eglises-fortifiees-sicules.prossel.net/). Songez-y lorsque vous préparez votre voyage, si vous compter aller dans cette région!
La photo ci-dessous présente l’église fortifiées de Zabola/Zăbala, dans le judeţ de Kovaszna/Covasna.

Transylvania has been selected by the Lonely Planet travel guidebooks as the first of the most likely areas for a trip in 2016. Of the various points of attraction of this area are the fortified churches of the Saxon and the Szekler communities. Many books exist in French to introduce the Saxon churches, the largest ones and best known. But there is only one in French to talk about the Szekler churches and put them in their historical and cultural context: Transylvanie – Les églises fortifiées du pays des Sicules. (http://eglises-fortifiees-sicules.prossel.net/). Consider this when planning your trip, if you plan to go to this region!
The picture below figures the Zabola/Zăbala fortified church, in the judeţ Kovaszna/Covasna

The Source That Is Alive For Thousands of Years: Sarmizegetusa Regia, Grădiștea Muncelului, Hunedoara, Banat, România


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Sarmizegetusa Regia (cea regească) a fost capitala și cel mai important centru militar, religios și politic al statului dac înainte de războaiele cu Imperiul Roman. A fost nucleul unui sistem defensiv strategic format din șase fortărețe dacice din Munții Orăștiei, folosit de Decebal pentru apărare contra cuceririi romane. Situl arheologic Sarmizegetusa este situat în satul Grădiștea Muncelului din județul Hunedoara.

The Traitor, Leonard Cohen With Martha Wainright (from I’m Your Man Show)


New! Read & write lyrics explanations

  • Highlight lyrics and explain them to earn Karma points.

Now the swan it floated on the english river
Ah the rose of high romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side

I told my mother “mother I must leave you
Preserve my room but do not she’d a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”

But the rose I sickened with a scarlet fever
And the swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame

The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back

But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralysed my will

I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to barcelona
I’m listed with the enemies of love

And long ago she said “i must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that rose and wind the swan”

So daily I renew my idle duty
I touch her here and there — I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face

Watch “Doru Stanculescu – Hai, hai, haidi, hai (Pe sub flori ma leganai)” on YouTube


Ai, hai lyrics

Artist: Doru Stănculescu
Translations: English, French, German
Romanian
Ai, hai

N-a ști nimeni că m-am dus,
Numa’ m-or vedea că nu-s.

Sus e cerul, largă-i lumea,
Bine c-a-nfrunzit pădurea!

Ai, hai, ai, haidi, haidi, hai,
Pe sub flori mă legănai.

Sus e cerul, largă-i lumea,
N-a ști nimeni că m-am dus.

Bine c-a-nfrunzit pădurea,
Numa’ m-or vedea că nu-s

Ai, hai, ai, haidi, haidi, hai,
Pe sub flori mă legănai.

© 2008-2016 LyricsTranslate.com

Christians United By One Faith


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#ChriatiansUnitedByOneFaith

#ChriatiansUnitedByOneFaith

ISTORIA ISLAMULUI SE ZGUDUIE DIN TEMELII! A FOST DESCOPERIT UN CORAN ANTERIOR PROFETULUI MAHOMED


Una din cele mai importante religii ale omenirii ar putea fi zguduita in urma recentelor descoperiri. Fragmentele celui mai vechi Coran din lume, descoperite in Birmingham, ar putea data dinaintea profetului Mahomed si ar urma „sa rescrie” istoria islamului, au anuntat cercetatorii britanici.Oamenii de stiinta de la Universitatea Oxford stiau deja ca pergamentul este printre cele mai vechi texte coranice cunoscute din intreaga lume. Mai multi istorici sustin insa ca documentul este atat de vechi incat il precede pe profetul Mahomed si contrazice relatarile traditionale privind viata acestuia, asa ca modifica radical „edificiul traditiei islamice”, scrie Breitbart, citat de ziare.com.Datarea cu carbon a documentului releva ca acesta a fost scris intre 568 si 645 era noastra, in conditiile in care, in mod traditional, se considera ca Mohamed a trait intre 570 si 632 era noastra.Asta ar insemna ca documentul a fost scris inainte de momentul oficial cand ar fi fost stranse primele texte oficiale si inainte sau imediat dupa nasterea lui Mahomed.

Source: ISTORIA ISLAMULUI SE ZGUDUIE DIN TEMELII! A FOST DESCOPERIT UN CORAN ANTERIOR PROFETULUI MAHOMED

QUOTATION: NU EXISTA SCLAV MAI BUN DECAT CEL CARE CREDE CA ESTE LIBER


NU EXISTA SCAL MAI BUN...

NU EXISTA SCLAV MAI BUN…

#cat#cats#catsofvine#catvine#kitten#kittens#kittensofvine#kittenlove#kitty#kittyca… (Vine by @yo_kim_raccho)— francescofrongia (@francescofrong2) February 4, 2016


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The right is so “freaked out” by climate change because it threatens their “whole worldview.”— BillMoyers.com (@BillMoyersHQ) February 4, 2016


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Donald Trump has been nominated for a Nobel Peace Prize — The Independent (@Independent) February 4, 2016


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Wikileaks founder Julian Assange will ‘accept arrest’ if UN rules against him — FRANCE 24 English (@France24_en) February 4, 2016


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Cancer : la formation d’une tumeur en 3D (vidéo) — L’important (@Limportant_fr) February 4, 2016


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WAKE UP PEOPLE!!! They Poisoned Our Water? Interview With UAW Region 1D Assistant Director Steve Dawes On Flint: A CRIME AGAINST HUMANITY


They Poisoned Our Water? Interview With UAW Region 1D Assistant Director Steve Dawes On Flint

historic musical bits: Beethoven, Symphony No 6, 3,4,5mov, Otto Klemperer


Beethoven, Symphony No 6, 3,4,5mov, Otto Klemperer

Brahms – Sonata n°3, Paganini Variations – Berezovsky


Brahms – Sonata n°3, Paganini Variations – Berezovsky

historic musical bits: Mendelssohn – A Midsummer Night’s Dream – Philharmonia / Klemperer (rec. 1960)


Mendelssohn – A Midsummer Night’s Dream – Philharmonia / Klemperer

Published on Dec 29, 2012

Felix Mendelssohn-Bartholdy

A Midsummer Night’s Dream op.61

Heather Harper
Janet Baker
Philharmonia Orchestra
Otto Klemperer
Studio recording, London 28-29.I.1960 & 16.II.1960
**********************************************

A Midsummer Night’s Dream (Mendelssohn)

From Wikipedia, the free encyclopedia
 
watercolour portrait against blank background of a young man with dark, curly hair, facing the spectator: dressed in fashionable clothes of the 1830s, dark jacket with velvet collar, black silk cravat, high collar, white waistcoat

 
Portrait of Mendelssohn by James Warren Childe, 1839

At two separate times, Felix Mendelssohn composed music for William Shakespeare‘s play, A Midsummer Night’s Dream. First in 1826, near the start of his career, he wrote a concert overture (Op. 21). Later, in 1842, only a few years before his death, he wrote incidental music (Op. 61) for a production of the play, into which he incorporated the existing Overture. The incidental music includes the world-famous Wedding March. The German title reads Ein Sommernachtstraum.

Overture

The Overture in E major, Op. 21, was written by Mendelssohn at 17 years and 6 months old (it was finished on 6 August 1826),.[1] Contemporary music scholar George Grove called it “the greatest marvel of early maturity that the world has ever seen in music”.[2] It was written as a concert overture, not associated with any performance of the play. The Overture was written after Mendelssohn had read a German translation of the play in 1826. The translation was by August Wilhelm Schlegel, with help from Ludwig Tieck. There was a family connection as well: Schlegel’s brother Friedrich married Felix Mendelssohn’s Aunt Dorothea.[3]

While a romantic piece in atmosphere, the Overture incorporates many classical elements, being cast in sonata form and shaped by regular phrasings and harmonic transitions. The piece is also noted for its striking instrumental effects, such as the emulation of scampering ‘fairy feet’ at the beginning and the braying of Bottom as an ass (effects which were influenced by the aesthetic ideas and suggestions of Mendelssohn’s friend at the time, Adolf Bernhard Marx). Heinrich Eduard Jacob, in his biography of the composer, said that Mendelssohn had scribbled the chords after hearing an evening breeze rustle the leaves in the garden of the family’s home.[3]

The overture begins with four chords in the winds. Following the first theme in the parallel minor (E minor) representing the dancing fairies, a transition (the royal music of the court of Athens) leads to a second theme, that of the lovers. This is followed by the braying of Bottom with the “hee-hawing” being evoked by the strings. A final group of themes, reminiscent of craftsmen and hunting calls, brings the exposition to a close. The fairies dominate most of the development section, while the Lover’s theme is played in a minor key. The recapitulation begins with the same opening four chords in the winds, followed by the Fairies theme and the other section in the second theme, including Bottom’s braying. The fairies return, and ultimately have the final word in the coda, just as in Shakespeare’s play. The overture ends once again with the same opening four chords by the winds.

The Overture was premiered in Stettin (then in Prussia; now Szczecin, Poland) on 20 February 1827,[4] at a concert conducted by Carl Loewe. Mendelssohn had turned 18 just over two weeks earlier. He had to travel 80 miles through a raging snowstorm to get to the concert,[5] which was his first public appearance. Loewe and Mendelssohn also appeared as soloists in Mendelssohn’s Concerto in A-flat major for two pianos and orchestra, and Mendelssohn alone was the soloist for Carl Maria von Weber‘s Konzertstück in F minor. After the intermission, he joined the first violins for a performance of Beethoven‘s Ninth Symphony.

The first British performance of the Overture was conducted by Mendelssohn himself, on 24 June 1829, at the Argyll Rooms in London, at a concert in benefit of the victims of the floods in Silesia, and played by an orchestra that had been assembled by Mendelssohn’s friend Sir George Smart.[4]

Incidental music

Mendelssohn wrote the incidental music, Op. 61, for A Midsummer Night’s Dream in 1842, 16 years after he wrote the Overture. It was written to a commission from King Frederick William IV of Prussia. Mendelssohn was by then the music director of the King’s Academy of the Arts and of the Leipzig Gewandhaus Orchestra.[6] A successful presentation of SophoclesAntigone on 28 October 1841 at the New Palace in Potsdam, with music by Mendelssohn (Op. 55) led to the King asking him for more such music, to plays he especially enjoyed. A Midsummer Night’s Dream was produced on 14 October 1843, also at Potsdam. The producer was Ludwig Tieck. This was followed by incidental music for Sophocles’ Oedipus (Potsdam, 1 November 1845; published posthumously as Op. 93) and Jean Racine‘s Athalie (Berlin, 1 December 1845; Op. 74).[1]

The A Midsummer Night’s Dream Overture, Op. 21, originally written as an independent piece 16 years earlier, was incorporated into the Op. 61 incidental music as its overture, and the first of its 14 numbers. There are also vocal sections and other purely instrumental movements, including the Scherzo, Nocturne and Wedding March. The vocal numbers include the song “Ye spotted snakes” and the melodramas “Over hill, over dale”, “The Spells”, “What hempen homespuns”, and “The Removal of the Spells”. The melodramas served to enhance Shakespeare’s text.

Act I was played without music. The Scherzo, with its sprightly scoring, dominated by chattering winds and dancing strings, acts as an intermezzo between Acts I and II. The Scherzo leads directly into the first melodrama, a passage of text spoken over music. Oberon’s arrival is accompanied by a fairy march, scored with triangle and cymbals.

The vocal piece “Ye spotted snakes” opens Act II’s second scene. The second Intermezzo comes at the end of the second act. Act III includes a quaint march for the entrance of the Mechanicals. We soon hear music quoted from the Overture to accompany the action. The Nocturne includes a solo horn doubled by bassoons, and accompanies the sleeping lovers between Acts III and IV. There is only one melodrama in Act IV. This closes with a reprise of the Nocturne to accompany the mortal lovers’ sleep.

The intermezzo between Acts IV and V is the famous Wedding March, probably the most popular single piece of music composed by Mendelssohn, and one of the most ubiquitous pieces of music ever written.

Act V contains more music than any other, to accompany the wedding feast. There is a brief fanfare for trumpets and timpani, a parody of a funeral march, and a Bergomask dance. The dance uses Bottom’s braying from the Overture as its main thematic material.

The play has three brief epilogues. The first is introduced with a reprise of the theme of the Wedding March and the fairy music of the Overture. After Puck‘s speech, the final musical number is heard – “Through this house give glimmering light”, scored for soprano, mezzo-soprano and chorus. Puck’s famous valedictory speech “If we shadows have offended” is accompanied, as day breaks, by the four chords first heard at the very beginning of the Overture, bringing the work full circle and to a fitting close.

Suite and excerpts

The purely instrumental movements (Overture, Scherzo, Intermezzo, Nocturne, Wedding March, and Bergomask) are often played as a unified suite or as independent pieces, at concert performance or on recording, although this approach never had Mendelssohn’s imprimatur. Like many others, Eugene Ormandy and the Philadelphia Orchestra recorded selections for RCA Victor; Ormandy broke with tradition by using the German translation of Shakespeare’s text. In the 1970s Rafael Frühbeck de Burgos recorded a Decca Records LP of the complete incidental music with the New Philharmonia Orchestra and soloists Hanneke van Bork and Alfreda Hodgson; it later was issued on CD.[7] In October 1992, Seiji Ozawa and the Boston Symphony Orchestra recorded another album of the full score for Deutsche Grammophon; they were joined by soloists Frederica von Stade and Kathleen Battle as well as the Tanglewood Festival Chorus. Actress Judi Dench was heard reciting those excerpts from the play that were acted against the music. In 1996, Claudio Abbado recorded an album for Sony Masterworks of extended excerpts with Kenneth Branagh acting several roles from the play, performed live.[8]

Scoring

The Overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, ophicleide, timpani and strings. The incidental music adds a third trumpet, three trombones, triangle and cymbals to this scoring.

Notes

Parts of the score are used, re-orchestrated by Erich Wolfgang Korngold, in Max Reinhardt‘s 1935 movie A Midsummer Night’s Drea

great compositions/performances: BARTHOLDY QUARTETT plays MENDELSSOHN – STRING QUARTET OP. 44 N. 2


BARTHOLDY QUARTETT plays MENDELSSOHN – STRING QUARTET OP. 44 N. 2

great compositions/performances: Berlioz – Roman Carnival Overture Op. 9 – National Symphony Orchestra Washington – C. Eschenbach


Berlioz – Roman Carnival Overture Op. 9 – National Symphony Orchestra Washington – C. Eschenbach

make music part of your life series: Aaron Copeland The Red Pony Suite: I. Morning on the Ranch


The Red Pony Suite: I. Morning on the Ranch Aaron Copeland

 

fabulous renditions: Valentina Lisitsa plays Chopin Nocturne F Major Op 15 no.1.


Chopin Nocturne F Major Op 15 no.1. Valentina Lisitsa

historic musical bits: Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 – Leonard Bernstein


Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 – Leonard Bernstein

From Wikipedia, the free encyclopedia
 
“Beethoven’s Fifth” redirects here. For the movie, see Beethoven’s 5th (film). For Beethoven’s 5th piano concerto, see Piano Concerto No. 5 (Beethoven).

The coversheet to Beethoven’s 5th Symphony. The dedication to Prince J. F. M. Lobkowitz and Count Rasumovsky is visible.

The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804–1808. It is one of the best-known compositions in classical music, and one of the most frequently played symphonies.[1] First performed in Vienna‘s Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as “one of the most important works of the time”.

It begins by stating a distinctive four-note “short-short-short-long” motif twice: (About this sound listen )

{\clef treble \key c \minor \time 2/4 {r8 g'8[ g'8 g'8] | ees'2\fermata | r8 f'8[ f'8 f'8] | d'2~ | d'2\fermata | } }

The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.

Since the Second World War it has sometimes been referred to as the “Victory Symphony”.[2] “V” is the Roman character for the number five; the phrase “V for Victory” became well known as a campaign of the Allies of World War II. That Beethoven’s Victory Symphony happened to be his Fifth (or vice versa) is coincidence. Some thirty years after this piece was written, the rhythm of the opening phrase – “dit-dit-dit-dah” – was used for the letter “V” in Morse code, though this is probably also coincidental.[3]

The BBC, during World War Two, prefaced its broadcasts to Europe with those four notes, played on drums.[4][5][6]

History

Development

 
Beethoven in 1804, the year he began work on the Fifth Symphony. Detail of a portrait by W. J. Mähler

The Fifth Symphony had a long development. The first sketches date from 1804 following the completion of the Third Symphony.[7] However, Beethoven repeatedly interrupted his work on the Fifth to prepare other compositions, including the first version of Fidelio, the Appassionata piano sonata, the three Razumovsky string quartets, the Violin Concerto, the Fourth Piano Concerto, the Fourth Symphony, and the Mass in C. The final preparation of the Fifth Symphony, which took place in 1807–1808, was carried out in parallel with the Sixth Symphony, which premiered at the same concert.

Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness.[8] In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna by Napoleon‘s troops in 1805.

Premiere

The Fifth Symphony was premiered on 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself.[9] The concert lasted for more than four hours. The two symphonies appeared on the program in reverse order: the Sixth was played first, and the Fifth appeared in the second half.[10] The program was as follows:

  1. The Sixth Symphony
  2. Aria: Ah! perfido, Op. 65
  3. The Gloria movement of the Mass in C major
  4. The Fourth Piano Concerto (played by Beethoven himself)
  5. (Intermission)
  6. The Fifth Symphony
  7. The Sanctus and Benedictus movements of the C major Mass
  8. A solo piano improvisation played by Beethoven
  9. The Choral Fantasy

 
The Theater an der Wien as it appeared in the early 19th century

Beethoven dedicated the Fifth Symphony to two of his patrons, Prince Franz Joseph von Lobkowitz and Count Razumovsky. The dedication appeared in the first printed edition of April 1809.

Reception and influence

There was little critical response to the premiere performance, which took place under adverse conditions. The orchestra did not play well—with only one rehearsal before the concert—and at one point, following a mistake by one of the performers in the Choral Fantasy, Beethoven had to stop the music and start again.[11] The auditorium was extremely cold and the audience was exhausted by the length of the program. However, a year and a half later, publication of the score resulted in a rapturous unsigned review (actually by E. T. A. Hoffmann) in the Allgemeine musikalische Zeitung. He described the music with dramatic imagery:

Radiant beams shoot through this region’s deep night, and we become aware of gigantic shadows which, rocking back and forth, close in on us and destroy everything within us except the pain of endless longing—a longing in which every pleasure that rose up in jubilant tones sinks and succumbs, and only through this pain, which, while consuming but not destroying love, hope, and joy, tries to burst our breasts with full-voiced harmonies of all the passions, we live on and are captivated beholders of the spirits.[12]

Apart from the extravagant praise, Hoffmann devoted by far the largest part of his review to a detailed analysis of the symphony, in order to show his readers the devices Beethoven used to arouse particular affects in the listener. In an essay titled “Beethoven’s Instrumental Music”, compiled from this 1810 review and another one from 1813 on the op. 70 string trios, published in three instalments in December 1813, E.T.A. Hoffmann further praised the “indescribably profound, magnificent symphony in C minor”:

How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!… No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound….[13]

The symphony soon acquired its status as a central item in the repertoire. It was played in the inaugural concerts of the New York Philharmonic on 7 December 1842, and the [US] National Symphony Orchestra on 2 November 1931. It was first recorded by the Odeon Orchestra under Friedrich Kark in 1910. The First Movement (as performed by the Philharmonia Orchestra) was featured on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[14] Groundbreaking in terms of both its technical and its emotional impact, the Fifth has had a large influence on composers and music critics,[15] and inspired work by such composers as Brahms, Tchaikovsky (his 4th Symphony in particular),[16] Bruckner, Mahler, and Berlioz.[17]

Instrumentation

The symphony is scored for piccolo (fourth movement only), two flutes, two oboes, two clarinets in B and C, two bassoons, contrabassoon or double bassoon (fourth movement only), two horns in E and C, two trumpets, three trombones (alto, tenor, and bass, fourth movement only), timpani (in G-C) and strings.

Form

A typical performance usually lasts around 30–40 minutes. The work is in four movements:

First movement: Allegro con brio

First movement
 
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The first movement opens with the four-note motif discussed above, one of the most famous in Western music. There is considerable debate among conductors as to the manner of playing the four opening bars. Some conductors take it in strict allegro tempo; others take the liberty of a weighty treatment, playing the motif in a much slower and more stately tempo; yet others take the motif molto ritardando (a pronounced slowing through each four-note phrase), arguing that the fermata over the fourth note justifies this.[18] Some critics and musicians consider it crucial to convey the spirit of [pause]and-two-and one, as written, and consider the more common one-two-three-four to be misleading.[19] To wit:

About the “ta-ta-ta-Taaa”: Beethoven begins with eight notes. They rhyme, four plus four, and each group of four consists of three quick notes plus one that is lower and much longer (in fact unmeasured). The space between the two rhyming groups is minimal, about one-seventh of a second if we go by Beethoven’s metronome mark; moreover, Beethoven clarifies the shape by lengthening the second of the long notes. This lengthening, which was an afterthought, is tantamount to writing a stronger punctuation mark. As the music progresses, we can hear in the melody of the second theme, for example (or later, in the pairs of antiphonal chords of woodwinds and strings), that the constantly invoked connection between the two four-note units is crucial to the movement. … The source of Beethoven’s unparalleled energy here is in his writing long sentences and broad paragraphs whose surfaces are articulated with exciting activity. Indeed, we discover soon enough that the double “ta-ta-ta-Taaa” is an open-ended beginning, not a closed and self-sufficient unit (Misunderstanding of this opening was nurtured by a nineteenth-century performance tradition in which the first five measures were read as a slow, portentous exordium, the main tempo being attacked only after the second hold.) What makes this opening so dramatic is the violence of the contrast between the urgency in the eighth notes and the ominous freezing of motion in the unmeasured long notes. The music starts with a wild outburst of energy but immediately crashes into a wall. Seconds later, Beethoven jolts us with another such sudden halt. The music draws up to a half-cadence on a G-major chord, short and crisp in the whole orchestra, except for the first violins, who hang on to their high C for an unmeasured length of time. Forward motion resumes with a relentless pounding of eighth notes.[20]

The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener’s attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.

Second movement: Andante con moto

Second movement
 
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The second movement, in A major, the submediant major of the overall C minor key of the symphony, is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda.

The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.[21]

Third movement: Scherzo. Allegro

Third movement
 
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The third movement is in ternary form, consisting of a scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements, containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and a coda. However, while the usual Classical symphonies employed a minuet and trio as their third movement, Beethoven chose to use the newer scherzo and trio form.

The movement returns to the opening key of C minor and begins with the following theme, played by the cellos and double basses: (About this sound listen )

\relative c{ \clef bass \key c \minor \time 3/4 \tempo "Allegro" \partial 4 g(\pp | c ees g | c2 ees4 | d2 fis,4) | g2.~ | g2.}

The opening theme is answered by a contrasting theme played by the winds, and this sequence is repeated. Then the horns loudly announce the main theme of the movement, and the music proceeds from there.

The trio section is in C major and is written in a contrapuntal texture. When the scherzo returns for the final time, it is performed by the strings pizzicato and very quietly.

“The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio … The Scherzo then contrasts this figure with the famous ‘motto’ (3 + 1) from the first movement, which gradually takes command of the whole movement.”[22]

The third movement is also notable for its transition to the fourth movement, widely considered one of the greatest musical transitions of all time.[23]

Fourth movement: Allegro

Fourth movement
 
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The fourth movement begins without pause from the transition. The music resounds in C major, an unusual choice by the composer as a symphony that begins in C minor is expected to finish in that key.[24] In Beethoven’s words:

Many assert that every minor piece must end in the minor. Nego! …Joy follows sorrow, sunshine—rain.[25]

The triumphant and exhilarating finale is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the “horn theme” of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third “dance” movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is unknown whether Beethoven was familiar with this work or not.[citation needed]

The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. In The Classical Style, Charles Rosen suggests that this ending reflects Beethoven’s sense of Classical proportions: the “unbelievably long” pure C major cadence is needed “to ground the extreme tension of [this] immense work.”[26]

It was shown recently that this long chord sequence was a pattern that Beethoven borrowed from the Italian composer Luigi Cherubini, whom Beethoven “esteemed the most” among his contemporary musicians. Spending much of his life in France, Cherubini employed this pattern consistently to close his overtures, which Beethoven knew well. The ending of his famous symphony repeats almost note by note and pause by pause the conclusion of Cherubini’s overture to his opera Eliza, composed in 1794 and presented in Vienna in 1803.[27]

Influences

The 19th century musicologist Gustav Nottebohm first pointed out that the third movement’s theme has the same sequence of intervals as the opening theme of the final movement of Mozart‘s famous Symphony No. 40 in G minor, K. 550. Here is Mozart’s theme: (About this sound listen )

\relative c' { \key g \minor \time 2/2 \tempo "Allegro assai" \partial 4 d4\p( g) bes-. d-. g-. bes2( a4) cis,8\f }

While such resemblances sometimes occur by accident, this is unlikely to be so in the present case. Nottebohm discovered the resemblance when he examined a sketchbook used by Beethoven in composing the Fifth Symphony: here, 29 measures of Mozart’s finale appear, copied out by Beethoven.[28][need quotation to verify]

Lore

Much has been written about the Fifth Symphony in books, scholarly articles, and program notes for live and recorded performances. This section summarizes some themes that commonly appear in this material.

Fate motif

The initial motif of the symphony has sometimes been credited with symbolic significance as a representation of Fate knocking at the door. This idea comes from Beethoven’s secretary and factotum Anton Schindler, who wrote, many years after Beethoven’s death:

The composer himself provided the key to these depths when one day, in this author’s presence, he pointed to the beginning of the first movement and expressed in these words the fundamental idea of his work: “Thus Fate knocks at the door!”[29]

Schindler’s testimony concerning any point of Beethoven’s life is disparaged by experts (he is believed to have forged entries in Beethoven’s conversation books).[30] Moreover, it is often commented that Schindler offered a highly romanticized view of the composer.

There is another tale concerning the same motif; the version given here is from Antony Hopkins‘ description of the symphony.[7] Carl Czerny (Beethoven’s pupil, who premiered the “Emperor” Concerto in Vienna) claimed that “the little pattern of notes had come to [Beethoven] from a yellow-hammer‘s song, heard as he walked in the Prater-park in Vienna.” Hopkins further remarks that “given the choice between a yellow-hammer and Fate-at-the-door, the public has preferred the more dramatic myth, though Czerny’s account is too unlikely to have been invented.”

In his Omnibus television lecture series in 1954, Leonard Bernstein has likened the Fate Motif to the four note coda common to classical symphonies. These notes would terminate the classical symphony as a musical coda, but for Beethoven they become a motif repeating throughout the work for a very different and dramatic effect, he says.[31]

Evaluations of these interpretations tend to be skeptical. “The popular legend that Beethoven intended this grand exordium of the symphony to suggest ‘Fate Knocking at the gate’ is apocryphal; Beethoven’s pupil, Ferdinand Ries, was really author of this would-be poetic exegesis, which Beethoven received very sarcastically when Ries imparted it to him.”[18] Elizabeth Schwarm Glesner remarks that “Beethoven had been known to say nearly anything to relieve himself of questioning pests”; this might be taken to impugn both tales.[32]

Beethoven’s choice of key

The key of the Fifth Symphony, C minor, is commonly regarded as a special key for Beethoven, specifically a “stormy, heroic tonality”.[33] Beethoven wrote a number of works in C minor whose character is broadly similar to that of the Fifth Symphony. Writer Charles Rosen says,

Beethoven in C minor has come to symbolize his artistic character. In every case, it reveals Beethoven as Hero. C minor does not show Beethoven at his most subtle, but it does give him to us in his most extroverted form, where he seems to be most impatient of any compromise.[34]

Repetition of the opening motif throughout the symphony

It is commonly asserted that the opening four-note rhythmic motif (short-short-short-long; see above) is repeated throughout the symphony, unifying it. “It is a rhythmic pattern (dit-dit-dit-dot*) that makes its appearance in each of the other three movements and thus contributes to the overall unity of the symphony” (Doug Briscoe[35]); “a single motif that unifies the entire work” (Peter Gutmann[36]); “the key motif of the entire symphony”;[37] “the rhythm of the famous opening figure … recurs at crucial points in later movements” (Richard Bratby[38]). The New Grove encyclopedia cautiously endorses this view, reporting that “[t]he famous opening motif is to be heard in almost every bar of the first movement—and, allowing for modifications, in the other movements.”[39]

There are several passages in the symphony that have led to this view. For instance, in the third movement the horns play the following solo in which the short-short-short-long pattern occurs repeatedly:

\relative c'' {
\key c \minor
\time 3/4
\set Score.currentBarNumber = #19
\bar ""
\[ g4\ff^"a 2" g g | g2. | \]
g4 g g | g2. |
g4 g g | <es g>2. |
<g bes>4( <f as>) <es g>^^ | <bes f'>2. |
}

In the second movement (at measure 76), an accompanying line plays a similar rhythm (About this sound listen ):

>
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In the finale, Doug Briscoe (cited above) suggests that the motif may be heard in the piccolo part, presumably meaning the following passage (About this sound listen ):

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Later, in the coda of the finale, the bass instruments repeatedly play the following (About this sound listen ):

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On the other hand, some commentators are unimpressed with these resemblances and consider them to be accidental. Antony Hopkins,[7] discussing the theme in the scherzo, says “no musician with an ounce of feeling could confuse [the two rhythms]”, explaining that the scherzo rhythm begins on a strong musical beat whereas the first-movement theme begins on a weak one. Donald Francis Tovey[40] pours scorn on the idea that a rhythmic motif unifies the symphony: “This profound discovery was supposed to reveal an unsuspected unity in the work, but it does not seem to have been carried far enough.” Applied consistently, he continues, the same approach would lead to the conclusion that many other works by Beethoven are also “unified” with this symphony, as the motif appears in the “Appassionata” piano sonata, the Fourth Piano Concerto (About this sound listen ), and in the String Quartet, Op. 74. Tovey concludes, “the simple truth is that Beethoven could not do without just such purely rhythmic figures at this stage of his art.”

To Tovey’s objection can be added the prominence of the short-short-short-long rhythmic figure in earlier works by Beethoven’s older Classical contemporaries Haydn and Mozart. To give just two examples, it is found in Haydn’s “Miracle” Symphony, No. 96) (About this sound listen ) and in Mozart‘s Piano Concerto No. 25, K. 503 (About this sound listen ). Such examples show that “short-short-short-long” rhythms were a regular part of the musical language of the composers of Beethoven’s day.

It seems likely that whether or not Beethoven deliberately, or unconsciously, wove a single rhythmic motif through the Fifth Symphony will (in Hopkins’s words) “remain eternally open to debate.”[7]

Use of La Folia

 
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Beethoven Symphony No. 5 Movement 2, La Folia Variation (measures 166–176)

Folia is a dance form with a distinctive rhythm and harmony, which was used by many composers from the Renaissance well into the 19th and even 20th century, often in the context of a theme and variations.[41] It was used by Beethoven in his Fifth Symphony in the harmony midway through the slow movement (bar 166–177).[42] Although some recent sources mention that the fragment of the Folia theme in Beethoven’s symphony was detected only in the 90s of the last century, Reed J. Hoyt analyzed some Folia-aspects in the oeuvre of Beethoven already in 1982 in his “Letter to the Editor”, in the journal College Music Symposium 21, where he draws attention to the existence of complex archetypal patterns and their relationship.[43]

Trombones and piccolos

While it is commonly stated that the last movement of Beethoven’s Fifth is the first time the trombone and the piccolo were used in a concert symphony, it is not true. The Swedish composer Joachim Nicolas Eggert specified trombones for his Symphony in E major written in 1807,[44] and examples of earlier symphonies with a part for piccolo abound, including Michael Haydn‘s Symphony No. 19 in C major, composed in August 1773.

Textual questions

Third movement repeat

In the autograph score (that is, the original version from Beethoven’s hand), the third movement contains a repeat mark: when the scherzo and trio sections have both been played through, the performers are directed to return to the very beginning and play these two sections again. Then comes a third rendering of the scherzo, this time notated differently for pizzicato strings and transitioning directly to the finale (see description above). Most modern printed editions of the score do not render this repeat mark; and indeed most performances of the symphony render the movement as ABA’ (where A = scherzo, B = trio, and A’ = modified scherzo), in contrast to the ABABA’ of the autograph score.

The repeat mark in the autograph is unlikely to be simply an error on the composer’s part. The ABABA’ scheme for scherzi appears elsewhere in Beethoven, in the Bagatelle for solo piano, Op. 33, No. 7 (1802), and in the Fourth, Sixth, and Seventh Symphonies. However, it is possible that for the Fifth Symphony, Beethoven originally preferred ABABA’, but changed his mind in the course of publication in favor of ABA’.

Since Beethoven’s day, published editions of the symphony have always printed ABA’. However, in 1978 an edition specifying ABABA’ was prepared by Peter Gülke and published by Peters. In 1999, yet another edition by Jonathan Del Mar was published by Bärenreiter[45][46] which advocates a return to ABA’. In the accompanying book of commentary,[47] Del Mar defends in depth the view that ABA’ represents Beethoven’s final intention; in other words, that conventional wisdom was right all along.

In concert performances, ABA’ prevailed until fairly recent times. However, since the appearance of the Gülke edition conductors have felt more free to exercise their own choice. The conductor Caroline Brown, in notes to her recorded ABABA’ performance with the Hanover Band (Nimbus Records, #5007), writes:

Re-establishing the repeat certainly alters the structural emphasis normally apparent in this Symphony. It makes the scherzo less of a transitional make-weight, and, by allowing the listener more time to become involved with the main thematic motif of the scherzo, the side-ways step into the bridge passage leading to the finale seems all the more unexpected and extraordinary in its intensity.

Performances with ABABA’ seem to be particularly favored by conductors who specialize in authentic performance (that is, using instruments of the kind employed in Beethoven’s day). These include Brown, as well as Christopher Hogwood, John Eliot Gardiner, and Nikolaus Harnoncourt. ABABA’ performances on modern instruments have also been recorded by the New Philharmonia Orchestra under Pierre Boulez, the Tonhalle Orchester Zurich under David Zinman, and the Berlin Philharmonic Orchestra under Claudio Abbado.

In the first movement, the passage that introduces the second subject of the exposition is assigned by Beethoven as a solo to the pair of horns.

\relative c'' {
\key c \minor
\time 2/4
r8 bes[\ff^"a 2" bes bes] | es,2\sf | f\sf | bes,\sf |
}

At this location, the theme is played in the key of E major. When the same theme is repeated later on in the recapitulation section, it is given in the key of C major. Antony Hopkins wrote,[7] “this … presented a problem to Beethoven, for the horns [of his day], severely limited in the notes they could actually play before the invention of valves, were unable to play the phrase in the ‘new’ key of C major—at least not without stopping the bell with the hand and thus muffling the tone. Beethoven therefore had to give the theme to a pair of bassoons, who, high in their compass, were bound to seem a less than adequate substitute. In modern performances the heroic implications of the original thought are regarded as more worthy of preservation than the secondary matter of scoring; the phrase is invariably played by horns, to whose mechanical abilities it can now safely be trusted.”

In fact, even before Hopkins wrote this passage (1981), some conductors had experimented with preserving Beethoven’s original scoring for bassoons. This can be heard on many performances including those conducted by Caroline Brown mentioned in the preceding section as well as in a recent recording by Simon Rattle with the Vienna Philharmonic. Although horns capable of playing the passage in C major were developed not long after the premiere of the Fifth Symphony (according to this source, 1814), it is not known whether Beethoven would have wanted to substitute modern horns, or keep the bassoons, in the crucial passage.

There are strong arguments in favor of keeping the original scoring even when modern valve horns are available. The structure of the movement posits a programatic alteration of light and darkness, represented by major and minor. Within this framework, the topically heroic transitional theme dispels the darkness of the minor first theme group and ushers in the major second theme group. However, in the development section, Beethoven systematically fragments and dismembers this heroic theme in bars 180–210. Thus he may have rescored its return in the recapitulation for a weaker sound to foreshadow the essential expositional closure in minor. Moreover, the horns used in the fourth movement are natural horns in C, which can easily play this passage. If Beethoven had wanted the second theme in the horns, he could have had the horns resting for the previous bars to give them time to switch instruments, and then written “muta in c,” similar to his “muta in f” instruction in measure 412 of the first movement of Symphony No. 3.

BRITTEN_Suite on English Folk Tunes (A Time There Was)


BRITTEN_Suite on English Folk Tunes (A Time There Was)

 

Saint of the Day for Saturday, January 9th, 2016: St. Adrian, Abbot


Image of St. Adrian, Abbot

St. Adrian, Abbot

Born in Africa, Adrian became abbot of the monastery at Nerida, near Naples. He declined an appointment as archbishop of Canterbury, but accompanied St. Theodore to England when the latter was … continue reading

More Saints of the Day

 

this day in the yesteryear: Martyrs’ Day: Riots over Sovereignty of Panama Canal Zone (1964)


Martyrs’ Day: Riots over Sovereignty of Panama Canal Zone (1964)

Martyrs’ Day is a Panamanian holiday commemorating the 1964 riots that began after a Panamanian flag was torn in a conflict between Panamanian and Canal Zone students over the right of the Panamanian flag to be flown alongside the US flag. US Army units became involved in suppressing the violence, and 4 soldiers and more than 20 Panamanians were killed. The incident contributed to the US decision to transfer control of the Canal Zone to Panama. When was full control of the canal given to Panama? More… Discuss

The Rabbit-Proof Fence


The Rabbit-Proof Fence

When Thomas Austin released 24 rabbits onto his Australian farm in 1859, he was unaware of the damage they would cause to the Australian ecosystem. Within 35 years, the rabbits, which had no natural predators in Australia, spread throughout the mainland and destroyed millions of acres of farmland. In 1901, construction began on a fence that would traverse Western Australia from north to south and was intended to contain the rabbits east of the barrier. What animal was used to inspect the fence? More… Discuss

this pressed: How Much Could Obama’s Gun Moves Affect Gun Violence? Nobody Knows. – ProPublica


The executive actions on guns unveiled yesterday by President Obama drew predictable praise from gun control advocates and bile from gun-rights supporters and Republican lawmakers, including some who called his actions “unconstitutional.”But, as some have noted, the actions themselves are extremely modest, raising questions about how much they will really do to stem gun violence.Obama’s most significant step is an attempt to expand the number of gun sellers who conduct background checks on buyers. To do this, he is not changing the requirements for who is required to conduct a background check and who is not. Instead, he is giving a very high level of publicity to new “guidance” from the Bureau of Alcohol, Tobacco, Firearms and Explosives that simply explains what the current law is.Under federal law, licensed firearm dealers have to comply with a set of regulations, including conducting background checks on prospective purchasers to make sure they are not prohibited from owning a gun because of a criminal record or other disqualifying factor. More occasional sellers of guns—one private individual selling to another private individual—do not have to follow these rules.For decades, gun control advocates have decried this gaping loophole in the nation’s federal background check law. After a mass shooting at Sandy Hook Elementary School in December 2012, Congressional Democrats tried and failed to close this loophole by passing legislation to require background checks on more gun sales.Obama is now approaching the problem from a different angle: He is focusing on gun sellers who may be operating in a gray area between being an occasional seller and a licensed dealer.According to the ATF, its new guidance breaks down how federal courts have interpreted the somewhat fuzzy line between occasional gun sellers, who are not required to conduct background checks, and people who are “engaged in the business” of selling firearms, who must have a federal license, conduct background checks, and comply with other federal regulations on dealers.A father selling off part of his personal collection of high-end firearms to finance his son’s college education does not need a federal firearms license, the ATF explained. But a man who lost his job and is now “buying firearms from friends and reselling them though an internet site” does need a license.Experts say there’s some indication that gun sellers operating in this gray area are a problem, and that they play a role in supplying guns to people with criminal records.Daniel Webster, the director of the Johns Hopkins Center for Gun Policy and Research, said sellers whose livelihoods don’t depend on gun sales may exercise prudence beyond what’s required by law when making transactions. When he conducted focus groups with gun owners in Texas, he said, many said they would not sell a gun without voluntarily checking whether a potential buyer had a state-issued permit to carry a concealed weapon, so they could be sure they were selling to a person who could legally own a gun.But private sellers who are trying to make a profit may be less scrupulous about whether the person who is buying their gun could pass a background check, Webster said.“If you are, on a regular basis, buying and selling a whole lot of guns and are doing that to make money, I think that probably clouds judgment,” he said.Webster cited a November 2015 study by the gun control group Everytownfor Gun Safety, which analyzed a year’s worth of ads posted by unlicensed sellers on Armslist.com, an online gun marketplace. The report found that a small proportion of unlicensed sellers were selling a very large number of guns on the site: “Those offering 25 or more guns accounted for 1 in 500 sellers but offered 1 in 20 guns,” the report found. These private, high-volume sellers should be required to be licensed, the report concluded.It’s not clear how the findings of this one study might reflect the larger online marketplace for guns—or the broader patterns of offline unlicensed sales.“The bottom line: we don’t know how big this is, but we have enough evidence to know that thousands of guns are being sold by individuals who are selling a lot of guns in fairly risky kinds of ways,” Webster said.The Everytown report also concluded that the vague legal definition of who should be a licensed gun seller had undermined efforts to prosecute people for dealing in firearms without a license.Webster said it would be interesting to see if the White House’s attempt to clarify the law resulted in more cases targeting people for selling guns without a license. “Time will tell,” he said, noting that simply putting a spotlight on these sellers should also have “some deterrent effect.”Even if the president succeeds in shrinking this gray area of the gun market, it’s not clear what effect that might have on gun violence overall.Phil Cook, a Duke University gun policy expert, was one of the researchers who recently surveyed 99 inmates at th

Source: How Much Could Obama’s Gun Moves Affect Gun Violence? Nobody Knows. – ProPublica

historic musical bits: Dinu Lipatti plays Liszt Concerto No. 1 in E flat Orchestre de la Suisse Romande Ernest Ansermet, rec. 1947


Dinu Lipatti plays Liszt Concerto No. 1 in E flat Orchestre de la Suisse Romande
Ernest Ansermet
rec. 1947

 
 
 
 
 

great compositions/performances: Beethoven Piano Sonata No. 15, in D major, Op. 28, – Artur Schnabel


Beethoven Piano Sonata No. 15 in D major Op. 28 – Artur Schnabel

great compositions/performances: P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” (Fedoseyev),1991


P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” (Fedoseyev)

today’s holiday: Twelfth Night


Twelfth Night

In England, the evening before the Epiphany is called Epiphany Eve, or Twelfth Night, and it traditionally marks the end of the Christmas season. Celebrations reflect ancient Winter Solstice rites encouraging the rebirth of the New Year and also the Magi‘s visit to the Christ child. Pageants held on this night typically include masked figures, costumed musicians, and traditional dances. Customarily, the Twelfth Night cake is sliced and served, and the man who gets the hidden bean and the woman the pea are the king and queen for the festivities. More… Discuss

Quotation: Wine is a turncoat; first a friend and then an enemy. Henry Fielding (1707-1754)


Wine is a turncoat; first a friend and then an enemy.

Henry Fielding (1707-1754) Discuss

today’s birthday: Alvin Ailey, Jr. (1931)


Alvin Ailey, Jr. (1931)

American choreographer and dancer Alvin Ailey, Jr., formed his own company, the American Dance Theater—now called the Alvin Ailey American Dance Theater—in 1958. Multiracial since 1963, Ailey’s dance company has been internationally acclaimed and has brought recognition to many African-American and Asian dancers. His works, influenced by jazz, Afro-Caribbean, and modern dance, explore a wide range of black experience, from gospel music to social inequality. What is his most popular work? More… Discuss

this day in the yesteryear: Louis XV of France Survives Assassination Attempt (1757)


Louis XV of France Survives Assassination Attempt (1757)

Louis XV was king of France from 1715 to 1774. An orphan from age three, Louis succeeded to the throne upon the death of his great-grandfather Louis XIV, under the regency of the duke of Orléans. In 1757, the unpopular king was stabbed in the side by Robert Damiens. Convinced he was dying, Louis called for a confessor and begged his wife to forgive his infidelities. The small blade had, however, done little damage, and the king survived. How did Voltaire mock the king’s allegedly shallow wound? More… Discuss

word: pirogue


pirogue

Definition: (noun) A canoe made from a hollowed tree trunk.
Synonyms: dugout canoe, dugout
Usage: Then I’ll take you some night in the pirogue when the moon shines. Discuss.

The Air France Robbery


The Air France Robbery

In the 1960s, Air France was used to transport American money exchanged in France back to the US. Once the currency reached New York’s JFK International Airport, it was locked in a secure strong room. In 1967, 23-year-old mobster Henry Hill orchestrated an audacious robbery of the Air France cargo terminal. Using a copy of the strong room key, Hill and his associates quietly stole $420,000. They raised no alarm and were never prosecuted for the crime. How did Hill procure the copied key? More… Discuss

great compositions/performances: Gustav Holst – The Planets, Op. 32


Gustav Holst – The Planets, Op. 32