Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
Robert Schumann Kinderszenen, op. 15
Radu Lupu , January 1993
Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən]; original spelling Kinderscenen, “Scenes from Childhood”), Opus 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838. In this work, Schumann provides us with his adult reminiscences of childhood. Schumann had originally written 30 movements for this work, but chose 13 for the final version. Robert Polansky has discussed the unused movements.
Nr. 7, Träumerei, is one of Schumann’s best known pieces; it was the title of a 1944 German biographical film on Robert Schumann. Träumerei is also the opening and closing musical theme in the 1947 Hollywood film Song of Love, starring Katharine Hepburn as Clara Wieck Schumann.
Schumann had originally labeled this work Leichte Stücke (Easy Pieces). Likewise, the section titles were only added after the completion of the music, and Schumann described the titles as “nothing more than delicate hints for execution and interpretation”. Timothy Taylor has discussed Schumann’s choice of titles for this work in the context of the changing situation of music in 19th century culture and economics.
The pallium (derived from the Roman pallium or palla, a woolen cloak; pl.: pallia or palliums) is an ecclesiastical vestment in the Catholic Church, originally peculiar to the pope, but for many centuries bestowed by him on metropolitans and primates as a symbol of the jurisdiction delegated to them by the Holy See. In that context it has remained connected to the papacy.
The pallium, in its present Western form, is a narrow band, “three fingers broad”, woven of white lamb’s wool from sheep raised by Trappist monks, with a loop in the centre resting on the shoulders over the chasuble and two dependent lappets, before and behind; so that when seen from front or back the ornament resembles the letter Y. It is decorated with six black crosses, one on each tail and four on the loop, is doubled on the left shoulder and sometimes is garnished, back and front, with three jeweled gold pins. The two latter characteristics seem to be survivals of the time when the Roman pallium was a simple scarf doubled and pinned on the left shoulder.
In origin, the pallium and the omophor are the same vestment. The omophor is a wide band of cloth, much larger than the modern pallium, worn by all Eastern Orthodox bishops and Eastern Catholic bishops of the Byzantine Rite. The theory that explains its origin in connection with the figure of the Good Shepherd carrying the lamb on his shoulders, so common in early Christian art, may be an explanation a posteriori. The ceremonial connected with the preparation of the pallium and its bestowal upon the pope at his coronation, however, suggests some such symbolism. The lambs whose wool is destined for the making of the pallia are solemnly presented at the altar by the nuns of the convent of Saint Agnes. The Benedictine nuns of Santa Cecilia in Trastevere later weave the lambs’ wool into pallia.
By Elise Harris
Vatican City, May 19, 2015 / 10:15 am (CNA/EWTN News).-
Vatican spokesman Fr. Federico Lombardi has said that Bl. Mother Teresa of Calcutta could be canonized during the upcoming Jubilee for Mercy, although he clarified that no concrete plans have been made.
Fr. Lombardi told CNA May 19 that the possible canonization of Mother Teresa during the Holy Year is “a working hypothesis.”
“There is no official date but you can say that the Congregation for the Causes of Saints is studying the cause.”
When asked if there was a second miracle attributed to the nun’s intercession, the spokesman said, “The cause is in the process.”
An Italian cardinal heading one of the Vatican dicasteries who preferred to remain anonymous told CNA May 19 that the canonization was brought up during a Monday meeting between Pope Francis and the heads of various dicasteries in the Roman Curia.
According to the cardinal, the Vatican’s prefect of the Congregation of the Causes for Saints, Cardinal Angelo Amato, suggested Sept. 4, 2016 – which is being observed as a jubilee day for workers and volunteers of mercy – to the others as a possible canonization date, since it is close to Sept. 5, the nun’s feast day
Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik
Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
From Wikipedia, the free encyclopedia
The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.
Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.
In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.
The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.
After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).
The piece, as marked in the score, is in three movements:
There is no break between these last two movements (attacca subito).
Schumann preferred that the movements be listed in concert programs as only two movements:
The three movement listing is the more common form used.
The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.
This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.
The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.
From Wikipedia, the free encyclopediaPepe Romero (born March 8, 1944 in Málaga, Spain) is a world-renowned classical and flamenco guitarist. He is particularly famous for his outstanding technique and colorful musical interpretations on the instrument.
Pepe Romero in 2000
|Born||March 8, 1944
|Genres||Classical music, flamenco|
|Years active||fl. ca. 1959 – present|
|Associated acts||The Romero Guitar Quartet|
As a soloist Pepe Romero has appeared in the United States, Canada, Europe, China, and many countries around the world with the Toronto, Philadelphia, Cleveland, Chicago, Houston, Pittsburgh, Boston, San Francisco and Dallas Symphony Orchestras, as well as with the Orpheus Chamber Orchestra, the New York, Bogota and Los Angeles Philharmonic Orchestras, the Boston Pops Orchestra, the Hong Kong Sinfonietta and the London Symphony Orchestra, the Academy of St. Martin-in-the-Fields, the Monte Carlo Philharmonic Orchestra, I Musici, the Zurich Chamber Orchestra, Philharmonia Hungarica, the Hungarian State Orchestra, the Spanish National Orchestra, the Spanish National Radio/Television Orchestra, L’Orchestre de la Suisse Romande, The New Moscow Chamber Orchestra, the Springfiled Orchestra, the Lausanne Chamber Orchestra, the American Sinfonietta and the Bournemouth Symphony. He has been a special guest at the festivals of Salzburg, Israel, Schleswig-Holstein, Menuhin, Osaka, Granada, Istanbul, Ravinia, Garden State, Hollywood Bowl, Blossom, Wolf Trap, Saratoga and Hong Kong.
Since his first recording (at the age of 15) he has recorded over 50 solo albums and 30 albums as part of the famed guitar quartet The Romeros. He has played for Presidents Carter and Nixon, the Queen of the Netherlands, the Prince of Wales and Pope John Paul II. He has numerous international recording awards to his credit and has received an Honorary Doctorate in Music from University of Victoria.
His contributions to the field of classical guitar have inspired a number of distinguished composers to write works specifically for him, including Joaquín Rodrigo, Federico Moreno Torroba, Rev. Francisco de Madina, Lorenzo Palomo, Michael Zearott, Enrique Diemecke, and Celedonio Romero.
Pepe Romero is the second son of Celedonio Romero, who was his only guitar teacher. His first professional appearance was in a shared concert with his father when Pepe was only seven years old. In 1957 Celedonio Romero left Franco‘s Spain for the United States with his family.
On February 11, 2000, King Juan Carlos I of Spain knighted Pepe Romero and his brothers, Celin and Ángel, into the Order of “Isabel la Catolica.” The official ceremony of this high honor took place at the USC Thornton School of Music, and included a gala performance by The Romeros with the Thornton Chamber Orchestra. He is currently Adjunct Professor of Classical Guitar at the Thornton School, where he was named “Distinguished Artist in Residence” in 2004.
Although originally a classical guitarist, he is talented in Flamenco and a popular Flamenco performer. His most famous Flamenco-only album is called ¡Flamenco Fenómeno!
1915 Armenian Massacre Now Called a Genocide by Germany
Added by Alex Lemieux on April 20, 2015.
Saved under Breaking News!, Germany, World
Tags: 1915 Armenian Massacre
1915 Armenian Massacre
Germany has now reversed its stance to use the term “genocide” to describe the 1915 Armenian massacre when around 1.5 million Armenians were slaughtered by Ottoman Turkish forces. The major reversal is crucial due to the fact that Germany is Turkey’s top European Union trading partner. Germany comes after France, Pope Francis, and the European parliament to condemn the violence.
Germany has resisted using the term of genocide even though other European nations have. Though, the government has come under scrutiny from officials to use the word in a resolution. Steffen Seibert, a spokesman for Chancellor Angela Merkel, stated Germany would support a parliamentary resolution, declaring the 1915 Armenian massacre an example of genocide.
Turkey’s government currently denies that the slaughters constituted genocide. Officials stated there was no organized nation campaign to kill off Armenians and no such other orders from the Ottoman Empire. The word Genocide has not been used by any other nations to avoid upsetting Turkey and trading negotiations.
Originally, the German government refused to use the term due to some concerns of the Herero massacres done in 1904 and 1905 by German forces. This lead to reparation demands in what is now Namibia.
By Alex Lemieux
The Daily Mail
Photo by Luke Ma – Flickr License
From Wikipedia, the free encyclopedia
The Cello Sonata is a late work by the French composer Claude Debussy. It was the first of a planned series of ‘Six sonates pour divers instruments’, however Debussy only completed two others, the sonata for violin and the sonata for flute, viola and harp. The sonata for cello and piano was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.
It is divided into three short movements:
The two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin.
The piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy’s style. It also utilises many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. Not surprisingly, the piece is considered technically demanding.
The Gutenberg Bible (also known as the 42-line Bible, the Mazarin Bible or the B42) was the first major book printed in the West using movable type. It marked the start of the “Gutenberg Revolution” and the age of the printed book in the West. Widely praised for its high aesthetic and artistic qualities, the book has an iconic status. Written in Latin, the Gutenberg Bible is an edition of the Vulgate, printed by Johannes Gutenberg, in Mainz, in present-day Germany, in the 1450s. Forty-eight copies, or substantial portions of copies, survive, and they are considered to be among the most valuable books in the world, even though no complete copy has been sold since 1978. The 36-line Bible, believed to be the second printed version of the Bible, is also sometimes referred to as a Gutenberg Bible, but is likely the work of another printer.
“All that has been written to me about that marvelous man seen at Frankfurt [sic] is true. I have not seen complete Bibles but only a number of quires of various books of the Bible. The script was very neat and legible, not at all difficult to follow—your grace would be able to read it without effort, and indeed without glasses.”
The Bible was not Gutenberg’s first work. Preparation of it probably began soon after 1450, and the first finished copies were available in 1454 or 1455. It is not known exactly how long the Bible took to print. The first precisely datable printing is the Gutenberg’s 31-line Indulgence which is known to already exist on 22 October 1454.
Gutenberg made three significant changes during the printing process. The first sheets were rubricated by being passed twice through the printing press, using black and then red ink. This was soon abandoned, with spaces being left for rubrication to be added by hand.
Some time later, after more sheets had been printed, the number of lines per page was increased from 40 to 42, presumably to save paper. Therefore, pages 1 to 9 and pages 256 to 265, presumably the first ones printed, have 40 lines each. Page 10 has 41, and from there on the 42 lines appear. The increase in line number was achieved by decreasing the interline spacing, rather than increasing the printed area of the page.
Finally, the print run was increased, necessitating resetting those pages which had already been printed. The new sheets were all reset to 42 lines per page. Consequently, there are two distinct settings in folios 1-32 and 129-158 of volume I and folios 1-16 and 162 of volume II.
The most reliable information about the Bible’s date comes from a letter. In March 1455, the future Pope Pius II wrote that he had seen pages from the Gutenberg Bible, being displayed to promote the edition, in Frankfurt. It is not known how many copies were printed, with the 1455 letter citing sources for both 158 and 180 copies. Scholars today think that examination of surviving copies suggests that somewhere between 160 and 185 copies were printed, with about three-quarters on paper.  However, some books say that about 180 copies were printed and it took about three years to produce them.
In a legal paper, written after completion of the Bible, Gutenberg refers to the process as “Das Werk der Bücher”: the work of the books. He had invented the printing press and was the first European to print with movable type. But his greatest achievement was arguably demonstrating that the whole process of printing actually produced books.
Many book-lovers have commented on the high standards achieved in the production of the Gutenberg Bible, some describing it as one of the most beautiful books ever printed. The quality of both the ink and other materials and the printing itself have been noted.
The paper size is ‘double folio’, with two pages printed on each side (four pages per sheet). After printing the paper was folded once to the size of a single page. Typically, five of these folded sheets (10 leaves, or 20 printed pages) were combined to a single physical section, called a quinternion, that could then be bound into a book. Some sections, however, had as few as 4 leaves or as many as 12 leaves. Some sections may have been printed in a larger number, especially those printed later in the publishing process, and sold unbound. The pages were not numbered. The technique was not new, since it had been used to make blank “white-paper” books to be written afterwards. What was new was determining beforehand the correct placement and orientation of each page on the five sheets to result in the correct sequence when bound. The technique for locating the printed area correctly on each page was also new.
The folio size, 307 x 445 mm, has the ratio of 1.45:1. The printed area had the same ratio, and was shifted out of the middle to leave a 2:1 white margin, both horizontally and vertically. Historian John Man writes that the ratio was chosen to be close to the golden ratio of 1.61:1. To reach this ratio more closely the vertical size should be 338 mm, but there is no reason why Gutenberg would let this non-trivial difference of 8 mm go by in a work so detailed in other aspects.
A single complete copy of the Gutenberg Bible has 1,286 pages (usually bound in two volumes); with 4 pages per folio-sheet, 322 sheets of paper are required per copy. The handmade paper used by Gutenberg was of fine quality and was imported from Italy. Each sheet contains a watermark left by the papermold.
In Gutenberg’s time, inks used by scribes to produce manuscripts were water-based. Gutenberg developed an oil-based ink that would better adhere to his metal type. His ink was primarily carbon, but also had a high metallic content, with copper, lead, and titanium predominating. Head of collections at the British Library Dr Kristian Jensen described it thus:” if you look (at the pages of The Gutenberg Bible) closely you will see this is a very shiny surface. When you write you use a water based ink, you put your pen into it and it runs off. Now if you print that’s exactly what you don’t want. One of Gutenberg’s inventions was an ink which wasn’t ink, it’s a varnish. So what we call printer’s ink is actually a varnish, and that means it sticks to its surface.” 
The first part of the Gutenberg idea was using a single, hand-carved character to create identical copies of itself. Cutting a single letter could take a craftsman a day of work. A single page taking 2500 letters made this way was impractical. A less labour-intensive method of reproduction was needed. Copies were produced by stamping the original into an iron plate, called a matrix. A rectangular tube was then connected to the matrix, creating a container in which molten type metal could be poured. Once cooled, the solid metal form was released from the tube. The fundamental innovation is that this matrix can be used to produce many duplicates of the same letter. The result of each molding was a rectangular block of metal with the form of the desired character protruding from the end. This piece of type could be put in a line, facing up, with other pieces of type. These lines were arranged to form blocks of text, which could be inked and pressed against paper, transferring the desired text to the paper.
Each unique character requires a master piece of type in order to be replicated. Given that each letter has uppercase and lowercase forms, and the number of various punctuation marks and ligatures (e.g. the sequence ‘fi’ combined in one character, commonly used in writing) the Gutenberg Bible needed a set of 290 master characters. It seems probable that six pages, containing 15600 characters altogether, would be set at any one moment.
The Gutenberg Bible is printed in the blackletter type styles that would become known as Textualis (Textura) and Schwabacher. The name texture refers to the texture of the printed page: straight vertical strokes combined with horizontal lines, giving the impression of a woven structure. Gutenberg already used the technique of justification, that is, creating a vertical, not indented, alignment at the left and right-hand sides of the column. To do this, he used various methods, including using characters of narrower widths, adding extra spaces around punctuation, and varying the widths of spaces around words. On top of this, he subsequently let punctuation marks go beyond that vertical line, called Hanging punctuation, thereby using the massive black characters to make this justification stronger to the eye.
Copies left the Gutenberg workshop unbound, without decoration, and for the most part without rubrication.
Initially the rubrics — the headings before each book of the Bible — were printed, but this experiment was quickly abandoned, and gaps were left for rubrication to be added by hand. A guide of the text to be added to each page, printed for use by rubricators, survives.
The spacious margin allowed illuminated decoration to be added by hand. The amount of decoration presumably depended on how much each buyer could or would pay. Some copies were never decorated. The place of decoration can be known or inferred for about 30 of the surviving copies. Perhaps 13 of these received their decoration in Mainz, but others were worked on as far away as London. The vellum Bibles were more expensive and perhaps for this reason tend to be more highly decorated, although the vellum copy in the British Library is completely undecorated. There has been speculation that the Master of the Playing Cards was partly responsible for the illumination of the Princeton copy, though all that can be said for certain is that the same model book was used for some of the illustrations in this copy and for some of the Master’s playing cards.
Although many Gutenberg Bibles have been rebound over the years, nine copies retain fifteenth-century bindings. Most of these copies were bound in either Mainz or Erfurt. Most copies were divided into two volumes, the first volume ending with The Book of Psalms. Copies on vellum were heavier and for this reason were sometimes bound in three or four volumes.
The Bible seems to have sold out immediately, with initial sales to owners as far away as England and possibly Sweden and Hungary. At least some copies are known to have sold for 30 florins – about three years wages for a clerk. Although this made them significantly cheaper than manuscript Bibles, most students, priests or other people of ordinary income would have been unable to afford them. It is assumed that most were sold to monasteries, universities and particularly wealthy individuals. At present only one copy is known to have been privately owned in the fifteenth century. Some are known to have been used for communal readings in monastery refectories; others may have been for display rather than use, and a few were certainly used for study. Kristian Jensen suggests that many copies were bought by wealthy and pious laypeople for donation to religious institutions.
The Gutenberg Bible had a profound effect on the history of the printed book. Textually, it also had an influence on future editions of the Bible. It provided the model for several later editions, including the 36 Line Bible, Mentelin’s Latin Bible, and the first and third Eggestein Bibles. The third Eggestein Bible was set from the copy of the Gutenberg Bible now in Cambridge University Library. The Gutenberg Bible also had an influence on the Clementine edition of the Vulgate commissioned by the Papacy in the late sixteenth century.
Dr. Niels Henry Sonne, the Head Librarian, said, “A notable possession of the General Theological Seminary Library is a complete and excellent copy of the Gutenberg Bible.” The copy of the Gutenberg Bible held by the General Theological Seminary Library, was found to have a forged leaf. The forged leaf was discovered by Mr. Joseph Martini, a New York book dealer. The leaf carried part of Chapter 14, all of Chapter 15, and part of Chapter 16 of the Book of Ezekiel. It was impossible to tell when the forged leaf had been inserted into the volume. In the fall of 1953, a generous friend of the Seminary gave a copy of the missing leaf to the General Theological Seminary Library, “…and the Seminary’s great Bible became the first imperfect Gutenberg Bible ever restored to completeness. The substitute leaf was taken from a defective copy of volume two, which was being broken up for sale in parts and leaves.”
As of 2009, forty-eight 42-line Bibles are known to exist, but of these only 21 are complete. Others have leaves or even whole volumes missing. In addition, there are a substantial number of fragments, some as small as individual leaves, which are likely to represent about another 16 copies. Many of these fragments have survived because they were used as part of the binding of later books. There are twelve surviving copies on vellum, although only four of these are complete and one is of the New Testament only.
Copy numbers listed below are as found in the Incunabula Short Title Catalogue, taken from a 1985 survey of existing copies by Ilona Hubay; the two copies in Russia were not known to exist in 1985, and so were not catalogued.
|Austria (1)||Austrian National Library, Vienna||27||complete||paper||Online images (German)|
|Belgium (1)||Library of the University of Mons-Hainaut, Mons||1||incomplete||paper||Vol. I. Part of the same copy as the volume in Indiana (see below)|
|Denmark (1)||Danish Royal Library, Copenhagen||12||incomplete||paper||Vol. II|
|France (4)||Bibliothèque nationale de France, Paris||15||complete||vellum|
|17||incomplete||paper||Contains note by binder dating it to 24 August 1456|
|Bibliothèque Mazarine, Paris||16||complete||paper|
|Bibliothèque Municipale, Saint-Omer||18||incomplete||paper|
|Germany (13)||Gutenberg Museum, Mainz||8||incomplete||paper||One copy is vol. I; the other both vols. It is unclear which is which.
Online images of the 2 volume copy (German)
|Landesbibliothek, Fulda||4||incomplete||vellum||Vol. I. Two individual leaves from Vol. II survive in other libraries.|
|Leipzig University Library, Leipzig||14||incomplete||vellum|
|Göttingen State and University Library, Göttingen||2||complete||vellum||Online images|
|Berlin State Library, Berlin||3||incomplete||vellum|
|Bavarian State Library, Munich||5||complete||paper||Online images of vol. 1 vol. 2 (German)|
|Frankfurt University Library, Frankfurt am Main||6||complete||paper|
|Württembergische Landesbibliothek, Stuttgart||10||incomplete||paper||Online images Purchased in April 1978 for 2.2 million US dollars (ex General Theological Seminary)|
|Stadtbibliothek, Trier||11||incomplete||paper||Vol. I|
|Landesbibliothek, Kassel||12||incomplete||paper||Vol. I|
|Gottorf Castle, Schleswig||–||incomplete||paper||The Rendsburg Fragment|
|Japan (1)||Keio University Library, Tokyo||45||incomplete||paper||Vol. I, Purchased in October 1987 for 4.9 million (plus an auction house commission of $490,000) for a total of 5.4 million US dollars
|Poland (1)||Biblioteka Seminarium Duchownego, Pelpin||28||incomplete||paper||Online images of vol. 1 vol. 2 (Polish)|
|Portugal (1)||Biblioteca Nacional de Portugal, Lisbon||29||complete||paper|
|Russia (2)||Russian State Library, Moscow||–||incomplete||vellum||Confiscated in 1945 from the Deutsches Buch- und Schriftmuseum, Leipzig|
|Moscow State University, Moscow||–||complete||paper||Confiscated in 1945 from the Library of the University of Leipzig|
|Spain (2)||Biblioteca Universitaria y Provincial, Seville||32||incomplete||paper||New Testament only
Online images (Spanish)
|Biblioteca Pública Provincial, Burgos||31||complete||paper|
|Switzerland (1)||Bodmer Library, Cologny||30||incomplete||paper|
|United Kingdom (8)||British Library, London||?||complete||vellum||Online images|
|National Library of Scotland, Edinburgh||26||complete||paper||Online images|
|Lambeth Palace Library, London||20||incomplete||vellum||New Testament only|
|Eton College Library, Eton College||23||complete||paper|
|John Rylands Library, Manchester||25||complete||paper||Online images of 11 pages|
|Bodleian Library, Oxford||24||complete||paper||High Resolution Online images|
|Cambridge University Library, Cambridge||22||complete||paper||Online images of vol. 1; vol. 2|
|United States (11)||The Morgan Library & Museum, New York||37||incomplete||vellum||PML 13 & PML 818|
|44||incomplete||paper||PML 1. Old Testament only
|Library of Congress, Washington DC||35||complete||vellum||Online images|
|New York Public Library||42||incomplete||paper|
|Widener Library, Harvard University||40||complete||paper|
|Beinecke Library, Yale University||41||complete||paper|
|Scheide Library, Princeton University||43||paper||Online images|
|Lilly Library, Indiana University||46||incomplete||paper||New Testament only. Part of the same copy as the volume in Mons (see above).
|Henry E. Huntington Library, San Marino, CA||36||complete||vellum|
|Harry Ransom Humanities Research Center, University of Texas at Austin||39||complete||paper||Purchased in 1978 for 2.4 million US dollars.
|Vatican City (2)||Vatican Library||33||incomplete||vellum|
Today, few copies remain in religious institutions, with most now owned by university libraries and other major scholarly institutions. After centuries in which all copies seem to have remained in Europe, the first Gutenberg Bible reached North America in 1847. It is now in the New York Public Library. In the last hundred years, several long-lost copies have come to light, considerably improving the understanding of how the Bible was produced and distributed. The only copy held outside Europe or North America is the first volume of a Gutenberg Bible (Hubay 45) at Keio University in Tokyo. The HUMI Project team at Keio University is known for its high-quality digital images of Gutenberg Bibles and other rare books.
In 1921 a New York rare book dealer, Gabriel Wells, bought a damaged paper copy, dismantled the book and sold sections and individual leaves to book collectors and libraries. The leaves were sold in a portfolio case with an essay written by A. Edward Newton, and were referred to as “Noble Fragments”. In 1953 Charles Scribner’s Sons, also book dealers in New York, dismembered a paper copy of volume II. The largest portion of this, the New Testament, is now owned by Indiana University. The matching first volume of this copy was subsequently discovered in Mons, Belgium.
The last sale of a complete Gutenberg Bible took place in 1978. It fetched $2.2 million. This copy is now in Stuttgart. The price of a complete copy today is estimated at $25−35 million. Individual leaves now sell for $20,000–$100,000, depending upon condition and the desirability of the page.
A two-volume edition of the Gutenberg Bible was stolen from Moscow State University in 2009 and subsequently recovered in a FSB sting operation in 2013. This particular copy had been looted by the Soviet Army after World War II from the Deutsches Buch- und Schriftmuseum, Leipzig, Germany, and is estimated to be worth in excess of $20.4 million.
|Wikimedia Commons has media related to Gutenberg Bible.|
The Unanswered Question is a musical work by American composer Charles Ives. Originally paired with Central Park in the Dark as Two Contemplations in 1908,[a] The Unanswered Question was revived by Ives in 1930–1935. As with many of Ives’ works, it was largely unknown until much later in his life, and was not performed until 1946.
Against a background of slow, quiet strings representing “The Silence of the Druids“, a solo trumpet poses “The Perennial Question of Existence”, to which a woodwind quartet of “Fighting Answerers” tries vainly to provide an answer, growing more frustrated and dissonant until they give up. The three groups of instruments perform in independent tempos and are placed separately on the stage—the strings offstage.
The Unanswered Question is scored for three groups: a string ensemble, a solo trumpet, and a woodwind quartet. The groups’ play in independent tempos and are placed in such a way that they might not be able to see each other; the strings play offstage.
Ives provided a short text by which to interpret the work, giving it a narrative as in program music. Throughout the piece the strings sustain slow tonal triads that, according to Ives, represent “The Silence of the Druids—who Know, See and Hear Nothing”. Against this background, the trumpet poses a nontonal phrase seven times—”The Perennial Question of Existence”—to which the woodwinds “answer” the first six times in an increasingly erratic way. Ives wrote that the woodwinds’ answers represented “Fighting Answerers” who, after a time, “realize a futility and begin to mock ‘The Question'” before finally disappearing, leaving “The Question” to be asked once more before “The Silences” are left to their “Undisturbed Solitude”.
The strings twice repeat a pianissimo thirteen-bar progression, so slowly it has a static feel. It uses voice leading, passing tones, and ornamental notes in a manner reminiscent of a hymn or chorale. After the repetition, the strings’ part varies in subtle ways that are difficult for the listener to detect. In contrast to this ever-changing but seemingly regular “Silence”, the trumpet repeats the same “Question”, the first six times each louder than the last; it is the woodwinds’ atonal answers that change in obvious ways, growing increasingly agitated and dissonant. After the woodwinds finally give up, the trumpet poses the question quietly one last time.
Kupfer ex Eckblad (1968)
(Peck) Kupfer ex Eckblad (1968)
|Distribution in Texas (above), and Japan (below) shown in red and dark green, respectively.|
|Urnula geaster Peck (1893)
Chorioactis geaster (Peck) Kupfer (1902)
Chorioactis is a genus of fungus that contains the single species Chorioactis geaster. The mushroom is commonly known as the devil’s cigar or the Texas star in the United States, while in Japan it is called kirinomitake ( キリノミタケ?). This extremely rare mushroom is notable for its unusual appearance and disjunct distribution: it is found only in select locales in Texas and Japan. The fruit body, which grows on the stumps or dead roots of cedar elms (in Texas) or dead oaks (in Japan), somewhat resembles a dark brown or black cigar before it splits open radially into a starlike arrangement of four to seven leathery rays. The interior surface of the fruit body bears the spore-bearing tissue known as the hymenium, and is colored white to brown, depending on its age. The fruit body opening can be accompanied by a distinct hissing sound and the release of a smoky cloud of spores.
Fruit bodies were first collected in Austin, Texas, and the species was named Urnula geaster in 1893; later it was found in Kyushu in 1937, but the mushroom was not reported again in Japan until 1973. Although the new genus Chorioactis was proposed to accommodate the unique species a few years after its original discovery, it was not until 1968 that it was accepted as a valid genus. Its classification has also been a source of confusion. Historically, Chorioactis was placed in the fungus family Sarcosomataceae, despite inconsistencies in the microscopic structure of the ascus, the saclike structure in which spores are formed. Phylogenetic analyses of the past decade have clarified the fungus’s classification: Chorioactis, along with three other genera, make up the family Chorioactidaceae, a grouping of related fungi formally acknowledged in 2008. In 2009, Japanese researchers reported discovering a form of the fungus missing the sexual stage of its life cycle; this asexual state was named Kumanasamuha geaster.
Marcus Underwood, who sent the specimens to mycologist Charles Horton Peck for identification. Peck described the species as Urnula geaster in that year’s Annual Report of the New York State botanist, although he expressed doubt about its generic placement in Urnula. In 1902, student mycologist Elsie Kupfer questioned the proposed classification of various species in the genera Urnula and Geopyxis, as suggested in an 1896 publication on the Discomycetes by German mycologist Heinrich Rehm. She considered Rehm’s transfer of the species to the genus Geopyxis illogical:
“Even externally the fungus does not closely answer Rehm’s own description of the genus Geopyxis under which he places it; the texture of the apothecium is described as fleshy, the stem, as short and sometimes thin; while in this plant, the leathery character of the cup and the length and thickness of the stem are its noticeable features.”
Working with Underwood’s guidance, Kupfer compared the microscopic
structure of the hymenium (the fertile, spore-bearing tissue) of the Texan species with a number of similar ones—Geopyxis carbonaria, Urnula craterium, and Urnula terrestris (now known as Podophacidium xanthomelum). She concluded that the Texan species was so dissimilar as to warrant its own genus, which she named Chorioactis. Although this taxonomical change was opposed in later studies of the fungus by Frederick De Forest Heald and Frederick Adolf Wolf (1910) and Fred Jay Seaver (1928, 1942), Chorioactis was established as a valid genus in 1968 by Finn-Egil Eckblad in his comprehensive monograph about the Discomycetes.[8
|in Karyavattam University Campus of Kerala, India.|
Gymnema sylvestre (Sinhala: මස්බැද්ද / Masbadda)(Malayalam:ചക്കരക്കൊല്ലി ,Tamil:சிறுகுறிஞ்சா) is an herb native to the tropical forests of southern and central India and Sri Lanka. Chewing the leaves suppresses the sensation of sweet. This effect is attributed to the eponymous gymnemic acids. G. sylvestre has been used in herbal medicine as a treatment for diabetes for nearly two millennia, and though there is insufficient scientific evidence to draw definitive conclusions about its efficacy two small clinical trials have shown gymnema to reduce glycosylated hemoglobin levels. Common names include gymnema, cowplant, Australian cowplant, gurmari, gurmarbooti, gurmar, periploca of the woods, meshasringa (मेषशृंग), Bedki cha pala (बेडकीचा पाला) and miracle fruit(also a common name for two unrelated plants).
The major bioactive constituents of G. sylvestre are a group of oleanane-type triterpenoid saponins known as gymnemic acids. The latter contain several acylated (tigloyl, methylbutyroyl etc.,) derivatives of deacylgymnemic acid (DAGA) which is the 3-O-glucuronide of gymnemagenin (3,16,21,22,23,28-hexahydroxy-olean-12-ene). The individual gymnemic acids (saponins) include gymnemic acids I-VII, gymnemosides A-F, and gymnemasaponins.
G. sylvestre leaves contain triterpene saponins belonging to oleanane and dammarene classes. Oleanane saponins are gymnemic acids and gymnemasaponins, while dammarene saponins are gymnemasides. Besides this, other plant constituents are flavones, anthraquinones, hentriacontane, pentatriacontane, α and β-chlorophylls, phytin, resins, d-quercitol, tartaric acid, formic acid, butyric acid, lupeol, β-amyrin-related glycosides and stigmasterol. The plant extract also tests positive for alkaloids. Leaves of this species yield acidic glycosides and anthroquinones and their derivatives.
||This section needs more medical references for verification or relies too heavily on primary sources. (December 2012)|