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How many players are there on a team for a game of rounders? (1) ____________________________________________________________ Give three rules governing how the bowler should deliver the ball? (3) _________________________________________________________ _________________________________________________________ _________________________________________________________ What will the umpire give if any of the above rules are broken? (1) ____________________________________________________________ Give four ways in which the batter may be given out. (4) _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ How may one rounder be scored? (1) ____________________________________________________________ ____________________________________________________________ How may half rounders be scored? (2) ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ What happens if a batter hits the ball, runs to second post but is given out before getting to fourth post? (1) ____________________________________________________________ Explain a situation where the fielding team may be awarded half a rounder. (1) ____________________________________________________________ ____________________________________________________________ What is the ruling if a batter hits the ball directly into the backward area? (1) ____________________________________________________________ ____________________________________________________________ Explain the side out rule (the rule when everyone is out) (2) _________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Where should a post player stand? (1) ____________________________________________________________ How many umpires are there for a game of rounders and name there role? 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| 9 |
Who took his only Wimbledon Singles title in 1975? | ESPN.com: Page 2 : 'Rounders' in real life
By Jeff Merron
Page 2
Jackpot Jay's terrific Page 2 stories about life in the fast lane of poker, combined with the anticipation about ESPN's upcoming coverage of the 2004 World Series of Poker , got our poker jones going. Though we haven't played much since the nickel-dime-quarter, winner-buys-the-beer days of college, the juices still start flowing every time we see "Rounders."
For all of you poker players out there, "Rounders" is a must-see.
A realistic depiction of life as a full-time poker
hustler
player? You decide.
In Reel Life: Mike (Matt Damon) and his girlfriend, Joe (Gretchen Mol), go to "City Law School" in New York.
In Real Life: "City Law School" is actually Rutgers, which you can figure out from a typical movie "tell." Check out the door in the last scene: There's a "No Smoking" sign that says, in small type at the bottom, "Rutgers, the State University of New Jersey."
In Reel Life: Worm (Edward Norton) is a risk-taker, in contrast to Mike, whose instinct is to grind it out in the true "rounder" fashion.
In Real Life: Some have likened Worm to Ratso Rizzo, the great character Dustin Hoffman played in "Midnight Cowboy." While Norton admires Hoffman and knows the Rizzo character well, that wasn't what he had in mind.
"[Worm is] like Bugs dressed as Keith Richards," Norton told Mal Vincent of the Fort Lauderdale Sun-Sentinel. "You always need to find a line in on a character, and Bugs Bunny is always scheming, always two steps ahead of a beating and always laughing. Worm is completely comfortable with who he is in a deep, conscious, philosophic sense. He accepts and declares that the game for him is not poker but the hustle, and he loves it."
The Sports Guy on "Rounders"
The Sports Guy's been a fan of "Rounders" since way back, when only an elite group paid attention to poker. Read his thoughts on the movie, and the game.
In Reel Life: Before entering one of the underground clubs, Mike and Worm either have to be recognized through a surveillance camera or be given a very solid introduction.
In Real Life: Screenwriters David Levien and Brian Koppelman wrote about their research in the Sept. 1998 issue of Details magazine. They describe going to a club in Manhattan:
"We press a button, the door buzzes open, and a face dominated by shiny dentures appears at the top of the stairs. It's Billy Mops, and he runs the joint. Though we've been here a dozen times, his face remains blank. The drill is: No one knows anyone. Until you're inside.
"'Yeah?'
"It's David and Brian ... We've been by a few times. We know people -- Joel Bagels, Freddie the Watch ... your brother.
"Recognition stirs in Billy Mops. His denture smile grows impossibly wide. 'Oh, sure. Course, course. Come up.'"
In Reel Life: Playing underground poker seems ... well, like a pretty glamorous life.
In Real Life: Damon and Norton spent a couple of months touring the New York underground poker scene; and Damon, at least, said he wasn't tempted by the lifestyle. "It's not quite as sexy as it sounds," he said on CNN Showbiz Today. "You know, I mean, it's, you know, 12-hour days of kind of sitting."
Norton agreed, saying the folks who frequent the clubs were not ... well, they were a bit ... unusual. "There was this one guy who used to come into this one club all the time," he told CNN Showbiz Today, "and he had these glasses. And one of them like had a bullet hole through them, like it was shattered, and it was like he never got it fixed in the months that I went into this place."
In Reel Life: During one game, Worm tells two players to stop talking to each other in Russian.
In Real Life: The possibilities for cheating are obvious, and this scene is similar to what Levien and Koppelman observed in their underground travels -- players were speaking in Russian, and an argument ensued over the practice.
In the World Series of Poker at Binion's, and at many casinos, an "English-only" rule prevails. Jay Lovinger, in an e-mail, tells me that during his recent visit to Vegas, he heard several players being warned because they were speaking to spectators in Russian.
Mike (Matt Damon) is an expert at reading "tells," and that serves him well.
Brian Mulholland wrote about the English-only rule last year in Card Player magazine. "When a foreign tongue is spoken at the table, it doesn't matter whether or not there's any collusion or 'insider trading' of information actually occurring ... A person speaking non-English during a hand might be sharing nothing more than a dinner recipe; the problem is the doubt and suspicion it produces in those who have no means to verify that fact."
In Reel Life: Both Damon and Norton seem fairly comfortable with the cards.
In Real Life: In the process of researching their roles, the two actors got seats in the World Series of Poker, and also toured the New York underground poker scene. "You pay for lessons," Norton, speaking of the New York clubs, told the Sun-Sentinel. "I was down $750 in a matter of no time. Luckily, I was bankrolled by the studio research department."
In Reel Life: Mike is an expert at reading "tells," and manages to keep a pretty good poker face himself.
In Real Life: Damon took this part of his character seriously. "I practiced with blank cards," he told the L.A. Times, "so I wouldn't let my expression, or mannerisms, 'tell' another player what I was holding."
In Reel Life: You rarely see any cards other than the community cards.
In Real Life: Although the lipstick cameras that reveal players' cards in televised poker seem to be a real draw, director John Dahl didn't think that would work in the movie. "I looked at a couple of scenes from movies where they had photographed cards, and I realized how incredibly uninteresting that was," he told the Knight-Ridder News service. "I thought I just don't want to see that."
In Reel Life: Teddy KGB (John Malkovich) manages a club for the "Russian Mafia," and is also, apparently, an excellent poker player.
In Real Life: You might think that the club manager, who makes a steady income off the "rake," wouldn't bother with playing -- too much of a gamble. But apparently, it isn't true of the underground poker clubs. Andy Bellin wrote about New York's underground poker scene in the Jan. 2000 issue of Esquire. In the story, he describes playing in the "M Club," which is managed by Mickey "Chips," who Bellin says is "one of the best card players on the East Coast."
In Reel Life: The card games are populated by players with colorful -- almost cartoonish -- nicknames.
In Real Life: That's the way it is. Bellin says he played with guys named "Tony Plugs" (formerly known as "Tony Toupee," before his transplant), and "Johnny California."
In Reel Life: Most of the clubs are dark, poorly lit.
In Real Life: "That was one place where we made a big departure," director John Dahl told American Cinematographer magazine. "Card players don't care what the room looks like, and most are lit with overhead fluorescents. But when you read a script about men playing cards, it seems as if it wants to be a darker, pools-of-light-over-the-tables sort of place, with all that traditional movie stuff. It becomes more like a pool hall. We simply decided to make a more dramatic statement and go with a darker, more atmospheric look. A real card player looking at this movie will probably say, 'Oh, that's a little bit Hollywood.'"
In Reel Life: Oddly, Teddy KGB's otherwise dingy club features chandeliers and some other beautiful lights.
In Real Life: "The best chandeliers in the world come from Russia," production designer Rob Pearson told American Cinematographer magazine. "Our backstory on Teddy was that he was a fence and [had access to a lot of] stolen goods -- so in this old dingy club, there were these beautiful chandeliers. It was a nice lighting device that created sparkles everywhere."
Teddy KGB (John Malkovich) is a club owner, and a card shark as well.
In Reel Life: Mike says, "Like Papa Wallenda said, 'Life is on the wire. The rest is just waiting.'"
In Real Life: "Papa" was Karl Wallenda, who founded the famous (and still performing) high wire act called "The Flying Wallendas." According to the Wallendas' Web site, he actually said, "Life is being on the wire, everything else is just waiting." Death was also on the wire: Three Wallendas have died and one was paralyzed while performing their high wire stunts; Karl himself died in March, 1978 in a 120-foot fall from a high wire strung between two hotels in Puerto Rico.
"If anyone could choose the way they had to go, I would say that would have been Karl's way," Ringling Bros, Barnum and Bailey Circus producer Kenneth Feld said at the time.
In Reel Life: Mike watches a video of Johnny Chan winning the World Series of Poker; Chan is the symbol in the film of the ultimate player, and he also makes an appearance in the movie.
In Real Life: There's a good reason Chan is the icon of the ultimate professional: He is the last player to win back-to-back WSOP championships, in 1987 and 1988; and his consecutive wins were also the most impressive. Johnny Moss (1970, 1971), Doyle Brunson (1976, 1977), and Stu Ungar (1980, 1981) are the only others to have achieved the feat.
In Reel Life: Mike returns to Teddy KGB's club after his big defeat and long hiatus. "I feel like Buckner walking back in to Shea," he says.
In Real Life: While everyone knows about Bill Buckner's infamous error at Shea Stadium to give the Mets a win in Game 6 of the 1986 World Series, few remember that Buckner not only walked into Shea two nights later, but also played a very good game. In his first at-bat, in the first inning, he singled to right. Then, with Boston trailing 6-3, he led off the top of the eighth with another single to start a two-run rally, scoring on a Dwight Evans double. He finished 2-for-4 with one run, while registering nine putouts and one assist at first base -- with no errors.
In Reel Life: In their final showdown, Mike tells Teddy KGB to stop "splashing the pot."
In Real Life: "Splashing" means throwing your chips, rather than placing them in stacks. It is not a cool thing to do. Besides being annoying (especially as practiced by Teddy KGB), it can be a method of cheating, as the chips are difficult, if not impossible, to count when sprayed in such a manner.
In Reel Life: At the end of the film, Mike beats Teddy KGB by figuring out his "tell." Obviously, it has something to do with Oreo cookies. But ... did you figure it out?
In Real Life: Roger Ebert, writing in the Chicago Sun-Times, answered this question for a reader. "The Oreos have been much discussed in the Internet discussion group rec.gambling.poker, where John Harkness of Toronto writes: 'If he breaks it in front of his face, it means nothing. If he breaks it to the side of his head, as if listening to it, he's got the (cards).'"
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What's the Italian word to describe photographers looking for celebrities? | How Paparazzi Work | HowStuffWorks
How Paparazzi Work
John Kobal Foundation/ Getty Images
One of the first and most famous paparazzi-style photos ever taken might look like a vintage version of any A-list car exit arrival gone awry -- a la Britney Spears flashing a tad too much skin while getting out of limo in 2006, sans underwear. In the black and white shot taken at night in Rome, actor Anthony Steele is lumbering toward the paparazzo, visibly intoxicated, fists tightened, teetering on one foot at a perilous angle toward the ground. Behind him, Swedish actress Anita Ekberg, his bombshell wife, is on her way out of the sedan, eyes downcast, perhaps mentally preparing to face the camera. Clearly, the couple’s marriage wasn’t as picturesque as it might’ve appeared on a film set.
To the man behind the lens, Italian photographer and pioneer paparazzo Tazio Secchiaroli, the photo was career-making, renting the sacred veil between stars and the public eye. At the time, Rome was the go-to spot for celebrity sightings, since many film sets had migrated there from Hollywood in search of cheaper movie-making locations [source: Wood ]. Stars twinkled in cafes, restaurants and bars along the famous Via Veneto, attracting those first paparazzi and their blinding flash bulbs. Ava Gardner, Jayne Mansfield and Anita Ekberg were among the prized targets, with paparazzi itching to catch them acting out in some way, not at all like a put-together celebrity image [source: TIME ]. Around the time that Secchiaroli snapped the photo described above, Ekberg starred as a paparazzi-hunted starlet in Federico Fellini’s 1960 “La Dolce Vita,” the film often credited with the source of the term “paparazzo,” borrowed from the character Paparazzo, the leading man’s photographer sidekick.
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Since Fellini’s derisive depiction of the camera-wielding wolf pack, the paparazzi have always carried a negative reputation. Unlike Bob Willoughby, the first on-set movie photographer in the 1940s, who snapped stars during breaks in filming, the paparazzi aren’t attempting to create art. Instead, their most profitable shots are the ones that remove any distance between the famous target and the viewer, exploiting everything from stars' emotional breakdowns to their bad hair days. Perfectly coiffed Britney Spears posing on the red carpet is worthless compared to a grainy image of her staring into a salon mirror with half her head shaved, electric razor in hand.
The ubiquity of paparazzi photography and the public’s ever-growing need for more images of stars going about their lives is a relatively recent phenomenon. As always, however, the group of photographers and shot callers spoon-feeding the contemporary tabloid culture remains exclusive, aggressive and money-hungry.
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In which year did Queen Elizabeth the Second celebrate her Golden Jubilee? | Paparazzi | Define Paparazzi at Dictionary.com
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
Word Origin and History for paparazzi
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n.
1961, from Italian Paparazzo (plural paparazzi) surname of the freelance photographer in Federico Fellini's 1959 film "La Dolce Vita." The surname itself is of no special significance; it is said to be a common one in Calabria, and Fellini is said to have borrowed it from a travel book, "By the Ionian Sea," in which occurs the name of hotel owner Coriolano Paparazzo.
paparazzo
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What is the highest female voice? | Female Vocal Range - Various Singing Voice Types for Women | Your Personal Singing Guide
Female Vocal Range and
Voice Types!
There are many vocal ranges and voice types for females, and this section will discuss about the 3 main types of female voices, their respective note ranges, as well as how their tessituras or most comfortable voice ranges differ from each other.
One point to note: There is a difference between the 2 terms – Vocal Range and Voice Type; The Range of our Voice refers to the range of notes that the voice can reach or produce a sound at, whereas Voice Type refers to the various kinds of voices classified using certain criteria like range of vocals, tessituras, register transition points, vocal timbre or tone and so on.
Click on the links provided above to learn how to find the full range of your voice, as well as understand more about the various voice classification criteria and learn how to determine your own voice type!
Now, the 3 main types of female voices are as follows:
1. Soprano
Let us look at each of these voices in more detail:
1. SOPRANO
As many of us would know, the Soprano voice is the highest of the female voices, and many of us would be familiar with this voice type. I am sure many ladies out there would be envious of their Soprano friends who seem to be able to hit the high notes with such ease!
A typical Soprano vocal range would probably be from the A note below middle C (A3) to the F or G note 2 octaves above (F6 or G6), making it a range of 2 plus to 3 octaves. Of course, this is not to be taken as an exact measurement but more as a rough guideline for soprano voices, and proper breath support must be used when measuring vocal ranges during singing.
The Soprano Tessitura is also usually higher than the other female voice types, considering that the overall vocal range is the highest among the female voices.
A Soprano would also probably transition out of her chest voice around the E flat note above middle C (E4) and shift into her head voice around the F sharp note one octave above the middle C (F5).
The soprano voice usually has a bright tone, and she would usually have a strong head voice, but a relatively weaker middle voice. Sopranos are also able to sing more high notes and sustain at a high pitch better than a mezzo soprano can, and they are also most often the lead role for operas or shows.
2. MEZZO SOPRANO
For most ladies out there, you would probably belong to this voice type as the Mezzo Soprano voice is the most common female voice type out of the 3 main types, and it lies between the higher Soprano voice and the lower Contralto voice.
The vocal range for the Mezzo Soprano voice would be likely between the G note below middle C (G3) to the C note more than 2 octaves above (C6), making it also a range of around slightly more than 2 octaves. The Mezzo Soprano Tessitura or most comfortable vocal range lies somewhere between the Soprano Tessitura and the Contralto Tessitura.
The Mezzo would probably transition out of chest voice around the E note just above middle C (E4) and shift into head voice around the E note one octave above the middle C octave (E5). Be sure to avoid the common singing problem of head raising when you are measuring your register transitions.
The Mezzo Soprano has a stronger middle voice and a weaker head voice as compared to the Soprano. Also, the tone of the Mezzo Soprano’s voice is darker or deeper than the Soprano’s.
3. CONTRALTO
The Contralto voice is the lowest among the female voices, and it is certainly more unique among females, as the typical female voices would probably either be the Soprano or Mezzo Soprano voices.
Also, a common misconception would be to use the term ‘Alto’ instead of ‘Contralto’ to refer to female voices with this low range of notes. We should use the term ‘Contralto’ to refer to this low female voice type, as ‘Alto’ more commonly refers to the range or notes to be sung and is not exactly a voice type. The term ‘Alto’ is commonly used in choral singing to refer to the vocal parts to be sung by singers doing the Alto section.
The vocal range for the Contralto voice would lie somewhere between the E note below middle C (E3) to the 2nd G note above middle C (G5). This would mean that the Contralto voice would be very close to the male tenor voice, having a similar range in vocals, and would thus be able to handle most of the songs that men may sing too!
The Contralto would probably transition out of chest voice around the G above middle C (G4) and shift into head voice around the D note an octave above middle C (D5).
Also, the tone of the Contralto’s voice would be darker and richer than the Mezzo Soprano, and she would be totally comfortable in the lower part of her voice.
Understanding more about the 3 main female voice types and their vocal ranges helps us to be able to understand more about our own voice as well as which voice type we may belong to. This will help us to determine the various keys or pitches with which to do our vocal exercises and vocal warmups !
1 Comment
Stephanie Noboa September 2, 2014 at 11:08 AM
I’ve read from someone that I am an Alto, though that kind of made me question myself if I should keep singing or not cause they mentioned I couldn’t quite hit those very high notes. I know I’ve always wanted to be able to, it would’ve been really nice; but, after reading what you wrote about Alto and Contralto it completely changed my opinion on how I view my singing and that I should be happy with it and keep practicing so that I can be a good singer as a Contralto (Alto) though I’m still not sure if that is my vocal range, I’ve never really known what it is.
I really love this singing guide I came across, it has really great information, and can’t wait to put it to good use! And to also mention that it’s free, it’s amazing! Thank you so much!
🙂
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Which insect is responsible for transmitting the bubonic plague? | The Voice as Musical Instrument - Vocal Range
The Voice As Musical Instrument
The Voice As Musical Instrument
Vocal Range
Beverly Sills at the 2002 NARAS Heroes Awards, Roosevelt Hotel, NYC, December 11, 2002. Matthew Peyton/Getty Images
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By Espie Estrella
Each of us has a specific voice type or vocal range; some may be capable of hitting very high notes, while others are more comfortable singing low. Did you know that our voice is also considered a musical instrument? Learn more about the different types of voices.
Alto - Alto is a type of voice that is lower than a soprano but higher than a tenor. There are many people who sing using the alto voice. One of the popular alto male singers, also known as a counter-tenor, is James Bowman. Bowman sang some of the most memorable compositions of Benjamin Britten including the role of Oberon from "A Midsummer Night's Dream."
Baritone -The baritone voice is lower than the tenor but higher than the bass. It is the most common male voice type. In operas, baritones may play the role of either the main character or the supporting character.
Bass - For female singers, the soprano is the highest voice type, while for men, the bass is the lowest. One of the famous bass singers of our time is Samuel Ramey who played the role of Archibaldo in the opera L’amore dei tre Re by Italo Montemezzi.
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Mezzo-Soprano - In Georges Bizet's opera "Carmen," the mezzo-soprano voice is used to play the role of Carmen. This type of voice is lower or darker than a soprano but higher or lighter than an alto.
Soprano - The soprano voice is the highest female voice type; the late Beverly Sills was one of the most famous coloratura sopranos of our time.
Tenor - If the soprano is the highest female vocal range, the tenor, on the other hand, is the highest male vocal range. One of the famous tenors of our time was the late Lucianno Pavarotti .
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What law states that if something can go wrong, it will? | Murphy's law - Wikiquote
Murphy's law
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Murphy's law is a popular adage that states that "things will go wrong in any given situation, if you give them a chance," or more commonly, "whatever can go wrong, will go wrong." A number of variants on the rule have been formulated, as have several corollaries.
Original phrasing by Edward A. Murphy according to George E. Nichols [ citation needed ]
If it can happen, it will happen.
Precedent condensed by team members according to George E. Nichols [ citation needed ]
If there is a wrong way to do something, then someone will do it.
Version attributed to Edward A. Murphy in "Murphy Lives!" by Robert L. Forward, in Science 83 (January-February 1983), p. 78
If there's more than one way to do a job and one of those ways will end in disaster, then somebody will do it that way.
Version attributed to Edward A. Murphy in People Magazine (31 January 1983), p. 82
Anything that can go wrong will go wrong.
Phrasing attributed to Major John Paul Stapp [ citation needed ]
If there's more than one way to do a job, and one of those ways will result in disaster, then somebody will do it that way.
According to Robert Murphy (son of Edward A. Murphy, Jr.) his father's statement was along these lines; reported in People (31 January 1983), p. 82; alternately reported as "If there is a wrong way to do something, then someone will do it", in "Murphy Lives!" by Robert L. Forward, Science 83 (January-February 1983), p. 78; also commonly reported as, "If anything can go wrong, it will", in The Concise Oxford Dictionary of Proverbs (1982) edited by J. A. Simpson, p. 4.
Anything That Can Possibly Go Wrong, Does
Epigraph of The Butcher: The Ascent of Yerupaja (1952) by John Sack
Colonel Stapp's favorite takeoff on sober scientific laws — Murphy's Law, Stapp calls it — 'Everything that can possibly go wrong will go wrong'
Lloyd Mallan, in Men, Rockets and Space Rats (1955), possibly the earliest printed use of Murphy's name in connection with the law.
Murphy's Quantum Law: Anything that can, could have, or will go wrong, is going wrong, all at once.
Paul Dickson, in The Official Rules (1982)
| Murphy's law |
During World War 2 which service was known as the 'Brylcreem Boys? | Who is Murphy of Murphy’s Law?
Who is Murphy of Murphy’s Law?
For those not familiar, Murphy's Law states: "Anything that can go wrong will."
Early Origins
Pessimists have existed long before the Murphy whose name today graces this fundamental law. One of the earliest instances of this "law" being stated explicitly happened in 1877 where Alfred Holt is believed to have said in an address to the Institution of Civil Engineers:
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It is found that anything that can go wrong at sea generally does go wrong sooner or later…
By 1908, it had become a well-loved maxim among magicians as well, as explained by Nevil Maskelyne in The Magic Circular :
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It is an experience common to all men to find that, on any special occasion . . . everything that can go wrong will go wrong…
And reiterated by Adam Hull Shirk in The Sphinx in 1928:
It is an established fact that in nine cases out of ten whatever can go wrong in a magical performance will do so.
Later, in 1941 the great pessimist and antiauthoritarian George Orwell wrote in his diaries :
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Iraq, Syria, Morocco, Spain, Darlan, Stalin, Raschid Ali, Franco . . . . If there is a wrong thing to do, it will be done, infallibly. One has come to believe in that as if it were a law of nature.[i]
The Eponymous Murphy
In 1949, scientists and engineers at Edwards Air Force Base in the Mojave Desert in California:
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Were performing tests to figure out how many Gs (the force of gravity) human beings could survive. A rocket sled called the Gee Whiz would travel over 200 miles per hour . . . and stop suddenly to simulate a plan crash for its test passenger…
With some opining that the human body could only withstand 18Gs, no people were used during the first 35 test runs :
At first Gee Whiz was tested with a crash test dummy, known as Oscar Eightball. Eightball would suffer a violent ejection that sent him flying 700 feet . . . . These problems were fixed, however, and then they strapped a chimpanzee in the seat.
The original equipment used to measure force was found to be unreliable, so the Air Force called in Captain Edward A. Murphy, Jr., a former pilot and aerospace engineer, to create and oversee the installation of new senors. However, after a trial run with Chim-Chim, the "strain gauges" showed no readings. Upon inspection, Captain Murphy blamed the technicians who installed them, saying:
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If there's any way they can do it wrong, they will.
Eventually, someone fixed the gauges, and a human volunteer, Colonel John Paul Stapp, participated in several runs, ultimately reaching the force of 46.2Gs, shattering the previously thought limit for humans of 18Gs.
According to sources, the combination of the strain gauge test failure and Murphy's gibe was irresistible to the quick-witted research crew. Although some disagree, the majority identify the brave Colonel as the person who named the aphorism after the unlucky Murphy:
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At a press conference Stapp was holding, when asked how such dangerous testing had never caused a fatality, Stapp commented that he and his team always kept Murphy's law in mind when working, and planned to prevent mistakes.
As a corollary, Stapp had his own aphorism, which stated:
The universal aptitude for ineptitude makes any human accomplishment an incredible miracle.
Murphy's Law, Applied:
This list of alternative and specialized applications of the fundamental law of pessimism has been blatantly stolen gratefully borrowed from Murphy's Laws :
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If anything can go wrong it will at the most inopportune time.
The greater the value of the rug, the greater the probability that the cat will throw up on it.
If there is a possibility of several things going wrong, the one that will cause the most damage will be the one to go wrong (or the one to go wrong first).
The other line always moves faster.
The chance of the buttered side of the bread falling face down is directly proportional to the cost of the carpet.
In any hierarchy, each individual rises to his own level of incompetence, and then remains there. ( Also known as the "Peter Principle" )
Anything dropped in the bathroom will fall in the toilet.
After you bought a replacement for something you've lost and searched for everywhere, you'll find the original.
The best golf shots happen when you are alone (and the worst when playing with someone you want to impress).
Left to themselves, things tend to go from bad to worse.
Traffic is inversely proportional to how late you are, or are going to be.
A falling object will always land where it can do the most damage.
The probability of being observed is directly proportional to the stupidity of one's actions.
You will always find something in the last place you look.
Whatever hits the fan will not be evenly distributed.
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What was the controversial book written by Peter Write in 1987? | 12 Controversial Books Which Incurred The Wrath Of The Censors – Page 8
12 Controversial Books Which Incurred The Wrath Of The Censors
5. Spycatcher - Peter Wright (1987)
Written by a former MI5 agent, Spycatcher spills the beans on what spooks get up to, and it is pretty interesting reading as we learn of an MI6 plot to assassinate President Nasser during the Suez crisis. There is also talk of MI5 joining forces with the CIA to investigate left leaning British Prime Minister Harold Wilson who was suspected of being in the KGB! Of course this all sounds crazy now, but it must be viewed in the context of paranoid Cold War politics. Wright also goes into MI5 ethics and the technology they use. Published in Australia, the British government crapped their pants and issued a major crackdown. They couldn't stop it in Scotland because the ruling had been issued in an English court. Altogether now in your best Nelson Muntz voice - ha ha! The government tried to stop English newspapers from reporting on the affair, but gagging orders were useless as Scottish papers could write about Spycatcher to their heart's content. Eventually the gag was lifted, as was the ban on the sale of Spycatcher. However, Wright was not allowed to profit from sales of the book in the UK. There was legal action at the EU level by newspapers who had been gagged in the UK - this was seen as a very undemocratic act and the UK government faced substantial costs. The papers had a field day and pointed out the fact that the law is indeed an ass. Peter Wright died in 1995 - a millionaire from all his royalties.
| Spycatcher |
What is normally celebrated on the third Sunday in June in the UK? | 12 Controversial Books Which Incurred The Wrath Of The Censors – Page 8
12 Controversial Books Which Incurred The Wrath Of The Censors
5. Spycatcher - Peter Wright (1987)
Written by a former MI5 agent, Spycatcher spills the beans on what spooks get up to, and it is pretty interesting reading as we learn of an MI6 plot to assassinate President Nasser during the Suez crisis. There is also talk of MI5 joining forces with the CIA to investigate left leaning British Prime Minister Harold Wilson who was suspected of being in the KGB! Of course this all sounds crazy now, but it must be viewed in the context of paranoid Cold War politics. Wright also goes into MI5 ethics and the technology they use. Published in Australia, the British government crapped their pants and issued a major crackdown. They couldn't stop it in Scotland because the ruling had been issued in an English court. Altogether now in your best Nelson Muntz voice - ha ha! The government tried to stop English newspapers from reporting on the affair, but gagging orders were useless as Scottish papers could write about Spycatcher to their heart's content. Eventually the gag was lifted, as was the ban on the sale of Spycatcher. However, Wright was not allowed to profit from sales of the book in the UK. There was legal action at the EU level by newspapers who had been gagged in the UK - this was seen as a very undemocratic act and the UK government faced substantial costs. The papers had a field day and pointed out the fact that the law is indeed an ass. Peter Wright died in 1995 - a millionaire from all his royalties.
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Can you name the first 'Carry On' film? | Carry On Films - British Comedy Guide
Carry On Films
Carry On Films
This series of classic comedy films defined and encapsulated British comedy and society throughout the 1960s and 70s.
Guide
Carry On Films Shop
DVD
Release date: Monday 1st September 2008
Carry On Spying : Fearless agent Desmond Simpkins and James Bind, aided and abetted by the comely Agent Honeybutt and Agent Crump, battle against the evil powers of international bad guys STENCH and their three cronies. Carry On Cleo : Ancient British slaves save Caesar ( Kenneth Williams ) from assassination in Rome,...
DVD
Release date: Monday 1st September 2008
The first four films from the hugely popular Carry On series. In Carry On Sergeant ( 1958 ), a sergeant ( William Hartnell ) takes a bet that the last recruits he trains will win the 'Star Squad' award. The sergeant's inept young charges include Bob Monkhouse , Kenneth Williams , Charles Hawtrey and Kenneth...
DVD
Release date: Monday 1st September 2008
This Carry On collection includes the following films: Carry On Up The Khyber : British India, 1895. The Burpas are revolting, but then again 'The Devils In Skirts' who guard the Khyber Pass are not too inviting either! Can Sir Sidney Ruff-Diamond ( Sid James ) prevent the scheming Khasi of Kalabar...
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Release date: Monday 7th October 2013
This is the 'ultimate' collection of Carry On films, containing the 30 titles released between 1958 and 1978 .
DVD
Release date: Monday 1st September 2008
Collection of four films from the popular Carry On series of British comedies. In Carry On Regardless ( 1961 ), the head of a temp agency ( Sid James ) finds that all the people on his books are incapable of performing the odd jobs they are hired for. Eager employees include Kenneth...
DVD
Release date: Monday 1st September 2008
Collection of four films from the Carry On stable of British comedies. In Carry On Again, Doctor ( 1969 ), Jim Dale plays a surgeon who sets up a slimming clinic on the basis of a potion from the Beatific Isles. In Carry On Camping ( 1969 ), Sid ( Sid James ) and...
DVD
Release date: Monday 1st September 2008
DVD
Release date: Monday 1st September 2008
Collection of four films from the Carry On stable of British comedies. In Carry On Girls ( 1973 ), Sid Fiddler ( Sid James ) convinces Fircombe council to hold a beauty contest, but the local women's lib action group opposes the idea. In Carry On Dick ( 1974 ), the notorious highwayman, Dick...
CD
Release date: Saturday 9th October 2004
Possibly more than any other, the Carry On series of films typifies the very essence of British comedy. They are, without doubt, the most enduring and possibly the most endearing offspring of British cinema. From their origins in 1958 through to the present day, the mention of the words...
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| Carry On Sergeant |
Winker Watson is a character in which comic? | Carry On Films
CARRY ON FILMS
Between 1958 and 1979 there were 29 Carry On films made, most with variations of the same leading cast, plus many notable guests, the last of the regular series being Carry On Emmanuelle. A revival film, Carry on Columbus, was released in 1992. This listing puts the entire series of films in their correct running order.
The feature films are of varying lengths, and are shown on both BBC and ITV channels at various and oft repeated times. ITV and Channel 4 running times include commercial breaks. Director of all films was Gerald Thomas, who passed away in 1993, shortly after the mixed reception to the arrival of Carry On Columbus.
Carry On Sergeant
At Heathercrest National Service Depot, a crusty old drill sergeant in his last year before retirement must turn a bunch of National Service conscripts into a unit fit for action - a seemingly impossible task.
Sergeant Grimshawe William Hartnell
Pvt Charlie Sage Bob Monkhouse
Cpt Potts "the Perfect" Eric Barker
Nora Dora Bryan
Pvt Horace Strong Kenneth Conner
Pvt James Bailey Kenneth Williams
Pvt M Hayward Terence Longdon
Herbert Brown Norman Rossington
Pvt Andy Galloway Gerald Campion
Captain Clark Hattie Jacques
Sergeant Paddy O�Brien Terry Scott
With: Bernard Kay, Brian Jackson, Arnold Diamond,
Gordon Tanner, Martin Boddey, Frank Forsyth,
Ian Whittaker, Edward Judd, Jack Smethurst
and Cyril Chamberlain
(1958 ITV B&W)
Carry On Teacher
To persuade their anti-caning headmaster not to leave the school at the end of term, some of the pupils of Maudlin Street School take to sabotage in a big way, especially when a famous child psychologist and a schools inspector arrive.
Mr Adams Kenneth Conner
(1959 C4 95-minutes B&W)
Carry On Constable
Long-suffering police sergeant Wilkins (Sid James) finds his patience tested to near breaking point by a new bunch of coppers at the local station, who are sent as relief staff during a flu epidemic.
Sergeant Frank Wilkins Sidney James
Constable Benson Kenneth Williams
Sergeant Laura Moon Hattie Jacques
Inspector Mills Eric Barker
Constable Charlie Constable Kenneth Conner
With: Charles Hawtrey, Leslie Philips, Joan Sims, Terence Longden,
Joan Hickson, Victor Maddern and Esma Cannon
(1960 ITV 90-minutes B&W)
Carry On Regardless
Bert Handy runs the Helping Hands Odd Job Agency, and he�s recruiting new staff. But the people he gets from the Employment Exchange are inexperienced, and end up confused and bewildered as they mix up their respective tasks, as do the people they are supposed to help. They end up by demolishing a house they were contracted to repair.
Bert Handy Sidney James
With: Stanley Unwin, Terence Longden, Betty Marsden, Nicholas Parsons,
Victor Maddern, Esma Cannon and Joan Hickson
(1961 ITV 105-minutes B&W)
Carry On Cruising
The first film of the series in colour. The SS Happy Wanderer is about to set off on a cruise when the captain discovers most of his crew are willing but not very able newcomers. Initially they perform their duties very badly, but when they discover their captain is due to be posted away, they pull out all the stops to persuade him to stay.
With: Sidney James, Kenneth Williams, Kenneth Conner,
Liz Fraser, Dilys Laye, Lance Percival and Esma Cannon
(1962 ITV 85-minutes)
Carry On Cabby
A cab war is inevitable when cab company owner Sid refuses to leave his work behind him when he comes home. But the all-women rival company finds it isn�t quite so easy as they first thought when their boss, Sid�s wife, is kidnapped during a robbery.
With: Sidney James, Hattie Jacques, Kenneth Conner,
Charles Hawtrey, Peter Gilmore, Amanda Barrie and Liz Fraser
(1963 B&W)
Carry On Spying
It�s panic stations at BOSH when formula �X� is stolen by the agents of the subversive organisation known as STENCH. Barbara Windsor makes her first Carry On appearance.
Desmond Simkins Kenneth Williams
English Ladies Marianne Stone and Jacqueline Pearce
(1966 BBC 87-minutes)
Carry On Follow That Camel
When Sergeant Bilko was demobbed, Phil Silvers came to England to play Sergeant Nocker of the Foreign Legion in this high-spirited satire of adventure epics. Unjustly accused of being a cheat, Bertram Oliphant West joins the French Foreign Legion where he immediately falls foul of the obnoxious Sergeant Nocker and Sheikh Abdul Abulbul. Not originally a Carry On film, that title was added almost at the end of production, and didn�t even appear in the finished product. Nevertheless, with Kenneth Williams ("there�s many a good fiddle played on an old dune") and company in attendance, the film is a classic of the series.
Sergeant Nocker Phil Silvers
Bertram (Beau) Oliphant West Jim Dale
Simpson Peter Butterworth
Captain Le Pice Charles Hawtrey
Commandant Burger Kenneth Williams
With: Bill Pertwee, Joan Hickson, Bill Maynard and Kenny Lynch
(1970 BBC 86-minutes)
Carry On Up The Jungle
Or "Stop Beating About The Bush", or "Show Me Your Water Hole and I�ll Show You Mine". An ornithological expedition up the jungle in search of the legendary Oozalum bird finds more than expected. Lady Evelyn is searching for her long lost husband and son and finds them both, but one has turned into a poor man�s Tarzan, while the other is living the life of �luxury� with the Lubbe Dubbe tribe of Amazons.
Mr Boozie Sidney James
Professor Inigo Tinkle Frankie Howerd
Lord Claude Chumley Kenneth Conner
Lady Evelyn Bagley Joan Sims
Ugg Terry Scott
Miss June Bung Jacki Piper
Upsadaisy Bernard Bresslaw
Tonka the Great Charles Hawtrey
(1970 ITV 96-minutes)
Carry On Henry
Or "Mind My Chopper". This film was based on a recently discovered manuscript by one William Cobbler which reveals that Henry VIII did in fact have two more wives. Although it was at first thought that Cromwell originated the story, it is now known to be definitely all Cobbler�s...from beginning to end.
Henry Tudor Sidney James
Sir Roger de Logerly Charles Hawtrey
Lord Chancellor Thomas Cromwell Kenneth Williams
Queen Marie Joan Sims
Lady Bettina of Bristol Barbara Windsor
Lord Hampton of Wick Kenneth Conner
Duke de Ponteny Julian Holloway
Francis King of France Peter Gilmore
Count Philippe de Pizza Gertan Klauber
Farmer Derek Francis
Torturer�s Helper Dave Prowse
Charles, Earl of Bristol Peter Butterworth
Guy Fawkes Bill Maynard
The Former Queen Patsy Rowlands
A Plotter Billy Cornelius
Sir Roger Daly Bernard Bresslaw
Constable Kenneth Conner
Tom �Doc� Scholl Peter Butterworth
Sergeant Jock Strapp Jack Douglas
With: Patsy Rowlands, Bill Maynard, Margaret Nolan,
Marianne Stone, Billy Cornelius and Sam Kelly
(1974 BBC 90-minutes)
Carry On Behind
Professor Crump and visiting archaeologist Professor Vushka find themselves in a rickety old caravan on a dodgy old site whilst excavating Roman remains. Unfortunately, the site is riddled with old mining tunnels, and the weather is persisting down. When the other campers start to get that sinking feeling, they know they�re in the pits.
Professor Roland Crump Kenneth Williams
Professor Anna Vushka Elke Sommer
Fred Ramsden Windsor Davies
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How would you address an Archbishop? | How to Address Church Officials
How to Address Church Officials
FATHER WILLIAM SAUNDERS
At the diocesan anniversary Mass this August, I had the pleasure of meeting Bishop Loverde. I am embarrassed to say that I was not sure how to address him — just Bishop, your eminence, or what.
A proper etiquette does exist for how we address our Church leaders. As a point of courtesy, all Catholics should be familiar with these forms of address. Even though we may live in an increasingly informal world, such good formalities help to make us respectful of proper authority.
So lets start at the top — the Pope. A person would greet Pope John Paul II as "Your Holiness," "Most Holy Father," or "Holy Father." A letter written to him would be addressed, "His Holiness, Pope John Paul II," with the salutation, "Your Holiness" or "Most Holy Father."
Next in the hierarchy comes the Cardinal. A person would greet a Cardinal, for instance Cardinal Keeler of Baltimore, by saying, "Your Eminence" or "Your Lordship" (which is very British). In addressing a letter to Cardinal Keeler, one would write, "His Eminence, William Cardinal Keeler, Archbishop of Baltimore" with the salutation, "Your Eminence," "Most Eminent Cardinal," or "My Lord Cardinal."
Lately, some people will reverse the word order, saying, "Cardinal William Keeler" instead of "William Cardinal Keeler." The formal word order originated in the time when last names were not common, but individuals were known by occupations or even places. For example, "John, the Smith" (or Blacksmith) eventually became "John Smith." The same evolution occurred with Cardinals: What would have been "William, the Cardinal" would now be, with the use of family names, "William Cardinal Keeler."
Another interesting diversion for us concerns a Patriarch. Patriarchs are Cardinals but have honorary precedence over a Cardinal. For example, the Patriarch of Jerusalem is Archbishop Michael Sabbah. A person would greet him, saying, "Your Beatitude." In addressing a letter to him, one would write, "His Beatitude, Michael Sabbah, The Patriarch of Jerusalem" with the salutation, "Your Beatitude."
Both an Archbishop and a Bishop would be greeted as "Your Excellency" or "Your Grace" (again very British). For example, one would greet Bishop Loverde as "Your Excellency." In writing to him (for instance, about how much you enjoy this column — only kidding), you would address the letter, "The Most Reverend Paul S. Loverde, Bishop of Arlington," with the salutation, "Your Excellency."
Although some people today informally would approach Bishop Loverde and say, for instance, "Bishop, how are you?" one should properly say, "Bishop Loverde, how are you?" or "Your Excellency, how are you?" Just as a person would never approach Pope John Paul II and simply say, "Pope, how are you?" the title of office, in this case "bishop," should not be used in an address without either the definite article the or a proper name.
A Monsignor would be greeted as "Monsignor." A letter to Monsignor Bradican, for example, would be addressed as "Reverend Monsignor Thomas Bradican," or "Reverend and Dear Monsignor," with the salutation, "Dear Monsignor." (The proper abbreviation is "Rev. Msgr.")
Prior to the reforms of the Second Vatican Council, some Monsignori had the distinction of "Right Reverend Monsignor" or "Very Reverend Monsignor." Such distinctions are no longer made among Monsignori except for certain members of the Papal Household and those who serve in special offices of the Vatican Curia.
Finally, we come to the Priest. He would be greeted simply as "Father," which reflects his spiritual fatherhood to those entrusted to his care by virtue of the Sacrament of Holy Orders. A letter to him would be addressed, "The Reverend William P. Saunders," for example, with the salutation, "Dear Father Saunders" or "Reverend and Dear Father Saunders." Some "Fathers" are also formally addressed "Very Reverend" when they have a special duty; for example, Father Frank Ready, the Dean of Deanery II, would be addressed, "The Very Reverend Frank Ready."
While this review is not exhaustive of all of the Church offices, the major ones have been considered. Further information may be found in the Official Directory for the Diocese of Arlington and The Church Visible by James Charles Noonan, Jr.
Acknowledgement
Saunders, Rev. William. "How to Address Church Officials." Arlington Catholic Herald.
This article is reprinted with permission from Arlington Catholic Herald.
The Author
Father William Saunders is pastor of Our Lady of Hope parish in Potomac Falls, Virginia. He is dean of the Notre Dame Graduate School of Christendom College. The above article is a "Straight Answers" column he wrote for the Arlington Catholic Herald. Father Saunders is the author of Straight Answers , a book based on 100 of his columns, and Straight Answers II .
| Grace (style) |
What were introduced to London's streets on 19th September 1960? | How to Address Catholic Clergy: 14 Steps (with Pictures) - wikiHow
How to Address Catholic Clergy
One Methods: Rosary Prayer Community Q&A
When speaking to members of the clergy, titles and addresses can be tricky. Depending upon where one resides, and where the clergy person resides, titles can vary from minor changes to major shifts in formality. This article will help you to determine how to identify and properly address members of the Catholic clergy.
Steps
1
Identify the clergyman's hierarchical status or post. Below are a few identifying markers for various individuals within the Catholic hierarchy. It is important to note that these are more guidelines than rules; a Pastor may be Byzantine but wear a Roman cassock, for example.
The Pope is easy to distinguish by the fact that his everyday cassock (robe worn by clergy when not doing anything liturgically) is white. He is usually the only one who has a white cassock (there is a tiny chance that an Eastern clergy member might wear a white cassock, since colors are not regulated closely in all Eastern Churches, and some Latin Priests are permitted to wear white cassocks in tropical countries).
A Cardinal has a red cassock (although it should be noted that at least one regular Eastern Bishop has one).
A Metropolitan or Eastern Bishop may wear a loose cassock, a riasa (a cloak-type garment worn over the cassock, with long, flowing sleeves), a tall black hat, possibly with a veil; in some Slavic traditions, a Metropolitan's hat will be white), and a Panagia, which is a medal with an icon of the Theotokos on it.
A Latin Bishop may be recognized by the red lining, piping and buttons on his black cassock, the red sash around his waist, and that red skullcap (zucchetto). He also wears a pectoral Cross.
A Monsignor is known by the red ng, piping and buttons on his black cassock. But he does not wear a pectoral Cross or a red skullcap. This title of honour is generally not given any more in the East.
An Archpriest is maybe the Eastern Catholic equivalent of the rank of Monsignor. If he chooses to wear a hat, it may be purple or red. In a liturgical setting, he can also wear the shields, like a Bishop. Other than that, he dresses like an Eastern Rite Priest.
An Eastern rite Priest dresses the same as a Bishop, with some exceptions. Instead of a Panagia, he wears a pectoral Cross. Instead of a klobuk, he may wear a black kamilavka. In some Churches, the kamilavka is a reward, while in others it is an option for any Priest.
A Latin Priest wears a tighter fitting cassock. He also wears the white collar.
An Eastern Deacon dresses the same as an Eastern Rite Priest, minus the pectoral Cross.
2
Address a Deacon: During a formal introduction, a Permanent Deacon should be introduced as “Deacon (First and Last Name).” He should be directly addressed as “Deacon (Last Name)” – or, on paper, as “Reverend Mr. (First and Last Name).” If it is a seminarian who is a Transitional Deacon, then he should be introduced as "Deacon(First and Last Name)." He should be directly addressed as “Deacon (Last Name)” – or, on paper, as “The Reverend Mr. (First and Last Name).”
3
Address a Brother: During a formal introduction, a Brother should be introduced as “Brother (First Name) of (name of community).” He should be directly addressed as “Brother (First Name)” – or, on paper, as “Reverend Brother (First Name), (initials of his community)”
4
Address a Sister: During a formal introduction, a Sister should be introduced as “Sister (First Name) of (name of community).” She should be directly addressed as “Sister (First and Last Name)” or “Sister” – or, on paper, as “Reverend Sister (First and Last Name), (initials of her community).”
5
Address a religious Priest: During a formal introduction, a religious Priest should be introduced as “The Reverend Father (First and Last Name) of (name of community).” He should be directly addressed as “Father (Last Name)” or simply “Father,” – or, on paper, as “The Reverend Father (First Name Middle Initial Last Name), (initials of his community).”
6
Address a mother superior. During a formal introduction, a mother superior should be introduced as “The Reverend Mother (First and Last Name) of (name of community).” She should be directly addressed as “Reverend Mother (First and Last Name),” “Reverend Mother,” or, on paper, as “The Reverend Mother (First and Last Name), (initials of community).”
7
Address a diocesan(or secular) Priest: During a formal introduction, a diocesan Priest should be introduced as “The Reverend Father (First and Last Name).” He should be directly addressed as “Father (First and/or Last Name)” or simply “Father,” – or, on paper, as “The Reverend Father (First Name and Last Name).” Note that you should stand when he enters a room (until he invites you to sit) and again when he leaves it.
8
Address a Vicar, Provincial, Canon, Dean, or Rector: During a formal introduction, he should be introduced as “The Very Reverend Father/Vicar (First and Last Name).” He should be directly addressed as “Reverend (Last Name)” or “Father (Last Name),” – or, on paper, as “The Very Reverend Father (Vicar/Provincial/Canon, etc.) (First Name and Last Name).” Note that, as with a Priest, you should stand when he enters a room (until he invites you to sit) and again when he leaves it.
9
Address a Monsignor. During a formal introduction, a Monsignor should be introduced as “The Reverend Monsignor (First and Last Name).” He should be directly addressed as “Monsignor (Last Name)” or simply “Monsignor,” – or, on paper, as “The Reverend Monsignor (First Name and Last Name).” Note that, as with a Priest, you should stand when he enters a room (until he invites you to sit) and again when he leaves it.
10
Address a Bishop. During a formal introduction, a Bishop should be introduced as “His Most Reverend Excellency, (First and Last Name), Bishop of (Location).” He should be directly addressed as “Your Excellency” – or, on paper, as “His Excellency, The Most Reverend (First Name and Last Name), Bishop of (Location)”. Note that you should stand when he enters a room (until he invites you to sit) and again when he leaves it. Remove your hat in his presence, and you may kiss the sacred ring during both the greeting and the closing. If he is your own Bishop, you may kneel when kissing the ring (though bowing at the waist is also acceptable); however, do not do either if the Pope is present.
11
Address an Archbishop. During a formal introduction, an Archbishop should be introduced in the same way listed above for a Bishop. However in some parts of Canada, especially in the West, it is common practice to address an Archbishop as “His Grace". In this case, during a formal introduction, an Archbishop could be introduced as “His Grace, (First and Last Name), Archbishop of (Location).” He could be directly addressed as “Your Grace” or “Archbishop (Last Name),” – or, on paper, as “His Grace, The Most Reverend (First Name and Last Name), Archbishop of (Location)”. Note that, as with a Bishop, you should stand when he enters a room (until he invites you to sit) and again when he leaves it. Remove your hat in his presence, and you may kiss the sacred ring during both the greeting and the closing. If he is your own Archbishop, you may kneel when kissing the ring (though bowing at the waist is also acceptable); however, do not do either if the Pope is present.
12
Address a Patriarch. During a formal introduction, a Patriarch should be introduced as “His Beatitude, (First and Last Name) Patriarch of (Location).” He should be directly addressed as “Your Beatitude” (except in Lisbon, where he is addressed as “Your Eminence”) or, on paper, as “His Beatitude, the Most Reverend (First and Last Name), Patriarch of (Location).” Note that, as with an Archbishop, you should stand when he enters a room (until he invites you to sit) and again when he leaves it. Remove your hat in his presence, and you may kiss the sacred ring during both the greeting and the closing. If he is your own Patriarch, you may kneel when kissing the ring (though bowing at the waist is also acceptable); however, do not do either if the Pope is present.
13
Address a Cardinal. During a formal introduction, a Cardinal should be introduced as “His Eminence, (First Name) Cardinal (Last Name), Archbishop of (Location).” He should be directly addressed as “Your Eminence” or “Cardinal (Last Name)” – or, on paper, as “His Eminence, (First Name) Cardinal (Last Name), Archbishop of (Location).” Note that, as with a Patriarch, you should stand when he enters a room (until he invites you to sit) and again when he leaves it. Remove your hat in his presence, and you may kiss the sacred ring during both the greeting and the closing. If he is your own Bishop, you may kneel when kissing the ring (though bowing at the waist is also acceptable); however, do not do either if the Pope is present.
14
Address the Pope.
During a formal introduction, the Pope should be introduced as “His Holiness, Pope (Name).” He should be directly addressed as “Your Holiness” or “Holy Father” – or, on paper, as “His Holiness, Pope (Name)” or “The Sovereign Pontiff, His Holiness (Name).” Note that men should wear a dark suit and tie and remove their hats in his presence, while women should wear black dresses that cover their arms, as well as a head covering such as a veil (dressing in white clothes and veil, known as the privilège du blanc). Stand when he enters a room (until he invites you to sit) and again when he leaves it. When introduced, kneel on your left knee and kiss his ring; repeat before he leaves.
Le privilège du blanc ("the privilege of the white") is a French term used for a tradition whereby certain designated Catholic queens and princesses are permitted to wear a white dress and white mantilla during an audience with the Pope. The Italian term is il privilegio del bianco. The Prefecture of the Pontifical Household sometimes issues special instructions when the privilege may be used, such as during papal audiences or masses at the beginning of a pope's reign. It is reserved for the Catholic queens of Belgium and Spain, the Princess Consort of Monaco, the Grand Duchess of Luxembourg, and princesses of the former Italian royal House of Savoy.
Rosary Prayer
What's the protocol for visiting a priest at his home?
wikiHow Contributor
Bring a fruit basket or something. There's nothing inherently special about a priest. They're just human beings. Treat him like you would anybody else.
How do I address the auxiliary bishop?
wikiHow Contributor
You should address him the same way as you would the Bishop without kissing the ring, as he won't have one, and without bowing or kneeling.
How do I address correspondence to a retired priest? Do I address it as Father John Doe, or John Doe and then initials for a priest?
wikiHow Contributor
How can I address a personal letter to a priest?
wikiHow Contributor
It really depends on what religion you are referring to. For example, if your priest is Christian, you would most likely start the letter, "Dear Father."
If this question (or a similar one) is answered twice in this section, please click here to let us know.
Tips
A general rule is always to be formal. Familiarity is not proper with any clergyman unless you are a relative, and then, only in private. Informality is never proper in public or with anyone unless you are a relative or a close friend, and you are in private circumstances. If you are with your close friend who is a Bishop and you are in public, you must address him as "Bishop". The same model is used for persons with other professional titles, like "Doctor" or honorary titles like "Monsignor". Referring to your close friend who is a Bishop as "John" or "Marty" in public circumstances is improper, and it will embarrass you.
In some countries the traditional practice of kissing the hand of a priest remains customary. Again, observe what is the practice in a given situation.
It should be noted that the Catholic colors are often confused with Eastern Orthodox colors. Although there are similarities in rites and liturgies, names, and titles, Eastern Orthodox is not Catholic.
If it pertains to the communication, list academic credentials like "Ph.D" at the end of the salutation.
It remains a widespread custom to kiss the hands of a priest who has just celebrated his first Mass or who has celebrated a special Mass close to the time of his ordination.
One ought not to genuflect at all to a bishop that is not your diocesan bishop. A problem will exist if there is more than one bishop present. A sequence of bowing, then genuflecting, then bowing, etc. is awkward at best.
When kissing the ring of your own diocesan bishop, it is traditional to genuflect on the left knee although, as with the kiss itself, this may no longer be customary in your locale. Today, genuflecting to bishops is usually not a part of the usual protocol. It is best to observe the custom with which the bishop himself will feel most comfortable; observe how others greet him.
Clergymen may not address anyone in an informal manner at any time except in private conversation and only if the persons involved are in an informal relationship. A clergyman must always address people with their proper title: Mr., Mrs., Dr., Reverend, Father, Monsignor, Bishop, etc. Clergymen may address young persons by their first name. In a formal setting, as in making wedding or baptism or funeral arrangements, the clergyman must address people in a formal manner.
In many places kissing the ring of a Bishop or Cardinal, a longstanding tradition, remains customary; while in other places, it is uncommon. If unsure of the practice in your locale, observe how others approach the bishop in question; if none kiss his ring or if you have reason to believe that he would prefer that this deference to his office not be shown, just politely shake the hand of the bishop if he extends his hand to you.
If a priest has the honorary title of Monsignor, address him as "Monsignor Last Name" instead of "Father", following the same rules concerning verbal and written forms of address for priests.
The use of "Father" as a verbal title originated in Europe and was only used with priests who were members of a monastic order. It distinguished the priest-monk("Father") from a lay person-monk ("Brother") who was not a priest. In Italy, for example, a parish priest is called "Don First Name". "Don" means "Sir" or a polite "Mister" and is not a religious title. "Don" is a little informal, but it is respectful. It can be used with any man that you personally know.
Never append designations of academic degrees that are less than doctoral (e.g. BA, MA, STB, STL). There are exceptions. The author of a book or study may wish to indicate a master's degree (MA) or licentiate degree (STL) appended to his name as part of his identification as the author. And in certain Catholic religious orders there are honorary degrees that are beyond the doctorate. For example, in the Dominican Order, the "Master of Sacred Theology" (S.T.M.) is given only to those who have published several internationally recognized books and taught in a doctoral faculty for ten years. It is obviously far beyond a "doctorate." The best rule on this is to check whether the cleric who has a doctorate uses another academic title in place of it in his own style.
Catholic Bishops and Catholic Priests in audience with the Holy Father should follow the protocol prescribed before the audience. Bishops and Priests should act uniformly at a Papal audience. This means that if the first Bishop or Priest to meet the Holy Father genuflects to kiss the Papal ring, others should do the same. Do not initiate your own protocol. Follow the instructions given before the audience with the Holy Father.
In North America and Europe, Catholic Priests may be verbally addressed as "Reverend Last Name" or "Reverend Doctor Last Name" (if he has a doctoral degree). In the U.S.A. it is perfectly acceptable to call any Christian clergyperson, "Reverend". With any clergyman you should include a doctoral degree or any honorary title, e.g., The Reverend Dr. John Smith, Ph.D., or The Reverend Msgr. John Smith. Do not abbreviate "Reverend" unless you are writing an informal note, and always include the definite article "The" before "Reverend".
Warnings
Some clergy feel uncomfortable, for both theological and personal reasons, with insisting upon a title. Others prefer that a title be used. When in doubt, simply address them by the most formal title available and leave it to them to invite a less formal style of address.
Never extend your hand to anyone you do not know and never to a person of superior rank (keeping in mind that we are all Children of God and there are really no 'ranks' within the Church). In American parishes many priests greet the parishioners after Mass, with or without physical contact. When in doubt, leave it out.
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What does an ichthyologist study? | Careers with Animals: Ichthyologist
By Mary Hope Kramer
Updated August 10, 2016
An ichthyologist is a biologist that studies species of fish, sharks, or rays. Ichthyologists may focus their careers by choosing to work in education, research, or management.
Duties
Ichthyologists may have a variety of responsibilities depending on the specific nature of their job. They may be involved with duties such as fish identification, behavioral observation, monitoring water quality in tanks, designing and conducting research, evaluating data, writing and publishing scientific papers, attending seminars or industry events, promoting conservation efforts, giving lectures, and presenting their findings to other industry professionals.
Ichthyologists involved in research activities may publish their findings in professional journals for peer review. Publication is particularly important for professors working at colleges and universities, since tenure is most frequently granted to educators who publish significant research in their field of expertise.
In some cases an ichthyologist may travel to various locations (both domestic and international) to observe or collect specimens from oceans, rivers, and lakes. Open water diving skills and the necessary certifications are required for participation in this sort of work. Most positions in this field do not require travel, however, and many ichthyologists are able to work a standard 40 hour week.
Career Options
A variety of organizations may provide employment for ichthyologists including colleges and universities, research facilities and laboratories, aquariums, aquaculture facilities, zoos, state or federal governmental agencies, conservation organizations, and marine parks.
Ichthyologists may specialize by working with a specific species of interest. They may also pursue one specific avenue such as education, research, or collection management.
Education & Training
Ichthyologists usually complete their Bachelors degree in zoology or marine biology to enter the profession.
Most go on to pursue a masters or doctoral degree specifically in the field of ichthyology. Graduate degrees are often mandatory for a candidate to be considered for positions in education or research.
Courses in biology, chemistry, anatomy and physiology, statistics, communications, and computer technology are required for the pursuit of any degree in the biological sciences. Ichthyologists may also need to complete additional coursework in areas such as marine science, animal science , veterinary science, animal behavior , animal husbandry, and ecology to complete their degree requirements.
Those working as ichthyologists should be well versed in the use of computer programs and applications, especially with regard to processing scientific data. Scuba certification is also a plus for those hoping to do research in the field.
Marine internships are a great way to gain experience in the field while completing undergraduate studies. Many research organizations offer summer programs for aspiring marine scientists and some opportunities have a stipend or other compensation.
Professional Groups
The American Society of Ichthyologists and Herpetologists is one of the most prominent membership groups for those in this profession. ASIH has 2,400 members worldwide. The group also publishes the quarterly Copeia journal, a leading publication in the field.
The Association of Zoos & Aquariums (AZA) is another group that includes ichthyologists in its membership. The AZA has over 6,000 members worldwide at the associate and professional levels.
Salary
The salary for ichthyologists may vary widely based on factors such as the type of employment, the level of education completed, the geographic area where the position is located, and the specific duties associated with the position.
While the Bureau of Labor Statistics (BLS) does not separate the salary data for ichthyologists into a separate category, the BLS does include ichthyologists in the more general category of zoologists and wildlife biologists . In 2011, annual salary ranged from less than $36,310 ($17.46) for the lowest 10 percent of zoologists and wildlife biologists, to more than $94,070 ($45.23 per hour) for the highest ten percent of those in the field.
Individuals with graduate degrees or unique areas of expertise tend to earn higher end salaries in the field. According to the 2010 BLS survey data for zoologists and wildlife biologists , positions with the federal government tend to offer the highest level of compensation, with an annual mean wage of $77,030. Research scientists earned nearly as much on the salary scale, coming in with an annual mean wage of $72,410.
Career Outlook
According to the American Society of Ichthyologists and Herpetologists (ASIH), job prospects are expected to remain relatively strong for positions in research, education, collection management, public aquariums, and conservation groups.
The Bureau of Labor and Statistics (BLS) projects that overall employment levels for all biological scientists will increase at a much faster rate than the average for all occupations, growing at a healthy rate of approximately 20 percent through 2018.
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| Fish |
Which 1970's group recorded Stairway to Heaven? | Careers in Ichthyology :: Florida Museum of Natural History
South Florida Aquatic Environments
Careers in Ichthyology
Choosing a career in ichthyology means deciding to study fishes, sharks, rays, sawfish, and more. Not everyone in the field chose their careers for the same reasons. here are some of the current and previous Museum ichthyologists' stories.
Dr. Franklin F. Snelson, Jr.
Professor and Project Manager
Describe your work and research:
"I am a university professor and research scientist. I teach undergraduate and graduate-level classes in ichthyology, anatomy, and evolution. I advise and direct the research of graduate students. I participate in the research of my students and conduct my own research dealing with fish ecology and evolution. My main interest at present has to do with studying sharks and rays. I spend time in the field studying behavior and reproduction, and I spend time in the lab analyzing samples and data. A significant amount of time is spent writing scientific papers, reports, and grant proposals to fund research projects."
More from Dr. Snelson
How long have you been an ichthyologist?
"40 years"
Is it difficult to find a job in ichthyology?
"It is not easy. You have to have strong credentials and be clearly better qualified than others to land a good job in the field."
Have you ever considered a career in a different field?
"I considered being a rock & roll star, but I can't play guitar or sing that well. Other than that, I can't imagine doing anything I would like more."
Do you ever go fishing in your free time?
"I love to go fishing but I don't seem to have much free time any more. However, I expect to do some serious fishing when I retire. By the way, being a good ichthyologist does not necessarily make you a good angler!"
Larry Page
Curator of Fishes
What interesting discoveries have you made in your studies?
"I have discovered and described about 40 species of fishes previously unknown to science. I also have studied and described the breeding behaviors of several species of North American fishes and develop a system for classifying behaviors that has gained wide acceptance in the ichthyological community. In the process of studying breeding behaviors, I also discovered egg mimics in darters - structures that develop on males and look like eggs."
More from Larry Page
How did you become interested in ichthyology?
"Probably two things: As a child I had several aquaria in which I kept tropical fishes, and my parents often took my sisters and me on camping trips. When we camped, I spent most of my free time walking along streams and trying to identify the fishes. Either or both of these experiences caused me to learn as much as I could about fish biology."
What training and education do you have?
"Bachelor's Degree in Biology, Master's Degree and Ph.D. in Zoology, with a specialization in ichthyology."
What personal qualities are important in this field?
"Probably most important is a love of nature and a curiosity about biological diversity."
Describe your work and research:
"I am interested in the evolution and ecology of freshwater fishes. My students and I study specimens in museum collections to learn as much as we can about variation in fishes, and we conduct fieldwork to study how the various morphological traits adapt the fish to its particular lifestyle."
What skills do you use on the job?
"The most obvious things are related to the laboratory examination of small fishes including the use of microscopes and dissection, and to fieldwork including knowing where various fishes can be found and how to catch them. It also is necessary to understand scientific literature and how to find the appropriate references."
What interesting discoveries have you made in your studies?
"I have discovered and described about 40 species of fishes previously unknown to science. I also have studied and described the breeding behaviors of several species of North American fishes and develop a system for classifying behaviors that has gained wide acceptance in the ichthyological community. In the process of studying breeding behaviors, I also discovered egg mimics in darters - structures that develop on males and look like eggs."
What is your typical work schedule?
"Ichthyology, like most science, is sufficiently interesting that we ichthyologists spend much of our time doing something related to our work, which often doesn't really seem like work. Officially, we work from 8-5, M-F, like most people; unofficially, we probably work more like 60-80 hours per week."
What do you like best about your job?
"The discovery of answers to perplexing problems in nature. E.g., how and why did egg mimics develop on the fins of male darters? The answer is that females choose to mate more often with males that have eggs in their nests rather than males that lack eggs, and by evolving egg mimics - structures that look like eggs, even males that have no real eggs in their nests are attractive to females."
Does this profession require any travel?
"Yes. Often to pristine areas on other continents. Sometimes to museums in large cities."
What is the general salary range for someone in your position?
"With a Ph.D., an ichthyologist makes $50,000-100,000/year."
How long have you been an ichthyologist?
"32 years."
Is it difficult to find a job in ichthyology?
"No. The training of ichthyologists seems to more or less keep pace with the availability of positions. However, obtaining a position in a large museum or prestigious university can be difficult."
Have you ever considered a career in a different field?
"Only as a graduate student when I considered other areas of biology, including entomology and botany."
Do you ever go fishing in your free time?
"If fishing means with a hook and line, no. If fishing means with a seine so that many small and interesting species as well as the larger more obvious ones are caught, yes, every chance I get."
Robert H. Robins
Ichthyology Collection Manager
Describe your work and research:
"My job as Ichthyology Collection Manager is largely to facilitate the science of those ichthyologists that use the UF Collection of Fishes. To that end, I am charged with directing the activities of others in the division such that the collection is well maintained, organized, and readily accessible to research ichthyologists. In many ways, a scientific collection of specimens functions much like a library. Scientists borrow fishes and obtain information from the specimens that is useful for interpreting what is actually going on in the real world."
More from Rob Robins
How did you become interested in ichthyology?
"Both my parents are ichthyologists. I have to assume that this had something to do with my career choice despite the presence of a very early, almost innate curiosity regarding fishes, reptiles and amphibians. My folks wouldn't let me have a snake, so I had aquaria. It was probably a combination of both this natural interest in living things and the example my parents set (although they certainly never pressured me) that led me in this direction."
What training and education do you have?
"I completed a B.A. at the University of Miami and an M.Sc. at the University of Florida. Most of my training as an ichthyologist has come in the field or the laboratory although, what you learn in the classroom or at scientific meetings is instrumental in helping you interpret your experiences as an ichthyologist."
What personal qualities are important in this field?
"All scientists need to be able to communicate their ideas/findings/discoveries in an effective manner. Conducting day to day work or research it helps to be organized and patient. I find that when I feel the most overwhelmed by my work that the best remedy is for me to get organized (make a list) and take my time with each task/goal."
Describe your work and research:
"My job as Ichthyology Collection Manager is largely to facilitate the science of those ichthyologists that use the UF Collection of Fishes. To that end, I am charged with directing the activities of others in the division such that the collection is well maintained, organized, and readily accessible to research ichthyologists. In many ways, a scientific collection of specimens functions much like a library. Scientists borrow fishes and obtain information from the specimens that is useful for interpreting what is actually going on in the real world."
What skills do you use on the job?
"This job, like most, requires that I be proficient in the use of a personal computer. Chiefly, I use a computer to track our holdings of specimens and to communicate with other ichthyologists. Additionally, a large part of my job (the fun part!) is spent identifying fishes, collecting fishes, or otherwise working hands on with the specimens in the collection."
What interesting discoveries have you made in your studies?
"It is no exaggeration to say that everyday I learn something new about fishes. In that I am keenly interested in fishes, this makes my job rewarding beyond compare. Some of what I learn is already widely known to others, some less so, and some discoveries are new. The latter are often the most exciting."
What is your typical work schedule?
"8-5, Monday through Friday with little attention to "punching the clock" at 5. If I'm caught up in doing something and don't need to be anywhere else, I'll stick with it. I usually find that I'll wander in at least once on the weekend as well if only to enjoy the quiet while I get some work done."
What do you like best about your job?
"Sorting and identifying fishes. I find this to be very satisfying. Time spent in the field seeing live fishes and interesting habitat is pretty high on the list too."
Does this profession require any travel?
"Require is probably the wrong word here. Travel costs money, which can frequently be in short supply in science. Most scientists I know desire travel and thus when we obtain the funding to conduct research in far flung places to answer a burning question, we jump at the chance. In a relatively short time span, my job has taken me to lakes, streams and rivers throughout the southeastern United States, out to open sea in the Gulf of Mexico and Atlantic Ocean, and to foreign locales in Australia, Papua New Guinea, India, Malaysia, and Singapore. Travel is a great if somewhat infrequent aspect to my career as an ichthyologist."
What is the general salary range for someone in your position?
"The salary of a museum collection manager depends in part upon the region of the country/world in which one is living, the degrees obtained by that person as well as the particular duties of the position. Most Ichthyology collection managers in the US probably earn somewhere between 30 and 60K a year."
How long have you been an ichthyologist?
"I've been working full-time in Ichthyology for nearly 11 years. Immediately following the completion of my Bachelor's degree, I started a 3 month job as a field and lab tech for what was then the National Biological Survey. Where has the time gone? Must be having too much fun."
Is it difficult to find a job in ichthyology?
"I suppose it depends on what you are willing to give up. If you don't mind moving to a new place and taking a job for little pay, no benefits, and of uncertain duration, then no, it is not difficult. Parlaying one of those jobs or a series of them into something more stable (obtaining the requisite degrees along the way is usually a must) can be an uphill fight at times."
Have you ever considered a career in a different field?
"I would like to have been a starting pitcher or center fielder for the St. Louis Cardinals. Alas, I can neither throw a baseball 95 miles an hour, nor hit one traveling that speed. Not even close."
Do you ever go fishing in your free time?
"No. Just not enough time in the day!"
Also hear from some of our former ichthyologists who are now working elsewhere in the Museum or in the field of ichthyology:
Griffin Sheehy: Laboratory Technician
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In the song, 'The House of the Rising Sun' is in which city? | The Animals — The House of the Rising Sun — Listen, watch, download and discover music for free at Last.fm
oldies
"The House of the Rising Sun" is a folk song from the United States. Also called "House of the Rising Sun" or occasionally "Rising Sun Blues", it tells of a life gone wrong in New Orleans. Depending on the version, the song may be sung from the perspective of a woman or a man. The most successful version was recorded by the English rock group The Animals in 1964, which was a number one hit in the United Kingdom, United… read more
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With which classic song did Bruce Willis have a UK No 2 hit in 1987? | A Brief History of the "House of the Rising Sun" - American Blues Scene
American Blues Scene
A Brief History of the “House of the Rising Sun”
Treme House... not of the Rising Sun
A Brief History of the “House of the Rising Sun”
By
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Chasing the Rising Sun – Ted Anthony
Today, we’re bringing you another entry in American Blues Scene’s exclusive “ Brief History of a Song ” series.
To most people, even mentioning House of the Rising Sun evokes memories of The Animals‘ 1964 smash hit, with it’s instantly recognizable circular chord pattern in A-minor. The song itself, however, enjoys a hidden and shockingly broad history that spans every folk-inspired corner of the United States, and dates far earlier than the mid-1960s, when it’s popularity exploded.
Like so many folk songs, the House of the Rising Sun‘s true “origins,” along with exactly where — or even what the Rising Sun was have been washed away by time. The often disputed birth of the song’s existence on record, as so many other countless folk songs, began with Alan Lomax, who recorded a young girl named Georgia Turner singing the song Acappella in the Appalachian hills of rural Kentucky. Georgia was merely 16 when she recorded the song, but was largely mum on where she had learned it. Lomax included the song in the popular Library of Congress album Our Singing Country in 1941.
Notable folk singer Clarence Ashley actually did make an earlier recording of the same song in 1933, where his version is definitively in the bluegrass style. Clarence had said that he learned the song from his grandfather, meaning the song’s origins can be dated to considerably older than 1933. What is interesting is that, while both Ashley and Turner come from the Appalachia region, Clarence was from Tennessee and Georgia was from Kentucky. The two were over 100 miles apart, a considerable distance in the 1930s, yet both sang eerily similar versions of the song. In an age where few could afford record players or radios, how did so many people learn the same music such as the Rising Sun? And in an era before cars were common and highways were still 25 years away, how did songs like this one manage to spread across the country? Several have researched the topic of “floating songs”, which, much like the songs themselves, has murky and hard-to-trace origins.
Ted Anthony wrote a definitive book on Rising Sun called Chasing the Rising Sun. In it, his journey in search of the true birth of the song take him to a dozen states and even across the Atlantic ocean. The book expertly discusses Rising Sun as a part of the greater story of the spread of folk music at large. Anthony presents several ways songs tended to move across the confining borders of small towns where many of the folk singers, both recorded or otherwise, lived their entire lives and died. Anthony asserts that Clarence Ashley actually traveled the Appalachia area in the 1920s with medicine shows. Medicine shows, popular in the early-to-mid 1900s, were traveling bands of musicians and salesmen. In a new town, the musicians would sing songs to entertain and draw crowds, and the salesmen would take advantage of the gathering to sell bottled “medicine”, (which could often better be described as flavored alcohol!) It was these early traveling shows that helped untold numbers of folk songs spread. Clarence, as well as unknown others, may have sang the famous House to numerous towns in Appalachia, where some townsfolk would remember and re-sing the song time and again, improvising if they forgot a word or phrase.
Early folk songs such as Rising Sun were also spread through the railroads. These were times when the only practical means of travel across long distances, which sometimes even meant 100 miles or less, was by train. It was also a time when train lines were still largely being built across America, with many workers singing in unison as they laid rail lines into and from various towns. This can be evidenced in many of both Alan Lomax and his father, John’s folk recordings, where dozens of workers can be found singing in unison — and sometimes harmony — to the tune of their hammers hitting railroad spikes. Anthony describes a situation where he found a version of House of the Rising Sun, in Oklahoma. Though the “house” was not the called the Rising Sun but another, more localized infamous establishment, and the lyrics were changed slightly, the song was nonetheless obviously of the school of the “original”. It was likely the railroads, theorizes Anthony, that would enable some anonymous soul to carry the song from the mountains in the east all the way to the plains in the midwest.
As records became more popular, so did recordings of the House of the Rising Sun. Instead of chance hearing-and-remembering by hand fulls of troubadours, records were common and fairly easy to come by. From the 1940s on, many artists recorded various versions of the song, occasionally under different titles, but generally the same lyrics and chord progressions. Leadbelly released several versions of the song in the 1940s. in 1958, Pete Seeger recorded a version on the banjo and, as was often common in earlier versions of the song, he sang it from the perspective of a woman. Woodie Guthrie recorded a version, as did both Joan Baez and Bob Dylan, who had arguably the most famous version until the Animals’ cover several years later. The Animals recorded their world-famous version in one take during a May, 1964 recording session. It became an immediate hit, and topped both the U.S. and U.K. single charts that year. The song has been continuously been lauded for it’s sound and staying power, and remained The Animals most popular single.
As for the location of the actual house of the Rising Sun, it likely never existed in reality — despite the often-repeated instructions from French Quarter tour operators and passively amused, often conflicting directions from many locals and well-meaning tourists alike. As Nola.com, a division of the Times-Picayune, reported in 2007 , if a fabled Rising Sun ever did exist in New Orleans, currently the most likely location to claim the honor is located on 535-537 Conti St. in the famous French Quarter, where evidence of a hotel named Rising Sun was found. Excavators discovered unusual amounts of makeup containers and liquor bottles, and a newspaper ad stating that the hotel was open to “discerning gentlemen”, which could have possibly alluded to prostitution. Rising Sun is thought to have operated from 1808-1822, when it burned. The site is now a gallery for the Historic New Orleans Collection museum. Realistically, though, according to archaeologist Shannon Dawdy, who uncovered most of the artifacts, the hotel could just as easily have been a hotel for men, which was not uncommon. It was also not uncommon for men of that era to apply some makeup to themselves, thus the evidence is not sufficient enough to be definitive by any means.
There have been tales of a picture of a women’s prison outside of New Orleans with a stone etching of a rising sun over the gate, though no images have surfaced to date. The theory is plausible, since most versions before the 60s made the narrator a woman, and many renditions include the phrase “ball and chain”. A house on Esplanade Ave, just beside the French Quarter in the Treme neighborhood has, at times, been referenced as being “the” Rising Sun, as have several other places in the area. In all actuality, the term “Rising Sun” was and continues to be (no doubt fueled, in part, by the song’s staying power and popularity, bringing it full-circle,) a common phrase. Different, interchanged versions of the song from across the country have been known to substitute New Orleans for another town, and the Rising Sun for a different establishment, aiding in muddying even the city and state, let alone exact street or building. Often times the establishment is a brothel, or a gambling parlor, bar, or prison. Many of the earlier singers likely never visited New Orleans, certainly 16 year old Georgia Turner did not, and the house of the Rising Sun could just as easily be a alliteration which means any generic place of ill repute. In truth, it will likely never be definitively known.
There has been evidence to suggest that the song, though it’s origins are commonly traced back as far as the early 1900s Appalachia area, has strong roots dozens or even hundreds of years earlier in England. As many people over the years churned and moved and settled, the places that components of the song could have come from are nearly endless. Much like hundreds of other folk songs, the epicenter of House of the Rising Sun is lost to the past. It was a song that was passed from person to person and from one generation to the next. It’s earliest singers, the location of the house that so many had apparently spent their lives in sin and misery, and most everything else about the song is a mystery. Perhaps this mystery, along with the somewhat anonymous lyrics and spooky minor chords, is part of what has continued to intrigue so many thousands and millions over the years.
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Who had a 1993 hit with 'Dreams'? | hit songs dreams music billboard dreaming list record blog
25 Hit Songs Named After Dreams
In the history of music, there have been hundred of songs centered on
dreams and dreaming. Dreams are one of the most mysterious functions of
the human mind and they have the strange ability to illicit strong emotional
responses. Dreams bring you into a world of past experience, make
believe, excitement, dread, fear, and sometimes reality. Many people
experience dreams of lost love and romantic longing. This article will be
examining the greatest musical singles that have the word “dream” in the title
of the song. Many famous musicians have used their dreams to express a
lyrical story and sometimes dreams tell us more about a person then any
interview ever could.
25. John Mayer - Dreaming with a Broken Heart
Dreaming with a Broken Heart is a song by John Mayer that was released on
his 2006 album Continuum. The single entered the U.S Billboard Hot 100
chart at its peak position of #99. It also peaked on the Hot Adult
Contemporary Tracks at #8, making it Mayer's eighth single to enter the Top
10 on the U.S. AC Chart. Billboard Magazine called the song "Another
bull's-eye from a rare singer/songwriter who has proven to be a major
success."
24. Dan Hartman - I Can Dream About You
I Can Dream About You is a song performed by Dan Hartman for the
soundtrack album Streets of Fire. It was originally released in 1984 as a
single off Hartman's album I Can Dream About You and peaked at #6 on the
U.S. singles chart. Sadly, Dan Hartman died of a brain tumor resulting from
AIDS on March 22, 1994 in his home in Westport, Connecticut at the age of
43.
23. The Dirt Band - An American Dream (with Linda Ronstadt)
The Nitty Gritty Dirt Band is an American country-folk-rock band that was
founded in Long Beach, California in 1966. The group's membership has
had at least a dozen changes over the years, including a period from 1976
to 1981 when they performed and recorded as The Dirt Band. Albums
during this period included The Dirt Band and An American Dream. The
single American Dream featuring Linda Ronstadt reached #13 on the popular
music charts in the U.S. The band also appeared on Saturday Night Live,
and, billed as The Toot Uncommons, provided backing for Steve Martin on
his million-selling novelty tune, King Tut.
22. Selena - Dreaming of You
Dreaming of You is the name of a Selena love song written by Franne Golde
and Tom Snow. It was Selena's biggest single, peaking at #21 on the U.S.
Billboard Hot 100. The song was released at the end of the first quarter of
1995, after Selena's murder. It appeared on the album of the same name,
which was also released posthumously.
21. Tom Waits - Innocent When You Dream
Tom Waits is an American singer-songwriter, composer and actor. Waits
has a distinctive voice, described by critic Daniel Durchholz as sounding
"like it was soaked in a vat of bourbon, left hanging in the smokehouse for a
few months, and then taken outside and run over with a car.” With this
trademark growl, he has incorporated many musical styles, including blues,
jazz, and vaudeville. He has a cult following and has influenced subsequent
songwriters despite having little radio or music video support.
Tom Waits has been nominated for a number of major music awards and
has won two Grammy Awards. Innocent When You Dream is a song that
was released on Waits 1987 album Franks Wild Years. Subsequently, the
song has been plagiarized and used in commercials. Tom Waits has been
forced to sue, as he will not allow any of his music to be commercialized.
20. Gabrielle - Dreams
Dreams is the debut single from Gabrielle. It was written by Gabrielle and
Tim Laws and produced by Richie Fermie. The song reached #1 on the UK
singles chart for three weeks in June of 1993. It entered the British charts at
#2, which was the highest chart entry by a debut act at that time. The song
peaked at #26 in the U.S. and #2 in Australia. Dreams was also a hit in Italy,
Switzerland, France, and New Zealand.
19. Johnny Burnette - Dreamin'
Johnny Burnette was a Rockabilly pioneer. Along with his older brother
Dorsey Burnette and a friend named Paul Burlison, Johnny Burnette was a
founding member of The Rock and Roll Trio. The song Dreamin’ was
released on May 4, 1960, and made Johnny famous to millions of people
who had never heard of The Rock and Roll Trio, although Johnny released
Dreamin’ as a solo artist. The song reached #11 on the U.S. singles chart
and peaked at #5 in Britain. Unlike his older recordings, Dreamin’ was
overlaid with an orchestral backing.
18. John Lennon - #9 Dream
#9 Dream is a song written and performed by John Lennon. It was featured
as the seventh track on his 1974 album Walls and Bridges. It continues
Lennon's fascination with the number nine (he was born on October 9, and,
coincidentally, the track also peaked at #9 in the U.S. charts). Lennon wrote
and arranged the song around his dream, hence the title and the
atmospheric, dreamlike feel of the song.
17. The Moody Blues - Your Wildest Dreams
Your Wildest Dreams is a hit single performed by the rock band The Moody
Blues. The song was first released as a single, and was later part of the
band’s 1986 album The Other Side of Life. Your Wildest Dreams was a top-
10 hit in the United States, peaking at #9, which had not happened to a
Moody Blues song since the 1967 single Nights in White Satin. Your
Wildest Dreams lyrics tells the story of a man who is remembering his first
love, and wonders if she remembers him the way he remembers her.
16. 009 Sound System - Dreamscape
009 Sound System is an experimental pop project that started in 2008.
Songs performed by 009 Sound System are entirely written, performed,
and produced by Alexander Perls. His music is officially characterized as
trance, which is a genre of electronic dance music that was developed in the
1990s. Dreamscape is the band’s most successful song to date and it has
received quite a following over the Internet.
15. Gary Wright - Dream Weaver
Dream Weaver is a song by Gary Wright that was a hit single in the U.S.
reaching #2 in the Billboard charts, while it reached #1 in the Cash Box
charts, Australia, Canada and Europe in 1976. The song was featured on
the album The Dream Weaver released in 1975. It was one of the first-ever
records that showcased a synthesizer and keyboard. Dream Weaver, and
its keyboard introduction, according to Wes Craven, inspired the concept
behind the film A Nightmare on Elm Street. It was also sampled in a highly
successful 1990 Wayne's World episode of Saturday Night Live and
featured on the Wayne’s World soundtrack.
14. The Cranberries - Dreams
Dreams is a song by rock band The Cranberries. It was released on their
1993 debut album Everybody Else Is Doing It, So Why Can't We? The
backing vocals on the song are sung by Mike Mahoney, ex-boyfriend of
Cranberries lead singer Dolores O'Riordan. The Cranberries debut album
peaked at #9 on the Irish charts and #1 in the UK. The single Dreams
reached the Top 30 in Ireland, Australia, the UK, and in the U.S.
13. Billy Ocean - Get Outta My Dreams, Get into My Car
Get Outta My Dreams, Get into My Car is a #1 single by singer Billy Ocean.
The song gained major popularity due to its cutting-edge video, which
featured cartoon mixed with live-action sequences. In 1988, the song
reached the top of the charts in the United States, Austria, the Netherlands,
and Norway. It peaked at #3 in the UK. It was also featured in the 1988
teen comedy License to Drive.
12. Ella Fitzgerald & Louis Armstrong - Dream a Little Dream of Me
Dream a Little Dream of Me is a song that was written by Fabian Andre and
Wilbur Schwandt, with lyrics by Gus Kahn. The song was originally recorded
by Ozzie Nelson and his Orchestra on February 16, 1931 for Brunswick
Records. Since that time, it has been covered by hundreds of artists. For
this article I have included the Louis Armstrong and Ella Fitzgerald version of
Dream a Little Dream of Me. The most commercially successful version of
the song was recorded by the Mamas & the Papas in April of 1968.
11. Crowded House - Don't Dream It's Over
Don't Dream It's Over is a pop/rock song written by New Zealander Neil Finn
and performed by Crowded House. In 1987, the song was used on the
band’s debut album titled Crowded House. Don’t Dream It’s Over peaked at
#2 in the U.S. and reached the top of the charts in Australia and New
Zealand. It was ranked #7 on a list of the 100 Best Australian Songs of all
time, even though lead singer Neil Finn is from New Zealand.
10. Mariah Carey - Dreamlover
Dreamlover is a song written and produced by American singer Mariah
Carey, Dave Hall and Walter Afanasieff. The song was released on Mariah
Carey’s fourth album Music Box (1993). Dreamlover became Carey's
seventh #1 single in the United States. The song spent eight weeks at the
top spot, from September 5 to October 30, 1993. Dreamlover was also a
major success outside the U.S., becoming Carey's fourth #1 single in
Canada. It peaked at #2 in New Zealand and reached the Top 10 in several
countries, including the United Kingdom, Australia, and the Netherlands.
9. Roy Orbison - In Dreams
In Dreams is a song composed and sung by rock and roll performer Roy
Orbison. It is an operatic ballad of lost love and was released as a single in
February of 1963. The song became the title track on the album In Dreams,
released in July of the same year. It has a unique structure and contains
seven distinct musical movements, in which Orbison sings through two
octaves. The song peaked at #7 in the U.S. and charted in England for five
months during the early 1960s, while Roy Orbison toured and sharing billing
with The Beatles.
Sweet Dreams is a song by the pop music duo Eurythmics, which includes
David A. Stewart and Annie Lennox. The song was released as a single and
was the title track of the group’s album Sweet Dreams (Are Made of This).
Sweet Dreams provided Eurythmics with their breakthrough into commercial
success. In 1983, it reached the top of the U.S. singles chart and peaked at
#2 in the UK. Sweet Dreams also reached the Top 10 in Ireland, Austria,
Australia, Germany, Switzerland, and South Africa.
7. Ozzy Osbourne - Dreamer
Dreamer is the third track from Ozzy Osbourne's album Down to Earth, which
was released in October of 2001. The single peaked at #10 on U.S.
Billboard's Mainstream Rock Chart. It describes Ozzy’s vision of a better
world for his children, where they are happy and safe. Ozzy Osbourne
compares Dreamer to John Lennon's hugely famous Imagine, which
contains the line: "You may say I'm a dreamer, but I'm not the only one."
Ozzy has said that The Beatles have had a huge influence on him and his
music. Another reference to John Lennon is the line "After all, there's only
just the two of us.” This is an acknowledgment of the Beatles song Two of
Us.
6. The Lovin' Spoonful - Daydream
Daydream is the second album by The Lovin' Spoonful, released in 1966.
The record featured two hit songs, the title track, which reached #2 on the
U.S. singles chart, and You Didn't Have to Be So Nice. The single
Daydream also peaked at #2 in the UK. The song originated with John
Sebastian's attempt to rewrite The Supremes hit Baby Love.
5. Aerosmith - Dream On
Dream On is the first single from Aerosmith’s1973 debut album. The song
was written by lead singer Steven Tyler and became the band’s first major
hit. Dream On was officially released in June of 1973 and peaked at number
59 in the U.S. It was a big radio hit in the band's native city of Boston.
Dream On frequently rivals Sweet Emotion and Walk This Way for the title
of Aerosmith's signature song. In the early 1990s, the band performed the
song live with an orchestra for MTV's 10th Anniversary.
4. The Monkees - Daydream Believer
Daydream Believer is a song composed by John Stewart shortly before he
left the Kingston Trio. The song was recorded by The Monkees, with Davy
Jones singing lead vocals. The single hit the number one spot on the U.S.
Billboard Hot 100 chart in December 1967, remaining there for four weeks.
It peaked at #5 on the UK Singles Chart. The song was also popular in
Norway, Japan, Austria, and Switzerland. It was The Monkees last #1 hit in
the U.S.
Dreams is a song that was released on Fleetwood Mac's 1977 album
Rumours. The song was written and performed by Stevie Nicks. It remains
the only U.S. #1 hit for the group, and is a popular song all over the world.
Dreams reached the top 10 in Ireland, Canada, and the UK.
2. The Everly Brothers - All I Have to do is Dream
All I Have to do Is Dream is a popular song made famous by the Everly
Brothers. The lyrics were written by the legendary husband and wife
songwriting team Felice and Boudleaux Bryant. The song reached #1 on the
U.S. singles chart in 1958. It is ranked as #141 on Rolling Stone magazine’s
list of The 500 Greatest Songs of All Time. All I Have to do is Dream
remains one of the most covered songs in history.
R.E.M. Version
1. Bobby Darin - Dream Lover
Dream Lover is a song written and recorded by Bobby Darin on March 5,
1959. It is considered a soulful rock song. The song became a multi-million
seller, reaching #2 on the U.S. singles chart and #1 in UK. It was released
as a single on Atco Records. In addition to Darin's vocal, the song features
Neil Sedaka on the piano.
Honorable Mentions
The Coral - Dreaming Of You
Dreaming of You is a song by the English band The Coral and is featured on
their debut album. It was released on October 29, 2002. The melody used
in the song resembles My World Is Empty Without You by The Supremes.
Dreaming of You peaked at #13 in the UK.
Hall & Oates - You Make My Dreams
You Make My Dream is a 1980 single by Hall & Oates. It was released on
their album Voices and reached #5 on the U.S. singles chart in 1981. The
song made a minor comeback in 2009 when it was featured prominently in
the indie Sundance film, (500) Days of Summer.
Songs About Dreams
Enter Sandman is a song by American heavy metal band Metallica. It is
featured as the opening track and lead single from their eponymous 1991
album. The song was produced by Bob Rock, and the music was written by
Kirk Hammett, Lars Ulrich, and James Hetfield. Vocalist and guitarist
Hetfield wrote the lyrics, which deal with the concept of a child's nightmares.
The video included shows Metallica in true rock star form.
Queensrÿche - Silent Lucidity
Silent Lucidity is a single by the American progressive metal band
Queensrÿche. It was released on the bands 1990 album Empire. The song
peaked at #9 on the U.S. singles chart and #18 in the UK. The lyrics of
Silent Lucidity are based on the subject of lucid dreaming. If you have ever
experienced a lucid dream, this song is a must listen. The video includes the
lyrics.
| Gabrielle |
Which singer went solo after performing with the Commodores? | UK Top 100 Hits of 1993
UK Top 100 Hits of 1993
UK Top 100 Hits of 1993
1993-001 Meat Loaf - I'd Do Anything For Love (But I Won't Do That).mp3 16.5MB [12:01]
1993-002 2 Unlimited - No Limit.mp3 2.0MB [2:12]
1993-003 Whitney Houston - I Will Always Love You.mp3 5.4MB [4:24]
1993-004 Ace Of Base - All That She Wants.mp3 4.8MB [3:31]
1993-005 UB40 - (I Can't Help) Falling In Love With You.mp3 3.1MB [3:23]
1993-006 Gabrielle - Dreams.mp3 5.3MB [3:45]
1993-007 Shaggy - Oh Carolina.mp3 2.9MB [3:11]
1993-008 Culture Beat - Mr Vain.mp3 5.1MB [5:36]
1993-009 The Bluebells - Young At Heart.mp3 5.0MB [5:28]
1993-010 Jazzy Jeff & Fresh Prince - Boom! Shake The Room.mp3 5.3MB [3:52]
1993-011 Freddie Mercury - Living On My Own.mp3 5.0MB [3:39]
1993-012 Haddaway - What Is Love.mp3 5.1MB [4:29]
1993-013 Snow - Informer.mp3 5.1MB [4:28]
1993-014 Bryan Adams - Please Forgive Me.mp3 4.1MB [5:55]
1993-015 Take That - Pray.mp3 3.4MB [3:45]
1993-016 Chaka Demus & Pliers - Tease Me.mp3 3.4MB [3:41]
1993-017 George Michael & Queen With Lisa Stansfield - Five Live (EP) (Somebody To Love).mp3 4.8MB [5:16]
1993-017 George Michael & Queen With Lisa Stansfield - Five Live (EP) (These Are The Days Of Our Lives).mp3 4.3MB [4:42]
1993-017 George Michael & Queen With Lisa Stansfield - Five Live (EP) (Calling You).mp3 MB [5:14]
1993-017 George Michael & Queen With Lisa Stansfield - Five Live (EP) (Dear Friends).mp3 1.0MB [1:07]
1993-017 George Michael & Queen With Lisa Stansfield - Five Live (EP) (Killer & Papa Was A Rollin' Stone).mp3 10.4MB [11:21]
1993-018 Mr Blobby - Mr Blobby.mp3 3.3MB [3:35]
1993-019 4 Non Blondes - What's Up?.mp3 6.8MB [4:57]
1993-020 Bitty McLean - It Keeps Rainin' (Tears From My Eyes).mp3 3.5MB [3:48]
1993-021 Inner Circle - Sweat (A La La La La Long).mp3 3.5MB [3:48]
1993-022 Urban Cookie Collective - The Key, The Secret.mp3 3.4MB [3:41]
1993-023 Dina Carroll - Don't Be A Stranger.mp3 4.0MB [4:22]
1993-024 Snap! feat. Niki Harris - Exterminate!.mp3 5.0MB [5:26]
1993-025 Billy Joel - The River Of Dreams.mp3 5.7MB [4:07]
1993-026 The Spin Doctors - Two Princes.mp3 7.0MB [4:18]
1993-027 Annie Lennox - Little Bird.mp3 4.4MB [4:47]
1993-027 Annie Lennox - Love Song For A Vampire.mp3 3.9MB [4:18]
1993-028 West End feat. Sybil - The Love I Lost.mp3 3.1MB [3:25]
1993-029 Take That feat. Lulu - Relight My Fire.mp3 3.8MB [4:11]
1993-030 Elton John & Kiki Dee - True Love.mp3 3.3MB [3:34]
1993-031 Chaka Demus & Pliers feat. Jack Radics & Taxi Gang - Twist And Shout.mp3 3.6MB [3:56]
1993-032 Take That - Babe.mp3 4.4MB [4:51]
1993-033 M People - Moving On Up.mp3 3.2MB [3:31]
1993-034 Shabba Ranks - Mr Loverman.mp3 5.8MB [3:38]
1993-035 SWV - Right Here.mp3 3.5MB [3:46]
1993-036 Cappella - U Got 2 Let The Music.mp3 7.5MB [5:26]
1993-037 Sybil - When I'm Good And Ready.mp3 3.2MB [3:30]
1993-038 Pet Shop Boys - Go West.mp3 4.5MB [4:57]
1993-039 Sub Sub feat. Melanie Williams - Ain't No Love (Ain't No Use).mp3 2.5MB [2:43]
1993-040 Lenny Kravitz - Are You Gonna Go My Way.mp3 3.2MB [3:32]
1993-041 Goodmen - Give It Up.mp3 3.2MB [3:26]
1993-042 Michael Jackson - Give In To Me.mp3 5.0MB [5:29]
1993-043 Chaka Demus & Pliers - She Don't Let Nobody.mp3 5.6MB [4:06]
1993-044 Janet Jackson - That's The Way Love Goes.mp3 5.1MB [4:25]
1993-045 2 Unlimited - Tribal Dance.mp3 4.2MB [4:32]
1993-046 East 17 - Deep.mp3 3.7MB [3:59]
1993-047 The Bee Gees - For Whom The Bell Tolls.mp3 4.7MB [5:05]
1993-048 M People - One Night In Heaven.mp3 3.6MB [3:57]
1993-049 Take That - Could It Be Magic.mp3 3.2MB [3:31]
1993-050 East 17 - It's Alright.mp3 4.3MB [4:42]
1993-051 Robin S - Show Me Love.mp3 5.1MB [4:27]
1993-052 Mariah Carey - Hero.mp3 6.0MB [4:22]
1993-053 REM - Everybody Hurts.mp3 4.9MB [5:19]
1993-054 Michael Jackson - Heal The World.mp3 8.8MB [6:23]
1993-055 Whitney Houston - I'm Every Woman.mp3 6.8MB [4:40]
1993-056 Whitney Houston - I Have Nothing.mp3 6.8MB [4:48]
1993-057 Soul Asylum - Runaway Train.mp3 5.1MB [4:25]
1993-058 Cappella - U Got 2 Know.mp3 7.2MB [5:13]
1993-059 Take That - Why Can't I Wake Up With You.mp3 3.4MB [3:40]
1993-060 Culture Beat - Got To Get It.mp3 3.7MB [5:21]
1993-061 Apache Indian - Nuff Vibes EP.mp3 3.5MB [3:49]
1993-062 Eternal - Stay.mp3 4.6MB [4:00]
1993-063 Gloria Gaynor - I Will Survive.mp3 7.6MB [3:18]
1993-064 Janet Jackson - Again.mp3 4.3MB [3:47]
1993-065 Haddaway - Life.mp3 8.2MB [5:53]
1993-066 Lisa Stansfield - In All The Right Places.mp3 7.3MB [5:16]
1993-067 Arrested Development - Mr Wendal.mp3 5.6MB [4:06]
1993-068 Dina Carroll - The Perfect Year.mp3 3.4MB [3:45]
1993-069 Rod Stewart - Have I Told You Lately.mp3 5.5MB [3:58]
1993-070 Duran Duran - Ordinary World.mp3 6.5MB [5:40]
1993-071 Mariah Carey - Dreamlover.mp3 5.4MB [3:57]
1993-072 Faith No More - I'm Easy.mp3 4.3MB [3:04]
1993-073 Ugly Kid Joe - Cats In The Cradle.mp3 5.9MB [4:01]
1993-074 The Beloved - Sweet Harmony.mp3 4.1MB [5:05]
1993-075 Green Jelly - Three Little Pigs.mp3 6.8MB [5:55]
1993-076 Charles & Eddie - Would I Lie To You?.mp3 3.2MB [3:32]
1993-077 USURA - Open Your Mind.mp3 8.5MB [3:43]
1993-078 The Shamen - Phorever People.mp3 3.4MB [3:44]
1993-079 UB40 - Higher Ground.mp3 4.0MB [4:20]
1993-080 Jade - Don't Walk Away.mp3 8.5MB [4:44]
1993-081 Roxette - Almost Unreal.mp3 3.6MB [3:56]
1993-082 Urban Cookie Collective - Feels Like Heaven.mp3 4.8MB [5:13]
1993-083 Frankie Goes To Hollywood - Relax.mp3 3.6MB [3:57]
1993-084 Tina Turner - I Don't Wanna Fight.mp3 7.6MB [4:26]
1993-085 Louchie Lou & Michie One - Shout (It Out).mp3 3.2MB [3:29]
1993-086 Right Said Fred & Friends - Stick It Out.mp3 3.0MB [3:15]
1993-087 Dannii Minogue - This Is It.mp3 3.2MB [3:31]
1993-088 M People - Don't Look Any Further.mp3 3.5MB [3:50]
1993-089 Sister Sledge - We Are Family.mp3 8.3MB [3:36]
1993-090 U2 - Stay (Faraway, So Close).mp3 5.5MB [4:58]
1993-090 Frank Sinatra With Bono - I've Got You Under My Skin.mp3 6.4MB [3:30]
1993-091 The Doobie Brothers - Long Train Runnin'.mp3 4.0MB [3:27]
1993-092 Madonna - Rain.mp3 6.2MB [5:24]
1993-093 K7 - Come Baby Come.mp3 5.4MB [4:00]
1993-094 D:Ream - Things Can Only Get Better.mp3 3.6MB [3:58]
1993-095 Shabba Ranks feat. Maxi Priest - Housecall.mp3 3.6MB [3:56]
1993-096 M People - How Can I Love You More.mp3 4.3MB [4:43]
1993-097 Michael Jackson - Will You Be There.mp3 6.8MB [5:53]
1993-098 Aftershock - Slave To The Vibe.mp3 5.0MB [3:39]
1993-099 New Order - Regret.mp3 6.4MB [4:08]
1993-100 Meat Loaf - Bat Out Of Hell.mp3 5.6MB [4:52]
Total file size: 514MB Total run-time: 7:45:13
Downloads:
| i don't know |
In 1979 who sang about Walking on the Moon? | Walking on the Moon - The Police - 1979 - YouTube
Walking on the Moon - The Police - 1979
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Published on Jul 23, 2013
Walking on the Moon performed in 1980 by The Police on an Australian television program called The Countdown. I used pictures of the 1969 Apollo 11 Moon Mission for the slideshow.
Category
| The Police |
Who had his first solo number one hit in the UK with 'I just called to say I love you'? | The Police - Walking On The Moon (1979) | IMVDb
The Police
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| i don't know |
Who was the lead singer with T-Rex? | BBC ON THIS DAY | 16 | 1977: T-Rex singer killed in car smash
1977: T-Rex singer killed in car smash
Pop star Marc Bolan has been killed in a car crash in south-west London.
The 29-year-old former T-Rex singer was killed instantly when the car being driven by his girlfriend, Gloria Jones, left the road and hit a tree in Barnes.
Miss Jones - an American singer who had just returned from the US - broke her jaw and is suffering from shock.
The couple's 20-month-old son was not in the car when they crashed at 0400 BST on the way to Mr Bolan's home in Richmond after a night out at a Mayfair restaurant.
Miss Jones' brother - who was following their purple mini - told police the car was travelling at 30 mph (48.3 km/h) when it crashed at a notorious accident blackspot.
Phillip Evans-Lowe was driving to work at a local dairy when he witnessed the smash.
"When I arrived a girl was lying on the bonnet and a man with long dark curly hair was stretched out in the road - there was a hell of a mess, I rushed to get the police," he said.
Bottle of wine
According to the dead star's manager who was with them during the evening, Miss Jones had been drinking moderately at the restaurant.
"They did not have a lot to drink - just a bottle of wine with the meal and a few after," he said.
Mr Bolan had just completed a television series and was said to be poised to make a comeback after spending the last three years abroad as a tax exile.
His former manager, Tony Secunda, said the son of a Hackney porter whose real name was Mark Feld had always feared he would die in a car crash.
"He would never drive a car, he was always scared - Marc never had a driving licence, he refused to learn," he said.
| Marc Bolan |
What was the name of the Spice Girls first No 1 single? | This is Marc Bolan lead singer of T-Rex. But that's none of my business. - Imgflip
This is Marc Bolan lead singer of T-Rex. But that's none of my business.
582 views, 3 upvotes
| i don't know |
Who sang with Take That on their 1993 UK No 1 single, 'Relight My Fire'? | Dan Hartman Discography at Discogs
Daniel Earl Hartman
Profile:
Dan Hartman was born December 8, 1950 in Harrisburg, PA, he died March 22, 1994 in Westport, CT.
He was a prolific writer who honed his craft with a spate of non hit songs until he was asked to join the influential Johnny Winter Band as a backing musician, and then moved on to Johnny's brother Edgar Winter Group where he played bass and was given a free hand to participate in their monster collaboration "They Only Come Out At Night", a glam rock affair that defined the new rock ethos with the #1 pop hit "Frankenstein" and then he sang lead on "Free Ride" in 1972. He continued to flourish, learning more instruments and then went solo in 1976, his label issuing "Who Is Dan Hartman and Why Is Everyone Saying Wonderful Things About Him?", a promotional compilation of his tunes recorded with the Winters brothers. Soon, the brothers Winter were backing Hartman on his first true solo release, "Images" which introduced elements of Soul and R&B to his rapidly expanding repertoire. Keeping his toe in the rock arena, he recorded the Muddy Waters LP "I'm Ready" spending most of the time in the producers chair and adding a new sound to the blues legend repertoire. Hartman's songs usually had a steady beat, and in 1978 he released "Instant Replay" of which the title tune went to #1 disco (#29 pop), but contained a wide variety of sounds and beats that set the scene for his "Relight My Fire" LP in 1979. The centrepiece was "Vertigo/Relight My Fire", which spent 6 energy fuelled weeks at #1 US disco.
In 1981 Dan released "It Hurts To Be In Love" - an album which had moved away from the disco sound with melodic and almost Country Music tones.
Success returned in 1984 with Dan's collaboration with Charlie Midnight and the release of "I Can Dream About You" from the film soundtrack of "Streets of Fire". "We are the Young" and "Second Nature" were subsequently released from the album but did not make a big impression on the UK charts. In 1985 his song "Get Outta Town", from the Chevy Chase movie "Fletch" was released as a single and was included on the soundtrack album. Pressings of the UK only 12" single included M&M mixes of "I Can Dream About You" but failed to ignite. Hartman and Midnight then collaborated on James Brown's "Living In America" that peaked at #3 dance and #4 US Pop in 1986. In 1989, he released his final LP, "New Green Clear Blue" a total departure from his pop influenced music with a foray into the "New Age" instrumental music.
After being diagnosed with HIV, Dan's last major production projects included tracks for Tina Turner, Dusty Springfield, Joe Cocker, Bonnie Tyler, Paul Young, James Brown, Nona Hendryx, Holly Johnson, Living in a Box, the Plasmatics and Steve Winwood. He died, in 1994 from an AIDS related brain tumour just as his music was experiencing a revival. Dance groups like Black Box used Loleatta Holloway's Dan Hartman produced voice sample on their huge hit 'Ride On Time', and then Take That recorded their own version of "Relight My Fire" with Lulu in October 1993 that went to #1 in the UK. Hartman was secretive about his sexuality and HIV status, preferring to keep his private life to himself. Since his death, his songs "I Can Dream About You" and "Relight My Fire" were cleared for use in the Grand Theft Auto video games that brought his music to a new audience.
Sites:
| Lulu |
Name the 1980's hit sung by Tina Turner and Rod Stewart? | Record-Breakers and Trivia - everyHit.com
Back To The 'Records & Trivia' Index
Most Number 1s
This, possibly the most important record, is held by Elvis Presley. He has had 21 chart-toppers, 18 of them different songs (three titles have topped the chart on two distinctly separate chart runs as part of the series of re-issues to commemorate what would have been Elvis' 70th birthday in 2005). You can see how this record has 'changed hands' over the years here .
The Beatles are the top group with 17 number 1s. Madonna is the top woman with 13 (as of April 2008). Top female group is The Spice Girls with 9.
Only seven acts in chart history have got into double figures with their tally of chart-toppers. They are: Elvis Presley (21, 18 different songs), The Beatles (17), Cliff Richard (14 : six of them with The Shadows, one with The Drifters, one with The Young Ones), Westlife (14 : one of them with Mariah Carey), Madonna (13), The Shadows (11 : six of them with Cliff Richard, two of these also with The Norrie Paramor Strings) and Take That (11: one featuring Lulu).
Westlife hold the record for getting into double-figures in the shortest time (2 years and 10 months [ie. 149 weeks] - more than 3 months quicker than The Beatles (who took 165 weeks). Unlike Westlife, however, The Beatles tended to spend several weeks at the summit, slowing down their release rate.)
It is worth pointing out that Paul McCartney has appeared on more Number 1s than any other artist under a diverse range of credits. He has, in fact, appeared on 24 Number 1s; solo (1), with Wings (1), Stevie Wonder, The Christians et al (1), Ferry Aid (1), Band Aid (1), Band Aid 20 (1) and The Beatles (17).
In total, twenty-one artists have appeared on ten or more number one singles. They are:
Paul McCartney (24), Elvis Presley (21), John Lennon (20), George Harrison (18), Ringo Starr (16), Cliff Richard (15), Nicky Byrne, Kian Egan, Mark Feehily, Shane Filan (14), Robbie Williams, Madonna (13), Gary Barlow, Brian McFadden (12), Mel C , Geri Halliwell (11), Mel B, Emma Bunton, Howard Donald, Jason Orange, Mark Owen (10).
Artist with Most Weeks at Number 1
It's Elvis Presley. He has topped the chart for a total of 80 weeks (as of w/e 5th Feb 2005).
Top group is The Beatles (69 weeks). Top female performer is Madonna (29 weeks - as of w/e 17th May 2008).
In his many different manifestations, however, Paul McCartney has spent 93 weeks at the top.
Most Consecutive Number 1s
7 - by The Beatles and Westlife.
The Beatles' stretch began with "A Hard Day's Night" in 1964 and lasted to "Yellow Submarine"/"Eleanor Rigby" in 1966. The run was broken when "Penny Lane"/"Strawberry Fields Forever" merely made the number 2 position the following year!
Westlife's stint began with their debut, "Swear it Again" in 1999 and ran through to "My Love" in November 2000 (though one hit was a 'duet' with Mariah Carey). It was broken by "What Makes A Man" which peaked at number 2 the following month.
Beatles fans are, however, quick to point out that "Ain't She Sweet" (which made number 29 in 1964) was recorded in 1961, well before their EMI contract. It was issued by Polydor to 'cash in' on the success of the fab four. Fans argue that this was not an "official" Beatles release. If this logic is accepted (though the track did make the charts), The Beatles run of successive number ones begins with "From Me To You" in April 1963 - making a total of 11.
Top female group is The Spice Girls (6 in a row from "Wannabe" through to "Too Much").
Longest Span of Number 1 Singles
47 years, 6 months and 23 days. Held by Elvis Presley. His first number 1 was "All Shook Up" in 1957 (w/e 13th June). His most recent chart-topper was the re-issue of "It's Now Or Never" in 2005 (w/e 5th Feb).
Runner up is Cliff Richard. His first chart-topper was "Living Doll" in 1959. His latest was "The Millennium Prayer" in 1999, a span of 40, 4 months and 15 days. (+ 21 days for total span).
Longest span for a female artist with solo credit is Madonna on 20 Years, 7 Months, 1 Day (from "Into The Groove", 3rd Aug 1985 to "Sorry", 4th March 2006 - ie. a total span of 1074 weeks). [NB: if we include "4 Minutes" - which also credited Justin Timberlake, the span runs through to 10th May 2008 (22 years, 9 Months, 13 Days) but then this record is broken by Cher - see below.]
Kyie Minogue is still both popular and productive and, on 15 Years, 9 Months, and 23 Days (ie. 825 weeks from "I Should Be So Lucky", 23rd Jan 1988 to "Slow"; 15th Nov 2003), regularly poses a threat to Madonna in this regard.
If we allow 'credits' on singles rather than solo performances, Cher easily takes the record. Her duet with Sony, "I Got You Babe" (Aug 1965) to "Believe" (Oct-Dec 1998) gives a total span of 33 years, 3 months, and 14 days [ie. 1738 weeks].
Also worthy of a mention is Tammy Wynette. Her single "Stand By Your Man" made no. 1 in 1975. She was a guest vocalist on the 'various artists' single "Perfect Day" which topped the chart in 1997-8 (22 Years, 7 Months, 24 Days - ie. 1183 weeks).
Diana Ross, though not individually credited, provided vocals on the Supremes 1964 chart-topper "Baby Love". She most recently had a solo no. 1 with "Chain Reaction" in 1986 (21 Years, 4 Months, 1 Day - or 1114 weeks - total span).
First Artist To Enter At Number 1
Al Martino's "Here In My Heart" was the track to Top the first ever chart (Nov 1952) so, technically, this was the first track to debut at Number 1. But ignoring this, the first artist to enter at Number 1 in the established chart was Elvis Presley ("Jailhouse Rock", Jan 1958).
First Artist To Enter At Number 1 With Consecutive Releases
Slade. In 1973 they debuted at the top with both "Cum On Feel The Noize" and "Skweeze Me Pleeze Me."
Fastest Hat-Trick of Number 1s
A one-a-week series of re-issued Elvis Presley singles in 2005 enabled him to have three different chart-toppers in just four weeks; ("Jailhouse Rock" w/e 15th Jan; "One Night" / "I Got Stung" w/e 22nd Jan; "It's Now Or Never" w/e 5th Feb).
The record for the fastest hat-trick of non re-issued number ones is held by John Lennon. Following his death in December 1980, there was an almost frenzied buying of his singles. This resulted in him topping the chart no fewer than three times within an 8 week period ["(Just Like) Starting Over" w/e 20th Dec 1980; "Imagine" (a re-entry but nevertheless, not a re-issue, w/e 10th Jan 1981; "Woman" w/e 7th Feb 1981.]
First Artist To Enter At Number 1 With A Hat-Trick of Consecutive Releases
Take That. In fact, from July 1993 to April 1994, all four of their single releases went straight in at No.1 ("Pray", "Relight My Fire" [featuring Lulu], "Babe", "Everything Changes"). The band repeated this feat in the period from Oct 1994 to March 1996.
Most Entries at Number 1
From May 1999 to November 2006, Westlife entered the chart at No. 1 on 14 occasions.
First Entry At Number 1 By A Debuting Act
Excluding Al Martino, who was No. 1 in the first ever chart, Billy Preston was the first artist to enter at No. 1 with a debut single. To be fair, he performed the song ("Get Back," 1969) with The Beatles and so, quite literally, can't claim the entire credit for this feat. The Band Aid charity ensemble made its debut at No. 1 ("Do They Know It's Christmas?", 1984) but this comprised a number of already successful artistes.
The first act to make its chart debut at No. 1 on its own 'merit' was the Danish vocalist Whigfield (1994). Her song "Saturday Night" (with its associated dance) had been huge on the continent for some months and the demand from Brits returning home built up an enormous head of steam prior to its release.
First British act to debut at No. 1 was Robson & Jerome ("Unchained Melody" / "White Cliffs Of Dover", 1995). First solo male to debut at No. 1 was Babylon Zoo (a name used by British vocalist/multi-instrumentalist, Jas Mann) with "Spaceman" (1996). First British female act to make her debut at No. 1 was Billie ("Because We Want To", 1998). First all-girl group to make their chart debut at No. 1 was the Irish quartet B*Witched (with "C'est La Vie") in 1998. First British all-girl group to make its debut at No. 1 was Girls Aloud ("Sound Of The Underground", 2002).
Most Entries at Number 1 by a Debuting Act
On 11 Nov 2000, Westlife became the first act to have their first seven singles enter the chart at Number 1 as "My Love" crashed in at the top spot.
First Act To Reach Number 1 With Their First Three Releases
Gerry And The Pacemakers. Their debut single, "How Do You Do It?" was released in March 1963. After five weeks it made number 1. It was followed later that year by "I Like It" and "You'll Never Walk Alone" (both topped the charts four weeks after first appearing in the Top 40).
This feat was not matched until 21 years later when Frankie Goes To Hollwood took each of their first three singles to the top (1984).
Self-Replacement At Number One
On nine occasions in history, one title by an act has knocked another hit, by the same act, off the number one spot:
Ray Conniff and his Orchestra (Jan 1957) "Just Walking In The Rain" replaced by "Singing The Blues."
Norrie Paramor and the string section of his orchestra (Mar 1963) - "The Wayward Wind" was replaced by "Summer Holiday."
The Shadows (Aug 1960) "Please Don't Tease" knocked off the top spot by "Apache."
The Shadows (Jan 1963) "The Next Time" / "Bachelor Boy" replaced by "Dance On!"
The Shadows (Mar 1963) "Summer Holiday" replaced by "Foot Tapper."
The Shadows (Apr 1963) "Foot Tapper" replaced by "Summer Holiday."
The Beatles (Dec 1963) "She Loves You" replaced by "I Want To Hold Your Hand."
John Lennon (Feb 1981) "Imagine" replaced by "Woman."
Elvis Presley (Jan 2005) "Jailhouse Rock" replaced by "One Night" / "I Got Stung."
NB: Full credits:
-"Just Walking In The Rain" - Johnnie Ray, Ray Conniff and his Orchestra / "Singing The Blues" - Guy Mitchell, Ray Conniff and his Orchestra.
- "The Wayward Wind" - Frank Ifield, with Norrie Paramor and his Orchestra / "Summer Holiday" - Cliff Richard, The Shadows and the Norrie Paramor Strings.
- "Please Don't Tease", "The Next Time" / "Bachelor Boy" and "Summer Holiday" were credited to Cliff Richard and The Shadows.
Longest Gap Between Number 1s
31 years 0 months - for George Harrison. "My Sweet Lord" first made the top spot in Jan 1971. A few weeks after his death, it returned to number 1 (Jan 2002).
In second place is the artist who also holds the record for the longest gap between number 1s with different tracks and the record for longest gap between number 1s within the lifetime of the artist; Leo Sayer. In Feb 1977 he hit the top with "When I Need You". He didn't return until Feb 2006 (a day shy of 29 years gap) - with "Thunder In My Heart Again" (a remix of his 1977 hit, as 'Meck featuring Leo Sayer').
The longest run between original number 1s (i.e not a re-release/remix) is 18 years and 3 months for Blondie (Nov 1980, "The Tide is High", to Feb 1999, "Maria").
Biggest run for a female artist is 14 years 6 months by Diana Ross - from the prophetic "I'm Still Waiting" (Sep 1971) til "Chain Reaction" (Mar 1986).
Special mention must be made here of Stevie Winwood. Though not specifically credited, he hit number 1 with The Spencer Davis Group ("Somebody Help Me") in Apr 1966. A barren period then followed before a sample of his solo hit "Valerie" formed the basis of Eric Prydz's chart-topper "Call On Me" in Sep 2004; an hiatus of 38 years and 5 months between appearances, albeit uncredited, at number 1.
Longest Time For An Artist To Get To Number 1
34 Years, 10 Months, and 2 Days; Tony Christie. His first single, "Las Vegas", entered the Top 40 on w/e 16th Jan 1971, peaking at no. 21. His single from November of that year, "(Is This The Way To) Amarillo" was used in 2005 by comedian Peter Kaye in various TV performances, ultimately leading to a re-release in aid of Comic Relief. That catapulted the track back into the chart - at no. 1 - on w/e 26th Mar 2005.
This broke the record set over 18 years previously by Jackie Wilson. His "Reet Petite (The Sweetest Girl In Town)" topped the chart in Dec 1986; 29 Years, 1 Month, and 11 Days after it first entered the chart.
The longest time for a female soloist to take to reach Number 1 is 25 Years, 8 Months and 15 Days for Cher [from her first solo hit, "All I Really Want To Do", 19th Aug 1965 to "The Shoop Shoop Song (It's In His Kiss)", 4th May 1991]. She had, though, previously topped the chart as half of Sonny and Cher before going solo.
In terms of contributing to a Number 1:
Ozzy Osbourne holds the male record. He first hit the Top 40 as a member of Black Sabbath with "Paranoid" on w/e 12th Sep 1970. 33 years, 3 months and 8 days later (w/e 20th Dec 2003; a total of 1736 weeks) he achieved the top spot with "Changes" (a duet with daughter Kelly - and a version of a Black Sabbath album track from 1972).
The previous record holder was Eric Clapton. He first hit the chart as a member of the Yardbirds in 1965 ("For Your Love", w/e 20th Mar 1965) but did not form part of a chart-topping combo until hit collaboration with Cher (her again!), Chrissie Hynde and Neneh Cherry ("Love Can Build A Bridge", w/e 25 Mar 1995); 30 years, 0 months and 5 days [1567 weeks].
Lulu holds the female record. Her first Top 40 hit was "Shout" (w/e 16th May 1964). She finally hit the top spot with Take That ("Relight My Fire", 9th Oct, 1993); 29 Years, 4 Months and 23 Days.
Posthumous Number 1s
A morbid one - but one about which, nonetheless, we receive constant emails. Artists which have topped the chart following their death are:
Artist
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With which group was Morrissey the lead singer? | Morrissey | Biography & History | AllMusic
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Artist Biography by Steve Huey
As the lead singer of the Smiths , arguably the most important indie band in Britain during the '80s, Morrissey 's theatrical crooning and literate, poetic lyrics -- filled with romantic angst, social alienation, and cutting wit -- connected powerfully with a legion of similarly sensitive, disaffected youth. These fans turned the Smiths into stars in Britain, exerting tremendous pull over much of the country's guitar-based music for many years after their breakup, and even if the group remained underground cult artists in the States, they had a fan base that slowly, steadily grew larger over the years. Indeed, a few years after the Smiths ' breakup in 1987, Morrissey 's American cult had grown to the point where he became more popular in the U.S. than in his homeland, where he nevertheless was never far from the music press headlines. After a quiet period around the turn of the millennium, Morrissey launched a comeback in 2004 with You Are the Quarry , an album whose success proved that he remained one of the most beloved figures in alternative rock.
Stephen Patrick Morrissey was born May 22, 1959, in Manchester, England; not surprisingly a shy, awkward youth, he became obsessed with music and film as a teenager and devoted his writing talents to penning a New York Dolls fanzine (he was the president of their U.K. fan club), as well as a tribute to James Dean and numerous opinionated letters to the weekly music paper Melody Maker. During the explosion of punk in the late '70s, Morrissey unsuccessfully auditioned for Slaughter & the Dogs and sang for a brief period with a band called the Nosebleeds . He met guitarist Johnny Marr in 1982 and the two began writing songs together, forging one of the most productive partnerships British pop had seen in quite some time. The Smiths ' 1983 debut single, "Hand in Glove," a love song filled with oblique references to homosexuality, made them an underground sensation in the U.K. and as Morrissey attracted more attention, he demonstrated a flair for manipulating the media. His interviews were filled with blunt, unpredictable opinions and intentionally outrageous statements and his notoriety wasn't hurt by his stage presence (he performed wearing a hearing aid with flowers sticking out of his back pockets) or his self-proclaimed celibacy in the wake of much speculation about his sexuality.
Possessed of a darkly cynical bent as a lyricist, he was often misinterpreted as advocating some of the more disturbing things he sang about, which only added to the furor surrounding the band. The Smiths ' eponymous 1984 debut was a smash in the U.K. and in its wake, Morrissey began promoting his political views, heavily criticizing Margaret Thatcher , and advocating vegetarianism (hence the title of the follow-up LP, Meat Is Murder ). The Queen Is Dead (1986) was acclaimed as a masterpiece, but friction between Morrissey and Marr was growing. Marr departed after 1987's Strangeways, Here We Come and Morrissey broke up the rest of the band to begin a solo career.
Feeling betrayed by Marr 's defection, Morrissey channeled his frustration into creating new material with producer Stephen Street . His first two solo singles, "Suedehead" and the gorgeous "Everyday Is Like Sunday," were significant British hits in 1988 and his first album, Viva Hate (its title a reference to the Smiths ' breakup), was commercially and critically well received. He released several more high-quality singles, including "The Last of the International Playboys" and "Interesting Drug," but spent an inordinate amount of time laboring on the follow-up album, issuing the stopgap compilation Bona Drag in 1990. In the meantime, the Madchester fad was sweeping British indie music and when the lackluster Kill Uncle was finally released in 1991, it only magnified the disappointment. U.K. reviewers took Morrissey to task, suggesting that the record marked the end of his glory days and that he would never be able to match the songs he'd written in tandem with Marr .
A misperceived flirtation with British nationalism (not helped by a couple of seemingly racial caricatures in recent songs) tarnished his image even more in the U.K. press during 1992, this coming amid even more frequent reports of feuds with his managers, business associates, and ex-bandmates. All the controversy overshadowed the fact that 1992's Mick Ronson -produced Your Arsenal was a smashing return to form; Morrissey used his new guitar tandem of Alain Whyte (who co-wrote much of the material) and Boz Boorer (formerly of rockabilly revivalists the Polecats ) to full advantage in crafting a crunchy, glammed-up record. It easily ranked as the hardest-rocking of his career. Meanwhile, over in the U.S., tickets for his upcoming tour were selling like hotcakes and he managed to sell out L.A.'s Hollywood Bowl even faster than the Beatles had.
His confidence renewed by his American success (to the point where he permanently moved to Los Angeles), Morrissey delivered an equally strong follow-up in 1994's calmer Vauxhall and I , which even got him his first Top 50 singles chart entry in the U.S. with the MTV-supported "The More You Ignore Me, the Closer I Get." A hit-and-miss compilation, The World of Morrissey , followed in 1995, after which he switched labels (from Sire to RCA) for the first time since the Smiths ' debut album. Also issued in 1995 was the prog rock-informed Southpaw Grammar , which confounded many and perhaps prevented him from expanding his American audience past a now sizable group of longtime listeners. In 1996 he moved to another new label, this time Island, and released Maladjusted the following year. It failed to sell well outside of his most fanatical followers and his relationship with Island ended in 1998.
In the years that followed, Morrissey remained a massively popular touring attraction on the strength of his singular identity, despite the fact that he had yet to land another record deal. Finally, he signed his Attack label to Sanctuary, and released his first studio album in seven years, 2004's You Are the Quarry featuring production by Jerry Finn ( blink-182 , Sum 41 , and Green Day ). The album's leadoff single, "Irish Blood, English Heart," garnered considerable press, radio, and music television attention, and established a comeback of sorts. The concert recording Live at Earls Court followed one year later, as did the DVD concert Who Put the "M" in Manchester? , which saw a brief theatrical release.
His second full-length for Sanctuary, Ringleader of the Tormentors , was produced by Tony Visconti ( T. Rex , David Bowie ) and released in spring 2006. Recorded in Rome, the album also featured some orchestration by famed composer Ennio Morricone . Around this time, Morrissey 's longtime guitarist and writing partner Alain Whyte left the band. Although Whyte continued to contribute songs for Morrissey , he was largely replaced on album and in live shows by guitarist Jesse Tobias .
In 2009, Morrissey released Years of Refusal , his first under Decca after label changes found Sanctuary being absorbed into the Universal Music Group (which owned Decca). Produced by Finn and once again showcasing guitarist Tobias , Years of Refusal found Morrissey going for a more stripped-down, back-to-basics rock approach. Sadly, Finn suffered a cerebral hemorrhage just after wrapping production on the album. He fell into a coma and died just over a month later on August 21, 2008. Despite the tragedy surrounding it, Years of Refusal was largely hailed as Morrissey 's best album in years.
Over the next few years, Morrissey busied himself with rejiggered reissues of his solo material and various other compilations surfaced, including the 2009 B-sides collection Swords and the 2011 set Very Best of Morrissey ; he also played live with semi-regularity. Early in the summer of 2012, he announced in an interview with JuiceOnline.com that he was tentatively planning to retire in 2014. Morrissey then spent much of 2012 and 2013 touring the world, either side of an early-2013 period of bad health that saw him hospitalized first for an ulcer and then for a bout of pneumonia. A film of a March 2013 show at L.A.'s Hollywood High School saw a cinema release as 25Live that August and was issued on DVD and Blu-ray before the end of the year. His autobiography -- published through Penguin Classics that October -- was well-received and became a number one best-seller in the U.K.
In January 2014, despite his earlier proclamation of retirement, Morrissey signed a new record deal, this time with Capitol. Six months later he released his tenth studio album, World Peace Is None of Your Business , on Capitol's Harvest imprint. In promotion of the album, Morrissey shot several short films, released online, in which he delivered spoken word versions of the title track as well as the singles "Istanbul," "Earth Is the Loneliest Planet," and "The Bullfighter Dies." By August of 2014 Morrissey was once again without a label, having parted ways with Harvest. He also revealed that he'd undergone treatment for an undisclosed form of cancer. Nonetheless, he continued touring, wrapping up the year with a two-month stint in Europe.
In January 2015, following several live shows in the U.K., Morrissey appeared in a high-profile concert at New York's Madison Square Garden supported by Blondie . That March he released a fifth single from World Peace Is None of Your Business , the digital download "Kiss Me a Lot." Also in 2015, Morrissey announced the publication of his debut novel, List of the Lost, for Penguin.
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Which group backed Martha Reeves? | Morrissey hails unsigned group's frontwoman as 'best British singer in years' - NME
NME
10:56 am - Oct 13, 2010
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Doll & The Kicks tell NME how former Smiths man became their Number One fan
Press
Morrissey has hailed a new band, declaring their frontwoman the “the best British singer of recent years”.
The former Smiths frontman has lent his support to Brighton-based group Doll & The Kicks , praising lead singer Hannah Scanlon‘s vocals in particular.
“When I first saw Doll & The Kicks live, I could not, even with the best will in the world, look away,” explained Morrissey . “I can’t be reasoned with where Hannah is concerned – she is the best British singer of recent years. She will sing an entire song without any breathing lulls, and the boys seal her confidence brilliantly. How they work off each other is the most any group could give; the soft tones as arresting as the muscular tones. They certainly deserve far more serious treatment than they have received.”
The singer has invited the new band to support him and expressed his surprise that they remain unsigned.
“The fact that they remain unsigned is bizarre beyond belief, but insofar as I can tell, the entire point of the X Factor culture is to starve genuine music out of existence – whether that be Doll & The Kicks, or, for that matter, me,” he noted. “What this means, I think, is that, these days, being blacklisted from the game is a compliment, and you can’t continue to pledge allegiance to the world of music if it doesn’t pledge allegiance to you.”
Reacting to Morrissey ‘s praise, Scanlon told NME she was “honoured”.
“How can you not be pleased to hear anyone describe you as such [the best British singer in recent years], let alone have that person be Morrissey , the undisputed Indie King and an awe-inspiring talent right up to this day,” she explained. “It’s a huge accolade for anyone and I’m truly honoured.”
She added that the band, who have been going for about five years, had been introduced to Morrissey through a former manager.
“He just decided to come down and watch us live. We didn’t think he would come and we certainly didn’t think he would stay, I had heard he quite often leaves in disappointment a few songs into many gigs. But he was still there at the end and had moved to a position in the front,” recalled Scanlon. “Then he made a point of talking to each of us individually about the music and what he liked about it; he notices everything in great detail. I remember thinking that he was not at all how I had imagined.”
The band, who have a series of dates of their own lined up, including one at London‘s Hoxton Square Bar & Kitchen tonight (October 13), added that not only had Morrissey surprised them, but his fans had too when they played dates together.
“ Morrissey fans are not quite like any other fans you will ever meet,” admitted Scanlon. “We were told to brace ourselves for hostility at the worst and indifference at best which is why we were shocked with the warm reaction we were given and the support we still receive to this day. We grew into what we are now on that tour; we sound, play and look like a different band and every gig was intense and utterly exciting.”
For more on the band, including dates see MySpace.com/dollandthekicks .
Song Stories
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Who had a 1993 album called 'Diva'? | 1993: Eric Clapton, Unplugged. Clapton’s acoustic album recorded live in the UK for MTV topped the US billboard charts, & was a 4x platinum selling record in the UK. Other nominees in 1993 were Diva, Annie Lennox, k. d. lang’s Ingénue, U2’s Achtung Baby & Beauty & the Beast: Original Motion Picture Soundtrack. | Grammy Album of the Year winners 1959 – 2015 - Music
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1959: Henry Mancini, The Music from Peter Gunn. Henry Mancini’s album became the first ever Grammy Album of the Year in 1959, beating Come Fly With Me by Frank Sinatra, Ella Fitzgerald Sings the Irving Berlin Songbook, Frank Sinatra Sings for Only the Lonely, and Tchaikovsky’s Concerto No. 1 in B Flat Minor, Op. 23, played by Van Cliburn. Performed by a small jazz ensemble, the album comprised the soundtrack for the American TV series Peter Gunn.
Credit: REx
1960: Frank Sinatra, Come Dance with Me! Frank Sinatra’s most successful album spent two and a half years on the Billboard album charts. It beat Grammy competition from Belafonte at Carnegie Hall performed by Harry Belafonte, More Music from Peter Gunn by the previous year’s winner Henry Mancini, Rachmaninoff’s Piano Concerto No. 3 performed by Van Cliburn, and Victory at Sea Vol. 1 by Robert Russell Bennett.
Credit: Rex Features
1961: Bob Newhart, The Button-Down Mind of Bob Newhart. This was the first comedy album to win the Grammy Album of the Year, and marks the only time a comedian has won Best New Artist. The unusual title was given to the album by Warner Bros executives; Newhart wanted it to be called The Most Celebrated New Comedian Since Attila the Hun. The album was nominated alongside Belafonte Returns to Carnegie Hall by Harry Belafonte, Brahms: Concerto No. 2 in B-Flat performed by Sviatoslav Richter, Frank Sinatra’s Nice and Easy, Puccini: Turandot performed by Erich Leinsdorf and Nat King Cole’s Wild is Love.
Credit: Rex Features
1962: Judy Garland, Judy Garland at Carnegie Hall. Judy at Carnegie Hall is a recording of a live concert given by the Wizard of Oz star in New York in 1961. Garland’s 1960-61 tour of Europe and America was so successful that she was billed ‘The World’s Greatest Entertainer’, with audiences crowding around the stage and demanding countless encores. Other nominees were the Breakfast at Tiffany’s soundtrack by Henry Mancini, Genius+Soul=Jazz by Ray Charles, Great Band with Great Voices by Si Zentner and the Johnny Mann Singers, The Nat King Cole Story, and the West Side Story soundtrack.
Credit: Rex Features
1963: Vaughn Meader, The First Family. This parody of President John F Kennedy starred comedian and impersonator Vaughn Meader as Kennedy and Naomi Brossart as the First Lady. It was recorded on October 22 1962 – the same night that Kennedy himself made his famous Cuban Missile Crisis speech. The other nominees were Tony Bennett’s I Left My Heart in San Francisco, Jazz Samba by Stan Getz and Charlie Byrd, Modern Sounds in Country and Western Music by Ray Charles and Allan Sherman’s My Son, the Folk Singer.
Credit: AP
1964: Barbra Streisand, The Barbra Streisand Album. Streisand’s debut album was nominated alongside The Swingle Singers’ performance of Bach’s Greatest Hits, Days of Wine and Roses and Other TV Requests by Andy Williams, Honey in the Horn by Al Hirt, and the eponymous album of The Singing Nun. The album showcased Streisand’s versions of hits including Cry Me A River and Happy Days Are Here Again.
Credit: Rex Features
1965: Stan Getz & João Gilberto (with Astrud Gilberto and Antonio Carlos Jobim), Getz/Gilberto . The first jazz album to win Album of the Year, Getz/Gilberto, which combined the talents of American saxophonist Stan Getz and Brazilian guitarist João Gilberto, became one of the best-selling jazz albums of all time. Also nominated were Cotton Candy by Al Hirt, Funny Girl: Original Broadway Cast, People by Barbra Streisand and The Pink Panther by Henry Mancini.
Credit: Rex Features
1966: Frank Sinatra, September of My Years. Sinatra won his first Grammy aged 50 for September of my Years, his fifth collaboration with Gordon Jenkins. Sinatra’s performance of It Was a Very Good Year scooped the Grammy for Best Vocal Performance, while Jenkins won the Award for Best Instrumental Arrangement Accompanying Vocalist(s) for the same song. The album edged out Help! by the Beatles, My Name Is Barbra by Barbra Streisand, My World by Eddy Arnold and The Sound of Music soundtrack.
1967: Frank Sinatra, A Man and His Music. Sinatra won again in 1967 with A Man and His Music, a double-album providing a career retrospective for the iconic singer. The album shares its name with an hour-long TV colour special broadcast on NBC to mark Frank Sinatra’s 50th birthday in 1965. Also nominated were Color Me Barbra by Barbra Streisand, the Dr. Zhivago soundtrack by Maurice Jarre, Revolver by The Beatles and What Now My Love by Herb Alpert and the Tijuana Brass.
Credit: Capitol Records
1968: The Beatles, Sgt. Pepper’s Lonely Hearts Club Band. The Beatles’ eighth studio album won out over Francis Albert Sinatra and Antonio Carlos Jobim, It Must Be Him by Vikki Carr, My Cup Runneth Over by Ed Ames and Ode to Billie Joe by Bobbie Gentry. Time magazine called the album, performed by the fictional alter-ego group Sgt Pepper’s Lonely Hearts Club Band, “a historic departure in the progress of music”.
Credit: PA
1969: Glen Campbell, By the Time I Get to Phoenix. This was the first country album to win Album of the Year. Glen Campbell, who hosted a TV variety show called The Glen Campbell Goodtime Hour, released over 70 albums. In 1967 he won four Grammys across the country and pop categories. His Best Album win beat Bookends by Simon & Garfunkel, Feliciano! by José Feliciano, Magical Mystery Tour by The Beatles and A Tramp Shining by Richard Harris.
Credit: Rex
1970: Blood, Sweat & Tears, Blood, Sweat & Tears . The self-titled second album by jazz-rock group Blood, Sweat & Tears was nominated alongside Abbey Road by The Beatles, The Age of Aquarius by The 5th Dimension, the self-titled debut by Crosby, Stills & Nash and At San Quentin by Johnny Cash. The winning band and album were in fact named after Cash’s 1963 album Blood, Sweat and Tears.
Credit: Rex
1971: Simon and Garfunkel, Bridge over Troubled Water. Simon & Garfunkel’s fifth and final album was released in 1970, the year the duo parted company to pursue solo careers, Simon in music, Garfunkel in film (his next project a collaboration with Mike Nichols, for whose film The Graduate Simon & Garfunkel had provided the famous soundtrack). Other nominees were Chicago by Chicago, Close to You by The Carpenters, Déjà Vu by Crosby, Stills, Nash and Young, Elton John’s self-titled second album and Sweet Baby James by James Taylor.
Credit: Rex Features
1972: Carole King, Tapestry. Singer-songwriter Carole King’s second album is one of the best-selling albums of all time, having sold over 25 million copies worldwide. In 1972 it received four Grammy Awards, including Best Album, for which the other nominees were All Things Must Pass by George Harrison, The Carpenters by The Carpenters, the London production of Jesus Christ Superstar and Shaft by Isaac Hayes. The album’s cover photograph shows King holding a tapestry she hand-stitched herself.
Credit: Capitol Records
1973: George Harrison & Friends, The Concert for Bangla Desh. The Concert for Bangla Desh (retitled The Concert for Bangladesh) is a triple live album by George Harrison and celebrity friends including Bob Dylan, Ringo Starr and Eric Clapton. It is a recording of two 1971 charity concerts held in New York’s Madison Square in aid of Bengali refugees left homeless following the Bangladesh Liberation War. It topped album charts worldwide, and won the Grammy over American Pie by Don McLean, the original Broadway cast recording of Jesus Christ Superstar, Moods by Neil Diamond and Nilsson Schmilsson by Nilsson.
Credit: AP
1974: Stevie Wonder, Innervisions. Golden Age Stevie Wonder. The soul and funk legend played virtually all the instruments on six of Innervisions’ nine tracks, which include lyrics about racism and drug abuse. Three days after its release, Stevie Wonder was almost killed in a road accident. He suffered severe head injuries and was in a coma for four days.
Credit: AP
1975: Stevie Wonder, Fulfillingness’ First Finale. Having won Best Album the previous year with Innversions, Stevie Wonder made it two in a row with Fulfillingness’ First Finale. In contrast to Innversions’ social and political themes, this album struck a more self-reflective tone – with the notable exception of number one hit "You Haven't Done Nothin'", a scathing attack on Richard Nixon, which featured a cameo from the Jackson 5.
Credit: Rex Features
1976: Paul Simon, Still Crazy After All These Years. When Paul Simon accepted this Grammy he thanked Stevie Wonder – who had won in 1974 and 1975 – for not releasing an album that year. Perhaps the most famous song on this album is chart-topper “50 Ways to Leave Your Lover”, a mistress’s light-hearted advice to a husband on ways to end a relationship, which Simon wrote after divorcing his first wife Peggy Harper
Credit: Rex Features
1977: Stevie Wonder, Songs in the Key of Life. Stevie Wonder proved he still had it with "Songs in the Key of Life, which was released as an ambitious double LP with a bonus four-track EP. Often named as one of the greatest pop music albums of all time, it’s also Wonder’s favourite: “Of all [my] albums,” he told Q magazine in 1995, “Songs in the Key of Life [is the one] I’m most happy about.”
Credit: Rex Features
1978: Fleetwood Mac, Rumours. With its catchy songs including “Don’t Stop”, “The Chain” and “You Make Loving Fun”, Rumours was Fleetwood Mac’s most successful release and one of the best-selling albums of all time. In 2011 Rumours re-entered the Billboard charts after it was featured in an episode of the TV series, Glee.
Credit: Getty
1979: Bee Gees/Various artists, Saturday Night Fever: The Original Movie Sound Track. There can’t be many people who, when pressed, wouldn’t be able to hum at least one of the tunes from the Bee Gees’ Saturday Night Fever soundtrack – the only disco album to win a Grammy for Album of the Year. Barry Gibb’s falsetto tones on “Stayin’ Alive”, “Night Fever” and “More than a Woman”, among other karaoke favourites, are some of the most famous vocals in music history.
Credit: Rex Features
1980: Billy Joel, 52nd Street. 52nd Street’s Grammy was presented to its producer, Phil Ramone, and passed on to Joel after Ramone’s death. On October 1, 1982, it made music history when it became the first album to be commercially released on compact disc by Sony Music Entertainment. The title is a reference to the celebrated New York jazz hotspot.
Credit: AP
1981: Christopher Cross, Christopher Cross. One of the most influential soft rock albums of the 1980s, Christopher Cross is famous – to some, infamous – for triumphing over Pink Floyd’s seminal album, The Wall, for that year’s Grammy. Christopher Cross also won the award for Best New Artist.
Credit: AP
1982: John Lennon & Yoko Ono, Double Fantasy. Initially poorly received by critics and fans, Double Fantasy might have passed into obscurity were it not for the fateful events in New York three weeks after its release. Lennon’s murder on 8 December 1980 propelled the album to number one in the US and UK charts.
Credit: AP
1983: Toto, Toto IV. Toto IV, the American rock band’s helpfully titled fourth album, marked their career breakthrough. Two singles became smash hits: “Rosanna” (which also won best record) and the enduring “Africa” – their first number one.
1984: Michael Jackson, Thriller. In just over a year, Thriller became – and is still – the best-selling album of all time, selling over 65 million copies worldwide. Michael Jackson said he’d tried to create an album where "every song was a killer" – and few would deny he achieved that aim. The album might have ended up with a different name: when Rod Temperton wrote the song "Thriller", he originally wanted to call it "Starlight" or "Midnight Man", but decided they didn’t have as much commercial appeal.
Credit: Reuters
1985: Lionel Richie, Can’t Slow Down. Lionel Richie’s second solo album achieved the rare feat of having every single released hit the US top ten. One of the two number ones, “Hello”, is as famous for the question in its lyrics (“Is it me you’re looking for?”) as its widely derided music video, in which a blind female student sculpts a barely recognisable bust of ‘art teacher’ Richie’s head.
Credit: AP
1986: Phil Collins, No Jacket Required. The third solo album from Phil Collins got its name after the Genesis frontman was denied entrance to The Pump Room in Chicago because he didn’t meet the restaurant’s formal dress code. Collins – whose dinner companion was Led Zeppelin’s Robert Plant – was wearing a jacket, but the Maître d' argued that it was not "proper". Collins told Playboy magazine that he had never been so angry in his life.
Credit: AP
1987: Paul Simon, Graceland. Recovering from depression after the breakup of his marriage and the commercial disappointment of his fifth album, Paul Simon grew fascinated with a bootleg cassette of South African township music. He spent two weeks with Johannesburg musicians making recordings, then developed them into his own compositions. An eclectic mix of pop, rock, a cappella, zydeco, isicathamiya, and mbaqanga, Graceland was an instant smash hit, although some accused Simon of breaking the cultural boycott against the apartheid regime.
Credit: Rex Features
1988: U2, The Joshua Tree. “America” was the ambitious theme for U2’s fifth studio album, which was inspired by literature, and politics and the band’s own experiences on tour. The Joshua Tree sold in record-breaking numbers, topping the charts in over 20 countries, and also earning Bono and friends extensive critical acclaim. As Rolling Stone magazine put it, the album – which produced hit singles "With or Without You" and "Where the Streets Have No Name" – catapulted the band "from heroes to superstars".
Credit: Redferns
1989: George Michael, Faith. Michael’s first solo album beat Tracy Chapman’s self-titled debut, …Nothing Like the Sun by Sting, Roll with It, Steve Winwood and Bobby McFerrin’s Simple Pleasures to Album of the Year. It was the biggest selling album of 1988 in the US, with the title single spending six non-consecutive weeks at the top of the Billboard charts.
Credit: Rex Features
1990: Bonnie Raitt, Nick of Time. One of four Grammys that went to Nick of Time that year, Bonnie Raitt’s 10th studio album won her belated commercial success. The album was nominated alongside The End of Innocence, Don Henley, The Raw and the Cooked by Fine Young Cannibals, Tom Petty’s Full Moon Fever and the Traveling Wilburys’ Traveling Wilburys Vol. 1.
Credit: Rex Features
1992: Natalie Cole, Unforgettable...with Love. Nominated alongside Bonnie Raitt’s Luck of the Draw, R.E.M (R.I.P) Out of Time, The Rhythm of the Saints by Paul Simon and Amy Grant, Heart in Motion, Cole’s comeback album featuring versions of songs sung by her father Nat King Cole was certified 7x platinum as of 2009.
Credit: Reuters
1991: Quincy Jones and various artists, Back on the Block. One of six Grammys that went to Back on the Block that year, and one of 25 that Jones has won throughout his career. Other nominees for the album of the year category were Mariah Carey’s debut, Phil Collins’ …But Seriously, Please Hammer Don’t Hurt ‘Em by MC Hammer, and Wilson Phillips self-titled album.
Credit: Rex Features
1993: Eric Clapton, Unplugged. Clapton’s acoustic album recorded live in the UK for MTV topped the US billboard charts, and was a 4x platinum selling record in the UK. Other nominees in 1993 were Diva, Annie Lennox, k. d. lang’s Ingénue, U2’s Achtung Baby and Beauty and the Beast: Original Motion Picture Soundtrack.
Credit: Warner Bros
1994: Whitney Houston, The Bodyguard: Original Soundtrack Album.The 17x platinum selling The Bodyguard: Original Soundtrack Album was the first album to sell over 1 million units a one-week period, is the best-selling film soundtrack of all time (the third bestselling album ever). It was nominated alongside River of Dreams, Billy Joel, Automatic for the People by R.E.M (rip), Sting’s Ten Summoner’s Tales and Kamakiriad by Donald Fagan.
Credit: Getty
1995: Tony Bennett, MTV Unplugged. 40 years after first making his name in the music industry, this platinum selling album featuring Elvis Costello and k.d. lang solidified Bennetts resurgence in popularity. It is one of his biggest selling albums in the US, and was awarded Album of the Year over nominees Eric Clapton for On The Cradle, Longing in Their Hands by Bonnie Reitt, The Three Tenors in Concert 1994, and Seal’s self titled debut.
Credit: Getty
1996: Alanis Morissette, Jagged Little Pill.The first Alanis Morissette album released outside her native Canada, Jagged Little Pill topped the charts in 10 countries, with Billboard later ranking it the number 1 best selling pop album of the 1990s. The most famous track ‘Ironic’, actually never made it into the UK top 10. The album was nominated alongside HIStory: Past, Present, and Future, Book 1 by Michael Jackson, Mariah Carey’s Daydream, Vitalogy, Pearl Jam and Relish by Joan Osborne.
Credit: Getty
1997: Celine Dion's winning album Falling into You was nominated alongside Odelay, Beck; The Score, The Fugees; Mellon Collie and the Ultimate Sadness by The Smashing Pumpkins and the Waiting to Exhale: Original Soundtrack album. Dion worked with fourteen producers on the record, and collaborated with a variety of songwriters and musicians.
Credit: EPA
1998's winner Time Out of Mind was Dylan’s thirtieth studio album in 35 years, although it contained his first original material in 7 years. Dylan won three Grammys that year – other nominees in the Album of the Year category were Flaming Pie by Paul McCartney, Babyface’s The Day, This Fire by Paula Crow and Radiohead’s OK Computer.
Credit: Redfern
1999: Hill’s debut solo album The Miseducation of Lauryn Hill won her five Grammys, and won Album of the Year over The Globe Sessions by Cheryl Crow, Come on Over by Shania Twain, Garbage’s Version 2.0, and Madonna’s Ray of Light.
Credit: AP
2000: Santana’s album Supernatural competed against Millennium by the Backstreet Boys, Fly by the Dixie Chicks, When I Look in Your Eyes by Diana Krall and FanMail by TLC. The album won nine Grammy Awards and three Latin Grammys, and featured several guests artists including Eric Clapton, Lauryn Hill and Dave Matthews.
Credit: AP
2001: Two Against Nature was Steely Dan’s eighth album, and won four Grammys at the 2001 Awards ceremony. Also nominated were Midnight Vultures by Beck, The Marshall Mathers LP by Eminem, Kid A by Radiohead, and You’re the One by Paul Simon.
Credit: Apollo
2002: Various artists, O Brother, Where Art Thou? Soundtrack. T Bone Burnett produced the soundtrack to this Coen Brothers's film, set in Mississippi during the Great Depression. The album’s genres span bluegrass, country, gospel, blues and folk to fit with the film’s era, and features artists such as Alison Krauss, Emmylou Harris and Gillian Welch. Also nominated that year were Acoustic Soul by India.Arie, Love and Theft by Bob Dylan, Stankonia by Outkast and All That You Can’t Leave Behind by U2.
Credit: AP
2003: Come Away with Me was Norah Jones’ debut album and won eight Grammys. The artist felt bad about her success at the ceremony, saying “I felt like I went to somebody else's birthday party and I ate all their cake. Without anybody else getting a piece. That's how I felt.” She beat Dixie Chicks for Home, Eminem for The Eminem Show, Nelly for Nellyville and Bruce Springsteen for The Rising.
Credit: AP
2004: Outkast, Speakerboxxx/The Love Below. This was only the second hip-hop album to win the Album of the Year award. It beat Under Construction by Missy Elliot, Fallen by Evanescence, Justified by Justin Timberlake, and Elephant by The White Stripes.
Credit: Reuters
2005: Ray Charles and various artists, Genius Loves Company. The posthumously released Genius Loves Company is Ray Charles’s final studio album and features guest musicians such as James Taylor, Norah Jones, B.B. King and Van Morrison. It won eight Grammys, and beat American Idiot by Greenday, The Diary of Alicia Keys by Alicia Keys, Confessions by Usher and The College Dropout by Kanye West for Album of the Year.
Credit: Paul Bergen/Redferns
2006: U2, How to Dismantle an Atomic Bomb. U2 How to Dismantle an Atomic Bomb was U2’s eleventh studio album, but lead singer Bono claimed it was their “first rock album. It won every one of the nine awards it was nominated for, and was the fourth-highest selling album of 2004. Also nominated were The Emancipation of Mimi by Mariah Carey, Chaos and Creation in the Backyard by Paul McCartney, Love. Angel. Music. Baby. by Gwen Stefani and Late Registration by Kanye West.
Credit: AP
2007: Dixie Chicks, Taking the Long Way. After the country music community protested against lead singer Natalie Maines's comments about the Iraq war in 2003 with mass CD burning and death threats, the Dixie Chicks went quiet for a few years. Taking the Long Way was a hugely successful comeback and won five Grammys, beating St. Elsewhere by Gnarls Barkley, Continuum by John Mayer, Stadium Arcadium by Red Hot Chili Peppes and FutureSex/LoveSounds by Justin Timberlake.
Credit: AP
2008: Herbie Hancock, River: The Joni Letters. Herbie Hancock's Joni Mitchell tribute album features contributions from Norah Jones, Leonard Cohen, and Luciana Souza as well as Mitchell herself, and beat Echoes, Silence, Patience & Grace by Foo Fighters, These Days by Vince Gill, Graduation by Kanye West and Amy Winehouse's Back to Black - which won five awards at the ceremony.
Credit: AP
2009: Robert Plant & Alison Krauss, Raising Sand. Robert Plant and Alison Krauss's Raising Sand was produced by T Bone Burnett, and together with its singles won six Grammy awards. It is one of only three country albums to win Album of the Year. The Led Zeppelin vocalist and bluegrass star beat Viva la Vida or Death and All His Friends by Coldplay, Year of the Gentleman by Ne-Yo, In Rainbows by Radiohead and Tha Carter III by Lil Wayne.
Credit: AP
2010: Taylor Swift, Fearless. Taylor Swift's sophomore album Fearless is the most awarded album in the history of country music, and was the first album in history to win the American Music Award, Academy of Country Music Award, Country Music Association Award and Grammy for Album of the Year in the same year. Swift was just 18 at the time of its release, and beat I am... Sasha Fierce by Beyonce, The E.N.D. by The Black Eyed Peas, The Fame by Lady Gaga and Big Whiskey and the GrooGrux King by the Dave Matthews Band.
Credit: Reuters
2011: Arcade Fire, The Suburbs. The Suburbs beat Recovery by Eminem, Need You Now by Lady Antebellum, The Fame Monster by Lady Gaga and Teenage Dream by Katy Perry. The band recorded the album in an old church they bought and used as a studio, until 2013 when the ceiling collapsed and they had to move.
Credit: Reuters
2012: Adele, 21. Adele's hugely successful 21 was nominated in the same category as Wasting Light by the Foo Fighters, Born This Way by Lady Gaga, Doo Wops and Hooligans by Bruno Mars and Loud by Rihanna. 21 is the UK's biggest-selling album of the 21st century, and the fourth biggest of all time. The album was awarded 31 pounds, 8 ounces of Grammys - the same weight as one young emperor penguin.
Credit: Getty
2013: Mumford & Sons, Babel. The British indie folk band Mumford and Sons's Babel was nominated for four awards at the ceremony, and edged out The Black Keys’s El Camino, fun's Some Nights, Frank Ocean's Channel Orange and Jack White's Blunderbuss for Album of the Year.
Credit: Getty
2014: Daft Punk, Random Access Memories. This album beat Kendrick Lamar's Good Kid, M.A.A.D City, Sara Bareilles's The Blessed Unrest, Macklemore and Ryan Lewis's The Heist and Taylor Swift's Red. The album's lead single Get Lucky also won Record of the Year, and Daft Punk won Best Pop Duo/Group Performance.
Credit: Getty
2015: Beck, Morning Phase. Beck's ninth studio album won three of its five nominations at the 57th Grammy Awards, beating Beyoncé's self-titled album and Ed Sheeran's X to the Best Album prize.
2016: Taylor Swift, 1989. Swift beat Kendrick Lamar, Chris Stapleton, Alabama Shakes and the Weeknd to win her second Album of the Year Grammy. She used her acceptance speech to encourage young women who feel put down by others. It seemed to be a retort to Kanye West's suggestion, in his song Famous, that he brought Swift to success
| Annie Lennox |
What word is used to describe the fear of open spaces? | 1993: Eric Clapton, Unplugged. Clapton’s acoustic album recorded live in the UK for MTV topped the US billboard charts, & was a 4x platinum selling record in the UK. Other nominees in 1993 were Diva, Annie Lennox, k. d. lang’s Ingénue, U2’s Achtung Baby & Beauty & the Beast: Original Motion Picture Soundtrack. | Grammy Album of the Year winners 1959 – 2015 - Music
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1959: Henry Mancini, The Music from Peter Gunn. Henry Mancini’s album became the first ever Grammy Album of the Year in 1959, beating Come Fly With Me by Frank Sinatra, Ella Fitzgerald Sings the Irving Berlin Songbook, Frank Sinatra Sings for Only the Lonely, and Tchaikovsky’s Concerto No. 1 in B Flat Minor, Op. 23, played by Van Cliburn. Performed by a small jazz ensemble, the album comprised the soundtrack for the American TV series Peter Gunn.
Credit: REx
1960: Frank Sinatra, Come Dance with Me! Frank Sinatra’s most successful album spent two and a half years on the Billboard album charts. It beat Grammy competition from Belafonte at Carnegie Hall performed by Harry Belafonte, More Music from Peter Gunn by the previous year’s winner Henry Mancini, Rachmaninoff’s Piano Concerto No. 3 performed by Van Cliburn, and Victory at Sea Vol. 1 by Robert Russell Bennett.
Credit: Rex Features
1961: Bob Newhart, The Button-Down Mind of Bob Newhart. This was the first comedy album to win the Grammy Album of the Year, and marks the only time a comedian has won Best New Artist. The unusual title was given to the album by Warner Bros executives; Newhart wanted it to be called The Most Celebrated New Comedian Since Attila the Hun. The album was nominated alongside Belafonte Returns to Carnegie Hall by Harry Belafonte, Brahms: Concerto No. 2 in B-Flat performed by Sviatoslav Richter, Frank Sinatra’s Nice and Easy, Puccini: Turandot performed by Erich Leinsdorf and Nat King Cole’s Wild is Love.
Credit: Rex Features
1962: Judy Garland, Judy Garland at Carnegie Hall. Judy at Carnegie Hall is a recording of a live concert given by the Wizard of Oz star in New York in 1961. Garland’s 1960-61 tour of Europe and America was so successful that she was billed ‘The World’s Greatest Entertainer’, with audiences crowding around the stage and demanding countless encores. Other nominees were the Breakfast at Tiffany’s soundtrack by Henry Mancini, Genius+Soul=Jazz by Ray Charles, Great Band with Great Voices by Si Zentner and the Johnny Mann Singers, The Nat King Cole Story, and the West Side Story soundtrack.
Credit: Rex Features
1963: Vaughn Meader, The First Family. This parody of President John F Kennedy starred comedian and impersonator Vaughn Meader as Kennedy and Naomi Brossart as the First Lady. It was recorded on October 22 1962 – the same night that Kennedy himself made his famous Cuban Missile Crisis speech. The other nominees were Tony Bennett’s I Left My Heart in San Francisco, Jazz Samba by Stan Getz and Charlie Byrd, Modern Sounds in Country and Western Music by Ray Charles and Allan Sherman’s My Son, the Folk Singer.
Credit: AP
1964: Barbra Streisand, The Barbra Streisand Album. Streisand’s debut album was nominated alongside The Swingle Singers’ performance of Bach’s Greatest Hits, Days of Wine and Roses and Other TV Requests by Andy Williams, Honey in the Horn by Al Hirt, and the eponymous album of The Singing Nun. The album showcased Streisand’s versions of hits including Cry Me A River and Happy Days Are Here Again.
Credit: Rex Features
1965: Stan Getz & João Gilberto (with Astrud Gilberto and Antonio Carlos Jobim), Getz/Gilberto . The first jazz album to win Album of the Year, Getz/Gilberto, which combined the talents of American saxophonist Stan Getz and Brazilian guitarist João Gilberto, became one of the best-selling jazz albums of all time. Also nominated were Cotton Candy by Al Hirt, Funny Girl: Original Broadway Cast, People by Barbra Streisand and The Pink Panther by Henry Mancini.
Credit: Rex Features
1966: Frank Sinatra, September of My Years. Sinatra won his first Grammy aged 50 for September of my Years, his fifth collaboration with Gordon Jenkins. Sinatra’s performance of It Was a Very Good Year scooped the Grammy for Best Vocal Performance, while Jenkins won the Award for Best Instrumental Arrangement Accompanying Vocalist(s) for the same song. The album edged out Help! by the Beatles, My Name Is Barbra by Barbra Streisand, My World by Eddy Arnold and The Sound of Music soundtrack.
1967: Frank Sinatra, A Man and His Music. Sinatra won again in 1967 with A Man and His Music, a double-album providing a career retrospective for the iconic singer. The album shares its name with an hour-long TV colour special broadcast on NBC to mark Frank Sinatra’s 50th birthday in 1965. Also nominated were Color Me Barbra by Barbra Streisand, the Dr. Zhivago soundtrack by Maurice Jarre, Revolver by The Beatles and What Now My Love by Herb Alpert and the Tijuana Brass.
Credit: Capitol Records
1968: The Beatles, Sgt. Pepper’s Lonely Hearts Club Band. The Beatles’ eighth studio album won out over Francis Albert Sinatra and Antonio Carlos Jobim, It Must Be Him by Vikki Carr, My Cup Runneth Over by Ed Ames and Ode to Billie Joe by Bobbie Gentry. Time magazine called the album, performed by the fictional alter-ego group Sgt Pepper’s Lonely Hearts Club Band, “a historic departure in the progress of music”.
Credit: PA
1969: Glen Campbell, By the Time I Get to Phoenix. This was the first country album to win Album of the Year. Glen Campbell, who hosted a TV variety show called The Glen Campbell Goodtime Hour, released over 70 albums. In 1967 he won four Grammys across the country and pop categories. His Best Album win beat Bookends by Simon & Garfunkel, Feliciano! by José Feliciano, Magical Mystery Tour by The Beatles and A Tramp Shining by Richard Harris.
Credit: Rex
1970: Blood, Sweat & Tears, Blood, Sweat & Tears . The self-titled second album by jazz-rock group Blood, Sweat & Tears was nominated alongside Abbey Road by The Beatles, The Age of Aquarius by The 5th Dimension, the self-titled debut by Crosby, Stills & Nash and At San Quentin by Johnny Cash. The winning band and album were in fact named after Cash’s 1963 album Blood, Sweat and Tears.
Credit: Rex
1971: Simon and Garfunkel, Bridge over Troubled Water. Simon & Garfunkel’s fifth and final album was released in 1970, the year the duo parted company to pursue solo careers, Simon in music, Garfunkel in film (his next project a collaboration with Mike Nichols, for whose film The Graduate Simon & Garfunkel had provided the famous soundtrack). Other nominees were Chicago by Chicago, Close to You by The Carpenters, Déjà Vu by Crosby, Stills, Nash and Young, Elton John’s self-titled second album and Sweet Baby James by James Taylor.
Credit: Rex Features
1972: Carole King, Tapestry. Singer-songwriter Carole King’s second album is one of the best-selling albums of all time, having sold over 25 million copies worldwide. In 1972 it received four Grammy Awards, including Best Album, for which the other nominees were All Things Must Pass by George Harrison, The Carpenters by The Carpenters, the London production of Jesus Christ Superstar and Shaft by Isaac Hayes. The album’s cover photograph shows King holding a tapestry she hand-stitched herself.
Credit: Capitol Records
1973: George Harrison & Friends, The Concert for Bangla Desh. The Concert for Bangla Desh (retitled The Concert for Bangladesh) is a triple live album by George Harrison and celebrity friends including Bob Dylan, Ringo Starr and Eric Clapton. It is a recording of two 1971 charity concerts held in New York’s Madison Square in aid of Bengali refugees left homeless following the Bangladesh Liberation War. It topped album charts worldwide, and won the Grammy over American Pie by Don McLean, the original Broadway cast recording of Jesus Christ Superstar, Moods by Neil Diamond and Nilsson Schmilsson by Nilsson.
Credit: AP
1974: Stevie Wonder, Innervisions. Golden Age Stevie Wonder. The soul and funk legend played virtually all the instruments on six of Innervisions’ nine tracks, which include lyrics about racism and drug abuse. Three days after its release, Stevie Wonder was almost killed in a road accident. He suffered severe head injuries and was in a coma for four days.
Credit: AP
1975: Stevie Wonder, Fulfillingness’ First Finale. Having won Best Album the previous year with Innversions, Stevie Wonder made it two in a row with Fulfillingness’ First Finale. In contrast to Innversions’ social and political themes, this album struck a more self-reflective tone – with the notable exception of number one hit "You Haven't Done Nothin'", a scathing attack on Richard Nixon, which featured a cameo from the Jackson 5.
Credit: Rex Features
1976: Paul Simon, Still Crazy After All These Years. When Paul Simon accepted this Grammy he thanked Stevie Wonder – who had won in 1974 and 1975 – for not releasing an album that year. Perhaps the most famous song on this album is chart-topper “50 Ways to Leave Your Lover”, a mistress’s light-hearted advice to a husband on ways to end a relationship, which Simon wrote after divorcing his first wife Peggy Harper
Credit: Rex Features
1977: Stevie Wonder, Songs in the Key of Life. Stevie Wonder proved he still had it with "Songs in the Key of Life, which was released as an ambitious double LP with a bonus four-track EP. Often named as one of the greatest pop music albums of all time, it’s also Wonder’s favourite: “Of all [my] albums,” he told Q magazine in 1995, “Songs in the Key of Life [is the one] I’m most happy about.”
Credit: Rex Features
1978: Fleetwood Mac, Rumours. With its catchy songs including “Don’t Stop”, “The Chain” and “You Make Loving Fun”, Rumours was Fleetwood Mac’s most successful release and one of the best-selling albums of all time. In 2011 Rumours re-entered the Billboard charts after it was featured in an episode of the TV series, Glee.
Credit: Getty
1979: Bee Gees/Various artists, Saturday Night Fever: The Original Movie Sound Track. There can’t be many people who, when pressed, wouldn’t be able to hum at least one of the tunes from the Bee Gees’ Saturday Night Fever soundtrack – the only disco album to win a Grammy for Album of the Year. Barry Gibb’s falsetto tones on “Stayin’ Alive”, “Night Fever” and “More than a Woman”, among other karaoke favourites, are some of the most famous vocals in music history.
Credit: Rex Features
1980: Billy Joel, 52nd Street. 52nd Street’s Grammy was presented to its producer, Phil Ramone, and passed on to Joel after Ramone’s death. On October 1, 1982, it made music history when it became the first album to be commercially released on compact disc by Sony Music Entertainment. The title is a reference to the celebrated New York jazz hotspot.
Credit: AP
1981: Christopher Cross, Christopher Cross. One of the most influential soft rock albums of the 1980s, Christopher Cross is famous – to some, infamous – for triumphing over Pink Floyd’s seminal album, The Wall, for that year’s Grammy. Christopher Cross also won the award for Best New Artist.
Credit: AP
1982: John Lennon & Yoko Ono, Double Fantasy. Initially poorly received by critics and fans, Double Fantasy might have passed into obscurity were it not for the fateful events in New York three weeks after its release. Lennon’s murder on 8 December 1980 propelled the album to number one in the US and UK charts.
Credit: AP
1983: Toto, Toto IV. Toto IV, the American rock band’s helpfully titled fourth album, marked their career breakthrough. Two singles became smash hits: “Rosanna” (which also won best record) and the enduring “Africa” – their first number one.
1984: Michael Jackson, Thriller. In just over a year, Thriller became – and is still – the best-selling album of all time, selling over 65 million copies worldwide. Michael Jackson said he’d tried to create an album where "every song was a killer" – and few would deny he achieved that aim. The album might have ended up with a different name: when Rod Temperton wrote the song "Thriller", he originally wanted to call it "Starlight" or "Midnight Man", but decided they didn’t have as much commercial appeal.
Credit: Reuters
1985: Lionel Richie, Can’t Slow Down. Lionel Richie’s second solo album achieved the rare feat of having every single released hit the US top ten. One of the two number ones, “Hello”, is as famous for the question in its lyrics (“Is it me you’re looking for?”) as its widely derided music video, in which a blind female student sculpts a barely recognisable bust of ‘art teacher’ Richie’s head.
Credit: AP
1986: Phil Collins, No Jacket Required. The third solo album from Phil Collins got its name after the Genesis frontman was denied entrance to The Pump Room in Chicago because he didn’t meet the restaurant’s formal dress code. Collins – whose dinner companion was Led Zeppelin’s Robert Plant – was wearing a jacket, but the Maître d' argued that it was not "proper". Collins told Playboy magazine that he had never been so angry in his life.
Credit: AP
1987: Paul Simon, Graceland. Recovering from depression after the breakup of his marriage and the commercial disappointment of his fifth album, Paul Simon grew fascinated with a bootleg cassette of South African township music. He spent two weeks with Johannesburg musicians making recordings, then developed them into his own compositions. An eclectic mix of pop, rock, a cappella, zydeco, isicathamiya, and mbaqanga, Graceland was an instant smash hit, although some accused Simon of breaking the cultural boycott against the apartheid regime.
Credit: Rex Features
1988: U2, The Joshua Tree. “America” was the ambitious theme for U2’s fifth studio album, which was inspired by literature, and politics and the band’s own experiences on tour. The Joshua Tree sold in record-breaking numbers, topping the charts in over 20 countries, and also earning Bono and friends extensive critical acclaim. As Rolling Stone magazine put it, the album – which produced hit singles "With or Without You" and "Where the Streets Have No Name" – catapulted the band "from heroes to superstars".
Credit: Redferns
1989: George Michael, Faith. Michael’s first solo album beat Tracy Chapman’s self-titled debut, …Nothing Like the Sun by Sting, Roll with It, Steve Winwood and Bobby McFerrin’s Simple Pleasures to Album of the Year. It was the biggest selling album of 1988 in the US, with the title single spending six non-consecutive weeks at the top of the Billboard charts.
Credit: Rex Features
1990: Bonnie Raitt, Nick of Time. One of four Grammys that went to Nick of Time that year, Bonnie Raitt’s 10th studio album won her belated commercial success. The album was nominated alongside The End of Innocence, Don Henley, The Raw and the Cooked by Fine Young Cannibals, Tom Petty’s Full Moon Fever and the Traveling Wilburys’ Traveling Wilburys Vol. 1.
Credit: Rex Features
1992: Natalie Cole, Unforgettable...with Love. Nominated alongside Bonnie Raitt’s Luck of the Draw, R.E.M (R.I.P) Out of Time, The Rhythm of the Saints by Paul Simon and Amy Grant, Heart in Motion, Cole’s comeback album featuring versions of songs sung by her father Nat King Cole was certified 7x platinum as of 2009.
Credit: Reuters
1991: Quincy Jones and various artists, Back on the Block. One of six Grammys that went to Back on the Block that year, and one of 25 that Jones has won throughout his career. Other nominees for the album of the year category were Mariah Carey’s debut, Phil Collins’ …But Seriously, Please Hammer Don’t Hurt ‘Em by MC Hammer, and Wilson Phillips self-titled album.
Credit: Rex Features
1993: Eric Clapton, Unplugged. Clapton’s acoustic album recorded live in the UK for MTV topped the US billboard charts, and was a 4x platinum selling record in the UK. Other nominees in 1993 were Diva, Annie Lennox, k. d. lang’s Ingénue, U2’s Achtung Baby and Beauty and the Beast: Original Motion Picture Soundtrack.
Credit: Warner Bros
1994: Whitney Houston, The Bodyguard: Original Soundtrack Album.The 17x platinum selling The Bodyguard: Original Soundtrack Album was the first album to sell over 1 million units a one-week period, is the best-selling film soundtrack of all time (the third bestselling album ever). It was nominated alongside River of Dreams, Billy Joel, Automatic for the People by R.E.M (rip), Sting’s Ten Summoner’s Tales and Kamakiriad by Donald Fagan.
Credit: Getty
1995: Tony Bennett, MTV Unplugged. 40 years after first making his name in the music industry, this platinum selling album featuring Elvis Costello and k.d. lang solidified Bennetts resurgence in popularity. It is one of his biggest selling albums in the US, and was awarded Album of the Year over nominees Eric Clapton for On The Cradle, Longing in Their Hands by Bonnie Reitt, The Three Tenors in Concert 1994, and Seal’s self titled debut.
Credit: Getty
1996: Alanis Morissette, Jagged Little Pill.The first Alanis Morissette album released outside her native Canada, Jagged Little Pill topped the charts in 10 countries, with Billboard later ranking it the number 1 best selling pop album of the 1990s. The most famous track ‘Ironic’, actually never made it into the UK top 10. The album was nominated alongside HIStory: Past, Present, and Future, Book 1 by Michael Jackson, Mariah Carey’s Daydream, Vitalogy, Pearl Jam and Relish by Joan Osborne.
Credit: Getty
1997: Celine Dion's winning album Falling into You was nominated alongside Odelay, Beck; The Score, The Fugees; Mellon Collie and the Ultimate Sadness by The Smashing Pumpkins and the Waiting to Exhale: Original Soundtrack album. Dion worked with fourteen producers on the record, and collaborated with a variety of songwriters and musicians.
Credit: EPA
1998's winner Time Out of Mind was Dylan’s thirtieth studio album in 35 years, although it contained his first original material in 7 years. Dylan won three Grammys that year – other nominees in the Album of the Year category were Flaming Pie by Paul McCartney, Babyface’s The Day, This Fire by Paula Crow and Radiohead’s OK Computer.
Credit: Redfern
1999: Hill’s debut solo album The Miseducation of Lauryn Hill won her five Grammys, and won Album of the Year over The Globe Sessions by Cheryl Crow, Come on Over by Shania Twain, Garbage’s Version 2.0, and Madonna’s Ray of Light.
Credit: AP
2000: Santana’s album Supernatural competed against Millennium by the Backstreet Boys, Fly by the Dixie Chicks, When I Look in Your Eyes by Diana Krall and FanMail by TLC. The album won nine Grammy Awards and three Latin Grammys, and featured several guests artists including Eric Clapton, Lauryn Hill and Dave Matthews.
Credit: AP
2001: Two Against Nature was Steely Dan’s eighth album, and won four Grammys at the 2001 Awards ceremony. Also nominated were Midnight Vultures by Beck, The Marshall Mathers LP by Eminem, Kid A by Radiohead, and You’re the One by Paul Simon.
Credit: Apollo
2002: Various artists, O Brother, Where Art Thou? Soundtrack. T Bone Burnett produced the soundtrack to this Coen Brothers's film, set in Mississippi during the Great Depression. The album’s genres span bluegrass, country, gospel, blues and folk to fit with the film’s era, and features artists such as Alison Krauss, Emmylou Harris and Gillian Welch. Also nominated that year were Acoustic Soul by India.Arie, Love and Theft by Bob Dylan, Stankonia by Outkast and All That You Can’t Leave Behind by U2.
Credit: AP
2003: Come Away with Me was Norah Jones’ debut album and won eight Grammys. The artist felt bad about her success at the ceremony, saying “I felt like I went to somebody else's birthday party and I ate all their cake. Without anybody else getting a piece. That's how I felt.” She beat Dixie Chicks for Home, Eminem for The Eminem Show, Nelly for Nellyville and Bruce Springsteen for The Rising.
Credit: AP
2004: Outkast, Speakerboxxx/The Love Below. This was only the second hip-hop album to win the Album of the Year award. It beat Under Construction by Missy Elliot, Fallen by Evanescence, Justified by Justin Timberlake, and Elephant by The White Stripes.
Credit: Reuters
2005: Ray Charles and various artists, Genius Loves Company. The posthumously released Genius Loves Company is Ray Charles’s final studio album and features guest musicians such as James Taylor, Norah Jones, B.B. King and Van Morrison. It won eight Grammys, and beat American Idiot by Greenday, The Diary of Alicia Keys by Alicia Keys, Confessions by Usher and The College Dropout by Kanye West for Album of the Year.
Credit: Paul Bergen/Redferns
2006: U2, How to Dismantle an Atomic Bomb. U2 How to Dismantle an Atomic Bomb was U2’s eleventh studio album, but lead singer Bono claimed it was their “first rock album. It won every one of the nine awards it was nominated for, and was the fourth-highest selling album of 2004. Also nominated were The Emancipation of Mimi by Mariah Carey, Chaos and Creation in the Backyard by Paul McCartney, Love. Angel. Music. Baby. by Gwen Stefani and Late Registration by Kanye West.
Credit: AP
2007: Dixie Chicks, Taking the Long Way. After the country music community protested against lead singer Natalie Maines's comments about the Iraq war in 2003 with mass CD burning and death threats, the Dixie Chicks went quiet for a few years. Taking the Long Way was a hugely successful comeback and won five Grammys, beating St. Elsewhere by Gnarls Barkley, Continuum by John Mayer, Stadium Arcadium by Red Hot Chili Peppes and FutureSex/LoveSounds by Justin Timberlake.
Credit: AP
2008: Herbie Hancock, River: The Joni Letters. Herbie Hancock's Joni Mitchell tribute album features contributions from Norah Jones, Leonard Cohen, and Luciana Souza as well as Mitchell herself, and beat Echoes, Silence, Patience & Grace by Foo Fighters, These Days by Vince Gill, Graduation by Kanye West and Amy Winehouse's Back to Black - which won five awards at the ceremony.
Credit: AP
2009: Robert Plant & Alison Krauss, Raising Sand. Robert Plant and Alison Krauss's Raising Sand was produced by T Bone Burnett, and together with its singles won six Grammy awards. It is one of only three country albums to win Album of the Year. The Led Zeppelin vocalist and bluegrass star beat Viva la Vida or Death and All His Friends by Coldplay, Year of the Gentleman by Ne-Yo, In Rainbows by Radiohead and Tha Carter III by Lil Wayne.
Credit: AP
2010: Taylor Swift, Fearless. Taylor Swift's sophomore album Fearless is the most awarded album in the history of country music, and was the first album in history to win the American Music Award, Academy of Country Music Award, Country Music Association Award and Grammy for Album of the Year in the same year. Swift was just 18 at the time of its release, and beat I am... Sasha Fierce by Beyonce, The E.N.D. by The Black Eyed Peas, The Fame by Lady Gaga and Big Whiskey and the GrooGrux King by the Dave Matthews Band.
Credit: Reuters
2011: Arcade Fire, The Suburbs. The Suburbs beat Recovery by Eminem, Need You Now by Lady Antebellum, The Fame Monster by Lady Gaga and Teenage Dream by Katy Perry. The band recorded the album in an old church they bought and used as a studio, until 2013 when the ceiling collapsed and they had to move.
Credit: Reuters
2012: Adele, 21. Adele's hugely successful 21 was nominated in the same category as Wasting Light by the Foo Fighters, Born This Way by Lady Gaga, Doo Wops and Hooligans by Bruno Mars and Loud by Rihanna. 21 is the UK's biggest-selling album of the 21st century, and the fourth biggest of all time. The album was awarded 31 pounds, 8 ounces of Grammys - the same weight as one young emperor penguin.
Credit: Getty
2013: Mumford & Sons, Babel. The British indie folk band Mumford and Sons's Babel was nominated for four awards at the ceremony, and edged out The Black Keys’s El Camino, fun's Some Nights, Frank Ocean's Channel Orange and Jack White's Blunderbuss for Album of the Year.
Credit: Getty
2014: Daft Punk, Random Access Memories. This album beat Kendrick Lamar's Good Kid, M.A.A.D City, Sara Bareilles's The Blessed Unrest, Macklemore and Ryan Lewis's The Heist and Taylor Swift's Red. The album's lead single Get Lucky also won Record of the Year, and Daft Punk won Best Pop Duo/Group Performance.
Credit: Getty
2015: Beck, Morning Phase. Beck's ninth studio album won three of its five nominations at the 57th Grammy Awards, beating Beyoncé's self-titled album and Ed Sheeran's X to the Best Album prize.
2016: Taylor Swift, 1989. Swift beat Kendrick Lamar, Chris Stapleton, Alabama Shakes and the Weeknd to win her second Album of the Year Grammy. She used her acceptance speech to encourage young women who feel put down by others. It seemed to be a retort to Kanye West's suggestion, in his song Famous, that he brought Swift to success
| i don't know |
Beginning with a 'C', what word is used to describe 'a disease of the liver'? | Diseases & Conditions beginning with "C". Health Topics.
Chronic fatigue syndrome - is characterized primarily by profound fatigue.
Chronic obstructive pulmonary disease - a term used to describe chronic airway obstruction that results from emphysema, chronic bronchitis, asthma, or any combination of these disorders.
Cirrhosis of the Liver - chronic scarring of the liver, leading to loss of normal liver function.
Cocaine abuse - The social use of cocaine is generally termed abuse.
Cold, Common - a contagious viral infection of the upper-respiratory passages including the nose, throat, sinuses, ears, eustachian tubes, trachea, larynx, bronchial tubes.
Colitis - is one of a group of conditions which are inflammatory and auto-immune, affecting the tissue that lines the gastrointestinal system (the large and small intestine).
Colitis, ulcerative - a serious, chronic, inflammatory disease of the colon characterized by ulceration and episodes of bloody diarrhea.
Congenital Heart Defects - is usually a structural malformation, but occasionally can be a disturbance in the rhythm or the pumping ability of the heart.
Constipation - difficult, uncomfortable, or infrequent bowel movements that are hard and dry.
Contraception - occurs when sperm are deposited in the vagina during intercourse.
Cor pulmonale - congestive heart failure resulting from raised blood pressure in the lungs. This is a complication of disorders that slow or block blood flow in the lungs.
Coronary artery bypass graft - is usually a structural malformation, but occasionally can be a disturbance in the rhythm or the pumping ability of the heart.
Crohn's disease - is a condition which involves chronic inflammation of the bowel.
Cushing's Syndrome - an endocrine disorder caused by excess corticosteroid hormones produced by the adrenal glands.
Cystic fibrosis - is an inherited genetic condition which is first seen in children.
Cystitis - The word cystitis means inflammation of the urinary bladder although it has often come to be used to describe the symptoms caused by a urinary infection.
Cytomegalovirus - is a member of the Herpes virus family.
Canker sores - Painful, round ulcers on the linings of the cheeks and lips, the tongue, or the base of the gums. This condition is often inherited.
Carcinoid syndrome - A combination of symptoms caused by the release of chemicals (e.g., serotonin) from carcinoid tumors.
Cardiac arrest - The abrupt, immediate stopping of the heart. Without immediate treatment with a defibrillator, sudden cardiac death is unavoidable.
Celiac disease - Sensitivity to the protein gluten (found in grains such as wheat, oats, rye, and barley). It is an immune response, not an actual allergy.
Cellulitis - Skin infection characterized by redness, swelling, and pain. It is an infection of the deeper layers of the skin.
Cervical dysplasia - The presence of abnormal cells on the surface of the cervix. A precancerous condition that can lead to cervical cancer if untreated.
Cervical spondylosis - Arthritis of the neck caused by abnormal wear on the cartilage and bones of the neck (cervical vertebrae).
Chlamydia infection - A common sexually transmitted disease (STD) that can lead to urinary tract infection and pelvic infections in women. It can cause infertility in both men and women if untreated and often causes no symptoms.
Cholecystitis - Inflammation or irritation of the gallbladder.
Claudication - Pain or weakness in the limbs caused by restricted blood flow. It is a symptom of peripheral arterial disease.
Cold sore - Tiny blisters on the lip or inside the mouth on the gums and palate. They are caused by the herpes simplex virus type 1 (HSV1), which is transmitted through person-to-person contact.
Colic in infants - Prolonged episodes of crying in infants that occur for no apparent reason, usually between the ages of 3 weeks and 3 months of age. Infants are often inconsolable.
Conjunctivitis - Inflammation of the conjunctiva, the tissue lining the inside of the eyelid. It can be caused by an allergy or infection.
Corn or callus - Hardening, thickening, swelling or blistering of the skin due to friction, pressure or other problems can lead to serious infections if untreated.
Coronary artery disease - A chronic disease in which there is a "hardening" (atherosclerosis) of the coronary arteries.
Costochondritis - Inflammation of the cartilage connecting a rib to the breastbone (sternum). It is the most common cause of chest pain that originates in the chest wall.
Croup - A respiratory illness that causes the larynx (voice box) or trachea (windpipe) of infants and young children to become inflamed, resulting in a hoarse, barking cough and difficulty breathing.
Cryptococcosis - A rare fungal infection caused by inhaling the fungus Cryptococcus neoformans.
Drugs listed by generic starting with C
Ciprofloxacin - is used to treat infections.
Clomiphene - used for the treatment of infertility in women caused by failure of the ovaries to produce egg cells.
Clopidogrel - used to prevent strokes or heart attacks occurring in people at risk, particularly in those who have had a previous stroke or heart attack.
Co-trimoxazole - is the drug of choice for treating pneumonia caused by Pneumocystis carinii, toxoplasmosis and nocardiasis.
Co-amoxiclav - is used for the treatment of infections of the respiratory tract, sinus, ear, lung, skin, and bladder infections.
| Cirrhosis |
This word means 'to make a flippant or humorous remark about a serious subject? | Relationships Between Nutrition, Alcohol Use, and Liver Disease
Relationships Between Nutrition, Alcohol Use, and Liver Disease
Charles S. Lieber, M.D., M.A.C.P.
Charles S. Lieber, M.D., M.A.C.P., is a professor of medicine and pathology at Mount Sinai School of Medicine, and chief of the Section of Liver Disease and Nutrition as well as director of the Alcohol Research Center at the Bronx Veterans Affairs Medical Center, Bronx, New York.
The preparation of this article was supported in part by National Institute on Alcohol Abuse and Alcoholism grants AA–11115 and AA–12867, by the Department of Veterans Affairs, and by the Kingsbridge Research Foundation.
Many alcoholics are malnourished, either because they ingest too little of essential nutrients (e.g., carbohydrates, proteins, and vitamins) or because alcohol and its metabolism prevent the body from properly absorbing, digesting, and using those nutrients. As a result, alcoholics frequently experience deficiencies in proteins and vitamins, particularly vitamin A, which may contribute to liver disease and other serious alcohol–related disorders. Furthermore, alcohol breakdown in the liver, both by the enzyme alcohol dehydrogenase and by an enzyme system called the microsomal ethanol–oxidizing system (MEOS), generates toxic products such as acetaldehyde and highly reactive, and potentially damaging, oxygen–containing molecules. These products can interfere with the normal metabolism of other nutrients, particularly lipids, and contribute to liver cell damage. Nutritional approaches can help prevent or ameliorate alcoholic liver disease. For example, a complete balanced diet can compensate for general malnutrition. Administration of antioxidants (e.g., precursors of the endogenous antioxidant glutathione) can help the body eliminate reactive oxygen molecules and other reactive molecules generated from abnormal lipid breakdown. New agents currently are being studied as promising nutritional supplements for alcoholics with liver disease. Key words: alcoholic liver disorder; chronic AODE (alcohol and other drug effects); malnutrition; nutritional deficiency; MEOS (microsomal ethanol–oxidizing system); digestion; nutrient absorption; vitamins; vitamin therapy; liver function; ethanol metabolism; NAD; fatty liver; antioxidants; oxidative stress; S–adenosylmethionine
A complex interplay exists between a person’s alcohol consumption and nutritional status. Many people, including light–to–moderate drinkers who consume one to two glasses or less of an alcoholic beverage per day, consider those beverages a part of their normal diet and acquire a certain number of calories from them. When consumed in excess, however, alcohol can cause diseases by interfering with the nutritional status of the drinker. For example, alcohol can alter the intake, absorption into the body, and utilization of various nutrients. In addition, alcohol exerts some harmful effects through its breakdown (i.e., metabolism) and the resulting toxic compounds, particularly in the liver, where most of the alcohol metabolism occurs (Lieber 1992, 2000).
This article explores the relationships between a person’s alcohol consumption, nutritional status, and risk of alcoholic liver disease. It first describes the nutritional value of alcoholic beverages and discusses how alcohol consumption can contribute to malnutrition in heavy drinkers, with particular emphasis on the effects of alcohol on the digestion and absorption of various nutrients. The article then summarizes the general influence of a person’s nutrition on his or her liver function and explores the most important pathways of alcohol metabolism and their relationships with various nutritional factors. The article concludes by reviewing various current and emerging approaches in the nutritional management of alcoholic liver disease.
The Nutritional Value of Alcoholic Beverages
Alcoholic beverages primarily consist of water, pure alcohol (chemically known as ethanol), and variable amounts of sugars (i.e., carbohydrates); their content of other nutrients (e.g., proteins, vitamins, or minerals) is usually negligible.1 (1 Because they provide almost no nutrients, alcoholic beverages are considered “empty calories.”) Therefore, any calories provided by alcoholic beverages are derived from the carbohydrates and alcohol they contain. The carbohydrate content varies greatly among beverage types. For example, whiskey, cognac, and vodka contain no sugars; red and dry white wines contain 2 to 10 grams of sugar per liter (g/L); beer and dry sherry contain 30 g/L; and sweetened white and port wines contain as much as 120 g/L. Similarly, the alcohol content varies greatly among beverages, ranging from approximately 40 to 50 g/L in beer and coolers, to approximately 120 g/L in wine and prepacked cocktails, to 400 to 500 g/L in distilled spirits. An average drink—namely, 5 ounces (oz) of wine, 12 oz of beer, or 1.5 oz of distilled beverage—contains 12 to 14 grams of alcohol. Pure alcohol provides approximately 7.1 kilocalories per gram (kcal/g), compared with 4 kcal/g for carbohydrates. Thus, a 12–oz can of beer contains approximately 100 calories.
At least under certain conditions, however, alcohol–derived calories when consumed in substantial amounts can have less biologic value than carbohydrate–derived calories, as shown in a study in which Pirola and Lieber (1972) compared the weights of two groups of participants who received balanced diets containing equal numbers of calories. In one of the groups, 50 percent of total calories was derived from carbohydrates, whereas in the other group the calories were derived from alcohol.2 (2 The study participants were observed on the metabolic ward of a hospital during the experiments. The quantity of alcohol administered did not exceed the amount routinely consumed by these volunteers.) Although all participants received the same number of calories, those in the alcohol group exhibited a decline in body weight compared with those in the carbohydrate group. Moreover, when the participants received additional calories in the form of alcohol, they did not experience any corresponding weight gain. This suggests that some of the energy contained in alcohol is “lost” or “wasted”—that is, it is not available to the body for producing or maintaining body mass. Under other conditions, however, alcohol–derived calories have the same biologic value as calories derived from other nutrients. The various mechanisms involved and the circumstances in which alcohol calories fully count or do not count are described in detail elsewhere (Lieber 1991a).
Several mechanisms have been implicated in the apparent loss of alcohol–derived energy (Feinman and Lieber 1998). For example, some of the energy may be used up (wasted) during the breakdown of alcohol by a pathway known as the microsomal ethanol–oxidizing system (MEOS). (For more information on this system, see the section “Relationships Between Nutritional Factors and Alcohol Metabolism,” below.) As described later in this article, alcohol may damage the liver cells’ mitochondria—small membrane–enclosed cell structures that serve as the cell’s power plants—and these damaged mitochondria may waste energy during the breakdown of fats.
The Nutritional Status of Alcoholics
General observation suggests that many alcoholics do not consume a balanced diet; moreover, as mentioned earlier, excessive alcohol consumption may interfere with these alcoholics’ ability to absorb and use the nutrients they do consume. Accordingly, many alcoholics suffer from various degrees of both primary and secondary malnutrition. Primary malnutrition occurs when alcohol replaces other nutrients in the diet (described later in this section), resulting in overall reduced nutrient intake. Secondary malnutrition occurs when the drinker consumes adequate nutrients but alcohol interferes with the absorption of those nutrients from the intestine so they are not available to the body, as described in the following section (see figure 1).
Figure 1 Interaction of alcohol’s direct toxic effects with malnutrition. In alcoholics, alcohol often replaces other nutrients (e.g., carbohydrates or proteins), resulting in insufficient intake of those nutrients (i.e., primary malnutrition), particularly because, under certain conditions, the calories provided by alcohol cannot be used effectively by the body—that is, they are “empty” calories. In addition, alcohol has direct toxic effects on the gastrointestinal tract and liver, leading to impaired digestion, reduced absorption of nutrients into the blood, and impaired utilization or increased degradation of those nutrients. These effects are referred to as secondary malnutrition and can contribute to the progression of liver damage.
SOURCE: Lieber 1991b.
The most severe malnutrition, which is accompanied by a significant reduction in muscle mass, generally is found in those alcoholics who are hospitalized for medical complications of alcoholism (e.g., alcohol–related liver disease or other organ damage). If these patients continue to drink, they will lose additional weight; conversely, if they abstain from drinking, they will gain weight. This pattern applies to patients with and without liver disease.
People who drink heavily but do not require hospitalization for alcohol–related medical problems, in contrast, often are not malnourished or show less severe malnutrition (Feinman and Lieber 1998). In these people, drinking, especially when accompanied by a high–fat diet and lack of physical activity, may actually lead to obesity of the trunk of the body. This relationship between heavy drinking and obesity has been observed particularly in women.
Overall, the wide range in nutritional status among alcoholics reflects, at least in part, the proportion of total calories they ingest in the form of alcohol as well as differences in what they eat. Moderate alcohol intake—that is, when alcohol accounts for up to 16 percent of total calories (i.e., approximately 320 kcal in a 2,000–kcal diet3 [3 Dietary guidelines published by the U.S. Department of Agriculture and the Department of Health and Human Services define moderate drinking as consumption of no more than one standard drink per day by women and no more than two standard drinks per day by men. Depending on the specific calorie content of the drinks consumed, the definition of moderate drinking used here (i.e., up to 16 percent of total calories) may exceed the amounts specified in the dietary guidelines.])—is associated with slightly increased total energy intake. At this level of alcohol consumption, and even at slightly higher drinking levels (i.e., when alcohol accounts for up to 23 percent of total calories), the drinker typically substitutes alcohol for carbohydrates in the diet. In drinkers who consume more than 30 percent of their total calories in the form of alcohol, not only carbohydrate intake but also protein and fat intake decrease significantly. These drinkers’ consumption of vitamin A, vitamin C, and thiamine (vitamin B1) also may fall below the recommended daily allowances (Gruchow et al. 1985).
Alcohol’s Effects on Digestion and Absorption of Essential Nutrients
Alcohol consumption, particularly at heavy drinking levels, not only influences the drinker’s diet but also affects the metabolism of those nutrients that are consumed. Thus, even if the drinker ingests sufficient proteins, fats, vitamins, and minerals, deficiencies may develop if those nutrients are not adequately absorbed from the gastrointestinal tract into the blood, are not broken down properly, and/or are not used effectively by the body’s cells. Two classes of nutrients for which such problems occur are proteins and vitamins.
Amino Acids and Proteins
Proteins are essential components of all cells. They help maintain the cell’s structure, transport certain substances in and out of cells, and act as enzymes that mediate almost all biochemical reactions occurring in the cells. Proteins are composed of approximately 20 different building blocks called amino acids. Many of these amino acids can be produced by the body itself from various precursors or are recycled when proteins that are damaged or are no longer needed are broken down or degraded. Other amino acids (the so–called essential amino acids), however, must be acquired through diet. Alcohol can interfere with the uptake of these essential amino acids; indeed, studies using experimental animals have found that the animals absorbed less amino acid from the intestine after they received an alcohol dose (Adibi et al. 1992).
Patients with chronic liver failure (who in many cases are alcoholics) also exhibit a number of defects in protein metabolism. These include decreased production of proteins in the liver that are secreted into the blood (e.g., albumin and blood–clotting [i.e., coagulation] factors), decreased urea synthesis, and decreased metabolism of a group of amino acids called aromatic amino acids. These defects have important clinical consequences:
Decreased production of the main protein found in the blood, albumin, may lead to abnormally low levels of this protein in the blood. Albumin is needed to help maintain normal blood volume as well as the blood’s concentrations of minerals and other dissolved molecules. Excessively low albumin levels may cause or exacerbate the abnormal accumulation of fluid in the abdomen (i.e., ascites) of patients with cirrhosis, which may worsen the impaired blood flow through the patient’s already damaged liver.
Reduced levels of blood–clotting factors may predispose patients to the risk of internal bleeding in the gastrointestinal tract, which can have serious health consequences.
Urea synthesis serves to remove from the body (by excreting it in the urine) the toxic ammonia that is generated during various metabolic reactions (including the breakdown of proteins). Reduced urea production, which results in excessive ammonia levels in the body, may increase the likelihood that patients develop altered brain function, a condition called hepatic encephalopathy. (For more information on hepatic encephalopathy, see the article by Roger Butterworth in this issue.)
Abnormalities in the normal balance of various types of amino acids, such as increased levels of aromatic amino acids, also can increase the risk of hepatic encephalopathy.
Despite these abnormalities in protein metabolism, patients with cirrhosis do not require more protein from the diet than do people without cirrhosis (i.e., 35 to 50 g/day).
Vitamins
Vitamins are molecules that are present in small amounts in various foods and are essential for normal metabolism; insufficient vitamin levels in the body can lead to serious diseases. Alcoholics, even without liver disease, tend to have clinical and/or laboratory signs of deficiencies in certain vitamins, particularly vitamins B1 (thiamine), B2 (riboflavin), B6 (pyridoxine), and C (ascorbic acid), as well as folic acid. The severity of these deficiencies correlates with the amount of alcohol consumed and with the corresponding decrease in vitamin intake.
Vitamin deficiencies are especially common in patients with cirrhosis and result both from reduced intake with the diet and, at least for some vitamins, from reduced absorption of those vitamins that are ingested. One important example is the vitamin A deficiency frequently found in patients with cirrhosis. Vitamin A (retinol), which is essential for bone growth and normal eye function, can be obtained directly from the diet or can be produced in the body from a precursor compound called beta–carotene.
Alcohol’s Effects on Vitamin A Levels. Numerous studies have assessed the effects of alcohol consumption on vitamin A and beta–carotene levels in the liver and blood. In the liver, both heavy alcohol consumption and use of other drugs can lead to reduced vitamin A levels. These drugs enhance the activity of the liver enzymes that break down vitamin A and similar molecules (Leo et al. 1987; Leo and Lieber 1999).
In the blood, short–term administration of alcohol results either in unchanged or increased vitamin A levels (Sato and Lieber 1981). Studies using baboons found that long–term feeding of alcohol raised the animals’ blood levels of beta–carotene (Leo et al. 1992), and increased beta–carotene levels in the blood also were found in human alcoholics (Ahmed et al. 1994). Other investigations compared the levels of beta–carotene, vitamin A, and other molecules related to these two compounds in the blood and livers of patients with alcoholic and nonalcoholic liver disease, normal livers of transplant donors, and blood from normal control subjects (Leo et al. 1993). The latter study found that the levels of vitamin A–related compounds, particularly vitamin A itself, were reduced in the livers of patients with liver disease (whether alcohol related or not) compared with the other groups (see figure 2). The decreases were greatest in patients with the most severe form of alcoholic liver disease (cirrhosis). Despite their reduced levels of vitamin A in the liver, however, many of these patients exhibited normal levels of beta–carotene in the blood, which suggests that liver disease alters the liver’s ability to take up beta–carotene and/or convert it into vitamin A. Impaired conversion of ingested beta–carotene to vitamin A in the liver during alcohol consumption may partially explain why the concentration of vitamin A in the liver is reduced, especially at advanced stages of alcoholic liver disease. In addition, alcohol promotes the secretion of vitamin A from the liver, thereby enhancing its decline in the liver (Leo et al. 1986).
Figure 2 Vitamin A levels in the livers of healthy people and patients with various stages of alcoholic liver disease. The values were obtained by taking liver biopsies from study participants. Each circle or x represents one person; a filled circle represents a living participant, an open circle represents a sample taken during an autopsy of a deceased participant, and each x represents a study participant with a normal liver who had diabetes. The bars represent the mean value of all participants in each group. P values for the differences between the groups were all significant at the 0.001 level.
SOURCE: Leo and Lieber 1982.
As reviewed by Leo and Lieber (1999), studies of rats that were fed alcohol every day for several weeks confirmed that alcohol can reduce vitamin A levels in the liver. After receiving alcohol for 4 to 6 weeks, the animals’ vitamin A levels in the liver had declined by 60 percent. This reduction became even more severe (i.e., a 72–percent decline) after 7 to 9 weeks of alcohol administration. At the same time, the levels of vitamin A in the blood did not change. Even supplementing the animals’ diet with five times the usual amount of vitamin A could not prevent the alcohol–induced vitamin A depletion in the liver. Similar results were obtained in baboons that received 50 percent of their calories as alcohol. In these animals, vitamin A levels in the liver declined by 60 percent after 4 months and by 95 percent after 24 to 84 months.
Consequences of Altered Vitamin A Levels. Vitamin A deficiency can impair the ability of the eye to adjust to dark conditions (i.e., causing night blindness) and can result in other eye disorders. In the liver, reduced vitamin A levels can change the structures of components of some cells, and these changes may be exacerbated by the consumption of alcohol (Leo et al. 1983). However, excess vitamin A also has harmful effects. For example, in the liver, increased vitamin A levels can promote the formation of scar tissue (i.e., fibrosis) (Leo and Lieber 1983), which also is worsened by concurrent alcohol use (Leo et al. 1982).
Alcohol has varying effects on vitamin A and beta–carotene content and metabolism throughout the body. For example, alcohol increases the vitamin A content of some tissues and decreases vitamin A in other tissues. In addition, alcohol can speed up or alter the conversion of vitamin A to other compounds. Some or all of these changes may contribute to alcohol’s toxic effects on the liver and to the development of liver fibrosis.4 (4 Alcohol–mediated alterations of vitamin A status also may play a role in the association of low vitamin A or beta–carotene levels with certain types of cancer [Lieber 1987].)
Vitamin A Therapy. Because alcohol consumption leads to reduced vitamin A levels in the liver, with potentially detrimental effects, it would appear plausible to treat alcoholics with extra vitamin A to compensate for alcohol’s effects. However, several factors complicate vitamin A therapy in the setting of alcoholism:
It is difficult to assess how much vitamin A actually is stored in the tissues, because vitamin A in the blood does not necessarily reflect levels in the liver.
High doses of vitamin A are toxic.
Even usual doses of vitamin A are potentially harmful in alcoholics who continue to drink, because alcohol potentiates the toxicity of vitamin A.
Therefore, only modest doses of vitamin A should be given to patients who may continue to drink or use other drugs. Patients with night blindness who have low levels of vitamin A in the blood may be given 2 mg of vitamin A per day for several weeks as a possible therapy. Treatment with zinc also may be necessary, especially in patients with night blindness, because this mineral is needed for vitamin A metabolism.
To avoid or reduce the problems associated with vitamin A therapy, clinicians also have considered treating alcoholics with the vitamin A precursor beta–carotene. However, although beta–carotene is thought to be less hazardous, it also can cause toxic effects in the livers of patients who continue to use alcohol (Leo et al. 1992). In addition, beta–carotene increases the risk of lung cancer in smokers (Alpha–Tocopherol Beta–Carotene Cancer Prevention Study Group 1994). This is important because most smokers also drink alcohol, and researchers have found that the increased lung cancer risk after beta–carotene therapy was related to the smokers’ concurrent alcohol use (Albanes et al. 1996). For this reason, beta–carotene therapy of these patients must be used cautiously.
A Person’s Nutrition Affects Liver Function
Malnutrition, regardless of its causes, can lead to liver damage and impaired liver function. For example, children in underdeveloped countries whose diets do not contain enough protein can develop a disease called kwashiorkor. One symptom of this disorder is the accumulation of fat in the liver, a condition known as fatty liver. Studies performed during and after World War II indicated that severe malnutrition also could lead to liver injury in adults. However, in these cases other factors, including exposure to certain toxins or parasites that are prevalent in war–ravaged or underdeveloped countries, may have exacerbated the relationship between liver injury and poor nutrition.
Because malnutrition also is common in alcoholics, clinicians initially thought that malnutrition, rather than alcohol itself, was responsible for alcohol–induced liver injury. Over the past 40 years, however, a more balanced view has evolved. Studies in humans, primates, and rodents have established that alcohol can cause liver damage even in well–nourished people (Lieber 1992). Moreover, controlled studies using hospitalized participants have demonstrated that even subjects receiving an enriched diet could develop fatty liver if the carbohydrates in the diet were replaced with alcohol. Finally, epidemiological analyses have found a close correlation between per capita alcohol consumption and the likelihood of cirrhosis, indicating that alcohol itself contributes to liver disease.
It is becoming clear that nutritional effects and the toxic effects of alcohol often are intertwined at the biochemical level. For example, alcohol induces the MEOS to break down alcohol, but this breakdown also leads to the previously mentioned waste of energy observed in alcoholics who replace carbohydrates in their diet with alcohol. Similarly, alcohol promotes the breakdown of nutrients such as vitamin A, of which alcoholics may already consume too little with their diet.
Relationships Between Nutritional Factors and Alcohol Metabolism
As indicated in the previous sections, complex interactions exist between alcohol and its metabolism and other nutritional and metabolic factors. In the liver, alcohol is broken down primarily through two pathways: the enzyme alcohol dehydrogenase (ADH) and the MEOS (for more information on these two pathways, see the sidebar “Pathways of Alcohol Metabolism”). Both of these pathways have several nutritional and metabolic consequences in heavy drinkers (see figure 3).
SIDEBAR
Pathways of Alcohol Metabolism
Alcohol is broken down (i.e., metabolized) in the liver primarily through two pathways: the alcohol dehydrogenase (ADH) pathway and the microsomal ethanol–oxidizing system (MEOS). In people who consume alcohol at moderate levels and/or only occasionally, most of the alcohol is broken down by ADH, an enzyme found in the fluid that fills the cell (i.e., the cytosol). ADH converts alcohol (chemically known as ethanol) to acetaldehyde, a toxic and highly reactive molecule. During this reaction, hydrogen is removed from the alcohol and transferred to a molecule called nicotinamide adenine dinucleotide (NAD), converting it to reduced NAD (NADH). As described in the main article, NADH participates in numerous other metabolic reactions, passing on the hydrogen to other compounds, and excess cellular NADH levels have harmful effects on those cells. Subsequently, the acetaldehyde is converted to acetate by a second enzyme, aldehyde dehydrogenase.
The MEOS plays a role in alcohol metabolism, particularly after higher alcohol consumption. As the name implies, the reactions that make up the MEOS occur in microsomes, small sphere–shaped vesicles that are split off from a membrane–enclosed cell structure called the endoplasmic reticulum, which serves to transport molecules through and out of the cells. The main component of the MEOS is the enzyme cytochrome P450, which, like ADH, converts alcohol to acetaldehyde. This reaction also relies on oxygen and a molecule called reduced nicotinamide adenine dinucleotide phosphate (NADPH) and results in the formation of NADP and water. As byproducts of these reactions, highly reactive, oxygen–containing molecules called oxygen radicals or reactive oxygen species (ROS) are generated. These ROS can contribute to liver damage through a variety of mechanisms.
Although the rate at which ADH breaks down alcohol generally stays the same, the activity of the MEOS can be increased (i.e., induced) by alcohol consumption. Because the MEOS metabolizes not only alcohol but also other compounds (e.g., certain medications), enhanced MEOS activity resulting from high alcohol consumption also can alter the metabolism of those medications. This may contribute to harmful interactions between alcohol and those medications or otherwise influence the activity of those medications.
Of the several variants of cytochrome P450, a form called CYP2E1 is most prominent in alcohol metabolism. The activity of this molecule can increase up to fourfold following alcohol consumption (Tsutsumi et al. 1989). Other types of cytochrome P450, such as CYP1A2 and CYP3A4, also are involved in the breakdown of alcohol (Salmela et al. 1998).
—Charles S. Lieber
References
Salmela, K.S.; Kessova, I.G.; Tsyrlov, I.B.; and Lieber, C.S. Respective roles of human cytochrome P–4502E1, 1A2 and 3A4 in the hepatic microsomal ethanol oxidizing system. Alcoholism: Clinical and Experimental Research 22:2125–2132, 1998.
Tsutsumi, M.; Lasker, J.M.; Shimizu, M.; et al. The intralobular distribution of ethanol inducible P450IIE1 in rat and human liver. Hepatology 10:437–446, 1989.
END OF SIDEBAR
Figure 3 Effects of heavy alcohol consumption caused by alcohol–related malnutrition and alcohol breakdown by the enzyme alcohol dehydrogenase (ADH) and the microsomal ethanol–oxidizing system (MEOS). Alcohol consumption can lead to primary and secondary malnutrition as described in figure 1. Alcohol breakdown by ADH results in the formation of excess levels of the molecule reduced nicotinamide adenine dinucleotide (NADH), which can cause various metabolic problems. Moreover, both ADH and the MEOS convert alcohol to acetaldehyde, a toxic molecule that has numerous adverse effects. Alcohol also enhances the activity of the central enzyme of the MEOS, cytochrome P450 2E1, which exacerbates some of the toxic effects of acetaldehyde and generates a harmful condition called oxidative stress in the cells. Oxidative stress is characterized by excess levels of reactive oxygen species (ROS), abnormal lipid breakdown resulting in additional reactive molecules, and/or reduced levels of antioxidants (e.g., glutathione) which can eliminate reactive molecules.
SOURCE: Modified from Lieber 1998.
The ADH Pathway
The ADH pathway, which converts alcohol to the toxic substance acetaldehyde in a reaction that releases hydrogen atoms, is responsible for most of the alcohol breakdown in liver cells. However, how fast alcohol is broken down by this pathway depends, at least in part, on nutritional factors. For example, low–protein diets reduce the levels of ADH in the liver, lowering the rate of alcohol breakdown both in humans and in laboratory animals (Bode et al. 1971). Prolonged fasting also has been shown to decrease the rate of alcohol breakdown in isolated rat liver cells. These observations suggest that for any given alcohol dose, malnourished alcoholics break down the alcohol more slowly and therefore develop higher blood alcohol levels, and sustain them longer, than well–nourished subjects. Because the effects of alcohol on the body depend on blood alcohol levels, reduced alcohol degradation may lead to more severe damage to the liver and other organs.
Conversely, alcohol metabolism by the ADH pathway also may influence metabolic functions. As mentioned above, ADH–mediated breakdown of alcohol generates hydrogen atoms in addition to acetaldehyde. These hydrogen atoms interact with a molecule called nicotinamide adenine dinucleotide (NAD), converting it to reduced NAD (NADH). NADH, in turn, participates in many essential biochemical reactions in the cell, and in the process passes on its hydrogen to other molecules. For proper functioning of the cell, the ratio of NAD to NADH must be tightly controlled. When alcohol metabolism generates excess amounts of NADH, the cell can no longer maintain the normal NAD/NADH ratio. This altered NAD/NADH ratio may lead to several metabolic disorders (see figure 3) (Lieber 1992). For example, elevated levels of NADH cause the formation of abnormally high levels of lactic acid, which in turn reduce the capacity of the kidney to excrete uric acid. Excessive uric acid in the body can exacerbate gout, a disorder characterized by extremely painful swelling of certain joints. Therefore, alcohol–induced increases in NADH levels and, subsequently, uric acid levels, which can be worsened by other alcohol–induced metabolic effects, may at least partly explain the common clinical observation that excessive alcohol consumption causes or aggravates attacks of gout.
In addition, increased NADH promotes the generation of the building blocks of fat molecules (i.e., fatty acids) and reduces the breakdown of fats in the liver, thereby contributing to fat accumulation in that organ (Lieber and Schmid 1961). Other alcohol–related mechanisms also contribute to fat accumulation in the liver, including:
Decreased excretion of fat–containing proteins from the liver
Release of fats from other tissues, which then are transported to the liver
Enhancement of the liver’s uptake of fats circulating in the blood.
The resulting fatty liver is the earliest stage and the most common form of alcohol–induced liver disease.
In addition to contributing to the development of fatty liver, the increases in NADH levels resulting from the ADH–mediated breakdown of alcohol also may play a role in the formation of scar tissue that characterizes fibrosis, a more severe stage of liver disease. This relationship was suggested by the observation that a molecule that can capture hydrogen away from NADH completely prevents certain liver cells (i.e., stellate cells) from producing elevated levels of molecules that contribute to the formation of scar tissue (Casini et al. 1991).
The Microsomal Ethanol–Oxidizing System (MEOS)
After moderate alcohol consumption, most of the ingested alcohol is broken down by the ADH pathway described above. After chronic heavy alcohol consumption, the MEOS pathway of alcohol metabolism becomes more important. This pathway consists of several enzymes located in the liver microsomes—small spherical structures found in all cells. The MEOS has been investigated extensively because its activity increases substantially after long–term alcohol consumption and because it is important for the breakdown and elimination of other foreign molecules from the body, including certain medications (for a review, see Lieber 1997). Therefore, activation of the MEOS after alcohol consumption may alter the breakdown of those medications and may contribute to harmful interactions between alcohol and those medications.
The primary component of the MEOS is the molecule cytochrome P450, which exists in several variants. The variant most important for alcohol metabolism is cytochrome P450 2E1 (CYP2E1). Studies using liver biopsies from people who recently had been drinking alcohol found that the levels of CYP2E1 were four times higher in these subjects than in control subjects who had not been drinking alcohol (Tsutsumi et al. 1989). In contrast, the levels of ADH in the liver did not change following alcohol consumption.
Enhanced CYP2E1 activity in response to chronic alcohol consumption (or other factors) probably contributes to the development of alcoholic liver disease. Alcoholics commonly suffer from a type of liver disease called steatohepatitis, which is an inflammation of the liver with concurrent fat accumulation in the liver. Steatohepatitis also is frequently found in people with diabetes and excessive or morbid obesity, even if they are not alcoholics. Studies have found that, in addition to breaking down alcohol, CYP2E1 also mediates certain steps in the metabolism of fatty acids as well as of chemicals called ketones (e.g., acetone) and that acetone, like alcohol, can stimulate CYP2E1 activity (Koop and Casazza 1985). Patients with diabetes or morbid obesity commonly have higher than normal levels of fatty acids and ketones. This observation suggests that, in nonalcoholics, steatohepatitis can be the end result of enhanced CYP2E1 activity caused by excess levels of ketones and fatty acids; in alcoholics, steatohepatitis can result from enhanced CYP2E1 activity caused by chronic heavy drinking.
Alcohol–induced activation of the MEOS also contributes to alcoholic liver disease through other mechanisms. For example, alcohol breakdown by CYP2E1 generates several types of highly reactive oxygen–containing molecules called reactive oxygen species (ROS) (see figure 3). These ROS can damage liver cells by inactivating essential enzymes and altering the breakdown of fat molecules; higher ROS levels contribute to a condition called oxidative stress, which can cause liver cell damage. These ROS effects are exacerbated if the body’s normal defense systems against this damage—antioxidants, such as glutathione (GSH) and vitamin E (α–tocopherol)—also are impaired. Alcohol and its metabolism have been shown to reduce the levels of both GSH and vitamin E. For example, the breakdown product of alcohol, acetaldehyde, lowers GSH levels in the liver. Furthermore, patients with cirrhosis have reduced amounts of vitamin E in the liver (Leo et al. 1993). Thus, alcohol metabolism through the MEOS can lead to liver damage both by generating harmful substances (e.g., the ROS) and by reducing the levels of protective substances (e.g., GSH).
Nutritional Management of Alcoholic Liver Disease
As discussed in the previous sections, alcohol consumption and alcohol metabolism can lead to harmful effects on the liver through numerous pathways related to the drinker’s nutrition and metabolism. Alcoholic liver disease typically develops in several sequential and partially overlapping stages. The first stage, fatty liver, is characterized by fat accumulation in the liver; it is sometimes associated with inflammation, and is called steatohepatitis or alcoholic hepatitis, when severe. At this stage, liver cells may begin to die and scar tissue may form, leading to the next stage of liver disease, fibrosis. Excessive scar tissue formation, in turn, eventually destroys the normal liver structure, resulting in cirrhosis, the most severe type of liver disease.
Treatment of alcoholic liver disease must be started as early as possible in the disease process because patients are more likely to die as the disorder advances. For example, one study of patients with alcoholic liver disease found that 70 percent of patients with fatty liver still were alive after 4 years, whereas less than 50 percent of patients with cirrhosis still were alive after the same amount of time (Chedid et al. 1991). If the cirrhosis was associated with inflammation (i.e., alcoholic hepatitis), the outlook was even worse, with only about 33 percent of patients still alive after 4 years. Unfortunately, these high mortality rates, higher than those for many cancers, attract relatively little attention from the public or the medical profession because many people believe that no effective treatment of alcoholic liver disease is available. However, new insights into the mechanisms contributing to the disorder have resulted in prospects for improved treatments, including nutritional management approaches that can lead to better outcomes.
Management of Nutritional Deficiencies
Many drinkers who consume more than 30 percent of their total calories as alcohol ingest less than the recommended daily amounts of carbohydrates; proteins; fats; vitamins A, C, and B (especially thiamine); and minerals, such as calcium and iron. Deficiencies in these essential nutrients may exacerbate the effects of alcohol itself, resulting in serious disorders. To prevent these deficiencies, clinicians can provide alcoholics with a complete diet comparable to that of nonalcoholics. Even a complete, balanced diet, however, cannot prevent some of the organ damage that results from alcohol’s direct toxic effects, including alcoholic liver disease.
Nevertheless, dietary supplements may prevent or ameliorate some of alcohol’s harmful effects. For example, brain damage resulting from a lack of vitamin B1 (thiamine), which can lead to conditions such as Wernicke–Korsakoff syndrome, can be reversed to some extent. Vitamin B1 generally can be administered with a great margin of safety; therefore, all alcoholics undergoing treatment should be presumed to have a vitamin B1 deficiency and should receive 50 mg of thiamine per day (either by injection if the patients are hospitalized or by mouth). Alcoholics also should receive supplements of vitamins B2 (riboflavin) and B6 (pyridoxine) at the dosages usually found in standard multivitamin preparations. Adequate folic acid levels can in most cases be achieved with a normal diet, unless there is evidence of a severe deficiency. As discussed before, vitamin A should be given only to those alcoholics who have a well–documented deficiency and who can stop or at least moderate their alcohol consumption, because of the potential harmful effects of vitamin A when combined with alcohol.
In addition to an improved diet to reverse nutritional deficiencies, alcoholics with moderate malnutrition also might benefit from treatment with anabolic steroids (Mendenhall et al. 1995). These compounds, which are derived from the male hormone testosterone, can be used in the short term to promote overall body buildup and therefore may help the alcoholic recover from malnutrition.
Prevention of Fatty Liver
As mentioned, alcohol’s interference with the normal metabolism of fatty acids promotes the deposit of dietary fat in the liver. Consequently, decreasing the amount of fat in the diet can reduce the severity of the alcoholic fatty liver (Lieber and DeCarli 1970). Another means of influencing the extent of alcoholic fatty liver is to change the type of fats consumed. For example, researchers found that consumption of fat molecules known as long–chain triglycerides promotes fatty liver, whereas medium–chain triglycerides (MCTs) significantly reduce alcoholic fatty liver. This difference probably results from the fact that MCTs are more likely to be broken down in the body than long–chain triglycerides and therefore are less likely to be deposited in the liver (Lieber et al. 1967). Animal studies have confirmed that MCTs can protect against fat deposition in the liver (Nanji et al. 1996). Thus, providing a diet rich in MCTs may be a promising therapeutic approach, particularly for relatively short–term interventions in patients who are recovering from alcohol–induced liver injury. MCTs generally are available only in health food stores as a dietary supplement.
Antioxidant Therapy to Reduce Oxidative Stress
Alcohol–induced oxidative stress in the liver cells plays a major role in the development of alcoholic liver disease. This condition results from several processes related to alcohol metabolism:
Changes in the NAD/NADH ratio resulting from alcohol breakdown by ADH.
Production of ROS during alcohol breakdown by the MEOS. This is particularly important after chronic alcohol consumption, which stimulates the activity of the MEOS.
Reduced levels of the antioxidant GSH in the liver. GSH is a small molecule consisting of three
amino acids, including cysteine. Acetaldehyde, the first product of alcohol breakdown, can bind to GSH and specifically to cysteine, thereby removing active GSH from the liver cells (Shaw et al. 1983). In addition, alcohol itself inhibits the production of new GSH.
Both increased ROS production and GSH depletion lead, among other harmful effects, to the abnormal breakdown of fat molecules (i.e., lipid peroxidation). This process results in the formation of toxic compounds that can stimulate scarring and damage liver cells, thereby contributing to alcoholic liver disease. Accordingly, it is important to prevent or reduce the oxidative stress associated with alcohol metabolism. One approach to achieve this is to ensure that the cells have adequate levels of antioxidants, particularly GSH, that can “capture” ROS and break them down or convert them to less harmful molecules. Because GSH depletion plays a key role in alcoholic liver injury, it is therapeutically important to increase GSH levels in the liver. GSH cannot be administered directly, however, because the molecule cannot penetrate directly into the liver cells. Similarly, the amino acid cysteine, which is most important for ensuring adequate GSH levels, cannot be used as a supplement because it cannot enter the liver cells. Therefore, clinicians have tried to administer precursors of cysteine (see figure 4), such as the compound acetylcysteine or the molecule S–adenosylmethionine (SAMe) (discussed in the following section), which can reach the cells and be converted to cysteine there.
Another important antioxidant is vitamin E. Alcoholics with cirrhosis often have low vitamin E levels in the liver (Leo et al. 1993), whereas alcoholics without cirrhosis generally have vitamin E levels within the normal range. Therefore, administration of vitamin E supplements may be useful only for some alcoholics. Moreover, studies in baboons have found that animals with normal vitamin E levels in the liver still developed fibrosis or even cirrhosis (Lieber et al. 1994). Vitamin E also showed no positive effect in a trial of patients with alcoholic cirrhosis who received supplements of the compound (de la Maza et al. 1995). These observations suggest that although vitamin E deficiency increases the liver’s vulnerability to alcohol, normal vitamin E levels may not be able to prevent the developmenst of alcoholic liver disease, particularly fibrosis.
Emerging Therapies
S–adenosylmethionine (SAMe). Because nutritional supplementation of the antioxidant GSH or its component cysteine is not an effective way to ensure adequate GSH levels in the livers of alcoholics, investigators have looked for other compounds that can promote GSH production. The ultimate precursor of cysteine is the amino acid methionine (figure 4). Before cysteine is generated, methionine is converted in the cell to SAMe; however, the enzyme that mediates this reaction is much less active in patients with liver disease (Martin–Duce et al. 1988). Consequently, administration of methionine itself is not useful in these patients; in fact, excess methionine can have some adverse effects on liver function.
Figure 4 Alcohol’s effects on the levels of reactive molecules and the antioxidant glutathione (GSH) in the cell. (A) Alcohol breakdown by the enzyme alcohol dehydrogenase (ADH) and by the microsomal ethanol–oxidizing system (MEOS) generates acetaldehyde, a reactive molecule that among other harmful effects interacts with cysteine, preventing it from being used to generate GSH (see panel B). Both the MEOS and acetaldehyde also lead to the generation of reactive oxygen species (ROS) that damage the cells through various mechanisms (e.g., lipid peroxidation). ROS can be eliminated or converted to harmless substances by GSH and other antioxidants. (B) One of the precursors of GSH is the amino acid methionine, which first is converted to S–adenosylmethionine (SAMe). SAMe then is further modified to yield cysteine. Alcohol consumption and alcoholic liver disease cause the blocks labeled a and b; both folate and vitamin B12 deficiency cause block c; vitamin B6 deficiency causes block d; and all these blockages interfere with GSH production. Administration of SAMe can help raise GSH levels in the cells.
Because patients with alcoholic liver disease can produce little SAMe, and the existing SAMe is used up rapidly to generate new GSH, SAMe deficiency typically develops in the cells of these patients. This deficiency can be corrected, however, by administering supplemental SAMe (Lieber 2002). The effectiveness of this approach has been shown in both animals and humans. In baboons, SAMe administration resulted in a corresponding improvement in alcohol–induced liver injury, as shown by less GSH depletion as well as by changes in the activities of certain enzymes that serve as indicators of liver function, and by the production of fewer abnormal mitochondria (Lieber et al. 1990).
In humans, a clinical trial in which SAMe was given to patients with alcoholic cirrhosis according to strict scientific standards also achieved significant therapeutic success (Mato et al. 1999). When patients with the most severe liver disease were excluded, those who received SAMe were significantly less likely to die or require a liver transplant within the next 2 years than were patients who had received an inactive substance (i.e., a placebo). Moreover, the study detected virtually no harmful side effects of SAMe treatment. Therefore, this approach appears to hold promise for the treatment of patients with alcoholic liver disease and should be investigated further.
PPC. One of the harmful consequences of alcohol breakdown by the MEOS is the formation of ROS, which among other effects can cause lipid peroxidation. Not all fat molecules, however, are equally sensitive to peroxidation. For example, polyunsaturated fats are more susceptible than monounsaturated or saturated fats. With fat molecules containing additional phosphate groups (phospholipids), however, the opposite may occur—polyunsaturated phospholipids may be particularly resistant to peroxidation. This hypothesis is supported by studies evaluating the effects of the compound polyenylphosphatidylcholine (PPC) in animal models. In these studies, PPC, which is a mixture of molecules known as phosphatidylcholines (extracted from soybeans), prevented lipid peroxidation (Aleynik et al. 1997) and attenuated the associated liver injury in rats that had been treated with hepatic toxins (Ma et al. 1996). Furthermore, PPC decreased oxidative stress (Lieber et al. 1997) and prevented the development of alcohol–induced cirrhosis in baboons (Lieber et al. 1994). Clinical trials currently are being conducted to test the effectiveness of PPC in the treatment of alcoholic liver disease.
Silymarin. Another antioxidant that has shown positive results in experimental animals (Lieber et al. 2003) is a molecule called silymarin, the active constituent of milk thistle. Some clinical trials have shown that this compound has beneficial effects such as improved survival in patients with alcoholic liver disease (Ferenci et al. 1989). Other controlled studies, however, have not verified such an action (Pares et al. 1998). Additional clinical trials to determine the usefulness of this compound for treating alcoholics with liver disease now are under way.
Summary
Chronic drinkers, particularly those who consume a substantial portion of their daily calories in the form of alcohol, often show evidence of malnutrition such as deficits in amino acids, proteins, and certain vitamins. These deficits can derive from an inadequate diet as well as from alcohol’s effects on these nutrients and their metabolism. Particularly common is a deficit in vitamin A, which is required for proper eye function and bone growth. Moreover, both vitamin A deficits and excessive vitamin A levels can lead to liver damage, including fibrosis. Therefore, administering vitamin A to correct a deficiency is difficult and should be controlled carefully, particularly in the presence of alcohol abuse, which exacerbates vitamin A’s toxicity.
Potentially harmful compounds, which, in combination with other nutritional factors, can lead to liver damage and other alcohol–related disorders, are generated not only by alcohol itself but also by its metabolism via ADH or the MEOS. Particularly important is the MEOS, which, among other functions, influences fat metabolism. Chronic alcohol consumption activates the MEOS and may thereby contribute to the development of a fatty liver. Other byproducts of MEOS–mediated alcohol degradation, such as ROS, also alter fat metabolism and damage the liver by promoting lipid peroxidation.
Because alcoholics frequently have poor nutritional status, which is further exacerbated by alcohol’s effects on the body’s metabolism, nutritional approaches may be useful in the treatment of alcoholic patients, including those with alcoholic liver disease. Possible approaches include nutritional supplementation to compensate for deficits in nutrients, as well as administration of antioxidants to counteract the alcohol–induced increase in oxidative stress and the resulting liver damage. Because of the potential usefulness of such an approach, several new compounds currently are being studied in clinical trials. If they prove effective, these nutritional management approaches could be important tools in the prevention or amelioration of alcoholic liver disease.
References
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Prepared: September 29, 2004
| i don't know |
What word describes the ability to imagine and share another persons feelings and/or experiences? | All about Empathy: Definitions of Empathy
Becoming self aware of what is happening inside ourselves without judgments.
Listening to your inner feelings and experiences.
Facilitating inner dialog between different feelings.
Labeling your inner experiences, feelings and needs.
Translating inner judgments into feelings and needs.
When we are heard by someone else, it actually helps us feel into our own self more deeply. This is the essence of much of therapy. Having good friends listen to us has the same effect
Anything that reduces stress and raises the level of Oxytocin in our bodies helps. Meditation, mindfulness practices, focusing , yoga , aikido and the arts, for example, are a few of the many ways to foster self-empathy.
2. Mirrored Empathy (Emotional Empathy)
Emotional empathy of others via mirror neurons - reflecting others in ourselves and ourselves being reflected by others.
With mirror neuron, the same neurons in our brain fire when we do an action and see the same action happening in someone else.
This is also called emotional or affective empathy.
Emotional contagion is when we catch the emotions of others. The �process in which a person or group influences the behavior of another person or group through the conscious or unconscious induction of emotional states and behavioral attitudes� (Schoenewolf 49-61).
Empathic (active) listening and physical mirroring exercises can help foster this.
3.
Carl Rogers on Empathy - Part 1A
EARLY DEFINITIONS: The state of empathy, or being empathic, is to perceive the internal frame of reference of another with accuracy and with the emotional components and meanings which pertain thereto as if one were the person, but without ever losing the "as if" condition. Thus it means to sense the hurt or the pleasure of another as he senses it and to perceive the causes thereof as he perceives them, but without ever losing the recognition that it is as if I were hurt or pleased and so forth. If this "as if" quality is lost, then the state is one of identification. (pp. 210�211. See also Rogers, 1957.)
A CURRENT DEFINITION: With this conceptual background, let me attempt a description of empathy that would seem satisfactory to me today. I would no longer be terming it a "state of empathy," because I believe it to be a process, rather than a state. Perhaps I can capture that quality.
An empathic way of being with another person has several facets. It means entering the private perceptual world of the other and becoming thoroughly at home in it. It involves being sensitive, moment by moment, to the changing felt meanings which flow in this other person, to the fear or rage or tenderness or confusion or whatever that he or she is experiencing. It means temporarily living in the other's life, moving about in it delicately without making judgements; it means sensing meanings of which he or she is scarcely aware, but not trying to uncover totally unconscious feelings, since this would he too threatening. It includes communicating your sensings of the person's world as you look with fresh and unfrightened eyes at elements of which he or she is fearful. It means frequently checking with the person as to the accuracy of your sensings, and being guided by the responses you receive. You are a confident companion to the person in his or her inner world. By pointing to the possible meanings in the flow of another person's experiencing, you help the other to focus on this useful type of referent, to experience the meanings more fully, and to move forward in the experiencing.
To be with another in this way means that for the time being, you lay aside your own views and values in order to enter another's world without prejudice. In some sense it means that you lay aside your self; this can only be done by persons who are secure enough in themselves that they know they will not get lost in what may turn out to be the strange or bizarre world of the other, and that they can comfortably return to their own world when they wish.
Perhaps this description makes clear that being empathic is a complex, demanding, and strong - yet also a subtle and gentle - way of being.
Carl Rogers
To perceive the internal frame of reference of another with accuracy and with the emotional components and meanings which pertain thereto as if one were the person, but without ever losing the "as if" condition. Thus, it means to sense the hurt or the pleasure of another as he senses it and to perceive the causes thereof as he perceives them, but without ever losing the recognition that it is as if I were hurt or pleased and so forth.
THE PERSON-CENTERED APPROACH
The first quality is empathy. Many people believe that this is the single quality which is most important in all forms of therapeutic listening. It means getting inside the world of the person who comes for therapy (usually called the client, though some people not in this group prefer other words such as patient or consulter) so that that person feels accepted and understood. Two things are important about this:
(1) that the empathy be accurate, and
(2) that the empathy be made known to the client.
Both of these are learnable skills, and they do make a huge difference to the relationship between client and counselor or therapist.
The second quality is genuineness. If empathy is about listening to the client, genuineness is about listening to myself - really tuning in to myself and being aware of all that is going on inside myself. It means being open to my own experience, not shutting off any of it. And again it means letting this out in such a way that the client can get the benefit of it. Genuineness is harder than empathy because it implies a lot of self-knowledge, which can really only be obtained by going through one's own therapy in quite a full and deep way. It is only a fully-functioning person (Rogers' word for the person who has completed at least the major part of their therapy) who can be totally genuine.
The third quality is non-possessive warmth. It means that the client can feel received in a human way, which is not threatening. In such an atmosphere trust can develop, and the person can feel able to open up to their own experiences and their own feelings.
"The Russian doll model of multilayered empathy. The doll's inner core consists of the perception-action mechanism (PAM) that underlies state-matching and emotional contagion.
Built around this hard-wired socioaffective basis, the doll's outer layers include sympathetic concern and targeted helping. The complexity of empathy grows with increasing perspective-taking capacities, which depend on prefrontal neural functioning, yet remain fundamentally connected to the PAM.
A few large-brained species show all of the doll's layers,
but most show only the inner ones."
Empathy: Its ultimate and proximate bases
"Preston, Stephanie D. and de Waal, Frans B. M. (2000) Empathy: Its ultimate and proximate bases.
The empathy literature is characterized by debate regarding the nature of the phenomenon. We propose a unified theory of empathy, divided into ultimate and proximate levels, grounded in the emotional link between individuals. On an ultimate level, emotional linkage supports group alarm, vicariousness of emotions, mother-infant responsiveness, and the modeling of competitors and predators; these exist across species and greatly effect reproductive success. Proximately, emotional linkage arises from a direct mapping of another's behavioral state onto a subject's behavioral representations, which activate responses in the subject. This ultimate and proximate account parsimoniously explains different phylogenetic and ontogenetic levels of empathy."
this got me interested in empathy
which is a bit of a minefield
I don't consider myself an expert on empathy
I never studied empathy per se.
I have to think about it to write about compassion
There are two kinds of empathy
Cognitive
I appreciate how others are feeling, but I don't feel it.
Affective
can and do feel in my body what others are feeling
empathy is broader than compassion - compassion is with suffering
if I feel your joy, you're not suffering but that's an empathetic response
if I feel your anger, and I join you in your anger, is it empathetic
Compassion is a subset of both the Cognitive and Affective parts of empathy
focused on trying to deal with the suffering of another person
Compassion is a much more narrower slice from the world of empathy "
June 12, 2007 - Three Kinds of Empathy: Cognitive, Emotional, Compassionate
"Being cool in crisis seems essential for our being able to think clearly. But what if keeping cool makes you too cold to care? In other words, must we sacrifice empathy to stay calm? That�s the dilemma facing those who are preparing top teams to handle the next Katrina-like catastrophe we might face. Which gets me to Paul Ekman , a world expert on emotions and our ability to read and respond to them in others. Paul and I had a long conversation recently , in which he described three very different ways to sense another person�s feelings."
eye pupil measurements of emotions - are also contagious
see someone that is sad, you mirror it.
unconsciously
this is not yet empathy
Empathy
differentiating my pain and your pain.
people think empathy is a good thing,
if you have too much empathy, like in caregiver profession, this can be a problem
you can burnout
you can turn it into compassion
Compassion
you can turn it into sympathy, compassion, concern for the other
a real motivation for the welfare for the other
a concern for the other
a warm feeling
Theory of Mind (TOM) - there are different routes into the brain/mind of another person
Theory of Mind - a cognitive perspective taking
not an affective root into the other but a cognitive route.
Psychopaths for example have (TOM)
good at manipulating others, know the others needs and beliefs are
but they lack empathy
F rom Marshall Rosenberg's book "Non-Violent Communication"
"Empathy is a respectful understanding of what others are experiencing. Instead of offering empathy, we often have a strong urge to give advice or reassurance and to explain our own position or feeling. Empathy, however, calls upon us to empty our mind and listen to others with our whole being.
In nonviolent communication, no matter what words others may use to express themselves, we simply listen for their observations, feelings, needs, and requests. Then we may wish to reflect back, paraphrasing what we have understood. We stay with empathy, allowing others the opportunity to fully express themselves before we turn our attention to solutions or requests for relief.
We need empathy to give empathy. When we sense ourselves being defensive or unable to empathize, we need to (A) stop, breathe, give ourselves empathy, (B) screamed nonviolently, or (C) take time out."
Four types of Compassion (typology in terms of the Target)
1. Familial Compassion - Root or Seed
Is it an emotion? Doesn't think so.
2. Familiars Compassion - friends, neighbors, work associate.
Darwin: " many a civilized man, or even boy, who never before risked his life for another, but full of courage and sympathy, has disregarded the instinct of self preservation and plunged at once into a torrent to save a drowning man, though as stranger"
3. Stranger Compassion
some or all strangers (global compassion)
based on similarities in appearance, culture
"..a savage will risk his own life to same that of a member of the same community, but will be wholly indifferent about a stranger: a young and timid mother urged by the maternal instinct will, without a movement's hesitation, run the greatest danger for her own infant, but not of the mere fellow creature."
Why stranger compassion is not an emotion?
What produces stranger compassion without training?
chance
6:30 What is compassion?
(karuna) traditional buddhism: compassion is a mental state - endowed with a sense of concern - that focuses on another being and wishes for that being to be relieved of suffering.
Affective or emotional component - a feeling of concern
Cognitive component - perception of other's suffering
Motivational component - wishing to see that suffering relieved
Modern researchers on compassion speak of three elements of compassion
1. noticing other�s suffering
2 empathically feeling the person�s pain
3. acting to ease the suffering - (this is less in the Buddhist tradition)
multifaceted process and not a basic emotion
higher order level
10:24 a sense of caring - we instinctively posses
11:45 What compassion is not?
look at multiple models
we don�t have all the constructs
look at all the models of compassion
compassion not pity (near enemy)
compassion not attachment (self regard)
compassion is not the same as empathic feeling of other�s pain
13:45 There is a lot of muddlement between empathy, compassion, altruism. need greater clarity. at least for theoretical constructs
compassion is not conditional
15:30 Buddhist compassion cultivation practice
cultivating deeper sensitivity to nature of suffering, casual dynamics,
cultivating equanimity - common humanity
cultivating others as dear - need to be able to make a connection
cultivating interconnectedness
cultivating gratitude
�in the field of equanimity, with loving kindness as moisture, the seed of compassion grows into a tree of true altruism.�
22:00 capacity to feel for others is inborn
sentient creatures feel pain
the near enemy masquerades as that state but is not it.
the far enemy is it's opposite
compassion
near > grief - get stuck in it,
far > cruelty
when you cultivate compassion or loving kindness it has a limitless quality
Opens you up to the mystery of the universe?
right and you can't have to much of it.
don't want to confuses it with notion of compassion burnout
they're talking about the near enemy
or you could say it's empathy burnout
stuck in the stage of sharing the feeling and not move into helping.
8:30 How do you measure it?
scales and questionnaires - have some place but are of limited value
self reporting has difficulty capturing this complex process
can only approximate it from different angles
I think it is immeasurable
What is compassion supposed to do? What does it work against?
measure if there's more reaching out
or a reduction of negative responses
Can look at states of compassion descriptively
we map the territory
11:30 Are we looking at the right areas? how do we know that's compassion?
we don't know.
create behavioral tests in the mix
what would compassion as a construct, as a theory look like?
do tests
| Empathy |
What word is used to describe a tube shaped toy containing small pieces of glass and mirrors which when turned changes the patterns? | Empathy vs. Sympathy | Dictionary.com Blog
Home » Word Facts » Empathy vs. Sympathy
Empathy vs. Sympathy
February 9, 2016 by: Dictionary.com 321 Comments
The terms empathy and sympathy are often confused, and with good reason. Both of the words deal with the relationship one has to the feelings and experiences of another. Today we explore the differences between these terms and how they are most commonly used.
Both sympathy and empathy have roots in the Greek term páthos meaning “suffering, feeling.” The prefix sym- comes from the Greek sýn meaning “with, together with” and the prefix em- derives from the Greek en- meaning “within, in.”
Sympathy is the older of the two terms. It entered English in the mid-1500s with a very broad meaning of “agreement or harmony in qualities between things or people.” Since then, the term has come to be used in a more specific way. Nowadays sympathy is largely used to convey commiseration, pity, or feelings of sorrow for someone who is experiencing misfortune. This prevailing sense is epitomized in the category of greeting card most often labeled “sympathy” that specializes in messages of support and sorrow for those in a time of need.
Consider the following examples:
“There was little sympathy in England for David Beckham … when he received a red card in a 1998 World Cup loss to Argentina.” – New York Times, July 2, 2015
“…the new [Facebook] feature would automatically replace the existing ‘like’ button with a ‘sympathize’ one when users tag their statuses with a negative emotion, like ‘sad’ or ‘depressed.’” – New York, December 6, 2013
Empathy entered English a few centuries after sympathy—in the late 1800s—with a somewhat technical and now obsolete meaning from the field of psychology, which referred to the physiological manifestation of feelings. Unlike sympathy, empathy has come to be used in a more broad way than it was when it was first introduced into the lexicon; the term is now most often used to refer to the capacity or ability to imagine oneself in the situation of another, thereby vicariously experiencing the emotions, ideas, or opinions of that person.
Consider the following examples:
“…many of us believe that if more lives are at stake, we will — and should — feel more empathy (i.e., vicariously share others’ experiences) and do more to help.” – New York Times, July 10, 2015
“I think that’s almost what it is sometimes if you sum up what acting is. It’s just the ultimate expression of empathy.” – Emily Blunt, Los Angeles Times, December 8, 2014
To sum up the differences between the most commonly used meanings of these two terms: sympathy is feeling compassion, sorrow, or pity for the hardships that another person encounters, while empathy is putting yourself in the shoes of another.
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What 'C' is used to describe a group of fixed stars? | Come to know Big and Little Dippers | Favorite Star Patterns | EarthSky
Come to know Big and Little Dippers
By Bruce McClure in Favorite Star Patterns | March 13, 2016
The Big Dipper is easy. And, once you find it, you can find the Little Dipper, too. Plus … learn how the stars of the Big Dipper are moving in space.
View larger . | Big and Little Dippers at different seasons, and different times of night, as captured by Matthew Chin in Hong Kong.
A fixture of the northern sky, the Big and Little Dippers swing around the north star Polaris like riders on a Ferris wheel. They go full circle around Polaris once a day – or once every 23 hours and 56 minutes. If you live at temperate latitudes in the Northern Hemisphere, simply look northward and chances are that you’ll see the Big Dipper in your nighttime sky. It looks just like its namesake. Once you’ve found the Big Dipper, it’s only a hop, skip and jump to Polaris and the Little Dipper. Follow the links below to learn more about the Big and Little Dippers.
How the Big Dipper’s star are moving in space.
If you’re in the northern U.S., Canada or at a similar latitude, the Big Dipper is circumpolar for you – always above the horizon. These images show the Dipper’s location at around midnight in these seasons. Just remember “spring up and fall down” for the Dipper’s appearance in our northern sky. It ascends in the northeast on spring evenings, and descends in the northwest on fall evenings. Image via burro.astr.cwru.edu
View larger. | The Big Dipper seen in the midst of the northern lights, taken in 2012 by EarthSky Facebook friend Birgit Boden in northern Sweden.
View larger. | Here’s the Big Dipper in autumn, when it’s descending in the northwest in the evening, as seen by EarthSky Facebook friend John Michael Mizzi on the island of Gozo, south of Italy. Thank you, John Michael!
How to find the Big Dipper. Depending upon the season of the year, the Big Dipper can be found high in the northern sky or low in the northern sky. Just remember the old saying spring up and fall down. On spring and summer evenings, the Big Dipper shine highest in the sky. On autumn and winter evenings, the Big Dipper lurks closest to the horizon.
Given an unobstructed horizon, latitudes at and north of Little Rock, Arkansas (35 degrees north) can expect to see the Big Dipper at any hour of the night for all days of the year. As for the Little Dipper, it is circumpolar – always above the horizon – as far south as the tropic of Cancer (23.5 degrees north latitude).
Stars in the Big Dipper via EarthSky Facebook friend Ken Christison. He captured this photo on September 9, 2013.
No matter what time of year you look, the two outer stars in the Big Dipper’s bowl always point to Polaris.
How to use Big Dipper to find Little Dipper. Notice that the Big Dipper has two parts – a bowl and a handle. Notice the two outer stars in the bowl of the Big Dipper. They are called Dubhe and Merak, and an imaginary line drawn between them goes to Polaris, the North Star. That’s why Dubhe and Merak are known in skylore as The Pointers.
In turn, Polaris marks the end of the Little Dipper’s Handle. So why isn’t the Little Dipper as easy to pick out as the Big Dipper? The answer is that, like the Big Dipper, the Little Dipper has 7 stars. But the 4 stars in between Polaris and the outer bowl stars – Kochab and Pherkad – are rather dim. You need a dark country sky to see all 7.
The Big Dipper is part of Ursa Major, the celestial Great Bear. Image via storybookipedia
History and mythology of the celestial Bears. The Big Dipper is really an asterism – a star pattern that is NOT a constellation. The Big Dipper is a clipped version of the constellation Ursa Major the Big Bear, these Big Dipper stars outlining the Bear’s tail and hindquarters. In the star lore of the Micmacs in Canada, the Big Dipper is also associated with a bear but with a different twist. The Micmacs see the Big Dipper bowl as Celestial Bear, and the 3 stars of the handle as hunters chasing the Bear.
The starry sky serves as a calendar and a story book, as is beautifully illustrated by the Micmac tale of Celestial Bear. In autumn, the hunters finally catch up with the Bear, and it’s said that the blood from the Bear colors the autmn landscape. In another version of the story, Celestial bear hits its nose when coming down to Earth, with its bloody nose giving color to autumn leaves. When Celestial Bear is seen right on the northern horizon on late fall and early winter evenings, it’s a sure sign that the hibernation season is upon us.
The Little Dipper is also an asterism, these stars belonging to the constellation Ursa Minor the Little Bear. In ancient times, the Little Dipper formed the wings of the constellation Draco the Dragon. But when the seafaring Phoenicians met with the Greek astronomer Thales around 600 B.C., they showed him how to use the Little Dipper stars to navigate. Thereby, Thales clipped Draco’s wings, to create a new constellation that gave Greek sailors a new way to steer by the stars.
In Thales’s day, the stars Kochab and Pherkad (rather than Polaris) marked the approximate direction of the north celestial pole – the point in the sky that is directly above the Earth’s North Pole.
To this day, Kochab and Pherkad are still known as the Guardians of the Pole.
Astronomers have found that the stars of the Big Dipper (excepting the pointer star, Dubhe, and the handle star, Alkaid) belong to an association of stars known as the Ursa Major Moving Cluster. Here are the stars of the Big Dipper, at their various distances from Earth, via AstroPixie .
How the Big Dipper’s star are moving in space. Astronomers sometimes speak of the fixed stars, but they know that the stars are not truly fixed. They move in space. Thus the star patterns that we see today will slowly but surely drift apart over the long course of time.
But even 25,000 years from now, the Big Dipper pattern will look nearly the same as its does today. Astronomers have found that the stars of the Big Dipper (excepting the pointer star, Dubhe, and the handle star, Alkaid) belong to an association of stars known as the Ursa Major Moving Cluster. These stars, loosely bound by gravity, drift in the same direction in space.
In 100,000 years, this pattern of Big Dipper stars (minus Dubhe and Alkaid) will appear much as it does today! But there will be some differences, as illustrated in the drawing below:
Stars of the Big Dipper today – 100,000 years ago – and 100,000 years from now via AstroPixie
Bottom line: Watch for the Big and Little Dipper asterisms in the northern sky!
| Constellation |
Beginning with a 'C', this word means 'a small crown or ornamental headdress'? | Constellations: Frequently Asked Questions
Constellations: Frequently Asked Questions
Throughout the centuries, people have looked to the stars to help them navigate across open oceans or featureless deserts, know when to plant and harvest, and preserve their myths and folklore. Ancient peoples used the appearance or disappearance of certain stars over the course of each year to mark the changing seasons. To make it easier to "read" this celestial calendar, they grouped the brighter stars into readily recognizable shapes, the constellations.
Table of the Constellations (or preformated version )
Activity Corner: build Orion
How many constellations are there?
Astronomers officially recognize 88 constellations covering the entire sky in the northern and southern hemispheres. Currently, 14 men and women, 9 birds, two insects, 19 land animals, 10 water creatures, two centaurs, one head of hair, a serpent, a dragon, a flying horse, a river and 29 inanimate objects are represented in the night sky (the total comes to more than 88 because some constellations include more than one creature.) It is important to realize that the great majority of star patterns bear little, if any, resemblance to the figures they are supposed to represent and whose name they bear. The ancient constellation-makers probably meant for them to be symbolic, not literal, representations of their favorite animals or fabled heroes, a kind of celestial "Hall of Fame."
Who invented them?
Our modern constellation system comes to us from the ancient Greeks. The oldest description of the constellations as we know them comes from a poem, called Phaenomena, written about 270 B.C. by the Greek poet Aratus. However, it is clear from the poem that the constellations mentioned originated long before Aratus' time. No one is sure exactly where, when, or by whom they were invented. And yet a little detective work reveals a plausible origin.
The first clue is that Aratus' constellations did not include any near the south celestial pole (the point on the celestial sphere directly above the Earth's south pole) because that area of the sky was always below the horizon of the ancient constellation-makers. From the size of this uncharted area of the sky, we can determine that the people responsible for the original constellations lived near a latitude of 36° north -- south of Greece, north of Egypt, but similar to the latitude of the ancient Babylonians and Sumerians.
In addition, the constellation-free zone is not centered exactly on the south celestial pole. Because of a "wobble" of the Earth's axis of rotation, the position of the celestial poles changes slowly with time, a phenomenon known as precession. The uncharted area is centered on the place in the sky where the south celestial pole would have been around the year 2000 B.C. This date matches the time of the Babylonians and Sumerians.
Thus it seems likely the Greek constellations originated with the Sumerians and Babylonians. From there, knowledge of the constellations somehow made its way to Egypt (perhaps through the Minoans on Crete who had contact with the Babylonians and settled in Egypt after an explosive volcanic eruption destroyed their civilization), where early Greek scholars first heard about the constellations and wrote about them.
In 150 A.D., the Greek scientist Ptolemy published a book, known by its Arabic name, The Almagest , which contained a summary of Greek astronomical knowledge, including a catalog of 1022 stars, with estimates of their brightness, arranged into 48 constellations. These 48 formed the basis for our modern constellation system.
Over the years, astronomers have added constellations to fill in the gaps between Ptolemy's figures and map the uncharted regions of the sky near the south celestial pole. Major contributors of new constellations included Dutch cartographer Gerardus Mercator in 1551 and Pieter Keyser and Frederick de Hautmann, navigators aboard some of the first trading expeditions to the East Indies in the early 1600s, who mapped the southern sky. Polish astronomer Johannes Hevelius in 1690 and French astronomer Nicolas Louis de Lacaille in the 1750s filled in the remaining gaps in the northern and southern skies.
Are there obsolete constellations?
Over the centuries, some astronomers have attempted to name constellations after themselves or to flatter a patron or king. This reached a peak during the heyday of celestial mapping in the seventeenth and eighteenth centuries. Few of these survived longer than the astronomers who named them, although they sometimes can be seen in antique star charts. For example, in 1678, Edmond Halley (of Halley's Comet fame) invented a constellation called Robur Carolinum, or Charles' Oak, in honor of King Charles II of England. This constellation did not last long, especially after its rejection by the French astronomer Lacaille in his maps of the southern sky. In 1754, the English naturalist and noted satirist John Hall invented thirteen constellations based on rather unappealing animals such as a toad, a leech, a spider, an earthworm, and a slug. Fortunately, even though they may have been intended as a joke, they never caught on.
At its first meeting in 1922, the International Astronomical Union (IAU), astronomy's governing body which is responsible, among other things, for assigning names to celestial objects and features on those objects, officially adopted the list of 88 constellations that we use today. Definitive boundaries between constellations, which extend out beyond the star figures, were set in 1930, so that every star, nebula, or galaxy, no matter how faint, now lies within the limits of one constellation. For today's astronomer, constellations refer not so much to the patterns of stars, but to precisely defined areas of the sky.
Where do individual star names come from?
The ancient Greek tradition was to name stars by their position within a constellation. For example, Ptolemy refers to one star by the description "the reddish one on the southern eye," a star we now know as Aldebaran in the constellation of Taurus the Bull. But these descriptions could get quite involved. Ptolemy refers to another star in the obsolete constellation of Argo the Boat as "the northernmost of two stars close together over the little shield in the poop," a bit cumbersome if you are trying to learn the names of many stars.
When Al-Sufi, one of the greatest Arabic astronomers, published his own version of Ptolemy's Almagest in the tenth century, he introduced many individual star names. For centuries, bedouin Arabs had given names to bright stars -- for example Aldebaran and Betelgeuse -- since they regarded single stars as representing people and animals. Many of the original meanings of the names had been forgotten even in Al-Sufi's time, but some were direct translations of Ptolemy's descriptions. For example, the star name Fomalhaut (in the constellation of Pisces) comes from the Arabic for "mouth of the southern fish," which is how Ptolemy described it in the Almagest.
After the tenth century, the works of Ptolemy and others were re-introduced into Europe by the Islamic Arabs, and the Greek books were translated from Arabic into Latin, the scientific language of the day. Thus we know Ptolemy's work from its Arabic translation, The Almagest, not by its original Greek title. And it explains why we have a system of Greek constellations with Latin names containing stars with Arabic names.
Did other cultures also see constellations in the sky?
Nearly every culture on Earth has seen patterns in the stars. But, not surprisingly, very few have seen the same patterns. Take, for example, the Big Dipper, perhaps the most recognizable star pattern in the sky. The Big Dipper is not actually a constellation itself, but is part of a larger pattern known to the Greeks as Ursa Major, the Great Bear. The seven stars of the Big Dipper have inspired many stories, perhaps because they are bright and located so near the north celestial pole, around which the stars rotate during the course of the night. But not everyone calls it a Dipper. The British call it a Plough. In Southern France, it is a Saucepan. The Skidi Pawnee Indians saw a stretcher on which a sick man was carried. To the ancient Maya, it was a mythological parrot named Seven Macaw. Hindu sky lore called it the Seven Rishis, or Wise Men. To the early Egyptians, it was the thigh and leg of a bull. The ancient Chinese thought of it as a special chariot for the Emperor of the Heaven or some other celestial bureaucrat. For the Micmac Indians of Canada's Maritime Provinces, along with several other North American Indian tribes, the bowl of the Big Dipper was a bear, and the stars in the handle represented hunters tracking the bear. And in the nineteenth century, the Big Dipper became a symbol of freedom for runaway slaves, who "followed the Drinking Gourd" to the northern states.
Are all the stars in a constellation the same distance away from us?
No. With few exceptions, the stars in a constellation have no connection with one another. They are actually at very different distances from the sun (see Activity Corner) Chance alignments of stars have created the patterns we see in the sky.
Are the constellations permanent?
Ancient astronomers often spoke of the "fixed stars," which maintained permanent positions in the sky. And, indeed, the stars do seem almost fixed in place; the patterns they form look much the same today as they did when the constellations were first named nearly 3000 years ago. But the stars are all moving relative to the Sun, most with speeds of many kilometers per second. Because they are so very far away, it will take thousands of lifetimes to see significant changes in the star patterns. But, over time, they will change. Because of the motions of the stars within it, for example, the handle of the Big Dipper will, in about 50,000 years, appear significantly more bent than it is today (see figure at left). We will, no doubt, keep the same names for the constellations, even if the stars change their positions. Constellations are, after all, products of human imagination, not nature.
Other Constellation Activities
Given a star chart without constellation figures marked on it (whether real star charts or made-up star patterns), students can invent their own constellations, looking for patterns in the stars that appeal to them. Students can then be asked to make up stories to go with their new constellations.
Older students can research the constellation patterns and stories that other cultures saw in the night sky and compare them to the more familiar Greek ones. This can be done by reading books and articles, or by interviewing family members or friends.
Maps of the stars in the constellations can be useful in the classroom. Slide sets, such as Star Maps (a sample of which is on the front page of this newsletter) which show actual pictures of each constellation in the night sky and separate line drawings of the constellation figures, can help students identify the constellations as part of homework assignments or evening "star parties." This can be especially helpful for students without easy access to a planetarium.
For Further information about Constellations:
Allen, R. Star Names: Their Lore and Meaning. 1899, 1965, Dover Books reprint.
Krupp, E. Beyond the Blue Horizon: Myths and Legends of the Sun, Moon, Stars and Planets. 1991, Harper Collins.
Proctor, P. Star Myths and Stories. 1972, Exposition Press.
Ridpath, I. Star Tales. 1988, Universe Books.
Especially for Younger Children:
Rey, H. A. Find the Constellations. 1976, Houghton-Mifflin. A classic guide with simplified diagrams and text.
Schatz, D. Astronomy Activity Book. 1991, Simon and Schuster. Wonderful book of astronomy activities for the whole family or elementary and middle schools.
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What word describes 'Spying on or exposing enemy spies'? | Index and dictionary of espionage spy terms and slang and a list of intelligence gathering agencies - LIST C - D
[ A-B ] [ C-D ] [ E-F ] [ G-I ] [ J-O ] [ P-S ] [ T-Z ] [ Acronyms ]
C3I - command, control, communications and intelligence - Command and control refers to the ability of the military commander to direct his forces. The addition of Communications to the grouping reflects the fact that communications is required to enable this coordination. In modern warfare, computers are also a key component. Intelligence is the knowledge relevant to the coordination of forces. Surveillance, Target Acquisition and Reconnaissance are methods of obtaining this intelligence. These terms can be used to refer to infrastructure, a role of military units or individuals, or procedures employed.
CANARY TRAP - A canary trap is a method for exposing an information leak, that involves giving different versions of sensitive information to each of a group of suspects and seeing which version gets leaked.
CASE officer - staff officer of an intelligence agency, also called an OPERATIONS officer or AGENT handler or controller
CENTER - Moscow headquarters of the KGB
CHICKEN FEED - mineal information offered to a double agent, used to establish him as someone with access to intelligence
CHRISTIANS in Action - slang for the CIA
CLANDESTINE operation - actions that are meant to be undetected
CLASSIFIED information
COBBLER - specialist who forges passports
COMPARTMENTALIZATION of information means to limit access to information to persons who directly need to know certain such information in order to perform certain tasks. The idea is that the fewer people know, the better, because as the number of people "in the know" grows, so does the risk or likelihood that such information could be compromised or fall into the hands of the opposition. As such, there tend to be varying levels of clearance within organizations. However, even if someone has the highest clearance, certain "eyes only" information may still be restricted to certain operators, even of lower rank. In intelligence administration, it is particularly useful to keep close watch on "sources and methods" information, so as to prevent disclosure of people and their activities, whose lives may be at risk, if such information were publicly disclosed, or, once again, fall into the hands of the opposition.
CONSUMER - person or an organization on the receiving end of intelligence obtained by spies
COOKED Intelligence - distorted intelligence passed on to a double agent, containing some truth
COUNTER-ESPIONAGE - spying directed against an enemy's spy system, such as by recruiting agents in foreign intelligence organs
COUNTER-INTELLIGENCE - the activity of preventing the enemy from obtaining secret information.
COUSINS - slang for CIA operatives
COVERT operation - those actions for which the government will deny knowledge or responsibility
CRYPTONYMS and CODEWORDS used by the CIA
CSE - Communications Security Establishment (UKUSA Alliance member - Canada)
CSIS - Canadian Security and Intelligence Service - Canada's spy agency
CT - CounterTerrorism
CUT-OUT In espionage, a cut-out is a courier or mechanism used to pass information and devices from one spy to another while operating in a "denied area" or a hostile environment. The two forms of cut-outs are the block and chain. A block cut-out is an agent familiar with the entire spy network or cell and those who are in it, while the chain cutout is simply an agent who is aware of only the person providing the information and the spy who is receiving the information. The chain cut-out helps to maintain the compartmentalization of the spy network, which increases security by maintaining everyone's anonymity. The term cut-out may also be used more generally to describe a person or agency used as a pawn by intelligence agencies. (see also LETTERBOX)
DANGLE - a dangle is a fake defector / or a spy posing as an informant who supplies deliberately misleading information
DEAD DROP - pre-arranged location for dropping off secrets / receiving instructions and money
DECOY - person used to distract, confuse the adversary
DEFENSE MESSAGING SYSTEM (DMS) - secure electronic mail system used within the defense community
DEFCON - Defense Condition
DEFECTOR - In politics, a defector is a person who gives up allegiance to one state or political entity in exchange for allegiance to another. This act is usually in a manner which violates the laws of the nation or political entity from which the person is seeking to depart, as opposed to a change of citizenship, which does not typically defy the law of any nation.
During the Cold War, the many people escaping from the Soviet Union or Eastern Bloc to the West were called defectors.
DGSE - General Directorate for External Security - The Direction Générale de la Sécurité Extérieure (DGSE) or General Directorate for External Security is France's external intelligence agency. On April 2, 1982 it replaced the Service de Documentation Extérieure et de Contre-Espionnage (SDECE). Its motto is Partout où nécessité fait loi ("In every place where necessity makes law").
DST - Domestic Security - The Direction de la Surveillance du Territoire (DST; Directorate of Territorial Surveillance) is a directorate of the French National Police operating as a domestic intelligence agency. Its attributions include counterespionage, counterterrorism and more generally the security of France against foreign threats and interference, including economic. It was created in 1944 with its headquarters situated at 7 rue Nélaton in Paris.
The DST Economic Security and Protection of National Assets department has units in the 22 regions to protect French technology. It has been operating for 20 years, not only on behalf of defense industry leaders, but also for pharmaceuticals, telecoms, the automobile industry, and all manufacturing and service sectors.
DIPSEC - Diplomatic Security
| Counterintelligence |
'The quick brown fox jumps over a lazy dog', uses every letter of what? | Espionage legal definition of espionage
Espionage legal definition of espionage
http://legal-dictionary.thefreedictionary.com/espionage
Related to espionage: Corporate espionage , Espionage Act
Espionage
The act of securing information of a military or political nature that a competing nation holds secret. It can involve the analysis of diplomatic reports, publications, statistics, and broadcasts, as well as spying, a clandestine activity carried out by an individual or individuals working under secret identity to gather classified information on behalf of another entity or nation. In the United States, the organization that heads most activities dedicated to espionage is the Central Intelligence Agency (CIA).
Espionage, commonly known as spying, is the practice of secretly gathering information about a foreign government or a competing industry, with the purpose of placing one's own government or corporation at some strategic or financial advantage. Federal law prohibits espionage when it jeopardizes the national defense or benefits a foreign nation (18 U.S.C.A. § 793). Criminal espionage involves betraying U.S. government secrets to other nations.
Despite its illegal status, espionage is commonplace. Through much of the twentieth century, international agreements implicitly accepted espionage as a natural political activity. This gathering of intelligence benefited competing nations that wished to stay one step ahead of each other. The general public never hears of espionage activities that are carried out correctly. However, espionage blunders can receive national attention, jeopardizing the security of the nation and the lives of individuals.
Espionage is unlikely to disappear. Since the late nineteenth century, nations have allowed each other to station so-called military attachés in their overseas embassies. These "attachés" collect intelligence secrets about the armed forces of their host country. Attachés have worked toward the subversion of governments, the destabilization of economies, and the assassination of declared enemies. Many of these activities remain secret in order to protect national interests and reputations.
The centerpiece of U.S. espionage is the CIA, created by the National Security Act of 1947 (50 U.S.C.A. § 402 et seq.) to conduct covert activity. The CIA protects national security interests by spying on foreign governments. The CIA also attempts to recruit foreign agents to work on behalf of U.S. interests. Other nations do the same, seeking to recruit CIA agents or others who will betray sensitive information. Sometimes a foreign power is successful in procuring U.S. government secrets.
One of the most damaging instances of criminal espionage in U.S. history was uncovered in the late 1980s with the exposure of the Walker spy ring, which operated from 1967 to 1985. John A. Walker Jr. and his son, Michael L. Walker, brother, Arthur J. Walker, and friend, Jerry A. Whitworth, supplied the Soviets with confidential U.S. data including codes from the U.S. Navy that allowed the Soviets to decipher over a million Navy messages. The Walker ring also sold the Soviets classified material concerning Yuri Andropov, secretary general of the Communist party until 1984; the Soviet shooting of a Korean Airlines jet in 1983; and U.S. offensives during the Vietnam War .
John Walker pleaded guilty to three counts of espionage. He claimed that he had become an undercover informant for the thrill of it, rather than for the money. He was sentenced to a life term in federal prison, with eligibility for Parole in ten years. Michael Walker pleaded guilty to aiding in the supply of classified documents to the Soviets. He was able to reach a plea bargain under which he was sentenced to twenty-five years in prison. Arthur Walker was convicted of espionage in Norfolk, Virginia. His conviction was affirmed in United States v. Walker, 796 F.2d 43 (4th Cir. 1986). Like John Walker, he was sentenced to a life term in federal prison. Jerry Whitworth received a sentence of 365 years for stealing and selling Navy coding secrets (upheld in United States v. Whitworth, 856 F.2d 1268 [9th Cir. 1988]).
The ring's ample opportunity to exploit the lax security of the Navy left a legacy of damage. The armed forces frantically scrapped and rebuilt their entire communications system, at a cost to taxpayers of nearly $1 billion. The U.S. department of defense (DOD) had to withdraw security clearances from approximately 2 million military and civilian personnel worldwide. The DOD also reduced the number of classified documents in order to limit the number of remaining security clearances.
These reforms only addressed the tip of larger, underlying problems. The exploits of Aldrich Hazen Ames brought security problems within the CIA to the fore. As a double agent, Ames sold secrets to Moscow from 1985 to the end of the Cold War and beyond. As a CIA agent and later a CIA official, Ames was responsible for, among other things, recruiting Soviet officials to do undercover work for the United States. His position put him in contact with Soviet officials at their embassy in Washington, D.C. While in the embassy, he discussed secret matters related to U.S. intelligence. The CIA's lack of security measures, which usually consisted of no more than the collection of questionable lie detector data, gave Ames the opportunity to illegally acquire a fortune.
In 1986, the CIA suspected the presence of a mole (a double agent with the objective of rising to a key position) in the system. Investigators could not be certain of the mole's identity but determined that something in their operations had gone awry. Two officers at the Soviet Embassy who had been recruited as double agents by the Federal Bureau of Investigation (FBI) had been recalled to Moscow, arrested, tried, and executed. Years later, a major blunder on Ames's part led the CIA to suspect him of leaking information that may have contributed to the death of the agents. Ames had told his superiors in October 1992 that he was going to visit his mother-in-law in Colombia. He actually went to Venezuela, where he met a Soviet contact. His travels were under surveillance, and the CIA took note of the discrepancy.
By May 1993, Ames had become the focus of a criminal investigation dubbed Nightmover. Investigators found that Ames's continued activity with the Soviets had led to the execution of at least ten more agents. Ames's continuing financial struggle necessitated that he continue to sell secrets. While criminal espionage brought him more than $2.5 million from the Kremlin, Ames's carelessness with the money led to his demise. According to court documents, Ames and his wife spent nearly $1.4 million from April 1985 to November 1993. Ames's annual CIA salary never exceeded $70,000.
When Ames pleaded guilty on April 28, 1994, to a two-count criminal indictment for espionage and Tax Evasion , government prosecutors sought to negotiate the plea to avoid a long trial. A trial, they feared, could force intelligence agencies to disclose secrets about the Ames case, which had already embarrassed the CIA. Escaping the ordeal of a drawn-out trial, Ames was sentenced to life in prison.
As a result of the Ames case, the CIA made a number of changes, including requiring CIA employees to make annual financial disclosures and tightening the requirements for top security clearance.
Several espionage cases since the 1980s have caused the United States additional embarrassment. In 1985, Jonathan Pollard, an American Jew, was arrested for spying for Israel. Pollard served as an intelligence-research specialist for the Navy's Field Operational Intelligence Office during the 1980s. He provided Israel with about 360 cubic feet of documentation in exchange for about $50,000 in cash. He was eventually arrested by U.S. officials, and, in 1987, pleaded guilty to spying on the United States. Pollard claimed that his actions were acceptable because Israel was an ally and because the Israeli agent with whom he exchanged documents already received sensitive information from the United States. Nevertheless, Pollard received a life sentence.
Pollard in 1995 was granted Israeli citizenship while he continued to serve in a U.S. prison. In 1998, then President William Jefferson Clinton committed a potential blunder when he agreed upon the request of Israeli Prime Minister Benjamin Netanyahu to review Pollard's case. The promise sparked a heated debate in the United States among analysts. Clinton was able to avoid the issue when Netanyahu was replaced as prime minister in 1999.
Another incident in late 1999 also caused embarrassment to the Clinton administration. In December of that year, 60 year-old Wen Ho Lee was arrested and charged with mishandling classified nuclear secrets at Los Alamos National Laboratory in New Mexico. The charge followed months of controversial investigations by the FBI and the u.s. justice department into what some government officials believed was a spy operation supported by China. Considered a security risk, Lee was placed, by the government, in guarded solitary confinement for nine months in a Santa Fe, New Mexico, county jail cell with no opportunity to raise the $1 million bail. Lee was held on 59 counts of illegally copying design secrets as well as destroying seven tapes, to which his plea was not guilty. The government then offered Lee a plea bargain if he pleaded guilty to one count of downloading classified data to a non-secure computer. Lee finally agreed to plead guilty to this minor felony charge. As part of the plea bargain, Lee was also required to provide detailed information as to what happened to the tapes.
The Justice Department soon came under fire for its treatment of Lee. U.S. District Judge James A. Parker, the presiding federal judge in New Mexico who had been assigned the case, questioned why the government had chosen not to pursue a voluntary Polygraph test or allow Lee to make statements about why he had downloaded such sensitive material onto an unsecured computer or destroyed certain tapes. Even President Clinton, who had appointed then-Attorney General Janet Reno , disagreed with her about Lee being denied bail for so long. Both Clinton and Parker agreed that if these things were provided, the previous nine months would have been much less taxing for Lee.
The FBI endured yet another humiliating incident in 2001 with the arrest of a high-ranking counterintelligence officer for the bureau, Robert Hanssen. Hanssen received hundreds of thousands of dollars in cash and diamonds from Russia in exchange for U.S. secrets. U.S. officials indicated that Hanssen's spying reached a peak during the 1980s, and his actions caused the deaths of at least three American spies overseas. According to the federal prosecutor in the case, Hanssen used the United States' "most critical secrets" as "personal merchandise." A U.S. district judge in 2002 sentenced Hanssen to life in prison.
Further readings
Adams, James. 1994. The New Spies. London: Hutchinson.
Doyle, David W. 2001. True Men and Traitors: From the OSS to the CIA, My Life in the Shadows. New York: John Wiley & Sons.
Gerolymatos, Andre. 1986. Espionage and Treason. Amsterdam: Gieben.
Hartman, John D. 1993. Legal Guidelines for Covert Surveillance Operations in the Private Sector. Boston: Butter-worth-Heinemann.
Loundy, David J. 2003. Computer Crime, Information Warfare, and Economic Espionage. Durham, N.C.: Carolina Academic Press.
Udell, Gilman G. 1971. Laws Relating to Espionage, Sabotage, Etc. Washington, D.C.: U.S. Government Printing Office.
U.S. House Permanent Select Committee on Intelligence. 1995. Legislative Proposals Relating to Counterintelligence: Hearing before the Permanent Select Committee on Intelligence House of Representatives. Washington, D.C.: U.S. Government Printing Office.
Volkman, Ernest. 1995. Espionage. New York: Wiley.
——. 1994. Spies. New York: Wiley.
Cross-references
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What word beginning with 'G' means 'Meaningless or nonsensical language.? | Word List: Nonsense Words
Nonsense Words
Tweets by @schrisomalis
Nonsense Words
This is a rather unusual glossary in that all of the words on the list are essentially synonymous - they are nouns meaning nonsense, gibberish, claptrap, hogwash, rubbish ... you get the idea. It probably shouldn't be surprising that this category is so productive of weird words. After all, what better way to disparage someone's ideas than to combine some nonsense syllables to make a descriptor for them? You more or less always can identify their meaning from context alone - either they're used as interjections, preceded by words like 'such' or 'unadulterated' or 'ridiculous'. But which to choose? You have the reduplicated ones (fiddle-faddle), the pseudo-classical (brimborion), the ones that literally mean something repulsive (spinach), and of course the wide variety that are euphemisms for bodily functions. Excluded from this list are the wide variety of very fun terms that are simple vulgarities without any specific reference to nonsense.
Word
| Gibberish |
What word beginning with 'C' means Bad tempered or grumpy? | Word List: Nonsense Words
Nonsense Words
Tweets by @schrisomalis
Nonsense Words
This is a rather unusual glossary in that all of the words on the list are essentially synonymous - they are nouns meaning nonsense, gibberish, claptrap, hogwash, rubbish ... you get the idea. It probably shouldn't be surprising that this category is so productive of weird words. After all, what better way to disparage someone's ideas than to combine some nonsense syllables to make a descriptor for them? You more or less always can identify their meaning from context alone - either they're used as interjections, preceded by words like 'such' or 'unadulterated' or 'ridiculous'. But which to choose? You have the reduplicated ones (fiddle-faddle), the pseudo-classical (brimborion), the ones that literally mean something repulsive (spinach), and of course the wide variety that are euphemisms for bodily functions. Excluded from this list are the wide variety of very fun terms that are simple vulgarities without any specific reference to nonsense.
Word
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What word beginning with 'F' means 'To perplex or bewilder'? | What does perplex mean?
This page provides all possible meanings and translations of the word perplex
Princeton's WordNet(0.00 / 0 votes)Rate this definition:
perplex, vex, stick, get, puzzle, mystify, baffle, beat, pose, bewilder, flummox, stupefy, nonplus, gravel, amaze, dumbfound(verb)
be a mystery or bewildering to
"This beats me!"; "Got me--I don't know the answer!"; "a vexing problem"; "This question really stuck me"
complicate, perplex(verb)
"There was a new development that complicated the matter"
Wiktionary(0.00 / 0 votes)Rate this definition:
perplex(Verb)
To cause to feel baffled; to puzzle.
Webster Dictionary(0.00 / 0 votes)Rate this definition:
Perplex(adj)
to involve; to entangle; to make intricate or complicated, and difficult to be unraveled or understood; as, to perplex one with doubts
Perplex(adj)
to embarrass; to puzzle; to distract; to bewilder; to confuse; to trouble with ambiguity, suspense, or anxiety
Perplex(adj)
to plague; to vex; to tormen
Perplex(adj)
intricate; difficult
Origin: [L. perplexus entangled, intricate; per + plectere, plexum, to plait, braid: cf. F. perplexe. See Per-, and Plait.]
Chambers 20th Century Dictionary(0.00 / 0 votes)Rate this definition:
Perplex
per-pleks′, v.t. to make difficult to be understood: to embarrass: to puzzle: to tease with suspense or doubt.—n. (obs.) a difficulty.—adv. Perplex′edly.—n. Perplex′edness.—adj. Perplex′ing.—adv. Perplex′ingly.—n. Perplex′ity, state of being perplexed: confusion of mind arising from doubt, &c.: intricacy: embarrassment: doubt. [Fr.,—L. perplexus, entangled—per, completely, plexus, involved, pa.p. of plectĕre.]
Numerology
The numerical value of perplex in Chaldean Numerology is: 9
Pythagorean Numerology
| flummox |
What word beginning with 'M' means 'To treat someone leniently'? | What does perplex mean?
This page provides all possible meanings and translations of the word perplex
Princeton's WordNet(0.00 / 0 votes)Rate this definition:
perplex, vex, stick, get, puzzle, mystify, baffle, beat, pose, bewilder, flummox, stupefy, nonplus, gravel, amaze, dumbfound(verb)
be a mystery or bewildering to
"This beats me!"; "Got me--I don't know the answer!"; "a vexing problem"; "This question really stuck me"
complicate, perplex(verb)
"There was a new development that complicated the matter"
Wiktionary(0.00 / 0 votes)Rate this definition:
perplex(Verb)
To cause to feel baffled; to puzzle.
Webster Dictionary(0.00 / 0 votes)Rate this definition:
Perplex(adj)
to involve; to entangle; to make intricate or complicated, and difficult to be unraveled or understood; as, to perplex one with doubts
Perplex(adj)
to embarrass; to puzzle; to distract; to bewilder; to confuse; to trouble with ambiguity, suspense, or anxiety
Perplex(adj)
to plague; to vex; to tormen
Perplex(adj)
intricate; difficult
Origin: [L. perplexus entangled, intricate; per + plectere, plexum, to plait, braid: cf. F. perplexe. See Per-, and Plait.]
Chambers 20th Century Dictionary(0.00 / 0 votes)Rate this definition:
Perplex
per-pleks′, v.t. to make difficult to be understood: to embarrass: to puzzle: to tease with suspense or doubt.—n. (obs.) a difficulty.—adv. Perplex′edly.—n. Perplex′edness.—adj. Perplex′ing.—adv. Perplex′ingly.—n. Perplex′ity, state of being perplexed: confusion of mind arising from doubt, &c.: intricacy: embarrassment: doubt. [Fr.,—L. perplexus, entangled—per, completely, plexus, involved, pa.p. of plectĕre.]
Numerology
The numerical value of perplex in Chaldean Numerology is: 9
Pythagorean Numerology
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Where would you find the port and waters of 'Scapa Flow'? | Scapa Flow, Scotland | By Scotland Channel
City finder
Explore the Fascinating Wonders of Scapa Flow
Scapa Flow on the northern point of Scotland is a renowned natural harbor. This stretch of water is roughly 20 km from east to west and 15km from north to south. Scapa Flow lies within the shelter of the surrounding Orkney Islands . Scapa Flow has been an attraction for more than a thousand years and is known for it beautiful and remote location.
Today Scapa Flow is home to a major oil terminal at Flotta. Up to 10% of Britain's oil arrives by pipe from the North Sea oilfields and is then transferred to tankers for shipment around the world.
Scotland's Scapa Flow is also famous for the wrecks of the German High Seas Fleet that were damaged here at the end of World War I. The three largest battleships wrecked at Scapa Flow were the Kronprinz Wilhelm, the Markgraf and the Konig, all 177 metres long and weighing 26,000 tons. The wrecks are most fascinating to explore. As you can imagine this makes for great Scuba diving . The water is clear, although deeper waters may restrict your visibility, so its a good idea to have a torch handy. The battleships mostly lie over 30 metres deep, so one has to be very careful when scuba diving. On the decks you will find huge guns that protrude from the wreckage. While you are scuba diving at Scapa Flow you will also see creatures in the deep waters like starfish and jellyfish. Diving here in the waters of Scapa Flow is a rare treat. It may take up to a week to see most of the wreckage.
Tourists should definitely make a stop at the Scapa Flow Visitor's Centre. The visitor’s centre houses original oil pumping equipment and a large range of exhibits that date back as far as the 1940s. Here you can also see displays and models showing how Scapa Flow's defences worked, as well as models showing the 1919 German Fleet when it was damaged.There are many photographs on display to give you a sense of what life was like back then. Everyone can enjoy this part of the tour as there is so much to see and learn. Indeed, Scapa Flow has much to offer travelers in this region of Scotland.
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At which racecourse would you watch both the 'Oaks' and the 'Derby'? | Scapa Whisky - Buy Scapa Whiskies Online - Master of Malt
Scapa Glansa
70cl, 40%
American oak cask matured Scapa single malt Scotch whisky finished in casks that previously held smoky, peated whisky! Scapa describe Glansa as a gentle introduction to the world of peated whisky. More info
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Scapa Skiren
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A 2015 addition to the Scapa range, the Skiren is a handsomely honey'd single malt Scotch whisky which has been distilled in the Scotch whisky industry's only remaining working Lomond Still! It was… More info
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Scapa 23 Year Old 1991 (cask 1191) - Mackillop's Choice
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Back in March 1991 some spirit ran from the still at the Orcadian distillery of Scapa and was filled into a single cask, where it matured until March 2014. That was when it become a Mackillop's… More info
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Scapa 25 Year Old
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Part of a limited release of 2,000 bottles of Scapa, distilled in 1980 and aged for 25 years before bottling at cask strength. More info
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Scapa 22 Year Old 1991 (cask 1211) - Mackillop's Choice
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Single cask whisky from the Orkney distillery of Scapa! Aged for 22 years, this floral and coastal malt bottled by Mackillop's is a real treat. More info
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This 16 year old from Orkney's Scapa was relaunched in 2008. More info
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Scapa 2001 (Gordon & MacPhail)
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Bottled in 2013, this lovely Scapa from Gordon & MacPhail's Distillery Label range was distilled in 2001. More info
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Scapa 14 Year Old 2000 - Cask Strength Edition (Chivas Brothers)
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Cask strength Scapa single malt from the turn of the century. This whisky from the isle of Orkney was distilled in February 2000 and left to mature for 14 years before being bottled by Chivas in… More info
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Scapa 2000 (Gordon and MacPhail)
70cl, 43%
A 2000 vintage distilled at Scapa on Orkney, This was bottled by Gordon and MacPhail in 2011. More info
Scapa 17 Year Old 1993 - Old Malt Cask (Douglas Laing)
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A release of 333 bottles distilled in October 1993 and aged for 17 years before bottling in February 2011 by Douglas Laing for their Old Malt Cask range. A refill hogshead-matured Scapa… More info
Scapa 1993 35cl (Gordon and MacPhail)
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A half bottle of 11 year old, refill sherry matured Scapa, distilled in 1993 and bottled in 2004. More info
Scapa 1993 (Gordon and MacPhail)
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Distilled at Scapa in 1993 and aged in refill sherry casks for 11 years before bottling in 2004. More info
Scapa 14 Year Old 1993 Cask 4440 - Old Malt Cask (Douglas Laing)
70cl, 50%
This was distilled at the Scapa distillery in October 1993 and it was aged for 14 years in refill hogshead number 4440 before bottling in June 2008 by Douglas Laing for the Old Malt Cask range. There… More info
Scapa 14 Year Old 1993 Cask 3888 - Old Malt Cask (Douglas Laing)
70cl, 50%
A 14 year old from one of Orkney's brace of distilleries (the other being Highland Park). This was distilled at Scapa in October 1993 and aged for 14 years in refill hogshead number 3888 before… More info
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Scapa 15 Year Old 1993 - Old Malt Cask (Douglas Laing)
70cl, 50%
Scapa distilled in October of 1993 and bottled in June of 2009 after 15 years spent in a refill hogshead. This was bottled for Douglas Laing's Old Malt cask range, and is a release of 307 bottles. More info
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Scapa 15 Year Old 1993 - Cask Strength Edition (Chivas Brothers)
50cl, 57.1%
A cask strength, straight from the cask bottling of Scapa. This was distilled in 1993 and bottled by Chivas Brothers in 2009. More info
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Scapa 16 Year Old 1993 - Old Malt Cask (Douglas Laing)
70cl, 50%
A single cask from Orkney. This was distilled at Scapa in October 1993 and matured for 16 years in a refill hogshead before bottling January 2010 by Douglas Laing. An outturn of 314 bottles. More info
50cl, 60.6%
A cask strength bottling from the Scapa, distilled in 1992 and aged for 14 years. More info
Scapa Jutland 16 Year Old - HMS Indefatigable
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The Charity Auction has now ended. This is a very special one-of-a-kind bottle of Scapa Jutland, a 16 year old single cask single malt, which has been named after HMS Indefatigable. The Scapa… More info
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In which US state will you find 'The Everglades'? | Everglades National Park (U.S. National Park Service)
Contact Us
America's Everglades - The largest subtropical wilderness in the United States
Everglades National Park protects an unparalleled landscape that provides important habitat for numerous rare and endangered species like the manatee, American crocodile, and the elusive Florida panther.
An international treasure as well - a World Heritage Site, International Biosphere Reserve, a Wetland of International Importance, and a specially protected area under the Cartagena Treaty. Read More
| Florida |
What is the opening song called in the film 'The Graduate'? | Protecting the Everglades | The Nature Conservancy
Protecting The Everglades
Connecting Land for the Florida Panther
Watch a video about how we're helping to protect Florida panthers.
Click to enlarge map
In the News
President Obama chose Everglades National Park as the site for his Earth Day speech on the impacts of climate change.
Obama makes climate case in Florida's eEverglades (NBC News)
"The Everglades is a test. If we pass it, we may get to keep the planet.” ~ Marjory Stoneman Douglas, Conservationist and “Mother of the Everglades”
There are precious few landscapes in America as impressive as the Everglades, and none as definitively iconic to its home state. The Everglades is Florida’s Rocky Mountains and Black Hills. It is her Finger Lakes and her High Desert.
Yet though it is contained entirely in Florida, its vital ecological importance resonates far beyond the sunshine state. And because of that, the Everglades belongs to all of America.
And it needs your help .
Once spanning nearly 11 million acres, the Everglades has been whittled down through land conversion and drainage. What remains is a heavily altered landscape, one out of sync with Florida’s larger ecology. Changes to the Everglades affect far more than the eight million people and countless species of animals that call the system home; they pulse outward and downstream, jeopardizing nature’s fragile balance everywhere along the course.
In addition to the consequences of years of “ditching and diking,” the Everglades faces ever-increasing threats from the impacts of climate change, including sea level rise, reduced precipitation, and higher temperatures.
But there’s hope for the Everglades.
For more than five decades, The Nature Conservancy and partners have been working to protect this critical system. To date, that work has resulted in the protection of more than 360,000 acres, mostly within a 170-mile swath of working cattle ranches, longleaf pine savannahs and seasonal wetlands in the northern end of the system. At the center of these efforts is the 11,500-acre Disney Wilderness Preserve in Kissimmee near the headwaters of the Everglades, where we’re developing and sharing best practices for restoration of former ranchlands.
Because of the unique makeup of property ownership in the Everglades—there’s a roughly 60/40 split between federal and private ownership—there are tremendous opportunities to build on existing conservation projects like The Disney Wilderness Preserve to boost the system’s resilience to future threats.
In order to seize those opportunities, the Conservancy has launched a bold 10-Year Plan for the Everglades. At its core is an emphasis on connecting protected lands and waters for far-ranging species like the Florida panther and wood storks . The new plan also seeks to:
• Permanently protect 300,000 more acres of privately/publicly owned lands allowing for the movement of wide-ranging wildlife and for the preservation of economically sustainable ranching in the region.
• Restore the water storage functions of previously ditched and drained freshwater wetlands in the Northern Everglades, resulting in 100,000 acre-feet of natural water storage—efforts that will benefit estuaries, water supply, lands and wildlife throughout the entire Everglades.
• Ensure that 75 percent of publicly owned conservation lands are healthy and properly managed to meet threats from altered fire regimes, invasive species and changing climate.
• Maintain ranching or other low-intensity agricultural uses across at least 90 percent of the 2011 footprint of 1.1 million acres in order to retain the long-term potential to expand both protection and restoration efforts.
Today we have an unparalleled opportunity to conserve and restore a fully functional, reconnected wetland corridor in the Everglades. It’s a window of opportunity that’s wide open and the time to act is now . Together, we can pass the test.
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Which crime writer created 'Mike Hammer'? | Taking up Mickey Spillane's mantle | Books | The Guardian
Fiction
Taking up Mickey Spillane's mantle
Before his death in 2006, America's one-time bestselling crime writer entrusted the draft of his final Mike Hammer novel to friend and fan Max Allan Collins. The writer explains what it was like to complete his mentor's manuscript
A tough act to follow ... Mickey Spillane back in the day in his studio in 1952. Photograph: AP
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Mickey Spillane had unfinished business when he died in 2006. The hard-boiled heavyweight who, in his prime, would dash off thrillers in a matter of days, hadn't finished the final outing of his hot-headed New York detective Mike Hammer. The Goliath Bone , a valedictory case set in the wake of 9/11, lay incomplete. But the 88-year-old Spillane was determined to give his hero the send-off he deserved and, before he died, entrusted the book to mystery writer Max Allan Collins, who has been a Hammer fan since adolescence.
So what is it like to finish the novel of a friend who also happens to be the bestselling American crime writer of the last century? When I call the lively, good-humoured Collins at home in Iowa, it sounds like he still can't believe he met his hero, let alone was charged with safeguarding his legacy. It's an honour, a responsibility and a "kid-in-the-candy-store sensation," he says. "Mickey had been creating these half-manuscripts and setting them aside throughout our friendship, and I had a reasonable expectation that I'd be chosen to complete them. Just days before his death, he told his wife Jane, 'When I go, there's going to be a treasure hunt around here. Give everything to Max – he'll know what to do with it.'"
Last year, Collins prepared the first posthumous Spillane novel, a non-Hammer adventure named Dead Street, for publication. He believes he's the right man for the job because he has a fan's "sense of wonder" about Spillane, but can also "take his toolbox up to the workshop and – if you pardon the expression – get the hammer and nails out." It helps that he shares Spillane's expertise in writing crime fiction and comics (his graphic novel The Road to Perdition became an Oscar-winning film).
Collins grew up glued to detective shows including the Mike Hammer series starring Darren McGavin as the shamus with the short fuse. "I started looking at the Spillane novels on the spinner racks of paperbacks at the local drugstore," the 60-year-old writer remembers. "Aged 13, on a family vacation, I risked trying to buy One Lonely Night. The clerk asked me if I was old enough, and I said I was 16. One Lonely Night, of course, is the wildest, most outrageously violent of any Mike Hammer novel. I spent the vacation in the backseat of the family car, ignoring God's scenery and taking in Spillane's melodrama."
Hooked, he worked his way through the Hammer canon, which opens with I, the Jury (1947), Hammer's mission to avenge the murder of a friend. ("I don't want to arrest anybody," he quips. "I just want to shoot somebody.") His glamorous assistant is Velma, a devoted secretary-cum-PI whose snug dresses show off what look like "the curves in the Pennsylvania Highway". The book's sentences scream into action with the emergency of a police siren. It is the very essence of pulp fiction: written at speed, gulped down by punters.
If not the smartest of sleuths, Hammer is undoubtedly the hardest. Collins suggests the anger can be traced to Spillane's time in the air force during the second world war: "Mickey had been such a good pilot that he wound up stateside, instructing other pilots, and never got into the action. So you had a certain survivor's guilt going there. The postwar world was a mess – not the promised land Mickey and other GIs had been told about. These frustrations came out in the writing. Plus, he wanted to write popular fiction that guys like him could relate to – there'd been a loss of innocence in that war, and he felt if he could reflect that, he'd find an audience. He was right."
The books made Spillane the world's bestselling author for many years, and Collins was among the many who sent him fan mail: "He didn't respond until I sent him my first two published novels, and he wrote back warmly, welcoming me to the profession. Letters after that went unanswered, so I was nervous when the people putting on [crime fiction convention] Bouchercon in 1981 told me Mickey was set to be a guest of honour, and they wanted me to be liaison. The organisers took me around to his hotel room, somebody knocked and Mickey answered – he wasn't tall but was very broad-shouldered, enormously powerful, charismatic. They introduced me and Mickey said offhandedly, 'Oh, I know Max! We've been corresponding for years!' I said, 'Right, Mickey – 100 letters from me, one from you!'"
Collins anthologised Spillane's short stories in the 80s, and they created the concept for a comic book, which Collins wrote, about Mike Danger, a sci-fi version of Hammer. Over the years, Collins increasingly found himself defending his friend's work. What were the charges? "He got hit on from all sides – the left found him a right-wing fanatic, due to his vengeance-taking hero and the occasional use of 'Commies' as bad guys. The right disapproved of the sexual frankness and rough language. Both sides disliked his violent action – his opening of the door onto extreme violence and frank sexuality changed everything in popular culture. His impact was equal to Elvis Presley's."
So how does Hammer fare in the 21st century? Set in the shadow of 9/11, The Goliath Bone finds the PI babysitting two students in possession of a gigantic femur that might have belonged to the Philistine giant. The novel's real historical relic, however, is the geriatric Hammer himself: he's an anachronism, as bewildered by GPS as the spread of international terrorism. The book takes place some 50-plus years after I, the Jury, which makes Hammer a septuagenarian at kindest, but Collins jokes that he doesn't encourage readers to "do the math" of Hammer's age.
Collins has always aimed to be a "modern-day hard-boiled writer" but how did he approach the task of writing in another author's style? "I concentrated on the last two Hammer novels that Mickey wrote, The Killing Man and Black Alley, really listening to the voice. I had 10 or 12 chapters in rough-draft form, and half of the final chapter. But the chapters were perhaps half the length they needed to be. I needed to expand and enhance what was there."
The Goliath Bone is a "genuine collaboration", says Collins – "not me picking up where Mickey left off". That sets it apart from Poodle Springs, the final outing for Raymond Chandler's Philip Marlowe, which Robert B Parker concocted from an abandoned Chandler manuscript. Both valedictory novels happen to find their hard-boiled hero tying the knot. "From fairly early on, Mickey intended to marry Mike and Velda off in the last Hammer," says Collins. "The difference between Poodle Springs and The Goliath Bone – besides the fact that Mickey had done almost a complete rough draft whereas Chandler did only a couple chapters – is that Mike is marrying the co-star of the series, not some minor character from a previous novel. There's no question that Mike wouldn't marry Velda – didn't Tarzan marry Jane?"
The story doesn't quite end there, however: Spillane left Collins enough material for five more novels, including two from the 1960s and one each from the 80s and 90s. "The most exciting is one from around 1948, what would have been the second Mike Hammer novel had Mickey completed it." And there's more: "If the public warms to Mike Hammer again, there are another half-dozen shorter manuscripts – a chapter or two each – that could keep him going for another good decade."
Mickey Spillane is dead … long live Mike Hammer.
| Mickey Spillane |
What is the capital of Nova Scotia? | The New Mike Hammer (TV Series 1984–1989) - IMDb
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The cases of Mickey Spillane's classic private eye character.
Creator:
An Australian private detective approaches Hammer to find a missing author. Her only clue is 'The Face', Hammer's mysterious woman. He catches up with the The Face and finds out her story. Together ...
8.6
An elderly couple goes to Mike and tells them that they placed all their money in gold. And the one handling their money won't give it to them. Mike initially tells them to go to a lawyer he knows. ...
8.3
Hammer is on the sidelines at a football game when the quarterback is killed. Hammer investigates and finds that there were plenty of reasons because man was into gambling and throwing games. However...
7.8
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Title: The New Mike Hammer (1984–1989)
6.9/10
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Nominated for 1 Golden Globe. Another 1 win & 2 nominations. See more awards »
Photos
Stacy Keach's original portrayal of the title character is revived with a new Velda and a different cop as his friend. Mike's cases are arranged to reflect the times of the late '90's.
Stars: Stacy Keach, Shane Conrad, Shannon Whirry
Hannibal Heyes and Kid Curry, two of the most wanted outlaws in the history of the West, are popular "with everyone except the railroads and the banks", since "in all the trains and banks ... See full summary »
Stars: Ben Murphy, Roger Davis, Pete Duel
Mystery/suspense series based on Robert Parker's "Spenser" novels. Spenser, a private investigator living in Boston, gets involved in a new murder mystery each episode.
Stars: Robert Urich, Avery Brooks, Ron McLarty
The Korean War MASH unit veteran operates as Chief Surgeon in a major city hospital with his colleagues.
Stars: Pernell Roberts, Brian Stokes Mitchell, Charles Siebert
Rick Hunter is a renegade cop who breaks the rules and takes justice into his own hands. Partnered with the equally stunning and rebellious Sgt. McCall, the tough-minded duo set out to crack down on L.A.'s slimiest criminals.
Stars: Fred Dryer, Stepfanie Kramer, Charles Hallahan
Matt Houston is a wealthy Texan who moves to California to oversee his family's offshore drilling enterprises but spends most of his time dabbling in his private investigator hobby.
Stars: Lee Horsley, Pamela Hensley, Lincoln Kilpatrick
The stories of the students and faculty of the New York City High School for the Performing Arts.
Stars: Debbie Allen, Carlo Imperato, Gene Anthony Ray
A bald, lollipop sucking police detective with a fiery righteous attitude battles crime in his city.
Stars: Telly Savalas, Dan Frazer, Kevin Dobson
Two brothers of disparate tastes and manners run a private detective agency.
Stars: Jameson Parker, Gerald McRaney, Mary Carver
Wheelchair-bound detective Robert T. Ironside battles the bad guys on the streets of San Francisco.
Stars: Raymond Burr, Don Galloway, Don Mitchell
A veteran cop with more than 20 years of experience is teamed with a young Inspector to solve crimes in San Francisco.
Stars: Karl Malden, Michael Douglas, Reuben Collins
A young girl is kidnapped and there is an attempt on the daughter of an well-known actress. The kidnapper then turns up dead. Hammer is hired to protect the girl and travels to Los Angeles, where she is then kidnapped.
Director: Ray Danton
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Storyline
Mike Hammer is a two-fisted private eye. He's tough, he's honest, and the girls love him. The series follows his exploits as he solves a variety of crimes, most of which involve a murder somewhere along the way... Written by Afterburner <[email protected]>
26 January 1984 (USA) See more »
Also Known As:
Mickey Spillane's Mike Hammer See more »
Filming Locations:
Did You Know?
Trivia
There were fewer episodes in the 1984 season due to the fact that Stacy Keach had to serve a six-month jail sentence in England after being convicted of cocaine possession. See more »
Connections
(Taiping, Malaysia) – See all my reviews
One could only dream to be a P.I. like the Mikey himself. Semi-Classic noir-style work. One could hate watching this series first time around. But surely, after some viewing you'll back for more. Okey, the dialog are Z-class, the acting are so-so and women might felt male chauvinism is on the prowl. Heck, where can you find a guy who's seems could dodge bullet when he's slower than a jumping hare? How about those one-liners reply when bashing up the bad guys or flirting up a chick? Speaking of chicks, Mikey does his best to have the right enjoyment with different lady (or sometimes ladies) every different week. And yet he's fantasizing about the Face. Sigh, he could even live another day without getting paid at the end of the story. Yeah, I might be freaking weirdo who like this series. Just like the other 80's stuff being replayed on TV like The A-Team, MacGyver & Santa Barbara (duh). Then again, I always wait for the appearance of Velda on the show. (p.s. anybody knows her whereabouts nowadays?)
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What is the name of Dr. Dolittles parrot? | What was the name of Dr Dolittle’s Parrot - My wiki
What was the name of Dr Dolittle’s Parrot
From My wiki
Answer
Polynesia
Polynesia is Doctor Dolittle's parrot. She is able to speak and understand English and taught Doctor Dolittle his first bird and animal languages.
She says she can never remember how old she is, but she remembers that when she came to England, she saw Charles II of England hiding in an oak tree in 1651 from the Roundheads: "he looked very frightened".
Along with Chee-Chee and the crocodile, she decides to stay in her native Africa at the end of the original story, but returns in later books.
Her species is not stated, but in The Voyages of Doctor Dolittle she is described as grey and scarlet.
| Polynesia |
What is the name of the US river which flows between St. Paul and Minneapolis? | Chapter 2: Animal Language | The Story of Doctor Dolittle | Hugh Lofting | Lit2Go ETC
The Story of Doctor Dolittle
Source: Lofting, H. (1920). The Story of Doctor Dolittle . New York, NY: Frederick A. Stokes
Readability:
Chicago
Lofting, H. (1920). Chapter 2: Animal Language. The Story of Doctor Dolittle (Lit2Go Edition). Retrieved January 19, 2017, from http://etc.usf.edu/lit2go/221/the-story-of-doctor-dolittle/5616/chapter-2-animal-language/
Lofting, Hugh. "Chapter 2: Animal Language." The Story of Doctor Dolittle. Lit2Go Edition. 1920. Web. <http://etc.usf.edu/lit2go/221/the-story-of-doctor-dolittle/5616/chapter-2-animal-language/>. January 19, 2017.
Hugh Lofting, "Chapter 2: Animal Language," The Story of Doctor Dolittle, Lit2Go Edition, (1920), accessed January 19, 2017, http://etc.usf.edu/lit2go/221/the-story-of-doctor-dolittle/5616/chapter-2-animal-language/.
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It happened one day that the Doctor was sitting in his kitchen talking with the Cat's–meat–Man who had come to see him with a stomach–ache.
"Why don't you give up being a people's doctor, and be an animal–doctor?" asked the Cat's–meat–Man.
The parrot, Polynesia, was sitting in the window looking out at the rain and singing a sailor–song to herself. She stopped singing and started to listen.
"You see, Doctor," the Cat's–meat–Man went on, "you know all about animals—much more than what these here vets do. That book you wrote—about cats, why, it's wonderful! I can't read or write myself—or maybe I'D write some books. But my wife, Theodosia, she's a scholar, she is. And she read your book to me. Well, it's wonderful—that's all can be said—wonderful. You might have been a cat yourself. You know the way they think. And listen: you can make a lot of money doctoring animals. Do you know that? You see, I'd send all the old women who had sick cats or dogs to you. And if they didn't get sick fast enough, I could put something in the meat I sell 'em to make 'em sick, see?"
"Oh, no," said the Doctor quickly. "You mustn't do that. That wouldn't be right."
"Oh, I didn't mean real sick," answered the Cat's–meat–Man. "Just a little something to make them droopy–like was what I had reference to. But as you say, maybe it ain't quite fair on the animals. But they'll get sick anyway, because the old women always give 'em too much to eat. And look, all the farmers 'round about who had lame horses and weak lambs—they'd come. Be an animal–doctor."
When the Cat's–meat–Man had gone the parrot flew off the window on to the Doctor's table and said,
"That man's got sense. That's what you ought to do. Be an animal–doctor. Give the silly people up—if they haven't brains enough to see you're the best doctor in the world. Take care of animals instead—THEY'll soon find it out. Be an animal–doctor."
"Oh, there are plenty of animal–doctors," said John Dolittle, putting the flower–pots outside on the window–sill to get the rain.
"Yes, there ARE plenty," said Polynesia. "But none of them are any good at all. Now listen, Doctor, and I'll tell you something. Did you know that animals can talk?"
"I knew that parrots can talk," said the Doctor.
"Oh, we parrots can talk in two languages—people's language and bird–language," said Polynesia proudly. "If I say, 'Polly wants a cracker,' you understand me. But hear this: Ka–ka oi–ee, fee–fee?"
"Good Gracious!" cried the Doctor. "What does that mean?"
"That means, 'Is the porridge hot yet?'—in bird–language."
"My! You don't say so!" said the Doctor. "You never talked that way to me before."
"What would have been the good?" said Polynesia, dusting some cracker–crumbs off her left wing. "You wouldn't have understood me if I had."
"Tell me some more," said the Doctor, all excited; and he rushed over to the dresser–drawer and came back with the butcher's book and a pencil. "Now don't go too fast—and I'll write it down. This is interesting—very interesting—something quite new. Give me the Birds' A.B.C. first—slowly now."
So that was the way the Doctor came to know that animals had a language of their own and could talk to one another. And all that afternoon, while it was raining, Polynesia sat on the kitchen table giving him bird words to put down in the book.
At tea–time, when the dog, Jip, came in, the parrot said to the Doctor, "See, HE'S talking to you."
"Looks to me as though he were scratching his ear," said the Doctor.
"But animals don't always speak with their mouths," said the parrot in a high voice, raising her eyebrows. "They talk with their ears, with their feet, with their tails—with everything. Sometimes they don't WANT to make a noise. Do you see now the way he's twitching up one side of his nose?"
"What's that mean?" asked the Doctor.
"That means, 'Can't you see that it has stopped raining?'" Polynesia answered. "He is asking you a question. Dogs nearly always use their noses for asking questions."
After a while, with the parrot's help, the Doctor got to learn the language of the animals so well that he could talk to them himself and understand everything they said. Then he gave up being a people's doctor altogether.
As soon as the Cat's–meat–Man had told every one that John Dolittle was going to become an animal–doctor, old ladies began to bring him their pet pugs and poodles who had eaten too much cake; and farmers came many miles to show him sick cows and sheep.
One day a plow–horse was brought to him; and the poor thing was terribly glad to find a man who could talk in horse–language.
"You know, Doctor," said the horse, "that vet over the hill knows nothing at all. He has been treating me six weeks now—for spavins. What I need is SPECTACLES. I am going blind in one eye. There's no reason why horses shouldn't wear glasses, the same as people. But that stupid man over the hill never even looked at my eyes. He kept on giving me big pills. I tried to tell him; but he couldn't understand a word of horse–language. What I need is spectacles."
"Of course—of course," said the Doctor. "I'll get you some at once."
"I would like a pair like yours," said the horse—"only green. They'll keep the sun out of my eyes while I'm plowing the Fifty–Acre Field."
"Certainly," said the Doctor. "Green ones you shall have."
"You know, the trouble is, Sir," said the plow–horse as the Doctor opened the front door to let him out—"the trouble is that ANYBODY thinks he can doctor animals—just because the animals don't complain. As a matter of fact it takes a much cleverer man to be a really good animal–doctor than it does to be a good people's doctor. My farmer's boy thinks he knows all about horses. I wish you could see him—his face is so fat he looks as though he had no eyes—and he has got as much brain as a potato–bug. He tried to put a mustard–plaster on me last week."
"Where did he put it?" asked the Doctor.
"Oh, he didn't put it anywhere—on me," said the horse. "He only tried to. I kicked him into the duck–pond."
"Well, well!" said the Doctor.
"I'm a pretty quiet creature as a rule," said the horse—"very patient with people—don't make much fuss. But it was bad enough to have that vet giving me the wrong medicine. And when that red–faced booby started to monkey with me, I just couldn't bear it any more."
"Did you hurt the boy much?" asked the Doctor.
"Oh, no," said the horse. "I kicked him in the right place. The vet's looking after him now. When will my glasses be ready?"
"I'll have them for you next week," said the Doctor. "Come in again Tuesday—Good morning!"
Then John Dolittle got a fine, big pair of green spectacles; and the plow–horse stopped going blind in one eye and could see as well as ever.
And soon it became a common sight to see farm–animals wearing glasses in the country round Puddleby; and a blind horse was a thing unknown.
And so it was with all the other animals that were brought to him. As soon as they found that he could talk their language, they told him where the pain was and how they felt, and of course it was easy for him to cure them.
Now all these animals went back and told their brothers and friends that there was a doctor in the little house with the big garden who really WAS a doctor. And whenever any creatures got sick—not only horses and cows and dogs—but all the little things of the fields, like harvest–mice and water–voles, badgers and bats, they came at once to his house on the edge of the town, so that his big garden was nearly always crowded with animals trying to get in to see him.
There were so many that came that he had to have special doors made for the different kinds. He wrote "HORSES" over the front door, "COWS" over the side door, and "SHEEP" on the kitchen door. Each kind of animal had a separate door—even the mice had a tiny tunnel made for them into the cellar, where they waited patiently in rows for the Doctor to come round to them.
And so, in a few years' time, every living thing for miles and miles got to know about John Dolittle, M.D. And the birds who flew to other countries in the winter told the animals in foreign lands of the wonderful doctor of Puddleby–on–the–Marsh, who could understand their talk and help them in their troubles. In this way he became famous among the animals—all over the world—better known even than he had been among the folks of the West Country. And he was happy and liked his life very much.
One afternoon when the Doctor was busy writing in a book, Polynesia sat in the window—as she nearly always did—looking out at the leaves blowing about in the garden. Presently she laughed aloud.
"What is it, Polynesia?" asked the Doctor, looking up from his book.
"I was just thinking," said the parrot; and she went on looking at the leaves.
"What were you thinking?"
"I was thinking about people," said Polynesia. "People make me sick. They think they're so wonderful. The world has been going on now for thousands of years, hasn't it? And the only thing in animal–language that PEOPLE have learned to understand is that when a dog wags his tail he means 'I'm glad!'—It's funny, isn't it? You are the very first man to talk like us. Oh, sometimes people annoy me dreadfully—such airs they put on—talking about 'the dumb animals.' DUMB!—Huh! Why I knew a macaw once who could say 'Good morning!' in seven different ways without once opening his mouth. He could talk every language—and Greek. An old professor with a gray beard bought him. But he didn't stay. He said the old man didn't talk Greek right, and he couldn't stand listening to him teach the language wrong. I often wonder what's become of him. That bird knew more geography than people will ever know.—PEOPLE, Golly! I suppose if people ever learn to fly—like any common hedge–sparrow—we shall never hear the end of it!"
"You're a wise old bird," said the Doctor. "How old are you really? I know that parrots and elephants sometimes live to be very, very old."
"I can never be quite sure of my age," said Polynesia. "It's either a hundred and eighty–three or a hundred and eighty–two. But I know that when I first came here from Africa, King Charles was still hiding in the oak–tree—because I saw him. He looked scared to death."
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What was the name of John F Kennedy Airport before it was re-named? | History - About the Airport - John F. Kennedy International Airport - Port Authority of New York & New Jersey
History of JFK International Airport
In April 1942, New York City began placing hydraulic fill over the marshy tidelands of Idlewild Golf Course. Initial plans were for a modest 1,000-acre airport, but by the time construction was complete Idlewild Airport had grown to five times that size. Commercial flights began in July 1948. On December 24, 1963, the airport was rededicated John F. Kennedy International Airport in memory of the nation’s 35th president. Today, JFK is the nation’s leading international gateway, with more than 80 airlines operating from its gates.
| Idlewild |
Which cricketer was the first to score a century and take ten wickets in the same Test Match? | History of JFK International Airport - JFK - Airport
John F. Kennedy - JFK International Airport
History of JFK International Airport
In April 1942, New York City began placing hydraulic fill over the marshy tidelands of Idlewild Golf Course. Initial plans were for a modest 1,000-acre airport, but by the time construction was complete Idlewild Airport had grown to five times that size. Commercial flights began in July 1948. On December 24, 1963, the airport was rededicated John F. Kennedy International Airport in memory of the nation’s 35th president. Today, JFK is the nation’s leading international gateway, with more than 80 airlines operating from its gates.
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What is the name of the Indian girl recued by Peter Pan? | Indians | Disney Wiki | Fandom powered by Wikia
[Source]
The Indians are the characters in Peter Pan . They lived in the Indian Camp of Neverland . As their chief pointed out, for "many moons", they have been fighting the Lost Boys in innocent challenges, and the winners always turned the losers loose (sometimes the winners are the Indians; anytime else, it is the Lost Boys).
Contents
[ show ]
Development
Originally, the Indians were to have a somewhat larger role than now. In the first scene for Never Land, the Indians were to be involved in a chase including the Lost Boys and the Pirates. Later on, after Peter Pan rescued Tiger Lily, they became security guards for Hangmen Tree, Peter Pan's hideout and battle with the pirates during an ambush.
Appearances
Jake and the Never Land Pirates
None of the Indians make an appearance but in the episode " Basketballs Aweigh ", a basketball court built by the Indians was visited by Jake and his crew as well as Captain Hook. When first seen, vocalizations of the Indians were briefly heard.
Racial stereotyping of Native Americans
Although loved by families for decades, Peter Pan has been seen as politically incorrect in recent years due to the way Disney portrayed the Native American "Indians" in the film. They are stereotypical and considered by some to be offensive. They are displayed as wild, savage, violent and speak in a stereotypical way. The characters often call them savages and at one point Captain Hook refers to them as "redskins". John, Michael, and the Lost Boys go hunting them like animals (the Lost Boys mention tigers and bears as other alternatives). The "What Made the Red Man Red?" song is highly controversial because the Indians themselves are reflecting on how they got the color of skin; that Indian men maintain a permanent blush due to their constant pursuit of Indian women, and that asking "How?" is a major catalyst for Indian education. These stereotypes are present in J.M Barrie's play and many films of the time (mainly Westerns and cartoons). Marc Davis, one of the supervising animators of the film said in an interview years after the production that "I'm not sure we would have done the Indians if we were making this movie now. And if we had we wouldn't do them the way we did back then."
Gallery
| Tiger lily |
On which island will you find 'Fingal's Cave'? | Peter Pan and the Roots of Racism | The Huffington Post
Peter Pan and the Roots of Racism
12/11/2014 01:00 pm ET | Updated Feb 10, 2015
Elizabeth Broadbent Manic Pixie Dream Mama
It seems trivial now. Amid the ugly roil of Ferguson, the choking brutality of our police forces, the I-can't-breath, serve-and-protect, hands-up-don't-shoot rhetoric of an increasingly angry protest movement, talking about Peter Pan seems faintly ridiculous, if not outright offensive. "Let this one go," someone told me. "There's too much else going on."
And it certainly seems that way. But the issues with NBC's recent Peter Pan Live! -- and indeed, with Peter Pan in general -- lay bare the dark heart of American racism. White America strains away from the ugly truths of Ferguson, of Sanders, of the black men shot by a police force sworn to protect them. But a beloved fairy tale? How could something so innocuous be wrong? How dare we go after the ur-childhood, the ultimate fantasy of Neverland?
Peter Pan means magic. He is adventure, imagination, pirate-fighting and adult-confounding, lost to the straightjacket of civilization. He can fly. And how many of us yearned to go with him, to take off towards first star to the right and straight on til morning? We thought lovely thoughts and never, ever said we didn't believe in fairies. We loved Peter Pan. We love Peter Pan now.
Even those who agree that America has a serious race problem don't want to face the fall of the boy who ran away the day he was born. We've lost faith in our police. Surely we can't now go after a beloved childhood classic.
Except we have to. No matter how painful, no matter how stomach-churning, white America must take a long, hard look at itself. That includes casting a light on our beloved stories: among them, Peter Pan. Yeah, there's an Indian thing in there, Princess Tiger Lily. The Disney version has a squirm-inducing song titled "What Makes the Red Man Red." But surely, while Neverland isn't exactly politically correct, it's not that kind racist. Right?
Well, considering that the stage play has Chief Great Big Little Panther saying to Peter that, "You Great White Father," yes, it is racist. And while the fantasy has long been protected by its intentions -- the Indians are portrayed through the eyes of a child -- it's time to confront the deep-seated problems with the story itself and even with modern portrayals.
This eyes-of-a-child excuse is the first problem. In a land of childish savages, of civilization rejected, the Indians are the most degenerate. Even the children treat them as other, and even the (all-white) children are superior to them. They speak in gibberish -- ugg-a-wugg-a-wigwam, which the NBC production augments with actual Native American phrases -- degenerated to gibberish.
And they are just "Indians" (though orginally, at least in Peter and Wendy, Barrie calls the tribe the "Piccaninny Indians," which, seriously -- whoa.) "Indians" is enforced as a catch-all culture of feathers and loincloths and teepees, of wigwams and tomahawks. They fight the white kids, who save the flower of their tribe from the evil pirates.
Lumping all American Indians together as one monolithic caricature is grossly offensive, because these are real people, with many, many different cultures. American Indians exist not in the dim past, not in a white fantasy land, but in the real world, on the reservations we herded them onto. Their portrayal is the American Indian equivalent of blackface.
Even the most hardened among us (usually) deplore blackface: it reduces blacks to a subservient caricature. Neverland's Indians accomplish the same. We wouldn't let our children to watch blackface. So why do we show them native peoples as feather-clad tomahawk wielders?
NBC tried to divert the racial issues by Tiger Lily's casting: she's played by an actress with (some) Cherokee background. Bully for her. It doesn't change that the character's name is Tiger Lily. American Indians don't have tigers. And they don't need a white kid to save them.
These issues lie at the heart of American racism. We give them a pass. We build up stereotypes of sub-par people of color early on in life; we resist questioning them. We might cringe a bit. But we don't want to give them up: we love Peter. Calling out the racism in Peter Pan would mean losing him, somehow, and we don't want that.
Racism begins here. From the seeds of the caricatures come Billie Holiday's strange fruit.
We value a childhood story more than the respect of an entire people -- a people whose subjugation continually benefits us. Live in America? That land once belonged to the caricatures on your TV screen. Our political ancestors raped, killed, pillaged, burned, marched, and stole from them. We built our country on their backs. Even now, we're raping their ancestral lands for profit. These facts matter. And so our portrayal of American Indians matters.
When we close our eyes to this racism, we close our eyes to the roots of Ferguson. And until we show a willingness to acknowledge it, Ferguson will happen. More deaths will happen. Our country will explode, and explode again, and explode again, until we are willing to look at ourselves and our stories. We must see the ugliness in ourselves.
And we must confront it.
Want to read more about race, social justice, and parenting? Like Manic Pixie Dream Mama on Facebook.
Follow Elizabeth Broadbent on Twitter: www.twitter.com/manicpixiemama
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What religion was Adolph Hitler? | The religion of Hitler: German dictator Adolf Hitler
Adolf Hitler
German Dictator, Nazi Leader
There is no question that Hitler was a Nazi. Nazism was clearly his most important religious affiliation, not in the positive way the word "religion" is often defined, but in the general sense that any philosophy or belief system which is most important in a person's life is that person's "religion," regardless of whether or not it is universally labelled as a "religion." Hitler was also born into a Catholic family, but he rejected Catholicism and in most ways he rejected Christianity in general. On occasion we have read people claim that "Hitler was a Catholic" or "Hitler was a Christian" in a meaningful way, implying that Christianity or Catholicism was the primary impetus for his Nazi reign. Such claims are simply vitriolic attacks occasionally voiced by ideologically-inclined anti-Christian, anti-Semitic or pro-Nazi people. Historians agree that Hitler was pointedly anti-Christian. We are not aware of any published sources from acknowledged academic historians or writers that identify Adolf Hitler as significantly Catholic or Christian in his motivations as an adult. If anybody writes to us to point out such resources, we will be happy to cite them and refer to them here. One detailed publication that describes how Hitler was anti-Christian was written by Jewish writer Julie Seltzer Mandel, as described by Matt Kaufman ( http://boundless.org/2001/regulars/kaufman/a0000541.html ):
I vividly remember a high school conversation with a friend I'd known since we were eight. I'd pointed out that Hitler was essentially a pagan, not a Christian, but my friend absolutely refused to believe it. No matter how much evidence I presented, he kept insisting that Nazi Germany was an extension of Christianity, acting out its age-old vendetta against the Jews. Not that he spoke from any personal study of the subject; he just knew. He'd heard it so many times it'd become an article of faith - one of those things "everyone knows."... Well, sometimes myths die hard. But this one took a hit in early January, at the hands of one Julie Seltzer Mandel, a Jewish law student at Rutgers whose grandmother survived internment at Auschwitz.
A couple of years ago Mandel read through 148 bound volumes of papers gathered by the American OSS (the World War II-era predecessor of the CIA) to build the case against Nazi leaders on trial at Nuremberg. Now she and some fellow students are publishing what they found in the journal Law and Religion (www.lawandreligion.com)... The upshot: a ton of evidence that Hitler sought to wipe out Christianity just as surely as he sought to wipe out the Jews.
The first installment (the papers are being published in stages) includes a 108-page OSS outline, "The Persecution of the Christian Churches." ...how the Nazis - faced with a country where the overwhelming majority considered themselves Christians - built their power while plotting to undermine and eradicate the churches, and the people's faith... From the start of the Nazi movement, "the destruction of Christianity was explicitly recognized as a purpose of the National Socialist movement," said Baldur von Scvhirach, leader of the group that would come to be known as Hitler youth. But "explicitly" only within party ranks: as the OSS stated, "considerations of expedience made it impossible" for the movement to make this public until it consolidated power... By 1937, Pope Pius XI denounced the Nazis for waging "a war of extermination" against the church... Catholic priests found police snatching sermons out of their hands, often in mid-reading
...the notion that the church either gave birth to Hitler or walked hand-in-hand with him as a partner is, simply, slander. Hitler himself knew better. "One is either a Christian or a German," he said. "You can't be both."
From: Jadwiga Biskupska (Cornell University), "Hitler & Triumph of the Will: A Nazi Religion in the Catholic Style" in Undergraduate Quarterly, September/November 2004, page 147 (URL: http://www.undergradquarterly.com/EJournal/2004Q2/Biskupska.pdf):
Catholicism and Nazism have a more complicated relationship than some might think. Hitler both despised and admired various aspects of the Roman Catholic Church. Though the Nazi movement was superficially areligious, even anti-religious, the Nazi's greatest piece of propaganda and self-aggrandizement, Leni Riefenstahl's 1934 film about the Nuremberg Party Rally, Triumph of the Will, is in many ways profoundly religious. The film both makes use of Catholic religious imagery and draws on the Catholic sacramental tradition to give dignity and legitimacy to its construction of Adolf Hitler as the "god" of the Nazi movement... Since the beginning, Catholicism and Nazism had an uncomfortable coexistence. They jarred long before Riefenstahl began filming Hitler's rally in the summer of 1934... The Concordat, along with many other more famous agreements and treaties signed by the Fuehrer, was quickly violated, and the Church was ineffective in protecting Catholics from all manner of religious and cultural harassment. Alfred Rosenberg, the closest Nazism as an ideology ever came to having a philosopher, was consistently and virulently anti-Catholic... Hitler himself was not purely or simply anti-Catholic or anti-Church, and certainly not so before his rise to power. He was a baptized Catholic, as was his propaganda minister, Joseph Goebbels, and a number of other prominent members of his administration. Interestingly, though both men rejected their Catholic faith and recognized that they had excommunicated themselves, neither ever formally left the Church and dutifully continued to pay church taxes until their respective deaths. Hitler's own mother, to whom he was very close, was a devoted Catholic, and Hitler received Catholic schooling during his childhood in Austria... In his extensive, often contradictory writings and "table-talk," Hitler reveals an ambivalent attitude toward the Catholic Church. As an institution on German soil, he is very much opposed to it, and he ridicules the teachings of Church fathers and the practice of the Catholic faith... he detested the doctrines, of the Roman Church... Institutionalized religion, in Hitler's view, was a waning phenomenon...
There is also some dispute about the extent to which Hitler was influenced by paganism or German Neo-Paganism. Many sources are available that identify Germanic pagan influences on Hitler. But I have seen no credible evidence that Hitler was an adherent of Neo-Paganism in the contemporary post-1960 sense of the word, nor have I read anything to indicate that Hitler ever explicitly identified himself as a "Neo-Pagan."
See also:
| Catholic Church |
How many engines are there on a B-52 bomber? | The Religion of Hitler
The Religion of Hitler (1998)
John Patrick Michael Murphy
In George Orwell's, 1984, it was stated, "Who controls the past controls the future, who controls the present controls the past."
Who is going to control the present - fundamentalism or freedom? History is being distorted by many preachers and politicians. They are heard on the airwaves condemning atheists and routinely claim Adolph Hitler was one. What a crock! Hitler was a Roman Catholic, baptized into that religio-political institution as an infant in Austria. He became a communicant and an altar boy in his youth, and was confirmed as a "soldier of Christ" in that church. The worst doctrines of that church never left him. He was steeped in its liturgy, which contained the words, "perfidious Jew." This hateful statement was not removed until 1961. Perfidy means treachery.
In his day, hatred of Jews was the norm. In great measure it was sponsored by the two major religions of Germany, Catholicism and Lutheranism. He greatly admired Martin Luther, who openly hated the Jews. Luther condemned the Catholic Church for its pretensions and corruption, but he supported the centuries of papal pogroms against the Jews. Luther said, "The Jews deserve to be hanged on gallows seven times higher than ordinary thieves," and "We ought to take revenge on the Jews and kill them." "Ungodly wretches" he calls the Jews in his widely read Table Talk.
Hitler seeking power, wrote in Mein Kampf. "... I am convinced that I am acting as the agent of our Creator. By fighting off the Jews. I am doing the Lord's work." Years later, when in power, he quoted those same words in a Reichstag speech in 1938.
Three years later he informed General Gerhart Engel: "I am now as before a Catholic and will always remain so." He never left the church, and the church never left him. Great literature was banned by his church, but his miserable Mien Kampf never appeared on the Index of Forbidden Books.
He was not excommunicated or even condemned by his church. Popes, in fact, contracted with Hitler and his fascist friends Franco and Mussolini, giving them veto power over whom the pope could appoint as a bishop in Germany, Spain and Italy. The three thugs agreed to surtax the Catholics of their countries and send the money to Rome in exchange for making sure the state could control the church.
Those who would make Hitler an atheist should turn their eyes to history books before they address their pews and microphones. Acclaimed Hitler biographer, John Toland, explains his heartlessness as follows: "Still a member in good standing of the Church of Rome despite detestation of its hierarchy, he carried within him its teaching that the Jew was the killer of god. The extermination, therefore, could be done without a twinge of conscience since he was merely acting as the avenging hand of god..."
Hitler's Germany amalgamated state with church. Soldiers of the vermacht wore belt buckles inscribed with the following: "Gott mit uns" (God is with us). His troops were often sprinkled with holy water by the priests. It was a real Christian country whose citizens were indoctrinated by both state and church to blindly follow all authority figures, political and ecclesiastical.
Hitler, like some of today's politicians and preachers, politicized "family values." He liked corporal punishment in home and in school. Jesus prayers became mandatory in all schools under his administration. While abortion was illegal in pre-Hitler Germany he took it to new depths of enforcement, requiring all doctors to report to the government the circumstances of all miscarriages. He openly despised homosexuality and criminalized it. If past is prologue, we know what to expect if liberty becomes license.
As a young child, I remember my late father, Martin J. Murphy, practicing a speech and loudly quoting the following: "Light up the mountain. Bring out the wild and fiery steed. Let it be known, that I, Gustavus, have insulted the King." Thinking for yourself and speaking your true thoughts - now that's a real family value.
"The Religion of Hitler" is copyright © 1998 by John Patrick Michael Murphy.
The electronic version is copyright © 1999 Internet Infidels with the written permission of John Patrick Michael Murphy.
| i don't know |
Which country has the largest area, Australia or Brazil? | Largest Countries in the World, Top 10 Biggest Countries by Area
Africa
2,381,741
Russia's geographical position is commonly described as "Eurasia". Its Asian part alone has larger area as compared to an entire country.
As the largest country in the Western Hemisphere, Canada has the longest coastline. Its border with the United States is the world's longest land border.
Slighter smaller in area than Canada, the United States of America is bordered by Mexico to the south and Canada to the north. It has the world's most fertile growing areas.
China shares its border with 14 different countries, including Afghanistan to the east, Russia to the north, and Vietnam to the south. It is also home to 56 recognized ethnic groups.
As the largest country in South America, Brazil is the home to the world's largest rainforest named as the Amazon. Also, it has a lengthy Atlantic coastline on the eastern side.
As the largest country in Oceania, Australia is a continental landmass and not an island. The country is well known for its extreme climate and wildlife.
With rapidly changing boundaries over the past century, India has China, Pakistan, Bangladesh and Nepal sharing their borders with it. It was once separated from Asia by a particular sea.
As the largest Spanish-speaking nation in the world, Argentina has a varied climate and geography. Its southern tip, Cape Horn is the stormiest location available on Earth.
Formerly part of the USSR, Kazakhstan has been the largest nation in the world for most of the 20th century. It is also the largest landlocked country on the globe.
Algeria is situated in Northern Africa and has a majority of its desert regions highly elevated. The Algerian Sahara desert extends all the way to the south of Algeria past its borders with Mali and Niger
The world's ten biggest countries by size are ranked based on information from the CIA World Factbook.
The numbers shown are based on the total land area of each country, including both land and water areas within the international boundaries.
Russia is the largest country in the world by a wide margin, covering 17,098,242 square kilometers. Russia stretches across Eurasia, spanning nine time zones and covering about an eighth of the inhabited land area of the Earth.
The next largest country is also located in the far north. Canada covers the northern part of the Western Hemisphere, with a total area of 9,984,670 square kilometers. The United States and China are next on the list, so close in size that their positions are sometimes reversed, depending on the inclusion of particular territories and water areas.
Just behind China and the USA is the largest country in South America, Brazil, with an area of 8,514,877 square miles, followed by Australia with an area of 7,692,024 square kilometers. Rounding out the top ten are the much smaller countries of India, Argentina, Kazakhstan and Algeria.
Interactive Map of Largest Countries in the World
The map of the ten largest countries by area is an interactive map of the world showing the largest countries. Hover your mouse over each of the top ten countries to see their areas in square kilometers.
You must be Interested to Know
| Brazil |
Which fictional detective retired to keep bees? | The World Factbook — Central Intelligence Agency
Background:
Following more than three centuries under Portuguese rule, Brazil gained its independence in 1822, maintaining a monarchical system of government until the abolition of slavery in 1888 and the subsequent proclamation of a republic by the military in 1889. Brazilian coffee exporters politically dominated the country until populist leader Getulio VARGAS rose to power in 1930. By far the largest and most populous country in South America, Brazil underwent more than a half century of populist and military government until 1985, when the military regime peacefully ceded power to civilian rulers. Brazil continues to pursue industrial and agricultural growth and development of its interior. Having successfully weathered a period of global financial difficulty in the late 20th century, Brazil was seen as one of the world’s strongest emerging markets and a contributor to global growth. The awarding of the 2014 FIFA World Cup and 2016 Summer Olympic Games, the first ever to be held in South America, was seen as symbolic of the country’s rise. However, since about 2013, Brazil has been plagued by a shrinking economy, growing unemployment, and rising inflation. Political scandal resulted in the impeachment of President Dilma ROUSSEFF in May 2016, a conviction that was upheld by the Senate in August 2016; her vice president, Michel TEMER, will serve as president until 2018, completing her second term.
Geography :: BRAZIL
Environment - current issues:
deforestation in Amazon Basin destroys the habitat and endangers a multitude of plant and animal species indigenous to the area; there is a lucrative illegal wildlife trade; air and water pollution in Rio de Janeiro, Sao Paulo, and several other large cities; land degradation and water pollution caused by improper mining activities; wetland degradation; severe oil spills
Environment - international agreements:
party to: Antarctic-Environmental Protocol, Antarctic-Marine Living Resources, Antarctic Seals, Antarctic Treaty, Biodiversity, Climate Change, Climate Change-Kyoto Protocol, Desertification, Endangered Species, Environmental Modification, Hazardous Wastes, Law of the Sea, Marine Dumping, Ozone Layer Protection, Ship Pollution, Tropical Timber 83, Tropical Timber 94, Wetlands, Whaling
signed, but not ratified: none of the selected agreements
largest country in South America and in the Southern Hemisphere; shares common boundaries with every South American country except Chile and Ecuador
People and Society :: BRAZIL
Languages:
Portuguese (official and most widely spoken language)
note: less common languages include Spanish (border areas and schools), German, Italian, Japanese, English, and a large number of minor Amerindian languages
Religions:
Roman Catholic 64.6%, other Catholic 0.4%, Protestant 22.2% (includes Adventist 6.5%, Assembly of God 2.0%, Christian Congregation of Brazil 1.2%, Universal Kingdom of God 1.0%, other Protestant 11.5%), other Christian 0.7%, Spiritist 2.2%, other 1.4%, none 8%, unspecified 0.4% (2010 est.)
Demographic profile:
Brazil's rapid fertility decline since the 1960s is the main factor behind the country's slowing population growth rate, aging population, and fast-paced demographic transition. Brasilia has not taken full advantage of its large working-age population to develop its human capital and strengthen its social and economic institutions but is funding a study abroad program to bring advanced skills back to the country. The current favorable age structure will begin to shift around 2025, with the labor force shrinking and the elderly starting to compose an increasing share of the total population. Well-funded public pensions have nearly wiped out poverty among the elderly, and Bolsa Familia and other social programs have lifted tens of millions out of poverty. More than half of Brazil's population is considered middle class, but poverty and income inequality levels remain high; the Northeast, North, and Center-West, women, and black, mixed race, and indigenous populations are disproportionately affected. Disparities in opportunities foster social exclusion and contribute to Brazil's high crime rate, particularly violent crime in cities and favelas.
Brazil has traditionally been a net recipient of immigrants, with its southeast being the prime destination. After the importation of African slaves was outlawed in the mid-19th century, Brazil sought Europeans (Italians, Portuguese, Spaniards, and Germans) and later Asians (Japanese) to work in agriculture, especially coffee cultivation. Recent immigrants come mainly from Argentina, Chile, and Andean countries (many are unskilled illegal migrants) or are returning Brazilian nationals. Since Brazil's economic downturn in the 1980s, emigration to the United States, Europe, and Japan has been rising but is negligible relative to Brazil's total population. The majority of these emigrants are well-educated and middle-class. Fewer Brazilian peasants are emigrating to neighboring countries to take up agricultural work.
0-14 years: 22.79% (male 23,905,185/female 22,994,222)
15-24 years: 16.43% (male 17,146,060/female 16,661,163)
25-54 years: 43.84% (male 44,750,568/female 45,489,430)
55-64 years: 8.89% (male 8,637,011/female 9,656,370)
65 years and over: 8.06% (male 7,059,944/female 9,523,712) (2016 est.)
population pyramid:
geographic coordinates: 15 47 S, 47 55 W
time difference: UTC-3 (2 hours ahead of Washington, DC, during Standard Time)
daylight saving time: +1hr, begins third Sunday in October; ends third Sunday in February
note: Brazil has three time zones, including one for the Fernando de Noronha Islands
Administrative divisions:
26 states (estados, singular - estado) and 1 federal district* (distrito federal); Acre, Alagoas, Amapa, Amazonas, Bahia, Ceara, Distrito Federal*, Espirito Santo, Goias, Maranhao, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Para, Paraiba, Parana, Pernambuco, Piaui, Rio de Janeiro, Rio Grande do Norte, Rio Grande do Sul, Rondonia, Roraima, Santa Catarina, Sao Paulo, Sergipe, Tocantins
chief of state: President Michel Miguel Elias TEMER Lulia (since 31 August 2016); Vice President (vacant); note - the president is both chief of state and head of government
head of government: President Michel Miguel Elias TEMER Lulia (since 31 August 2016); Vice President (vacant)
cabinet: Cabinet appointed by the president
elections/appointments: president and vice president directly elected on the same ballot by absolute majority popular vote in 2 rounds if needed for a single 4-year term (eligible for a second term); election last held on 5 October 2014 with runoff on 26 October 2014 (next to be held October 2018)
election results: Dilma ROUSSEFF reelected president in a runoff election; percent of vote - Dilma ROUSSEFF (PT) 51.6%, Aecio NEVES (PSDB) 48.4%
note: on 12 May 2016, Brazil's Senate voted to hold an impeachment trial of President Dilma ROUSSEFF, who was then suspended from her executive duties; Vice President Michel TEMER then took over as acting president; on 31 August 2016 the Senate voted 61-20 in favor of conviction; TEMER will now serve as president for the remainder of ROUSSEFF's term until 1 January 2019
Legislative branch:
description: bicameral National Congress or Congresso Nacional consists of the Federal Senate or Senado Federal (81 seats; 3 members each from 26 states and 3 from the federal district directly elected in multi-seat constituencies by simple majority vote to serve 8-year terms, with one-third and two-thirds of the membership elected alternately every 4 years) and the Chamber of Deputies or Camara dos Deputados (513 seats; members directly elected in multi-seat constituencies by proportional representation vote to serve 4-year terms)
elections: Federal Senate - last held on 5 October 2014 for one-third of the Senate (next to be held in October 2018 for two-thirds of the Senate); Chamber of Deputies - last held on 5 October 2014 (next to be held in October 2018)
election results: Federal Senate - percent of vote by party - NA; seats by party - PMDB 5, PSDB 4, PDT 4, PSB 3, DEM (formerly PFL) 3, PT 2, PSD 2, PTB 2, PP 1, PR 1; Chamber of Deputies - percent of vote by party - NA; seats by party - PT 70, PMDB 66, PSDB 54, PSD 37, PP 36, PR 34, PSB 34, PTB 25, DEM (formerly PFL) 22, PRB 21, PDT 19, SD 15, PSC 12, PROS 11, PCdoB 10, PPS 10, PV 8, PHS 5, PSOL 5, PTN 4, PMN 3, PRP 3, PEN 2, PTC 2, PSDC 2, PTdoB 1, PSL 1, PRTB 1
Judicial branch:
highest court(s): Supreme Federal Court or Supremo Tribunal Federal (consists of 11 justices)
judge selection and term of office: justices appointed by the president and approved by the Federal Senate; justices appointed to serve until mandatory retirement at age 75
subordinate courts: Tribunal of the Union, Federal Appeals Court, Superior Court of Justice, Superior Electoral Court, regional federal courts; state court system
Brazilian Communist Party or PCB [Ivan Martins PINHEIRO]
Brazilian Democratic Movement Party or PMDB [Michel TEMER]
Brazilian Labor Party or PTB [Cristiane BRASIL]
Brazilian Renewal Labor Party or PRTB [Jose Levy FIDELIX da Cruz]
Brazilian Republican Party or PRB [Marcos Antonio PEREIRA]
Brazilian Social Democracy Party or PSDB [Aecio NEVES]
Brazilian Socialist Party or PSB [Carlos Roberto SIQUEIRA de Barros]
Christian Labor Party or PTC [Daniel TOURINHO]
Christian Social Democratic Party or PSDC [Jose Maria EYMAEL]
Communist Party of Brazil or PCdoB [Jose Renato RABELO]
Democratic Labor Party or PDT [Carlos Roberto LUPI]
The Democrats or DEM [Jose AGRIPINO] (formerly Liberal Front Party or PFL)
Free Homeland Party or PPL [Sergio RUBENS]
Green Party or PV [Jose Luiz PENNA]
Humanist Party of Solidarity or PHS [Eduardo MACHADO]
Labor Party of Brazil or PTdoB [Luis Henrique de Oliveira RESENDE]
National Ecologic Party or PEN [Adilson Barroso OLIVEIRA]
National Labor Party or PTN [Jose Masci de ABREU]
National Mobilization Party or PMN [Telma RIBEIRO dos Santos]
Party of the Republic or PR [Alfredo NASCIMENTO]
Popular Socialist Party or PPS [Roberto Joao Pereira FREIRE]
Progressive Party or PP [Ciro NOGUEIRA]
Progressive Republican Party or PRP [Ovasco Roma Altimari RESENDE]
Republican Social Order Party or PROS [Euripedes JUNIOR]
Social Christian Party or PSC [Vitor Jorge Abdala NOSSEIS]
Social Democratic Party or PSD [Guilherme CAMPOS]
Social Liberal Party or PSL [Luciano Caldas BIVAR]
Socialism and Freedom Party or PSOL [Luiz ARAUJO]
Solidarity or SD [Paulo PEREIRA DA SILVA]
United Socialist Workers' Party or PSTU [Jose Maria DE ALMEIDA]
Workers' Cause Party or PCO [Rui Costa PIMENTA]
Workers' Party or PT [Rui FALCAO]
Political pressure groups and leaders:
Landless Workers' Movement or MST
other: industrial federations; labor unions and federations; large farmers' associations; religious groups including evangelical Christian churches and the Catholic Church
International organization participation:
AfDB (nonregional member), BIS, BRICS, CAN (associate), CD, CELAC, CPLP, FAO, FATF, G-15, G-20, G-24, G-5, G-77, IADB, IAEA, IBRD, ICAO, ICC (national committees), ICCt, ICRM, IDA, IFAD, IFC, IFRCS, IHO, ILO, IMF, IMO, IMSO, Interpol, IOC, IOM, IPU, ISO, ITSO, ITU, ITUC (NGOs), LAES, LAIA, LAS (observer), Mercosur, MIGA, MINURSO, MINUSTAH, MONUSCO, NAM (observer), NSG, OAS, OECD (Enhanced Engagement, OPANAL, OPCW, Paris Club (associate), PCA, SICA (observer), UN, UNASUR, UNCTAD, UNESCO, UNFICYP, UNHCR, UNIDO, UNIFIL, Union Latina, UNISFA, UNITAR, UNMIL, UNMISS, UNOCI, UNRWA, UNWTO, UPU, WCO, WFTU (NGOs), WHO, WIPO, WMO, WTO
chief of mission: Ambassador Sergio Silva do AMARAL (since 16 September 2016)
chancery: 3006 Massachusetts Avenue NW, Washington, DC 20008
telephone: [1] (202) 238-2700
FAX: [1] (202) 238-2827
consulate(s) general: Atlanta, Boston, Chicago, Hartford (CT), Houston, Los Angeles, Miami, New York, San Francisco, Washington, DC
chief of mission: Ambassador Liliana AYALDE (since 31 October 2013)
embassy: Avenida das Nacoes, Quadra 801, Lote 3, Distrito Federal Cep 70403-900, Brasilia
mailing address: Unit 7500, DPO, AA 34030
telephone: [55] (61) 3312-7000
Flag description:
green with a large yellow diamond in the center bearing a blue celestial globe with 27 white five-pointed stars; the globe has a white equatorial band with the motto ORDEM E PROGRESSO (Order and Progress); the current flag was inspired by the banner of the former Empire of Brazil (1822-1889); on the imperial flag, the green represented the House of Braganza of Pedro I, the first Emperor of Brazil, while the yellow stood for the Habsburg Family of his wife; on the modern flag the green represents the forests of the country and the yellow rhombus its mineral wealth (the diamond shape roughly mirrors that of the country); the blue circle and stars, which replaced the coat of arms of the original flag, depict the sky over Rio de Janeiro on the morning of 15 November 1889 - the day the Republic of Brazil was declared; the number of stars has changed with the creation of new states and has risen from an original 21 to the current 27 (one for each state and the Federal District)
note: one of several flags where a prominent component of the design reflects the shape of the country; other such flags are those of Bosnia and Herzegovina, Eritrea, and Vanuatu
name: "Hino Nacional Brasileiro" (Brazilian National Anthem)
lyrics/music: Joaquim Osorio Duque ESTRADA/Francisco Manoel DA SILVA
note: music adopted 1890, lyrics adopted 1922; the anthem's music, composed in 1822, was used unofficially for many years before it was adopted
Economy :: BRAZIL
Economy - overview:
Characterized by large and well-developed agricultural, mining, manufacturing, and service sectors, and a rapidly expanding middle class, Brazil's economy outweighs that of all other South American countries, and Brazil is expanding its presence in world
After strong growth in 2007 and 2008, the onset of the global financial crisis hit Brazil in 2008. Brazil experienced two quarters of recession, as global demand for Brazil's commodity-based exports dwindled and external credit dried up. However, Brazil w
Brazil’s fiscal and current account balances have eroded during the past four years as the government attempted to boost economic growth through targeted tax cuts for industry and incentives to spur household consumption. After winning reelection in Octob
Brazil seeks to strengthen its workforce and its economy over the long run by imposing local content and technology transfer requirements on foreign businesses, by investing in education through social programs such as Bolsa Familia and the Brazil Science
577 billion kWh (2014 est.)
country comparison to the world: 9
518 billion kWh (2014 est.)
country comparison to the world: 9
3 million kWh (2014 est.)
country comparison to the world: 97
34 billion kWh (2014 est.)
country comparison to the world: 5
135 million kW (2014 est.)
country comparison to the world: 9
18.7% of total installed capacity (2012 est.)
country comparison to the world: 196
1.5% of total installed capacity (2012 est.)
country comparison to the world: 32
69.3% of total installed capacity (2012 est.)
country comparison to the world: 24
10.5% of total installed capacity (2012 est.)
country comparison to the world: 34
2.437 million bbl/day (2015 est.)
country comparison to the world: 11
subscriptions per 100 inhabitants: 126 (July 2015 est.)
country comparison to the world: 6
Telephone system:
general assessment: good working system including an extensive microwave radio relay system and a domestic satellite system with 64 earth stations
domestic: fixed-line connections have remained relatively stable in recent years and stand at about 20 per 100 persons; less-expensive mobile-cellular technology has been a major driver in expanding telephone service to the lower-income segments of the population w
international: country code - 55; landing point for a number of submarine cables, including Americas-1, Americas-2, Atlantis-2, GlobeNet, South America-1, South American Crossing/Latin American Nautilus, and UNISUR that provide direct connectivity to South and Central A (2015)
note: does not include urban roads (2010)
country comparison to the world: 4
50,000 km (most in areas remote from industry and population) (2012)
country comparison to the world: 3
Merchant marine:
total: 109
by type: bulk carrier 18, cargo 16, chemical tanker 7, container 13, liquefied gas 11, petroleum tanker 39, roll on/roll off 5
foreign-owned: 27 (Chile 1, Denmark 3, Germany 6, Greece 1, Norway 3, Spain 12, Turkey 1)
registered in other countries: 36 (Argentina 1, Bahamas 1, Ghana 1, Liberia 20, Marshall Islands 1, Panama 3, Singapore 9) (2010)
country comparison to the world: 50
major seaport(s): Belem, Paranagua, Rio Grande, Rio de Janeiro, Santos, Sao Sebastiao, Tubarao
river port(s): Manaus (Amazon)
dry bulk cargo port(s): Sepetiba ore terminal, Tubarao
container ports (TEUs): Santos (2,985,922), Itajai (983,985)(2011)
oil terminal(s): DTSE/Gegua oil terminal, Ilha Grande (Gebig), Guaiba Island terminal, Guamare oil terminal
LNG terminal(s) (import): Pecem, Rio de Janiero
Military and Security :: BRAZIL
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Which Renaissance artist's life was fictionalised in the book 'The Agony and the Ecstasy' subsequently made into a film? | Art & Culture
Art & Culture
In the early hours of the morning of the 17th January 1945, Raoul Wallenberg disappeared. He had been a consular official at the Swedish Legation in Budapest, Hungary. He was never heard from again.
Raoul Wallenberg was not Jewish. He worked at the Swedish Diplomatic Mission in Budapest with one purpose in mind; to save as many Jews as possible from the Nazi death machine. He not only issued thousands of visas a “safe passes”, but empowered by his diplomatic immunity, he worked relentlessly in the face of the Nazis as they tried to deport Hungarian Jews to the death camps.
I was honored to be invited yesterday – the 17th January – to a ceremony at the official residence of the Swedish Ambassador to Israel, H.E. Carl Magnus Nesser, to honor the late hero. The central event was the screening of a short documentary film: “The Survivors in Budapest: Interviews with Persons Saved by Raoul Wallenberg”. Four Israelis, all former Hungarians, who survived and lived to tell the tale. The interviews were bone-chilling as they recounted what they as children has seen, heard, felt and experienced – and how the brave Wallenberg saved them – and thousands more. The four were in the audience with us. Living flesh and blood, now mothers and fathers, grandparents, great-grandparents – survivors.
Ambassador Nesser addressed the gathering, first in faultless Hebrew (!) which he has learned in his four years in Israel, and then in English. Also addressing the gathering was Danny Rainer, head of the Israeli representation of the International Raoul Wallenberg Foundation.
The Ambassador and the Embassy of Sweden in Tel Aviv are to be commended for arranging this event. The memory of Raoul Wallenberg will live on. May it be for a blessing for us all.
Two outstanding organizations were represented at the gala benefit concert for the Yad Elie Foundation, which took place at the Jerusalem International YMCA on January 1st, 2016. The musical program was provided by Chen Zimbalista and the Music Factory.
Yad Eli, established by Marion Kunstenaar in 2002 in memory of Elie Saghroun, provides meals for needy Jerusalem school children, feeding 500 Arab- and Jewish children on a daily basis. It sets up educational programs to teach children about nutrition and health, creating a forum where Jewish and Arab participants can think, work and benefit from each other. Rabbi David Lilienthal serves as chairman of Yad Elie.
Directed by world-renowned marimba player and percussionist Chen Zimbalista, the Jewish-Arab youth orchestra – the Music Factory – was established four years ago. For the Jerusalem concert, it was joined by members of the Jerusalem Symphony Orchestra, the Israel Beer Sheva Sinfonietta and mezzo-soprano Noa Hope. The concert was preceded by the three-day Music in Omer Festival, consisting of open rehearsals, master classes and concerts. Taking place at the Open Museum in the Industrial Park of the southern town of Omer, this was the second of its kind involving the Music Factory and run by the charismatic Zimbalista. With the high standards of performance and nurturing of Zimbalista, an educator and social activist for bringing together children and youth from city and periphery in high-quality music-making, the 12- to 18-year-olds attending the festival were instructed by renowned teachers, who then joined them to play together in the youth orchestra.
The program included finely-crafted orchestral playing of movements from cardinal works of symphonic repertoire and some chamber pieces, these punctuated by Zimbalista’s dashing, stylish and virtuosic marimba playing. For the performance of works of J.S.Bach, Haydn, Mozart, Bizet, Ravel and Piazzolla, the role of concertmaster alternated between some of the orchestra’s outstanding teen violinists. Introducing Ravel’s “Bolero”, Zimbalista explained that the composer had written it as an exercise for orchestra. With Zimbalista on drum, the players gave a beguiling reading of Evgeny Levitas’ shortened version of the “Bolero”; among the fine small solos, a very young boy – Negev Almog - gave a richly sonorous and most impressive performance of the flute solo.
Of the chamber works on the program, we heard ‘cellists (and Music Factory tutors) Adiel Schmidt and Erich Oskar Huetter (Austria) in some delicate, imaginative and subtle playing of two movements from a Telemann work. Another enjoyable item was the playing of an arrangement of the subject and three of the variations from Bach’s “Goldberg Variations” elegantly presented by Asher Belchman (violin), Lara Karpalov (viola) and E.O. Huetter (‘cello). (Huetter, having visited Israel several times, has been involved in similar music projects with Arab youth.)
Contending easily and naturally with the orchestra, guest artist mezzo-soprano Noa Hope took players and audience to the world of opera with “Voi che sapete” (You who know what love is) from Mozart’s “Marriage of Figaro”, her creamy, substantial voice well integrated with her communicative stage performance. Hope’s dramatic and colourful rendition of the Habanera from Bizet’s “Carmen” displayed her dynamic range, well supported by the competence, accuracy and fine listening skills of the Music Factory players.
The festive concert concluded with two works of tango composer Astor Piazzolla, a rich and soundscape of captivating Argentinean rhythms, yearning and joy. Adding to the nostalgic yet life-affirming atmosphere of this music, young accordionist, Uri Ofek, relaxed and smiling, wandering across the stage in front of the orchestra, had the audience enthralled by his competence and professionalism.
Throughout the evening, Chen Zimbalista introduced the evening’s artists and works with cheerful informality. Conducting, performing with them and soloing, he directed both young- and experienced players in a vibrant program of outstanding orchestral playing, promoting the harmony of co-existence.
On Friday January 6th, Ms. Julie Fisher, wife of U.S. Ambassador to Israel Daniel B. Shapiro, hosted a reception at their residence as part of the “Art in Embassies” program. The event opened an exhibition designed to foster cultural ties between countries through art.
Mr. Thomas Genton, Counselor for Press and Cultural Affairs at the US Embassy, opened the evening’s festivities by welcoming guests and introducing Ms. Fisher. Both Mr. Genton and Ms. Fisher discussed the importance of art as a bridge between nations.
Following these opening remarks, artists were called up to receive certificates of appreciation for their work. Exhibition curator Keren Bar Gil and artists Yair Barak and Ohad Matalon then spoke, describing the role of the art in representing unique artistic expressions while connecting the cultures of Israel and the United States.
The exhibition was part of the Art in Embassies (AIE) program. The AIE program incorporates art into U.S. public diplomacy, using the visual arts and artist exchanges to facilitate cross-cultural dialogue and increased understanding. The program was started more than a half century ago by the Museum of Modern Art and the U.S. Department of State under President John F. Kennedy. Today, AIE has grown to become a public-private partnership engaging more than 20,000 participants at 200 venues in 189 countries. AIE allows the U.S. State Department to create and bolster relationships of trust, respect and understanding, and to build intercultural bridges of peace.
The exhibition featured the work of leading American and Israeli artists, including Ohad Matalon, Yair Barak, Boaz Aharonovich, Tamir Sher, Sivan Sternbach, Mindy Weisel, Deborah Hamon, Isca Greenfield-Sanders, and Enrique Martínez Celaya. The works focused on the theme of childhood, and the shared importance of children in American and Israeli culture. More information on the exhibition, and the artists and artwork shown, can be found here .
Among the guests who attended the event were Yael “Yuli” Tami, an Israeli academic and former Knesset member; Assaf Pinkus, formerly head of the Art History Department at Tel Aviv University and the chair of the Tel Aviv Israeli Art Foundation; and Kena Shoval, the wife of Zalman Shoval, a former Knesset member and Israeli Ambassador to the United States.
Friday, January 6, 2017 at 11:00The Babylonian Jewry Heritage Center
83 Mordechai Ben Porat Ave. , Or Yehuda
Free admission For BJHC members
20 NIS for guests
Members of the Sassoon dynasty, the 'Rothschilds of the East', and their business associates settled in England at the turn of the last century where they aspired to become part of the establishment, spending their wealth on grand homes and valuable collections.
Lyn Julius will talk about such personalities as Sir Philip Sassoon, who hobnobbed with kings, ministers and artists; Hannah Gubbay, Sir Percival David, Rachel Beer and others. Are the Saatchis and the Reuben brothers today's plutocrats from Baghdad?
The Event will be held in English
The Center
The Babylonian Jewry Heritage Center was founded in 1973 as a non-profit organisation to preserve the heritage of the Babylonian Jewish exile which no longer exists today.
Located in Or-Yehuda, it is the largest institute in the world dedicated to documenting, researching, collecting and preserving the spiritual treasures and art created by Babylonian Jewry. Babylonia was the location of the most significant works of the Jewish nation, including: the Babylonian Talmud, the writings of the Geonim, the Responsa works, and more.
In order to preserve this heritage, collect the textual and visual materials and make them accessible to the general public, various branches of the Center were established: the museum, the research institute, the library and the treasures and guidance department.
On December 26th, the Hebrew University’s weekly Monday Afternoon Concert Series featured Ensemble Divina Insania, a Baroque chamber music group consisting of Israeli musicians living in Europe or in Israel and performing on period instruments. Guest artist was violinist Shunske Sato (Holland). Joining him were Doret Florentin (recorder), Tali Goldberg (violin) Benny Aghassi (bassoon, Hen Goldsobel (contrabass) and Yizhar Karshon (harpsichord). The Monday Afternoon Series series is directed and introduced by Dr. Sara Pavlov.
The concert opened with all players in an eloquent reading of the Overture to G.F.Händel’s opera “Giustino” (Justin), which was premiered at Covent Garden in 1737, its formal, homophonic opening evocative of the pomp of the coronation ceremony with which the plot begins. The allegro section offered some charming duets. Händel had a splendid oboist/recorder player in his orchestra, hence the challenging soprano recorder part, managed well by Florentin.
Then to Neapolitan composer Francesco Mancini’s (1672-1737) Recorder Concerto in A-minor, one of 12 of his appearing in a collection of concertos by Alessandro Scarlatti, Domenico Sarro, Francesco Barbella, Giovanni Batista Mele and Roberto Valentini (the English Robert Valentine) in a Naples conservatory. Enjoying a solid and vibrant basso continuo section, the ensemble’s reading of the piece, with much lively interaction between Florentin and Sato, was alive and spontaneous, its textures alternating between utterances of only violins and recorder and tutti moments, with some silver-tongued harpsichord spreads adding sparkle to calmer moments. Rich in well-crafted melodies and a sprinkling of surprises, the work, indeed demanding to play, made for fine entertainment. Primarily an opera composer, the list of Mancini’s instrumental works is small. Divina Insania’s colourful performance of the concerto emphasized how unjust it is that this leading figure of Naples’ cultural life and education (he was a rival to Alessandro Scarlatti) should have fallen into oblivion.
Of his more than 550 concertos, Antonio Vivaldi composed 39 bassoon concertos, for whom we can only guess, and the plot thickens if one considers that the bassoon had not yet been used as a solo instrument in Venice. It is thought that these Vivaldi concertos were written between 1728 and 1737. Vivaldi, though not a bassoonist, shows a thorough understanding of the instrument’s expressive and technical possibilities, taking the player on a journey through the bass and tenor registers, however, also through the concept of a string-player, with demanding arpeggios, rapid scales and register leaps. Benny Aghassi had listeners perched at the edge of their seats right from the first notes of the work’s wild unison opening, as he scurried up and down the bassoon range with articulate agility, warmth of timbre and pizzazz, with the violins adding comments and accents to complete the joie-de-vivre of the outer movements. In the Largo movement, with the bassoon’s languorous agenda set against held chords in the strings, Aghassi created small pauses between sections, as if each time searching anew for suitable inspiration for each gesture. Throughout the work, he communicated closely with his fellow players and with the audience. Benny Aghassi’s virtuosity and musicality left the listener wishing for more!
Performing Vivaldi’s Concerto for Recorder, Violin and Bassoon in D-major RV92, Florentin, Sato and Aghassi interacted vigilantly, the opening Allegro giving each artist much to say, as Sato signed out of it, tugging a little at the heart strings as he leaned into a dissonant penultimate note. Following the second movement, in which Florentin and Sato engaged in a moving dialogue, with Aghassi weaving long lines of gently inégal notes throughout, the artists’ technical command was displayed in the final, somewhat witty, abundantly imitative Allegro movement.
Most of us had no idea of what was in store when Shunske Sato and Yizhar Karshon launched into little-known Italian composer Giovanni Pandolfi Mealli’s Sonata for Violin and Continuo in D-minor opus 4 No.4 “La Biancuccia”. The opus 4 violin sonatas were published in 1660. Here was a vivid example of the “stylus phantasticus”, referred to in 1650 by Jesuit polymath Athanasius Kircher as being “especially suited to instruments…the most free and unrestrained method of composition…bound neither to any words or to a melodic subject… instituted to display genius and teach the hidden design of harmony…”. In this highly representative piece of the style, bristling with unpredictability and acrobatics, the artists juxtaposed its extreme moods in a continuum of sections expressing frenzy and lyricism (even moderation), coloured with accelerandi and audacious harmonic changes, rumbling harpsichord textures and the profuse ornamentation that emanated from under Sato’s fingers as he quizzically eyed the mesmerized audience. Karshon was with Sato all the way, as they introduced the audience to an uninhibited and totally delectable 17th century musical version of a Hitchcock movie. A musician at the court of Ferdinand Charles, Archduke of Austria, Pandolfi Mealli dedicated this sonata to a castrato. In 1669, when a violinist in the Messina Cathedral, he fled Sicily after murdering a castrato singer, then working as a violinist in the Capilla Real of Madrid. Who said music history was boring?
Appropriately timed (December 26th) the last work on the program was Arcangelo Corelli’s Christmas Concerto in G-minor Opus 6 No.8, with the Divina Insania artists lending supple and graceful expression to its lush, melodic beauty and undulating suspensions, its tempo contrasts and its dance movements, ending with the wonderful lilting pastoral movement, with its folk-like tunes, bagpipe drone effect and sense of wonder.
This was Shunske Sato’s first Israeli visit.
Photo of Shunske Sato: Yat Ho Tsang
About 500 people attended Ronit Farm on Saturday night (24.12) to take part in the traditional event in honor of wounded IDF soldiers and members of security forces who have been rehabilitated at the Loewenstein hospital. The event was organized by Ora and Yair Shani, together with the Organization of Disabled IDF Veterans and the Association of Friends of the Loewenstein Hospital. Participating in the event were hospital management, therapeutic staff, and members of the Friends Association.
The event opened with a political speech by Prime Minister Benjamin Netanyahu, followed by the Prime Minister lighting the first Hanukkah candle with Amazia Fensterheim, fighter in the engineering company of the paratroopers. Amazia was wounded during the Tzuk Eitan operation, in a battle in which four of his comrades were killed by a roadside bomb in Khan Younis. Amazia was the first fighter in the Tzuk Eitan operation to come for rehabilitation to Loewenstein Hospital, to the Orthopedic Rehabilitation Department. The Prime Minister was joined for the menorah lighting by: Eli Defes, the CEO of Clalit, Prof. Amiram Catz, Director of Loewenstein Hospital, and Dr. Dudu Dagan, Chief Medical Officer.
Prof. Amiram Catz, Director of Loewenstein Hospital, addressed the audience and said: "Hanukkah symbolizes the triumph of spirit and sophistication over the material, however strong or numerous it might be. It is a wonderful occasion to celebrate the victory over the severe wounds to body and soul. The success of our patients, who felt and were considered to be struggling against all odds, but received help from our doctors and therapists, which produced new opportunities and brought them to realization. On behalf of all Loewenstein staff, I salute the wounded soldiers and members of our security forces, those who returned to be part of Israeli society, which embraces them, and who contribute their talents to society; those who returned to independence and high-quality life; those who realized their latent capabilities after they had been wounded; and also those who still have a long way ahead of them toward improvement and realization of their capabilities."
At the event, a moving documentary was screened about the rehabilitation journey of Ophir Cohen, a paramedic in the 53rd battalion of Armored Brigade 188, who sustained a critical head injury from a mortar shell during the Tzuk Eitan operation. Ophir still continues the process of his rehabilitation at Loewenstein, and his physicians and therapists are confident that significant achievements await him in the future.
The second part of the evening consisted of a gala dinner accompanied by performances of Si Heiman, Moran Mazuz, Tal Sondak, and others.
Loewenstein Rehabilitation Hospital of the Clalit Group has been rehabilitating wounded soldiers since the Six Day War to the present, and has many years of experience treating soldiers. Over the years it developed a close relationship with the IDF and the Defense Ministry. Since its establishment, the hospital has rehabilitated hundreds of soldiers in active and reserve service, who were injured in battles, accidents, and terrorist attacks.
Photo credit: Oren Jezreel / Silvia G. Golan .
Rabbi Lau to open conference by lighting a menorah from Krakow
(26 December 2016 – Jerusalem) The Hanukah story is one that is centered on Jewish identity and symbolizes Jewish resilience and strength. Therefore, it is especially befitting that during the first-ever International Conference for Jewish Educators at Yad Vashem's International School for Holocaust Studies, entitled " The Shoah and Jewish Identity: Challenges in Jewish Education ," there will be special Hanukah candle-lighting ceremonies using authentic Hanukiot (menorahs) from the Yad Vashem Artifacts Collection that survived the horrors of the Holocaust. "Each menorah has a unique story similar to those of Holocaust survivors themselves," says conference organizer Ephraim Kaye, Director of the Jewish World and International Seminars Department at the International School for Holocaust Studies. "Just as we use artifacts and testimonies to tell the story of the Holocaust, so, too, are these Menorahs examples of how Jews put themselves at risk to maintain their Jewish identities."
The International Conference, taking place 26-29 December 2016 (third-sixth days of Hanukah) will be kicked off with a special candle-lighting ceremony by world-renowned Holocaust survivor and Chairman of the Yad Vashem Council Rabbi Israel Meir Lau. Rabbi Lau, whose mother was from Krakow, will light the special " Krakow Menorah " a rare menorah crafted in Bruges (Brussels) which dates back to the late 18th or early 19th century. The menorah represents a façade of a wooden synagogue which was common in Lithuania and Poland up until the Shoah. Many of these synagogues were burned and destroyed during World War II. This multi-purpose menorah was also used to light the Sabbath candles on a weekly basis. At the end of the war, the returning Jews found the menorah with other items from this once thriving epicenter of Jewish life, and it was given to Yad Vashem for preservation and commemoration.
Other menorah being used at the conference is the world-famous Hanukah Menorah from Kiel, Germany . This menorah belonged to Rabbi Dr. Akiva Posner, who served as the last Rabbi of the community of Kiel, Germany from 1924-1933. With the rise of the Nazi Party to power, Rabbi Posner began protesting the insurgence of antisemitic sentiment in the city. Despite his efforts, tension and violence continued to rise in Kiel, forcing Rabbi Posner and his family to flee. In 1933, he, his wife Rachel and their three children left for Eretz Israel. Yehuda Mansbach, grandson of Rabbi Akiva and Rachel Posner, will light the menorah for the fourth night of Hanukkah.
In 1940, Zelig Scheinowitz crafted a simple wooden menorah from plywood while interned in the Westerbork detention camp. Scheinowitz worked in the clothing factory sorting and fixing cloths. Due to his profession, he managed to survive and together with his family and menorah, he was liberated in April 1945 by the Canadian Army. The menorah was eventually donated to Yad Vashem by Nachman Scheinowitz. Thirty-eight members of Scheinowitz family, including one survivor, will be present at the candle-lighting ceremony on 28 December 2016.
The stories of these Menorah and other artifacts can be found in an online exhibition, entitled " Hanukkah – The Festival of Lights ." In this moving exhibition, Yad Vashem shares with the public images, testimonies and artifacts of some of the ways this holiday was observed throughout Europe before, during and immediately after the Holocaust.
About the conference: For the first time, over 200 Jewish day-school principals, headmasters and senior Jewish Studies educators, from 34 countries and six continents around the world, will be gathering at the Yad Vashem International School for Holocaust Studies for the conference. The international conference will be the largest and most prestigious gathering of leaders in Jewish education from Jewish day schools and centers for informal Jewish education worldwide. Throughout the course of the conference, leading experts from Yad Vashem will present its unique and cutting-edge pedagogical approaches relating to Holocaust education.
Over the years, the Yad Vashem Artifacts Collection has amassed one of the world's largest collection, containing some 30,000 items. For more information about these Hanukiot and the Yad Vashem Archives and Artifacts Collection, please contact Simmy Allen, Head, International Media Section in Yad Vashem's Communications Division.
Yad Vashem, the World Holocaust Remembrance Center, was established in 1953. Located in Jerusalem, it is dedicated to Holocaust commemoration, documentation, research and education. www.yadvashem.org
Image Captions: All photos should be credited to Yad Vashem Photo Archives
Mansbach Menorah Image - A photograph taken in 1932 by Rachel, wife of Rabbi Akiva Posner, of their candle-lit Hanukkah menorah against the backdrop of the Nazi flags flying from the building across from their home in Kiel Germany
Krakow Menorah Image - Krakow Poland - Hanukkah Menorah in the shape of a synagogue.
Westerbrook Menorah Image – In 1940, Zelig Scheinowitz crafted a simple Hanukkah menorah in the camp from plywood for the use of his family.
DP Camp Menorah Image - The truncated tree and a sprouting leaf on this Hannukah menorah are the symbol of She’arit Hapleta (The Surviving Remnant).
About Chanukah
Chanukah
Unlike most of the major Jewish holidays, Chanukah’s origin is not in the Bible, but rather in events that happened later. This is a holiday that lasts eight days and begins on the 25th of the Hebrew month of Kislev (usually in December). There are no completely holy days, so businesses are open as usual.
Chanukah marks a historic event that took place in the Seleucid period, in the 2nd century BCE. A few of the Seleucid kings (the dynasty that followed Alexander the Great, and which was based in Syria) tried to force the Jews in the Land of Israel to adopt certain customs that were against the laws of Judaism. The worst decree was when King Antiochus IV ordered the installation of a statue in the Holy Temple in Jerusalem.
In 167 BCE, the Jews revolted against the Greek Seleucid regime. A few of the leaders of the revolt, the Hasmoneans, or Maccabees, were the sons of Mattathias, the high priest. In 164 BCE, under the leadership of Judah Maccabee, the revolt reached its climax with the liberation of Jerusalem from foreign rule, including the Holy Temple. The events are documented in a few historical sources written at the end of the 2nd century CE, a few decades after the revolt. According to Jewish tradition, the holiday of Chanukah was instituted by Judah Maccabee.
The holiday lasts eight days, commemorating the celebrations marking the purification and rededication of the Holy Temple, and a miracle recorded in the traditions: When the Maccabees looked for holy oil to light the candelabrum in the Temple, they found only one small flask whose seal had not been broken and was therefore still pure. The oil in the flask was enough for only one day, but a miracle occurred and the oil burned of eight days. In addition to the element of heroism marked by this holiday, Chanukah also has a motif of light against darkness, so Chanukah is also called the holiday of Lights.
In modern times, Chanukah has been adopted as a symbol of the Jews’ struggle against their enemies on both the religious and national level. Today some people emphasize the religious, miraculous side of the holiday, while others focus on the national victory aspect. In any event, this is a holiday full of joy and is a special favorite among children.
Sufgania
Candle lighting - Throughout the eight days of Chanukah candles are lit in a Chanukiah, a candelabrum with eight branches in a row and an extra candle holder, called the shamash, from which the other candles are lit. On each night of Chanukah an additional candle is lit, starting with one on the first night, two on the second, etc. The shamash is always lit, too, such that in practice two candles are lit the first night, three on the second, etc. The Chanukiah is placed on the window sill or in some other visible place, and it is forbidden to use the light for any purpose. There is a custom to light the Chanukiah with olive oil, although most people today use colorful wax candles. A short blessing is recited over the lighting of the candles, a ceremony in which children are included, and which is followed by the singing of Chanukah songs.
Jelly donuts (sufganiot) and potato fritters - Another Chanukah custom is the eating of special foods, mainly those fried in oil, such as donuts and fritters.
Spinning tops - children play with four-sided spinning tops, marked with the Hebrew initials of a Great Miracle Happened Here. It is also customary to give children “Chanukah gelt” money for buying candies or toys.
Important Information
dreidl (spinning top)
Chanukah, which is not a Torah-ordained holiday, is relatively minor from the perspective of its sanctity, so most businesses are open as usual. In order to experience a bit of the spirit of this holiday, try tasting the traditional foods, particularly the sufganiot - a kind of donut without a hole in the middle, usually filled with jam, but also made with other sweet fillings. If you happen to be in Jerusalem during Chanukah, it is worth taking a walk through the ultra-Orthodox Mea She’arim neighborhood in the early evening, to enjoy the sight of hundreds of Chanukiahs lit in the windows of the homes.
Design Museum Holon’s newest exhibition opens on the 20th of December 2016. Overview engages with one of the most important inventions in human history, and a desirable design object: eyeglasses. The exhibition follows the development and future of eyeglasses through several different points of view: from the unique Claude Samuel retrospective eyeglasses collection dating back to the 17th century to contemporary conceptual interpretations of eyeglasses by 50 Israeli designers highlighting the creative energy of the Israeli design scene. In addition, the exhibition explores the new Virtual Reality (VR) technology, as well as the different ways sight and design can interact through various activities.
On the ground floor in Dr. Shulamit Katzman Gallery, Design Museum Holon presents more than 40 commissioned works by Israeli designers from a variety of backgrounds, including fashion, textile, jewellery and product design to answer the question: “What are eyeglasses?” This part of the exhibition demonstrates the transformational nature of this design object through Israeli designers’ myriad of interpretations, compelling visitors to engage and question the themes of vision and self-image. For example, renowned Israeli product designer Yaacov Kaufman explores the evolution of eyeglasses from monocle to mask, presenting it in a striking comparison to human evolution. Dana Ben Shalom, in contrast, delves into the relationship between glasses and the nose, whilst Galit Shvo reinterprets how glasses can be worn and their subsequent connection to the face.
In contrast to the modern interpretations of eyeglasses presented in the Lower Gallery, the Museum’s Upper Gallery (500 m2) showcases more than 400 items from collector Claude Samuel. A visual display of the history of eyewear, his extensive collection showcases the ways in which different cultural milestones actively influenced and were influenced by the invention and evolution of eyeglasses. Unique pieces ranging from Elton John and John Lennon style eyeglasses to authentic Eskimo bone eyewear are exhibited alongside sketches of eyewear designs made by Claude's father from the Pierre Cardin Fashion House, and more. This is the first time this collection is presented in a museum.
‘Vision Test’, part three of the exhibition, presents visitors with various objects from the Aharon Feiner Eden Materials Library that are also part of the Museum's permanent collection. These challenge the interaction between sight and design through interactive activities and optical illusions related to focus, colour and perspective. One example is Carnovsky Studio’s award winning RGB project, consisting of a large-scale multi-layered wallpaper, which projects different images depending on the colour of light illuminating the wall. This project was made possible through the support of the Istituto Italiano di Cultura and the Italian Embassy in Israel.
To complement the overall theme of the exhibition, Design Museum Holon's Design Lab engages in what the future of eyeglasses holds through an interactive display of Virtual Reality glasses in collaboration with The French Institute of Israel, Forum des Image and Holon Cinemateque. The Lab also features a “repairing reality” workshop dedicated to repairing and renewing eyeglasses, where visitors can bring in their old glasses and refurbish them in their own style. In addition, through an exclusive application created for the exhibition and a web camera incorporated into a big mirror screen, visitors are able to look at a projected image of themselves wearing different eyeglasses from the Claude Samuel collection and share the captured images on social media.
“Engaging with eyeglasses, such a common and everyday object, can be carried out from so many angles, but we have chosen to engage with it from the perspective of the person using the object. In the exhibition we will examine cultural milestones and the central role eyeglasses played in defining social and cultural phenomena. We tend to forget that the initial purpose of eyeglasses was to correct a flaw, and eyeglasses do not conceal that flaw, but actually emphasise it by means of design. The exhibition will not only enable an observation of the cultural history of eyeglasses, but also of the designer's role throughout the process,” Maya Dvash, Exhibition Curator and Museum's Acting Chief Curator.
About Design Museum Holon
Designed by world-renowned architect Ron Arad, Design Museum Holon was inaugurated in March 2010 and has quickly established itself as one of the most exciting developments to emerge in the Middle East. The Museum is part of an urban regeneration initiative that aims to transform the City of Holon into a centre for design. Central to Design Museum Holon’s mission is to supply an enriching and thought-provoking environment for visitors to explore exciting and engaging design ideas, principles, processes and objects in a tactile and practical fashion. www.dmh.org.il
The first three parts of J.S.Bach’s Christmas Oratorio BWV 248 were recently performed in two performances in Jerusalem and one in Bethlehem. With Gunther M. Goettsche (music director of the Redeemer Church, Jerusalem) and Erwin Meyer sharing the conducting, members of three choirs – the Choir of the Redeemer Church (Jerusalem), of the Schmidt Schule (Jerusalem) and of the Olive Branches Choir (Bethlehem) joined to form a large chorus. They were joined by the Belvedere Chamber Orchestra Weimar (Germany). Soloists were Heidrun Goettsche-soprano, Anne-Marieke Evers-alto, Sebastian Hübner-tenor and Samuel Lawrence Berlad-bass. This writer attended the performance at the Dormition Abbey, Mt. Zion, in which Erwin Meyer was conductor. Father Nikodemus, of the Dormition Abbey, offered words of welcome to the large audience.
Bach’s Christmas Oratorio was completed around Christmas in 1734. Its format is that of a cantata, with the tenor Evangelist narrating the story of the birth of Christ. All texts sung by the Evangelist are minimally accompanied in order to give the Gospel texts prominence. From Christmas Day to Epiphany in the 18th century, the town of Leipzig celebrated the birth of Jesus and the events surrounding it with six commemorations taking place between Christmas Day and the Feast of Epiphany. At each of those events, Bach’s congregation was presented with a single cantata of the Christmas Oratorio, recounting one of the stories, their biblical texts accompanied by reflective texts. The three first cantatas heard at the Jerusalem and Bethlehem performances feature the first three celebrating the birth of Jesus (December 25th), the shepherds’ adoration of the baby (December 27th) and the circumcision and naming of Jesus (New Year’s Day).
From the opening five-note phrase on the timpani, the performance at the Dormition Abbey was one of joy. Choruses, with the chorales reflecting the voice of the people, were well coordinated and articulate; the singers were attentive, their phrases shaped, full of impetus and energy, making for rewarding choral performance. Served well by his bright, rich and agreeable tenor voice, Sebastian Hübner gave the narrative spontaneity and flexibility, at times urgency and even suspense. In the virtuosic “Joyful shepherds, hurry, ah hurry”, he and the orchestra’s very excellent flautist in the obligato role communicated and embellished with alacrity. Honorary professor at the Heidelberg University of Church Music, Sebastian Hübner has a wide repertoire, has premiered new works and is a member of the Schola Heidelberg Ensemble.
There was much natural warmth and richness in the singing of German-American baritone Samuel Lawrence Berlad, standing in for bass Peter Schüler, who had taken ill. His mix of mellifluousness and dramatic flair gave colour and life to text and music, as in the dialogue with obligato trumpet in “Great Lord, O mighty king”. An opera singer, Samuel Berlad is also a Jewish cantorial singer and voice teacher, heading the vocal department of the Tel Aviv Cantorial Institute. Dutch-born mezzo-soprano Anne-Marieke Evers, much specialized in performance of early music, dealt with the alto recitatives and arias with outstanding vocal presence, projecting her voice amply and with natural ease into the acoustic space of the church. In the aria “Sleep, my dearest”, she recreated this moving jewel of a lullaby in gentle, empathic yet substantial singing, as the basso continuo repeated the note g in octave leaps to depict rocking the baby. With a minimum in the way of solo soprano arias, we heard duets with tenor and bass from renowned voice teacher Heidrun Goettsche. Pronouncing the angel’s words (in effect, God’s words) “Do not fear”, the recitative accompanied by held chords in the strings, we heard one of the girls of the Schmidt School choir, her clean, fresh voice conveying the message of solemnity, succour and hope.
Members of the Belvedere Orchestra Weimar (concertmaster: Johannes Müller) are all students at the Music Gymnasium Schloss Weimar, a selective high school for talented young musicians from Germany and other countries. The orchestra was outstanding throughout the performance, its balance, intonation and obligato roles refined, sophisticated and subtle. Conductor, piano accompanist and composer Erwin Meyer, director of the Olive Branches Choir (Bethlehem), drew all the participants together in conducting that was articulate, expressive and exhilarating. A fine mix of people from many communities attended the festive event.
The Jerusalem Baroque Orchestra’s second concert for the 2016-2017 season offered Baroque music aficionados a unique program. This writer attended the event, “A Christmas Special”, in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem International YMCA on December 8th 2016.
Due to illness of one of one of the artists, there was a last-minute program change: instead of J.S.Bach’s Brandenburg Concerto No.6, we heard Bach’s Trio Sonata for organ BWV 527 performed in the traditional Baroque trio sonata format by Idit Shemer-flute, Noam Schuss-violin, Orit Messer-Jacobi-‘cello and JBO founder and musical director David Shemer-organ. The Sonatas for Organ (BWV 525-530) from around 1730, (they may also have been played on pedal-clavichord or pedal-harpsichord) written when J.S.Bach was tutoring his eldest son Wilhelm Friedemann in organ and composition, are made up of earlier composed instrumental movements, newly composed movements and older organ works. With Johann Sebastian’s choice of clear textures for this instructional material, requiring the young organist to exercise total independence of hands and feet, what distinguish these works from other organ repertoire are their textures which imitate the instrumental trio sonata, inviting a variety of transcriptions which date from the 18thcentury to today. Addressing the fact that they are neither the flamboyant toccatas and fugues nor the chorale-preludes imbued with mystery, the JBO artists did not dispense with the intimate and eloquent character both of the piece and also of the Baroque instrumental sound, despite its performance in a hall. With Idit Shemer playing a Baroque traverso flute, the other instrumentalists pared down their volume to what resulted in chamber music of fine transparency and poetic nuance, with sympathetic contrapuntal dialogues woven between flute and violin. A nice aperitif to the evening and presented by core JBO players.
Then to Dietrich Buxtehude’s (c.1637-1707) cantata cycle “Membra Jesu Nostri” (The Limbs of Our Jesus) BuxWV 75, a mystical work based on a collection of hymns in which each cantata represents the glance of a believer, standing at the foot of the cross, as he addresses parts of Christ’s body, his focus moving upwards from Christ’s feet to his face. The text, thought to have been written by Cistercian monk Arnulf de Louvain (c.1200-1250), reflects the rise of 17th century Lutheran pietism and its characteristic subjectively emotional sentiments. Each cantata is constructed along the same lines, the opening instrumental sinfonia followed by a “dictum”, an aria of three stanzas, with the dictum repeated at the end. The composer only breaks this form in the last cantata, where the repeated dictum is replaced by a lavish Amen. The work is scored for a small ensemble and five singers, the latter singing solos and small group- and tutti sections. The JBO instrumentalists were joined by members of Ensemble PHOENIX (founder and musical director: Myrna Herzog) and Tal Ganor-soprano, Anat Czarny-mezzo-soprano, Avital Dery-mezzo-soprano, Hillel Sherman-tenor and Guy Pelc-bass. In performance that was unforced rather than dramatic, with emphasis on clear diction, David Shemer led instrumentalists and singers through the work, preserving its meditative, devout and soul-searching character. For Cantata No.6, the instrumental sound world changes markedly: the violinists stand down and four viol players join ‘cello, theorbo and organ in a mellow, velvety setting to present “To the Heart”. This is indeed the heart of the work. The original ensemble returns for the final cantata and the viols are gone. The choruses presented a lively and interesting mix of vocal timbres, with vocal trios highlighting intensity of texts. Add to that Anat Czarny’s attractive, radiant voice, Avital Dery’s spiritual understanding of the work, Hillel Sherman’s burgeoning, natural tenor, Guy Pelc’s gentle intensity and Tal Ganor’s creamy, blending timbre. Ganor, just a little too careful, could have projected her voice further into the YMCA hall. The instrumentalists, including the evocative sound of the theorbo (Eliav Lavi), seized every opportunity to add interest and beauty to a work that is quite exquisite.
In his program notes, Maestro Shemer speaks of the fact that the music of the “veritable giant” Buxtehude “has not had fitting representation on Israeli music platforms”. The impact this performance has had (more Easter-oriented than Christmas) will hopefully mean that we hear more works of the Danish-German genius, whose music had such a profound influence on J.S.Bach.
Yamato Japanese Drumming Troupe Arrives for Three Performances in Israel
Gad Oron Producction ( Israel ) presents
Yamato, The Drummers of Japan, have arrived in Israel as part of their 2016 world tour, Feel the Beat. The legendary drumming troupe, whose art reflects a tradition that is 1,500 years old, is giving three performances in the country: in the Haifa Auditorium on December 10, at Heichal Hatarbut in Tel Aviv on December 12, and at the Beersheba Center for the Performing Arts on December 14.
All the performances are scheduled to begin at 20.30.
"DAZZLING. THEY FILL THE STAGE WITH HUGE BEAUTIFUL DRUMS AND BEAT SEVEN BELLS OUT OF THEM WITH PHENOMENAL SKILL. SIMPLY BREATHTAKING DRUMMING"
THE DAILY TELEGRAPH
Tickets for the Tel Aviv performance may be ordered by phoning
The 2016-7 season of the Israel Opera Company debuted on November 30 with a rousing performance of the opera Norma, by Vincenzo Bellini. The production, by Teatro of Torino, was conducted by Daniel Oren of the Opera Orchestra: Israel Symphony Orchestra Rishon Lezion.
The lead roles of Norma and Pollione were sung by soprano Hrachuhi Bassenz and Gustavo Porta respectively. At the curtain calls, Ms. Bassenz received the longest sustained applause for her bravura performance. Ms. Bassenz will be alternating in the role of Norma with Maria Pia Piscitelli and Ira Bertman.
The outstanding male performer of the evening was bass-baritone Carlo Striulli in the role of Oroveso, the Druid chieftain.
The stage scenery is as minimalistic as you will ever see in an opera production: monolithic blocks of stone that slide back and forth like curtains to create larger and smaller spaces for the action to take place. Still, the plain giant boulders had a simplistic grandeur about them.
The costuming was impressive, especially of the Druid warriors. The matching of Norma’s burgundy dress with Ms. Bassenz’s red hair was particularly striking.
The Israel Opera’s production of Norma runs through Dec. 17.
Comedy for Koby Tour Features Leading Names in American Comedy
In response to the growing popularity of English-performing stand up artists on Israeli stages, three top American comedians are preparing to appear in the multi-city tour with sales to benefit victims of terror and tragedy. Elyane Boosler, Allan Havey and Tom Cotter are all accomplished comedic actors who have previously appeared on late night television, in film and major comedy clubs and stages around the world.
The three will all perform in Israel for the first time under the Comedy for Koby banner beginning December 6th. Comedy for Koby is the twice annual stand up comedy fundraising tour for The Koby Mandell Foundation, benefitting bereaved families and victims of terror. The tour, hosted by Israeli born, Los Angeles- based comedian Avi Liberman, will be showing in Tel Aviv, Jerusalem, Beit Shemesh, Modiin, Gush Etzion and Raanana.
All proceeds from the Comedy for Koby tour go to benefit programs of The Koby Mandell Foundation, named in memory of 13 year old Koby Mandell, who was killed in a terror attack in 2001. Working with bereaved children and families, the Foundation offers ongoing social and therapeutic programs including Camp Koby.
Past comics who have performed under the Comedy for Koby banner include Roastmaster General Jeffrey Ross, Daily Show correspondent Roy Wood Jr., opening act for Jerry Seinfeld Mark Schiff, Emmy Award winning Judy Gold and Comic Strip Live’s Wayne Cotter.
“Bringing this level of comedy to Israel gives us so much joy,” said Seth Mandell, father of Koby and co-founder of the Foundation. “It allows others to associate me and my family with a smile and a laugh rather than just with sadness and trepidation. Not only does the money from the shows go to help the bereaved families, but the shows bring much needed laughter and release for the community at a time of tension andnear daily terror.
DEC 6 – Beit Shemesh, Eshkol Payis – Aliyat Hanoar 6, 8:30pm
DEC 7 – Gush Etzion, Matnas Gush Etzion, 8:30pm
DEC 8 – Jerusalem, Beit Shmuel Theater, Eliyahu Shema 6, 7:00pm, 9:30pm
DEC 10 – Raanana, Yad Labanim, Achuza 147, 8:30pm
DEC 11 – Modiin, Heichal Hatarbut, Emek Dotan 49, 8:30pm
DEC 12 – Tel Aviv, Tzavta, Ibn Gevirol 30, 8:30pm
Tickets can be purchased at www.comedyforkoby.com
Photo credit Yissachar Ruas
The Carmel Quartet (Israel) opened its 10th season of Strings and More in November 2016 with a concert titled “Viennese Gemütlichkeit”. This writer attended the English language lecture-concert on November 16th at the Jerusalem Music Centre, Mishkenot Sha’ananim. Not the usual Carmel Quartet line-up, players included quartet members Rachel Ringelstein-violin, Yoel Greenberg-violin/viola and Tami Waterman-‘cello; they were joined by Einav Yarden-piano and Naomi Shaham-double bass. The Strings and More Series is directed by Dr. Yoel Greenberg. Established in 1999, the Carmel Quartet appears in Israel, Europe and the USA, having made its China debut tour in 2013.
The German word “Gemütlichkeit”, whose loose translation might be “cosiness” or “geniality”, a central concept of the Biedermeier period in Central Europe between 1815 and 1848, reflected in artistic styles influencing literature, the visual arts, interior design and music. Yoel Greenberg, with the help of his fellow musicians and some interesting visuals, spoke about the Biedermeier “subplot” of the Romantic period, having originated in stories about an imaginary schoolmaster by the name of Gottlieb Biedermeier and representing honest, pious and unambitious people. The solid, conservative style of Biedermeier furniture is indicative of these values, reminding the audience that much Biedermeier art was evident in the home environment, no less in the form of house concerts.
Among opera composers of the time, Gioachimo Rossini was most popular for the melodiousness of his works. The evening’s music began with the last movement - Tempesta:Allegro - from Rossini’s Sonata for Strings No.6 in D-major, one of a set of six string sonatas the composer wrote in 1804 at age 12. The players gave articulate and lively expression to the storm brewing and dying down and rising again in this descriptive piece, to its effects of tempestuous, rapidly descending scales, bird calls, etc., to its vitality and to the composer’s astute separation and highlighting of ‘cello and double bass parts. Too often performed by larger ensembles, it was fitting and rewarding to hear the movement presented in its original one-to-a-part setting.
Referring the private Viennese salons, Greenberg pointed out that most of Schubert’s Lieder were first aired there. To create the atmosphere of such house music, the artists at the Jerusalem concert – four singing, with Einav Yarden at the piano – gave a hearty performance of Franz Schubert’s miniature “Der Tanz” (The Dance) D 826, one of the composer’s 130 part songs. Greenberg also pointed out that every respectable home at this time would now have a piano (an item of Biedermeier furniture), usually played by girls and young women and that, in the music salon, amateur players were often joined by one professional. Such was composer Johann Nepomuk Hummel, a dazzling piano virtuoso, the bulk of his compositions being written for the piano. Hummel’s Piano Quintet in E-flat major opus 87, composed in Vienna in 1802, is a masterpiece. Typical of music of the congenial Biedermeier sound world in its familiar-sounding melodious style, it would have appealed to 19th century audiences as it did the audience at the Jerusalem Music Centre. Unusual in scoring, it is written for violin, viola, ‘cello, piano and double bass. The challenging piano part (surely performed by the composer), its flamboyance and effervescence evident throughout, was splendidly handled by Einav Yarden in colourful, easeful playing, with the string players’ contribution warm, full and rich. From the quintet’s sombre, dark-hued opening, to the folksy reference of the second movement Ländler, with the brief, evocative Largo leading directly into the Finale, the latter’s Rondo creating a full music canvas with some frenzied piano utterances and other pleasing solos on the part of the strings, the players kept the audience involved in this seldom performed piece.
The program concluded with Franz Schubert’s Piano Quintet in A-major D.667, The Trout. Greenberg reminded the audience that many of Schubert’s works were heard in the Viennese salon, with baritone Johann Michael Vogel premiering many of the composer’s songs in Vienna’s private homes. Then there were the Schubertiades, as so wonderfully depicted in Moritz von Schwind’s 1868 drawing, events sponsored by Schubert’s wealthier friends or by Schubert aficionados. Greenberg also spoke of the Biedermeier concept of uncomplicated enjoyment as in the musical description of the fish swimming on a sunny day and of the fact that the variations were on Schubert’s own Lied - “Die Forelle”. Then there is the genesis of the work, the 22-year-old Schubert’s response to the request of the work by Sylvester Paumgartner, a wealthy amateur ‘cellist from Upper Austria and to be played by a group of musicians coming together to play Hummel’s rearrangement of his (Hummel’s) Septet for the same instrumental combination. No rarely performed work, the Jerusalem rendition spoke in favour of live performance from the work’s very first notes. Superbly led and coloured by Carmel Quartet’s 1st violinist Rachel Ringelstein, the players brought to life every palpable gesture of the work in playing that was transparent, richly sonorous, with both personal playing and that and wrought of the players’ exceptional ensemble skills. The top-class quality playing of guest artists Einav Yarden and Naomi Shaham conformed to the Carmel Quartet’s unflagging standards of excellence.
Coinciding with World Chess Championship tournament currently taking place in New York, Yad Vashem has launched a unique online exhibition: Chess Sets, a Brief Respite from a Harsh Reality . The online exhibition features20 chess sets from the Yad Vashem Artifacts Collection. These chess sets were used by Jews both before, during and immediately after the Holocaust. Some were crafted during the war, others were made before the war and taken with Jews who were deported from their homes.
Playing chess often helped Jewish prisoners to endure the forced labor and the harsh conditions. For Jews who were in hiding during the war, chess was a way of passing the many idle hours of seclusion over months and even years. At the end of the war, the survivors themselves or the families of those who were murdered kept the chess sets along with the remaining personal effects that remained in their possession. The relatively large number of chess sets preserved in Yad Vashem's Artifacts Collection is evidence of the widespread popularity of the game during the war as a means of providing a brief respite from a harsh reality.
One of the chess sets featured in the exhibition belonged to Elhanan Ejbuszyc. While imprisoned in a labor camp, he took a club that had been used to beat prisoners and carved chess pieces from it. Ejbuszyc later explained: "What I achieved – turning a tool of punishment into a tool of peace after breaking it into pieces and carving chess pieces from it – was to give my fellow Jews a rare chance to forget their pitiful circumstances for a while. That brief moment of solace that I managed to bring to my fellow sufferers filled me with such joy – this was my reward…"
For more information about the chess sets featured here
or about the Yad Vashem's extensive Artifacts Collection
About Yad Vashem :
Yad Vashem's International Institute for Holocaust Research stands at the forefront of scholarly study on the Holocaust, providing comprehensive infrastructure for further investigation into this calamitous period in human history. The Research Institute is dedicated to advancing international research regarding the Shoah and fostering cooperative projects among academic institutions, as well as encouraging young scholars in their studies.
Yad Vashem, the World Holocaust Remembrance Center, was established in 1953. Located in Jerusalem, it is dedicated to Holocaust commemoration, documentation, research and education. www.yadvashem.org
The vessel was discovered together with daggers, an axe head and arrowheads that were apparently buried as funerary offerings for one of the respected members of the ancient settlement.
A small extraordinary jug from the Middle Bronze Age was revealed with the assistance of pupils in the Land of Israel and Archaeology matriculation stream in an Israel Antiquities Authority archaeological excavation that was recently conducted in the city of Yehud prior to the construction of residential buildings.
According to Gilad Itach, excavation director on behalf of the Israel Antiquities Authority , “It literally happened on the last day of the excavation when right in front of our eyes and those of the excited students an unusual ceramic vessel c. 18 cm high was exposed atop of is the image of a person. It seems that at first the jug, which is typical of the period, was prepared, and afterwards the unique sculpture was added, the likes of which have never before been discovered in previous research. The level of precision and attention to detail in creating this almost 4,000 year old sculpture is extremely impressive. The neck of the jug served as a base for forming the upper portion of the figure, after which the arms, legs and a face were added to the sculpture. One can see that the face of the figure seems to be resting on its hand as if in a state of reflection”. Itach added, “It is unclear if the figure was made by the potter who prepared the jug or by another craftsman”.
Efrat Zilber, supervisor responsible for coordinating the Land of Israel and Archaeology matriculation stream in the Ministry of Education emphasized that “the archaeological excavations provide an opportunity for an intensive and direct experience that connects the pupils with our country’s past. An experiential learning experience involving research methods employed in archaeology takes place while revealing the artifacts. The pupils meet experts in a variety of fields who share their knowledge with them, enrich the pupils while also enriching their world”.
The jug, which was broken when it was found, being restored in the laboratories of the Israel Antiquities Authority in Jerusalem.
In addition to the unique pottery vessel, other vessels and metal items were found such as daggers, arrowheads, an axe head, sheep bones and what are very likely the bones of a donkey. According to Itach, “It seems that these objects are funerary offerings that were buried in honor of an important member of the ancient community. It was customary in antiquity to believe that the objects that were interred alongside the individual continued with him into the next world. To the best of my knowledge such a rich funerary assemblage that also includes such a unique pottery vessel has never before been discovered in the country”.
In addition, a variety of evidence regarding the kind of life that existed there 6,000 years ago was exposed – among other things, pits and shafts were revealed that contained thousands of fragments of pottery vessels, hundreds of flint and basalt implements, animal bones, and a churn which is a unique vessel that was widely used in the Chalcolithic period for making butter.
The pupils of the Land of Israel and Archaeology matriculation stream participate in excavations as part of the new training course offered by the Israel Antiquities Authority and the Ministry of Education, which seeks to connect them with the past and help prepare the archaeologists of the future. Students who choose this course of study as part of their alternative evaluation for high school matriculation, take part in a week of excavation. They experience the variety of roles involved in the excavation, discuss questions regarding research and archaeological considerations and document the excavations in a field diary as part of their research work.
“Suddenly I saw many archaeologists and important people arriving who were examining and admiring something that was uncovered in the ground” recalls Ronnie Krisher, a pupil in the Land of Israel and Archaeology stream in the Roeh religious girls high school in Ramat Gan. “They immediately called all of us to look at the amazing statuette and explained to us that this is an extremely rare discovery and one that is not encountered every day. It is exciting to be part of an excavation whose artifacts will be displayed in the museum”.
Photo: Clara Amit, courtesy IAA.
The 3,800 year old jug as exposed in the field. Photo: EYECON Productions, courtesy of the Israel Antiquities Authority.
On November 13th 2016, the Sunday Evening Classics series at the Jerusalem Center for Near Eastern Studies (Brigham Young University) featured Alon Sariel-mandolin (Israel/Germany), Izhar Elias-guitar (Holland) and Michael Tsalka-piano (Israel/Holland) in a program of works all based on a song of Paisiello. The three artists, sharing a passion for historical performance and contemporary music, all having busy international careers, meet a number of times throughout the year to perform together. Composers from Europe, Canada, Israel and Australia have written works for this unique trio. The works heard at the Jerusalem concert appear on the trio’s first album “Paisiello in Vienna” (Brilliant Classics). The trio’s recently issued CD “Sharkiya” (IMI) presents the world’s first recording of original music for a plucked trio (harpsichord, guitar and mandolin) by Israeli composer Yehezkel Braun (1922-2014).
“Nel cor più non mi sento” (In my heart I no more feel) appears in Giovanni Paisiello’s 1788 comic opera “L’amor contrasto”, better known as “La Molinara”. A simple and sweetly sentimental melody, indeed, a vehicle for ornamentation by singers of the day, it has served as the theme for a host of instrumental works by several European composers. The program opened with Alon Sariel and Izhar Elias’ performance of Bartolomeo Bortolazzi’s Variations in G-Major opus 8 on the song. There is some doubt as to this almost obscure Italian composer’s exact dates (possibly 1772-1846); what, however, is known is that he was a central figure in the field of plucked instruments, touring Vienna, Leipzig, Dresden and London as a mandolin virtuoso and singer. He wrote instrumental and vocal music, becoming the author of two important books on mandolin- and guitar methods. In 1809 he moved to Brazil, where he had connections with local music, theatre, politics and masonry. Sariel and Elias’ reading of the work rode on Sariel’s beautifully crafted, cantabile playing, on fine balance between the two artists, on the constant variety that well-written variations offer and on playing in which charm and directness enjoyed an equal footing.
Born in Pressburg (Slovakia), Johann Nepomuk Hummel (1778-1837) dedicated his Grande Sonata in C-major opus 37a (1810) to Bortolazzi. Hummel’s cosmopolitan style straddles Classical- and Romantic styles (Hummel studied with Mozart, Haydn, Salieri and Clementi). The Grande Sonata can be played on mandolin or violin and harpsichord or piano. In the “Paisiello in Vienna” CD, Tsalka performs all the keyboard roles on fortepiano, well in keeping within the character of salon music of the time and whose sound meets plucked instruments at eye level. Playing on the BYU’s Steinway grand piano at the Jerusalem concert, Tsalka deftly pared down its volume to meet that of the mandolin, his touch lighter but shaped and expressive, their interaction imaginative, highlighting the different sound world of each tonality. Sariel took up the Andante movement’s enticement to add much embellishment, with both artists’ skilful and flexible rendering of the Rondo an intermixture of differently presented episodes, peppered with a dash of humour. Italian composer, guitarist, ‘cellist and singer Mauro Giuliani was one of the principal composers writing for piano and guitar, a seemingly unlikely combination. His Introduction and Variations in A-Major opus 113, written in the composer’s Vienna period, gave the audience the opportunity to hear and delight in Izhar Elias’s finely honed solo art. Following the unhurried piano introduction, Elias and Tsalka took turns to handle the melody and the piece’s whims and textures, with Elias engaging in ornately wrought phrase endings and transitions, building up momentum to end this fine concert piece with vigour.
Then to Ludwig van Beethoven’s Six Variations in G-Major WoO 70 for solo piano, one of the composer’s minor pieces, tossed off by Beethoven within a night to please a noblewoman next to whom he had been seated at an opera performance. Conforming to performance practice of the time, Michael Tsalka took the liberty to add just a few tasteful transitions and embellishments. And, with the variations’ rapid runs, filigree textures and busy left hand moments, the audience was treated to elegant, finely detailed piano music, devoid of thick, heavy textures and certainly a far cry from the angry musings of Beethoven’s later works. The program concluded with all three artists performing prolific Bohemian composer J.B.Vanhal’s Six Variations in G-Major opus 42, for violin/flute and guitar/fortepiano. Following the piece’s opening flourish, the artists varied the work’s scoring and timbral colour by allotting a different instrumental combination to each variation, keeping the listener on his toes both visually and audially. Once again, each artist’s personal and different expression was instrumental in creating the ambiance of the salon of the Viennese aristocracy. We may not have been seated in the plush music room of a wealthy Austrian family, but we were certainly able to hear every filigree sound and fragile gesture played by the artists in the BYU auditorium.
Taking the audience back to the Middle East, the artists performed “Sharkiya” (East Wind) from their new CD, a work by Israeli composer Yehezkel Braun (1922-2014), its modal, inebriating soundscape delicately perfumed with exotic oriental rhythms and melodies.
The annual culinary event Round Tables by American Express, in cooperation with the Embassy of Spain in Israel, sponsored a cooking demonstration by two of Spain’s leading chefs in Tel Aviv last week.
Chefs Rafael Centeno Moyer of Galicia and Javier Goya Carramolino of Madrid demonstrated the preparation of tapas to an audience gathered at the Dan Gourmet Fine Culinary Arts Cooking Center, in the presence of Spain’s Ambassador to Israel Fernando Carderera.
At a tapas reception held prior to the workshop, Ambassador Carderera welcomed participants to the event held under the heading “Spread the Culture.” Spanish tourism attaché for Italy and Israel Carlos Hernandez Garcia explained that this initiative was in celebration of 30 years of friendship and diplomatic relations between Spain and Israel.
Guests were also greeted by Mercedes Sanchez, Madrid Tourism Market Manager for North America, France, Italy and Israel, and Maria del Carmen Pita Urgoiti, Promotional Director for the region of Galicia.
Chef Centeno, of the Michelin-starred restaurant Maruja Limón in Vigo, and Chef Goya of Triciclo, named among the top 10 tapas bars in Madrid, each prepared two tapas from their restaurants’ menus.
Following the demonstration, which was facilitated by Israeli Chef Victor Gloger of Chloelys in Ramat Gan, guests were able to taste these tapas, accompanied by excellent kosher wine from Spain.
In the framework of Round Tables by American Express 2016 in Tel Aviv, Chef Centeno will be working in the kitchen of the kosher restaurant Liliyot, while Chef Goya will collaborate with Chef Gloger in Chloelys.
Round Tables in Israel is produced by restaurateur Yair Bekier, in association with the Karvat and Weiss Communications Agency.
The Israel Netanya Kibbutz Orchestra’s second concert for the 2016-2017 season offered an evening of “Hidden Treasures of the Orchestra”, a concert in which the soloists were all members of the orchestra. This writer attended the event on November 5th 2016 at the Tel Aviv Museum of Art. Shmuel Elbaz, the orchestra’s house conductor, directed the concert, briefly introducing the works on the program as well as the soloists.
The concert opened with J.S.Bach’s Brandenburg Concerto No.4, in which Daphna Itzhaki and Michal Tikotsky played the flute parts and concert master Gilad Hildesheim the solo violin role. In true Baroque style (but on modern instruments) most of the instrumentalists played standing rather than sitting. Vivid, graceful and buoyant, the Allegro movement set the mood for a lively performance, Itzhaki and Tikotsky’s playing delicately shaped and well-coordinated, with Itshaki’s echoing of Tikotsky in the Andante movement indulging in some tasteful ornamenting and gentle flexing. Following a couple of rough edges in his playing at the start, Hildesheim engaged in the ensuing violin sections splendidly and with some spontaneity (Brandenburg 4 has at times been referred to as a solo violin concerto!). Elbaz took the final seriously contrapuntal movement at a lively pace, its tempo nevertheless feeling comfortable and controlled, with direction that was clear and dynamic.
Composed when Antonin Dvořák was at the height of popularity in his native Czechoslovakia as well as in Austria, his Serenade in D-minor for winds, ‘cello and double bass opus 44 (1878) took him only two weeks to write. Bristling with Slavonic folk melodies, rhythms and harmonies – as in the sousedská (a calm Bohemian dance danced in pairs) in the wistful second movement – the score calls for two oboes, two clarinets, two bassoons, three horns, ‘cello and double bass, its sound world an association with the hearty sounds of the “harmonie” band, popular at the end of the 18th century. Placed in a semi-circle around the stage, the NKO instrumentalists performed the work without the conductor; the players, watching each other closely, infused the work with freshness, energy and lightness, highlighting the unique timbral colours and textures offered by its specific instrumental combination. But, above all, the players created the work’s sense of well-being, its whimsy, its vigour and dynamic potential, as well as the jubilance of folk dances. Each player could be heard, with outstanding solos from oboist Hila Zabari-Peleg and clarinettist Igal Levin.
Then to Maestro Shmuel Elbaz’ solo – Antonio Vivaldi’s Concerto in C-major for mandolin and orchestra. Despite the fact that, of Vivaldi’s very many concertos, this is the only concerto for one mandolin, the composer’s writing sits very well with the instrument. And Elbaz brought out the colour, directness and vigour inherent in Venetian art, with orchestra and mandolin engaging in layered, Baroque-style dynamics. His easeful playing bristled with energy, his skilful ornamenting, at times quite florid, never concealing the melodic line. In the Adagio movement, he wove the fragile filigree strands of its arpeggios into a pensive mood piece. A little less microphone amplification would have sufficed…or perhaps none at all.
Prior to the next item, clarinettist Igal Levin recounted the curious story of how Felix Mendelssohn’s Konzertstück No.1 in F-minor for two clarinets and orchestra (the original version was for clarinet, basset horn and piano) came about. It was when Munich court musicians clarinettist Heinrich Joseph Bärmann and his basset hornist son Carl visited the Mendelssohn home in Berlin in 1832 that a deal was struck: the court musicians would roll up their sleeves and prepare the composer some Dumpfnudeln (steamed dumplings) and Rahmstrudel (sweet cheese strudel) if, while they worked in the kitchen, Mendelssohn would write them a piece for them to perform on their upcoming tour to Russia. Mendelssohn produced the work the same evening, only needing to add a few minor instrumental changes following its completion.
He orchestrated it three weeks later. The challenging score attests to the high quality of the two Bärmanns’ playing. The NKO’s performance featured clarinettists Igal Levin and David Lobera. A work of three brief movements, its scoring of double winds – flutes, oboes, bassoons, horns and trumpets – was indeed suited to the strengths of the NKO. Soloists and orchestra gave dedicated expression to the work’s hearty, lush Romantic textures, its drama and songful melodies, its tranquillity and agitation, with Levin and Lobera engaging in musical banter, speedy figurations and exuberant hell-for-leather runs.
Bringing the orchestra together to conclude the concert, we heard Josef Haydn’s Symphony No.96 in D-major, the first of his “London Symphonies”, erroneously named “Miracle” due to a near-catastrophe when a chandelier fell from the ceiling when Haydn was conducting Symphony No.102 in London in 1795. Elbaz led his orchestra in playing of substantial orchestral quality, of Haydnesque good humour and richness of contrasts.
And there were plenty of solos here, too, some minor utterances, others more generous: the two principal violinists are featured in solo passages, as well as all principal wind players. In the Andante (2nd movement), the focus is indeed on the winds and first violin, the latter possibly a token of appreciation of Haydn to impresario Johann Peter Salomon, who, in addition to producing Haydn’s London concerts, happened to also be his concertmaster. In the Trio of the Menuetto (3rd movement) we once again heard outstanding oboist Hila Zabari-Peleg in an eloquent rendering of the Ländler.
Altogether, Maestro Elbaz and the NKO presented Haydn’s light, expressive scoring and appealing earthiness, bringing to an end an evening of fine music, in which the orchestra’s treasures certainly did not remain hidden!
Photo: Maestro Shmuel Elbaz (photo: Natan Yakobovich)
9 November 2016 - 13 January 2017
The Romanian Cultural Institute in Tel Aviv will host between December 19, 2016 - January 13, 2017 the exhibition of paintings and drawings entitled "In the children's world".
The exhibition will feature works created by children from the Israeli community of Romanian origins, ages 5-12 years, and will take place under the theme of fantasy. The event will be dedicated to celebrating the Hanukka and Christmas holidays.
The registration period for the works is November 9-17, 2016, Monday -Thursday, from 09:00-17:00, and Friday, from 09:00-14:00.
Terms of participation:
The works should be submitted in A3 or A4 format, painting or drawing
The works will be submitted only in original, by bringing them to the RCI Tel Aviv office (8 Shaul Hamelech Blvd., 6th floor), and should respect the theme of the exhibition - "fantasy"
The call for applications is addressed to the members of community of Romanian-born Israelis
The age group is 5-12 years
The work will be submitted with the complete name and age of the artist
Works sent after the registration period or on another format than the one specified will not be accepted
The program of the exhibition:
November 9-17, 2016 - Call for applications at RCI Tel Aviv
November 18 - The selection of the works - it will be made by RCI Tel Aviv and Israeli artist of Romanian origin Livia Kessler, member of the Artistic Association Tseva Bateva
December 19, 2016 - January 13, 2017 - The exhibition "In the children's world" at RCI Tel Aviv
About Rosh Hashanah
Rosh Hashanah, the holiday that marks the beginning of the Jewish year, is in the Hebrew month of Tishrei, which coincides with late September and early October.
Unlike the other holidays, which have one holy day on which businesses are closed, Rosh Hashanah is a two-day holiday, and businesses are closed on both days. The holiday is two days according to tradition started in the Diaspora when the onset of the new moon – which traditionally was decreed by the High Court in Jerusalem – was not known.
According to Jewish tradition, Rosh Hashanah commemorates the culmination of the creation of the universe and acceptance of God’s sovereignty over the world. These are also the days on which God judges people’s deeds throughout the year and decides their future for the coming year - death for the sinners, life for the pious and a repentance period until Yom Kippur for people whose status is uncertain.
The period between Rosh Hashanah and Yom Kippur is called “The Ten Days of Repentance,” during which people have the opportunity to atone for their sins.
Holiday Customs
Prayer - Religious Jews attend lengthy synagogue services, and recite special prayers and liturgical songs written over the centuries. The versions of the prayers and liturgical songs vary slightly from one ethnic group to another.
Selichot (special penitential prayers) - During the week (or month, depending on the ethnic group) prior to Rosh Hashanah there are special “Selichot” prayers, requesting forgiveness and expressing remorse and repentance.
The blowing of the shofar (ram’s horn) - On Rosh Hashanah, 100 (or 101, depending on the ethnic tradition) shofar blasts are sounded in the synagogue, in single, triple and nine-blast groupings. The shofar blasts are intended to symbolize God’s sovereignty over the world, to remind Jews of the giving of the commandments on Mt. Sinai, of Abraham and Isaac’s devotion to God, to arouse people to repentance and to herald the Day of Judgment and the coming of the Messiah. When the first day of Rosh Hashanah is on Shabbat, the shofar is sounded only on the second day.
Apple and honey - At the evening meal on Rosh Hashanah it is customary to eat an apple dipped in honey and other sweet foods to symbolize a sweet new year.
Tashlich - On Rosh Hashanah afternoon it is customary to walk to a river, lakeshore or other open body of water, to shake out one’s pockets and symbolically cast one’s sins into the water. If you come to Israel during this period, it is worth going to see religious Jews performing this custom. When the first day of Rosh Hashanah is on Shabbat, Tashlich is performed on the second day.
New year greetings - Until a few years ago Jews in Israel (and around the world) used to send “Shana Tova” greeting cards to their friends and relatives wishing them health, happiness and prosperity for the new year. Today this custom has all but disappeared, as most Israelis prefer to use the telephone or e-mail. One way or the other, it is customary for Jews to wish everyone they meet during this New Year period a “Shana Tova” - a good new year.
Holiday meal - Even secular Jews who do not go to synagogue services have a holiday meal on the Rosh Hashanah evening, with fine wine, apple dipped in honey and other sweet dishes. It is customary to eat pomegranate, as a symbol of a plentiful year, the head of a fish, symbolizing the desire to keep ahead, and other symbolic foods.
Important Information
If you come to Israel during this period, take into account that there are two consecutive holy days during which businesses are closed. It is worth visiting a synagogue to hear the prayers, and don’t be taken aback if you are greeted with “Shana Tova.”
Height of Joy (על ראש שמחתי)
Art Inspired by a Jerusalem View
A collaboration with the Jerusalem Biennale for Contemporary Jewish Art
In the weeks before Sukkot, a dozen renowned Jerusalem-based artists were invited to create artworks, inspired by the breathtaking views over the Old City from the windows and balconies at the Boutique Hanevi'im project. During Hol Hamoed Sukkot, the public is invited to an exhibition of the artworks - and to enjoy the views - in the Boutique Hanevi'im penthouse apartment.
Among the participating artists:
Lenore Mizrachi-Cohen, from the Syrian community in Brooklyn, NY, who is currently on an artist-in-residency program with the Jerusalem Biennale
Motta Brim, the haredi artist who was the inspiration behind Akiva in the series Shtisel
Debbie Kampel, a South-African born artist now living in Alon Shvut whose work is currently on display in a Jerusalem Biennale exhibition in Manhattan
Where: Boutique Hanevi’im, 25 Hanevi’im St. Jerusalem
When: October 18-20, 2016, from 10:00-19:00.
Free admission.
Meet Jerusalem Biennale founder and director Ram Ozeri, who will talk in English about plans for the third Jerusalem Biennale for Contemporary Jewish Art, taking place October - November 2017.
Where: Boutique Hanevi’im, 25 Hanevi’im St. Jerusalem
When: October 18, 2016, 17:30
Background material:
The Jerusalem Biennale for Contemporary Jewish Art , which was inaugurated in 2013, is dedicated to exploring the spaces in which contemporary art and the Jewish world of content intersect. It is a stage for professional artists, Jewish and non-Jewish, religious and secular, who create today and refer in their work to Jewish thought, spirit, tradition or experience. The third Jerusalem Biennale will take place during October-November 2017 in various locations around the Jerusalem city center under the theme: Watershed.
The unique and exclusive Boutique Hanevi'im project by Azorim, one of Israel’s largest construction companies, features a seven-storey residential building with 87 units ranging in size from two to five rooms and spacious penthouses, most of which have balconies overlooking the Old City or the modern urban landscape. Residents benefit from maximum privacy, a high technical specification and smart technology, underground parking, storage room and may enjoy the various services of the boutique hotel on its entrance level, including room service, a concierge and an especially high level of maintenance.
"Judaica Now!": Goblets and Kiddush Cups of the Bezalel School
Curators: Dr. Shirat-Miriam Shamir and Ido Noy
The Rishon Le-Zion Museum
Ahad Haam 2, Rishon Le-Zion
Opening: Thursday, September 29, 2016, 7:30pm
Participating artists:
O. Roth Merav│ Ofir Arie│ Epstein Anna│ Biran Avi│ Ben-Ari Michal│ Goldschmidt - Kay Merav│ Gilboa Rinat│ Dahan Israel│ David-Shoham Aviya │ Hooper Rory│ Herman Rosenblum Eden│ Vardi Nimrod│ Zahavi Reuven│ Zilberman Noa │ Chen Attai│ Tutnauer Iris│Tarazi Ezri│ Tripp Noa │ Cohavi Malka│ Lavian Ariel│ Matityahu Yossi │ Nir Orly │ Naim Yifat│ Sevinir Rebecca │ Segal Zelig Z"L│ Srulovitch Sari│ Friedman Amir │ Parnas Haim│ Zabari Moshe│ Rosenthal Lena│ Resheff Maya │Shur Amit
7:30pm. Welcome and opening remarks
Mr. Dov Zur - the mayor of The Rishon Le-Zion
Nava Kessler –Rishon Le-Zion Museum Director
" Winery Club " – "fun" , singing and dancing on the tables as in the original winery club in Rishon-Le-Zion.
The exhibition runs until March 18, 2017.
Tours of The Rishon Le-Zion Museum are available in groups to be booked in advance in: Hebrew, English, Russian, Spanish.
Sunday, Tuesday, Wednesday, Thursday 09:00-14:00,
Monday 09:00-13:00, 16:00-19:00,
Every first Saturday of the month 10:00-14:00
Location:
2 Ehad Haam st., corner of Kikar HaMeyasdim (the Founders' square),
Rishon Le-Zion, 03-9598890, This email address is being protected from spambots. You need JavaScript enabled to view it.
Flyer provided by Dr Shirat Miriam Shamir
The 50th Abu Gosh Vocal Music Festival, under the direction of Hanna Tzur, will take place from October 20th to 24th 2016. Concerts will be performed at the Church of the Ark of the Covenant, on the hill of Kiryat Ye’arim (appropriately called the Town of Forests), and in the 12th century Crusader Church Crypt that nestles among the mature pine trees of a magical garden in the lower area of Abu Gosh. (The historic town of Abu Gosh is located 10 kilometers west of Jerusalem.) In the words of festival director Hanna Tzur: “Twice a year the village of Abu Gosh becomes a paradise for vocal music-lovers, who come in their thousands from all over the country and turn Abu Gosh and its churches into a colourful vocal locale of festivities”.
For a pre-festival treat on a very different note, to take place on Thursday October 20th, many of the finest accordionists around will perform folk music in six locations in and around the Kiryat Ye’arim Church.
As in each Abu Gosh Festival, music-lovers will be able to hear several great works of choral repertoire – Brahms’ “German Requiem” (Concert no.2), for example, will be performed in its original form for choir, soloists and two pianos and will feature the Chamber Choir of the Jerusalem Academy of Music and Dance (Director: Stanley Sperber). In “Brilliant Baroque with Bach and Caldara from Venice” (Concert no.4) the Tel Aviv Chamber Choir (director Michael Shani) will be joined by soloists Yeela Avital, Gòn Halevi, Doron Florentin and Guy Pelc. For “Pergolesi - Stabat Mater” (Concert no.5), the program also including the Fauré “Requiem”, the Barrocade Ensemble will be joined by fine soloists and the Bat Kol and Maayan Choirs (director: Anat Morahg.) In Concert no.6, Hanna Tzur herself will conduct soloists, the Ramat Gan Chamber Choir and the Netanya Kibbutz Orchestra in Puccini’s “Messa di Gloria”, also works of Verdi and Kurt Weill. The Moran Ensemble (director: Naomi Faran) and soloists will perform “Mendelssohn Gloria, Schubert Magnificat” (Concert no.7); selections from J.S.Bach’s “St Matthew Passion” can be heard in “Bach - Requiem for a Prince”, with Ron Zarhi directing soloists and instrumentalists in Concert no.9.
An auspicious event of the 2016 Fall festival will be the world premiere of Sicilian Baroque composer Michelangelo Falvetti’s oratorio “Nabuco” in its complete form (Concert no.8), performed by Ensemble PHOENIX with vocal soloists. Working with musicologist Fabrizio Longo, PHOENIX founder and director Dr. Myrna Herzog has put together the first reliable score of the work for this ground-breaking event. A renowned Baroque violinist, Fabrizio Longo will also be joined by soprano Einat Aronstein, Avid Stier (harpsichord) and Myrna Herzog (viola da gamba) in Concert no.14 in the Crypt to play works of Vivaldi, Banchieri and Vivaldi.
Regularly performing at Abu Gosh Vocal Music Festivals, members of the Meitar Opera Studio of the Israeli Opera, accompanied by studio director, arranger and pianist David Sebba, will present “Carmen in Abu Gosh” (Concert no.10), a program of opera gems, French Classical works and French chansons. Other events will also offer a mix of classical- and non-classical works: “Paul McCartney, Paul Simon, Henry Purcell” (Concert no.16) with countertenor Gòn Halevi and guitarist Eyal Leber and “An Exciting Meeting Between Jazz and Classic” (Concert no.15), featuring soprano Sharon Dvorin, with guitarist Uri Bracha and bassist Oren Sagi.
Other festive fare will include a concert of music from East and West (Concert no.11), with singer, oud player and violinist Yair Dalal and sitar player Yotam Haimovich, “The Virtuosi” (Concert no.12) in which accordionist Emil Aybinder and mandolin artist Shmuel Elbaz with perform music from Armenia, Macedonia, Romania, Russia and Hungary as well as a Piazzolla work, Concert no. 1 – Mikis Theodorakis’ oratorio “Canto General”, with alto Silvia Kigel and the Kibbutz Artzi Choir conducted by Yuval Benozer; also “From the Andes to Copacabana” (Concert no.13) in which mezzo-soprano Anat Czarny will be joined by Tamar Melzer-Krumlovsky (recorders) and guitarist Erez Yaacov.
This festival will host members of the Simvol Very Men’s Choir (Russia). Conducted by Pnina Inbar and Seraphim Dubnov (Concert no.3) they will sing works of Dvorak, Rachmaninov, Tchaikovsky and arrangements of Russian folk songs in a joint program with the (Israeli) Naama Ensemble.
In the Abu Gosh Festival’s relaxed atmosphere, concert-goers can also enjoy informal outdoor concerts, browse the craft stalls and picnic with friends in the tranquil setting of the Judean Hills.
Towards the Jewish New Year, the Embassy of India has organized Bollywood beach party.
The party will take place on September 29, 2016 at Frishman Beach, Tel Aviv from 20:00- Midnight
20:00-21:45 Indian Bollywood dance party
Bollywood dance workshop with the accomplished talented dance instructor and choreographer Yael Tal
21:45 - Screening of the Indian movie: Tanue weds Manu
The Frishman beach restaurant will offer a special Indian menu for the great occasion.
The entrance is free of charge
Payment for food & beverage on the basis of personal orders.
See you all at the party!
The Israel Chamber Orchestra opens its 2016-2017 concert season with J.S.Bach's Mass in B-minor
The Israel Chamber Orchestra opened its 2016-2017 season - “Colors Worth Hearing” - with J.S.Bach’s Mass in B-minor BWV 232. The work was conducted by Ariel Zuckermann, the ICO’s musical director. Soloists were soprano Claire Meghnagi, alto Avital Dery, tenor Eitan Drori and bass Raimond Nolte (Germany). Joining them was the Chamber Choir of the Jerusalem Academy of Music and Dance (director: Stanley Sperber). This writer attended the concert at the Tel Aviv Museum of Art on September 13th 2016.
Johann Sebastian Bach spent the last years of his life in Leipzig compiling parts of previously-composed works, mostly from his cantatas (the practice of “parody”) into his last great composition – the Mass in B-minor. Composed over 15 years, certain sections had been performed, but less than a year after completing it, Bach died, never to hear it performed in its entirety. Not only does the work include Bach’s study of several musical styles – coordinating style of the past and the future in the High Baroque, stile antico and the Galant style - its spiritual agenda would subtly but surely have some connection with the history of his own personal religious dilemmas as a Lutheran and his position regarding Lutheran Protestantism of his day.
With Zuckermann’s performance of the B-minor Mass, we are not talking about performance on period instruments or of Joshua Rifkin and Andrew Parrott’s one-to-a-part approach for the singing of choruses. An ambitious undertaking, the work is so universal that what is essential to any conductor taking on the challenge is to understand how perfect the piece is and how to present its detail, its fusion of styles and its meaning, which extends far beyond that of a sacred Baroque work. In my opinion, performing and hearing the B-minor Mass presents as much interest for instrumentalists as it does for singers; Zuckermann led his orchestra in playing that was secure, supportive, articulate and elegant. We heard some splendid playing from the wind sections and there were several beautifully rendered obbligato parts enriching the various arias. The Jerusalem Academy Chamber Choir, boasting four strong sections, gave crystal-clear expression to fine detail, complex melodic strands and the work’s extensive use of counterpoint. At times, the choral sopranos tended to emerge a little too dominant. The fragmenting of words in the opening Kyrie, probably in the name of clarity, was somewhat baffling. In contrast to the vibrant energy of some of the more dramatic choruses, with the choir’s enunciating of consonants energizing phrases and meaning, the subtle and moving expression in such choruses as the “Qui tollis” (Gloria), the “Credo in unum Deum” (Credo) or in the colliding, tragic dissonances of the “Crucifixus” (Credo) was hauntingly cushioned in lush, velvety harmonies.
Vocal solos and duets were dealt with well, if not always grippingly. Claire Meghnagi and Avital Dery’s very different styles and timbres did not make for felicitous dueting. Meghnagi and Eitan Drori found more common ground in the “Domine Deus”, with Drori and flute obbligato compatible in the “Benedictus”. Guest bass-baritone Raimond Nolte’s singing was attentive, his upper register pleasingly mellifluous. But, of all the soloists, it was alto Avital Dery who was the most engaging in her truly outstanding interpretation, her communication with the audience and her highlighting of the profound emotional content of each aria. With Maestro Zuckermann’s interest in articulacy, the most complex, multi-layered contrapuntal textures were never unintelligible under his direction. He led all in a performance that bristled with freshness, poise and luxuriance.
One of the opening events for the 2016-2017 concert season was that of the “Octopus” Israeli piano quartet on September 10th in the Recanati Auditorium of the Tel Aviv Museum of Art. Guest artists were oud player Taiseer Elias and actor Alex Ansky.
Formed in 2013, “Octopus” consists of four pianists playing on two pianos – piano 1: Yifat Zeidel and Bart Berman, piano 2: Tavor Guchman and Meir Wiesel. The ensemble’s aim is to promote high quality arrangements of classical works and to encourage and perform new Israeli works, having so far performed works by Josef Bardanashvili and Eran Ashkenazi. The September 10th concert included the world premiere of Tzvi Avni’s “Metamorphosis” (2016), a work for oud and four pianists.
The concert opened with Paul Klengel’s 8-hand arrangement of Johannes Brahms’ Serenade No.2 in A-major opus 16. A work originally scored for winds, ‘cellos and double bass, written by the young Brahms as a work to provide him with experience in orchestral writing prior to embarking on the composition of symphonies, Klengel’s setting works incredibly well on two pianos. In a balance of restraint and finely “orchestrated” expression, the “Octopus” artists drew out the work’s innate mellowness, so Brahmsian in temperament - the darker piano timbres reminding us that the original score includes no violins. As they re-created the work’s solid, full-bodied sound world and seamless melodiousness, the work’s dance movements and its folk-like scherzo, the artists fashioned as one player the work’s centrepiece - the poetic Adagio non troppo - in singing, tender resonance. Adding an extra dimension and throwing light on Brahms’ personal emotional life, the Serenade movements were punctuated by actor Alex Ansky’s reading of excerpts from letters of Brahms from Shimshon Inbal’s lofty Hebrew translation of “Brahms: His Life and Work” by Karl Geiringer: letters effusive with love to his mother and Clara Schumann, a jolly description of his birthday celebration and quite a heartrending account of Robert Schumann’s dying in letters to his friend Julius Otto Grimm; also a self-effacing, letter to violinist Joseph Joachim, showing admiration for the violinist’s compositions.
Taking Max Reger’s lesser-known but rich piano transcription of J.S.Bach’s Toccata & Fugue in D-minor BWV 565, Meir Wiesel adapted it to the 8-hand “Octopus” constellation. Dousing the opening chords in a ringing effect of the sustaining pedal was a reminder of the grand church pipe organ and church acoustic, but from there, we were returned to the possibilities offered by two modern grand pianos. Comparing organ and piano timbres here would be a pointless exercise; using the physical strength demanded of the modern pianist, the artists presented the work’s drama of large dimensions; its pared-down, more intimate sections came across with pleasing articulacy. As to the work’s daring and pomposity, referred to as “famosissimo” and “celebratissima” by Alberto Basso in his 1979 Bach biography, that is what the work is about, and the audience loved it.
Performer, scholar and researcher Taiseer Elias, one of the world’s leading soloists in the field of classical Arab music, founded and has headed the Jerusalem Academy of Music and Dance’s Department of Eastern Music, leading the Arab-Jewish Orchestra; he also teaches at Bar-Ilan University. At the Tel Aviv concert, we heard Professor Elias in solo on the oud in improvisations and variations on “The Pretty Maiden”, an Arabic folk melody. Elegant, virtuosic and succinct, Elias’ poetical playing produced a kaleidoscope of east and west – the song melody richly ornamented, then dovetailed with sections based on western harmonies, including a reflection on the Bach Toccata and Fugue performed prior to the solo. The use of a microphone allowed listeners in the hall to enjoy every filigree detail to the full.
An auspicious item on the program was the world premiere of “Metamorphosis”, a work by Israeli composer Tzvi Avni (b.1927) for oud and 8 hands on two pianos. Professor Avni spoke briefly about the piece’s genesis. When Meir Wiesel approached him in July 2016 with the suggestion of a new work for “Octopus” and oud, Avni had just finished reading Kafka’s novella “The Metamorphosis”, in which Gregor Samsa wakes one morning to find he has turned into a large, monstrous insect. The novella proceeds to deal with Gregor’s attempt to deal with the situation and to his family’s attitude to the repulsive creature he has become. Avni makes no effort to write the story into the work, but has taken from it the theme of coping, of finding solutions to a given situation, such as living in Israeli society, where east and west meet. Avni’s opening gesture in “Metamorphosis” takes the form of an imposing and uncompromising piano cluster. Then, in writing that is both pleasing and appropriate for the instrument, we hear the oud in its own musical agenda. Dialogue between pianos and oud oscillates between the docile and the conflicted. Following a long, engaging oud solo, the pianos enter once more, accompanying the oud in velvety textures, the strumming of piano strings at one moment meeting the oriental plucked instrument in a spacy, otherworldly effect. In this new work, Tzvi Avni has met and juxtaposed the most unlikely of instrumental combinations, coupling them on an intensely human level in a musical language of the senses, in a piece bristling with interest and with timbral appeal.
The program concluded with Emil Kronke’s 8-hand setting of Franz Liszt’s Hungarian Rhapsody No.9 “Carnival in Pest”. With its blend of folk melodies and virtuosic passages, connected by improvisatory elements, the work evokes the atmosphere of a Budapest carnival from around 1840. Indulging in the constant changes of mood and “scoring”, the pianists gave a dazzling performance of the work’s Hungarian dance melodies, addressing its intimate moments and its elaborate, colourful finale - a challenging tour-de-force. Then for two encores: Aram Khachaturian’s unleashed “Sabre Dance”, well suited to the 8-hand medium, followed by a somewhat sober rendition of Beethoven’s “Turkish March”. “Octopus”, its members spanning a wide range of ages, offers the concert-going public a new, fresh approach to concert repertoire in playing that is both tasteful and most stylish!
The Cocktail Reception, Thursday, 8.9.2016 at 19:00
Curator: Udi Rosenwein
Opening hours: Sunday – Thursday: 08:30-20:30
Friday: 08:30-12:30 (and on nights when shows are scheduled in the Opera house)
Shaul Hamelekh Blvd. 27, Tel Aviv
The unique discovery provides new information regarding murals in Roman Palestine. While the earliest mosaics discovered at the site date to around 200 CE, the ancient frescoes precede them by about a hundred years and are thus of great importance.
A team from the Hebrew University of Jerusalem has discovered hundreds of fragments belonging to frescoes from the Roman period, in the Zippori National Park. The fragments, which contain figurative images, floral patterns and geometric motifs, shed light on Zippori (Sepphoris), which was an important urban center for the Jews of the Galilee during the Roman and Byzantine periods.
The discovery was made this summer in the excavations at Zippori, in memory of Ursula Johanna and Fritz Werner Blumenthal of Perth, Western Australia. The excavations are directed by Prof. Zeev Weiss, the Eleazar L. Sukenik Professor of Archaeology at the Hebrew University's Institute of Archaeology.
The frescoes decorated a monumental building that was erected in the early second century CE north of the decumanus, a colonnaded street that cut across the city from east to west and continued to the foot of the Acropolis. The building, whose function is not clear at this stage of excavation, spread over a wide area, and the nature of the artifacts discovered indicate that it was an important public building. In the center of the building was a stone-paved courtyard and side portico decorated with stucco. West and north of the courtyard, several underground vaults were discovered. Some of these were used as water cisterns and were of high quality construction. The monumental building was built on the slope and the vaults were designed to allow the construction of the superstructure located on the level of the decumanus.
The monumental building was dismantled in the third century CE for reasons that are unclear, and was replaced by another public building, larger than its predecessor, parts of which were uncovered during this season. The monumental building's walls were dismantled in antiquity and its building materials — stone and plaster, some colorful — were buried under the floors of a newly established Roman building on the same location. Hundreds of plaster fragments discovered during this excavation season were concentrated in one area, and it seems that they belong to one or several rooms from the previous building.
The patterns on the plaster fragments are varied and are decorated in many colors. Among them are geometric patterns (guilloche) and brightly colored wall panels. Other fragments contain floral motifs (light shaded paintings on red backgrounds or various colors on a white background).
Particularly important are the pieces which depict figures — the head of a lion, a horned animal (perhaps a bull?), a bird, a tiger's hindquarters and more — usually on a black background. At least one fragment contains a depiction of a man bearing a club. Research on these pieces is in its early stages but it is already clear that at least one room in the building was decorated with figurative images, possibly depicting exotic animals and birds in various positions.
The population of Zippori prior to the Great Revolt against the Romans was not very large, and archaeological finds dating to this period are particularly notable for the absence of figurative images – both humans and animals. The construction of the Roman city of Zippori after the Great Revolt, in the late first century and the second century CE, is indicative of a change in the attitude of Galilean Jews toward Rome and its culture. The city gained the status of a polis thanks to its loyalty to Rome during the Great Revolt, and constructed monumental public buildings, as befit a polis, that stood out in the urban landscape. This building boom also included the monumental building discovered north of the decumanus whose walls were decorated with frescoes, and whose remains were discovered during this season.
The new finds in Zippori contribute significantly to the research of Roman art in Israel. To date, excavators uncovered the walls of several public and private buildings from Roman Zippori (second and third centuries CE) which were decorated with colorful frescoes in geometric and floral patterns. This season’s finds are the first, only and earliest evidence of figurative images in wall paintings at the site. The finds date to the beginning of the second century CE. Parallels to these finds are virtually unknown at other Israeli sites of the same period. Some panels bearing depictions of figures were discovered a few years ago in Herod’s palace at Herodium, and according to Josephus (Life of Josephus 65-69) the walls of the palace of Herod Antipas in Tiberias were also decorated with wall paintings depicting animals; but beyond that, no murals with depictions of figures, dating to the first century and the beginning of the second century CE, have been discove red to date in the region.
The discovery in Zippori is unique and provides new information regarding murals in Roman Palestine. Zippori is well known for its unique mosaics. The newly discovered frescos are now added to the city’s rich material culture. While the earliest mosaics discovered at the site date to around 200 CE, the ancient frescoes precede them by about a hundred years and are thus of great importance.
These finds raise questions relating to their socio-historic background. Who initiated the construction of the monumental building that was discovered north of thedecumanus? Who is responsible for choosing the patterns that adorn the walls, and for whom were they intended?
The various finds uncovered throughout the site indicate that Zippori, the Jewish capital of the Galilee, was home to many Jewish inhabitants throughout the Roman period, but the city also had a significant pagan community for which the temple was built to the south of the decumanus, opposite the monumental building, parts of which were discovered this season. It is difficult to determine who was responsible for the construction and decoration of this monumental building, at this stage of excavation. However the new finds clearly reflect the multi-cultural climate that characterizes Zippori in the years following the Great Revolt, in the late first century and the second century CE.
About the Excavations at Zippori
Most of the archaeological work conducted in Zippori since 1990 was led by the Institute of Archaeology at the Hebrew University in Jerusalem. This team worked both on the Upper Hill as well as in an area to the east. The Hebrew University team revealed a well-planned city built around an impressive network of streets. Various buildings, public as well as private, were built in the city which existed throughout the Byzantine period. Among the public buildings uncovered are a Roman temple, bath houses, a theatre, two churches, and a synagogue.
Over 60 mosaics dating from the 3rd to 5th centuries CE have been uncovered to date in Zippori, in both public and private buildings. The mosaics include numerous rich and varied iconographic depictions, ranking the city among the most important mosaic centers of the Roman and Byzantine east. The assortment of finds that have come to light in the course of the excavations provides a wealth of information about this multifaceted urban center, allowing one to draw significant conclusions about this Hellenized city’s demographic composition, architectural development, and everyday life, as well as the cultural relationships between the various communities residing in Zippori during the first centuries of the Common Era.
Photo Guilloche, in a fresco from Zippori, dating from the early Second Century CE.
Photo: G. Laron.
An Impressive 1,600 Year Old Pottery Workshop where Jars were Manufactured was Exposed in the Western Galilee
The kiln, used to fire the jars, is the only one known to date in the country to have been hewn entirely in bedrock. It was exposed in archaeological excavations of the Israel Antiquities Authority prior to the construction of a new residential quarter north of the new Yaʽarit neighborhood that is being built at the initiative of the Israel Lands Administration and the Shlomi Local Council
A workshop where jars were produced 1,600 years ago (Roman period) in which there is a unique kiln used to fire the vessels was revealed in archaeological excavations of the Israel Antiquities Authority in Shlomi. The excavations are being carried out prior to the construction of a new neighborhood at the initiative of the Israel Lands Administration and the Shlomi Local council.
The kiln was discovered during the course of a large archeological expedition that has been going on for the past six months in which hundreds of young people from the north have volunteered, particularly students of the Shchakim High School of Nahariyya and Ort High School of Qiryat Bialik.
According to Joppe Gosker, excavation director on behalf of the Israel Antiquities Authority, “What makes the pottery works so special is its unique kiln, which was hewn in bedrock and is unlike most of the kilns known to us that were built of stone, earth and mud. The ancient workshop included a system for storing water, storage compartments, a kiln, etc.”. Gosker added, “The kiln was meticulously constructed. It consisted of two chambers – one a firebox in which branches were inserted for burning, and a second chamber where the pottery vessels were placed that were fired in the scorching heat that was generated. The ceramic debris that was piled up around the kiln indicates that two types of vessels were manufactured here: storage jars that could be transported overland, and jars with large handles (amphorae) that were used to store wine or oil which were exported from Israel by sea”.
According to Anastasia Shapiro, a geologist with the Israel Antiquities Authority who is researching the production of pottery vessels, “We can explain the quarrying of this rare kiln right here because of the special geological conditions found in the area of Shlomi: here there is chalk bedrock, which on the one hand is soft and therefore easily quarried, and on the other is sufficiently strong to endure the intense heat”.
A large part of the Bat el-Jabal antiquities site, where the pottery workshop was exposed in Shlomi, is slated to be an archaeological park that will be open for the benefit of the residents of the new neighborhood and the public in general. Archaeological surveys performed there have documented remains of a royal structure with a gate – probably from the Late Roman period, which coincides with the use of the pottery workshop. In addition, remains of the walls of buildings were identified that probably date to the Byzantine period, and as in the case of the unique kiln their builders took advantage of the natural stone in order to hew high foundations in the bedrock.
Photo
Joppe Gosker, excavation director on behalf of the Israel Antiquities Authority, inside the pottery workshop’s water reservoir in Shlomi. Photographic credit: Royee Liran, Israel Antiquities Authority.
Israel’s Cinematheques, Indian Embassy, Host Satyajit Ray Retrospective
The cinematheques of Tel Aviv, Jerusalem and Haifa are screening the works of famed Indian film director Satyajit Ray, from July 24 through August 8, 2016. The retrospective is organized with the assistance of the Embassy of India in Israel, the Satyajit Ray Film Archives, and the Department of Information and Cultural Affairs of the Government of West Bengal.
Satyajit Ray (1921–1992), a native of Calcutta who is widely regarded as one of the greatest filmmakers of the 20th century, directed 36 films. His first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956), and Apur Sansar (The World of Apu) (1959) form The Apu Trilogy. In 1992, Ray was awarded an honorary Oscar for his life work from the U.S. Academy of Motion Pictures.
Visiting film director and former Member of India’s Parliament Mr. Shyam Benegal is inaugurating the retrospective, at the invitation of Cinematheque and the Indian Embassy.
Prior to the retrospective, the Cultural Attache for the Embassy of India, Mr. Debashish Biswas, invited a select group of journalists and bloggers to his home in Tel Aviv. The invitees enjoyed a lunch of delicious homemade Indian food with his family and then heard details of the Satyajit Ray festival.
Mr. Biswas told his guests that Satyajit Ray is the only Indian to have won an Academy Award.
The schedule of screenings is as follows:
FILMS
The Musrara School of Art is a unique institution; a visit to exhibitions of 2016 graduates
The Musrara School of Art was founded in 1986. Located in the heart of a neighbourhood straddling East- and West Jerusalem and representative of the city’s multi-culturalism, the Musrara-Naggar School of Art is spread over two locations – a historic, 19th century Arab building and Canada House - the neighbourhood community centre. The school’s five departments – Photography, New Media, New Music, Visual Communication and Phototherapy – encourage alternative creativity in an atmosphere of collaboration between the teachers and the some-150 students. Strongly committed to involvement with Musrara residents and the community in general, the school operates educational projects for prisoners, special needs children and high school students; it also holds Jewish-Arab seminars. One of the school’s many projects is “Forty-Something” – a program offering people with full-time jobs the opportunity to study twice weekly for two years, with participants combining studies in still photography and video, computer programming and more.
At the conclusion of three years’ study at the Musrara School of Art, students exhibit their work in the various rooms of the school. On July 18th 2016, Motti Cohen, the school’s director of Extramural Studies and Educational Programs, showed a small group of journalists through some of the many exhibitions of this year’s graduating students. What became clear from the outset was that all the exhibits combined different media and techniques. The eloquent, interactive exhibit of Daniel Bassin, a graduate of the New Media Department, combines photography, video and a sound-sensitive dimension. Bassin is interested in the poetic dimension of public spaces and in the potential of technology when used to serve as an artistic tool. Entering the space housing Omri Daniel’s disquieting interactive installation, one is surrounded by a number of fans loudly blowing volumes of cold air to operate the visuals on screens, these being faces of dead people – some familiar public figures - returning to life. Vasily Parshin’s detailed, copious photo project focuses on a paranoid woman who photographs people she believes to be following her. Parshin’s exhibit, raising questions in the viewer’s mind, is the result of his following her through the streets in the town where she lives and even observing her in her apartment by means of a hidden camera.
Sarah Yassin’s photographic exhibit “Three Houses, Four Walls” documents three houses with which she is familiar: the first is a house in the northern town of Arabe, where she was born and grew up, the second is her grandmother’s house in the same location and the third, the house on the Mount of Olives where she lodged during the three years in which she was a student at the Musrara School of Art. In touching honesty, the pictures convey Yassin’s different sentiments to each house and to the austere authenticity and tradition of the simple dwellings.
Of the “Forty Something” students, there were a number of exhibits: Shai Knaani’s confrontational exhibit consists of large, somewhat disturbing “trance” photos of himself taken in the home setting, in some of which he is bandaged, suggesting suffering or age-related aspects. Tali Romem’s delicate and subtle prints, inspired by what she observes near her home in Jerusalem, focus on nature and the seasons. Iris Chetritt’s artistic statement, expressed in a variety of techniques, is indeed seen through the eyes of a woman, with works dealing with personal change and sometimes influenced by her work as a hairdresser. Coming closer to a huge chandelier hanging low enough for the viewer to scrutinize, one perceives that Chetritt has assembled it from numerous synthetic disposable gloves, of the kind worn by hairdressers when dyeing hair! In the entrance hall of the main building, we viewed the work of Jerusalem photographer Meir Reuven Zalevsky. Focusing on the subjects of time and the Jewish Sabbath, his exhibit presented several pictures of the Sabbath table and traditions; especially interesting is his video film showing a Jerusalem street in gradual change on a Friday afternoon as the residents and time dimension slowly move into the Sabbath.
In an experimental and analytical study stream loop, Celli Lichman, a graduate of the Department of New Music, presented a video-sound project showing him singing in a spontaneous manner, with the addition of other sound layers of mostly vocal sounds.
Spanish Dance Troupe Delights Israeli Audiences
The visiting Larreal Dance Troupe from Madrid performed its program Estampas de Espana (Portraits of Spain) before an enthusiastic crowd at the Herzliya Center for the Performing Arts last night. The Larreal troupe of the Mariemma Royal Professional Conservatory of Dance, who arrived in Israel this month to participate in the annual international Karmiel Dance Festival, are also giving a series of performances in Israel’s major cities.
The show depicts the character of the country through its legacy of dance spanning the centuries. Among the traditions represented are baroque, Spanish classical, the folk dance genre known as “jota” -- and, of course, flamenco. Naturally, there is liberal use of the unique staccato rhythms of castanets, by both men and women dancers.
The opening number featured impressive choreography to the Iberia suite by Albeniz; also on the program was a creative interpretation to the familiar strains of the music of venerable composer Domenico Scarlatti.
The Carmel Quartet's commented concert series closes the season with discussion and performance of Beethoven's opus 131 String Quartet
“Literary Notes IV” was the fifth and last of the Carmel Quartet’s 2015-2016 commentated concert series “Strings and More”. This writer attended the English language concert/lecture on June 15th at the Jerusalem Music Centre, Mishkenot Sha’ananim. Founded in 1999, members of the quartet are Rachel Ringelstein (1st violin), Yonah Zur (2nd violin), Yoel Greenberg (viola) and Tami Waterman (‘cello). The quartet performs internationally and has been the recipient of prizes and awards. Its debut CD, including quartets and quintets of Paul Ben-Haim, was issued by Toccata Classics (2014).
This event focused on Ludwig van Beethoven’s String Quartet in C-sharp major opus 131. Written 1825-1826, (its sketches occupying three times as many pages as the finished work itself) the C-sharp minor quartet was the composer’s last large-scale composition and considered by Beethoven as his greatest. Not heard in public till 1835 (Beethoven died in 1827) some private performances took place prior to the premiere, including one for Schubert on his deathbed. Dr. Yoel Greenberg, a faculty member of Bar-Ilan University’s Department of Music, spoke about Beethoven, the work and its influence on other musicians and art forms, namely cinema; he also shared his own thoughts on the work. Greenberg opened with discussion of the work’s eccentric aspects, as were typical of Beethoven’s later writing, such as the expressive but not especially comfortable key of C-sharp minor for string players and the work’s unconventional proportions – seven movements of various lengths and played with no breaks between them. Here, Beethoven, summarizing his experiments directs the flow towards the end of the piece, taking diversity, forming a coherent unity from it, and, with motivic links, has the final section alluding to the work’s opening fugue. We were reminded of what British philosopher John Stuart Mill (1806-1873) had said about outstanding people – that they should behave in eccentric ways. To illustrate this idea, we then saw a few moments of “Back to the Future” III.
Following the intermission, the Carmel Quartet gave a richly detailed and articulate performance of the work, their contemplative playing of the opening Adagio (referred to by Wagner as “surely the saddest thing ever said in notes”) imbued with the colours of shifting chromaticism and contrapuntal intensity. Following the sunny, somewhat quizzical-sounding Allegro second section, the third section – here one moment, gone the next – issues in the Theme and Variations, set in the key of A-major, its simple melody referred to by Wagner as the “incarnation of innocence”. The artists dispelled any hint of simplistic scoring as they presented the rich variety of the 4th movement (theme and variations) - its hocket (the melody divided between the violins), a march, its “lullaby” section, its majestic waltz, its bizarre moments and its sublimity, with the variations becoming progressively more complex. Strangely issued in by the ‘cello, the Presto movement is a hell-for-leather journey, its trio less frenetic, the coda less than conventional in its otherworldly sul ponticello sounds. The sixth section was intensely poignant (Greenberg spoke of its melody as having a “Jewish” theme, evocative of the “Kol Nidre” melody, claiming, however, that Beethoven would probably not have been familiar with Jewish music) leading into the last section, a scene of musical utterance that is wild, confrontational but also noble. Of the final section Wagner wrote: “This is the fury of the world’s dance – fierce pleasure, agony, ecstasy of love, joy anger, passion and suffering…”
There are few string quartets more complex or enigmatic than Beethoven’s opus 131. A challenging work for players and listeners alike, Yoel Greenberg took the bull by its horns and threw light on the many elements and interest making up the work…no mean feat, and the audience was with him all the way. And yet the music itself remains baffling, defying words. It takes an ensemble of the calibre of the Carmel Quartet to finish off the lecture with Beethoven’s own personal explanation – the sounds themselves. It was an enriching, thought-provoking musical event to wind up the season.
Romanian soprano Andreea Soare at the Jerusalem International Opera Master Class, July 31 – August 10, 2016
The Jerusalem International Opera Master Class, organized by the Jerusalem Municipality, will take place between July 31st -August 10th , 2016 at the Louis and Tillie Alpert Youth Music Center, Mishkenot She'ananim Music Center and the Gerard Bechar Center in Jerusalem.
With the support of the Romanian Cultural Institute in Tel Aviv, soprano Andreea Soare will be present at the event as a vocal coach and will work with the students attending the program. As part of the concert program, Andreea Soare will perform at the opening concert on July 31st and will deliver a master class of vocal technique on August 2nd.
Events open to the public:
Sunday, 31.07.2016, at 19:00, Mishkenot Sha'ananim Music Center: Opening concert. The musical program will include arias from important operas, performed by: Andreea Soare (Romania, National Opera of Paris), Andjei Beletsky (Russia, Bolshoi Theatre), Magda Mkrtchyan (Armenia, National Opera of Erevan), Moises Molin (Spain, Madrid Opera). Piano: Sonia Mazar (Israel, New Israeli Opera)
Monday, 01.08.2016, at 17:00, The Louis and Tillie Alpert Youth Music Center: The Jerusalem International Opera Master Class Competition
Tuesday, 02.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Master Class of vocal technique delivered by renowned soprano Andreea Soare (Romania)
Wednesday, 03.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Master Class delivered by pianist and conductor Fabio Mastrangelo (Italy)
Thursday, 04.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Bel Canto Concert performed by the students participating in the program.
Sunday, 07.08.2016, at 19:30, Leo Model Hall -Gerard Bechar Center: production of the opera "Tosca" by Giacomo Puccini, in Italian with Hebrew surtitles. With the participation of conductor Fabio Mastrangelo (Italy).
Monday, 08.08.2016, at 19:30, Leo Model Hall -Gerard Bechar Center: production of the opera "Tosca" by Giacomo Puccini, in Italian with Hebrew surtitles. With the participation of conductor Fabio Mastrangelo (Italy).
Tuesday, 09.08.2016, Harmonia Cultural Center (27 Hilel St.): Night of Rising Stars - the opera "Le Nozze di Figaro" by W.A. Mozart. With the participation of conductor Alex Wasserman (Israel).
Wednesday, 10.08.2016, at 19:30, Gerard Bechar Center: Gala concert. The musical program will include arias and opera duets.
Tickets and more information : 050-2335529, This email address is being protected from spambots. You need JavaScript enabled to view it.
, or 02-6241041 (box office of the Mishkenot Sha'ananim Music Center )
Romanian soprano Andreea Soare (https://andreeasoare.wordpress.com/) has been a member of the Opéra National de Paris L'Atelier Lyrique programme since 2011. Prior to this she trained at the Conservatoire National de Région de Strasbourg and the Conservatoire de Paris, as well as the European Academy of Music, Festival d'Aix-en-Provence. She is the recipient of the lyrical Cercle Carpeaux prize, Arop prize, "Les amis du festival d'Aix en Provence" and HSBC award.
She made her debut at l'Opéra national de Paris in 2012 in La Cerisaie by Philippe Fénelon, playing a young girl, and has since performed the role of Henriquetta di Francia I Puritani in a production directed by Laurent Pelly and conducted by Michele Mariotti. She has made her UK debut singing the role of Fiordiligi Cosi fan tutte for Garsington Opera.
Recent highlights include the roles of Maddalena- La Resurrezione de Haendel at the Amphitheatre Bastille, Sandrina- La Finta Giardiniera at the MC93 in Bobigny, Silvia in Haydn's l'Isola Disabitata and Clarice- Il mondo della luna, conducted by Guillaume Tourniaire, both at the Opéra National de Paris. Past roles also include First Lady -Die Zauberflöte, Sandrina- La Finta Giardiniera, Pamina- The Magic Flute, Countess- The Marriage of Figaro. On the concert platform, highlights include Poulenc's Stabat Mater at the 'Festival de la Chaise-Dieu' and Mozart's Coronation Mass and The Seven Last Words of Christ by Haydn at the Festival Septembre Musical de l'Orne in 2012.
The Jerusalem International Opera Masterclass (http://www.jiom.org.il/index.html) aims to promote opera and classical music through the organization of advanced specialist training aimed at singers with top musical skills and a strong technical foundation. The international summer programs offer a wide range of intensive studies in vocal technique, style and interpretation, languages and diction, movement and stagecraft, role preparation and career development. The 2016 summer program will include the fully staged production of Puccini's "Tosca" and Mozart's "Le nozze di Figaro", concerts and public master-classes, given by distinguished guest artists, including Andjei Beletsky,(bass-bariton, voice teacher, Bolshoi Theatre, Nova Opera), Andreea Soare (soprano, voice teacher, Opéra National de Paris), Fabio Mastrangelo (conductor and pianist, the Mariinsky Theatre, the Arena di Verona Theatre, Artistic Director of the international St Petersburg festival Opera for All. Artistic Director and Conductor of the St Petersburg Music Hal), Aleks Kagan (stage director, Stuttgart Opera House, Ulm Theatre), Magda Mkrtchyan (Yerevan National Academic Opera Theatre of Opera and Ballet, Berlin Concert House), Larisa Tetuev (vocal coach, the New Israeli Opera), Sonia Mazar (vocal coach, pianist, The New Israeli Opera, The Jerusalem Music Academy of Music and Dance) and others.
Oscar prizes ceremony of social media stars for the first time in Israel
For the first time in Israel the Shorty Stories Tel Aviv was held on Saturday night in conjunction with Vibe Israel organization. Shorty awards and Vibe inside presented prizes for outstanding video content creators for the web.
On July 9th 2016, Vibe Israel was hosted for the first ever Shorty Stories Tel Aviv, at the Bascula Art Center in Tel Aviv, the exclusive event was held in the presence of 300 guests including local opinion leaders and online creators in the fields of social media, digital marketing advertising and TV.
Vibe Israel is a non-profit organization leading initiatives to strengthen Israel’s brand in the world. We are here to create a new conversation about Israel, from a conversation about a conflict, to a conversation about innovation, creativity and entrepreneurship.
In 2015, Vibe Israel bought the exclusive rights to bring the Shorty Stories format to Israel- a new monthly event series from the creators of the Shorty Awards, featuring an influencer or content creator who is making a career out of the internet.
The keynote speaker of this exciting event was Thomas Sanders, winner of the Shorty Awards for Best Viner of 2015. Florida-born singer and actor, Thomas is taking Vine and YouTube by storm. Between stage performances and TV appearances, he still finds time to interact with his 10 million followers every day!
To celebrate the Shorty Stories, Vibe Israel took part in two more leading international social media stars, also with millions of followers.
To sign off the shorty Stories Tel Aviv event, Vibe Israel presented awards honoring local online content creators.
The Vibe Israel Awards was awarded to:
∙ The most influential local content creator reaching out to an Israeli audience is Kutiman (Ofir Kutiyel).
∙ The most influential local content creator reaching out to a global audience is Vanya Heymann.
∙ The next generation- The most influential local content creator under 18 is Roy Edan.
∙ Original You- The most original local content creator is Aviya Pri-Mor.
The three winners recieved a flight to New York (generously sponsored by El Al), room and board and a VIP ticket to the Shorty Stories.
The Vibe Israel Award Committee is comprised of Israeli leaders in technology, creative marketing and content creation, business and culture, including:
Trio Noga presents works of women composers at the Felicja Blumental Music Center, Tel Aviv
Trio Noga’s recent intensive concert tour of Israel presented works of women composers. Interestingly, all three artists of Trio Noga – flautist Idit Shemer, ‘cellist Orit Messer-Jacobi and pianist Maggie Cole (UK, USA) – are well-known performers on today’s Baroque music scene; Trio Noga, however, sees them performing music from the Classical period and up to the most contemporary of works. This writer attended “Celebrating Women in Music”, the second concert in the chamber music series of the Israeli Women Composers and Performers Forum at the Felicja Blumental Music Center, Tel Aviv, on June 12th 2016. Representing the Forum, recorder player Inbar Soloman offered words of welcome.
The program opened with Trio Sonata No.1 by Marion Bauer. Born in Washington to a French Jewish family, composer, teacher, writer and critic Marion Eugénie Bauer (1882-1955) was something of a Renaissance woman. Professor Bauer was especially supportive of American music and modern composers, she was the first woman on the Music Faculty of New York University, with affiliations with the Juilliard School and other educational institutions; she spent 12 summers in the creative environment of MacDowell Colony for composers, artists and writers. Her prolific writing on music addressed both specialists and general readers and she was the author of five books. Despite brief forays into 12-tone music in the 1940s and 1950s, Bauer’s music did not plumb the depths of atonality, rather focusing on the mix of coloristic harmony and gentle dissonance. The opening movement of Trio Sonata No.1 was coloured with Impressionistic musical language, its second movement was eloquent and touching, to then be followed by a playful third movement (Vivace e giocoso).
Most of the works of French Romantic composer and pianist Cecile Chaminade (1857-1944) were published during her lifetime. Primarily a concert pianist, she wrote over 100 piano works and toured the world performing them with great success. In 1901, she was one of the first pianists to record for the gramophone, with seven sides of her works, and she was the first woman composer to become a member of the French Légion d’Honneur. Like Marion Bauer, however, she also suffered from criticism based on gender prejudice. On hearing an orchestral work written by Chaminade at age 18, composer Ambrose Thomas remarked: “This is no woman composer, this is a composer who happens to be a woman.” Chaminade composed Trio No.1 opus 11 in g-minor opus 11 (the flute part played by Idit Shemer originally written for violin) at age 23. The Trio Noga artists gave expression to the composer’s compositional prowess, the piece’s charming Gallic flavour and the influence of Romantic composers on its style – Brahms, possibly Schumann, and others. Following their intense and emotional reading of the Allegro movement and the lyrical, almost vocal Andante, the rondo constituting the third movement (Presto), bristling with thirty-second notes and cross rhythms, was performed with buoyant optimism as each instrument presented its own agenda. The final movement, classically oriented, nevertheless takes the listener through some late-Romantic harmonic twists. With the piano part illustrative of Chaminade’s own piano mastery, the ‘cello here initiated many of the melodies. With “salon music” viewed as third class entertainment, Chaminade’s music has been sadly ignored. Capturing the work’s moods, melodic richness and elegance, Trio Noga has proved what a misjudgement this was.
Making the concert an especially auspicious event was the premiere of a work by Israeli composer Hagar Kadima. “By a Doorway” (2016) was commissioned by Trio Noga. A winner of the 2003 Prime Minister’s Award for Composers, Hagar Kadima (b.1957) was the first Israeli woman to earn a PhD in Composition. A professor at the Levinsky College of Education (Tel Aviv), she has spent many years teaching young composers and has been dedicated to collaboration between Arab and Jewish women musicians. In 2000, Dr. Kadima founded the Israeli Women Composers’ Forum, serving as its first chairperson, continuing to devote time and effort in supporting women composers and integrating them into the Israeli musical scene. At the Blumental Center Concert, she talked about the new piece, its genesis being the interval of a minor third – viewing it from all angles – as the piece moves between states of chaos and order. Another element making up the work is Israeli composer Yohanan Zarai’s setting of Avraham Halfi’s “The Ballad of Three Cats” (a nonsense poem whose subtler meaning touches on the subject of loneliness), the song itself announced by the flute, its melody also beginning with a minor third. Listening to Kadima’s work, Trio Noga’s reading of the work created a sense of curiosity, guiding the listener into closely following the course of the various sections, each different in mood and intensity, each inspired by the simple, unadulterated minor third, always to return to it only to find a new path of departure. The three instruments, though engaging in much imitation, seemed to have their own agendas as the artists gave a dedicated reading of the piece. Hagar Kadima spoke of her search for simplicity in music. Clarity would certainly run a close second!
In 1839, Clara Schumann wrote: “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose…” One of the 19th century’s most outstanding and influential musicians, she would go on to compose over 30 works – character pieces for piano, a concerto, Lieder and three romances for violin and piano. (In the 40 years she outlived her husband, she hardly composed, focusing more on family and her performing career.) Her only chamber work, the Piano Trio in g-minor opus 17, however, composed in 1846 when she was 27, showing the influences of Robert Schumann and Mendelssohn as well as her in-depth study of Bach counterpoint, is considered her finest work. With the flute (Idit Shemer) taking the place of the original violin part, the Noga Trio artists gave full expression to the work’s mid-century Romantic style texture with its interweaving of lines and sweeping ardent melodies, its coquettish Scherzo, its emotional agenda and the fugal writing in the final movement, their playing a careful balancing of forces, their textures never turgid or in excess, as they highlighted Clara Schumann’s skilful writing and ingenuity and the intimate nature of chamber music.
A concert of fine performance introducing the Israeli concert-goer to works not generally heard and a new work of an Israeli woman composer.
Bizet’s The Pearl Fishers for the Television Age
The Israeli Opera’s current performance of The Pearl Fishers (Les Pêcheurs de Perles) by Georges Bizet -- the first time this opera has even been presented in Israel -- is guaranteed to be an unforgettable operatic experience, if only thanks to the audacious staging of guest director Lotte de Beer.
The entire plot -- while faithful to the libretto -- is re-imagined as a TV reality show: “The Pearl Fishers -- The Challenge!”, complete with television director and crew as part of the cast (in non-singing roles).
The opening scene of the opera mimics the reality show Survivor, as Zurga is elected leader of the pearl fishers by votes of “viewers” -- actually the Israel Opera chorus -- watching television in their homes; the audience can see into “apartments” -- “inhabited” by a cross-section of Israeli society -- in the background of the stage. The voting device is reprised again at the end of opera, with the fate of doomed lovers Nadir and Leila in the balance.
The job of Nourabad, the high priest of Brahma, is transformed into that of a television presenter -- which works OK for announcing Zurga’s victory, but a bit less so when the lyrics he sings center on religious duties.
The incorporation of video in this production is put to its best use when displaying beautiful scenes of Ceylonese sunsets. Otherwise, the key to enjoying this opera is to listen to Bizet’s legendary music, including the well-known duet of Zurga and Nadir, and the tender, moving duet of Nadir and Leila.
The soloists performing all four leading roles alternate each night, with conductors Steven Sloane and Ethan Schmeisser also switching off duties wielding the baton. The Pearl Fishers runs at the Tel Aviv Opera House through July 16, 2016.
World Quintet to Perform with the Israel Chamber Orchestra
The acclaimed contemporary Klezmer ensemble Kolsimcha - World Quintet will perform jazz and klezmer works with the Israel Chamber Orchestra this Wednesday, 6.7.16, in Tel Aviv. The concert, one in the ICO’s current World Music series, will take place in the museum’s Recanati Hall at 20.30.
The concert will feature works from World Quintet’s new program, performed and recorded with the London Symphony Orchestra in 2014. The ensemble, which was formed in 1986 in Switzerland, has performed to rave reviews in New York, London, Los Angeles, Frankfurt and other major cities on three continents.
The unique ensemble comprises:
Ariel Zuckermann, conductor and flautist
Michael Heitzler, clarinet
Verdi’s Rigoletto Highlights Italian Cultural Evening in Jerusalem
The annual Jerusalem Opera Festival, held last week at Sultan’s Pool, was co-sponsored this year by the Italian Embassy in Israel, which marked the occasion with a cocktail reception adjacent to the venue prior to the June 29 performance of Rigoletto, by Giuseppe Verdi.
Guest were greeted by Ambassador Francesco Maria Talo, who introduced Italy’s Agriculture Minister Maurizio Martina, currently on a working visit to the country. Minister Martina recognized Israel’s recent participation in Expo Milano and praised the ongoing relationship between Italy and Israel in the area of agritechnology,
Luciano Tommasi Head of Startup Initiatives and Business Incubator ENEL , , a gold sponsor of the evening, announced its initiative of investing in Israeli hi-tech start-up companies, known for their innovation.
A table showcasing quality imported Italian foodstuffs was on display, in conjunction with food market organized by the Italian Trade Agency and the Sheraton Hotel in Tel Aviv. Other tables distributed samples of their products: Ferrero sweets, Pellegrino beverages, Aperol spirits, and wines and cheese of Lombardy
The reception was catered by nearby kosher restaurant Eucalyptus, founded by Chef Moshe Basson, the doyen of Biblical cuisine in Israel. Chef Basson, who is a leader of Europe’s “slow food” movement, has a close culinary relationship with Italy: he is a cavaliere della repubblica -- a recipient of Italy’s Order of Merit; and he just returned from judging a vegan competition in that country.
Following the reception, guests attended the Israel Opera Company’s opening performance of this year’s Jerusalem Opera Festival, where they were welcomed by Jerusalem Mayor Nir Barkat. The stirring rendition of Rigoletto featured bravura performances by Boris Statsenko in the role of Rigoletto, Salvatore Cordella in the role of the duke, and Hila Fahima in the role of Gilda.
On June 21st, the Second International Yoga Day event took place at the historical site The Tachana Compound in Tel Aviv. The event was organized by the Embassy of India Israel, in collaboration with the Israeli Ministry of Culture & Sports, Ministry of Tel Aviv-Jaffa, the Israeli Yoga Teachers' Association and additional Yoga organizations.
During the 5 hours and a half event nearly 2,000 people attended the event. The event was launched by Deputy Ambassador DR. Anju Kumar. at 17:00. There were five simultaneous sessions around the Tachana, along with Indian stalls and food. The official Yoga Protocol session was conducted by a senior and acclaimed Yoga teacher from India Prasad Rangnekar.
The Ambassador of India in Israel Mr. Pavan Kapoor inaugurated the event with traditional lighting candles ceremony. Deputy Mayor of Tel Aviv-Jaffa Municipality and Shlmoit Nir Toor the Director of Sports for All & sport for women at the Ministry of Culture & Sports spoke at the occasion. The event ended with a cultural program by a local Indian singer Liora Yitzhak and Bharatnatyam dance.
Embassy of India in Tel Aviv "International Yoga Day 2016"
It feels like yesterday that International Yoga Day 2015 was celebrated on June 21 all over the world including in Israel. The day created such a celebratory and overwhelming environment that the aroma lingers on. It was as if the whole world got transformed into a Yoga platform and became a ground for journeys of individuals to the wholeness.
It may be recalled that June 21 has been adopted by the United Nations as the International Yoga Day as per a UN Resolution initiated by India. The Resolution was co-sponsored by 177 countries out of the total 193 member states of the United Nations.
The Indian Prime Minister Mr. Narendra Modi had launched the initiative stating that, “Yoga is an invaluable gift of our ancient tradition. Yoga embodies unity of mind and body, thought and action, restraint and fulfillment, harmony between man and nature, a holistic approach to health and wellbeing. It is not about exercise but to discover the sense of oneness with yourself, the world and the nature.” Yoga aims for holistic health, happiness and harmony.
Given the fervent response to the event last year which saw the participation of about 2000 yoga enthusiasts at the day-long celebrations in Tel Aviv as well as parallel Yoga sessions at several schools all over Israel, the Embassy of India in Tel Aviv is pleased to inform you that we intend to celebrate the International Yoga Day 2016 on an even larger scale.
This year, we are heartened to have the support of the Ministry of Culture & Sports of Israel, Tel Aviv-Jaffa Municipality and several yoga teachers in Israel practicing various streams of Yoga, including Ashtanga Yoga, Iyengar Yoga, Bhrigu Yoga, Shivananda Yoga, Children’s Yoga and Acro Yoga.
This year’s celebrations will be held at the Tachana, Tel Aviv on 21 June and are scheduled to commence at 16:45 hours. Apart from an official ceremony, the event would comprise of several Yoga sessions, Ayurveda lectures and therapies, mind relaxation exercises, special sessions for children, and an Indian cultural performance of dance and music.
Mr. Prasad Rangnekar, a Yoga teacher from India who has been a yoga practitioner for past 30 years will conduct a session at the event. Prasad regularly gets invited to speak around the world at prestigious institutions like the European Commission, various Yoga Festivals and corporate and social organizations.
As last year, we will be organizing parallel yoga sessions at several schools and institutions all over Israel.
There would also be stalls selling Indian food and drinks, spices, clothes and accessories.
Look forward to welcoming all of you to mark International Yoga Day 2016 at Tachana Tel Aviv with us.
“The Comedy of Love” or “Love as Comedy”, the Aeterna Jerusalem Theater of Chamber Opera’s newest production, took place in the recently opened Mikro Theatre of the Jerusalem Center of Performing Arts on May 24th 2016. Under the musical direction of Ilya Plotkin, the a-capella Musica Aeterna Choir was founded 20 years ago. Then, thirteen years ago, Maestro Plotkin established Opera Aeterna, its first production being “The Impresario” by W.A.Mozart. The idea for the 2016 production, a combination of three of Italian Baroque music’s most popular comic intermezzo operas – Pergolesi and Paisiello’s settings of “La serva padrona” and Telemann’s “Pimpinone” - was thought up by Maestro Plotkin. Eleanore Plot in was project director. The idea was realized in the hands of stage director Julia Plakhin. Costumes and sets were designed by Irina Tkachenko, with makeup by Helena Plotkin. Maestro Plotkin directed a competent chamber orchestra of strings players and continuo. Opera Aeterna, whose members (and much of the audience at this performance) are largely Russian-speaking immigrants to Israel, is supported by the “Keshet Omanuyot” Association, the Ministry of Absorption, the Center for Absorption of Immigrant Artists and Returning Residents and by the Gabriel Sherover Foundation.
How does one combine three operas on one stage? For a start, each presents the theme of the maid-mistress setting her sights at an older, gullible man and the consequences thereof, as inspired by Jacopo Angelo Nelli’s 1714 play “La serva padrona” (The Servant Turned Mistress). Opera Aeterna’s comic twist was to have all characters of both operas on stage. From “La serva padrona” there was not one but two Serpinas – Serpina I – soprano Shirelle Dashevsky, soprano II – soprano Julia Plakhin, with bass Andrei Trifonov as Uberto. From “Pimpinone”, Irina Mindlin played Vespetta, with baritone Dmitry Lovtsov in the role of Pimpinone. Opera Aeterna makes no practice of using surtitles in its productions, so, in addition to the traditional Italian characters of both operas, actor Yitzhak Peker assumed the (non-singing) role of narrator: he was the landlord of the house in which all these questionable, go-getter characters were living. In addition to explaining, commenting and constantly communicating with Maestro Plotkin, the landlord himself was also looking for love, thus also being involved in the romantic attractions and rejections all taking place in his house. And there was another new character on the scene - Stam-Coli (tenor Dmitry Semyonov) – the figure of the narcissistic pop singer. Where did he belong in the plot? Actually, nowhere for most of the performance, being so obsessed with himself, his looks, his image, his outfits and his microphone! If early 18th century composers had intended the “serva padrona” characters to represent real-life personalities, replacing commedia dell’arte characters, creating the figure of Stam-Coli was a brilliant touch.
At the left side of the stage we see Uberto’s studio with easel, palette and a few discarded empty bottles. Plants, a bench and an antique chair give the impression of a dwelling. Three large windows at the back of the stage allow the audience to see into other rooms of the house. The chamber orchestra and conductor occupy the right wing of the stage. The landlord enters, an abacus in hand to calculate rent owing to him, as Uberto threatens him. We were soon to realize that the evening’s musical bill consisted of some of the finest solos and duets from all three operas. The stage quickly became alive with action, with womanly wiles taking control and relationships complicating. Both Serpinas pine to rekindle their love with Uberto. Shirelle Dashevsky is coquettish, teasing and ebullient; she is so well suited to the opera buffa style and her well-oiled voice sails naturally through each phrase.
The other Serpina – Julia Plakhin – is vivacious and flirtatious, her vocal agility, musicality and feminine esprit serving her splendidly. But Uberto is not impressed and wants nothing of either of the competing female admirers; in this role, Andrei Trifinov’s richly resounding voice was as pleasing as his face was disgruntled! Dmitry Lovtsov, dressed in pyjamas and an elaborate gold brocade dressing gown, was excellently cast as the foolish, elderly and lecherous Pimpinone. Irina Mindlin was a daring and promiscuous Vespetta, scheming, snide and quite the vixenish woman. She and Lovtsov pulled out all the plugs as they entertained the audience with their risqué humour, fine voices and superb musical presentation of Telemann’s masterful duets. And how droll it was to hear the shaky, dejected and finally disillusioned Pimpinone suddenly singing in Yiddish! As to the farcical Stam-Col, Dmitry Semyonov, his tenor voice smooth and easeful, had the audience chuckling at his eccentricity as he seemed to float on and off stage, his face fixed in a rapt expression, and sporting some over-the-top costumes. At one moment, he unexpectedly appeared in a Mexican outfit, complete with sombrero, singing the popular Mexican song “Cielito Lindo”. As narrator and the landlord, Yitshak Peker, although somewhat exotically clad, cut a pathetic, needy figure but, with all the “re-pairing” happening by the end of the performance, he finally managed to win his true love – Serpina I – Shirelle Dashevsky. Uberto had won the affections of the hard-to-get Vespetta. Stam-Coli and Serpina II – Julia Plakhin found love in each other – an unlikely match…but, after all, this is opera! Only Pimpinone, looking pathetic hunched sadly behind the window, was to remain alone. In a last spurt of energy, he sprang out, gun in hand, to seek revenge and get Vespetta’s money. There ended the performance, its main themes of money, the duplicity of women and the narcissistic singer interwoven in an evening of fine and truly comical operatic fare.
“The Comedy of Love” or “Love as Comedy”, the Aeterna Jerusalem Theater of Chamber Opera’s newest production, took place in the recently opened Mikro Theatre of the Jerusalem Center of Performing Arts on May 24th 2016. Under the musical direction of Ilya Plotkin, the a-capella Musica Aeterna Choir was founded 20 years ago. Then, thirteen years ago, Maestro Plotkin established Opera Aeterna, its first production being “The Impresario” by W.A.Mozart. The idea for the 2016 production, a combination of three of Italian Baroque music’s most popular comic intermezzo operas – Pergolesi and Paisiello’s settings of “La serva padrona” and Telemann’s “Pimpinone” - was thought up by Maestro Plotkin. Eleanore Plot in was project director. The idea was realized in the hands of stage director Julia Plakhin. Costumes and sets were designed by Irina Tkachenko, with makeup by Helena Plotkin. Maestro Plotkin directed a competent chamber orchestra of strings players and continuo. Opera Aeterna, whose members (and much of the audience at this performance) are largely Russian-speaking immigrants to Israel, is supported by the “Keshet Omanuyot” Association, the Ministry of Absorption, the Center for Absorption of Immigrant Artists and Returning Residents and by the Gabriel Sherover Foundation.
How does one combine three operas on one stage? For a start, each presents the theme of the maid-mistress setting her sights at an older, gullible man and the consequences thereof, as inspired by Jacopo Angelo Nelli’s 1714 play “La serva padrona” (The Servant Turned Mistress). Opera Aeterna’s comic twist was to have all characters of both operas on stage. From “La serva padrona” there was not one but two Serpinas – Serpina I – soprano Shirelle Dashevsky, soprano II – soprano Julia Plakhin, with bass Andrei Trifonov as Uberto. From “Pimpinone”, Irina Mindlin played Vespetta, with baritone Dmitry Lovtsov in the role of Pimpinone. Opera Aeterna makes no practice of using surtitles in its productions, so, in addition to the traditional Italian characters of both operas, actor Yitzhak Peker assumed the (non-singing) role of narrator: he was the landlord of the house in which all these questionable, go-getter characters were living. In addition to explaining, commenting and constantly communicating with Maestro Plotkin, the landlord himself was also looking for love, thus also being involved in the romantic attractions and rejections all taking place in his house. And there was another new character on the scene - Stam-Coli (tenor Dmitry Semyonov) – the figure of the narcissistic pop singer. Where did he belong in the plot? Actually, nowhere for most of the performance, being so obsessed with himself, his looks, his image, his outfits and his microphone! If early 18th century composers had intended the “serva padrona” characters to represent real-life personalities, replacing commedia dell’arte characters, creating the figure of Stam-Coli was a brilliant touch.
At the left side of the stage we see Uberto’s studio with easel, palette and a few discarded empty bottles. Plants, a bench and an antique chair give the impression of a dwelling. Three large windows at the back of the stage allow the audience to see into other rooms of the house. The chamber orchestra and conductor occupy the right wing of the stage. The landlord enters, an abacus in hand to calculate rent owing to him, as Uberto threatens him. We were soon to realize that the evening’s musical bill consisted of some of the finest solos and duets from all three operas. The stage quickly became alive with action, with womanly wiles taking control and relationships complicating. Both Serpinas pine to rekindle their love with Uberto. Shirelle Dashevsky is coquettish, teasing and ebullient; she is so well suited to the opera buffa style and her well-oiled voice sails naturally through each phrase.
The other Serpina – Julia Plakhin – is vivacious and flirtatious, her vocal agility, musicality and feminine esprit serving her splendidly. But Uberto is not impressed and wants nothing of either of the competing female admirers; in this role, Andrei Trifinov’s richly resounding voice was as pleasing as his face was disgruntled! Dmitry Lovtsov, dressed in pyjamas and an elaborate gold brocade dressing gown, was excellently cast as the foolish, elderly and lecherous Pimpinone. Irina Mindlin was a daring and promiscuous Vespetta, scheming, snide and quite the vixenish woman. She and Lovtsov pulled out all the plugs as they entertained the audience with their risqué humour, fine voices and superb musical presentation of Telemann’s masterful duets. And how droll it was to hear the shaky, dejected and finally disillusioned Pimpinone suddenly singing in Yiddish! As to the farcical Stam-Col, Dmitry Semyonov, his tenor voice smooth and easeful, had the audience chuckling at his eccentricity as he seemed to float on and off stage, his face fixed in a rapt expression, and sporting some over-the-top costumes. At one moment, he unexpectedly appeared in a Mexican outfit, complete with sombrero, singing the popular Mexican song “Cielito Lindo”. As narrator and the landlord, Yitshak Peker, although somewhat exotically clad, cut a pathetic, needy figure but, with all the “re-pairing” happening by the end of the performance, he finally managed to win his true love – Serpina I – Shirelle Dashevsky. Uberto had won the affections of the hard-to-get Vespetta. Stam-Coli and Serpina II – Julia Plakhin found love in each other – an unlikely match…but, after all, this is opera! Only Pimpinone, looking pathetic hunched sadly behind the window, was to remain alone. In a last spurt of energy, he sprang out, gun in hand, to seek revenge and get Vespetta’s money. There ended the performance, its main themes of money, the duplicity of women and the narcissistic singer interwoven in an evening of fine and truly comical operatic fare.
The USA Ambassador Does it Again!
His Excellency Ambassador Dan Shapiro and his wife Ms. Julie Fisher outdid themselves at a reception they hosted at the embassy residence in Herzlia Pituach on Wednesday night. The occasion was the visit to Israel of the LGBTQ Mission arranged by the Jewish Federations of North America. Some 110 members of the LGBTQ community came to see the reality of Israel, to have a good time, and then to go home with their own tangible and factual impressions. The Ambassadorial couple opened their home to welcome the visitors and give them an opportunity to meet and socialize with their Israeli counterparts.
This is not the first (and probably not the last) time that the US embassy in Israel has kicked in to promote recognition and acceptance of the American and Israeli LGBTQ communities (and others, worldwide). At one similar event, a year ago, the Ambassador hosted a reception to honor Randy Berry, special envoy of the US State Department to the LGBTQ community who was visiting Israel. Not only are Ambassador Shapiro and his wife personally in favor of equality and liberty for the community, it is State Department policy of the present USA administration.
Ms. Fisher opened the formalities with a short welcome, adding her grateful thanks to all the people who worked hard to make the event such a success. She then called on her husband to address the guests. Ambassador Shapiro gave a moving speech in which he emphasized the importance of the gay pride events (this week in Israel) celebrating “… pride, tolerance, equality and acceptance … and the understanding that liberty and fundamental equal rights include the LGBTQ community. Gay rights are human rights”. He also made special mention of – and welcomed – Knesset member Michal Rozin and US Congresswoman Ileana Ros-Lehtinen (visiting from South Florida).
Following was a brief recorded video message from special envoy Ambassador Randy Berry, who sent warm regards and greetings to the crowd, recalling fondly his last visit to Israel, just before the United States Supreme Court declared that the right to marry, whether for same-sex or “mixed” couples, must be available to all. A historic judgement.
Ms. Ros-Lehtinen was warmly welcomed to the podium and made a very poignant speech. The stress was on the equality to which all sectors of all communities are entitled. (She happens to be Cuban-born, and reached the USA as a young girl in 1960.) “Ambassador Shapiro is the voice of the USA in Israel, a voice that embraces our shared values of democracy and freedom”. She also opened her heart and told the gathering of her son, a transgendered man. “My husband and I love him, whether as a woman or a man. We want to be there for our children’s happiness, so that they can live contented authentic lives”. Her sobering words brought reality to the struggles that LGBTQ communities worldwide still face.
Also addressing the gathering was Stuart Kurlander, the mover and shaker behind the JFNA mission to Israel. He thanked his friends, Ambassador Shapiro and Julie Fisher for their warm hearted support and for hosting the lovely event; and Ms. Ros-Lehtinen for her ongoing support of the State of Israel. “Our mission includes a broad mix of people from a broad range of fields …. [Here in Israel] we have created bonds that we know will last well into the future”.
The light-hearted atmosphere was enhanced by the wonderful weather and the generous buffet dinner, affording the guests the opportunity to mingle, greet old friends and make new ones.
The USA and its Ambassador to Israel are fine examples that other countries – especially Israel’s neighbors – would do well to follow. One day, maybe …
Photo credit: "David Azagury, U.S. Embassy Tel Aviv"
The 49th Abu Gosh Vocal Music Festival to take place June 10th to 12th
The 49th Abu Gosh Vocal Music Festival, under the direction of Hanna Zur, will take place from June 10th to 12th 2016. Concerts will take place at the Church of the Ark of the Covenant, on the hill of Kiryat Yearim (appropriately called the Town of Forests), and in the Crusader Church Crypt that nestles among mature pine trees of a magical garden in the lower area of Abu Gosh.
The Shevuot (Feast of Weeks) Festival will host the Oreya Choir from the Ukraine. Established in 1986, and directed by Alexander Vatsek, the prize-winning chamber choir of 32 voices will perform two concerts at the festival (10.6.’16, 11.6.’16), offering a wide range of music from Renaissance and Baroque to spirituals and modern works, as well as folk songs from the Ukraine and Moravia. Needing no introduction to Israeli- and Abu Gosh audiences, Ensemble Barrocade and the Israeli Vocal Ensemble, conducted by IVE director Yuval Benozer and with as host of very fine Israeli soloists, will collaborate to perform concerts of works by Händel, Mozart, Mendelssohn, Vivaldi, Marcello and Torelli (10.6.’16, 11.6.’16). Another festive event will be the performance of W.A.Mozart’s formidable (and incomplete) Great Mass in C-minor K 427; Hanna Zur herself will conduct soloists, the Ramat Gan Chamber Choir and players of the Israel Philharmonic Orchestra (11.6.’16). “Dvorak-Brahms-Jobim-Villa Lobos” (12.6.’16) – a concert of the very excellent Gary Bertini Choir (Ronen Borshevsky-conductor, Svetlana Kostova-soprano/pianist) will present music of composers who have taken inspiration from folk song repertoire. Conducted by Ron Zarhi and joined by the Upper Galilee Choir, a fine line-up of soloists will perform Purcell’s “Dido and Aeneas” (12.6.’16); Keren Hadar will sing the role of the ill-fated Dido. It has become a tradition for up-and-coming young opera singers of the Meitar Opera Studio (Israeli Opera) to perform with their musical director conductor/arranger David Sebba at Abu Gosh festivals; in “Black Soul Voices (12.6.’16), they will present music of Kurt Weill and Gershwin, also a selection of gospel songs and spirituals.
The Museum of the Jewish People
Dr. Orit Shaham Gover
How does one plan a museum for the Jewish people? How can this extensive heritage be expressed in a limited gallery space? Where does the story begin, and where does it end? From which perspective do we convey this timeless saga? How do we portray the challenges and achievements that mark Jewish history? What is our purpose in telling this story, and what is the message we wish to impart?
Naturally, there is no one answer. So when the planning team of TheMuseum of the Jewish People considered these questions, it chose a distinct approach, creating a museum through which the complexities of the Jewish story could be revealed. The Museum of the Jewish People, comprised of the New Wing (2016) and new Core Exhibition (2019), addresses the various dimensions of Jewish existence, taking visitors on a fascinating journey through a unique and ongoing story. This journey is based on three key principles:
A pluralistic and all-encompassingapproach
The new wing offers inclusive representation of the magnificent mosaic that is the Jewish people, past and present. It recognizes all incarnations of Judaism, across geography and generations, free from both bias and dogma.
A celebration of creativity and renewal
The exhibitions offer a retrospect of the Jewish story and its implications on the Jewish present, using an approach that celebrates prosperity, creativity, cultural dialogue and an endless capacity for regeneration. In other words, while the darker moments in Jewish history are remembered, the Museum moves beyond “oy vey” and “gevald,” looking instead to the future with the promise of “hallelujah!”
Relevancy and identification
By interweaving the threads of past and present and illuminating the idea that we are all part of the greater Jewish story, the Museum promotes the concept that “This story is (also) my own.”
To this end, the new Core Exhibition of The Museum of the Jewish People will begin with the present — displaying, celebrating and opening up a dialogue around contemporary Jewish identity and culture. An entire floor — the largest in the Museum — is dedicated to this discussion, including performing arts (dance, theatre, film and television and music), literature, languages, modern art and Jewish contributions to world culture.
The second floor of the Museum considers the unique and ongoing story of the Jewish people, from time immemorial to the present. Here Jewish history will be viewed through a prism of parallelism, exploring both its light and shadows. Alongside difficulties experienced, emphasis is placed on the flowering of Judaism, on creativity, human and cultural dialogue and renewal. The Museum maintains a pluralistic approach to all communities and individuals, without discrimination in regard to origin or gender. This floor concludes with the establishment of the Jewish state, which, as in the past, exists alongside another large Jewish center: United States Jewry.
At this point, visitor curiosity will awaken to the conceptual foundations — both cultural and religious — of the Jewish story, giving rise to the question, What does it mean to be a Jew? The third floor of the Museum will display universal elements of Judaism alongside ethnic religious elements, with an emphasis on the pervasive impact of the Bible on world culture.
At the heart of the Museum an open atrium will connect the three floors of the building. This space, which once displayed the persecutions and suffering of the Jewish people, will now be a bright space celebrating optimism and the Jewish capacity for hope. A sculpture of light will rise to the ceiling, symbolizing the Jewish belief in a better future.
Another innovation of the Museum is the introduction of original artifacts that will allow appreciation of actual objects that survived the test of time. The Museum’s curators have arranged both to borrow and acquire unique pieces from around the world that directly relate to the stories on display.
Planning of this new Core Exhibition will conclude at the end of 2016, construction and production will begin in early 2017, and the future Museum will open in 2019.
The New Wing
Opening in May 2016 — in advance of the new Core Exhibition — is a new wing of the current Museum. This new wing encompasses the spirit and vision of The Museum of the Jewish People, with four galleries that uniquely represent various aspects of pluralism, celebration and identification.
The Synagogue Hall – Permanent Exhibition
This gallery showcases in a new, exciting and thought-provoking manner the Museum’s prestigious collection of world-renowned synagogue models. The exhibition includes 21 models, each revealing the different functions of the synagogue: social gatherings, study, work and prayer. It depicts activities related to the synagogue including weddings and bar/bat mitzvahs, community functions, fundraising events and charity work and beyond. This one-of-a-kind display raises questions: How did creativity develop in synagogues over the years? Why do Jews congregate? Where will future Jewish communities converge?
Alongside each model a ceremonial item originating from the synagogue or related community is displayed. These artifacts enhance the exhibition and our understanding of the cultural and artistic identity of each community. Additionally, this exhibition features an impressive stained glass window by the artist Friedrich Adler, c. 1919 Germany, as well as historical and contemporary Judaica, prayer books and various manuscripts from various periods.
In addition to the models and displays, the Synagogue Hall is rich in media. A large screen in the center of the gallery focuses on the three daily prayers — “Shaharit, Mincha, Ma’ariv” (morning, afternoon, evening); video artwork by the artist Ran Slavin is displayed in a mirror-encircled space showcasing 24 additional synagogues from around the world; four animated films in period settings illuminate distinctive gatherings in synagogues; and a humoristic film starring Israeli journalists Jacky Levy and Kobi Arieli describes the similarities and differences between Sephardic and Ashkenazi prayer.
Visitors are invited to participate in four interactive stations: Personal Prayer (from our database the visitor selects a prayer he empathizes with, and in return is invited to share a story or prayer of his own); Jewish Music in Synagogues (nine “piyutim” (hymns) are performed by renowned artists that allow the audience to travel to the locations where these piyutim were, and still are, sung); Synagogue Architecture (24 buildings representing architectural achievements in the history of the synagogue); and Interactivity for Children (children are invited to design and build their own synagogues).
This gallery celebrates creativity and renaissance in Jewish life and culture through the multifaceted lens of the synagogue.
Forever Young – Bob Dylan at 75
This special exhibition celebrates cultural and creative wealth, personified by the work of Bob Dylan, who, more than any other Jewish musician, has influenced 20th century culture. The enigmatic Bob Dylan is represented through films, images, posters, displays and a vast collection of his original music. His story is relayed through the revolution he generated, his influence on music and his connection to Judaism.
Via this exhibition original footage by Elliott Landy, the official photographer of Woodstock, will be seen for the first time in Israel. A twelve-minute documentary, “My Dylan” — produced especially for the exhibition — presents Dylan’s influence on Israeli music.
Acclaimed Israeli music editor Yoav Kutner, is the Artistic Director of the exhibition and the narrator of the exhibit’s audio guide.
“Forever Young” celebrates Judaism’s capacity for creativity, cultural dialogue and renewal through the unique and pervasive contributions of Bob Dylan.
Operation Moses: 30 Years After
This special media exhibition gives voice to those who personally experienced the immigration to Israel from Ethiopia. For the first time ever, this story will be told by those who lived it. Their voices will be heard, free from the influence of the society that received them.
The films’ director, Orly Malessa, was a child when she immigrated to Israel as part of Operation Moses. For this film she selected — from Beit Hatfutsot’s historic collection — stills taken by Doron Bacher in 1984 in Ethiopia. The incognito photos were then uploaded to a designated Facebook calling upon users to recognize themselves and their families. Through “comments”, “likes” and “tagging”, Orly was able to choose immigrants from all over Israel to represent the Ethiopian immigrant community and share its story, featuring each in a five-minute documentary film. Together they render in first person the immigrants’ absorption into Israeli society, considering the ups and downs of a long, difficult and complex process.
Through the stories of individuals who made their way to and within a new country, this exhibition celebrates the ways in which individual voices come together to convey the great story of the Jewish people.
Heroes: Trailblazers of the Jewish People – A Permanent Exhibition for Children
Bravery is one of humanity’s most mysterious and complex attributes. It is often linked to overcoming fear or apprehension in times of war or in the face of adversity. Admired, the hero becomes a role model, and is often the central figure in stories, songs and epics, instilling in future generations a hero’s values.
The Jewish people understand that heroes come in many forms. This complexity is the foundation of this exhibition, which offers children a wide variety of heroes to whom they can relate.
This exhibition is comprised of eight categories of Jewish heroes throughout history: scientists, philosophers, revolutionaries, cultural giants, athletes, courageous individuals and economic leaders.
In this way children — and their parents — are encouraged to redefine those qualities that make a hero. They are alerted to various aspects of success, including conquering temptation, daring to think outside the box and going against the grain.
This exhibition reflects Beit Hatfutsot’s commitment to emphasizing diversity in Judaism. It celebrates Jewish culture both throughout history and in the present day, laying the foundation for pluralistic expression of who and what is exceptional in the Jewish sphere.
Heroes: Trailblazers of the Jewish People is designed for children ages six-through-twelve and their parents. The gallery, designed as an open space that facilitates free movement, has fifteen interactive stations and six animated movies. Textual information appears alongside each hero in the exhibit, enabling parents to provide additional material to their children. The center of the open space is illuminated and ringed with both seating and iPads containing information about the 143 heroes represented in the exhibition.
The Museum of the Jewish People
Dr. Orit Shaham Gover
How does one plan a museum for the Jewish people? How can this extensive heritage be expressed in a limited gallery space? Where does the story begin, and where does it end? From which perspective do we convey this timeless saga? How do we portray the challenges and achievements that mark Jewish history? What is our purpose in telling this story, and what is the message we wish to impart?
Naturally, there is no one answer. So when the planning team of TheMuseum of the Jewish People considered these questions, it chose a distinct approach, creating a museum through which the complexities of the Jewish story could be revealed. The Museum of the Jewish People, comprised of the New Wing (2016) and new Core Exhibition (2019), addresses the various dimensions of Jewish existence, taking visitors on a fascinating journey through a unique and ongoing story. This journey is based on three key principles:
A pluralistic and all-encompassingapproach
The new wing offers inclusive representation of the magnificent mosaic that is the Jewish people, past and present. It recognizes all incarnations of Judaism, across geography and generations, free from both bias and dogma.
A celebration of creativity and renewal
The exhibitions offer a retrospect of the Jewish story and its implications on the Jewish present, using an approach that celebrates prosperity, creativity, cultural dialogue and an endless capacity for regeneration. In other words, while the darker moments in Jewish history are remembered, the Museum moves beyond “oy vey” and “gevald,” looking instead to the future with the promise of “hallelujah!”
Relevancy and identification
By interweaving the threads of past and present and illuminating the idea that we are all part of the greater Jewish story, the Museum promotes the concept that “This story is (also) my own.”
To this end, the new Core Exhibition of The Museum of the Jewish People will begin with the present — displaying, celebrating and opening up a dialogue around contemporary Jewish identity and culture. An entire floor — the largest in the Museum — is dedicated to this discussion, including performing arts (dance, theatre, film and television and music), literature, languages, modern art and Jewish contributions to world culture.
The second floor of the Museum considers the unique and ongoing story of the Jewish people, from time immemorial to the present. Here Jewish history will be viewed through a prism of parallelism, exploring both its light and shadows. Alongside difficulties experienced, emphasis is placed on the flowering of Judaism, on creativity, human and cultural dialogue and renewal. The Museum maintains a pluralistic approach to all communities and individuals, without discrimination in regard to origin or gender. This floor concludes with the establishment of the Jewish state, which, as in the past, exists alongside another large Jewish center: United States Jewry.
At this point, visitor curiosity will awaken to the conceptual foundations — both cultural and religious — of the Jewish story, giving rise to the question, What does it mean to be a Jew? The third floor of the Museum will display universal elements of Judaism alongside ethnic religious elements, with an emphasis on the pervasive impact of the Bible on world culture.
At the heart of the Museum an open atrium will connect the three floors of the building. This space, which once displayed the persecutions and suffering of the Jewish people, will now be a bright space celebrating optimism and the Jewish capacity for hope. A sculpture of light will rise to the ceiling, symbolizing the Jewish belief in a better future.
Another innovation of the Museum is the introduction of original artifacts that will allow appreciation of actual objects that survived the test of time. The Museum’s curators have arranged both to borrow and acquire unique pieces from around the world that directly relate to the stories on display.
Planning of this new Core Exhibition will conclude at the end of 2016, construction and production will begin in early 2017, and the future Museum will open in 2019.
The New Wing
Opening in May 2016 — in advance of the new Core Exhibition — is a new wing of the current Museum. This new wing encompasses the spirit and vision of The Museum of the Jewish People, with four galleries that uniquely represent various aspects of pluralism, celebration and identification.
The Synagogue Hall – Permanent Exhibition
This gallery showcases in a new, exciting and thought-provoking manner the Museum’s prestigious collection of world-renowned synagogue models. The exhibition includes 21 models, each revealing the different functions of the synagogue: social gatherings, study, work and prayer. It depicts activities related to the synagogue including weddings and bar/bat mitzvahs, community functions, fundraising events and charity work and beyond. This one-of-a-kind display raises questions: How did creativity develop in synagogues over the years? Why do Jews congregate? Where will future Jewish communities converge?
Alongside each model a ceremonial item originating from the synagogue or related community is displayed. These artifacts enhance the exhibition and our understanding of the cultural and artistic identity of each community. Additionally, this exhibition features an impressive stained glass window by the artist Friedrich Adler, c. 1919 Germany, as well as historical and contemporary Judaica, prayer books and various manuscripts from various periods.
In addition to the models and displays, the Synagogue Hall is rich in media. A large screen in the center of the gallery focuses on the three daily prayers — “Shaharit, Mincha, Ma’ariv” (morning, afternoon, evening); video artwork by the artist Ran Slavin is displayed in a mirror-encircled space showcasing 24 additional synagogues from around the world; four animated films in period settings illuminate distinctive gatherings in synagogues; and a humoristic film starring Israeli journalists Jacky Levy and Kobi Arieli describes the similarities and differences between Sephardic and Ashkenazi prayer.
Visitors are invited to participate in four interactive stations: Personal Prayer (from our database the visitor selects a prayer he empathizes with, and in return is invited to share a story or prayer of his own); Jewish Music in Synagogues (nine “piyutim” (hymns) are performed by renowned artists that allow the audience to travel to the locations where these piyutim were, and still are, sung); Synagogue Architecture (24 buildings representing architectural achievements in the history of the synagogue); and Interactivity for Children (children are invited to design and build their own synagogues).
This gallery celebrates creativity and renaissance in Jewish life and culture through the multifaceted lens of the synagogue.
Forever Young – Bob Dylan at 75
This special exhibition celebrates cultural and creative wealth, personified by the work of Bob Dylan, who, more than any other Jewish musician, has influenced 20th century culture. The enigmatic Bob Dylan is represented through films, images, posters, displays and a vast collection of his original music. His story is relayed through the revolution he generated, his influence on music and his connection to Judaism.
Via this exhibition original footage by Elliott Landy, the official photographer of Woodstock, will be seen for the first time in Israel. A twelve-minute documentary, “My Dylan” — produced especially for the exhibition — presents Dylan’s influence on Israeli music.
Acclaimed Israeli music editor Yoav Kutner, is the Artistic Director of the exhibition and the narrator of the exhibit’s audio guide.
“Forever Young” celebrates Judaism’s capacity for creativity, cultural dialogue and renewal through the unique and pervasive contributions of Bob Dylan.
Operation Moses: 30 Years After
This special media exhibition gives voice to those who personally experienced the immigration to Israel from Ethiopia. For the first time ever, this story will be told by those who lived it. Their voices will be heard, free from the influence of the society that received them.
The films’ director, Orly Malessa, was a child when she immigrated to Israel as part of Operation Moses. For this film she selected — from Beit Hatfutsot’s historic collection — stills taken by Doron Bacher in 1984 in Ethiopia. The incognito photos were then uploaded to a designated Facebook calling upon users to recognize themselves and their families. Through “comments”, “likes” and “tagging”, Orly was able to choose immigrants from all over Israel to represent the Ethiopian immigrant community and share its story, featuring each in a five-minute documentary film. Together they render in first person the immigrants’ absorption into Israeli society, considering the ups and downs of a long, difficult and complex process.
Through the stories of individuals who made their way to and within a new country, this exhibition celebrates the ways in which individual voices come together to convey the great story of the Jewish people.
Heroes: Trailblazers of the Jewish People – A Permanent Exhibition for Children
Bravery is one of humanity’s most mysterious and complex attributes. It is often linked to overcoming fear or apprehension in times of war or in the face of adversity. Admired, the hero becomes a role model, and is often the central figure in stories, songs and epics, instilling in future generations a hero’s values.
The Jewish people understand that heroes come in many forms. This complexity is the foundation of this exhibition, which offers children a wide variety of heroes to whom they can relate.
This exhibition is comprised of eight categories of Jewish heroes throughout history: scientists, philosophers, revolutionaries, cultural giants, athletes, courageous individuals and economic leaders.
In this way children — and their parents — are encouraged to redefine those qualities that make a hero. They are alerted to various aspects of success, including conquering temptation, daring to think outside the box and going against the grain.
This exhibition reflects Beit Hatfutsot’s commitment to emphasizing diversity in Judaism. It celebrates Jewish culture both throughout history and in the present day, laying the foundation for pluralistic expression of who and what is exceptional in the Jewish sphere.
Heroes: Trailblazers of the Jewish People is designed for children ages six-through-twelve and their parents. The gallery, designed as an open space that facilitates free movement, has fifteen interactive stations and six animated movies. Textual information appears alongside each hero in the exhibit, enabling parents to provide additional material to their children. The center of the open space is illuminated and ringed with both seating and iPads containing information about the 143 heroes represented in the exhibition.
A DIALOGUE ABOUT ART AND COOKING
Linda Dangoor Gil Hovav
A Portrayal of the Jewish Iraqi Kitchen-then and now
Accompanied by the
Musician Yair Dalal andMuseum Curator Idit Sharoni
Date: Monday, 30 May 2016
Reception: 20:00 Event: 20:30
At: The Babylonian Jewry Heritage Center, 83 Ben Porat Avenue, Or Yehuda
Cost: 60 NIS
For tickets call: 03 5339278 Ext 8
Places are limited, please book in advance.
Book purchase available at the BJHC.
Linda Dangoor – Artist, potter and Author
Linda has lived in the UK since the 60s. her interests in food and her Iraqi heritage have culminated in a beautifully designed cookery book: Flavours of Babylon
Gil Hovav – leading culinary journalists and television personality
Gil has played a major role in changing Israeli cuisine from one of basic traditional foods to one of enviable gourmet dining. He was involved in creating, producing and presenting some of Israel's most viewed and loved television food shows.
Yair Dalal - a composer, violinist, oud player and singer
Yair is an Israeli musician of Iraqi-Jewish descent. He plays an important role in shaping the global world music scene.His main instruments are the oud and the violin.
Lag BaOmer Message - MWU Dept of Education - 2016
Lag BaOmer Message Bar Kochba and Ben-Gurion: FROM INSPIRATION TO ACTION
Dear Friends,
Military victories led by Shimon Bar Kochba gave the People of Israel nearly 3 years of national independence during 132-135 CE (Common Era); we celebrate that Great Hebrew Revolt on Lag BaOmer (May 26 this year), but it also led to the worst massacres of Jews in ancient times, and the Exile of most of our People from almost all of our ancestral Land of Israel. Bar Kochba's war began in the hills of Judea and carried so far afield as Beit She'an in Lower Galilee. It cost Rome and its Empire the utter destruction of 2 complete Legions of the 12 eventually sent to crush the rebellious Jews, a lavish expedition of huge numbers of troops led by Julius Severus, the best Roman general of the time, summoned from faraway Britannia.
That brief flicker of freedom won from Rome inspired the Fathers of the Jewish Nation in modern times. The Father of the Third Jewish Commonwealth, Israel's first Prime Minister David Ben Gurion, adopted his Hebrew family name from one of Bar Kochba's generals. The tenacity, decisive action, and total commitment to achieving independence from the oppressive yoke of Rome inspired the just struggle of Zionist leaders to restore Jewish national life in our old-new Land of Zion and Jerusalem. They focused on the spirit ofBar Kochba's struggle rather than its tragic results; in 1947-49 it was the only way to fight the battle the whole world saw as hopeless, the War and that led to Israel's 68th Independence Day we celebrated on May 12. Ben Gurion's refusal to accept the logic of military realities gave the Jewish People its best and most profound achievement in 1800 years since Bar Kochba: national redemption in the State of Israel. That's probably what Ben Gurion meant when he famously said: "Anyone who does not believe in miracles is not a realist." Without that inspiration, without that faith in the Destiny of our People, we would today not have had our State.
Published: 22 May 2016
President Rivlin marks 60 years of Tel Aviv University, hosts Board of Governors members from around the world
President Reuven Rivlin hosted this morning (Sunday), more than 240 representatives of Tel Aviv University, including members of the institution's Board of Governors from around the world, to mark 60 years of the university.
President Rivlin welcomed all the delegates, and congratulated them on the University's 60th anniversary. He stressed, "Education is not just about learning and teaching - it is a way of life that drives the whole country forward. It is the beating heart of the modern state." The President continued, "Our universities are a key part of the debate in this is country. They are a place where we hear support and criticism of Israeli politics. They are proof that criticism of politics or of different policies, is as much part of Zionism as support for Israel. So to the people who want to boycott Israeli students, professors, and universities, we say very clearly: We will not allow hatred to silence the debate. An academic boycott is a major threat not just to Israel, but to the entire scientific world, and we must fight it and stop it."
Also addressing the event were Chairman of the Board of Governors Professor Jacob Frenkel, representative of the Board of Governors from Italy, Mrs. Selina Goren Komeran, and President of Tel Aviv University Professor Joseph Klafter.
“Sign from Iran” is an exhibition of contemporary Iranian placards opening at the L.A.Mayer Museum of Islamic Art, Jerusalem on May 19th 2016. At a press conference on May 17th, museum director Mr. Nadim Shiban spoke about the museum’s recent activity, introducing political poster artist, teacher and designer Yossi Lemel whose inspiration it was to have the exhibit. Curators of the exhibition are Professor Lemel and Dr. Marta Sylvestrovà of the Moravian Gallery, Brno, Czechoslovakia.
35 years ago, Yossi Lemel travelled to Turkey, reaching the Turkish-Iran border; he dreamt of entering Iran but was unable to do so for obvious reasons. He spoke of the process of putting the current exhibit together as a difficult one, fraught with complications. The placards, collected in Czechoslovakia, Slovenia and Germany, represent a synthesis of east and west, of topography and calligraphy and shed light on the culture and people of Iran – of art, theatre, society and political issues. Due to sensitive aspects of the show, there were some artists who decided to withdraw their works from the exhibition in Jerusalem, which was put together especially for the Museum of Islamic Art, Jerusalem. Lemel emphasized its importance both for us and for the artists, for the visitor to see the human content in a world that addresses Iran from a political point of view; he also pointed out the disparity of what is actually shown and what remains concealed in art on a country whose society is as conservative as Iran. Yet despite prohibitions and restrictions imposed by the regime, the country’s artists have certainly made their mark and have proved themselves innovative in the world of calligraphy and typography.
Entering the gallery, one is confronted by a huge, vivid photo of young Iranian people, mostly women, in a clandestine café. The women’s faces are not covered and one is smoking a cigarette. The picture was taken by French photographer Jeremy Suyker, who has been traveling to Iran since 2013, documenting the country’s rich culture and history as well as Tehran’s underground art scene. As to the 60 posters of 27 artists, on different levels they connect to Iran’s cultural, historic and religious traditions, the poets and philosophers of the last 1000 years of Persian history and the relationship between Arabic and Persian script, and through the eyes of the sophisticated modern artist. Addressing political and social issues, artists have used visual puns, metaphors and indirect poetic messages to convey their message. The viewer is challenged to read into the symbols on these placards. Women artists, combining their rich cultural heritage and multidisciplinary techniques, give expression to women’s issues. An exhibition of great beauty and interest, the viewer experiences the sensuality and mystery of ancient times through the eyes of masterful contemporary artists.
“Sign from Iran” - May 19th - November 19th.
The L.A.Mayer Museum of Islamic Art, 2 Hapalmach St., Jerusalem
There’s a big wide world out there.
Mention most countries or areas to anyone and usually an image or concept pops into their consciousness right away; snow in Switzerland, sand in the Sahara, sunshine in Sydney. Israel conjures up many thoughts, but the most frequent one is probably “Judaism” and the Jewish homeland. Although sophisticated people do know that the Holy Land is the center of the world for all three monotheistic religions, how many people know just how much there is to see in Israel concerning the birthplace and stamping grounds of Christ?
The Pontifical Institute of Notre Dame in Jerusalem is a good place to begin your road to discovery. Jerusalem is no stranger to controversy; Notre Dame aspires to be the route to serenity, peaceful coexistence and normalcy.
Its history is long and checkered and not within the scope of this article. Today the old but beautifully restored building houses not only the guest house (they prefer not to call it a hotel), but also three restaurants, a gift shop, conference rooms and a giant auditorium. Not to mention of course – of course! – the tranquil chapel. This is after all a Catholic institution, property of the Vatican. There is free Wi-Fi in the lobby area, but no tennis court, swimming pool or gym. Only the suites have TVs. This no ordinary hotel.
And then there is the “Shroud of Turin” museum. (Yes, Turin Italy.) The history of the shroud (said to be the mantle that covered the body of Jesus for burial), how and why it reached Turin, and why it is believed to be the real thing, awaits you at Notre Dame. The mystery, the theory, the multidisciplinary research and scientific examinations, the religious beliefs, the perplexing photographic evidence – all come together in this mind-boggling museum.
The Institute also runs a school to train young people for a career in the hospitality and tourism industry. The school celebrated its silver jubilee in 2015 and there are currently about 140 students.
Confused? Don’t be. Although Notre Dame might be considered as “only” a guest house for pilgrims, it is really a fine hotel, and far from Spartan. A welcoming lobby and reception desk, comfortable rooms, a generous and varied breakfast, fine dining at the rooftop restaurant and the other cafes and dining areas. The Jerusalem location is right opposite the New Gate into the old city. (The gate was opened when Notre Dame was built, for convenient pilgrim access to the old city’s many Christian sites.) The concept of Notre Dame is of “a gift for humanity” that embodies Jerusalem: moderation, co-existence, downed barriers, and peace. Not to mention the typical Jerusalem architecture of a bygone age. The “Mosaic Suite” must surely be unique in the entire world. If you are fortunate enough to stay there, or even to visit it briefly….
The Christian community in Israel serves as a buffer between militant Muslims and militant Jews and the religious diversity, so apparent at Notre Dame, tends to enhance its power for dialog between antagonists. But more than that, the Pontifical Institute Notre Dame also serves not only as a buffer, but as a link, between Judaism and Christianity.
Nowhere is that clearer than at “Magdala”, a site on the Sea of Galilee which is currently being completed, and which is closely linked to the Notre Dame Center and the Catholic Church. Magdala is right by the town where Mary Magdalene lived 2000 years ago. Soon after excavations began, the ruins of the oldest 1st century synagogue were discovered. Nearby, the ruins of the “mikveh” (Jewish bathhouse for ritual cleansing and purification) were excavated. Is this the synagogue where Christ prayed, studied and preached? All signs indicate it was. On the lake shore just 100 meters away is the port where fishermen brought their catches 20 centuries ago, where Jesus performed miracles, where the community market place was located. Over the old restored market place floor now stands “Duc in Altum” – the main so-called “boat chapel” and the four smaller side chapels (for quiet reflection and prayer). The building is breathtakingly beautiful in its elegant simplicity.
Magdala, with its synagogue and chapel, set in secular Israel, is symbolic of the bridging aimed at by the Vatican Church leadership in Israel, of bringing the vision to life. Magdala’s core mission and purpose is to offer a 1st century experience in a 21st century environment and to highlight its historical, cultural and spiritual significance. “To really bring the vision to life.” It is staffed (and visited) by people from all walks of life, all religions, races, sects and nationalities. The message is reconciliation, compromise, peace, tranquility and harmony. The Catholic Church sees itself as the “mother of humanity” and as such has a role to play in bringing her sometimes unruly children together.
The issues of womanhood are spotlighted in “Duc in Altum”, where the main atrium is space devoted to women of biblical times. How appropriate that is in 2016, at the town where Mary Magdalene lived. Religion, history and culture come together in this continuity of Judaism and Christianity at the crossroads of Jewish and Christian history. In this day and age, we found the message refreshing in its simplicity. We believe you might too.
There is much to see, learn, experience and especially, to reflect on, both at the Notre Dame Center and at Magdala.
Peres' Mini Mondial for Peace:
In a call against the recent racism and violence in football stadiums - The Ninth President Shimon Peres held the "Mini Mondial for Peace", joined by Israeli Premier League Football players, Ambassadors from around the world, Mayors from across Israel, and 300 Jewish and Arab, Israeli and Palestinian children
Peres blew the opening whistle and called the football players to unite against racism and violence on the pitch:
"There is no place for racism and violence on the football pitch – you, the players, serve as an example to young people of every nation"
"The fact that you came here to play today - not only with your feet, but also your soul – proves that, together, we can make a difference."
Yossi Benayoun:
"We are happy for this opportunity- we came here to do our part through the game to lead by example on the field and beyond."
Against the backdrop of racism and violence in football stadiums around the world, The Ninth President Shimon Peres began the day (9.5) with the Peres Center for Peace's "Mini Mondial for Peace" in Herzliya. The event opened with two unique exhibition games, the first featuring Ambassadors from around the world and Mayors from across Israel playing against a team of young Arab and Jewish, Israeli and Palestinian participants from the "Twinned Peace Sports Schools" program. This was followed by a second exhibition match featuring Israeli Premier League all-star football players who played together with the Israeli and Palestinian young footballers. The Peres Center's "Twinned Peace Sports Schools" program promotes co-existence between youths throughout Israel and the West Bank. Ambassadors, Mayors, professional footballers, and the young participants came together to promote a message of peace and against the recent violence and racism that has taken place in football stadiums around the world.
At a briefing in the locker room with the professional all-star players prior to the start of the event Peres said: "I am so happy that you have joined us in playing for peace. We must end the recent negativity occurring on the pitch. You come here today to not only play with your feet, but also with your soul." Peres took to the pitch and said: "Thank you for coming here to make a statement against racism and violence. Your presence here along with Israeli and Palestinian children sends a clear message against racism and violence and for the promotion of peace through sports. We must draw a clear line on the field and in life. Violence and racism on the football pitch affects our children- so you must lead by example. I am proud that, every week, Israelis and Palestinians come together to play football and prove that it is possible.
At the "Mini Mondial" opening ceremony, the Peres Center held a moving tribute to the legendary football player Johan Cruyff, who passed away this year. Cruyff was a staunch proponent of education for coexistence and tolerance through football in Israel for many years and was a strong supporter of the Peres Center's Twinned Peace Sports Schools project. Peres and several of the young participants - Arab and Jewish - presented his son, Jordi Cruyff, with an honorary jersey with number 14 on the back, which was his father's number, and the professional all-star players wore orange jerseys in his memory.
The "Ambassador Peace Team" players included: Ambassadors from Albania and Austria, and senior diplomats from the Democratic Republic of the Congo, the United States, Italy, France, and Australia. They were joined by Mayors and Heads of regional councils including: the Msayors of Acre, Herzliya, and Kfar Saba, and the heads of Yoav Regional Council, Sha'ar Hanegev, Abu Ghosh, Hof HaSharon, and Shibli.
The Israeli Premier Football League players included: Yossi Benayoun, Ahmed Abed, Avihai Yadin, Gal, Dan Aybinder, Yuval Spungin, Guy Haimov, Pedro Joaquín Galván, Hisham Kiwan, Dai Saba, Haiim Margishvili, Omar Padida, Stav Pinish, Zion Tsemach, Ahmed Kasumi, Naor Peser, Dor Alov, Shai Constantine, Ohad Cohen, Omar Padida.
Herzliya Mayor Moshe Fadlon said: "There is nothing like sport and football to connect people and religions and to transcend differences of opinion. This is the third year we have hosted the "Mini Mondial for Peace", the Peres Center for Peace, and President Peres, and we are proud of your vision."
Ofer Eini, Chair of the Israeli Football Association said: "If we, the adults, can act like these young football players, together we can conquer racism and violence, and we will have a better future for ourselves and with our neighbors".
The "Mini Mondial for Peace" is the annual peak event of the Peres Center for Peace's "Twinned Peace Sports Schools" program in which Jewish and Arab, Israeli and Palestinian children meet on the football field. Throughout this project the children meet one another, train together, learn each other's language, and play football together on mixed teams. This project, which has been running for 14 years, brings together hundreds of children from different communities all over the country every year. To date, over 20,000 children have participated in this project.
Category: Art & Culture
Published: 04 May 2016
STATE. Exhibition of the artists Dorina Horătău and Claudia Mușat at The Artists' House, Tel Aviv. 7 - 21 May 2016
The Romanian Cultural Institute has the honor to invite you at the exhibition STATE, open between the 7th and the 21st of May, 2016, at Tel Aviv Artists' House. On display there will be fiber artworks by Dorina Horărău and Claudia Mușat, two of the best Romanian fiber artists today.
The exhibition highlights a series work stages, as well as studies of the textile materials in various phases of processing. The artworks of Claudia Mușat reveal the artists' researches on silk and the tri-dimensional works of Dorina Horătău express meaningful moments of her private life.
The opening will take place on Saturday, the 7th of May, at 12:00 hrs., in the presence of the artist Dorina Horătău.
The exhibition will be open for public at Tel Aviv Artists' House, 9 Alharizi st. on the following schedule: Monday to Thursday between 10:00-13:00 and 17:00-19:00, Friday between 10:00-13:00 and Saturday between 11:00-14:00. More information: http://
Spring festival in the Ein-Yael "Hands-on" Museum in Jerusalem- taking visitors 2,000 years back in time
Meeting ancient artisans in the colorful Roman street ; treasure hunt for the whole family in the garden of Song of Songs; the wonderful children's play "Magical moments by the spring" ; making musical instruments from natural materials ; live music in the beautiful outdoors of Ein-Yael ; weaving wicker baskets; spinning wool in the spindle and a variety of other fun activities for the whole family
The Ein Yael "Hands-on" Museum is holding a spring festival in Hol Hamoed of Passover (24 -28 of April) this year! Among the activities: artisans recreating ancient handicrafts in the magical Roman street ; a treasure hunt for the whole family in the Song of Songs garden; live music which will be played around the site and a variety of other fun activities for the whole family.
In addition, visitors will be invited to experience all of Ein Yael's wonderful workshops: weaving baskets and making musical instruments of natural materials, painting wet plaster in the fresco workshop, learning about ancient building methods in the mud workshop, making clay in the ceramic workshop, planning and cutting a personal mosaic and lots more.
The dates of the festival are: 24-27th of April, from 10:00 to 17:00.
And on the 28th of April from 10:00 to14:00
The Ein-Yael museum provides a special and enriching fun-filled activity for the entire family, combining arts and crafts with learning about the ancient way of life. In the museum you will find orchards, a recreated Roman street, petting corner, a live spring, ancient agricultural facilities and olive trees, vineyards and more.
Entrance cost: 45 NIS for child, 35 NIS for adult.
The Ein-Yael "Hands-on" Museum, Jerusalem (next to "Malcha" train station)
First Time - Pre-Eurovision Promo Event in Israel
Sponsored by the Israeli Ministry of Tourism, the Israeli Ministry of Foreign Affairs, the Municipality of Tel-Aviv, and Ir Olam Organization. Produced by Tali Eshkoli.
Twenty leading artists from all over Europe who will be representing their countries in the upcoming Eurovision Song Contest in Stockholm, came to Israel for a three-day visit [from 11th to 14th April], to perform in a unique event with their entries for this year’s Eurovision Song Contest. Israel Calling 2016 was the first Pre-Eurovision Event in Israel intended not only to promote the Eurovision Song Contest, but also the City of Tel-Aviv and Israel throughout Europe. Together with the artists participating in the Eurovision Song Contest, there were journalists who came from all around the world.
They made a tour around the city of Tel-Aviv and Ancient Jaffa, also having the time to plant trees with KKL-JNF in KKL-JNF’s Tzora forest. There was a good and friendly atmosphere with lots of singing and much happiness. They ate in excellent restaurants, took photos, and reported their adventures back to their worldwide fans via the social media.
A press conference took place on April 12th at midday.
A festive and welcoming gala event took place on April 11th, with the attendance of all the artists and delegations, Kids.IL (The Israeli representatives at Junior Eurovision Song Contest 2012) , Moran Mazor – The Israeli representative at Eurovision 2013 , as well as local and international media, Ambassadors and Diplomatic Staff of the participating countries, and former Eurovision representative of Israel.
The highlight – the live show on Tuesday 12th April at the Moadon Hateatron [Theater Club] that in addition to the 20 Eurovision artists attending, there were also representatives of Israel’s former Eurovision Competitions present, including, among others, Yizhar Cohen [first Israeli Eurovision Winner in 1985], Avi Toledano [who came second in 1982 and 1983], and Tzvika Pick, [composer of the winning song ‘Diva’ sung by Dana International in 1998], Hanna Dresner - Tzakh better Know by her Stage name Ilanit .
This is the biggest Eurovision event to take place in Israel since the country hosted the Eurovision Song Contest in 1999. Such promo events having been taking place for many years already in The Netherlands, United Kingdom and Russia, and this is the first time that a promo event has gone out of continental Europe to take place in Israel.
The Israel Festival is marking 55 years of its existence.
At a press conference at the Eden-Tamir Music Center, Ein Kerem Jerusalem on April 11th 2016, chairman of the Israel Festival board of directors Dan Halperin opened the meeting, stating the aim of the 2016 Israel Festival, to take place from May 24th to June 11th, as addressing the many different kinds of people in Israel, offering them a range of events they will not experience anywhere else and at reasonable prices.
Young, go-ahead Jerusalem city councilman Ofer Berkovich, co-founder and chairman of the Wake Up Jerusalem movement, mentioned that Eyal Sher (CEO of the Israel Festival as of 2015) and artistic director Itzik Juli (also as of 2015) have been challenging in their choice of events.
Jerusalem-born Berkovich, referring to the city as a problematic city at times, claims that its artistic life is a normalising factor; he hopes to see the festival attracting Jews, Arabs and tourists to its many events.
Another aim is to give young local artists a stage. This year’s festival will host more than 100 artists from all over the world and will take place in several venues around Jerusalem. Eyal Sher spoke of the Israel Festival’s many goals – the economy, tourism, serving education and the community – but also to be different, witty and even to tease!
One question in which the Israel Festival team has engaged is how to be appealing to the public, yet still maintaining standards of quality and unity. Sher said it was no secret that the Israel Festival is being revised via a different reality. Next to speak was Itzik Juli. For him the “now” being represented at the festival includes consideration of art past and future. He referred to the program as a kind of search, with the opening event homage to one of Israel’s greatest singers Shoshana Damari (1923-2006) with the closing event being Belgian inter-disciplinary artist Jan Fabre’s 24-hour-long contemporary multidisciplinary theatre piece “Mount Olympus”.
Mostly modern and multidisciplinary in approach, this year’s Israel Festival will offer theatre and dance events from Israel, Europe and China, Israeli music and some classical music, (no jazz and no chamber music), music in which east meets west and two musical events of Holocaust content. And there will be outdoor events around Jerusalem and shows to interest the whole family…some at modest prices, others free of charge. Daring, ambitious and thought-provoking, there will be much festival fare to challenge and stimulate open-minded audiences at the 2016 Israel Festival!
An auspicious event of the first Bach in Jerusalem Festival (March 17th-21st 2016) was a recital titled “Preludes and Fugues performed by pianist Jascha Nemtsov. It took place at the Jerusalem Music Centre, Mishkenot Sha’ananim on March 20th.
With his program taking a cue from the music of J.S.Bach at the core of the festival, Professor Nemtsov opened his recital with pieces from Book I of Bach’s Well-Tempered Clavier - a contemplative, gently expansive reading of the Prelude in E major, followed by its bold partner fugue. His poetic rendering of the F-minor Prelude highlighted key notes; then, to the Fugue with its enigmatic, atonal subject, clearly highly inspirational to Nemtsov, whose poly-dimensional playing was variously and imaginatively orchestrated at each stage of the piece.
Many of us were especially drawn to the recital to hear the pianist’s first Israeli performance of a number of the 24 Preludes and Fugues of Ukraine-born composer Vsevolod Zaderatsky (1891-1953), an artist systematically persecuted, excluded from Soviet musical life, exiled and twice imprisoned. Much of his music was destroyed. He did, however, compose six piano sonatas, three programmatic piano cycles, two operas, symphony- and ensemble scores and the cycle of 24 Preludes and Fugues. The Preludes and Fugues (1937-1938) constitute the central work of the composer’s musical legacy (there are also some literary works), having miraculously survived and made it into the hands of the composer’s son who, in the 1970s deciphered what was written in the Kilyma camp of Siberia mostly on telegram forms, copying the pieces out in full. The cycle of Zaderatsky’s Preludes and Fugues was first performed in its entirety by Nemtsov in 2015 at the 6th International Shostakovich Days (Gohrisch, Germany). 2015 also saw the publishing of the work as well as Nemtsov’s double CD recording of the complete set for the Profil label. At the Jerusalem recital, Jascha Nemtsov’s performance of this highly varied group of pieces convincingly displayed Zaderatsky’s kaleidoscope of ideas and his fine (and highly challenging) pianistic writing; beyond those qualities, Nemtsov sketched a picture of the man himself and the breadth of fantasy and emotion that may well have been what saw him through ordeals in the gulag that many do not survive. The pieces also attest to the composer’s mastery at the piano. If Bach’s C-major Prelude of the WTC I is bathed in light and tranquillity, Zaderatsky’s C-major is ghostly, intense, confrontational, sometimes atonal. The splendid A-minor Prelude, with its hectic, bright and cascading agenda, as well as its drone presence, breathes optimism, as does its richly chordal accompanying Fugue, which ends on an octave-and-fifth, pared-down Renaissance-type chord. In the G-major Prelude, with its agile, weightless “Flight-of-the-Bumblebee” texture, Nemtsov’s virtuosic performance displayed the piece’s play of colours and humour. The G-Major Fugue, however, follows by conjuring up a complex soundscape. After the atonal, floating “seascape” of the E-Minor Prelude, the E-minor Fugue, with quotes threaded through the texture, its voices shaped with individual expression, ended on three decisive minor chords. A true gem, the B-Minor Prelude’s fine gossamer melody wrought of parallel seconds took one’s breath away with its beauty; its modal/atonal partner fugue taking on a much weightier character, its texture offering a suggestion of bells. With the F-sharp minor Prelude’s shining, high melodic line and poignant bell-like textures, we were raised up to a more celestial place; its Fugue splendidly chiselled, with each phrase growing out of its predecessor. Nemtsov’s total immersion in the music and in the workings of Zaderatsky’s intellect and soul left the audience humbled and moved.
First silenced as a “degenerate” composer due to his Jewish ancestry, Czech composer Viktor Ullmann composed the “Variations and Fugue on a Hebrew Folk Song”, the fifth and last movement of Sonata No.7, his final work, when interned in Theresienstadt. Against all odds, Ullmann was very creative there. “Theresienstadt was and is for me a school of structure”, he wrote. “I must stress that I have bloomed in my musical work…without inhibition…” In 1944, however, shortly after completing the piece, he was transported to Auschwitz-Birkenau, soon perishing in the gas chambers there. The Hebrew folksong on which the movement is based is a Zionist song sung by Yehuda Sharett. It sets a poem by the poet Rachel. Ullmann’s variations bear resemblance to a Slovak national anthem (banned by the Nazis) and a Hussite hymn, also quoting the Protestant hymn “Now thank we all our God”. Apparent in this final movement are, in fact, a comprehensive array of the elements making up Ullmann’s musical-, emotional- and intellectual existence (references to Bach, to Christianity versus Judaism, folk music, the fugue, tonal- versus atonal music) or might it be an utterance of defiance of his Nazi captors? Nemtsov’s free, playful and brilliant performance of the work reflected the composer’s unshakable optimism. In his introductory words, the artist referred to Ullmann’s Fugue as a “kind of vision”. With BACH motif appearing in the fugue, here was another connection to the festival itself.
When Dmitri Shostakovich went to Leipzig in 1950 for events marking 200 years of J.S.Bach’s death, he heard young virtuoso pianist Tatiana Nikolyeva performing pieces from both books of The Well-Tempered Clavier. Returning to Moscow, he began to sketch out his own 24 Preludes and Fugues, a work alluding to the music of Mussorgsky, Borodin and Russian folk music but also to the world of counterpoint. This diverse and imaginative collection of pieces takes the listener through the wide range of the composer’s emotional world, from bleak despair to exaltation, from the grotesque to devil-may-care jollity. It was Nikolyeva who then premiered the Shostakovich work in 1952. At his Jerusalem recital, Jascha Nemtsov played three pairs of Shostakovich’s Preludes and Fugues opus 87, opening with the C-Major pair - autumnal, harmonically rich, gently dissonanced yet breathing a sense of C-Major purity and directness, its Fugue played with fragile beauty. Nemtsov, having mentioned that the F-Sharp-Minor prelude included motifs from Klezmer music, presented the agitated, feisty miniature with playfulness, cynicism and a touch of whimsy, then drawing the listener into the disturbing banality-cum-dissonance of the Fugue subject and its complex workings, a piece as bewitching as it is disturbing. As to the D-Minor Prelude, Nemtsov highlighted its noble character, giving a natural and free voice to the richly varied emotional agenda of the consequent Fugue. Professor Nemtsov’s playing sensitively plumbs the depths of Shostakovich’s mind, his elegant and nimble touch presenting the pieces with masterful eloquence, his deep enquiry into each revealing its truth.
Pianist and musicologist Jascha Nemtsov was born in Magadan (Siberia), growing up in St. Petersburg and graduating with distinction from the St. Petersburg Conservatory. Since 1992, he has lived in Germany, with a busy international career performing both solo- and chamber music. Nemtsov’s repertoire covers a wide range of works and styles, from Classical- and Romantic repertoire to music of the 20th- and 21st centuries, with emphasis on Russian music – Shostakovich, Zaderatsky, Weinberg and other composers. As a performer and musicologist, he has focused on Jewish art music of the early 20th century and performs works of composers who suffered at the hands of the Nazis. He has been active in salvaging forgotten works of the New Jewish School (Russia, early 20th century). Jascha Nemtsov’s many recordings have won him several prizes. He today holds the chair of History of Jewish Music at the University of Music Franz Liszt Weimar and serves as academic director of the Abraham Geiger College (the Reform rabbinic/cantorial seminary attached to the University of Potsdam, Berlin.)
Photo Pianist and musicologist Jascha Nemtsov performs at the first Bach in Jerusalem Festival
photo credit for Nrmysov pjoto
" My Class " A Personal Documentary movie with a message
"Not on every day of his life does a man stand and get the honor and the privilege to share his perspective on life thru a rich movie with colors, photos, music, poetry and above all - Human beings."
With these words I started my speech (April the 6th) at the gala screening of my documentary movie "My Class" at the Cameri Theater in Tel Aviv.
In July 2015 I joined a Habima and Cameri theatre trip to the Balkans. We visited four states, Macedonia, Albania, Montenegro and Serbia. The aim of the trip was to stage the play "Our Class" which deals with the Holocaust, a play originally written in Polish and translated into Hebrew. From many standpoints, the "Our Class" trip was also my own inner journey to my class in Jerusalem, and that was the reason why I made my movie.
In the movie I show, besides the scenes from the play which I deliberately put in black and white, the breathtaking views and moving events which I witnessed during the trip and which constituted a contrast to the contents of the play.
My aim was to show that the Jewish people survived even after all the horrible events which it suffered in the course of history, especially during the Holocaust, and that all the nations in the world should build and not destroy, to make peace instead of war, and to insure that such a holocaust will never happen again.
Many people who took part in bringing the play "Our Class" to the Balkans participated in the gala screening, the ambassadors of Macedonia, Albania, Serbia, Bosnia and Herzegovina, Angola, and the Israeli ambassador to Macedonia, Dan Oryan, and the Israeli ambassador to Malta and Moldova, David Oren, and well as business partners, actors and others. The guest of honor at the event was the deputy minister of culture of Macedonia. Certainly, all the tremendous effort which was invested in the project was worth it and definitely exciting.
Besides mentioning in my movie the fact that Israel and Macedonia are celebrating twenty years of diplomatic relations, I pointed out the fact that other relations are growing also with the other Balkan countries, and I felt that the gala screening was another cultural brick uniting human beings together.
Being a personal movie, I also said in my speech: "My movie is like a creative dish of food, and each one of you is invited to taste and judge." The fact that I received a large number of varied reactions made me feel proud that I had created something to talk about, whether some liked it or not, or some thought that I should add more materials or change some of them. I didn't pretend to make comparison between the story of the Holocaust which was brought thru the play "Our Class" to my own story with my class in Jerusalem as a pupil, but to share my associations which arose during the tour, due of the fact that in my class sometimes I also suffered discrimination and had to protect myself.
The movie is also not about the actors or the play, even when I'm showing them. I was like a walking shadow who documented them thru my perspective, and the reason I did that is because I really believe that we should keep telling our history to our children, even the horrible events, in order to educate them to improve our world to be a better place to live in.
Some of you who know me as a poet maybe will understand my hidden message by reading this poem which I'm read in the movie:
On the outskirts of Podgorica
Next to the melon shed
I saw from a distance a farmer
Raising his scythe.
When he cut with a sharp blow
I felt how my soul was split in two -
The one whose past does not let go,
And the one whose future is yet before it,
And I chose you
And I chose the future.
At the end of the movie I putt the song "Hands Across the Mountains" by David Ben Reuven, who translated the subtitles of the movie into English, and I thought that this song was a perfect choice because my philosophy, even if it sounds pretentious, us that if all human beings will unite and hold their hands across mountains and oceans we will create a better world.
I dedicated this movie to my late father and my beloved mother, and to my children, with the hope that the message of my movie will be understood by all, and if so, that will be my gain.
photo The Israeli ambassador to Macedonia on the middle, Pierre Lavi on right and the Serbian ambassador and his wife on the left.
Forbes Hosts First-Ever Large-Scale Live Musical Performance Synced to Virtual Reality to Cap Off Its Under 30 Summit EMEA
With the goal of promoting Co-Existence, the concert featured curated acts from around the world, including London-Based Hip-Hop Star Little Simz, Okieriete Onaodowan from the Hit Broadway Musical “Hamilton,” Palestinian Rapper SAZ with an Israeli Funk Band Lucille Crew, and U.S. Rock Band MAE with Violinist Tim Fain and VR Director David Lobser
The concert, attended by more than 600 of the world’s most influential entrepreneurs and game changers, was held at one of the most historic music venues on earth, the 3,000-year-old Tower of David in Jerusalem, on Wednesday, April 6
JERUSALEM (April 7, 2016) – At the 3,000-year old Tower of David in Jerusalem, Forbes hosted yesterday the first-ever large-scale live musical performance synced to virtual reality (VR) to cap off its Under 30 Summit EMEA (Europe, the Middle East and Africa) -- a summit that brought together more than 600 of the world’s most influential young entrepreneurs and game changers as culled from Forbes’ 30 Under 30 lists.
The concert, designed to promote Co-Existence, featured curated acts from around the world, such as London-based hip-hop star Little Simz, Okieriete Onaodowan from the Hit Broadway Musical “Hamilton,” Palestinian rapper SAZ with an Israeli funk band Lucille Crew, and U.S. rock band MAE (Multisensory Aesthetic Experience) with violinist Tim Fain and VR director David Lobser.
“This concert sits in the middle of two days of service in the cause of co-existence,” said Randall Lane, Editor of Forbes magazine. “And we’re making history in the field of virtual reality. People will look back on this night as a turning point in the history of music and performance.”
The concert was powered by Vertigo, a social platform launching this summer which connects the world of music and people in real time. All attendees of the concert wore virtual reality headsets and enjoyed a simultaneous virtual reality experience as MAE, featuring violinist Tim Fain and VR by animation director David Lobser, debuted its song “LIGHT,” its first single in five years. The song and VR experience are available online here for free: www.maevr.vertigomusic.com.
“MAE is honored to collaborate with violinist Tim Fain, VR animator David Lobser and Vertigo Music, to create a first-of-its-kind live synced VR concert experience inside the historic Tower of David as part of the Forbes Under 30 Summit EMEA,” said Jacob Marshall Co- Founder and drummer of U.S. rock band MAE, and Advisor to Vertigo. “We humbly believe that co-existence, reconciliation, and transcendence are messages best initially delivered in the language of inspiration, art and beauty.”
The lineup for the concert was as follows:
- Actor Okieriete Onaodowan, known as Oak, kicked off the concert with a spoken word, which he wrote to promote Co-Existence. An experienced stage actor, Oak is currently playing President James Madison and Hercules Mulligan in the hit Broadway musical "Hamilton.”
- Palestinian rapper SAZ with an Israeli funk band Lucille Crew, performed together under the theme of Co-Existence. Sameh Zakout ("Saz") is a Palestinian rap artist whose music features themes of Palestinian and Arab identity and who calls for peaceful resolution of the Arab-Israeli conflict. Lucille Crew is an international groove collective based in Tel Aviv that fuses elements of hip hop, funk and soul.
- Hip Hop Star Little Simz, the award-winning North London hip hop artist who self-released her critically acclaimed debut album A CURIOUS TALE OF TRIALS + PERSONS, which was named one of the Best Albums of 2015 by Vogue, Entertainment Weekly and more. Little Simz became the first UK rapper to be featured on Forbes Magazine's "30 Under 30" and "Hip Hop Cash Princes" lists
- U.S. Rock Band MAE (M)ultisensory (A)esthetic (E)xperience, an ever-evolving music and art project formed in 2001 in Norfolk, Virginia. MAE consistently delivers emotionally driven cinematic soundscapes for the modern global culture. MAE uses artfully crafted music as a starting point to expand the concept of harmony to include other sensory languages and to place listeners inside of an experience of art for the whole body.
About the Forbes Under 30 Summit
The Forbes Under 30 Summit franchise, one of the company’s most popular franchises, is an extension of Forbes magazine’s annual 30 Under 30 list.
The Forbes Under 30 Summit EMEA brought together 600 of the greatest young entrepreneurs and game-changers from America, Europe, the Middle East and Africa, as culled from Forbes’ 30 Under 30 lists, for five days and nights of fostering world-changing ideas and collaboration. Under the theme “Co-Investment, Co-Creation and Co-Existence,” innovators, inventors, mentors and investors focused on entrepreneurship and long-term, market-driven solutions to global problems, proving that growth is possible even in challenging times.
For more details on the Forbes Under 30 Summit EMEA, please visit http://www.forbesconferences.com/event/2016-forbes-under-30-summit-israel/ . On Twitter, follow #Under30Summit.
About Forbes Media
Forbes Media is a global media, branding and technology company, with a focus on news and information about business, investing, technology, entrepreneurship, leadership and affluent lifestyles. The company publishes Forbes, Forbes Asia and Forbes Europe magazines, as well as Forbes.com. The Forbes brand today reaches 94 million people worldwide with its business message each month through its magazines and 37 licensed local editions around the globe, websites, TV, conferences, research, social and mobile platforms. Forbes Media’s brand extensions include conferences, real estate, education, financial services and technology license agreements.
"Fresh Paint" Contemporary Art & Design Fair opens in Tel Aviv
The 8th edition of Fresh Paint Contemporary Art & Design Fair, the largest annual art event in Israel, is taking place between 5-9 April 2016 in the Levant Fair, near the Tel Aviv Port.
This year Fresh Paint will host international artists, who will present their works alongside Israeli artists. The international works will include a large installation by Japanese artist Onishi Yasuaki, a performance by the Romanian artist Szilard Gaspar and a photographic series by the Senegal artist Fabrice Monteiro.
Also at the fair: leading galleries that will present projects curated especially for the fair, the independent artists' Greenhouse, an original model, providing exposure to about 50 emerging artists at the beginning of their professional careers.
The fair is held in collaboration with the Tel Aviv-Yafo Municipality, UBS Wealth Management (the main supporter of Art Basel art fair) and Israeli and international leading art institutions.
Attached is one of the works featured in the fair, "Sex and Take Out" by Sarah Bahbah.
For the first time in Israel, The world famous and international worldly renowned Musical Ensemble 'Mirabai Ceiba' will give a Premiere Performance on the 13th April at 8.00 p.m. at the 'Samuel Rush' Auditorium at Tel-Aviv University.
The ensemble will give a special, unique and heartwarming concert in dedication to the Non-Profit Organization 'SAVE A CHILD'S HEART', operating at the Wolfson Medical Center in Holon, Israel.
The ensemble will also include the Duo Ensemble – Marcus Siber, Singer, Guitarist, and Angelica Baumbach, Vocalist, Harpist and Keyboard player, alongside with the Great Virtuoso Violinst, Jokish Bogdan, and the Electronic Cellist Yoad Nir.
Their international concert celebrates peace, love and joy and emphasizes their concept of music as an international language uniting peoples, cultures and traditions from all over the world.
The Non-Profit Organization 'SAVE A CHILD'S HEART' has saved more than 4.000 childrens' lives from Africa, South America, Europe, Asia and the Middle East.
For reservations please contact the ZAPPA RESERVATION CENTER at *9080 or alternatively at website;
'DIPLOMAT' a new book by ZALMAN SHOVAL
Members of the MFA ,Political and Banking Seniors, friends and relatives arrived at the Celebratory Launch event of the book 'DIPLOMAT written by Zalman Shoval ', that was held on Sunday 3rd of April at the Tel-Aviv Museum.
Among the greeters were; Ex Defense and Foreign Minister, Moshe Aarons' The Judge – Alikim Rubinstein, also in past, Cabinet Secretary, and Professor Alex Mintz, - Head of the Institute for Policy and Strategy at the Interdisciplinary Center in Herzliya, Gad Proper, Dan Proper, Yair Hamburger, Gideon Hamburger, Micky Federman, Alfred Akirov, Yaakov Frankel – ex Governor of the Bank of Israel, Eldad Shrim, Musical Producer and others.
About the Book and the writer;
Zalman Shoval is an Israeli politician and diplomat. He is also active in Israel's economic life. He was the Israeli ambassador to the United States in the years 1990–1993 and 1998–2000, and an active member of the Knesset in the Rafi party of Ben Gurion, the State List, and the Likud party.
There is ongoing and widening Kaos in the Middle East, and it looks like it will be around in the coming decades, but there are some things that remain stable and permanent, and in that context, one must emphasize the importance of the special relations between Israel and the United States, despite the international withdrawal status voluntarily expressed, hopefully, on a 'temporary' basis.
So asserts ZALMAN SHOVAL, The only man who has twice filled the most significant post ever in Israel – Ambassador to Washington. Between the years 1990-1993, and 1998-2000, under Four Prime Ministers, so diverse in their character traits and in their approaches. Yiitshak Shamir, Yitshak Rabin, Binyamin Netanyahu, and Ehud Barak, the relations that Mr Shuval so openly talks about. James Baker, the most prominent among the American Foreign Ministers in this modern period says about him; ' There is no man who has done more for the Peace Process than Zalman Shoval.'
Shuval, who arrived as a child to Little Tel-Aviv at the end of the 30' {until today he is a captive of Tel-Aviv's charm}, was drawn to Politics ever since his youth. At 16, he met Moshe Dayan for the first time, and in the following years, a deep and trusting relationship developed between the two. After completing his studies in the United States and Switzerland, Zalman served as Service Officer for the Study of Charge [AMAN] and commenced work in the economic sphere., mainly as a Banker, but as he evidently declares; ' The political bug has never left me'. He was among the founders of the political party RAFI in 1965, and entered the Knesset of David Ben-Gurion in 1970, and was very active in the establishment of the Likud in 1973. During Moshe Dayan's term as Foreign Minister 1977-1979, he was entrusted in Israeli Abroad Information, including the Camp David Conference in 1978, where the peace agreement was signed with the Egyptians.
In both his government terms as Ambassador to Israel in the United States, he won favor by his political view and understanding, his talents as a Diplomatic Spokesman, his sympathetic and empathic manner which have given him precedence over previous Israeli Ambassadors, and among his political comrades in the American Government, including the great Jewish Community in the United States. He participated in the Madrid Conference and in the peace talks in Washington. In addition he dealt with very sensitive issues such as the occurring frictions with America on the subject of Military Technology, the efforts and struggles in Iran Nucleation, and he fulfilled the task in obtaining American Guarantees for the U.S.S.R. absorption immigrants back then.
The book, that is written freely and with shades of humor, presents to the reader a wide and curious spectrum of diplomatic activity from within, as it truly is, and defines political and state destinations permeating the horizons in front of us. This book is a MUST for all those who are interested Israel's political and parties' history.
The Moran Singers Ensemble and the Moran Choir perform in "From Silence I Sing" with guest conductor/ composer Ambroz Copi (Slovenia) at the Israel Conservatory, Tel Aviv
The Moran Ensemble Singers and the Moran Choir presented “From Silence I Sing”, an evening of choral works and vocal solos on February 5th 2016 at the Israel Conservatory of Music, Tel Aviv. Guest conductor/composer was Ambrož Čopi (Slovenia).
Ambrož Čopi (b. 1973) graduated in Composition from the Ljubljana Conservatory in 1996, then taking post-graduate studies and working as a vocal assistant. He has also worked as a singer. Alongside his work as music teacher in an arts school, he has done much choral conducting, winning several awards as have his compositions. Frequently serving as a jury member in choral events and competitions, Čopi lectures and is involved in choral music seminars in Slovenia and abroad.
The evening’s concert took the audience on a flying visit to many corners of the earth, the program including works and composers not heard in this part of the world. To set out on the journey, we heard the Moran Singers Ensemble, conducted by house conductor Guy Pelc, in a superbly crafted and evocative reading of Edward Elgar’s a-cappella romance “My love dwelt in a northern land” (1890) to the richly wrought and melancholic images of a poem of Andrew Lang, its descriptions of nature, weather and time personifying the relationship being recalled.
And to eastern Europe and two works of Lithuanian composer Vytautas Miškinis (b.1954), a prolific writer of choral music, with over 250 of his choral works written for children’s choirs. Well-known in his own country but not outside of it, here is a composer writing in the new wave of tonal music. Performed by heart by the Moran Choir (35 singers aged from 12 to 18) and conducted by Moran founder and musical director Naomi Faran, Miškinis’ “Missa Brevis” came across as direct and uncluttered, music accessible, expressive and true to its sacred text, its tenderness and message of peace presented in fine detail, with pianist Oleg Yakerevich’s accompaniment depicting bells in the Kyrie and other subtle musical ideas throughout. Miškinis’ a-cappella “Bonum est confiteri domino” (It is good to praise the Lord, Psalm 92) was sung by the Moran Ensemble Singers and conducted by Čopi. A work sacred and otherworldly but anchored in personal utterance, it was conveyed as a polished assortment of small sections and offering a myriad of contrasts in mood and tempo. We then heard a work of another composer primarily writing choral music – Norwegian Ola Gjeiro (b.1978) – today settled in New York and dividing his time between performing as a professional pianist and composing. The Moran Singers’ Ensemble gave “Ubi Caritas” (Where there is charity) – indeed, a small gem - a reading that was moving and as lush as it was fragile in its harmonic tonings, its course gently flexed.
The program included two works by Ambrož Čopi himself; first, an awe-inspiring tonal, a-cappella setting of the St Thomas Aquinas hymn “O Salutaris Hostia”, performed by the Moran Ensemble Singers and directed by the composer; its deep, intimate spirituality was reflected in gently flowing melodies and lavish harmonies, with soloist Shira Cohen finding a happy compromise between soloing and blending:
‘O saving Victim, opening wide
The gate of Heaven to us below;
Our foes press hard on every side;
Thine aid supply; thy strength below…’
Following performance of a short piece the composer has dedicated to the choir, Ambrož Čopi conducted the Moran Choir in a performance of his “Missa Brevis” (2006) for treble voices, piano and percussion. Opening with a pensive, autumnal soundscape, the choir’s rendition was precise, their unforced singing lending freshness and natural expression to the work’s beauty. The more rhythmical sections, sounding somewhat South American in character, emerged as buoyant but never raucous, the young percussionist’s use of percussion economical, incisive and tasteful. Solos were sung competently and sympathetically by two of the girls.
The evening’s choral pieces were interspersed with a number of solos sung by members of the Moran Singers Ensemble. Soprano Shira Cohen offered an unmannered, gentle rendition of two of Aaron Copland’s folk song settings, their style and her interpretation of the ballad “Long time ago” and the Shaker song “Simple Gifts” so representative of the straightforward gestures of American music of the 1950s. This was followed by Efrat Hacohen in a sensuous and engaging performance of Xavier Montsalvatge’s “Cancion de cuna para dormer a un negrito’ (Cradle song for a small black child), its inebriating and gently dissonanced habanera accompaniment suggestive of the mother rocking her baby. Soprano Shani Oshri’s splendid, silken singing of the Thessaloniki Ladino folk lullaby “Nani, nani” (arr. D. Akiva) was communicative and poignant and highlighted by her superb vocal control. Alto Zlata Hershberg was engaging, theatrical and convincing in Alexander Matveev’s dramatic arrangement of a Russian folk song, as she moved back and forth from the role of a fearful child and the calming mother.
The concert concluded with a work by one of Estonia’s most prominent composers - Veljo Tormis (b.1930) – whose choral oeuvre numbers more than 500 works, many based on ancient traditional Estonian songs. Composed in 1972 for a-cappella mixed chorus and shaman drum (played by Yakerevich), “Raua needmine” (Curse upon Iron) is based on the Finnish epic “Kalevala”, with added texts of contemporary Estonian poets. Conducted by Ambrož Čopi, the Moran Singers Ensemble contended impressively with the work’s rhythmically daring language, its confrontational and relentless repetitiveness as well as the variety of raw, often harsh sounds – whispering, glissandi, chanting, shouting and primal throat singing – the composer uses to express and evoke his timeless, ritualistic style suited to the work’s message. The audience was challenged to immerse itself in the detail of the long, unremittingly powerful text projected in full onto a screen as the singers addressed the work’s gestures, both musical and verbal:
Special film screening: The Elementary School 28. 3. 2016 at 19h, Tel Aviv Cinematheque
Elementary School
28. 3. 2016 at 19h, Tel Aviv Cinematheque
Czech Centre Tel Aviv is joining the iniciative of worldwide celebration of 80th birthday of Czech actor and screenwriter Zdeněk Svěrák and it organises screening of restored film Elementary School in Tel Aviv. Idea was initiated by Oscar winning film director and son of the birthday honouree, Jan Svěrák and the film will be screened at the same time in more then one hundred movie theatres in the Czech Republic as well as all over the world.
This gentle comedy takes place just after World War II., during the academic year 1945-46. Ten-year-old Eda and his friend Tonda attend an elementary school in Prague suburbs. They are pupils of an all-boy class which is famous for its bad behaviour. No wonder one day the teacher is drive out of her mind. Although it seems there exists no remedy, nevertheless… The teacher is replaced by Igor Hnízdo – allegedly the hero of several military operations – an energetic, uncompromising and just man. His only weakness is his grea interest in the fair sex. In no time the little tyrants who have been taken by surprise turn into meek sheep, ready to defend their new teacher at any time and any place. Reticent Eda watches him, comparing him with his own unvaliant father who, in reality, my however have been and probably is much more of an hero…
Script writer Zdenek Sverak has created an autobiographical mosaic of his childhood memories, returning to the time when he was ten years old. At this crucial stage, boys are still children but already perceive the adults’ world with great intensity. This extraordinarily ordinary and artfully simple film endowed with intelligent humour is rich in many surprises, secrets, as well as in an understanding attitude toward human weaknesses. The story will no doubt be a refreshing balm for the souls of the viewers who are constantly attacked by violence, cynicism and formal emptiness..
The Italian Revolution Continues Successfully.
Not the revolution you’re thinking of, but the lesbian, gay, bisexual and transgender (LGBT) revolution still shaking up bella Italia. This week 11 movers and shakers of the Italian LGBT community concluded a short visit to Israel. The tour was hosted by the Israeli Embassy in Rome (under H.E. Ambassador Naor Gillon), and the Foreign Ministry. The purpose: to let the leaders of the LGBT communities in Italy see for themselves the true face of Israel, and to alter the misconceptions and preconceptions fostered by some media outlets. Just as LGBT people themselves suffer under prejudice, misconceptions and intolerance due to misinformation or lack of information, so too does Israel’s image.
It is no surprise that the initiator of the visit was Angelo Pezzana. He founded “FUORI” (an Italian acronym that translates as the “Italian Revolutionary United Homosexual Front”) way back in 1971. Italy was (and to some extent still is) heavily influenced by the Vatican, so Angelo’s brave coalition 45 years ago is nothing to be sneezed at. Until he retired recently, Angelo owned and ran a Jewish bookstore and Judaica center in Turin. He taught himself Hebrew and was for many years the Chairperson of the Italy-Israel Friendship Association. (Angelo is not Jewish).
During their short visit the group heard, among others, presentations by the Tel Aviv Municipality, several LGBT organizations, “New Family”, a gay Christian Arab, a gay Rabbi, representatives of five political parties and the Managing Editor of a major newspaper. In Tel Aviv they visited Meir Park and the Holocaust Memorial for homosexuals murdered by the Nazis, the “Beit Dror” shelter for homeless LGBT youth, and Independence Hall. In Jerusalem they saw the Knesset, had a visit to Yad Vashem and the Jerusalem Open House. Defiantly, the sole Palestinian lesbian organization in Jerusalem refused to cooperate, as did all other Arab organizations, unfortunately.
Mindless hatred is never productive and is always destructive. Dialog, sharing opinions and learning achieve so more. Just last month Italy joined the family of enlightened nations by finally allowing same-sex couples most (but not all) the rights that up to now have been accorded only to heterosexuals. There is still a way to go; visits like this one can only be good for everyone concerned.
Maestro David Shemer leads the Jerusalem Baroque Orchestra and soloists in two versions of the opera “Pimpinone”
The Jerusalem Baroque Orchestra and soloists in two versions of "Pimpinone"
Two versions of “Pimpinone” were the Jerusalem Baroque Orchestra’s bill for the 4th concert of the 2015-2016 season. This writer attended the event on February 25th 2016 in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem YMCA. The first setting heard was that of Tomaso Albinoni to the libretto of Pietro Pariati, the second, that of Georg Philipp Telemann, with the same Italian libretto translated into German and revised by Johann Philipp Praetorius. JBO founder and musical director David Shemer conducted the performance (not from the harpsichord), with baritone Guy Pelc as Pimpinone in both settings; mezzo-soprano Anat Czarny played Vespetta in the Albinoni opera, with Einat Aronstein portraying Vespetta in the Telemann version.
“Pimpinone” or “The Mismatched Marriage” is a comic intermezzo, the genre of intermezzi buffi serving as lavish entertainment, respite or comic relief between acts of larger operas. There are, in fact, a number of versions of the work’s theme and plot. (Pergolesi’s more frequently performed “La serva padrona” was written in 1733.) Vespetta (little wasp) – a cunning servant girl - and Pimpinone – a wealthy, foolish, gullible old bachelor - are stock 18th century intermezzo characters. Pimpinone engages Vespetta as his maidservant, falls in love with her and marries her. Vespetta quickly turns everything to her advantage and the marriage is conducted totally on her terms, with Pimpinone becoming her victim and forced to weaken to her every whim. “Pimpinone”, a satire on everyday Venetian life, raises the question of conflict between social classes.
Albinoni’s “Vespetta e Pimpinone”, one of the earliest surviving Venetian intermezzi, was first performed in 1708 in Venice as an interlude to his own opera “Astarto”; it enjoyed immediate success, becoming a standard work of opera repertoire. In Albinoni and Pariati’s user-friendly opera, its rakish fast succession of brief arias and duets, charming melodies, a quirky use of counterpoint and a parlando style highlighting the amusing text, make for fine entertainment. Anat Czarny’s light, creamy, unforced voice was well suited to the medium as she threw Pimpinone flirtatious looks, turning to the audience saucily to inform it of the cunning Vespetta’s personal agenda. Guy Pelc, not comical enough in his role as the befuddled, stupid and perhaps uncouth Pimpinone (some facial expressions and body language borrowed from the commedia dell’arte would add a little more of the absurd, giving Pimpinone a touch of lust and irritability) as he presented the text with articulate transparency, his experience in the various aspects of Baroque style apparent throughout. Albinoni’s comical writing of the duets, in which each character states conflicting sentiments, came across splendidly. Hebrew and English translations of both “Pimpinone” versions, flashed onto a screen, making sure the listener missed nothing of the whimsical text.
For Telemann’s German-language setting of “Pimpinone”, we heard soprano Einat Aronstein as Vespetta, with Pelc as Pimpinone. First performed in 1725 in Hamburg, Telemann adhered to the Hamburg practice of some of the arias being sung in Italian, with the rest of the text in German. Not often heard today, the work represents Telemann’s writing at its best, the composer’s sophisticated musical score coupled with his bent for language and flair for humour on stage. Aronstein presented the upbeat, frilly, flirtatious and mischievous side of the waspish Vespetta, her bright, flexible voice gliding effortlessly up into its high register, as she teased the audience (and poor Pimpinone) with an occasionally over-extended dissonance at the end of an aria. Pelc’s singing flowed in beautifully-formed phrases as he used the composer’s clever onomatopoeic use of words to dress up the absurdity of the situation. In “So that she may speak badly of her husband”, the most dazzling aria of the last intermezzo, young Pelc’s outstanding singing showed his vocal control and elasticity as he shifted back and forth between his natural voice and falsetto in a patter song bristling with mockery, threats and vocal challenges! Then, as in Albinoni’s work, Pimpinone and Vespetta’s marriage troubles come to a head. In the Albinoni version he threatens to beat her with a stick, in the Telemann version it is she who will take a stick to him…such is life in a mismatched marriage.
Contrary to the disharmony of the plot, Maestro Shemer led his ensemble of fine instrumentalists in playing that was alive with interest, fine detail and Baroque elegance.
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The Felicja Blumental Music Center 2016 Guitar Week
This is the “Guitar Week” at the Felicja Blumental Music Center and there is still time for guitar enthusiasts to get tickets.
We attended Saturday evening’s concert where world-renowned Italian guitarist Aniello Desiderio charmed the enthusiastic audience. He began his musical career at age 8 in his native Naples and has since won no less than 18 international awards.
A treat for music lovers. The Guitar Week is sponsored by, amongst other organizations, the Romanian Cultural Center in Israel and the Tel Aviv Municipality.
Check the Center’s website http://www.fbmc.co.il / categoryId=89895 for concerts and ticket information.
The Center offers a year-round repertoire of music, appearances and festivals. Besides the intimate concert hall, there is a music library (that was founded in 1951!). The facility also hosts lectures, workshops and even private events.
An upcoming festival with an international flavor that will probably be of special interest to the diplomatic community and music lovers alike is the Felicja Blumental International Music Festival in early April. http://en.blumentalfestival.com
Music for the heart and soul.
Festive Festival Fare at the 2016 Eilat Chamber Music Festival
Taking place at the Dan Hotel Eilat from February 3rd to 6th 2016, the 11th Eilat Chamber Music Festival offered a number of events that were different from conventional concert fare, highlighting the fact that this was…a festival, and certainly one of Israel’s best.
The Anderson & Roe Piano Duo’s first performance, “The Rite of Spring”, promised to be a concert played by two young and outstanding pianists, but Elizabeth Joy Roe and Greg Anderson are a duo with a difference! They formed their partnership in 2002 at the Juilliard School of Music and nowadays tour extensively as recitalists and orchestra soloists, they compose and engage in much arranging of works and they present their audiences with action-packed, polished and mind-boggling concerts that keep the listener perched on the edge of his seat. Relaxed and chatty, they talk about the works to be performed. But they bring to the concert hall much more than hype: whether you like their quirky explanations or not, their playing creates a kaleidoscope of vibrant musical canvases. Opening the February 3rd program with Johannes Brahms’ Variations on a Theme by Haydn opus 56B (two pianos), they colored the work with magically sensitive and contrasted playing, fine shaping, majestic gestures and with the mystery of what lies behind sotto voce playing. Their reading of Stravinsky’s “Rite of Spring” (one piano) conjured up the power, cruelty and paganism of the ballet’s storyline, gripping the audience with the work’s asymmetry and jarring accents, their musical description of the sword lethal and uncompromising. But their playing was not just muscular: it was strategically timed, conveying the ballet’s message of estrangement and aloneness. Whisking away the intensity of the “Rite of Spring”, Anderson and Roe played their own arrangement of much-loved melodies from Mozart operas, with playful, opera-buffa-joy and wonderfully cantabile melodies, rounding the number off with their virtuosic, full-on “Ragtime alla Turca”. Their “Carmen thriller” arrangement for two pianos set before the listener so many aspects of Bizet’s “Carmen” – the story’s complexity, its love content, the darker side of gypsy life and much fiery energy. And how delicate and filigree-fine their rendition of the Ballet from Gluck’s “Orphée et Eurodice” was, describing love of a totally different nature, the program ending with a touching rendition of Bob Thiele and George David Weiss’s “What a Wonderful World” (1967), Roe and Anderson’s playing sparkling with optimism and tenderness.
A large audience filled the Tarshish Hall at the Dan Hotel on February 6th to hear violinist Marianna Vasileva (Russia-Israel) perform all 24 of Niccolò Paganini’s Caprices. Apart from only one other piece, Paganini’s only violin publication was this set of solo Caprices, published in 1820, probably written between 1801 and 1817. Considered the last word in violin technique, they were dedicated to “all artists” and comprise nearly all his prized violin techniques (they do not include artificial harmonics) in exceptionally demanding settings. Paganini never performed them in public. Not merely etudes, Vasileva has referred to some as “folk music”, with Paganini infusing the miniatures with music he was hearing around him. Vasileva has been working on the pieces for two years and claims that this will be an ongoing project for years to come. Dazzling and, indeed, winning the audience with their intricacies, the artist gave expression to the pieces’ charm and intensity and to the many contrasts between- and within them, to the violin’s many techniques but, above all, to the work’s musical interest. Presenting of the individual character of each piece, she held the listeners’ attention for the duration of the work. For many people attending the recital, it would have been their first encounter with the mystery and inner-voiced tremolo of “The Trill” (no.6), the imitation of wind instruments in “The Hunt” (no.9) and the sheer virtuosity of “The Devil’s Laughter” (no.13).
“Just About Midnight” on February 4th was an opportune time for night owls to indulge in a rich and unique program of classical music, tango, jazz, gypsy- and new music, performed and improvised by two French artists – ‘cellist François Salque and accordionist/composer Vincent Peirani. In fact, Salque, one of the most outstanding and interesting ‘cellists of his generation and no new face to the Eilat Chamber Music Festival, had performed Chopin’s Sonata for ‘Cello and Piano in g-minor opus 65 (piano: Ivan Rudin) the previous day. A personal project of Salque and Peirani’s has been collecting and recording traditional music of Central- and Eastern Europe. The concert opened with a fervent and moving reading of Ernest Bloch’s “Prayer” (1924), followed by the Peirani/Mienniel setting of Astor Piazzolla’s “Alone, All Alone”, commencing as a meditative, nostalgic mood piece, then breaking into exuberant bravura. There was Milena Dolinova/Krystof Maratka’s Czardas IV, beginning with a sweetly sentimental section, to be followed by the wild, brilliant czardas itself and Bohemian composer/’cellist David Popper’s “Hungarian Rhapsody” (1894) also starting in a quasi-improvisational style, sending the ‘cello into its highest register before moving on to its inevitable excited agenda. Salque and Peirani paid vibrant homage to French gypsy culture with their sensitive and imaginative playing of works by Django Reinhardt and Stéphane Grappelli. And what could constitute more poignant night music than Vincent Peirani’s “Choral” – a modal piece, evocative of the pipe organ - so introspective, calm and suave. Vincent Peirani’s profound musicianship and aesthetic sense are what put him in a class on his own. Peirani and François Salque’s performance lent the nocturnal concert a classy, sophisticated aura.
If concert-goers attending “Breaking Bad” at 23:00 on February 5th were expecting to end the day with a soothing musical “night-cap’, they we presented with a wake-up call to a new concert experience, in which classical music can exist alongside popular-, jazz- and film music. The Belgian-based ensemble “Trilogy” was formed in 2011 by classical violinists Hrachya Avanesyan, Lorenzo Gatto and Yossif Ivanov. The three brilliant artists achieved overnight recognition with their first video “Pulp Fiction”. Addressing the audience, Avanesyan referred to the program as a “summary of the ensemble’s work”. At the Eilat event, the violinists were joined by Alexander Gurning (piano, electronic keyboard) and Eddie Francisque (percussion) in a performance of verve and high amplification! The program opened with Trilogy’s transcription of Vivaldi’s Concerto in a-minor RV522 for three violins and piano Their setting of the Bizet-Giraud “Carmen” Suite was given a sympathetic reading, with John Williams’ dejected and melancholic “Schindler’s List” theme empathic and highly sensitive. The artists’ sense of music as a game to be played was reflected in the ensemble’s arrangement of “Man with a Harmonica” from Ennio Morricone’s 1968 soundtrack to “Once upon a Time in the West”. If in Brahms’ Hungarian Dance no.1 (1869) they offered a mix of mellow playing with Roma-gypsy temperament, the artists’ pulsating, energetic, revved up performance of Soviet-Armenian composer Aram Khachaturian’s “Sabre Dance” (1942) prepared listeners for the energy level of these young players would accelrate as the night wore on. Later items on the program featured such pieces as a medley from “Daft Punk” and music from “Pulp Fiction” in performances of devil-may-care, unleashed energy and undaunted pluck, as the players let their hair down to show festival-goers what classical musicians are made of!
Exciting, enriching and of a high standard, the 2016 Eilat Chamber Music Festival drew large crowds to its events. Leonid Rozenberg has been the festival’s general and artistic director since its inception 11 years ago. Concerts were introduced by Yossi Schiffmann. As in former years, the staff of the Dan Hotel (manager: Mr. Lior Mucznik) went out of their way to make concert-goers welcome, adding festival sparkle to the four days.
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Roe and Anderson (photo:Maxim Reider)
Notes from the 2016 Eilat Chamber Music Festival - orchestras without conductors - Concerto Koeln (Germany) and Les Dissonances (France)
The 2016 Eilat Chamber Music Festival featured two orchestras playing without conductors…in the conventional sense. Concerto Köln, one of the first orchestras to play in the festival’s 11-year existence, has been involved in historically informed performance for 30 years. As members of a self-governed orchestra, the musicians carry a high degree of responsibility for performance results. Concerto Köln is known for its interest in the performance of little-known Baroque works; this was evident in “Händel and the Italian Baroque”, the ensemble’s first concert on February 5th, which featured Dutch mezzo-soprano Rosanne van Sandwijk. Most of the audience would not have been familiar with the first work – Concerto Grosso opus 5 no.6 in D-major by Evaristo Felice Dall’Abaco (1675-1742) – the performance affirming the argument for hearing more of Dall’Abaco’s music. A composer and performer at the Austrian court of Maximilian II and influenced by Vivaldi’s style, Dall’Abaco’s works have been brought to the public “ear” by Concerto Köln. Other instrumental works on the program were a spirited and well contrasted performance of Vivaldi’s Concerto for ‘Cello, Strings and basso continuo in D-minor RV 407 (soloist: Werner Matzke)and Giovanni Battista Sammartini’s Sinfonia in A-major. Rosanne van Sandwijk performed a splended selection of excerpts from a number of Händel works, opening with “Donna, che in ciel di tanta luce splendi”, highlighting its drama as she held the players in constant eye contact. She gave elegance and delicacy to Ruggiero’s aria from “Alcina”, “Mi lusinga il dolce affetto”, contending well with its rapid Neapolitan runs and trills, offering a well ornamented performance of “Cara Speme” (Giulio Cesare). In (Giovanni Battista Ferrandini or) Händel’s sacred cantata “Il pianto di Maria Vergine”, Sandwijk gave gripping, poignant and vehement expression to Mary’s grief, reproachful anger and torment.
Concerto Köln’s second concert featured four of the six Brandenburg Concertos - Italian-flavoured concerti grossi presented by J.S.Bach to the Margrave of Brandenburg in 1721. With each concerto differently scored, here was an opportunity to hear Concerto Köln’s various players in different ensemble combinations. They began with a fresh, vivid reading of No.3, its minimal second movement remaining enigmatic to many of us, then to No.5, graced with transverse flute (Cordula Breuer) with Gerald Hambitzer giving life to the harpsichord solo - its first big break in concerto history. Then to No.6, with its unconventional scoring of strings and harpsichord but no violins, concluding with the hearty Concerto No.4, with its charming recorder duo team (Wolfgang Dey, Cordula Breuer) and truly inspired violin playing on the part of first violinist Evgeny Sviridov.
David Grimal (photo: Maxim Reider)
Also playing with no conductor, or might one say “self-conducted”, Les Dissonances (France), a small orchestral collective established in 2004 by violinist David Grimal, performs the major works of orchestral repertoire up to contemporary music. In “A Mozart Celebration” Grimal (soloist) and his players, many of them young, presented the last three of Mozart’s five violin concertos and, as in Mozart’s day, they were performed without a conductor, with Grimal glancing at players here and there but not engaging in actual conducting gestures. This approach makes more demands on the players, therefore, with the Dissonances members proving that they were indeed polished in the art of producing music with accuracy, coordination and clean entries, as they watched each other intently, sensing the music together. Their reading of Violin Concerto no.3 in G-major K.216 bristled with clarity, lyricism and some splendid wind-playing, with Grimal shaping phrases with much beauty. In the more extroverted and virtuosic Violin Concerto no.4 in D-major K. 218, its surprise package offering a stately gavotte played over a drone in the third movement, Grimal did not allow virtuosity to get in the way of the 19-year-old Mozart’s style of charm and elegance. As to Violin Concerto no.5 in A-major K. 219, Grimal and his players set before the audience the work’s originality, imaginative structure, drama and daring, some meaningful rubati adding to the graceful fragility of the second movement. Following this was Mozart’s unorthodox utterance within the gracious final Rondo movement – an aggressive, clanging, percussive reference to the faux-Turkish music popular at the time. With the violin concertos written without cadenzas, here was Grimal’s opportunity to express his own ideas of the cadenza improvisation. Even if some listeners were surprised or puzzled by some unpredictable turns, I think Mozart would have been happy with Grimal’s daring, his unconventional inventiveness and freedom.
In their second concert - “The Four Seasons” - David Grimal and Les Dissonances chose to perform Antonio Vivaldi’s “Le quattro staggione” in dialogue with Astor Piazzolla’s “The Four Seasons of Buenos Aires”, presenting each composer’s depiction of each season. The score of Vivaldi’s composition, written around 1723, one of the earliest examples of program music, was accompanied by poems (possibly written by Vivaldi himself) describing the feelings associated with each season:
SUMMER
‘Under the heavy season of a burning sun
Man languishes, his herd wilts, the pine is parched
The cuckoo finds its voice and, chiming in with it,
The turtle-dove, the goldfinch…’
Piazzolla’s original version of “Cuatro Estaciones Porteñas” (1965-1970), a set of four tango compositions describing the four seasons in Buenos Aires, was scored for violin (viola), piano, electric guitar, double bass and bandoneon (a large button accordion, of which the composer was a virtuoso player.) From 1966-1968, Russian composer Leonid Desyatnikov arranged the pieces to be more similar in construction to those of Vivaldi – each given three sections – and with some quotes from the Vivaldi work. Not the first ensemble to engage in this meeting of “strange bedfellows” forming an alliance of works from different two continents (in recognition of which Desyatnikov threads elements of Vivaldi’s “Winter” into Piazzolla’s “Summer”!) and composed 250 years apart, Grimal and Les Dissonances took the bull by the horns and presented the audience with the rich and changing canvases, their alternation presenting an exciting challenge to the listener. Some found the changes jarring. Not I. This was fine festival fare and superbly performed. The artists’ playing of the much-loved Vivaldi violin concertos was direct, fresh and poignant, rich in timbral variety and in the inspiration generated by living nature and its secrets, the concertos flexed in accordance with the music’s innate elasticity. Grimal’s playing was poetic, moving and personal in expression. Piazzolla-Desyatnikov’s tango-inspired work, sharing with Vivaldi’s the depiction of all four seasons and the violin solo-string orchestra setting, weaves a vivid tapestry of European musical features, jazz and Argentinean tango, of abrupt shifts and the use of strings in a percussive manner. Swinging between the devil-may-care boldness and melancholy of Piazzolla’s writing, Grimal and his players brought out the vitality, earthiness, the wit and unabashed sentimentality of the Buenes Aires personality, giving themselves to the raw reality, fire, passion and sensuality of the music of Piazzolla’s native Argentina…and all this with no conductor!
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Bulgaria Embassy “Doors of Hope and Music for the Soul.” Delightful Music and Photographs.
The setting was intimate and unusual, the music was gracious and unusual, and the photographs were delightful – and unusual.
Yesterday at the Immanuel Church in Tel Aviv’s historic German-American Colony, the Bulgarian Ambassador to Israel, His Excellency Dimitar Mihaylov, the Embassy of Bulgaria, and the Bulgarian Cultural & Information Center hosted a small gathering of diplomats and friends to a concert of organ music. The concert title was “Doors of Hope and Music for the Soul.” The guests were privileged to hear a concerto played by Professor Sabin Levi of the National Academy of Music in Sofia, and at the same time to view a series of slide photographs, the ‘Doors of Hope’ – pictures taken of doors by Mrs. Nora Mihaylova.
In one of his previous diplomatic postings, Ambassador Mihaylov & Mrs. Mihaylova lived in Syria. Needless to say, many of the beautiful images were from the old city of Damascus, but also from Greece, the USA, and of course Israel – Jaffa, Jerusalem, Akko and Tel Aviv, to name a few. The juxtaposition of the images, combined with the music in the unusual setting was very special.
Guests include Mr. Moni Bar, Honorary Consul of Bulgaria, diplomats, friends and Bulgarian society in Israel (including former Tel Aviv councilor and former Bulgarian, Ms. Shelly Hoshen, who celebrated her birthday as well.)
In his brief welcome to the guests before the performance, the Ambassador added: “What unites us are beauty and art, culture and music”. The evening proved him right: A Jewish Bulgarian professor playing international organ music for the soul in a church in Israel to an enthusiastic mixed audience viewing doors of hope from around the world.
The cocktail reception following the concert was a lovely intermezzo allowing guests to mingle over a glass of wine and snacks.
Tourism seminar:
The Embassy of India and India Tourism Office Frankfurt organised a tourism seminar on February 11, 2016 in Renaissance Hotel, Tel Aviv. The seminar was attended by more than 40 tour operators and tour agents in Israel.
Charge de Affaires Dr. Anju Kumar delivered opening remarks. She spoke about the tourism potential in India and highlighted various sectors such as wild life, luxury tourism, surfing, Jewish heritage and region specific tourism as new facets for promoting Israeli tourism to India.
Professor Agami, retired professor of Botany in Tel Aviv University and expert on nature and wild life tourism gave a presentation on the vast wild life and nature tourism in India. He focused on nature reserve parks and wildlife attractions. Dani Abrahami, spoke the possibilities of short trips to India. He highlighted tourism potential of India as a family destination as well. Mr. Rafi Peled, lecturer at the Tel Aviv University for Sanskrit an expert on Yoga tours talked about Yoga Tourism while Roee Shentiel, an enthusiast surfer, and video editor of MAKO spoke on the huge potential of surf tourism in India and the surfing destinations like Pondicherry, Kerala and Karnataka.
There was a brainstorming session on “How to promote tourism to India” The panel speakers were Dr. Anju Kumar, Charge de Affaires, Mr. Ramkumar Vijayan, Assistant Director, Government of India, Tourism Office, Frankfurt, Mr. Rafi Peled, expert on Yoga Tourism, Mr. Danny Abrahami from Hodu.co.il and Mr. Barak Leibovitch from Eco Tours.
A Rajasthani folk group led by Mr. Esak Khan gave a charming performance at the event. The seminar was followed by a cocktail reception.
Classical guitar recital and master class performed by Mircea Gogoncea during the Tel Aviv Guitar Week, The Felicja Blumental Music Center, March 1-2, 2016
photo source: http://www.fbmc.co.il/?categoryId=103473
The Tel Aviv Guitar Week will take place between February 26, 2016 - March 2nd, 2016 at the Felicja Blumental Music Center.
With the support of the Romanian Cultural Institute in Tel Aviv, Romania will be represented in the international program by the young guitarist Mircea Gogoncea, who will perform a classical guitar recital on March 1st, at 21:00, and a master class on March 2nd between 10:00-17:00 at the Felicja Blumental Music Center in Tel Aviv (26 Bialik St.).
The musical program of the recital includes:
Mario Castelnuovo-Tedesco - Capriccio Diabolico, Op. 85a
Enrique Granados - 8 Valses Poéticos
Joaquin Rodrigo - Tres Piezas Españolas
Benjamin Britten - Nocturnal After John Dowland, op.70
Joaquin Clerch - Guitarresca
Tuesday, March 1st, 2016, at 21:00, tickets and more details: 03-6201185 or online http://www.fbmc.co.il/?categoryId=103473
More details about the master class: 052-2867856
Mircea Gogoncea (www.mirceagogoncea.com ), born in Bucharest, started playing the guitar at the age of 4 and has since performed on 4 continents, having been invited as a guest on more than 350 concerts, radio and TV shows. Upon graduating from high school at the age of 17, he was the Romanian student with the highest number of awards, and to date, has won a total of 153 prizes for music and 7 for his achievements in other spheres of the arts and sciences. Among the most prestigious of these have been the 1st prize at the Julián Arcas Guitar Competition in Almería, the 1st prize at the GFA Youth Solo Competition in Los Angeles, and the Audience Prize at the Francisco Tárrega Competition in Benicassim, Spain.
He made his orchestra debut at the age of 13 together with the National Radio Orchestra of Romania playing the 1st concerto op. 30 by Giuliani. In August 2014, he made his Chinese debut performing a full solo and chamber recital in the China Concert Hall in Beijing, as well as in Shanghai's oldest concert hall (the Lyceum Theatre), as part of a tour that has been continued in the summer of 2015.
In March 2014, he recorded his first album with eminent sound engineer John Taylor in London, featuring music from his China tour. During his studies, he maintains a regular performing career, especially in Europe and Asia.
He studied with Joaquín Clerch at the Robert Schumann Hochschule Düsseldorf and Michael Lewin at the Royal Academy of Music in London, where he finished his master degree in the summer of 2015. In June 2014, he was awarded the inaugural David Russell Prize at the Royal Academy of Music.
The complete program of the Tel Aviv Guitar Week: http://www.fbmc.co.il/?categoryId=97197
Notes from the 2016 Eilat Chamber Music Festival - three chamber music concerts
The 11th Eilat Chamber Music Festival took place at the Dan Eilat Hotel from February 3rd to 7th 2016. Azure skies, the sparkling indigo blue waves of the Red Sea - home to flotillas of small yachts - and the relaxed feel of Israel’s southernmost city welcomed the many festival-goers who attended the concerts taking place in the Tarshish Hall and the larger Big Blue Hall of the Dan Hotel.
“From Russia with Love” opened the festivities, with Franz Schubert’s Sonata in A-minor D821 “Arpeggione”, performed by Israeli ‘cellist Hillel Zori and Russian pianist Ivan Rudin: Zori gave poignant expression to the singing qualities, harmonic interest and contrasts of Schubert’s sound world, with Rudin giving the stage to Zori all the way. However, in three of Liszt’s “Transcendental Études”, Rudin wielded the piano with the authority of the lion tamer: his playing bristled with fantasy, dynamic variety, warmth and spontaneity, at times meditative, at others, vehement. Rudin was then joined by young violinist Marianna Vasileva (Russia-Israel) in Robert Schumann’s Sonata for violin and piano No.1 in A-minor. The two young virtuoso artists took on board the work’s quicksilver fluctuations and temperament with playing that was both intense and lyrical, well nuanced, finely coordinated and flexible. Together with Ivan Rudin, François Salque (France), no new face to the Eilat Chamber Music Festival, performed Frédéric Chopin’s Sonata for ‘cello and piano in G-minor opus 65, a momentous work in that it was the last Chopin published and in which he himself performed; it also represents the composer’s struggle with the ‘cello-piano medium and probably with his separation from George Sand. The artists gave a vigorous, noble and carefully balanced reading of this autumnal work.
Concert no.4 was a recital by violinist Yossif Ivanov and pianist Alexander Gurning, two outstanding young Belgian artists, both members of the unconventional ensemble – Trilogy. Their transparent sound, delicately shaped phrases, incisive playing and off-beat sforzandi (3rd movement) of Beethoven’s Violin Sonata opus 12 no.1 in D-major made for a fine representation of the composer’s early- but already distinctive style. In Edvard Grieg’s Sonata no.3 in C-minor opus 45, the artists addressed the work’s darker colorings and intensity, its lyricism, subtlety and the work’s references to the composer’s national music. Then to Igor Stravinsky’s Divertimento for violin and piano (1928) based on his ballet music to “The Fairy’s Kiss” and constructed around some melodies of Tchaikovsky. Also tinted with folk music features, the work held the audience’s attention with its rich canvas of sweet melodies, rich harmonic variety, heavy ostinatos, its fantasy and unpredictable changes. The recital concluded with Maurice Ravel’s “Tzigane”, in which both Ivanov and Gurning’s technical agility, fired by their own temperament and spontaneity, captured the composer’s interest in gypsy- and Hungarian culture.
For chamber music aficionados, Trio Wanderer’s performance was a reason to visit the 2016 festival. This was the second time the French trio has performed at the Eilat Chamber Music Festival. All three players were graduates from the Paris Conservatoire before studying at the Bloomington School of Music and the Juilliard School. Today, violinist Jean-Marc Phillips-Varjabédian and ‘cellist Raphaël Pidoux have teaching posts at the Paris Conservatoire; Vincent Coq teaches at the Haute École de Musique, Lausanne. Joseph Haydn’s Trio in C-major Hob.XV:27 (1797) was a fine opener, with much fresh, positive and communicative playing and Classical elegance. The first of a set of three trios, they were published as “Sonatas for the Pianoforte with Accompaniment of Violin and Violoncello”, showing where Haydn’s demands were (and they were well met by Vincent Coq), his range and writing for the keyboard pointing to the fact that it would have been played on a large English grand piano. In Franz Schubert’s Piano Trio no.2 in E-flat major, opus 100 D.929, the artists negotiated the appealing and majestic Allegro movement splendidly, with its Schubertian major-minor duality, to be followed by Pidoux’ sombre and meditative playing of the haunting ‘cello melody in the Andante movement. With tempos never achingly slow in any one movement, the artists stood back to present Schubert’s emotional world, its tensions and nostalgia relieved by good-natured lightness of texture as they attentively addressed each human gesture and mood. The concert ended with Piotr Ilych Tchaikovsky’s Trio in A-minor opus 50 (1882), a large-scale work on many levels, a work dedicated to the memory of Nicholas Rubenstein (brother of pianist and composer Anton Rubenstein) but also colored by Tchaikovsky’s own melancholic state of mind. The artists gave expression to the composer’s intense emotionalism and melodiousness in the opening elegiac movement. The simple folk-like theme (introduced by the piano) provided the subject for the eleven variations of the second movement, in which the trio presented each with its individual character – the Scherzo of Variation 3, the sweeping minor lines of Variation 4, the music box/drone effect of Variation 5, the elegant waltz of Variation 6, the contrapuntal interweaving of Variation 8, the Mazurka in Variation 10. Then, in the Finale, beginning with a jubilant variation, the artists take the listener back to the heavy-heartedness and mourning of the first movement, leaving the listener coming to grips with the intensely sad final layering of a tragic funeral march with the first movement theme, then fading and dying away. Trio Wanderer’s convincing and moving reading of the work left the audience in silence at its conclusion…laudation well earned by the superb performance of Trio Wanderer. For its encore, Trio Wanderer performed Ernest Bloch’s Nocturne no.2.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Published: 10 February 2016
In “A Celebration of Two Pianos” a new piano duo on the Israeli concert scene – Ariel Halevy and Misha Zartsekel – played to a full house at the Felicja Blumental Music Center (Tel Aviv) on January 21st 2016. Born in Jerusalem, Ariel Halevy began his piano studies at the Conservatory of the Jerusalem Academy of Music, receiving bachelor and master’s degrees from the Mannes School of Music (New York). As a soloist and recitalist he performs internationally, also leading a busy teaching life. In 2015, he recorded late Brahms piano works for the RomeoRecords label. Born in Rostov, southern Russia, Misha Zartsekel moved to Moscow at age 9. He immigrated to Israel in 2000, working with Rietta Lisokhin in Haifa as well as Prof. Itzhak Katz and Yaron Rosenthal at the Jerusalem Academy of Music and Dance. A recitalist and chamber musician, he has soloed with orchestras in Israel and abroad.
The program opened with Johann Sebastian Bach’s Concerto for two Harpsichords in C-major BWV 1061, the composer’s only work for two keyboards. Probably originally composed for two harpsichords from the outset, an orchestral accompaniment was added, possibly not by Bach. In the latter, the keyboard instruments play less against the orchestra, conversing more with each other, so that the two keyboards alone produce a full and satisfying musical setting. And now that we have come a safe distance from the stringency of the Authentic Early Music Movement, it is time to reconsider the performance of Bach on the piano. Halevy and Zartsekel gave a bold, clean and fresh reading of the concerto, their use of the sustaining pedal never blurring a line as they presented each motif with articulacy. Their absolute precision of timing provided a most splendid basis for the counterpoint to play out its complex game of melodic strands. Following the personal expression of the 2nd movement – Adagio ovvero Largo – in which the artists allowed themselves immerse themselves within the affect, they gave an exhilarating, dynamic and contrasted reading of the final movement – Fuga – a true celebration of the king of Baroque contrapuntal forms.
Johannes Brahms was introduced to a set of divertimenti for winds attributed to Haydn in 1870. He liked the theme of the second, the Chorale St. Antoni, a hymn sung by pilgrims on St. Anthony’s Day, copying the melody into his notebook. In 1873, he showed the two-piano version of his variations on the theme to Clara Schumann; she and Brahms gave it its first airing at a private gathering in Bonn that year. An orchestral version followed, being referred to as opus 56a, whereas the piano version is 56b, was published later. Critical of his own previous- but well-received sets of variations and those of his contemporaries, he wrote to violinist Joseph Joachim in 1856, claiming that in writing variations “we cling nervously to the melody…we don’t handle it freely” and “we merely overload it”. Brahms’ “Variations on a Theme by Haydn” were a turning point on that score. They are also a mammoth undertaking on the part of the pianists. Halevy and Zartsekel gave a rich rendition of Brahms’ “orchestration” of the piano. Nuanced with the strong, rewarding timbres of the Romantic soundscape, the artists’ playing took the listener from lyrical, singing melodies, to moments of urgency, to the sober, haunting message of the “minore” Variation IV, to a variation of breathless garrulousness that pushes bar-lines aside as it forges its way ahead (Variation V), to chordal textures, to the lovingly-treated and gently hesitating personal utterances of the Siciliano ((Variation VII), to the illusive sleight-of-hand of the last variation, ending with the wink of an eye. Their committed playing of the massive Finale endorsed Brahms’ aim to extend the boundaries of the variation form.
Sergei Rachmaninoff’s Suite No.1 opus 5, the “Fantasie-Tableaux”, inspired by a stay in the Russian countryside, was the composer’s first attempt at writing program music. It was written when the composer was just 20 years old. The work, however, shows a mature approach to the technical, tonal and interpretive resources of the two-piano medium. Each movement is headed by a quotation from one of four poets. Halevy and Zartsekel created each of the tableaus insightfully, lending magic and luxuriant colour to the layering of the opening Barcarolle, with its underlying hint of sadness, then evoking an intense description of night “La nuit…l’amour” (Night…Love), the cascading scales and copious trills forming the material of fantasy. A quote from Lord Byron’s poem “Parisina” introduces “La nuit”:
“It is the hour from when the boughs
The nightingale’s high note is heard;
It is the hour – when lovers’ vows
Seem sweet in every whisper’d word;
And gentle winds and waters near,
Make music to the lonely ear…”
“Les larmes” (Tears) began with an almost visual picture of single teardrops falling onto a bare soundscape; then, as the textures fill out, the artists take the listener into the inner regions of the senses, the “sculpted” tears ever returning, laden with longing. Sweeping away the melancholy state of mind of the previous movements, “Pâques” (Easter) is an exuberant and extroverted depiction of bells ringing out on Easter morning, the characteristic “noise” and repetitiveness of bells present in a myriad of astounding textures. Beyond the technical versatility and strength required in playing the “Fantasie-Tableaux”, this performance was clearly the result of deep enquiry into the fine details and meaning of this masterpiece.
Ending on a more light-hearted note, the artists performed W.A.Mozart’s Sonata in D-major for Two Pianos K.448, the composer’s only work for two pianos. This was not one of the composer’s duets played by him and his sister; indeed, the first piano part was played by Josepha von Auernhammer, a young woman who, it seems, had designs on the still single Mozart in 1781. In this work, constituting Mozart at his most galant, Halevy and Zartsekel brought the spirit of the Viennese salon and its fine entertainment to the audience at the Blumental Center, with Mozart’s graceful, songful music, its elegance and exhilarating virtuosity amounting to a true masterwork. In playing that was solid, positive and well contrasted, the opening movement breathed Mozart’s joy and positive outlook, also his modesty, as the two artists listened, matched and supported each other, with the Andante (2nd movement) setting the listener’s heart afloat with its charm and tender gestures, the artists’ phrases finely chiselled. With the engaging energy of the Allegro molto, the artists sent the audience home with a sense of well-being in which Mozart’s playful, refreshingly naïve and carefree agenda was alive with the joy of the piano duo.
A duo for only a year, Misha Zartsekel and Ariel Halevy share the music with warm resonance, clarity, precision and well balanced sonorities, with a strong sense of cooperation and of sharing.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
"So French, So Good" Fourth Annual French Culinary Week February 7-12
28 French chefs are bringing the best of France's culinary heritage to 20 restaurants and 4 bakeries in 6 Israeli cities: Tel Aviv, Haifa, Jerusalem, Be'er Sheva, Akko, Tiberias
On Sunday, February 7th, Israeli and international diplomats, businessmen, and media came together at the French Ambassador's residence for the most savory form of diplomacy—culinary diplomacy.
The evening marked the launch of “So French, So Good”, an annual week-long festival celebrating French culinary heritage, and connecting French and Israeli economic, cultural, and culinary interests. This year's festival was held in conjunction with the Toulouse municipality, Israeli supermarket chain Shufersal, Grey Goose vodka, Fly Card (the credit card of El-Al airlines), and JCDecaux Israel.
As part of the week-long celebration, 28 top French chefs worked with Israeli chefs at 20 restaurants and 4 bakeries all around Israel to prepare special menus highlighting the best of French cuisine. This year for the first time, French bartenders arrived to create cocktails complementing the meals.
This year's festival focused on Toulouse, the fourth-largest metropolitan area in France. The delegation of French chefs was led by Gomez Guillaume, the head chef of Élysée Palace, the residence of the French President, and including a number of chefs from Toulouse, led by Michel Sarran.
Israelis will also be able to satisfy their appetites for French cuisine at Shufersal branches, which are stocking an exclusive collection of top-quality French products as part of their "French Party" special.
Social activism played a central role in French Culinary Week as well. A number of Israeli charities were chosen as special beneficiaries. The visiting French chefs will be performing cooking workshops for charities, including the Bialik Rogozin campus for immigrant children in south Tel Aviv, children of the SOS youth villages, a women's shelter in Tira, and other charities. In addition, Israeli non-profit Leket will be collecting food all week long from the participating restaurants, and the French Embassy will be holding a special food-donation evening in conjunction with the Latet ("to Give") organization.
The opening event for French Culinary Week was held at the home of Ambassador Patrick Maisonnave. The mayors of Tel Aviv-Yafa, Jerusalem, Haifa, Acco, Be'er Sheva and Tiberias were invited to the event, and the mayor of Toulouse sent a representative to speak on his behalf. In addition to a variety of French delicacies prepared for the event, food-inspired artwork was also featured.
Ambassador Maisonnave addressed the guests, before introducing Shufersal CEO Itzik Abercohen, and representatives of Grey Goose Vodka and the Toulouse municipality to speak. Ambassador Maisonnave stressed the cultural and commercial ties between Israel and France that French Culinary Week seeks to advance. The ambassador noted that the event continues to grow from year to year (in 2014, ten chefs were flown in; last year the number rose to 19, and this year reached 28) and pledged to ensure that the event would continue to grow accordingly. For his part, Abercohen spoke about the response of consumers to the new products being stocked, and offered his own promise to do all he could to expand the supply of high-quality French food products available at Shufersal branches. After the speeches, the visiting French chefs , along with their Israeli counterparts, were called on stage to be formally recognized. Following that, the main course was served—including of course an entire room dedicated to wines and cheeses.
On Thursday, February 11, French Culinary Week will culminate with a series of workshops. The visiting French chefs will deliver cooking and baking workshops to the chosen charities, and a special workshop will be taught by Alexis St. Martin, Martial Enguehart and Ridha Khader at the Sheraton hotel, from 13:00-17:00, as part of a special tourism cooperation initiative launched by Israel and France in 2011.
Tel Aviv Samsung Marathon 2016 Nonstop Running, Nonstop Party 42 km around the city, 42 things to do in 42 hours in Tel Aviv
Tel Aviv is the Nonstop City, where people party nonstop. Once a year, we add to the nonstop party the Tel Aviv Samsung Marathon – the biggest sporting event in Israel with 40,000 participants, this year taking place on the 26th of February, 2016.
This year, the Tel Aviv Marathon is an urban route and the 42 km will intertwine with the city's beating heart. We recommend runners to not only catch a glimpse of the main square, a remarkable restaurant and run the 42km, but to stay in Tel Aviv for 42 hours to experience the city. In the morning, run past a trendy bar in the marathon, and in the evening, sit there and enjoy a drink.
The Tel Aviv Marathon's route begins at the Tel Aviv Convention Center located in northern Tel Aviv. The course leads the runners to the Tel Aviv boardwalk and the opportunity to run along the shore of the Mediterranean Sea and white sandy beaches. The route is also a run through history when it arrives in Jaffa, Tel Aviv's old city and one of the most ancient port cities in the world. At this point the track routes in to the city center, usually bustling with activity but on the day of the marathon the Nonstop City stops to cheer the runners on.
Here are 42 things to do in 42 hours in Tel Aviv:
Enjoy the show by " Voca People ".
You can try Israeli music, with Israel legendary singer Shalom Hanoch .
Maybe a rock concert? The Israeli band Monica Sex is on.
And if you want some international music, it's available also Greg Dullin is coming to perform at Tel Aviv.
If art is your thing, you can check out the exhibitions presented in town around the variety of museums like The Tel Aviv Museum of Art .
You must bear gifts while returning home! The best place for arts and crafts is the artist market at Nachlat Binyamin .
Visit the authentic Ha'carmel Market and try our local delight: Halva!
Definitely try Hummus in Abu Hassan.
The city's main square is Rabin Square, hosting the Tel Aviv Marathon Expo .
The best Asian food in Tel Aviv: Taizu .
Eat in one of the 400 vegan-friendly restaurants across town.
Visit the beautiful Sarona Compound.
You can even wakeboard at LakeTLV.
Have a glass of wine at Jajo Bar to kick off the night.
Even when you are in an urban sphere, you can experience nature in an innovative way at a night safari .
Welcome the Shabbat in at Drummer Beach, adjacent to the Dolphinarium beach, on Friday afternoon.
Photo Ronen Topelberg
Tel Aviv, The Smartest City in the world is now also a Smart Tourism City
Tel Aviv was awarded Smartest City in the World in 2014 and was ranked the #1 startup ecosystem outside of the United States in 2015. In addition, the city was recently ranked as one of the top tourist destinations by Lonely Planet.
Nowadays, Tel Aviv is investing in becoming a Smart Tourism City, combining its specialties in the field of tourism and technology.
On February 9-10, 2016, IMTM (International Mediterranean Tourism Market), the largest tourism fair in the Middle East, will take place at the Tel Aviv Convention Center in Israel. The fair provides tourism professionals with an opportunity to meet colleagues, buyers, suppliers and exhibitors from Israel and overseas.
The IMTM will feature 2 major events in the field of Smart Tourism:
Futurism.com: an Innovation conference, featuring panels with fascinating and prominent keynote speakers from around the world, relating to Smart Tourism. During the conference the winner of Tel Aviv Mayor's Smart Tourism Award will be announced.
The Digital Travel Dome: an exhibition featuring technological breakthroughs and startups with the latest innovation in the field of tourism.
Here are some examples of Smart Tourism Apps, all made in Tel Aviv:
Sidekix: helps you make the most of each walk by personalizing your route based on what you want to see or do along the way.
Eatwith: a global community that lets you enjoy authentic and intimate dining at a local's home.
LocalYoo: enables you to explore your destination from the local perspective: to discover all the little secrets that are known only to the ones living in the city.
Jettaplus: an online marketplace that allows travelers to trade their non-refundable plane tickets and get paid by people who look for cheap flights.
Roomer: connects travelers that have to cancel and who are stuck paying for an empty hotel room with the travelers looking for a last minute sweet deal.
FairFly: enables travelers who’ve already purchased an airline ticket to rebook their ticket when a better priced option becomes available.
Bossee: provides a fast way to build an itinerary around the schedule of business travelers in order to create a unique experience that they can hold on to while also accomplishing their business-needs.
Booksonmap: connects between book quotes, and places on the map where they took place.
Dotz: connects between those countless Dotz that make a city: parks, restaurants, galleries, shows, cool spots & amazing people.
Kiki: A unique platform for the international gay community combining a designated social network with upscale tourism and exclusive nightlife packages.
Published: 02 February 2016
New discovery at Tel Aviv University excavation of Qesem Cave reveals tortoises played a supplementary role in the diets of early humans 400,000 years ago
Turtle Soup, Perchance? Prehistoric Man Had a Penchant for Tortoises
New discovery at Tel Aviv University excavation of Qesem Cave reveals tortoises played a supplementary role in the diets of early humans 400,000 years ago
Tel Aviv — Grilled, boiled or salted? Turtles, or tortoises, are rarely consumed today, but a select few cultures, primarily East Asian, still consider turtle soup, made from the flesh of the turtle, a certain delicacy.
According to a new discovery at Qesem Cave, near Tel Aviv, the site of many major findings from the late Lower Paleolithic period, they are not alone in their penchant for tortoise. Tel Aviv University researchers, in collaboration with scholars from Spain and Germany, have uncovered evidence of turtle specimens at the 400,000-year-old site, indicating that early man enjoyed eating turtles in addition to large game and vegetal material. The research, published today in Quaternary Science Reviews, led by Dr. Ruth Blasco of the Centro Nacional de Investigacion Sobre la Evolucion Humana (CENIEH), Spain, and TAU’s Institute of Archaeology together with Prof. Ran Barkai and Prof. Avi Gopher of TAU’s Department of Archaeology and Ancient Near Eastern Civilizations, in collaboration with Dr. Jordi Rosell and Dr. Pablo Sanudo of Universitat Rovira i Virgili (URV), Spain, Dr. Krister T. Smith and Dr. Lutz Christian Maul of Senckenberg Research Institute and Natural History Museum, Germany, provides direct evidence of the relatively broad range of food early Palaeolithic people feasted on – and of the “modern” tools and skills employed to prepare it.
“Until now, it was believed that Palaeolithic humans hunted and ate mostly large game and vegetal material,” said Prof. Ran Barkai. “Our discovery adds a really rich human dimension – a culinary and therefore cultural depth to what we already know about these people.”
The research team discovered tortoise specimens strewn all over the cave at different levels, indicating that they were consumed over the entire course of the early human 200,000-year inhabitation. Once exhumed, the bones revealed striking marks that reflected the methods the early humans used to process and eat the turtles.
“We know by the dental calculus we discovered earlier, that the Qesem inhabitants also ate vegetables,” said Prof. Barkai. “Now we can say they also ate tortoises, which were collected, butchered and roasted even though they do not provide as many calories as fallow deer, for example.”
According to the study, Qesem inhabitants hunted mainly medium and large game – wild horses, fallow deer, cattle – zeroing in on their large quantities of fat and meat, which supplied the necessary calories. Moreover, it was until recently commonly believed that only Homo sapiens enjoyed a broad diet of vegetables and animals, large and small. However, evidence of the depreciation of small animals over time – this discovery included – begs otherwise.
“In some cases in history, we know that tortoises, slow-moving animals, were used as a ‘preserved’ or ‘canned’ food,” said Prof. Barkai. “But maybe the inhabitants of Qesem were simply maximizing their local resources. Either way, this discovery adds an important new dimension to the knowhow, capabilities and perhaps taste preferences of these people.”
According to Prof. Gopher, the new evidence also raises possibilities concerning the division of labor at Qesem Cave.
“Which part of the group found and collected the tortoises?” explained Prof. Gopher. “Maybe members who were not otherwise involved in hunting large game, who could manage the low-handling costs of these reptiles – perhaps the elderly or children.
“According to the marks,” said. Prof. Barkai, “most of the turtles were roasted in the shell. In other cases, their shells were broken and then butchered using flint tools. The humans clearly used fire to roast the turtles. Of course they were focused on larger game, but they also used supplementary sources – tortoises – which were in the vicinity.”
The researchers are currently examining bird bones recently discovered at Qesem Cave.
Figure 1: Cut marks on tortoise humerus from Qesem Cave. Images combining a 3D-model generated by a KH-8700 3D Digital Microscope, stereo light microscope with an oblique cold light source and analytical ESEM operated at LV mode. Note the morphology similar to a chop mark in the case of the main incision in figure 1, and the internal and parallel microstriations on one of its planes in figure 2, indicating directionality in the cut (which seems to have been produced near-transversely to the long axis of the bone).
Figure 2: Costal bone fragment of tortoise showing burning (degree 3) on the external surface while internal surface remains unburned.
On Thursday, January 28th, the US Embassy's American Center in Jerusalem hosted a Model UN conference including 60 Arab and Jewish students from Petah Tikva, Tira, Taybe, Baqa al-Gharabiya and Modiin. The students represented countries ranging from Albania to the United Arab Emirates, and they spent 5 hours debating and negotiating before producing resolutions on the conflict in Burundi, and on the topic of Refugees.
Both are very salient issues: the Burundi committee, acting as the Security Council, passed a resolution authorizing an African Union peacekeeping intervention into Burundi, about 72 hours before the African Union itself stepped back from its threat to intervene in Burundi. The Refugee committee convened about 48 hours before Europol’s warning that 10,000 refugee children are missing.
At the awards ceremony, Yehuda Stolov of the Interfaith Encounters Association, a cosponsor of the event, American Center Director Bill Murad, and Rachel Amrani, Director of the Young Ambassadors program, all addressed the students, before awards were handed out to the top students from each committee. The event was also covered by AlHurra News to be aired in Jerusalem, Beirut, Dubai, Cairo and Washington, DC.
"The Young Ambassadors School is a youth leadership program run by the Petah Tikva Municipality under Mrs. Rachel Amrani. The goal of the program is to create, empower and support a new generation of young leaders, with all of the knowledge, skills and experience to succeed. The program is geared for students in grades 8-12 and includes courses in journalism, leadership, public speaking, diplomacy and Model United Nations. In addition, Young Ambassadors have the opportunity to volunteer, receive delegations of students from abroad and guest speakers, visit government offices and foreign embassies, and participate in delegations abroad. Students who participate in the program learn international relations, public speaking, debate, negotiation and conflict resolution, enabling them to both contribute to their own society, and to represent Israel abroad.
This year the Model United Nations program has undertaken to hold bimonthly conferences with other MUN clubs, including schools from Baqa alGharabiya, Tira, Taybe and Modiin, adding an interfaith and intercity component to the program.
Steven Aiello oversees the Model United Nations program, including teaching classes, organizing conferences and guest lectures. He holds a BA in Economics (NYU), an MA in Diplomacy (IDC Herzliya) and is currently an MA student in Islamic Studies at Tel Aviv University."
Photos provided by Steven Aiello
“The Prague String Trio performs at the Embassy of the Czech Republic, Tel Aviv”
On January 14th 2016, the Prague String Trio gave a recital at the Embassy of the Czech Republic in Tel Aviv. The trio is supported by the Dvořák Foundation for Young Musicians. Members of the trio are violinists Pavel Kirs and Sang-a Kim (Korea) and violist David Schill. All three young are seasoned soloists and chamber players, with David Schill an accomplished orchestral player; the three are presently studying for artist diplomas at the Buchmann-Mehta School of Music, Tel Aviv. Founded in 2012, the Prague String Trio won 1st prize and invitations for more recitals at the International Competition for Chamber Ensembles at the Burg Kniphausen Academy, Wilhemshaven, Germany. The trio plays at major Czech festivals and at other international festivals. Its concerts are broadcast by the Vltava Czech radio station.
Mr. Arthur Polzer, press-, scientific- and cultural attaché of the Czech Embassy in Tel Aviv, opened the evening with words of greeting and information on the trio and its members. Pavel Kirs also offered some explanations on the two works on the program.
Antonin Dvořák (1841-1904) composed his Terzetto in C major opus 74 in 1887, at the height of his career. It came about by dint of circumstances: the composer’s mother-in-law rented a room to a chemistry student Josef Kruis, who was taking violin lessons. He was sometimes visited by Jan Pelikán, a string player in Prague’s National Theatre Orchestra, who was possibly his teacher. Dvořák, who enjoyed playing the viola, wrote the Terzetto within seven days, with the aim of playing it with them. As it turned out, the work was too difficult for the student and was premiered by players of the Prague Chamber Music Society. At the Tel Aviv concert, The Prague Trio gave expression to the work’s lyrical, sweet-toned flowing melodies and warm harmonies, together with its gently melancholic appeal, keeping a careful distance from over-sentimental playing. The graceful and indeed dense Larghetto gives way to a Scherzo rich in surprises. Following their spicy performance of the third movement Furiant with its vivacious Bohemian dance mannerisms, the players gave the final movement’s recitative-like, harmonically mischievous (original but folk-like) melody and variations much variety of mood and texture; the movement plays out major-minor ambivalence. David Schill highlighted the composer’s skillful working of the viola line, the role of which would ordinarily have been played by the ‘cello.
Zoltán Kodály (1882-1967) composed the Serenade for string trio opus 12 at a traumatic time of his life. Together with Bartok and Dohnányi, he had taken part in the so-called “musical directorship” in the 1919 Hungarian Soviet Republic, for which he became resented after its suppression by the rightist regime. He was blacklisted and performances of his works were banned. For two years he disappeared from the national- and international music scene. His teaching post was restored in 1922. The Serenade for Two Violins and Viola, one of the few important works written from 1919-1920, takes its inspiration from the treasury of folk music Kodály had collected together with Bartok. In the opening Allegramente, the Prague String Trio wove in Hungarian folk melodies with driving energy, to be contrasted by an expressive viola melody. The players proceeded to address the mystery and anguished agenda of the second movement – Lento ma non troppo – its disturbing pianissimo tremolo passages played by the 2nd violin (Sang-A Kim) and providing a haunting harmonic framework to the quasi-dialogue between 1st violin (Pavel Kirs) and viola (David Schill). This personal utterance takes the listener to the depths and despair of the composer’s mind. Then, creating much interest with the energetic Vivo movement, characterized by tempo contrasts, its variety of textures and rustic references to Hungarian folk idiom, the three artists brought the work to brilliant close.
With their musicality and outstanding ability, members of the Prague Trio, engaging in one of the less common trio combinations, collaborate closely to strike a fine balance between intelligent, carefully detailed performance and the spirit of music as derived from its folk sources, its influences and the composer as a person. The Tel Aviv Czech Embassy hosts recitals on a monthly basis.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
New Exhibition from Yad Vashem Opens at the German Historical Museum in Berlin with the participation of Chancellor Angela Merkel
On Monday, January 25 at 11:30am a press conference will be held at the German Historical Museum in Berlin at which the new exhibition "Art from the Holocaust: 100 Works from the Yad Vashem Collection" will be unveiled to the international media.
The exhibition, which was jointly curated by Yad Vashem and the Bonn-based Foundation for Art and Culture, is the first-ever art exhibition of its size and stature that Yad Vashem has sent abroad. The exhibition will be on display from January 26- April 3, 2016.
At the press conference, remarks will be made by key figures from the participating organizations, including :
Prof. Dr. Alexander Koch, President of the German Historical Museum
Avner Shalev, Chairman of Yad Vashem
Eliad Moreh-Rosenberg, Director of the Yad Vashem Art Department and Co-Curator of the Exhibit
Prof. Dr. Walter Smerling, Chairman of the Foundation for Art and Culture and Co-Curator of the Exhibit
Kai Diekmann, Board Member of the Foundation for Art and Culture and Editor-in-Chief of the national daily BILD media partner
The exhibition will be inaugurated at the German Historical Museum on the evening of Monday, January 25, with the participation of Chancellor of Germany H.E. Angela Merkel, Avner Shalev, Prof. Dr. Alexander Koch and Kai Diekmann.
A selection of the artworks featured in the exhibition may be viewed on Yad Vashem's website.
For more information on the exhibition and to attend the press conference, please contact the Communications Division at Yad Vashem. Additionally, a press kit will be available for those interested after the press conference.
The exhibition is made possible through the sponsorship of Daimler AG and the Deutsche Bank AG. The catalogue accompanying the exhibition is published by the Wienand Verlag, Cologne.
Ther Mendi Rodan Symphony Orchestra (Musical director: Eitan Globerson) and guests open the 2016 season
The Mendi Rodan Symphony Orchestra was joined by five members of the Meitar Opera Studio for the opening concert of the 2016 season on January 12th in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem International YMCA.
Established in 2012 the Mendi Rodan Symphony Orchestra is named in memory of Maestro Mendi Rodan, Israel Prize winner, professor of conducting and Head of the Jerusalem Academy of Music and Dance. Members of the orchestra are students at the Academy; they audition to be accepted as players and work intensively prior to each concert, first in sectional rehearsals, then with all players. This way, participants receive professional training and become familiar with orchestral repertoire. Prof. Eitan Globerson, the orchestra’s founder, home conductor and musical director, conducted the opening concert.
The Meitar Opera Studio, under the auspices of the Israeli Opera and directed by Maestro David Sebba, is a practical study- and performance program for young Israeli opera singers following their graduation from music academies, giving them training and stage experience in preparation for opera careers. On graduation from the Meitar course, some singers join the Israeli Opera, with others performing further afield.
Following the Mendi Rodan Symphony Orchestra’s finely crafted playing of the Overture to W.A.Mozart’s opera “Don Giovanni”, members of the Meitar Opera Studio gave some electrifying renditions of opera arias: soprano Efrat Vulfsons and tenor Gitai Fisher contended well with the large orchestra, giving expression to “Ma quale mai s’offre oh dei” (What is this I behold) from Don Giovanni. Vulfsons presented all the strong emotions of the piece, Donna Anna’s shrieks of relief, hallucinations and revenge, with Fisher a stable and authoritative Don Ottavio. In “Quando m’en vo…” (And you who know) from Puccini’s “La Bohème, Vulfsons combines her variety of textures with a fine technique to create an unaffected performance of this opera favorite. In Ferrando’s aria from “Cosi fan tutti” “Un’aura amorosa” (A loving aura) Fisher’s cantabile, tender singing of the serenade was pure delight. Tenor Osher Sebbag, equipped with both a superb operatic voice and charisma, pours emotion into each role as he addresses his audience. With his tender, heartfelt performance of Nemorino’s aria “Un furtive lagrima” (A furtive tear) from Donizetti’s “L’elisire d’amore”, replete with carefully placed dramatic pauses, he took his audience with him all the way. Sebbag was joined by soprano Tali Ketzef for two arias from Verdi’s “La Traviata”; with the orchestra highlighting the delicacy of the moment of Violetta and Alfredo’s reuniting in “Parigi, o cara” (Dearest, we shall leave Paris), the singers collaborated well, timing gestures sensitively. In “Sempre libera” (Free and aimless) Ketzef floats the dizzying coloratura sections with ease, depicting Violetta as a jolly (or possibly insane) woman, with Alfredo’s amorous voice heard from the street. In “O, mia Babbino caro” (O my dear father) from Puccini’s “Gianni Schicchi”, soprano Irena Alhazov’s warmth of tone and vocal ease provided the audience with much enjoyment of the opera’s most famous aria. Kudos to the Mendi Rodan Symphony Orchestra’s players and their articulate conductor for their sensitive, richly colored and finely detailed orchestral support of these outstanding singers.
Following the intermission, Maestro Eitan Globerson and the Mendi Rodan Symphony Orchestra performed Hector Berlioz’ “Symphonie Fantastique” (1830), a work surely of great interest to the young players, its style and fantasy launching the spirit of Romantic period in music, its extra-musical agenda firing the fantasy of both players and listeners. In 1827 Berlioz saw a performance of Shakespeare’s “Hamlet”; he was smitten by the power of the drama but also by the beauty of actress Harriet Smithson. It seems she did not return his advances, hence the symphony’s program with its “idée fixe” running throughout the work, eventually taking the composer to the gallows (Berlioz’ eventual marriage to her ended in divorce.) To what extent the work is authentically programmatic (in time, Berlioz addressed less importance to the several programs he had written) or the result of visions due to the effects of drugs is not certain. Such superb and original music, the astounding, innovative combinations of its orchestration, not to speak of the “speaking” part given to the drums, keep the 5-movement work inspiring in its freshness and no less fascinating in its psychological aspects. The score calls for 2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets and 2 cornets, 3 trombones, 2 ophicleides (usually replaced by bass tubas), timpani, bass drum, snare drum, cymbals, low-pitched bells, two harps and strings. All of the above background and ideas make this work an experientially musical and affecting experience for players and audience alike. Globerson and his players gave fervent expression to the work’s sweeping melodic lines and shapes, its timbral interest, its small plangent solos and abundantly colored tutti. Much attention was also given to the work’s more intimate utterances, finding their way straight to the listener’s heart. The choice of the “Symphonie Fantastique” may have been no coincidence: as to the workings of the mind, Prof. Globerson is a researcher of brain science at Bar Ilan University, his post-doctoral research probing the perception of melody, using state-of-the-art imaging to track brain responses to pitch, loudness, timbre and other auditory attributes. Berlioz once wrote: “The predominant qualities of my music are passionate expression, inner fire, rhythmic drive – and the unexpected.” This was indeed evident in Prof. Globerson and the Mendi Rodan Symphony Orchestra’s exciting and masterful performance.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
The Jerusalem Baroque Orchestra performs a house concert prior to the "Bach in Jerusalem" Festival
A festive fundraising concert for the Jerusalem Baroque Orchestra was generously hosted by Mrs. Ora Holin on January 8th 2016 at her home in Kfar Shmaryahu, a tranquil suburb within the Tel Aviv district. Inclement weather did not deter the many guests from arriving from near and far to attend the house concert performed by some of the orchestra’s artists, both instrumental and vocal. Maestro David Shemer, the orchestra’s founder and musical director, opened with words of thanks to Mrs. Holin, talking briefly about the orchestra. He added that playing in a private home was indeed the most authentic environment for performing Baroque music.
The evening’s musical program opened with Antonio Vivaldi’s Trio Sonata opus 1 no.12 “La Follia” in d-minor RV63, the final work of twelve trio sonatas composed in 1705. This bold and daring work, scored for two violins (Noam Schuss, Dafna Ravid) and basso continuo (Eliav Lavie-theorbo, Orit Messer-Jacobi-‘cello, David Shemer-harpsichord), a true concert piece bearing the stamp of Vivaldi’s true genius, was a hearty opener for such an event. One of several sets of variations based on the same melody, Vivaldi’s “La Follia”, a single-movement sonata, comprises the subject melody and 19 variations. The JBO players presented the full variety of moods offered by Vivaldi’s work, from the noble opening variations, to virtuosic variations for first violin (Schuss) or ‘cello (Messer-Jacobi), to tranquil charm and elegance, to a dirge-like variation, to energetic brightness, variations of fuller and lesser textures, from the intimate to the exciting and exhilarating, then ending with two understated, retreating phrases to bring the listener back down to earth. One sensed the inspiration of the moment in some eloquent ornamentation heard, especially on the part of Noam Schuss.
For the three last movements of Johann Sebastian Bach’s Suite no.2 in b-minor, the ensemble was joined by Idit Shemer-flute, Tami Borenstein-viola and Yehuda Halevy-double bass. In this work, Bach took the opportunity of giving the flute the solo part: the transverse flute was coming into its own at the time. Composed in Leipzig, there is every reason to assume it was performed one-to-a-part, this theory endorsed by Joshua Rifkin and Andrew Parrott. The JBO players’ performance at the house concert gave lively support to this assumption. Here was Bach’s secular music – his stylized dance vocabulary - played in all its refinement, sophistication and subtlety, with flautist Idit Shemer opting to emphasize the elegant and playful side of the virtuosic flute role.
The final work on the program was Giovanni Battista Pergolesi’s “Stabat Mater”, the dying composer’s masterpiece, with its compelling paradox of tenderness and vividness. Vocal soloists soprano Daniela Skorka and countertenor Alon Harari coordinated well, setting the tragic scene in the opening section, leaning into dissonances, Harari’s accenting and ornaments highlighting verbal gestures, with Skorka utilizing her easeful vibrato to color strategic words. Both addressed the rhetoric with empathy, lyricism and, at times, forthright intensity. In “Dum emisit spiritum” (Till His spirit forth he sent) each detached syllable created a spine-chilling sense of the waning of life. The crystal-clear, personal utterances of the instrumentalists, weaving Pergolesi’s rich counterpoint through the musical fabric, made for an inspiring milieu for singers and audience alike.
Following the concert, Mr. Dan Shorer spoke of the first international “Bach in Jerusalem” Festival to take place from March 17th to 21st 2016 under the auspices of the JBO and centering around the actual date of J.S.Bach’s birthday. Inviting the Baroque music-loving public to give its support to this exciting project, he spoke of renowned artists taking part in the concerts and emphasized the slant the international festival would be taking: to examine the influence Bach’s music has had on musicians and the development of music in general.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Ninth President of Israel Shimon Peres sent out a special New Years greeting addressing all people and leaders across the world
He addressed the challenges faced across the world throughout 2015, yet expressed his strong optimism for the New Year ahead
Ninth President of Israel Shimon Peres sent out this morning a special New Years greeting addressing all people and leaders across the world. As part of his message he discussed the past year, pointing out the challenges faced across the world, such as terrorist attacks, poverty, and the refugee crisis in Europe. However, Peres noted that "We are facing a new promise, a promise of science and technology, where each and every one of us can grow, where we have new opportunities, new relations, and new tools in a new future." The Ninth President wished for a better future for all filled with happiness and peace, and stressed that the best years are still to come as all people the world over are more connected than ever before.
As part of the video, Peres said:
"Dear Friends, Happy New Year. We are today united as human beings like never before. We have had some problems in the passing year – terror, victims, refugees. But we are also facing a new promise, a promise of science, where we can improve, each of us and all of us, where we can produce new opportunities, new relations, new tools in the new future.
I would like to pray from here, from Jerusalem, for all the children in the world that they would have a better future, a better world, more happiness. It can be achieved, and we have to do everything to achieve it.
HAPPY NEW YEAR!"
President Rivlin hosts Christian community leaders for reception marking civil New Year
President Rivin: "A faithful Jew cannot be anti-Christian or anti-Muslim."
"We all have a duty, at the beginning of the New Year, and every day, to stand together, and show the world that the conflict in this region is not a war about religion, it is a war against hate."
President Reuven Rivlin this morning (Monday), hosted the traditional annual reception for leaders of Israel's Christian communities to mark the civil New Year. Speaking at the event along with the President was Greek Orthodox Patriarch of Jerusalem, His Beatitude Theophilos III. In addition, the event was attended by heads of various churches in Israel, senior members of the community, and representatives of the Israeli government.
President Rivlin began by noting that the last year had marked fifty years since the Nostra Aetate declaration, which defined the Catholic Church's policy against anti-Semitism and - as the President noted - paved the way for dialogue between the Jewish and Catholic communities. The President said, "I was honored this year, to meet with the Pope in the Vatican, where we spoke about how this relationship has grown stronger over the years. I appreciate very much what he said against anti-Semitism, and against converting Jews. His message of understanding and acceptance reflects both Christian and Jewish ideas – 'Love your neighbor, like yourself'. Pope Francis said, 'A true Christian cannot be an anti-Semite'. Let me say – a faithful Jew cannot be anti-Christian or anti-Muslim. The Ten Commandments – holy to Jews and Christians – teach respect for God and respect for man. These values do not go against each other, they go with each other. At the same time, the Jewish and democratic values of Israel go hand in hand."
The President added, "I am proud that Israel protects the freedom of worship and expression for everyone, of every faith. It is not enough for us to only be a safe home for Christians. We want the community to prosper, and play a part in Israeli society."
He concluded by wishing the Christian communities a joyful festive season, and said, "Jerusalem is the center of the world. Billions of people look to this city in hope and prayer. We all have a duty - at the beginning of the New Year and every day - to stand together and show the world that the conflict in this region is not a war about religion, it is a war against hate. We must work to build bridges between our communities, in the Holy Land and around the world. We must build dialogue, and show that people with different beliefs can live side by side, and even together; in schools and universities, in the workplace, in parliament, and even on the soccer field. This has been my mission as President, and it is a task which lies before all of us. This house, as the house of all the Israeli people, is your house too - my door is always open."
In response, representing the Church heads, Greek Orthodox Patriarch of Jerusalem His Beatitude Theophilos III said, "In this festive season, we greet you Mr. President, and wish to express our appreciation for the strong stand you have continued to take in demonstrating respect for all religions, and your condemnation of violence from whatever side it comes. We understand the importance in the region of healthy diversity of ethnic and religious traditions, with true coexistence, mutual respect, and security for all. We join you in these affirmations and condemnations. Allow us to reiterate our commitment to education based on the principles of moral values that derive from our common heritage. This is paramount to the shaping of our social fabric."
Statue of a ram discovered near ancient church in Caesarea
An impressive marble statue of a ram, an ancient Christian symbol for Jesus, was discovered on Christmas Eve during the excavation of a Byzantine-period church in Caesarea
An impressive marble statue of a ram was exposed near an ancient church that dates to the Byzantine period. The discovery was made last Thursday morning in an archaeological excavation the Israel Antiquities Authority http://www.antiquities.org.il/default_en.aspx is conducting in the Caesarea Harbor National Park http://www.caesarea.com/en/home/tourism-and-leisure/harbor/general-info/caesarea-harbor-national-park-map , at the initiative of the Caesarea Development Corporation.
In Christian art the ram is often depicted carried on the shoulders of the “Good Shepherd” (that is, Jesus, who is portrayed as the shepherd tending his flock), and sometimes the ram is situated to the left or right of Jesus. In Christianity the ram, like the lamb, represents the faithful, or Jesus himself, whose anguish and death were meant according to Christian belief to atone for original sin (the origin of the image is in John 29:1).
The ram appeared alongside the Greek gods Hermes and Mercury in Roman art, and it was a representation of the god Amun in Egyptian mythology.
According to Dr. Peter Gendelman and Mohammad Hater, directors of the excavation on behalf of the Israel Antiquities Authority, "Caesarea never ceases to surprise as evidenced by this amazing statue that was discovered today. In ancient Christianity Jesus was not portrayed as a person. Instead, symbols were used, one of which was the ram. It may or may not be a coincidence, but the statue was uncovered on Christmas Eve. The statue that we found might have been part of the decoration of a Byzantine church from the sixth–seventh centuries CE at Caesarea. By the same token it could also be earlier, from the Roman period, and was incorporated in secondary use in the church structure”.
The marble statue discovered in Caesarea. Photo: Vered Sarig, The Caesarea Development Corporation
TENS OF THOUSANDS ARE EXPECTED TO VISIT ISRAEL DURING THE CHRISTMAS PERIOD
The Tourism Ministry to provide free shuttle transport between Jerusalem and Bethlehem for Christmas Mass celebrations and to support Christmas festivities in Nazareth * Tourism Minister to host pre-Christmas reception on 21/12/15 for Church leaders in Jerusalem
Tourism Minister Yariv Levin: "I welcome the thousands of visitors who are expected to arrive in Israel for the Christmas holiday. We are doing our utmost to offer assistance to each and every one and welcome them. The ministry invests significantly throughout the year in the conservation and upgrading of Christian sites in order to ensure that every Christian can visit the sites that are sacred for him. We invite you to visit these sites and enjoy a powerful religious and spiritual experience."
Jerusalem, December 17, 2015 - The Tourism Ministry is working to welcome the tens of thousands of visitors expected to arrive in Israel for the Christmas period. From 15:00 on Christmas Eve through to 03:00 on Christmas Day, the Ministry of Tourism will offer free shuttle transportation, helping pilgrims travelling between Jerusalem and Bethlehem. Buses will leave every 30 minutes on the hour and half hour from the bus stop near the Carta Parking lot (opposite Jaffa Gate and near to the Mamilla Boulevard). The bus will also stop near the entrance to the Mar Elias Monastery, and at the Rosmarin junction, before continuing via Rachel's Crossing to Bethlehem - and then back again. Representatives from the Ministry of Tourism will welcome tourists and pilgrims at Rachel’s Crossing with sweets in the spirit of the holiday. The ministry will also provide a firework display during the Christmas parade in Nazareth.
EVENTS AND FESTIVITIES IN JERUSALEM AND NAZARETH
21 December 2015
Tourism Minister Yariv Levin will host the traditional pre-Christmas reception for leaders of the Christian communities and churches in Israel at the Shimshon Center, Beit Shmuel in Jerusalem at 11:00. Also participating in the reception alongside ambassadors and Christian leaders will be the Director-General of the Tourism Ministry Amir Halevi, and representatives of the Church, government and private bodies involved in promoting Christian tourism to the Holy Land. Among the Church leaders attending the reception: His Beatitude Greek Orthodox Patriarch Theophilus III, His Eminence Vatican Ambassador Giuseppe Lazzarotto and the Custos of the Holy Land His Paternity Pierbattista Pizzaballa. The minister will send season’s greetings for Christmas to the Christian communities and invite the faithful around the world to make a pilgrimage to the Holy Land.
24 December 2015
On Christmas Eve, 24.12.15, the traditional parade of thousands of local youth, together with the leaders of the Christian communities, will pass through Nazareth from 15:00. The parade ends at the plaza in front of the Basilica with a firework display, sponsored by the Tourism Ministry, to announce the opening of the festive Christmas celebrations (17:30). Christmas Mass will be celebrated in the Basilica of the Annunciation at 19:00.
In recent years, the Tourism Ministry has invested close to NIS 100 million in developing and maintaining the infrastructure of Christian sites, in order to enrich the pilgrim's spiritual experience. These sites include, among others, the baptism site at Qasr el Yahud near the Dead Sea, Mount Zion and Ein Karem in Jerusalem and the Gospel Trail in the Galilee. Other projects include, among others, the boardwalk from Tiberias to Capernaum, Korazim and Mount Precipice.
The Papal visit to Israel in May 2014 brought thousands of tourists and pilgrims to Israel and, following the visit, hundreds of thousands more tourists who traveled to the Holy Land as a result. The Tourism Ministry invested about NIS2.5 million around the visit in marketing to leverage the visit of the Pope.
The ministry runs dedicated websites and facebook pages for the Catholic and Evangelical communities.
www.holyland-pilgrimage.org (the Tourism Ministry’s dedicated site for Catholic pilgrims, available in English, Spanish, French, Italian, German, Polish and Portuguese).
http://www.goisrael.com/Evng (the Tourism Ministry’s dedicated site for Evangelical Christians)
Christian tourism:
54% of the 2.9 million tourist entries (those staying at least one night) in 2014 were Christians. Of these, 39% were Catholic, 27% Protestants, 27% Orthodox. Among the Protestants, 74% were Evangelicals (who comprise 20% of all Christian tourists and 8% of all tourists) while 26% were from the mainstream and the Afro-American church. Among the Orthodox, 85% belong to the Russian Orthodox Church, and 15% to the Greek Orthodox and others.
21% of all visitors to Israel defined the purpose of their visit as pilgrimage. The vast majority of all Christian visitors visit Jerusalem, with about a third visiting Tel Aviv-Jaffa. The most visited sites by Christians (by descending order) Church of the Holy Sepulcher, the Jewish Quarter, Capernaum, Old Jaffa, Tower of David, Qumran, Yad Vashem, Beit Shean and Qasr el Yahud.
Information about Christmas services: Christian Information Center http://www.cicts.org/default.asp?id=353 .
The Israeli opening of “Moments from a Unique Relationship”, a photo exhibition commemorating 50 years of German-Israeli diplomatic relations, took place on December 2nd 2015 at the Ben-Zvi Institute, Jerusalem, which hosted the event together with the Tel Aviv Embassy of the Federal Republic of Germany.
Opening the event and introducing the speakers and musical content, Dr. Judith Loebenstein-Witztum drew our attention to the hall in which we were seated – the Presidential Cabin, built in 1951 - where Rolf Friedemann Pauls, the first German ambassador to Israel, presented his credentials. President Yitzhak Ben-Zvi, who had assumed office in December 1952, believed the president to be a figure who should set an example of modesty, hence the pleasant, uncluttered décor of the room. Itzhak Ben-Zvi and his family lived in a wooden hut in the central Jerusalem suburb of Rechavia. The State of Israel purchased the adjacent wooden house to provide additional space for the President’s residence, providing offices for the President and his wife, Rahel Yanait. As to the cabin, with its folk-like but interesting wooden interior and cases of commemorative items, Ben-Zvi wanted it to be an environment where all Israeli would feel welcome.
The Ben-Zvi Institute of Yad Itzhak Ben-Zvi and the Hebrew University of Jerusalem was founded by Itzhak Ben-Zvi in 1947 for the purpose of the study of documents, manuscripts and printed material relating to the history, communal life and culture of Jewish communities from Islamic countries and in other countries of the Middle East and Asia. The institute initiates and supports research on these communities.
Following words of welcome from Prof. Haim Saadoun, director of the Ben-Zvi Institute, Dr. Clemens von Goetze, Germany’s 14th Ambassador to Israel spoke, expressing his thanks to the Ben-Zvi Institute for hosting the event and the exhibition. Dr. Goetze spoke of German-Israeli relations as having been initiated by Israel, of the very uniqueness of the collaboration and of it now covering many aspects and enjoying multiple achievements. He added that this uniqueness would remain.
With a deep connection to its research material, the Ben-Zvi Institute is the home to the Piyyut Ensemble, a group made up of people of different backgrounds performing material mostly from the North African repertoire of piyyut (the ancient collection of Jewish liturgical poems usually sung, chanted or recited in religious services.) Members of the Piyyut Ensemble of the Ben-Zvi Institute meet in search of a new choral sound that combines the traditional with the interpretive. All artists take inspiration from their own oriental backgrounds, those being mostly Moroccan. A few members (all men) of the ensemble performed two pieces in singing that was mostly in unison, the works structured but with spontaneous and solo elements. Convincing and spiritually-oriented, the artists gave emphasis to articularly sung texts, with sympathetic not-overly-obtrusive percussion accompaniments. In the second piece, oud (a plectrum-played, pear-shaped string instrument), percussion and ney (an end-blown flute commonly played in the Middle East) joined the singing, adding gentle textures and an oriental touch to the performance.
Giving much information on the exhibition itself, we heard Dr. Chana Schütz, curator of the exhibition and associate director and head of the research department of the Centrum Judaicum of the New Jewish Synagogue in Berlin. Dr. Chana Schütz is the daughter of Klaus Schütz (1926-2012), who was a German politician of the Social Democrat Party. He was Mayor of West Berlin from 1967-1977, President of the Bundesrat 1967-8, becoming federal Ambassador to Israel from 1977 to 1981. Chana Schütz felt she wanted to create the photographic exhibition in honor of her father. Addressing the development of this collaboration of the recent 50 years, she claimed that its progress could not have been predicted, that major problems might have caused it to unfold very differently and that its story has been “written” by individual people. She referred to Gershom Sholem’s discussion of the “myth of the German-Jewish dialogue”, in which he had claimed that the possibility of Jews overcoming their feelings to be hopeless; she also referred to an embarrassing incident with Polish-born Jewish authority in literary criticism Marcel Reich-Ranicki at the Schütz home in Jerusalem. Her own connection with this time in history bears many personal aspects: living in Jerusalem, she received her B.A. from the Hebrew University and it was in Jerusalem that she met her Texan husband-to-be.
The exhibition itself, Dr. Schütz explained, had come from the Centrum Judaicum, opening in May 2014, with Israeli President Reuven Rivlin making his first official visit to Germany for the occasion. First shown at the Federal Foreign Office in Berlin, it was opened by State Secretary Steinlein and the Israeli Ambassador to Germany Yaakov Hadas-Handelsman and Hermann Simon, director of the New Synagogue Berlin-Centrum Judaicum Foundation. Titled “Snapshots of a Unique Relationship”, the exhibition presents some of the highlights of the bilateral relations as of May 12th 1965, featuring photographs, information boards and film sequences to recall several significant moments of those 50 years. It focuses on the following themes: “Beginnings”, “Historical Responsibility”, “The Games Must Go On”, “Shared Values”, “Partnerships” and “Homelands”. Chosen by Dr. Schütz, all the material constitutes primary sources, most being of public domain. She expressed her gratitude to recently retired government press office photographer Moshe Milner and to the Israel Press Office for making photos available. The 52 images of the exhibition are interconnected, though not necessarily in chronological order. Visiting the exhibit, one can spend time viewing the mostly black-and white photos that bring to life so many important moments in the two countries’ recently shared half-century: first Israeli ambassador to Germany Asher Ben-Natan arriving on German shores in 1965, Ygal Alon and Willi Brandt photographed together (looking like brothers), a tense Menachem Begin shaking hands with German foreign minister Hans Dietrich Genscher in 1974, a bakery opened in Germany by a kibbutznik, a German-made submarine near Haifa in 2012, the first Israeli passport design by Hamburg-born Francesca Baruch…and much more. Dr. Chana Schütz ended her talk by referring to Israel and Germany as “mutually incompatible countries” yet bound by fundamental human values, the vital essence on which cooperation is based.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Photo :copyright: Ben Zvi – Ashley Silvern
POLISH INSTITUTE is delighted TO INVITE TO:
Opening event for ‘ Tribute to Polanski’ project. The event will be held at Cinemateque Tel Aviv, on Sunday 13th of December.
At 8.00 p.m. opening of the exhibition of works from WIZO Art Academy ( results of a weeklong workshop with Bartosz Kosowski- poster designer),
followed by screening of the film “ Carnage” and a Q& A with R. Polanski’s film editor, Herve de Luze, who is coming especially for this project and to receive an life time achievement award,
during Jewish Film Festival In Jerusalem.
RSVP to : This email address is being protected from spambots. You need JavaScript enabled to view it.
, till Thursday 10th,
A colourful Christmas celebration at the BIG FASHION Nazareth Mall
Santa Claus, holiday decorations and a festive holiday fair creating an unforgettable Christmas experience in BIG FASHION Nazareth shopping center
The lights, the trees, the colours and tastes. Everything in a European style:
The Big Fashion Nazareth Mall is celebrating Christmas just like any mall in the European capitals. The mall is decorated head to toe with Christmas trees, twinkle lights, a giant snowball and many stands offering holiday gifts.
The different stores and chains of the mall, all decorated their window displays, just like in Europe with snowflakes, trees, reindeers and glitters, attracting our eyes even from afar. The mall is having a Prettiest Window contest offering a pampering reward for the staff of the shop with the most festively decorated window.
Santa Claus’s traditional tree house, all decorated with lights, has been built inside the mall as a Christmas Pop-Up Shop offering a range of products, gifts, decorations and holiday novelty. Santa himself is roaming the mall, heading parades, surprising children with presents, dancing and celebrating to holiday tunes.
In addition, a spectacular holiday scenery will be set up to demonstrate a cozy in-doors holiday feel including a wooden fireplace, wool carpet, rocking chair, decorated twinkling Christmas tree with present underneath and more.
There will also be a festive Christmas market at the mall, offering special holiday accessories: authentic decorations, Santa hats, special food, spices and more.
The international atmosphere created in the Nazareth BIG FASHION Mall during the holiday is inseparable from the celebrations taking place throughout the city. The mall offers its shoppers a full holiday experience identical to those offered in shopping malls around the world.
BIG FASHION Nazareth Mall of the BIG Shopping Center Group is a first of its kind life style center in Israel characterized with a wide range of shops of the best international brands, empathizing fashion, cosmetics, jewelry and coffee shops. The center is built as an avenue of open streets fitting in to the environment and local scenery, turning the center in to a unique space of international atmosphere giving an experience of shopping in an urban street with the highest level of design.
Nazareth Big Fashion’s Facebook page is quickly and easily updated with all the hottest news from the mall- sales, brands, fashion trends, new collections and different holiday activities and events taking place at the mall during Christmas.
Big Fashion Nazareth Mall Christmas celebrations will start on November 10th
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Join BIG’s Facebook page for live feeds on events, sales and other surprises waiting for you at BIG shopping centers around the country!
The Israel Contemporary Players opened its 25th “Discoveries” season
The Israel Contemporary Players opened its 25th “Discoveries” season with a representative selection of the ensemble’s wide range of repertoire, from Stravinsky’s “Ragtime”, to music of Ligeti, to folk-flavored music, to the premiering of a work by Eitan Steinberg, with music from England, Europe and Israel. The concert was conducted by Professor Zsolt Nagy (b. Gyula Hungary, 1957), who has served as chief conductor and artistic adviser to the ICP since 1999. A collaboration of The Voice of Music IBA Israeli radio and the Jerusalem Music Centre Mishkenot Sha’ananim, with the support of the Ministry of Culture and the Tel Aviv-Jaffa Municipality, the series is under the artistic direction of Dan Yuhas and Zmira Lutzky. This writer attended the concert on November 1st 2015 at the Jerusalem Music Centre.
The program opened with “Pierrot on the Stage of Desire” (1998) by British conductor and composer Roger Redgate (b.1958), a work for flute, clarinet, violin, percussion and piano, written in the “New Complexity” style of the late 20th and early 21st centuries. As the title infers, the piece focuses on the character of the dreamy, naïve clown Pierrot and his sadly unrequited love for Columbine. In three miniature but evocative and richly designed movements, the players presented the opening movement’s feisty, witty character in crisp, articulate gestures, the middle movement more introspective than the two outer movements. With fine clarinet playing on the part of Danny Erdman, the sextet’s articulate and skillful performance offered much to fire the listener’s imagination, as the agitated third movement finally dissipated into nowhere. Redgate, who has worked in the fields of jazz, improvised music and performance art, writes music for film and television and writes about music. In 1999, he collaborated with the New York-based experimental rock band GAWK.
Then to what Zmira Lutzky referred to as a significant work in the development of modern chamber music – György Ligeti’s Chamber Concerto. Composed 1969-1970, it is scored for flute, clarinet (doubling bass clarinet), horn, trombone, harpsichord (doubling Hammond organ), piano (doubling celesta) and solo strings. As to its format, it is not a concerto in the conventional sense but “all 13 players are virtuoso soloists and all are treated as equals”, in the composer’s words. This being the case, the Israel Contemporary Players’ reading of it was beguiling and not just for its virtuosic performance. Nagy brought his ensemble together in articulate and wonderfully precise playing of the work’s extraordinary textures and different techniques, rendering it transparent, accessible and exciting. In its four contrasting movements, concluding with a wild, whirring series of rapid cadences, the work reminds the listener that this major classical work, in its inventive, playful, poetic and communicative utterance, still has much to say to today’s audiences.
We then heard the Israeli premiere of “Cosmic Progressions in the Heart II” for 10 instruments by Israeli composer Eitan Steinberg (b. 1955), one of today’s prominent Israeli composers. “Cosmic Progressions in the Heart II” was commissioned and premiered in 2011 by the El Perro Andaluz Ensemble (Dresden, Germany.) It is the second of three pieces, each the result of a process of change, referred to by Steinberg as non-linear change, with the composer interested in examining what might constitute development or a lack thereof in the pieces. Scored for orchestra, “Cosmic Progressions in the Heart I” was premiered by the Israel Camerata Jerusalem in 2008. “Cosmic Progressions in the Heart III” for symphony orchestra was premiered in 2013 by the Tbilisi Symphony, Georgia, conducted by Vakhtang Kakhidze. Referring to the pieces and their title, Steinberg spoke of the cosmos and the heart as what we all possess, that what we do has impact on the cosmos, with the cosmos also influencing our actions. When composing the work, what was echoing in the composer’s mind was that Albert Einstein had claimed that past and present are only directions like left and right, forward and backwards. Over recent years, as Steinberg has returned to the work to change parts here and there, creating new versions, it has gone through its own natural processes, hence its three versions. “Cosmic Progressions in the Heart II”, as performed at the ICP concert, is scored for strings, flute, clarinet, percussion, accordion and piano. A richly wrought canvas comprising tiny fragments as well as intense drawn-out sounds, a sprinkling of tonal references, dancelike moments, the use of insistent ostinato, a nostalgic folk-type melody played on accordion, Steinberg’s orchestration and palette of timbres are both sophisticated and attractive, personal and emotional, making for an exhilarating listening experience.
Igor Stravinsky’s “Ragtime” (1918), one of the composer’s “essays in jazz portraiture”, is scored for flute, clarinet, 2 horns, trombone, bass drum, snare drum, side drum, cymbals, 2 violins, viola, double bass and cimbalom. In 1915, Swiss conductor Ernest Ansermet took Stravinsky to hear Aladar Racz playing the Hungarian cimbalom - a hammered dulcimer from Eastern Europe, introduced into Hungary by the Roma (Gypsy) people - at a bar in Geneva. Stravinsky, fascinated by the trapezoid shape of the instrument and its rich timbre, decided to buy one; he and Racz found an elderly Hungarian gypsy with one for sale. The composer first used it to produce raucous animal effects in his chamber opera-ballet “Renard”, later using it wherever possible. Assuming an almost solo role in “Ragtime” (an extension of the dance in “A Soldier’s Tale”), Stravinsky used the cimbalom to imitate the sound of a honky-tonk piano. Guest artist at this ICP concert, Hungarian composer, improviser, jazz musician and master of the cimbalom Miklós Lukács (b.1977), on his first visit to Israel, joined Nagy and the ensemble in a performance that was jaunty, clean, pithy, bristling with energy and tinged with Stravinsky’s brand of cynicism, the uncommonly grainy character of the cimbalom infusing a unique voice into the texture.
The program concluded with “Da Capo” (2003-2004) for cimbalom (or marimba) and ensemble by Hungarian conductor and composer Peter Eötvös (b.1944), with Miklós Lukács performing the cimbalom part on the Israel Contemporary Players’ instrument (tuned chromatically). In an interview with Tünde Szitha appearing in the blog of Universal Music Publishing Classical in May of 2014, Eötvös spoke of the work’s title as relating to the structure of the work, to the constant process of starting afresh. “The music begins and reaches a certain point, but, before it is completed, it starts again…in a different way…nine times.” Introducing fragments of themes from Mozart archives as initial ideas, these launch a creative process transforming them into Eötvös’ own music. Referring to it as his “newest and oldest” work, the composer suggests that the piece could be subtitled “Reading Mozart”, but speaks of its scoring as being very different from Mozart’s orchestration, considering the fact that some of the instruments he uses did not exist in Mozart’s time. The essential difference lies in the variety of percussion instruments, not to speak of the instrument in the solo role. The latter was inspired by Miklós Lukács’ virtuoso playing, which, as we heard, was no understatement. In his dazzling performance, underlining the composer’s complex polyphonic writing, Lukács joins the ICP, serving as soloist and ensemble player as Eötvös runs the listener through the unpredictable course of “Da Capo”, its busy, split-character canvas juxtaposing velvety, touching Mozart gestures with blatant, fiery moments of atonality, the use of ostinati, some references to jazz and devil-may-care energy. For his encore, Miklós Lukács played his own composition “After Dark”, a virtuosic and folk-music-inspired piece, this time playing the cimbalom with his hands rather than with hammers.
In yet another evening of polished, dedicated and finely detailed performance, Maestro Nagy and members of the Israel Contemporary Players opened the new concert season with an outstanding evening of music.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Eitan Steinberg photo by Eytan Shouker
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Which artist and illustrator painted a portrait of John F. Kennedy in 1960 that was later published on the cover of the Saturday Evening Post after his assassination? | Art & Culture
Art & Culture
In the early hours of the morning of the 17th January 1945, Raoul Wallenberg disappeared. He had been a consular official at the Swedish Legation in Budapest, Hungary. He was never heard from again.
Raoul Wallenberg was not Jewish. He worked at the Swedish Diplomatic Mission in Budapest with one purpose in mind; to save as many Jews as possible from the Nazi death machine. He not only issued thousands of visas a “safe passes”, but empowered by his diplomatic immunity, he worked relentlessly in the face of the Nazis as they tried to deport Hungarian Jews to the death camps.
I was honored to be invited yesterday – the 17th January – to a ceremony at the official residence of the Swedish Ambassador to Israel, H.E. Carl Magnus Nesser, to honor the late hero. The central event was the screening of a short documentary film: “The Survivors in Budapest: Interviews with Persons Saved by Raoul Wallenberg”. Four Israelis, all former Hungarians, who survived and lived to tell the tale. The interviews were bone-chilling as they recounted what they as children has seen, heard, felt and experienced – and how the brave Wallenberg saved them – and thousands more. The four were in the audience with us. Living flesh and blood, now mothers and fathers, grandparents, great-grandparents – survivors.
Ambassador Nesser addressed the gathering, first in faultless Hebrew (!) which he has learned in his four years in Israel, and then in English. Also addressing the gathering was Danny Rainer, head of the Israeli representation of the International Raoul Wallenberg Foundation.
The Ambassador and the Embassy of Sweden in Tel Aviv are to be commended for arranging this event. The memory of Raoul Wallenberg will live on. May it be for a blessing for us all.
Two outstanding organizations were represented at the gala benefit concert for the Yad Elie Foundation, which took place at the Jerusalem International YMCA on January 1st, 2016. The musical program was provided by Chen Zimbalista and the Music Factory.
Yad Eli, established by Marion Kunstenaar in 2002 in memory of Elie Saghroun, provides meals for needy Jerusalem school children, feeding 500 Arab- and Jewish children on a daily basis. It sets up educational programs to teach children about nutrition and health, creating a forum where Jewish and Arab participants can think, work and benefit from each other. Rabbi David Lilienthal serves as chairman of Yad Elie.
Directed by world-renowned marimba player and percussionist Chen Zimbalista, the Jewish-Arab youth orchestra – the Music Factory – was established four years ago. For the Jerusalem concert, it was joined by members of the Jerusalem Symphony Orchestra, the Israel Beer Sheva Sinfonietta and mezzo-soprano Noa Hope. The concert was preceded by the three-day Music in Omer Festival, consisting of open rehearsals, master classes and concerts. Taking place at the Open Museum in the Industrial Park of the southern town of Omer, this was the second of its kind involving the Music Factory and run by the charismatic Zimbalista. With the high standards of performance and nurturing of Zimbalista, an educator and social activist for bringing together children and youth from city and periphery in high-quality music-making, the 12- to 18-year-olds attending the festival were instructed by renowned teachers, who then joined them to play together in the youth orchestra.
The program included finely-crafted orchestral playing of movements from cardinal works of symphonic repertoire and some chamber pieces, these punctuated by Zimbalista’s dashing, stylish and virtuosic marimba playing. For the performance of works of J.S.Bach, Haydn, Mozart, Bizet, Ravel and Piazzolla, the role of concertmaster alternated between some of the orchestra’s outstanding teen violinists. Introducing Ravel’s “Bolero”, Zimbalista explained that the composer had written it as an exercise for orchestra. With Zimbalista on drum, the players gave a beguiling reading of Evgeny Levitas’ shortened version of the “Bolero”; among the fine small solos, a very young boy – Negev Almog - gave a richly sonorous and most impressive performance of the flute solo.
Of the chamber works on the program, we heard ‘cellists (and Music Factory tutors) Adiel Schmidt and Erich Oskar Huetter (Austria) in some delicate, imaginative and subtle playing of two movements from a Telemann work. Another enjoyable item was the playing of an arrangement of the subject and three of the variations from Bach’s “Goldberg Variations” elegantly presented by Asher Belchman (violin), Lara Karpalov (viola) and E.O. Huetter (‘cello). (Huetter, having visited Israel several times, has been involved in similar music projects with Arab youth.)
Contending easily and naturally with the orchestra, guest artist mezzo-soprano Noa Hope took players and audience to the world of opera with “Voi che sapete” (You who know what love is) from Mozart’s “Marriage of Figaro”, her creamy, substantial voice well integrated with her communicative stage performance. Hope’s dramatic and colourful rendition of the Habanera from Bizet’s “Carmen” displayed her dynamic range, well supported by the competence, accuracy and fine listening skills of the Music Factory players.
The festive concert concluded with two works of tango composer Astor Piazzolla, a rich and soundscape of captivating Argentinean rhythms, yearning and joy. Adding to the nostalgic yet life-affirming atmosphere of this music, young accordionist, Uri Ofek, relaxed and smiling, wandering across the stage in front of the orchestra, had the audience enthralled by his competence and professionalism.
Throughout the evening, Chen Zimbalista introduced the evening’s artists and works with cheerful informality. Conducting, performing with them and soloing, he directed both young- and experienced players in a vibrant program of outstanding orchestral playing, promoting the harmony of co-existence.
On Friday January 6th, Ms. Julie Fisher, wife of U.S. Ambassador to Israel Daniel B. Shapiro, hosted a reception at their residence as part of the “Art in Embassies” program. The event opened an exhibition designed to foster cultural ties between countries through art.
Mr. Thomas Genton, Counselor for Press and Cultural Affairs at the US Embassy, opened the evening’s festivities by welcoming guests and introducing Ms. Fisher. Both Mr. Genton and Ms. Fisher discussed the importance of art as a bridge between nations.
Following these opening remarks, artists were called up to receive certificates of appreciation for their work. Exhibition curator Keren Bar Gil and artists Yair Barak and Ohad Matalon then spoke, describing the role of the art in representing unique artistic expressions while connecting the cultures of Israel and the United States.
The exhibition was part of the Art in Embassies (AIE) program. The AIE program incorporates art into U.S. public diplomacy, using the visual arts and artist exchanges to facilitate cross-cultural dialogue and increased understanding. The program was started more than a half century ago by the Museum of Modern Art and the U.S. Department of State under President John F. Kennedy. Today, AIE has grown to become a public-private partnership engaging more than 20,000 participants at 200 venues in 189 countries. AIE allows the U.S. State Department to create and bolster relationships of trust, respect and understanding, and to build intercultural bridges of peace.
The exhibition featured the work of leading American and Israeli artists, including Ohad Matalon, Yair Barak, Boaz Aharonovich, Tamir Sher, Sivan Sternbach, Mindy Weisel, Deborah Hamon, Isca Greenfield-Sanders, and Enrique Martínez Celaya. The works focused on the theme of childhood, and the shared importance of children in American and Israeli culture. More information on the exhibition, and the artists and artwork shown, can be found here .
Among the guests who attended the event were Yael “Yuli” Tami, an Israeli academic and former Knesset member; Assaf Pinkus, formerly head of the Art History Department at Tel Aviv University and the chair of the Tel Aviv Israeli Art Foundation; and Kena Shoval, the wife of Zalman Shoval, a former Knesset member and Israeli Ambassador to the United States.
Friday, January 6, 2017 at 11:00The Babylonian Jewry Heritage Center
83 Mordechai Ben Porat Ave. , Or Yehuda
Free admission For BJHC members
20 NIS for guests
Members of the Sassoon dynasty, the 'Rothschilds of the East', and their business associates settled in England at the turn of the last century where they aspired to become part of the establishment, spending their wealth on grand homes and valuable collections.
Lyn Julius will talk about such personalities as Sir Philip Sassoon, who hobnobbed with kings, ministers and artists; Hannah Gubbay, Sir Percival David, Rachel Beer and others. Are the Saatchis and the Reuben brothers today's plutocrats from Baghdad?
The Event will be held in English
The Center
The Babylonian Jewry Heritage Center was founded in 1973 as a non-profit organisation to preserve the heritage of the Babylonian Jewish exile which no longer exists today.
Located in Or-Yehuda, it is the largest institute in the world dedicated to documenting, researching, collecting and preserving the spiritual treasures and art created by Babylonian Jewry. Babylonia was the location of the most significant works of the Jewish nation, including: the Babylonian Talmud, the writings of the Geonim, the Responsa works, and more.
In order to preserve this heritage, collect the textual and visual materials and make them accessible to the general public, various branches of the Center were established: the museum, the research institute, the library and the treasures and guidance department.
On December 26th, the Hebrew University’s weekly Monday Afternoon Concert Series featured Ensemble Divina Insania, a Baroque chamber music group consisting of Israeli musicians living in Europe or in Israel and performing on period instruments. Guest artist was violinist Shunske Sato (Holland). Joining him were Doret Florentin (recorder), Tali Goldberg (violin) Benny Aghassi (bassoon, Hen Goldsobel (contrabass) and Yizhar Karshon (harpsichord). The Monday Afternoon Series series is directed and introduced by Dr. Sara Pavlov.
The concert opened with all players in an eloquent reading of the Overture to G.F.Händel’s opera “Giustino” (Justin), which was premiered at Covent Garden in 1737, its formal, homophonic opening evocative of the pomp of the coronation ceremony with which the plot begins. The allegro section offered some charming duets. Händel had a splendid oboist/recorder player in his orchestra, hence the challenging soprano recorder part, managed well by Florentin.
Then to Neapolitan composer Francesco Mancini’s (1672-1737) Recorder Concerto in A-minor, one of 12 of his appearing in a collection of concertos by Alessandro Scarlatti, Domenico Sarro, Francesco Barbella, Giovanni Batista Mele and Roberto Valentini (the English Robert Valentine) in a Naples conservatory. Enjoying a solid and vibrant basso continuo section, the ensemble’s reading of the piece, with much lively interaction between Florentin and Sato, was alive and spontaneous, its textures alternating between utterances of only violins and recorder and tutti moments, with some silver-tongued harpsichord spreads adding sparkle to calmer moments. Rich in well-crafted melodies and a sprinkling of surprises, the work, indeed demanding to play, made for fine entertainment. Primarily an opera composer, the list of Mancini’s instrumental works is small. Divina Insania’s colourful performance of the concerto emphasized how unjust it is that this leading figure of Naples’ cultural life and education (he was a rival to Alessandro Scarlatti) should have fallen into oblivion.
Of his more than 550 concertos, Antonio Vivaldi composed 39 bassoon concertos, for whom we can only guess, and the plot thickens if one considers that the bassoon had not yet been used as a solo instrument in Venice. It is thought that these Vivaldi concertos were written between 1728 and 1737. Vivaldi, though not a bassoonist, shows a thorough understanding of the instrument’s expressive and technical possibilities, taking the player on a journey through the bass and tenor registers, however, also through the concept of a string-player, with demanding arpeggios, rapid scales and register leaps. Benny Aghassi had listeners perched at the edge of their seats right from the first notes of the work’s wild unison opening, as he scurried up and down the bassoon range with articulate agility, warmth of timbre and pizzazz, with the violins adding comments and accents to complete the joie-de-vivre of the outer movements. In the Largo movement, with the bassoon’s languorous agenda set against held chords in the strings, Aghassi created small pauses between sections, as if each time searching anew for suitable inspiration for each gesture. Throughout the work, he communicated closely with his fellow players and with the audience. Benny Aghassi’s virtuosity and musicality left the listener wishing for more!
Performing Vivaldi’s Concerto for Recorder, Violin and Bassoon in D-major RV92, Florentin, Sato and Aghassi interacted vigilantly, the opening Allegro giving each artist much to say, as Sato signed out of it, tugging a little at the heart strings as he leaned into a dissonant penultimate note. Following the second movement, in which Florentin and Sato engaged in a moving dialogue, with Aghassi weaving long lines of gently inégal notes throughout, the artists’ technical command was displayed in the final, somewhat witty, abundantly imitative Allegro movement.
Most of us had no idea of what was in store when Shunske Sato and Yizhar Karshon launched into little-known Italian composer Giovanni Pandolfi Mealli’s Sonata for Violin and Continuo in D-minor opus 4 No.4 “La Biancuccia”. The opus 4 violin sonatas were published in 1660. Here was a vivid example of the “stylus phantasticus”, referred to in 1650 by Jesuit polymath Athanasius Kircher as being “especially suited to instruments…the most free and unrestrained method of composition…bound neither to any words or to a melodic subject… instituted to display genius and teach the hidden design of harmony…”. In this highly representative piece of the style, bristling with unpredictability and acrobatics, the artists juxtaposed its extreme moods in a continuum of sections expressing frenzy and lyricism (even moderation), coloured with accelerandi and audacious harmonic changes, rumbling harpsichord textures and the profuse ornamentation that emanated from under Sato’s fingers as he quizzically eyed the mesmerized audience. Karshon was with Sato all the way, as they introduced the audience to an uninhibited and totally delectable 17th century musical version of a Hitchcock movie. A musician at the court of Ferdinand Charles, Archduke of Austria, Pandolfi Mealli dedicated this sonata to a castrato. In 1669, when a violinist in the Messina Cathedral, he fled Sicily after murdering a castrato singer, then working as a violinist in the Capilla Real of Madrid. Who said music history was boring?
Appropriately timed (December 26th) the last work on the program was Arcangelo Corelli’s Christmas Concerto in G-minor Opus 6 No.8, with the Divina Insania artists lending supple and graceful expression to its lush, melodic beauty and undulating suspensions, its tempo contrasts and its dance movements, ending with the wonderful lilting pastoral movement, with its folk-like tunes, bagpipe drone effect and sense of wonder.
This was Shunske Sato’s first Israeli visit.
Photo of Shunske Sato: Yat Ho Tsang
About 500 people attended Ronit Farm on Saturday night (24.12) to take part in the traditional event in honor of wounded IDF soldiers and members of security forces who have been rehabilitated at the Loewenstein hospital. The event was organized by Ora and Yair Shani, together with the Organization of Disabled IDF Veterans and the Association of Friends of the Loewenstein Hospital. Participating in the event were hospital management, therapeutic staff, and members of the Friends Association.
The event opened with a political speech by Prime Minister Benjamin Netanyahu, followed by the Prime Minister lighting the first Hanukkah candle with Amazia Fensterheim, fighter in the engineering company of the paratroopers. Amazia was wounded during the Tzuk Eitan operation, in a battle in which four of his comrades were killed by a roadside bomb in Khan Younis. Amazia was the first fighter in the Tzuk Eitan operation to come for rehabilitation to Loewenstein Hospital, to the Orthopedic Rehabilitation Department. The Prime Minister was joined for the menorah lighting by: Eli Defes, the CEO of Clalit, Prof. Amiram Catz, Director of Loewenstein Hospital, and Dr. Dudu Dagan, Chief Medical Officer.
Prof. Amiram Catz, Director of Loewenstein Hospital, addressed the audience and said: "Hanukkah symbolizes the triumph of spirit and sophistication over the material, however strong or numerous it might be. It is a wonderful occasion to celebrate the victory over the severe wounds to body and soul. The success of our patients, who felt and were considered to be struggling against all odds, but received help from our doctors and therapists, which produced new opportunities and brought them to realization. On behalf of all Loewenstein staff, I salute the wounded soldiers and members of our security forces, those who returned to be part of Israeli society, which embraces them, and who contribute their talents to society; those who returned to independence and high-quality life; those who realized their latent capabilities after they had been wounded; and also those who still have a long way ahead of them toward improvement and realization of their capabilities."
At the event, a moving documentary was screened about the rehabilitation journey of Ophir Cohen, a paramedic in the 53rd battalion of Armored Brigade 188, who sustained a critical head injury from a mortar shell during the Tzuk Eitan operation. Ophir still continues the process of his rehabilitation at Loewenstein, and his physicians and therapists are confident that significant achievements await him in the future.
The second part of the evening consisted of a gala dinner accompanied by performances of Si Heiman, Moran Mazuz, Tal Sondak, and others.
Loewenstein Rehabilitation Hospital of the Clalit Group has been rehabilitating wounded soldiers since the Six Day War to the present, and has many years of experience treating soldiers. Over the years it developed a close relationship with the IDF and the Defense Ministry. Since its establishment, the hospital has rehabilitated hundreds of soldiers in active and reserve service, who were injured in battles, accidents, and terrorist attacks.
Photo credit: Oren Jezreel / Silvia G. Golan .
Rabbi Lau to open conference by lighting a menorah from Krakow
(26 December 2016 – Jerusalem) The Hanukah story is one that is centered on Jewish identity and symbolizes Jewish resilience and strength. Therefore, it is especially befitting that during the first-ever International Conference for Jewish Educators at Yad Vashem's International School for Holocaust Studies, entitled " The Shoah and Jewish Identity: Challenges in Jewish Education ," there will be special Hanukah candle-lighting ceremonies using authentic Hanukiot (menorahs) from the Yad Vashem Artifacts Collection that survived the horrors of the Holocaust. "Each menorah has a unique story similar to those of Holocaust survivors themselves," says conference organizer Ephraim Kaye, Director of the Jewish World and International Seminars Department at the International School for Holocaust Studies. "Just as we use artifacts and testimonies to tell the story of the Holocaust, so, too, are these Menorahs examples of how Jews put themselves at risk to maintain their Jewish identities."
The International Conference, taking place 26-29 December 2016 (third-sixth days of Hanukah) will be kicked off with a special candle-lighting ceremony by world-renowned Holocaust survivor and Chairman of the Yad Vashem Council Rabbi Israel Meir Lau. Rabbi Lau, whose mother was from Krakow, will light the special " Krakow Menorah " a rare menorah crafted in Bruges (Brussels) which dates back to the late 18th or early 19th century. The menorah represents a façade of a wooden synagogue which was common in Lithuania and Poland up until the Shoah. Many of these synagogues were burned and destroyed during World War II. This multi-purpose menorah was also used to light the Sabbath candles on a weekly basis. At the end of the war, the returning Jews found the menorah with other items from this once thriving epicenter of Jewish life, and it was given to Yad Vashem for preservation and commemoration.
Other menorah being used at the conference is the world-famous Hanukah Menorah from Kiel, Germany . This menorah belonged to Rabbi Dr. Akiva Posner, who served as the last Rabbi of the community of Kiel, Germany from 1924-1933. With the rise of the Nazi Party to power, Rabbi Posner began protesting the insurgence of antisemitic sentiment in the city. Despite his efforts, tension and violence continued to rise in Kiel, forcing Rabbi Posner and his family to flee. In 1933, he, his wife Rachel and their three children left for Eretz Israel. Yehuda Mansbach, grandson of Rabbi Akiva and Rachel Posner, will light the menorah for the fourth night of Hanukkah.
In 1940, Zelig Scheinowitz crafted a simple wooden menorah from plywood while interned in the Westerbork detention camp. Scheinowitz worked in the clothing factory sorting and fixing cloths. Due to his profession, he managed to survive and together with his family and menorah, he was liberated in April 1945 by the Canadian Army. The menorah was eventually donated to Yad Vashem by Nachman Scheinowitz. Thirty-eight members of Scheinowitz family, including one survivor, will be present at the candle-lighting ceremony on 28 December 2016.
The stories of these Menorah and other artifacts can be found in an online exhibition, entitled " Hanukkah – The Festival of Lights ." In this moving exhibition, Yad Vashem shares with the public images, testimonies and artifacts of some of the ways this holiday was observed throughout Europe before, during and immediately after the Holocaust.
About the conference: For the first time, over 200 Jewish day-school principals, headmasters and senior Jewish Studies educators, from 34 countries and six continents around the world, will be gathering at the Yad Vashem International School for Holocaust Studies for the conference. The international conference will be the largest and most prestigious gathering of leaders in Jewish education from Jewish day schools and centers for informal Jewish education worldwide. Throughout the course of the conference, leading experts from Yad Vashem will present its unique and cutting-edge pedagogical approaches relating to Holocaust education.
Over the years, the Yad Vashem Artifacts Collection has amassed one of the world's largest collection, containing some 30,000 items. For more information about these Hanukiot and the Yad Vashem Archives and Artifacts Collection, please contact Simmy Allen, Head, International Media Section in Yad Vashem's Communications Division.
Yad Vashem, the World Holocaust Remembrance Center, was established in 1953. Located in Jerusalem, it is dedicated to Holocaust commemoration, documentation, research and education. www.yadvashem.org
Image Captions: All photos should be credited to Yad Vashem Photo Archives
Mansbach Menorah Image - A photograph taken in 1932 by Rachel, wife of Rabbi Akiva Posner, of their candle-lit Hanukkah menorah against the backdrop of the Nazi flags flying from the building across from their home in Kiel Germany
Krakow Menorah Image - Krakow Poland - Hanukkah Menorah in the shape of a synagogue.
Westerbrook Menorah Image – In 1940, Zelig Scheinowitz crafted a simple Hanukkah menorah in the camp from plywood for the use of his family.
DP Camp Menorah Image - The truncated tree and a sprouting leaf on this Hannukah menorah are the symbol of She’arit Hapleta (The Surviving Remnant).
About Chanukah
Chanukah
Unlike most of the major Jewish holidays, Chanukah’s origin is not in the Bible, but rather in events that happened later. This is a holiday that lasts eight days and begins on the 25th of the Hebrew month of Kislev (usually in December). There are no completely holy days, so businesses are open as usual.
Chanukah marks a historic event that took place in the Seleucid period, in the 2nd century BCE. A few of the Seleucid kings (the dynasty that followed Alexander the Great, and which was based in Syria) tried to force the Jews in the Land of Israel to adopt certain customs that were against the laws of Judaism. The worst decree was when King Antiochus IV ordered the installation of a statue in the Holy Temple in Jerusalem.
In 167 BCE, the Jews revolted against the Greek Seleucid regime. A few of the leaders of the revolt, the Hasmoneans, or Maccabees, were the sons of Mattathias, the high priest. In 164 BCE, under the leadership of Judah Maccabee, the revolt reached its climax with the liberation of Jerusalem from foreign rule, including the Holy Temple. The events are documented in a few historical sources written at the end of the 2nd century CE, a few decades after the revolt. According to Jewish tradition, the holiday of Chanukah was instituted by Judah Maccabee.
The holiday lasts eight days, commemorating the celebrations marking the purification and rededication of the Holy Temple, and a miracle recorded in the traditions: When the Maccabees looked for holy oil to light the candelabrum in the Temple, they found only one small flask whose seal had not been broken and was therefore still pure. The oil in the flask was enough for only one day, but a miracle occurred and the oil burned of eight days. In addition to the element of heroism marked by this holiday, Chanukah also has a motif of light against darkness, so Chanukah is also called the holiday of Lights.
In modern times, Chanukah has been adopted as a symbol of the Jews’ struggle against their enemies on both the religious and national level. Today some people emphasize the religious, miraculous side of the holiday, while others focus on the national victory aspect. In any event, this is a holiday full of joy and is a special favorite among children.
Sufgania
Candle lighting - Throughout the eight days of Chanukah candles are lit in a Chanukiah, a candelabrum with eight branches in a row and an extra candle holder, called the shamash, from which the other candles are lit. On each night of Chanukah an additional candle is lit, starting with one on the first night, two on the second, etc. The shamash is always lit, too, such that in practice two candles are lit the first night, three on the second, etc. The Chanukiah is placed on the window sill or in some other visible place, and it is forbidden to use the light for any purpose. There is a custom to light the Chanukiah with olive oil, although most people today use colorful wax candles. A short blessing is recited over the lighting of the candles, a ceremony in which children are included, and which is followed by the singing of Chanukah songs.
Jelly donuts (sufganiot) and potato fritters - Another Chanukah custom is the eating of special foods, mainly those fried in oil, such as donuts and fritters.
Spinning tops - children play with four-sided spinning tops, marked with the Hebrew initials of a Great Miracle Happened Here. It is also customary to give children “Chanukah gelt” money for buying candies or toys.
Important Information
dreidl (spinning top)
Chanukah, which is not a Torah-ordained holiday, is relatively minor from the perspective of its sanctity, so most businesses are open as usual. In order to experience a bit of the spirit of this holiday, try tasting the traditional foods, particularly the sufganiot - a kind of donut without a hole in the middle, usually filled with jam, but also made with other sweet fillings. If you happen to be in Jerusalem during Chanukah, it is worth taking a walk through the ultra-Orthodox Mea She’arim neighborhood in the early evening, to enjoy the sight of hundreds of Chanukiahs lit in the windows of the homes.
Design Museum Holon’s newest exhibition opens on the 20th of December 2016. Overview engages with one of the most important inventions in human history, and a desirable design object: eyeglasses. The exhibition follows the development and future of eyeglasses through several different points of view: from the unique Claude Samuel retrospective eyeglasses collection dating back to the 17th century to contemporary conceptual interpretations of eyeglasses by 50 Israeli designers highlighting the creative energy of the Israeli design scene. In addition, the exhibition explores the new Virtual Reality (VR) technology, as well as the different ways sight and design can interact through various activities.
On the ground floor in Dr. Shulamit Katzman Gallery, Design Museum Holon presents more than 40 commissioned works by Israeli designers from a variety of backgrounds, including fashion, textile, jewellery and product design to answer the question: “What are eyeglasses?” This part of the exhibition demonstrates the transformational nature of this design object through Israeli designers’ myriad of interpretations, compelling visitors to engage and question the themes of vision and self-image. For example, renowned Israeli product designer Yaacov Kaufman explores the evolution of eyeglasses from monocle to mask, presenting it in a striking comparison to human evolution. Dana Ben Shalom, in contrast, delves into the relationship between glasses and the nose, whilst Galit Shvo reinterprets how glasses can be worn and their subsequent connection to the face.
In contrast to the modern interpretations of eyeglasses presented in the Lower Gallery, the Museum’s Upper Gallery (500 m2) showcases more than 400 items from collector Claude Samuel. A visual display of the history of eyewear, his extensive collection showcases the ways in which different cultural milestones actively influenced and were influenced by the invention and evolution of eyeglasses. Unique pieces ranging from Elton John and John Lennon style eyeglasses to authentic Eskimo bone eyewear are exhibited alongside sketches of eyewear designs made by Claude's father from the Pierre Cardin Fashion House, and more. This is the first time this collection is presented in a museum.
‘Vision Test’, part three of the exhibition, presents visitors with various objects from the Aharon Feiner Eden Materials Library that are also part of the Museum's permanent collection. These challenge the interaction between sight and design through interactive activities and optical illusions related to focus, colour and perspective. One example is Carnovsky Studio’s award winning RGB project, consisting of a large-scale multi-layered wallpaper, which projects different images depending on the colour of light illuminating the wall. This project was made possible through the support of the Istituto Italiano di Cultura and the Italian Embassy in Israel.
To complement the overall theme of the exhibition, Design Museum Holon's Design Lab engages in what the future of eyeglasses holds through an interactive display of Virtual Reality glasses in collaboration with The French Institute of Israel, Forum des Image and Holon Cinemateque. The Lab also features a “repairing reality” workshop dedicated to repairing and renewing eyeglasses, where visitors can bring in their old glasses and refurbish them in their own style. In addition, through an exclusive application created for the exhibition and a web camera incorporated into a big mirror screen, visitors are able to look at a projected image of themselves wearing different eyeglasses from the Claude Samuel collection and share the captured images on social media.
“Engaging with eyeglasses, such a common and everyday object, can be carried out from so many angles, but we have chosen to engage with it from the perspective of the person using the object. In the exhibition we will examine cultural milestones and the central role eyeglasses played in defining social and cultural phenomena. We tend to forget that the initial purpose of eyeglasses was to correct a flaw, and eyeglasses do not conceal that flaw, but actually emphasise it by means of design. The exhibition will not only enable an observation of the cultural history of eyeglasses, but also of the designer's role throughout the process,” Maya Dvash, Exhibition Curator and Museum's Acting Chief Curator.
About Design Museum Holon
Designed by world-renowned architect Ron Arad, Design Museum Holon was inaugurated in March 2010 and has quickly established itself as one of the most exciting developments to emerge in the Middle East. The Museum is part of an urban regeneration initiative that aims to transform the City of Holon into a centre for design. Central to Design Museum Holon’s mission is to supply an enriching and thought-provoking environment for visitors to explore exciting and engaging design ideas, principles, processes and objects in a tactile and practical fashion. www.dmh.org.il
The first three parts of J.S.Bach’s Christmas Oratorio BWV 248 were recently performed in two performances in Jerusalem and one in Bethlehem. With Gunther M. Goettsche (music director of the Redeemer Church, Jerusalem) and Erwin Meyer sharing the conducting, members of three choirs – the Choir of the Redeemer Church (Jerusalem), of the Schmidt Schule (Jerusalem) and of the Olive Branches Choir (Bethlehem) joined to form a large chorus. They were joined by the Belvedere Chamber Orchestra Weimar (Germany). Soloists were Heidrun Goettsche-soprano, Anne-Marieke Evers-alto, Sebastian Hübner-tenor and Samuel Lawrence Berlad-bass. This writer attended the performance at the Dormition Abbey, Mt. Zion, in which Erwin Meyer was conductor. Father Nikodemus, of the Dormition Abbey, offered words of welcome to the large audience.
Bach’s Christmas Oratorio was completed around Christmas in 1734. Its format is that of a cantata, with the tenor Evangelist narrating the story of the birth of Christ. All texts sung by the Evangelist are minimally accompanied in order to give the Gospel texts prominence. From Christmas Day to Epiphany in the 18th century, the town of Leipzig celebrated the birth of Jesus and the events surrounding it with six commemorations taking place between Christmas Day and the Feast of Epiphany. At each of those events, Bach’s congregation was presented with a single cantata of the Christmas Oratorio, recounting one of the stories, their biblical texts accompanied by reflective texts. The three first cantatas heard at the Jerusalem and Bethlehem performances feature the first three celebrating the birth of Jesus (December 25th), the shepherds’ adoration of the baby (December 27th) and the circumcision and naming of Jesus (New Year’s Day).
From the opening five-note phrase on the timpani, the performance at the Dormition Abbey was one of joy. Choruses, with the chorales reflecting the voice of the people, were well coordinated and articulate; the singers were attentive, their phrases shaped, full of impetus and energy, making for rewarding choral performance. Served well by his bright, rich and agreeable tenor voice, Sebastian Hübner gave the narrative spontaneity and flexibility, at times urgency and even suspense. In the virtuosic “Joyful shepherds, hurry, ah hurry”, he and the orchestra’s very excellent flautist in the obligato role communicated and embellished with alacrity. Honorary professor at the Heidelberg University of Church Music, Sebastian Hübner has a wide repertoire, has premiered new works and is a member of the Schola Heidelberg Ensemble.
There was much natural warmth and richness in the singing of German-American baritone Samuel Lawrence Berlad, standing in for bass Peter Schüler, who had taken ill. His mix of mellifluousness and dramatic flair gave colour and life to text and music, as in the dialogue with obligato trumpet in “Great Lord, O mighty king”. An opera singer, Samuel Berlad is also a Jewish cantorial singer and voice teacher, heading the vocal department of the Tel Aviv Cantorial Institute. Dutch-born mezzo-soprano Anne-Marieke Evers, much specialized in performance of early music, dealt with the alto recitatives and arias with outstanding vocal presence, projecting her voice amply and with natural ease into the acoustic space of the church. In the aria “Sleep, my dearest”, she recreated this moving jewel of a lullaby in gentle, empathic yet substantial singing, as the basso continuo repeated the note g in octave leaps to depict rocking the baby. With a minimum in the way of solo soprano arias, we heard duets with tenor and bass from renowned voice teacher Heidrun Goettsche. Pronouncing the angel’s words (in effect, God’s words) “Do not fear”, the recitative accompanied by held chords in the strings, we heard one of the girls of the Schmidt School choir, her clean, fresh voice conveying the message of solemnity, succour and hope.
Members of the Belvedere Orchestra Weimar (concertmaster: Johannes Müller) are all students at the Music Gymnasium Schloss Weimar, a selective high school for talented young musicians from Germany and other countries. The orchestra was outstanding throughout the performance, its balance, intonation and obligato roles refined, sophisticated and subtle. Conductor, piano accompanist and composer Erwin Meyer, director of the Olive Branches Choir (Bethlehem), drew all the participants together in conducting that was articulate, expressive and exhilarating. A fine mix of people from many communities attended the festive event.
The Jerusalem Baroque Orchestra’s second concert for the 2016-2017 season offered Baroque music aficionados a unique program. This writer attended the event, “A Christmas Special”, in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem International YMCA on December 8th 2016.
Due to illness of one of one of the artists, there was a last-minute program change: instead of J.S.Bach’s Brandenburg Concerto No.6, we heard Bach’s Trio Sonata for organ BWV 527 performed in the traditional Baroque trio sonata format by Idit Shemer-flute, Noam Schuss-violin, Orit Messer-Jacobi-‘cello and JBO founder and musical director David Shemer-organ. The Sonatas for Organ (BWV 525-530) from around 1730, (they may also have been played on pedal-clavichord or pedal-harpsichord) written when J.S.Bach was tutoring his eldest son Wilhelm Friedemann in organ and composition, are made up of earlier composed instrumental movements, newly composed movements and older organ works. With Johann Sebastian’s choice of clear textures for this instructional material, requiring the young organist to exercise total independence of hands and feet, what distinguish these works from other organ repertoire are their textures which imitate the instrumental trio sonata, inviting a variety of transcriptions which date from the 18thcentury to today. Addressing the fact that they are neither the flamboyant toccatas and fugues nor the chorale-preludes imbued with mystery, the JBO artists did not dispense with the intimate and eloquent character both of the piece and also of the Baroque instrumental sound, despite its performance in a hall. With Idit Shemer playing a Baroque traverso flute, the other instrumentalists pared down their volume to what resulted in chamber music of fine transparency and poetic nuance, with sympathetic contrapuntal dialogues woven between flute and violin. A nice aperitif to the evening and presented by core JBO players.
Then to Dietrich Buxtehude’s (c.1637-1707) cantata cycle “Membra Jesu Nostri” (The Limbs of Our Jesus) BuxWV 75, a mystical work based on a collection of hymns in which each cantata represents the glance of a believer, standing at the foot of the cross, as he addresses parts of Christ’s body, his focus moving upwards from Christ’s feet to his face. The text, thought to have been written by Cistercian monk Arnulf de Louvain (c.1200-1250), reflects the rise of 17th century Lutheran pietism and its characteristic subjectively emotional sentiments. Each cantata is constructed along the same lines, the opening instrumental sinfonia followed by a “dictum”, an aria of three stanzas, with the dictum repeated at the end. The composer only breaks this form in the last cantata, where the repeated dictum is replaced by a lavish Amen. The work is scored for a small ensemble and five singers, the latter singing solos and small group- and tutti sections. The JBO instrumentalists were joined by members of Ensemble PHOENIX (founder and musical director: Myrna Herzog) and Tal Ganor-soprano, Anat Czarny-mezzo-soprano, Avital Dery-mezzo-soprano, Hillel Sherman-tenor and Guy Pelc-bass. In performance that was unforced rather than dramatic, with emphasis on clear diction, David Shemer led instrumentalists and singers through the work, preserving its meditative, devout and soul-searching character. For Cantata No.6, the instrumental sound world changes markedly: the violinists stand down and four viol players join ‘cello, theorbo and organ in a mellow, velvety setting to present “To the Heart”. This is indeed the heart of the work. The original ensemble returns for the final cantata and the viols are gone. The choruses presented a lively and interesting mix of vocal timbres, with vocal trios highlighting intensity of texts. Add to that Anat Czarny’s attractive, radiant voice, Avital Dery’s spiritual understanding of the work, Hillel Sherman’s burgeoning, natural tenor, Guy Pelc’s gentle intensity and Tal Ganor’s creamy, blending timbre. Ganor, just a little too careful, could have projected her voice further into the YMCA hall. The instrumentalists, including the evocative sound of the theorbo (Eliav Lavi), seized every opportunity to add interest and beauty to a work that is quite exquisite.
In his program notes, Maestro Shemer speaks of the fact that the music of the “veritable giant” Buxtehude “has not had fitting representation on Israeli music platforms”. The impact this performance has had (more Easter-oriented than Christmas) will hopefully mean that we hear more works of the Danish-German genius, whose music had such a profound influence on J.S.Bach.
Yamato Japanese Drumming Troupe Arrives for Three Performances in Israel
Gad Oron Producction ( Israel ) presents
Yamato, The Drummers of Japan, have arrived in Israel as part of their 2016 world tour, Feel the Beat. The legendary drumming troupe, whose art reflects a tradition that is 1,500 years old, is giving three performances in the country: in the Haifa Auditorium on December 10, at Heichal Hatarbut in Tel Aviv on December 12, and at the Beersheba Center for the Performing Arts on December 14.
All the performances are scheduled to begin at 20.30.
"DAZZLING. THEY FILL THE STAGE WITH HUGE BEAUTIFUL DRUMS AND BEAT SEVEN BELLS OUT OF THEM WITH PHENOMENAL SKILL. SIMPLY BREATHTAKING DRUMMING"
THE DAILY TELEGRAPH
Tickets for the Tel Aviv performance may be ordered by phoning
The 2016-7 season of the Israel Opera Company debuted on November 30 with a rousing performance of the opera Norma, by Vincenzo Bellini. The production, by Teatro of Torino, was conducted by Daniel Oren of the Opera Orchestra: Israel Symphony Orchestra Rishon Lezion.
The lead roles of Norma and Pollione were sung by soprano Hrachuhi Bassenz and Gustavo Porta respectively. At the curtain calls, Ms. Bassenz received the longest sustained applause for her bravura performance. Ms. Bassenz will be alternating in the role of Norma with Maria Pia Piscitelli and Ira Bertman.
The outstanding male performer of the evening was bass-baritone Carlo Striulli in the role of Oroveso, the Druid chieftain.
The stage scenery is as minimalistic as you will ever see in an opera production: monolithic blocks of stone that slide back and forth like curtains to create larger and smaller spaces for the action to take place. Still, the plain giant boulders had a simplistic grandeur about them.
The costuming was impressive, especially of the Druid warriors. The matching of Norma’s burgundy dress with Ms. Bassenz’s red hair was particularly striking.
The Israel Opera’s production of Norma runs through Dec. 17.
Comedy for Koby Tour Features Leading Names in American Comedy
In response to the growing popularity of English-performing stand up artists on Israeli stages, three top American comedians are preparing to appear in the multi-city tour with sales to benefit victims of terror and tragedy. Elyane Boosler, Allan Havey and Tom Cotter are all accomplished comedic actors who have previously appeared on late night television, in film and major comedy clubs and stages around the world.
The three will all perform in Israel for the first time under the Comedy for Koby banner beginning December 6th. Comedy for Koby is the twice annual stand up comedy fundraising tour for The Koby Mandell Foundation, benefitting bereaved families and victims of terror. The tour, hosted by Israeli born, Los Angeles- based comedian Avi Liberman, will be showing in Tel Aviv, Jerusalem, Beit Shemesh, Modiin, Gush Etzion and Raanana.
All proceeds from the Comedy for Koby tour go to benefit programs of The Koby Mandell Foundation, named in memory of 13 year old Koby Mandell, who was killed in a terror attack in 2001. Working with bereaved children and families, the Foundation offers ongoing social and therapeutic programs including Camp Koby.
Past comics who have performed under the Comedy for Koby banner include Roastmaster General Jeffrey Ross, Daily Show correspondent Roy Wood Jr., opening act for Jerry Seinfeld Mark Schiff, Emmy Award winning Judy Gold and Comic Strip Live’s Wayne Cotter.
“Bringing this level of comedy to Israel gives us so much joy,” said Seth Mandell, father of Koby and co-founder of the Foundation. “It allows others to associate me and my family with a smile and a laugh rather than just with sadness and trepidation. Not only does the money from the shows go to help the bereaved families, but the shows bring much needed laughter and release for the community at a time of tension andnear daily terror.
DEC 6 – Beit Shemesh, Eshkol Payis – Aliyat Hanoar 6, 8:30pm
DEC 7 – Gush Etzion, Matnas Gush Etzion, 8:30pm
DEC 8 – Jerusalem, Beit Shmuel Theater, Eliyahu Shema 6, 7:00pm, 9:30pm
DEC 10 – Raanana, Yad Labanim, Achuza 147, 8:30pm
DEC 11 – Modiin, Heichal Hatarbut, Emek Dotan 49, 8:30pm
DEC 12 – Tel Aviv, Tzavta, Ibn Gevirol 30, 8:30pm
Tickets can be purchased at www.comedyforkoby.com
Photo credit Yissachar Ruas
The Carmel Quartet (Israel) opened its 10th season of Strings and More in November 2016 with a concert titled “Viennese Gemütlichkeit”. This writer attended the English language lecture-concert on November 16th at the Jerusalem Music Centre, Mishkenot Sha’ananim. Not the usual Carmel Quartet line-up, players included quartet members Rachel Ringelstein-violin, Yoel Greenberg-violin/viola and Tami Waterman-‘cello; they were joined by Einav Yarden-piano and Naomi Shaham-double bass. The Strings and More Series is directed by Dr. Yoel Greenberg. Established in 1999, the Carmel Quartet appears in Israel, Europe and the USA, having made its China debut tour in 2013.
The German word “Gemütlichkeit”, whose loose translation might be “cosiness” or “geniality”, a central concept of the Biedermeier period in Central Europe between 1815 and 1848, reflected in artistic styles influencing literature, the visual arts, interior design and music. Yoel Greenberg, with the help of his fellow musicians and some interesting visuals, spoke about the Biedermeier “subplot” of the Romantic period, having originated in stories about an imaginary schoolmaster by the name of Gottlieb Biedermeier and representing honest, pious and unambitious people. The solid, conservative style of Biedermeier furniture is indicative of these values, reminding the audience that much Biedermeier art was evident in the home environment, no less in the form of house concerts.
Among opera composers of the time, Gioachimo Rossini was most popular for the melodiousness of his works. The evening’s music began with the last movement - Tempesta:Allegro - from Rossini’s Sonata for Strings No.6 in D-major, one of a set of six string sonatas the composer wrote in 1804 at age 12. The players gave articulate and lively expression to the storm brewing and dying down and rising again in this descriptive piece, to its effects of tempestuous, rapidly descending scales, bird calls, etc., to its vitality and to the composer’s astute separation and highlighting of ‘cello and double bass parts. Too often performed by larger ensembles, it was fitting and rewarding to hear the movement presented in its original one-to-a-part setting.
Referring the private Viennese salons, Greenberg pointed out that most of Schubert’s Lieder were first aired there. To create the atmosphere of such house music, the artists at the Jerusalem concert – four singing, with Einav Yarden at the piano – gave a hearty performance of Franz Schubert’s miniature “Der Tanz” (The Dance) D 826, one of the composer’s 130 part songs. Greenberg also pointed out that every respectable home at this time would now have a piano (an item of Biedermeier furniture), usually played by girls and young women and that, in the music salon, amateur players were often joined by one professional. Such was composer Johann Nepomuk Hummel, a dazzling piano virtuoso, the bulk of his compositions being written for the piano. Hummel’s Piano Quintet in E-flat major opus 87, composed in Vienna in 1802, is a masterpiece. Typical of music of the congenial Biedermeier sound world in its familiar-sounding melodious style, it would have appealed to 19th century audiences as it did the audience at the Jerusalem Music Centre. Unusual in scoring, it is written for violin, viola, ‘cello, piano and double bass. The challenging piano part (surely performed by the composer), its flamboyance and effervescence evident throughout, was splendidly handled by Einav Yarden in colourful, easeful playing, with the string players’ contribution warm, full and rich. From the quintet’s sombre, dark-hued opening, to the folksy reference of the second movement Ländler, with the brief, evocative Largo leading directly into the Finale, the latter’s Rondo creating a full music canvas with some frenzied piano utterances and other pleasing solos on the part of the strings, the players kept the audience involved in this seldom performed piece.
The program concluded with Franz Schubert’s Piano Quintet in A-major D.667, The Trout. Greenberg reminded the audience that many of Schubert’s works were heard in the Viennese salon, with baritone Johann Michael Vogel premiering many of the composer’s songs in Vienna’s private homes. Then there were the Schubertiades, as so wonderfully depicted in Moritz von Schwind’s 1868 drawing, events sponsored by Schubert’s wealthier friends or by Schubert aficionados. Greenberg also spoke of the Biedermeier concept of uncomplicated enjoyment as in the musical description of the fish swimming on a sunny day and of the fact that the variations were on Schubert’s own Lied - “Die Forelle”. Then there is the genesis of the work, the 22-year-old Schubert’s response to the request of the work by Sylvester Paumgartner, a wealthy amateur ‘cellist from Upper Austria and to be played by a group of musicians coming together to play Hummel’s rearrangement of his (Hummel’s) Septet for the same instrumental combination. No rarely performed work, the Jerusalem rendition spoke in favour of live performance from the work’s very first notes. Superbly led and coloured by Carmel Quartet’s 1st violinist Rachel Ringelstein, the players brought to life every palpable gesture of the work in playing that was transparent, richly sonorous, with both personal playing and that and wrought of the players’ exceptional ensemble skills. The top-class quality playing of guest artists Einav Yarden and Naomi Shaham conformed to the Carmel Quartet’s unflagging standards of excellence.
Coinciding with World Chess Championship tournament currently taking place in New York, Yad Vashem has launched a unique online exhibition: Chess Sets, a Brief Respite from a Harsh Reality . The online exhibition features20 chess sets from the Yad Vashem Artifacts Collection. These chess sets were used by Jews both before, during and immediately after the Holocaust. Some were crafted during the war, others were made before the war and taken with Jews who were deported from their homes.
Playing chess often helped Jewish prisoners to endure the forced labor and the harsh conditions. For Jews who were in hiding during the war, chess was a way of passing the many idle hours of seclusion over months and even years. At the end of the war, the survivors themselves or the families of those who were murdered kept the chess sets along with the remaining personal effects that remained in their possession. The relatively large number of chess sets preserved in Yad Vashem's Artifacts Collection is evidence of the widespread popularity of the game during the war as a means of providing a brief respite from a harsh reality.
One of the chess sets featured in the exhibition belonged to Elhanan Ejbuszyc. While imprisoned in a labor camp, he took a club that had been used to beat prisoners and carved chess pieces from it. Ejbuszyc later explained: "What I achieved – turning a tool of punishment into a tool of peace after breaking it into pieces and carving chess pieces from it – was to give my fellow Jews a rare chance to forget their pitiful circumstances for a while. That brief moment of solace that I managed to bring to my fellow sufferers filled me with such joy – this was my reward…"
For more information about the chess sets featured here
or about the Yad Vashem's extensive Artifacts Collection
About Yad Vashem :
Yad Vashem's International Institute for Holocaust Research stands at the forefront of scholarly study on the Holocaust, providing comprehensive infrastructure for further investigation into this calamitous period in human history. The Research Institute is dedicated to advancing international research regarding the Shoah and fostering cooperative projects among academic institutions, as well as encouraging young scholars in their studies.
Yad Vashem, the World Holocaust Remembrance Center, was established in 1953. Located in Jerusalem, it is dedicated to Holocaust commemoration, documentation, research and education. www.yadvashem.org
The vessel was discovered together with daggers, an axe head and arrowheads that were apparently buried as funerary offerings for one of the respected members of the ancient settlement.
A small extraordinary jug from the Middle Bronze Age was revealed with the assistance of pupils in the Land of Israel and Archaeology matriculation stream in an Israel Antiquities Authority archaeological excavation that was recently conducted in the city of Yehud prior to the construction of residential buildings.
According to Gilad Itach, excavation director on behalf of the Israel Antiquities Authority , “It literally happened on the last day of the excavation when right in front of our eyes and those of the excited students an unusual ceramic vessel c. 18 cm high was exposed atop of is the image of a person. It seems that at first the jug, which is typical of the period, was prepared, and afterwards the unique sculpture was added, the likes of which have never before been discovered in previous research. The level of precision and attention to detail in creating this almost 4,000 year old sculpture is extremely impressive. The neck of the jug served as a base for forming the upper portion of the figure, after which the arms, legs and a face were added to the sculpture. One can see that the face of the figure seems to be resting on its hand as if in a state of reflection”. Itach added, “It is unclear if the figure was made by the potter who prepared the jug or by another craftsman”.
Efrat Zilber, supervisor responsible for coordinating the Land of Israel and Archaeology matriculation stream in the Ministry of Education emphasized that “the archaeological excavations provide an opportunity for an intensive and direct experience that connects the pupils with our country’s past. An experiential learning experience involving research methods employed in archaeology takes place while revealing the artifacts. The pupils meet experts in a variety of fields who share their knowledge with them, enrich the pupils while also enriching their world”.
The jug, which was broken when it was found, being restored in the laboratories of the Israel Antiquities Authority in Jerusalem.
In addition to the unique pottery vessel, other vessels and metal items were found such as daggers, arrowheads, an axe head, sheep bones and what are very likely the bones of a donkey. According to Itach, “It seems that these objects are funerary offerings that were buried in honor of an important member of the ancient community. It was customary in antiquity to believe that the objects that were interred alongside the individual continued with him into the next world. To the best of my knowledge such a rich funerary assemblage that also includes such a unique pottery vessel has never before been discovered in the country”.
In addition, a variety of evidence regarding the kind of life that existed there 6,000 years ago was exposed – among other things, pits and shafts were revealed that contained thousands of fragments of pottery vessels, hundreds of flint and basalt implements, animal bones, and a churn which is a unique vessel that was widely used in the Chalcolithic period for making butter.
The pupils of the Land of Israel and Archaeology matriculation stream participate in excavations as part of the new training course offered by the Israel Antiquities Authority and the Ministry of Education, which seeks to connect them with the past and help prepare the archaeologists of the future. Students who choose this course of study as part of their alternative evaluation for high school matriculation, take part in a week of excavation. They experience the variety of roles involved in the excavation, discuss questions regarding research and archaeological considerations and document the excavations in a field diary as part of their research work.
“Suddenly I saw many archaeologists and important people arriving who were examining and admiring something that was uncovered in the ground” recalls Ronnie Krisher, a pupil in the Land of Israel and Archaeology stream in the Roeh religious girls high school in Ramat Gan. “They immediately called all of us to look at the amazing statuette and explained to us that this is an extremely rare discovery and one that is not encountered every day. It is exciting to be part of an excavation whose artifacts will be displayed in the museum”.
Photo: Clara Amit, courtesy IAA.
The 3,800 year old jug as exposed in the field. Photo: EYECON Productions, courtesy of the Israel Antiquities Authority.
On November 13th 2016, the Sunday Evening Classics series at the Jerusalem Center for Near Eastern Studies (Brigham Young University) featured Alon Sariel-mandolin (Israel/Germany), Izhar Elias-guitar (Holland) and Michael Tsalka-piano (Israel/Holland) in a program of works all based on a song of Paisiello. The three artists, sharing a passion for historical performance and contemporary music, all having busy international careers, meet a number of times throughout the year to perform together. Composers from Europe, Canada, Israel and Australia have written works for this unique trio. The works heard at the Jerusalem concert appear on the trio’s first album “Paisiello in Vienna” (Brilliant Classics). The trio’s recently issued CD “Sharkiya” (IMI) presents the world’s first recording of original music for a plucked trio (harpsichord, guitar and mandolin) by Israeli composer Yehezkel Braun (1922-2014).
“Nel cor più non mi sento” (In my heart I no more feel) appears in Giovanni Paisiello’s 1788 comic opera “L’amor contrasto”, better known as “La Molinara”. A simple and sweetly sentimental melody, indeed, a vehicle for ornamentation by singers of the day, it has served as the theme for a host of instrumental works by several European composers. The program opened with Alon Sariel and Izhar Elias’ performance of Bartolomeo Bortolazzi’s Variations in G-Major opus 8 on the song. There is some doubt as to this almost obscure Italian composer’s exact dates (possibly 1772-1846); what, however, is known is that he was a central figure in the field of plucked instruments, touring Vienna, Leipzig, Dresden and London as a mandolin virtuoso and singer. He wrote instrumental and vocal music, becoming the author of two important books on mandolin- and guitar methods. In 1809 he moved to Brazil, where he had connections with local music, theatre, politics and masonry. Sariel and Elias’ reading of the work rode on Sariel’s beautifully crafted, cantabile playing, on fine balance between the two artists, on the constant variety that well-written variations offer and on playing in which charm and directness enjoyed an equal footing.
Born in Pressburg (Slovakia), Johann Nepomuk Hummel (1778-1837) dedicated his Grande Sonata in C-major opus 37a (1810) to Bortolazzi. Hummel’s cosmopolitan style straddles Classical- and Romantic styles (Hummel studied with Mozart, Haydn, Salieri and Clementi). The Grande Sonata can be played on mandolin or violin and harpsichord or piano. In the “Paisiello in Vienna” CD, Tsalka performs all the keyboard roles on fortepiano, well in keeping within the character of salon music of the time and whose sound meets plucked instruments at eye level. Playing on the BYU’s Steinway grand piano at the Jerusalem concert, Tsalka deftly pared down its volume to meet that of the mandolin, his touch lighter but shaped and expressive, their interaction imaginative, highlighting the different sound world of each tonality. Sariel took up the Andante movement’s enticement to add much embellishment, with both artists’ skilful and flexible rendering of the Rondo an intermixture of differently presented episodes, peppered with a dash of humour. Italian composer, guitarist, ‘cellist and singer Mauro Giuliani was one of the principal composers writing for piano and guitar, a seemingly unlikely combination. His Introduction and Variations in A-Major opus 113, written in the composer’s Vienna period, gave the audience the opportunity to hear and delight in Izhar Elias’s finely honed solo art. Following the unhurried piano introduction, Elias and Tsalka took turns to handle the melody and the piece’s whims and textures, with Elias engaging in ornately wrought phrase endings and transitions, building up momentum to end this fine concert piece with vigour.
Then to Ludwig van Beethoven’s Six Variations in G-Major WoO 70 for solo piano, one of the composer’s minor pieces, tossed off by Beethoven within a night to please a noblewoman next to whom he had been seated at an opera performance. Conforming to performance practice of the time, Michael Tsalka took the liberty to add just a few tasteful transitions and embellishments. And, with the variations’ rapid runs, filigree textures and busy left hand moments, the audience was treated to elegant, finely detailed piano music, devoid of thick, heavy textures and certainly a far cry from the angry musings of Beethoven’s later works. The program concluded with all three artists performing prolific Bohemian composer J.B.Vanhal’s Six Variations in G-Major opus 42, for violin/flute and guitar/fortepiano. Following the piece’s opening flourish, the artists varied the work’s scoring and timbral colour by allotting a different instrumental combination to each variation, keeping the listener on his toes both visually and audially. Once again, each artist’s personal and different expression was instrumental in creating the ambiance of the salon of the Viennese aristocracy. We may not have been seated in the plush music room of a wealthy Austrian family, but we were certainly able to hear every filigree sound and fragile gesture played by the artists in the BYU auditorium.
Taking the audience back to the Middle East, the artists performed “Sharkiya” (East Wind) from their new CD, a work by Israeli composer Yehezkel Braun (1922-2014), its modal, inebriating soundscape delicately perfumed with exotic oriental rhythms and melodies.
The annual culinary event Round Tables by American Express, in cooperation with the Embassy of Spain in Israel, sponsored a cooking demonstration by two of Spain’s leading chefs in Tel Aviv last week.
Chefs Rafael Centeno Moyer of Galicia and Javier Goya Carramolino of Madrid demonstrated the preparation of tapas to an audience gathered at the Dan Gourmet Fine Culinary Arts Cooking Center, in the presence of Spain’s Ambassador to Israel Fernando Carderera.
At a tapas reception held prior to the workshop, Ambassador Carderera welcomed participants to the event held under the heading “Spread the Culture.” Spanish tourism attaché for Italy and Israel Carlos Hernandez Garcia explained that this initiative was in celebration of 30 years of friendship and diplomatic relations between Spain and Israel.
Guests were also greeted by Mercedes Sanchez, Madrid Tourism Market Manager for North America, France, Italy and Israel, and Maria del Carmen Pita Urgoiti, Promotional Director for the region of Galicia.
Chef Centeno, of the Michelin-starred restaurant Maruja Limón in Vigo, and Chef Goya of Triciclo, named among the top 10 tapas bars in Madrid, each prepared two tapas from their restaurants’ menus.
Following the demonstration, which was facilitated by Israeli Chef Victor Gloger of Chloelys in Ramat Gan, guests were able to taste these tapas, accompanied by excellent kosher wine from Spain.
In the framework of Round Tables by American Express 2016 in Tel Aviv, Chef Centeno will be working in the kitchen of the kosher restaurant Liliyot, while Chef Goya will collaborate with Chef Gloger in Chloelys.
Round Tables in Israel is produced by restaurateur Yair Bekier, in association with the Karvat and Weiss Communications Agency.
The Israel Netanya Kibbutz Orchestra’s second concert for the 2016-2017 season offered an evening of “Hidden Treasures of the Orchestra”, a concert in which the soloists were all members of the orchestra. This writer attended the event on November 5th 2016 at the Tel Aviv Museum of Art. Shmuel Elbaz, the orchestra’s house conductor, directed the concert, briefly introducing the works on the program as well as the soloists.
The concert opened with J.S.Bach’s Brandenburg Concerto No.4, in which Daphna Itzhaki and Michal Tikotsky played the flute parts and concert master Gilad Hildesheim the solo violin role. In true Baroque style (but on modern instruments) most of the instrumentalists played standing rather than sitting. Vivid, graceful and buoyant, the Allegro movement set the mood for a lively performance, Itzhaki and Tikotsky’s playing delicately shaped and well-coordinated, with Itshaki’s echoing of Tikotsky in the Andante movement indulging in some tasteful ornamenting and gentle flexing. Following a couple of rough edges in his playing at the start, Hildesheim engaged in the ensuing violin sections splendidly and with some spontaneity (Brandenburg 4 has at times been referred to as a solo violin concerto!). Elbaz took the final seriously contrapuntal movement at a lively pace, its tempo nevertheless feeling comfortable and controlled, with direction that was clear and dynamic.
Composed when Antonin Dvořák was at the height of popularity in his native Czechoslovakia as well as in Austria, his Serenade in D-minor for winds, ‘cello and double bass opus 44 (1878) took him only two weeks to write. Bristling with Slavonic folk melodies, rhythms and harmonies – as in the sousedská (a calm Bohemian dance danced in pairs) in the wistful second movement – the score calls for two oboes, two clarinets, two bassoons, three horns, ‘cello and double bass, its sound world an association with the hearty sounds of the “harmonie” band, popular at the end of the 18th century. Placed in a semi-circle around the stage, the NKO instrumentalists performed the work without the conductor; the players, watching each other closely, infused the work with freshness, energy and lightness, highlighting the unique timbral colours and textures offered by its specific instrumental combination. But, above all, the players created the work’s sense of well-being, its whimsy, its vigour and dynamic potential, as well as the jubilance of folk dances. Each player could be heard, with outstanding solos from oboist Hila Zabari-Peleg and clarinettist Igal Levin.
Then to Maestro Shmuel Elbaz’ solo – Antonio Vivaldi’s Concerto in C-major for mandolin and orchestra. Despite the fact that, of Vivaldi’s very many concertos, this is the only concerto for one mandolin, the composer’s writing sits very well with the instrument. And Elbaz brought out the colour, directness and vigour inherent in Venetian art, with orchestra and mandolin engaging in layered, Baroque-style dynamics. His easeful playing bristled with energy, his skilful ornamenting, at times quite florid, never concealing the melodic line. In the Adagio movement, he wove the fragile filigree strands of its arpeggios into a pensive mood piece. A little less microphone amplification would have sufficed…or perhaps none at all.
Prior to the next item, clarinettist Igal Levin recounted the curious story of how Felix Mendelssohn’s Konzertstück No.1 in F-minor for two clarinets and orchestra (the original version was for clarinet, basset horn and piano) came about. It was when Munich court musicians clarinettist Heinrich Joseph Bärmann and his basset hornist son Carl visited the Mendelssohn home in Berlin in 1832 that a deal was struck: the court musicians would roll up their sleeves and prepare the composer some Dumpfnudeln (steamed dumplings) and Rahmstrudel (sweet cheese strudel) if, while they worked in the kitchen, Mendelssohn would write them a piece for them to perform on their upcoming tour to Russia. Mendelssohn produced the work the same evening, only needing to add a few minor instrumental changes following its completion.
He orchestrated it three weeks later. The challenging score attests to the high quality of the two Bärmanns’ playing. The NKO’s performance featured clarinettists Igal Levin and David Lobera. A work of three brief movements, its scoring of double winds – flutes, oboes, bassoons, horns and trumpets – was indeed suited to the strengths of the NKO. Soloists and orchestra gave dedicated expression to the work’s hearty, lush Romantic textures, its drama and songful melodies, its tranquillity and agitation, with Levin and Lobera engaging in musical banter, speedy figurations and exuberant hell-for-leather runs.
Bringing the orchestra together to conclude the concert, we heard Josef Haydn’s Symphony No.96 in D-major, the first of his “London Symphonies”, erroneously named “Miracle” due to a near-catastrophe when a chandelier fell from the ceiling when Haydn was conducting Symphony No.102 in London in 1795. Elbaz led his orchestra in playing of substantial orchestral quality, of Haydnesque good humour and richness of contrasts.
And there were plenty of solos here, too, some minor utterances, others more generous: the two principal violinists are featured in solo passages, as well as all principal wind players. In the Andante (2nd movement), the focus is indeed on the winds and first violin, the latter possibly a token of appreciation of Haydn to impresario Johann Peter Salomon, who, in addition to producing Haydn’s London concerts, happened to also be his concertmaster. In the Trio of the Menuetto (3rd movement) we once again heard outstanding oboist Hila Zabari-Peleg in an eloquent rendering of the Ländler.
Altogether, Maestro Elbaz and the NKO presented Haydn’s light, expressive scoring and appealing earthiness, bringing to an end an evening of fine music, in which the orchestra’s treasures certainly did not remain hidden!
Photo: Maestro Shmuel Elbaz (photo: Natan Yakobovich)
9 November 2016 - 13 January 2017
The Romanian Cultural Institute in Tel Aviv will host between December 19, 2016 - January 13, 2017 the exhibition of paintings and drawings entitled "In the children's world".
The exhibition will feature works created by children from the Israeli community of Romanian origins, ages 5-12 years, and will take place under the theme of fantasy. The event will be dedicated to celebrating the Hanukka and Christmas holidays.
The registration period for the works is November 9-17, 2016, Monday -Thursday, from 09:00-17:00, and Friday, from 09:00-14:00.
Terms of participation:
The works should be submitted in A3 or A4 format, painting or drawing
The works will be submitted only in original, by bringing them to the RCI Tel Aviv office (8 Shaul Hamelech Blvd., 6th floor), and should respect the theme of the exhibition - "fantasy"
The call for applications is addressed to the members of community of Romanian-born Israelis
The age group is 5-12 years
The work will be submitted with the complete name and age of the artist
Works sent after the registration period or on another format than the one specified will not be accepted
The program of the exhibition:
November 9-17, 2016 - Call for applications at RCI Tel Aviv
November 18 - The selection of the works - it will be made by RCI Tel Aviv and Israeli artist of Romanian origin Livia Kessler, member of the Artistic Association Tseva Bateva
December 19, 2016 - January 13, 2017 - The exhibition "In the children's world" at RCI Tel Aviv
About Rosh Hashanah
Rosh Hashanah, the holiday that marks the beginning of the Jewish year, is in the Hebrew month of Tishrei, which coincides with late September and early October.
Unlike the other holidays, which have one holy day on which businesses are closed, Rosh Hashanah is a two-day holiday, and businesses are closed on both days. The holiday is two days according to tradition started in the Diaspora when the onset of the new moon – which traditionally was decreed by the High Court in Jerusalem – was not known.
According to Jewish tradition, Rosh Hashanah commemorates the culmination of the creation of the universe and acceptance of God’s sovereignty over the world. These are also the days on which God judges people’s deeds throughout the year and decides their future for the coming year - death for the sinners, life for the pious and a repentance period until Yom Kippur for people whose status is uncertain.
The period between Rosh Hashanah and Yom Kippur is called “The Ten Days of Repentance,” during which people have the opportunity to atone for their sins.
Holiday Customs
Prayer - Religious Jews attend lengthy synagogue services, and recite special prayers and liturgical songs written over the centuries. The versions of the prayers and liturgical songs vary slightly from one ethnic group to another.
Selichot (special penitential prayers) - During the week (or month, depending on the ethnic group) prior to Rosh Hashanah there are special “Selichot” prayers, requesting forgiveness and expressing remorse and repentance.
The blowing of the shofar (ram’s horn) - On Rosh Hashanah, 100 (or 101, depending on the ethnic tradition) shofar blasts are sounded in the synagogue, in single, triple and nine-blast groupings. The shofar blasts are intended to symbolize God’s sovereignty over the world, to remind Jews of the giving of the commandments on Mt. Sinai, of Abraham and Isaac’s devotion to God, to arouse people to repentance and to herald the Day of Judgment and the coming of the Messiah. When the first day of Rosh Hashanah is on Shabbat, the shofar is sounded only on the second day.
Apple and honey - At the evening meal on Rosh Hashanah it is customary to eat an apple dipped in honey and other sweet foods to symbolize a sweet new year.
Tashlich - On Rosh Hashanah afternoon it is customary to walk to a river, lakeshore or other open body of water, to shake out one’s pockets and symbolically cast one’s sins into the water. If you come to Israel during this period, it is worth going to see religious Jews performing this custom. When the first day of Rosh Hashanah is on Shabbat, Tashlich is performed on the second day.
New year greetings - Until a few years ago Jews in Israel (and around the world) used to send “Shana Tova” greeting cards to their friends and relatives wishing them health, happiness and prosperity for the new year. Today this custom has all but disappeared, as most Israelis prefer to use the telephone or e-mail. One way or the other, it is customary for Jews to wish everyone they meet during this New Year period a “Shana Tova” - a good new year.
Holiday meal - Even secular Jews who do not go to synagogue services have a holiday meal on the Rosh Hashanah evening, with fine wine, apple dipped in honey and other sweet dishes. It is customary to eat pomegranate, as a symbol of a plentiful year, the head of a fish, symbolizing the desire to keep ahead, and other symbolic foods.
Important Information
If you come to Israel during this period, take into account that there are two consecutive holy days during which businesses are closed. It is worth visiting a synagogue to hear the prayers, and don’t be taken aback if you are greeted with “Shana Tova.”
Height of Joy (על ראש שמחתי)
Art Inspired by a Jerusalem View
A collaboration with the Jerusalem Biennale for Contemporary Jewish Art
In the weeks before Sukkot, a dozen renowned Jerusalem-based artists were invited to create artworks, inspired by the breathtaking views over the Old City from the windows and balconies at the Boutique Hanevi'im project. During Hol Hamoed Sukkot, the public is invited to an exhibition of the artworks - and to enjoy the views - in the Boutique Hanevi'im penthouse apartment.
Among the participating artists:
Lenore Mizrachi-Cohen, from the Syrian community in Brooklyn, NY, who is currently on an artist-in-residency program with the Jerusalem Biennale
Motta Brim, the haredi artist who was the inspiration behind Akiva in the series Shtisel
Debbie Kampel, a South-African born artist now living in Alon Shvut whose work is currently on display in a Jerusalem Biennale exhibition in Manhattan
Where: Boutique Hanevi’im, 25 Hanevi’im St. Jerusalem
When: October 18-20, 2016, from 10:00-19:00.
Free admission.
Meet Jerusalem Biennale founder and director Ram Ozeri, who will talk in English about plans for the third Jerusalem Biennale for Contemporary Jewish Art, taking place October - November 2017.
Where: Boutique Hanevi’im, 25 Hanevi’im St. Jerusalem
When: October 18, 2016, 17:30
Background material:
The Jerusalem Biennale for Contemporary Jewish Art , which was inaugurated in 2013, is dedicated to exploring the spaces in which contemporary art and the Jewish world of content intersect. It is a stage for professional artists, Jewish and non-Jewish, religious and secular, who create today and refer in their work to Jewish thought, spirit, tradition or experience. The third Jerusalem Biennale will take place during October-November 2017 in various locations around the Jerusalem city center under the theme: Watershed.
The unique and exclusive Boutique Hanevi'im project by Azorim, one of Israel’s largest construction companies, features a seven-storey residential building with 87 units ranging in size from two to five rooms and spacious penthouses, most of which have balconies overlooking the Old City or the modern urban landscape. Residents benefit from maximum privacy, a high technical specification and smart technology, underground parking, storage room and may enjoy the various services of the boutique hotel on its entrance level, including room service, a concierge and an especially high level of maintenance.
"Judaica Now!": Goblets and Kiddush Cups of the Bezalel School
Curators: Dr. Shirat-Miriam Shamir and Ido Noy
The Rishon Le-Zion Museum
Ahad Haam 2, Rishon Le-Zion
Opening: Thursday, September 29, 2016, 7:30pm
Participating artists:
O. Roth Merav│ Ofir Arie│ Epstein Anna│ Biran Avi│ Ben-Ari Michal│ Goldschmidt - Kay Merav│ Gilboa Rinat│ Dahan Israel│ David-Shoham Aviya │ Hooper Rory│ Herman Rosenblum Eden│ Vardi Nimrod│ Zahavi Reuven│ Zilberman Noa │ Chen Attai│ Tutnauer Iris│Tarazi Ezri│ Tripp Noa │ Cohavi Malka│ Lavian Ariel│ Matityahu Yossi │ Nir Orly │ Naim Yifat│ Sevinir Rebecca │ Segal Zelig Z"L│ Srulovitch Sari│ Friedman Amir │ Parnas Haim│ Zabari Moshe│ Rosenthal Lena│ Resheff Maya │Shur Amit
7:30pm. Welcome and opening remarks
Mr. Dov Zur - the mayor of The Rishon Le-Zion
Nava Kessler –Rishon Le-Zion Museum Director
" Winery Club " – "fun" , singing and dancing on the tables as in the original winery club in Rishon-Le-Zion.
The exhibition runs until March 18, 2017.
Tours of The Rishon Le-Zion Museum are available in groups to be booked in advance in: Hebrew, English, Russian, Spanish.
Sunday, Tuesday, Wednesday, Thursday 09:00-14:00,
Monday 09:00-13:00, 16:00-19:00,
Every first Saturday of the month 10:00-14:00
Location:
2 Ehad Haam st., corner of Kikar HaMeyasdim (the Founders' square),
Rishon Le-Zion, 03-9598890, This email address is being protected from spambots. You need JavaScript enabled to view it.
Flyer provided by Dr Shirat Miriam Shamir
The 50th Abu Gosh Vocal Music Festival, under the direction of Hanna Tzur, will take place from October 20th to 24th 2016. Concerts will be performed at the Church of the Ark of the Covenant, on the hill of Kiryat Ye’arim (appropriately called the Town of Forests), and in the 12th century Crusader Church Crypt that nestles among the mature pine trees of a magical garden in the lower area of Abu Gosh. (The historic town of Abu Gosh is located 10 kilometers west of Jerusalem.) In the words of festival director Hanna Tzur: “Twice a year the village of Abu Gosh becomes a paradise for vocal music-lovers, who come in their thousands from all over the country and turn Abu Gosh and its churches into a colourful vocal locale of festivities”.
For a pre-festival treat on a very different note, to take place on Thursday October 20th, many of the finest accordionists around will perform folk music in six locations in and around the Kiryat Ye’arim Church.
As in each Abu Gosh Festival, music-lovers will be able to hear several great works of choral repertoire – Brahms’ “German Requiem” (Concert no.2), for example, will be performed in its original form for choir, soloists and two pianos and will feature the Chamber Choir of the Jerusalem Academy of Music and Dance (Director: Stanley Sperber). In “Brilliant Baroque with Bach and Caldara from Venice” (Concert no.4) the Tel Aviv Chamber Choir (director Michael Shani) will be joined by soloists Yeela Avital, Gòn Halevi, Doron Florentin and Guy Pelc. For “Pergolesi - Stabat Mater” (Concert no.5), the program also including the Fauré “Requiem”, the Barrocade Ensemble will be joined by fine soloists and the Bat Kol and Maayan Choirs (director: Anat Morahg.) In Concert no.6, Hanna Tzur herself will conduct soloists, the Ramat Gan Chamber Choir and the Netanya Kibbutz Orchestra in Puccini’s “Messa di Gloria”, also works of Verdi and Kurt Weill. The Moran Ensemble (director: Naomi Faran) and soloists will perform “Mendelssohn Gloria, Schubert Magnificat” (Concert no.7); selections from J.S.Bach’s “St Matthew Passion” can be heard in “Bach - Requiem for a Prince”, with Ron Zarhi directing soloists and instrumentalists in Concert no.9.
An auspicious event of the 2016 Fall festival will be the world premiere of Sicilian Baroque composer Michelangelo Falvetti’s oratorio “Nabuco” in its complete form (Concert no.8), performed by Ensemble PHOENIX with vocal soloists. Working with musicologist Fabrizio Longo, PHOENIX founder and director Dr. Myrna Herzog has put together the first reliable score of the work for this ground-breaking event. A renowned Baroque violinist, Fabrizio Longo will also be joined by soprano Einat Aronstein, Avid Stier (harpsichord) and Myrna Herzog (viola da gamba) in Concert no.14 in the Crypt to play works of Vivaldi, Banchieri and Vivaldi.
Regularly performing at Abu Gosh Vocal Music Festivals, members of the Meitar Opera Studio of the Israeli Opera, accompanied by studio director, arranger and pianist David Sebba, will present “Carmen in Abu Gosh” (Concert no.10), a program of opera gems, French Classical works and French chansons. Other events will also offer a mix of classical- and non-classical works: “Paul McCartney, Paul Simon, Henry Purcell” (Concert no.16) with countertenor Gòn Halevi and guitarist Eyal Leber and “An Exciting Meeting Between Jazz and Classic” (Concert no.15), featuring soprano Sharon Dvorin, with guitarist Uri Bracha and bassist Oren Sagi.
Other festive fare will include a concert of music from East and West (Concert no.11), with singer, oud player and violinist Yair Dalal and sitar player Yotam Haimovich, “The Virtuosi” (Concert no.12) in which accordionist Emil Aybinder and mandolin artist Shmuel Elbaz with perform music from Armenia, Macedonia, Romania, Russia and Hungary as well as a Piazzolla work, Concert no. 1 – Mikis Theodorakis’ oratorio “Canto General”, with alto Silvia Kigel and the Kibbutz Artzi Choir conducted by Yuval Benozer; also “From the Andes to Copacabana” (Concert no.13) in which mezzo-soprano Anat Czarny will be joined by Tamar Melzer-Krumlovsky (recorders) and guitarist Erez Yaacov.
This festival will host members of the Simvol Very Men’s Choir (Russia). Conducted by Pnina Inbar and Seraphim Dubnov (Concert no.3) they will sing works of Dvorak, Rachmaninov, Tchaikovsky and arrangements of Russian folk songs in a joint program with the (Israeli) Naama Ensemble.
In the Abu Gosh Festival’s relaxed atmosphere, concert-goers can also enjoy informal outdoor concerts, browse the craft stalls and picnic with friends in the tranquil setting of the Judean Hills.
Towards the Jewish New Year, the Embassy of India has organized Bollywood beach party.
The party will take place on September 29, 2016 at Frishman Beach, Tel Aviv from 20:00- Midnight
20:00-21:45 Indian Bollywood dance party
Bollywood dance workshop with the accomplished talented dance instructor and choreographer Yael Tal
21:45 - Screening of the Indian movie: Tanue weds Manu
The Frishman beach restaurant will offer a special Indian menu for the great occasion.
The entrance is free of charge
Payment for food & beverage on the basis of personal orders.
See you all at the party!
The Israel Chamber Orchestra opens its 2016-2017 concert season with J.S.Bach's Mass in B-minor
The Israel Chamber Orchestra opened its 2016-2017 season - “Colors Worth Hearing” - with J.S.Bach’s Mass in B-minor BWV 232. The work was conducted by Ariel Zuckermann, the ICO’s musical director. Soloists were soprano Claire Meghnagi, alto Avital Dery, tenor Eitan Drori and bass Raimond Nolte (Germany). Joining them was the Chamber Choir of the Jerusalem Academy of Music and Dance (director: Stanley Sperber). This writer attended the concert at the Tel Aviv Museum of Art on September 13th 2016.
Johann Sebastian Bach spent the last years of his life in Leipzig compiling parts of previously-composed works, mostly from his cantatas (the practice of “parody”) into his last great composition – the Mass in B-minor. Composed over 15 years, certain sections had been performed, but less than a year after completing it, Bach died, never to hear it performed in its entirety. Not only does the work include Bach’s study of several musical styles – coordinating style of the past and the future in the High Baroque, stile antico and the Galant style - its spiritual agenda would subtly but surely have some connection with the history of his own personal religious dilemmas as a Lutheran and his position regarding Lutheran Protestantism of his day.
With Zuckermann’s performance of the B-minor Mass, we are not talking about performance on period instruments or of Joshua Rifkin and Andrew Parrott’s one-to-a-part approach for the singing of choruses. An ambitious undertaking, the work is so universal that what is essential to any conductor taking on the challenge is to understand how perfect the piece is and how to present its detail, its fusion of styles and its meaning, which extends far beyond that of a sacred Baroque work. In my opinion, performing and hearing the B-minor Mass presents as much interest for instrumentalists as it does for singers; Zuckermann led his orchestra in playing that was secure, supportive, articulate and elegant. We heard some splendid playing from the wind sections and there were several beautifully rendered obbligato parts enriching the various arias. The Jerusalem Academy Chamber Choir, boasting four strong sections, gave crystal-clear expression to fine detail, complex melodic strands and the work’s extensive use of counterpoint. At times, the choral sopranos tended to emerge a little too dominant. The fragmenting of words in the opening Kyrie, probably in the name of clarity, was somewhat baffling. In contrast to the vibrant energy of some of the more dramatic choruses, with the choir’s enunciating of consonants energizing phrases and meaning, the subtle and moving expression in such choruses as the “Qui tollis” (Gloria), the “Credo in unum Deum” (Credo) or in the colliding, tragic dissonances of the “Crucifixus” (Credo) was hauntingly cushioned in lush, velvety harmonies.
Vocal solos and duets were dealt with well, if not always grippingly. Claire Meghnagi and Avital Dery’s very different styles and timbres did not make for felicitous dueting. Meghnagi and Eitan Drori found more common ground in the “Domine Deus”, with Drori and flute obbligato compatible in the “Benedictus”. Guest bass-baritone Raimond Nolte’s singing was attentive, his upper register pleasingly mellifluous. But, of all the soloists, it was alto Avital Dery who was the most engaging in her truly outstanding interpretation, her communication with the audience and her highlighting of the profound emotional content of each aria. With Maestro Zuckermann’s interest in articulacy, the most complex, multi-layered contrapuntal textures were never unintelligible under his direction. He led all in a performance that bristled with freshness, poise and luxuriance.
One of the opening events for the 2016-2017 concert season was that of the “Octopus” Israeli piano quartet on September 10th in the Recanati Auditorium of the Tel Aviv Museum of Art. Guest artists were oud player Taiseer Elias and actor Alex Ansky.
Formed in 2013, “Octopus” consists of four pianists playing on two pianos – piano 1: Yifat Zeidel and Bart Berman, piano 2: Tavor Guchman and Meir Wiesel. The ensemble’s aim is to promote high quality arrangements of classical works and to encourage and perform new Israeli works, having so far performed works by Josef Bardanashvili and Eran Ashkenazi. The September 10th concert included the world premiere of Tzvi Avni’s “Metamorphosis” (2016), a work for oud and four pianists.
The concert opened with Paul Klengel’s 8-hand arrangement of Johannes Brahms’ Serenade No.2 in A-major opus 16. A work originally scored for winds, ‘cellos and double bass, written by the young Brahms as a work to provide him with experience in orchestral writing prior to embarking on the composition of symphonies, Klengel’s setting works incredibly well on two pianos. In a balance of restraint and finely “orchestrated” expression, the “Octopus” artists drew out the work’s innate mellowness, so Brahmsian in temperament - the darker piano timbres reminding us that the original score includes no violins. As they re-created the work’s solid, full-bodied sound world and seamless melodiousness, the work’s dance movements and its folk-like scherzo, the artists fashioned as one player the work’s centrepiece - the poetic Adagio non troppo - in singing, tender resonance. Adding an extra dimension and throwing light on Brahms’ personal emotional life, the Serenade movements were punctuated by actor Alex Ansky’s reading of excerpts from letters of Brahms from Shimshon Inbal’s lofty Hebrew translation of “Brahms: His Life and Work” by Karl Geiringer: letters effusive with love to his mother and Clara Schumann, a jolly description of his birthday celebration and quite a heartrending account of Robert Schumann’s dying in letters to his friend Julius Otto Grimm; also a self-effacing, letter to violinist Joseph Joachim, showing admiration for the violinist’s compositions.
Taking Max Reger’s lesser-known but rich piano transcription of J.S.Bach’s Toccata & Fugue in D-minor BWV 565, Meir Wiesel adapted it to the 8-hand “Octopus” constellation. Dousing the opening chords in a ringing effect of the sustaining pedal was a reminder of the grand church pipe organ and church acoustic, but from there, we were returned to the possibilities offered by two modern grand pianos. Comparing organ and piano timbres here would be a pointless exercise; using the physical strength demanded of the modern pianist, the artists presented the work’s drama of large dimensions; its pared-down, more intimate sections came across with pleasing articulacy. As to the work’s daring and pomposity, referred to as “famosissimo” and “celebratissima” by Alberto Basso in his 1979 Bach biography, that is what the work is about, and the audience loved it.
Performer, scholar and researcher Taiseer Elias, one of the world’s leading soloists in the field of classical Arab music, founded and has headed the Jerusalem Academy of Music and Dance’s Department of Eastern Music, leading the Arab-Jewish Orchestra; he also teaches at Bar-Ilan University. At the Tel Aviv concert, we heard Professor Elias in solo on the oud in improvisations and variations on “The Pretty Maiden”, an Arabic folk melody. Elegant, virtuosic and succinct, Elias’ poetical playing produced a kaleidoscope of east and west – the song melody richly ornamented, then dovetailed with sections based on western harmonies, including a reflection on the Bach Toccata and Fugue performed prior to the solo. The use of a microphone allowed listeners in the hall to enjoy every filigree detail to the full.
An auspicious item on the program was the world premiere of “Metamorphosis”, a work by Israeli composer Tzvi Avni (b.1927) for oud and 8 hands on two pianos. Professor Avni spoke briefly about the piece’s genesis. When Meir Wiesel approached him in July 2016 with the suggestion of a new work for “Octopus” and oud, Avni had just finished reading Kafka’s novella “The Metamorphosis”, in which Gregor Samsa wakes one morning to find he has turned into a large, monstrous insect. The novella proceeds to deal with Gregor’s attempt to deal with the situation and to his family’s attitude to the repulsive creature he has become. Avni makes no effort to write the story into the work, but has taken from it the theme of coping, of finding solutions to a given situation, such as living in Israeli society, where east and west meet. Avni’s opening gesture in “Metamorphosis” takes the form of an imposing and uncompromising piano cluster. Then, in writing that is both pleasing and appropriate for the instrument, we hear the oud in its own musical agenda. Dialogue between pianos and oud oscillates between the docile and the conflicted. Following a long, engaging oud solo, the pianos enter once more, accompanying the oud in velvety textures, the strumming of piano strings at one moment meeting the oriental plucked instrument in a spacy, otherworldly effect. In this new work, Tzvi Avni has met and juxtaposed the most unlikely of instrumental combinations, coupling them on an intensely human level in a musical language of the senses, in a piece bristling with interest and with timbral appeal.
The program concluded with Emil Kronke’s 8-hand setting of Franz Liszt’s Hungarian Rhapsody No.9 “Carnival in Pest”. With its blend of folk melodies and virtuosic passages, connected by improvisatory elements, the work evokes the atmosphere of a Budapest carnival from around 1840. Indulging in the constant changes of mood and “scoring”, the pianists gave a dazzling performance of the work’s Hungarian dance melodies, addressing its intimate moments and its elaborate, colourful finale - a challenging tour-de-force. Then for two encores: Aram Khachaturian’s unleashed “Sabre Dance”, well suited to the 8-hand medium, followed by a somewhat sober rendition of Beethoven’s “Turkish March”. “Octopus”, its members spanning a wide range of ages, offers the concert-going public a new, fresh approach to concert repertoire in playing that is both tasteful and most stylish!
The Cocktail Reception, Thursday, 8.9.2016 at 19:00
Curator: Udi Rosenwein
Opening hours: Sunday – Thursday: 08:30-20:30
Friday: 08:30-12:30 (and on nights when shows are scheduled in the Opera house)
Shaul Hamelekh Blvd. 27, Tel Aviv
The unique discovery provides new information regarding murals in Roman Palestine. While the earliest mosaics discovered at the site date to around 200 CE, the ancient frescoes precede them by about a hundred years and are thus of great importance.
A team from the Hebrew University of Jerusalem has discovered hundreds of fragments belonging to frescoes from the Roman period, in the Zippori National Park. The fragments, which contain figurative images, floral patterns and geometric motifs, shed light on Zippori (Sepphoris), which was an important urban center for the Jews of the Galilee during the Roman and Byzantine periods.
The discovery was made this summer in the excavations at Zippori, in memory of Ursula Johanna and Fritz Werner Blumenthal of Perth, Western Australia. The excavations are directed by Prof. Zeev Weiss, the Eleazar L. Sukenik Professor of Archaeology at the Hebrew University's Institute of Archaeology.
The frescoes decorated a monumental building that was erected in the early second century CE north of the decumanus, a colonnaded street that cut across the city from east to west and continued to the foot of the Acropolis. The building, whose function is not clear at this stage of excavation, spread over a wide area, and the nature of the artifacts discovered indicate that it was an important public building. In the center of the building was a stone-paved courtyard and side portico decorated with stucco. West and north of the courtyard, several underground vaults were discovered. Some of these were used as water cisterns and were of high quality construction. The monumental building was built on the slope and the vaults were designed to allow the construction of the superstructure located on the level of the decumanus.
The monumental building was dismantled in the third century CE for reasons that are unclear, and was replaced by another public building, larger than its predecessor, parts of which were uncovered during this season. The monumental building's walls were dismantled in antiquity and its building materials — stone and plaster, some colorful — were buried under the floors of a newly established Roman building on the same location. Hundreds of plaster fragments discovered during this excavation season were concentrated in one area, and it seems that they belong to one or several rooms from the previous building.
The patterns on the plaster fragments are varied and are decorated in many colors. Among them are geometric patterns (guilloche) and brightly colored wall panels. Other fragments contain floral motifs (light shaded paintings on red backgrounds or various colors on a white background).
Particularly important are the pieces which depict figures — the head of a lion, a horned animal (perhaps a bull?), a bird, a tiger's hindquarters and more — usually on a black background. At least one fragment contains a depiction of a man bearing a club. Research on these pieces is in its early stages but it is already clear that at least one room in the building was decorated with figurative images, possibly depicting exotic animals and birds in various positions.
The population of Zippori prior to the Great Revolt against the Romans was not very large, and archaeological finds dating to this period are particularly notable for the absence of figurative images – both humans and animals. The construction of the Roman city of Zippori after the Great Revolt, in the late first century and the second century CE, is indicative of a change in the attitude of Galilean Jews toward Rome and its culture. The city gained the status of a polis thanks to its loyalty to Rome during the Great Revolt, and constructed monumental public buildings, as befit a polis, that stood out in the urban landscape. This building boom also included the monumental building discovered north of the decumanus whose walls were decorated with frescoes, and whose remains were discovered during this season.
The new finds in Zippori contribute significantly to the research of Roman art in Israel. To date, excavators uncovered the walls of several public and private buildings from Roman Zippori (second and third centuries CE) which were decorated with colorful frescoes in geometric and floral patterns. This season’s finds are the first, only and earliest evidence of figurative images in wall paintings at the site. The finds date to the beginning of the second century CE. Parallels to these finds are virtually unknown at other Israeli sites of the same period. Some panels bearing depictions of figures were discovered a few years ago in Herod’s palace at Herodium, and according to Josephus (Life of Josephus 65-69) the walls of the palace of Herod Antipas in Tiberias were also decorated with wall paintings depicting animals; but beyond that, no murals with depictions of figures, dating to the first century and the beginning of the second century CE, have been discove red to date in the region.
The discovery in Zippori is unique and provides new information regarding murals in Roman Palestine. Zippori is well known for its unique mosaics. The newly discovered frescos are now added to the city’s rich material culture. While the earliest mosaics discovered at the site date to around 200 CE, the ancient frescoes precede them by about a hundred years and are thus of great importance.
These finds raise questions relating to their socio-historic background. Who initiated the construction of the monumental building that was discovered north of thedecumanus? Who is responsible for choosing the patterns that adorn the walls, and for whom were they intended?
The various finds uncovered throughout the site indicate that Zippori, the Jewish capital of the Galilee, was home to many Jewish inhabitants throughout the Roman period, but the city also had a significant pagan community for which the temple was built to the south of the decumanus, opposite the monumental building, parts of which were discovered this season. It is difficult to determine who was responsible for the construction and decoration of this monumental building, at this stage of excavation. However the new finds clearly reflect the multi-cultural climate that characterizes Zippori in the years following the Great Revolt, in the late first century and the second century CE.
About the Excavations at Zippori
Most of the archaeological work conducted in Zippori since 1990 was led by the Institute of Archaeology at the Hebrew University in Jerusalem. This team worked both on the Upper Hill as well as in an area to the east. The Hebrew University team revealed a well-planned city built around an impressive network of streets. Various buildings, public as well as private, were built in the city which existed throughout the Byzantine period. Among the public buildings uncovered are a Roman temple, bath houses, a theatre, two churches, and a synagogue.
Over 60 mosaics dating from the 3rd to 5th centuries CE have been uncovered to date in Zippori, in both public and private buildings. The mosaics include numerous rich and varied iconographic depictions, ranking the city among the most important mosaic centers of the Roman and Byzantine east. The assortment of finds that have come to light in the course of the excavations provides a wealth of information about this multifaceted urban center, allowing one to draw significant conclusions about this Hellenized city’s demographic composition, architectural development, and everyday life, as well as the cultural relationships between the various communities residing in Zippori during the first centuries of the Common Era.
Photo Guilloche, in a fresco from Zippori, dating from the early Second Century CE.
Photo: G. Laron.
An Impressive 1,600 Year Old Pottery Workshop where Jars were Manufactured was Exposed in the Western Galilee
The kiln, used to fire the jars, is the only one known to date in the country to have been hewn entirely in bedrock. It was exposed in archaeological excavations of the Israel Antiquities Authority prior to the construction of a new residential quarter north of the new Yaʽarit neighborhood that is being built at the initiative of the Israel Lands Administration and the Shlomi Local Council
A workshop where jars were produced 1,600 years ago (Roman period) in which there is a unique kiln used to fire the vessels was revealed in archaeological excavations of the Israel Antiquities Authority in Shlomi. The excavations are being carried out prior to the construction of a new neighborhood at the initiative of the Israel Lands Administration and the Shlomi Local council.
The kiln was discovered during the course of a large archeological expedition that has been going on for the past six months in which hundreds of young people from the north have volunteered, particularly students of the Shchakim High School of Nahariyya and Ort High School of Qiryat Bialik.
According to Joppe Gosker, excavation director on behalf of the Israel Antiquities Authority, “What makes the pottery works so special is its unique kiln, which was hewn in bedrock and is unlike most of the kilns known to us that were built of stone, earth and mud. The ancient workshop included a system for storing water, storage compartments, a kiln, etc.”. Gosker added, “The kiln was meticulously constructed. It consisted of two chambers – one a firebox in which branches were inserted for burning, and a second chamber where the pottery vessels were placed that were fired in the scorching heat that was generated. The ceramic debris that was piled up around the kiln indicates that two types of vessels were manufactured here: storage jars that could be transported overland, and jars with large handles (amphorae) that were used to store wine or oil which were exported from Israel by sea”.
According to Anastasia Shapiro, a geologist with the Israel Antiquities Authority who is researching the production of pottery vessels, “We can explain the quarrying of this rare kiln right here because of the special geological conditions found in the area of Shlomi: here there is chalk bedrock, which on the one hand is soft and therefore easily quarried, and on the other is sufficiently strong to endure the intense heat”.
A large part of the Bat el-Jabal antiquities site, where the pottery workshop was exposed in Shlomi, is slated to be an archaeological park that will be open for the benefit of the residents of the new neighborhood and the public in general. Archaeological surveys performed there have documented remains of a royal structure with a gate – probably from the Late Roman period, which coincides with the use of the pottery workshop. In addition, remains of the walls of buildings were identified that probably date to the Byzantine period, and as in the case of the unique kiln their builders took advantage of the natural stone in order to hew high foundations in the bedrock.
Photo
Joppe Gosker, excavation director on behalf of the Israel Antiquities Authority, inside the pottery workshop’s water reservoir in Shlomi. Photographic credit: Royee Liran, Israel Antiquities Authority.
Israel’s Cinematheques, Indian Embassy, Host Satyajit Ray Retrospective
The cinematheques of Tel Aviv, Jerusalem and Haifa are screening the works of famed Indian film director Satyajit Ray, from July 24 through August 8, 2016. The retrospective is organized with the assistance of the Embassy of India in Israel, the Satyajit Ray Film Archives, and the Department of Information and Cultural Affairs of the Government of West Bengal.
Satyajit Ray (1921–1992), a native of Calcutta who is widely regarded as one of the greatest filmmakers of the 20th century, directed 36 films. His first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956), and Apur Sansar (The World of Apu) (1959) form The Apu Trilogy. In 1992, Ray was awarded an honorary Oscar for his life work from the U.S. Academy of Motion Pictures.
Visiting film director and former Member of India’s Parliament Mr. Shyam Benegal is inaugurating the retrospective, at the invitation of Cinematheque and the Indian Embassy.
Prior to the retrospective, the Cultural Attache for the Embassy of India, Mr. Debashish Biswas, invited a select group of journalists and bloggers to his home in Tel Aviv. The invitees enjoyed a lunch of delicious homemade Indian food with his family and then heard details of the Satyajit Ray festival.
Mr. Biswas told his guests that Satyajit Ray is the only Indian to have won an Academy Award.
The schedule of screenings is as follows:
FILMS
The Musrara School of Art is a unique institution; a visit to exhibitions of 2016 graduates
The Musrara School of Art was founded in 1986. Located in the heart of a neighbourhood straddling East- and West Jerusalem and representative of the city’s multi-culturalism, the Musrara-Naggar School of Art is spread over two locations – a historic, 19th century Arab building and Canada House - the neighbourhood community centre. The school’s five departments – Photography, New Media, New Music, Visual Communication and Phototherapy – encourage alternative creativity in an atmosphere of collaboration between the teachers and the some-150 students. Strongly committed to involvement with Musrara residents and the community in general, the school operates educational projects for prisoners, special needs children and high school students; it also holds Jewish-Arab seminars. One of the school’s many projects is “Forty-Something” – a program offering people with full-time jobs the opportunity to study twice weekly for two years, with participants combining studies in still photography and video, computer programming and more.
At the conclusion of three years’ study at the Musrara School of Art, students exhibit their work in the various rooms of the school. On July 18th 2016, Motti Cohen, the school’s director of Extramural Studies and Educational Programs, showed a small group of journalists through some of the many exhibitions of this year’s graduating students. What became clear from the outset was that all the exhibits combined different media and techniques. The eloquent, interactive exhibit of Daniel Bassin, a graduate of the New Media Department, combines photography, video and a sound-sensitive dimension. Bassin is interested in the poetic dimension of public spaces and in the potential of technology when used to serve as an artistic tool. Entering the space housing Omri Daniel’s disquieting interactive installation, one is surrounded by a number of fans loudly blowing volumes of cold air to operate the visuals on screens, these being faces of dead people – some familiar public figures - returning to life. Vasily Parshin’s detailed, copious photo project focuses on a paranoid woman who photographs people she believes to be following her. Parshin’s exhibit, raising questions in the viewer’s mind, is the result of his following her through the streets in the town where she lives and even observing her in her apartment by means of a hidden camera.
Sarah Yassin’s photographic exhibit “Three Houses, Four Walls” documents three houses with which she is familiar: the first is a house in the northern town of Arabe, where she was born and grew up, the second is her grandmother’s house in the same location and the third, the house on the Mount of Olives where she lodged during the three years in which she was a student at the Musrara School of Art. In touching honesty, the pictures convey Yassin’s different sentiments to each house and to the austere authenticity and tradition of the simple dwellings.
Of the “Forty Something” students, there were a number of exhibits: Shai Knaani’s confrontational exhibit consists of large, somewhat disturbing “trance” photos of himself taken in the home setting, in some of which he is bandaged, suggesting suffering or age-related aspects. Tali Romem’s delicate and subtle prints, inspired by what she observes near her home in Jerusalem, focus on nature and the seasons. Iris Chetritt’s artistic statement, expressed in a variety of techniques, is indeed seen through the eyes of a woman, with works dealing with personal change and sometimes influenced by her work as a hairdresser. Coming closer to a huge chandelier hanging low enough for the viewer to scrutinize, one perceives that Chetritt has assembled it from numerous synthetic disposable gloves, of the kind worn by hairdressers when dyeing hair! In the entrance hall of the main building, we viewed the work of Jerusalem photographer Meir Reuven Zalevsky. Focusing on the subjects of time and the Jewish Sabbath, his exhibit presented several pictures of the Sabbath table and traditions; especially interesting is his video film showing a Jerusalem street in gradual change on a Friday afternoon as the residents and time dimension slowly move into the Sabbath.
In an experimental and analytical study stream loop, Celli Lichman, a graduate of the Department of New Music, presented a video-sound project showing him singing in a spontaneous manner, with the addition of other sound layers of mostly vocal sounds.
Spanish Dance Troupe Delights Israeli Audiences
The visiting Larreal Dance Troupe from Madrid performed its program Estampas de Espana (Portraits of Spain) before an enthusiastic crowd at the Herzliya Center for the Performing Arts last night. The Larreal troupe of the Mariemma Royal Professional Conservatory of Dance, who arrived in Israel this month to participate in the annual international Karmiel Dance Festival, are also giving a series of performances in Israel’s major cities.
The show depicts the character of the country through its legacy of dance spanning the centuries. Among the traditions represented are baroque, Spanish classical, the folk dance genre known as “jota” -- and, of course, flamenco. Naturally, there is liberal use of the unique staccato rhythms of castanets, by both men and women dancers.
The opening number featured impressive choreography to the Iberia suite by Albeniz; also on the program was a creative interpretation to the familiar strains of the music of venerable composer Domenico Scarlatti.
The Carmel Quartet's commented concert series closes the season with discussion and performance of Beethoven's opus 131 String Quartet
“Literary Notes IV” was the fifth and last of the Carmel Quartet’s 2015-2016 commentated concert series “Strings and More”. This writer attended the English language concert/lecture on June 15th at the Jerusalem Music Centre, Mishkenot Sha’ananim. Founded in 1999, members of the quartet are Rachel Ringelstein (1st violin), Yonah Zur (2nd violin), Yoel Greenberg (viola) and Tami Waterman (‘cello). The quartet performs internationally and has been the recipient of prizes and awards. Its debut CD, including quartets and quintets of Paul Ben-Haim, was issued by Toccata Classics (2014).
This event focused on Ludwig van Beethoven’s String Quartet in C-sharp major opus 131. Written 1825-1826, (its sketches occupying three times as many pages as the finished work itself) the C-sharp minor quartet was the composer’s last large-scale composition and considered by Beethoven as his greatest. Not heard in public till 1835 (Beethoven died in 1827) some private performances took place prior to the premiere, including one for Schubert on his deathbed. Dr. Yoel Greenberg, a faculty member of Bar-Ilan University’s Department of Music, spoke about Beethoven, the work and its influence on other musicians and art forms, namely cinema; he also shared his own thoughts on the work. Greenberg opened with discussion of the work’s eccentric aspects, as were typical of Beethoven’s later writing, such as the expressive but not especially comfortable key of C-sharp minor for string players and the work’s unconventional proportions – seven movements of various lengths and played with no breaks between them. Here, Beethoven, summarizing his experiments directs the flow towards the end of the piece, taking diversity, forming a coherent unity from it, and, with motivic links, has the final section alluding to the work’s opening fugue. We were reminded of what British philosopher John Stuart Mill (1806-1873) had said about outstanding people – that they should behave in eccentric ways. To illustrate this idea, we then saw a few moments of “Back to the Future” III.
Following the intermission, the Carmel Quartet gave a richly detailed and articulate performance of the work, their contemplative playing of the opening Adagio (referred to by Wagner as “surely the saddest thing ever said in notes”) imbued with the colours of shifting chromaticism and contrapuntal intensity. Following the sunny, somewhat quizzical-sounding Allegro second section, the third section – here one moment, gone the next – issues in the Theme and Variations, set in the key of A-major, its simple melody referred to by Wagner as the “incarnation of innocence”. The artists dispelled any hint of simplistic scoring as they presented the rich variety of the 4th movement (theme and variations) - its hocket (the melody divided between the violins), a march, its “lullaby” section, its majestic waltz, its bizarre moments and its sublimity, with the variations becoming progressively more complex. Strangely issued in by the ‘cello, the Presto movement is a hell-for-leather journey, its trio less frenetic, the coda less than conventional in its otherworldly sul ponticello sounds. The sixth section was intensely poignant (Greenberg spoke of its melody as having a “Jewish” theme, evocative of the “Kol Nidre” melody, claiming, however, that Beethoven would probably not have been familiar with Jewish music) leading into the last section, a scene of musical utterance that is wild, confrontational but also noble. Of the final section Wagner wrote: “This is the fury of the world’s dance – fierce pleasure, agony, ecstasy of love, joy anger, passion and suffering…”
There are few string quartets more complex or enigmatic than Beethoven’s opus 131. A challenging work for players and listeners alike, Yoel Greenberg took the bull by its horns and threw light on the many elements and interest making up the work…no mean feat, and the audience was with him all the way. And yet the music itself remains baffling, defying words. It takes an ensemble of the calibre of the Carmel Quartet to finish off the lecture with Beethoven’s own personal explanation – the sounds themselves. It was an enriching, thought-provoking musical event to wind up the season.
Romanian soprano Andreea Soare at the Jerusalem International Opera Master Class, July 31 – August 10, 2016
The Jerusalem International Opera Master Class, organized by the Jerusalem Municipality, will take place between July 31st -August 10th , 2016 at the Louis and Tillie Alpert Youth Music Center, Mishkenot She'ananim Music Center and the Gerard Bechar Center in Jerusalem.
With the support of the Romanian Cultural Institute in Tel Aviv, soprano Andreea Soare will be present at the event as a vocal coach and will work with the students attending the program. As part of the concert program, Andreea Soare will perform at the opening concert on July 31st and will deliver a master class of vocal technique on August 2nd.
Events open to the public:
Sunday, 31.07.2016, at 19:00, Mishkenot Sha'ananim Music Center: Opening concert. The musical program will include arias from important operas, performed by: Andreea Soare (Romania, National Opera of Paris), Andjei Beletsky (Russia, Bolshoi Theatre), Magda Mkrtchyan (Armenia, National Opera of Erevan), Moises Molin (Spain, Madrid Opera). Piano: Sonia Mazar (Israel, New Israeli Opera)
Monday, 01.08.2016, at 17:00, The Louis and Tillie Alpert Youth Music Center: The Jerusalem International Opera Master Class Competition
Tuesday, 02.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Master Class of vocal technique delivered by renowned soprano Andreea Soare (Romania)
Wednesday, 03.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Master Class delivered by pianist and conductor Fabio Mastrangelo (Italy)
Thursday, 04.08.2016, at 19:00, The Louis and Tillie Alpert Youth Music Center: Bel Canto Concert performed by the students participating in the program.
Sunday, 07.08.2016, at 19:30, Leo Model Hall -Gerard Bechar Center: production of the opera "Tosca" by Giacomo Puccini, in Italian with Hebrew surtitles. With the participation of conductor Fabio Mastrangelo (Italy).
Monday, 08.08.2016, at 19:30, Leo Model Hall -Gerard Bechar Center: production of the opera "Tosca" by Giacomo Puccini, in Italian with Hebrew surtitles. With the participation of conductor Fabio Mastrangelo (Italy).
Tuesday, 09.08.2016, Harmonia Cultural Center (27 Hilel St.): Night of Rising Stars - the opera "Le Nozze di Figaro" by W.A. Mozart. With the participation of conductor Alex Wasserman (Israel).
Wednesday, 10.08.2016, at 19:30, Gerard Bechar Center: Gala concert. The musical program will include arias and opera duets.
Tickets and more information : 050-2335529, This email address is being protected from spambots. You need JavaScript enabled to view it.
, or 02-6241041 (box office of the Mishkenot Sha'ananim Music Center )
Romanian soprano Andreea Soare (https://andreeasoare.wordpress.com/) has been a member of the Opéra National de Paris L'Atelier Lyrique programme since 2011. Prior to this she trained at the Conservatoire National de Région de Strasbourg and the Conservatoire de Paris, as well as the European Academy of Music, Festival d'Aix-en-Provence. She is the recipient of the lyrical Cercle Carpeaux prize, Arop prize, "Les amis du festival d'Aix en Provence" and HSBC award.
She made her debut at l'Opéra national de Paris in 2012 in La Cerisaie by Philippe Fénelon, playing a young girl, and has since performed the role of Henriquetta di Francia I Puritani in a production directed by Laurent Pelly and conducted by Michele Mariotti. She has made her UK debut singing the role of Fiordiligi Cosi fan tutte for Garsington Opera.
Recent highlights include the roles of Maddalena- La Resurrezione de Haendel at the Amphitheatre Bastille, Sandrina- La Finta Giardiniera at the MC93 in Bobigny, Silvia in Haydn's l'Isola Disabitata and Clarice- Il mondo della luna, conducted by Guillaume Tourniaire, both at the Opéra National de Paris. Past roles also include First Lady -Die Zauberflöte, Sandrina- La Finta Giardiniera, Pamina- The Magic Flute, Countess- The Marriage of Figaro. On the concert platform, highlights include Poulenc's Stabat Mater at the 'Festival de la Chaise-Dieu' and Mozart's Coronation Mass and The Seven Last Words of Christ by Haydn at the Festival Septembre Musical de l'Orne in 2012.
The Jerusalem International Opera Masterclass (http://www.jiom.org.il/index.html) aims to promote opera and classical music through the organization of advanced specialist training aimed at singers with top musical skills and a strong technical foundation. The international summer programs offer a wide range of intensive studies in vocal technique, style and interpretation, languages and diction, movement and stagecraft, role preparation and career development. The 2016 summer program will include the fully staged production of Puccini's "Tosca" and Mozart's "Le nozze di Figaro", concerts and public master-classes, given by distinguished guest artists, including Andjei Beletsky,(bass-bariton, voice teacher, Bolshoi Theatre, Nova Opera), Andreea Soare (soprano, voice teacher, Opéra National de Paris), Fabio Mastrangelo (conductor and pianist, the Mariinsky Theatre, the Arena di Verona Theatre, Artistic Director of the international St Petersburg festival Opera for All. Artistic Director and Conductor of the St Petersburg Music Hal), Aleks Kagan (stage director, Stuttgart Opera House, Ulm Theatre), Magda Mkrtchyan (Yerevan National Academic Opera Theatre of Opera and Ballet, Berlin Concert House), Larisa Tetuev (vocal coach, the New Israeli Opera), Sonia Mazar (vocal coach, pianist, The New Israeli Opera, The Jerusalem Music Academy of Music and Dance) and others.
Oscar prizes ceremony of social media stars for the first time in Israel
For the first time in Israel the Shorty Stories Tel Aviv was held on Saturday night in conjunction with Vibe Israel organization. Shorty awards and Vibe inside presented prizes for outstanding video content creators for the web.
On July 9th 2016, Vibe Israel was hosted for the first ever Shorty Stories Tel Aviv, at the Bascula Art Center in Tel Aviv, the exclusive event was held in the presence of 300 guests including local opinion leaders and online creators in the fields of social media, digital marketing advertising and TV.
Vibe Israel is a non-profit organization leading initiatives to strengthen Israel’s brand in the world. We are here to create a new conversation about Israel, from a conversation about a conflict, to a conversation about innovation, creativity and entrepreneurship.
In 2015, Vibe Israel bought the exclusive rights to bring the Shorty Stories format to Israel- a new monthly event series from the creators of the Shorty Awards, featuring an influencer or content creator who is making a career out of the internet.
The keynote speaker of this exciting event was Thomas Sanders, winner of the Shorty Awards for Best Viner of 2015. Florida-born singer and actor, Thomas is taking Vine and YouTube by storm. Between stage performances and TV appearances, he still finds time to interact with his 10 million followers every day!
To celebrate the Shorty Stories, Vibe Israel took part in two more leading international social media stars, also with millions of followers.
To sign off the shorty Stories Tel Aviv event, Vibe Israel presented awards honoring local online content creators.
The Vibe Israel Awards was awarded to:
∙ The most influential local content creator reaching out to an Israeli audience is Kutiman (Ofir Kutiyel).
∙ The most influential local content creator reaching out to a global audience is Vanya Heymann.
∙ The next generation- The most influential local content creator under 18 is Roy Edan.
∙ Original You- The most original local content creator is Aviya Pri-Mor.
The three winners recieved a flight to New York (generously sponsored by El Al), room and board and a VIP ticket to the Shorty Stories.
The Vibe Israel Award Committee is comprised of Israeli leaders in technology, creative marketing and content creation, business and culture, including:
Trio Noga presents works of women composers at the Felicja Blumental Music Center, Tel Aviv
Trio Noga’s recent intensive concert tour of Israel presented works of women composers. Interestingly, all three artists of Trio Noga – flautist Idit Shemer, ‘cellist Orit Messer-Jacobi and pianist Maggie Cole (UK, USA) – are well-known performers on today’s Baroque music scene; Trio Noga, however, sees them performing music from the Classical period and up to the most contemporary of works. This writer attended “Celebrating Women in Music”, the second concert in the chamber music series of the Israeli Women Composers and Performers Forum at the Felicja Blumental Music Center, Tel Aviv, on June 12th 2016. Representing the Forum, recorder player Inbar Soloman offered words of welcome.
The program opened with Trio Sonata No.1 by Marion Bauer. Born in Washington to a French Jewish family, composer, teacher, writer and critic Marion Eugénie Bauer (1882-1955) was something of a Renaissance woman. Professor Bauer was especially supportive of American music and modern composers, she was the first woman on the Music Faculty of New York University, with affiliations with the Juilliard School and other educational institutions; she spent 12 summers in the creative environment of MacDowell Colony for composers, artists and writers. Her prolific writing on music addressed both specialists and general readers and she was the author of five books. Despite brief forays into 12-tone music in the 1940s and 1950s, Bauer’s music did not plumb the depths of atonality, rather focusing on the mix of coloristic harmony and gentle dissonance. The opening movement of Trio Sonata No.1 was coloured with Impressionistic musical language, its second movement was eloquent and touching, to then be followed by a playful third movement (Vivace e giocoso).
Most of the works of French Romantic composer and pianist Cecile Chaminade (1857-1944) were published during her lifetime. Primarily a concert pianist, she wrote over 100 piano works and toured the world performing them with great success. In 1901, she was one of the first pianists to record for the gramophone, with seven sides of her works, and she was the first woman composer to become a member of the French Légion d’Honneur. Like Marion Bauer, however, she also suffered from criticism based on gender prejudice. On hearing an orchestral work written by Chaminade at age 18, composer Ambrose Thomas remarked: “This is no woman composer, this is a composer who happens to be a woman.” Chaminade composed Trio No.1 opus 11 in g-minor opus 11 (the flute part played by Idit Shemer originally written for violin) at age 23. The Trio Noga artists gave expression to the composer’s compositional prowess, the piece’s charming Gallic flavour and the influence of Romantic composers on its style – Brahms, possibly Schumann, and others. Following their intense and emotional reading of the Allegro movement and the lyrical, almost vocal Andante, the rondo constituting the third movement (Presto), bristling with thirty-second notes and cross rhythms, was performed with buoyant optimism as each instrument presented its own agenda. The final movement, classically oriented, nevertheless takes the listener through some late-Romantic harmonic twists. With the piano part illustrative of Chaminade’s own piano mastery, the ‘cello here initiated many of the melodies. With “salon music” viewed as third class entertainment, Chaminade’s music has been sadly ignored. Capturing the work’s moods, melodic richness and elegance, Trio Noga has proved what a misjudgement this was.
Making the concert an especially auspicious event was the premiere of a work by Israeli composer Hagar Kadima. “By a Doorway” (2016) was commissioned by Trio Noga. A winner of the 2003 Prime Minister’s Award for Composers, Hagar Kadima (b.1957) was the first Israeli woman to earn a PhD in Composition. A professor at the Levinsky College of Education (Tel Aviv), she has spent many years teaching young composers and has been dedicated to collaboration between Arab and Jewish women musicians. In 2000, Dr. Kadima founded the Israeli Women Composers’ Forum, serving as its first chairperson, continuing to devote time and effort in supporting women composers and integrating them into the Israeli musical scene. At the Blumental Center Concert, she talked about the new piece, its genesis being the interval of a minor third – viewing it from all angles – as the piece moves between states of chaos and order. Another element making up the work is Israeli composer Yohanan Zarai’s setting of Avraham Halfi’s “The Ballad of Three Cats” (a nonsense poem whose subtler meaning touches on the subject of loneliness), the song itself announced by the flute, its melody also beginning with a minor third. Listening to Kadima’s work, Trio Noga’s reading of the work created a sense of curiosity, guiding the listener into closely following the course of the various sections, each different in mood and intensity, each inspired by the simple, unadulterated minor third, always to return to it only to find a new path of departure. The three instruments, though engaging in much imitation, seemed to have their own agendas as the artists gave a dedicated reading of the piece. Hagar Kadima spoke of her search for simplicity in music. Clarity would certainly run a close second!
In 1839, Clara Schumann wrote: “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose…” One of the 19th century’s most outstanding and influential musicians, she would go on to compose over 30 works – character pieces for piano, a concerto, Lieder and three romances for violin and piano. (In the 40 years she outlived her husband, she hardly composed, focusing more on family and her performing career.) Her only chamber work, the Piano Trio in g-minor opus 17, however, composed in 1846 when she was 27, showing the influences of Robert Schumann and Mendelssohn as well as her in-depth study of Bach counterpoint, is considered her finest work. With the flute (Idit Shemer) taking the place of the original violin part, the Noga Trio artists gave full expression to the work’s mid-century Romantic style texture with its interweaving of lines and sweeping ardent melodies, its coquettish Scherzo, its emotional agenda and the fugal writing in the final movement, their playing a careful balancing of forces, their textures never turgid or in excess, as they highlighted Clara Schumann’s skilful writing and ingenuity and the intimate nature of chamber music.
A concert of fine performance introducing the Israeli concert-goer to works not generally heard and a new work of an Israeli woman composer.
Bizet’s The Pearl Fishers for the Television Age
The Israeli Opera’s current performance of The Pearl Fishers (Les Pêcheurs de Perles) by Georges Bizet -- the first time this opera has even been presented in Israel -- is guaranteed to be an unforgettable operatic experience, if only thanks to the audacious staging of guest director Lotte de Beer.
The entire plot -- while faithful to the libretto -- is re-imagined as a TV reality show: “The Pearl Fishers -- The Challenge!”, complete with television director and crew as part of the cast (in non-singing roles).
The opening scene of the opera mimics the reality show Survivor, as Zurga is elected leader of the pearl fishers by votes of “viewers” -- actually the Israel Opera chorus -- watching television in their homes; the audience can see into “apartments” -- “inhabited” by a cross-section of Israeli society -- in the background of the stage. The voting device is reprised again at the end of opera, with the fate of doomed lovers Nadir and Leila in the balance.
The job of Nourabad, the high priest of Brahma, is transformed into that of a television presenter -- which works OK for announcing Zurga’s victory, but a bit less so when the lyrics he sings center on religious duties.
The incorporation of video in this production is put to its best use when displaying beautiful scenes of Ceylonese sunsets. Otherwise, the key to enjoying this opera is to listen to Bizet’s legendary music, including the well-known duet of Zurga and Nadir, and the tender, moving duet of Nadir and Leila.
The soloists performing all four leading roles alternate each night, with conductors Steven Sloane and Ethan Schmeisser also switching off duties wielding the baton. The Pearl Fishers runs at the Tel Aviv Opera House through July 16, 2016.
World Quintet to Perform with the Israel Chamber Orchestra
The acclaimed contemporary Klezmer ensemble Kolsimcha - World Quintet will perform jazz and klezmer works with the Israel Chamber Orchestra this Wednesday, 6.7.16, in Tel Aviv. The concert, one in the ICO’s current World Music series, will take place in the museum’s Recanati Hall at 20.30.
The concert will feature works from World Quintet’s new program, performed and recorded with the London Symphony Orchestra in 2014. The ensemble, which was formed in 1986 in Switzerland, has performed to rave reviews in New York, London, Los Angeles, Frankfurt and other major cities on three continents.
The unique ensemble comprises:
Ariel Zuckermann, conductor and flautist
Michael Heitzler, clarinet
Verdi’s Rigoletto Highlights Italian Cultural Evening in Jerusalem
The annual Jerusalem Opera Festival, held last week at Sultan’s Pool, was co-sponsored this year by the Italian Embassy in Israel, which marked the occasion with a cocktail reception adjacent to the venue prior to the June 29 performance of Rigoletto, by Giuseppe Verdi.
Guest were greeted by Ambassador Francesco Maria Talo, who introduced Italy’s Agriculture Minister Maurizio Martina, currently on a working visit to the country. Minister Martina recognized Israel’s recent participation in Expo Milano and praised the ongoing relationship between Italy and Israel in the area of agritechnology,
Luciano Tommasi Head of Startup Initiatives and Business Incubator ENEL , , a gold sponsor of the evening, announced its initiative of investing in Israeli hi-tech start-up companies, known for their innovation.
A table showcasing quality imported Italian foodstuffs was on display, in conjunction with food market organized by the Italian Trade Agency and the Sheraton Hotel in Tel Aviv. Other tables distributed samples of their products: Ferrero sweets, Pellegrino beverages, Aperol spirits, and wines and cheese of Lombardy
The reception was catered by nearby kosher restaurant Eucalyptus, founded by Chef Moshe Basson, the doyen of Biblical cuisine in Israel. Chef Basson, who is a leader of Europe’s “slow food” movement, has a close culinary relationship with Italy: he is a cavaliere della repubblica -- a recipient of Italy’s Order of Merit; and he just returned from judging a vegan competition in that country.
Following the reception, guests attended the Israel Opera Company’s opening performance of this year’s Jerusalem Opera Festival, where they were welcomed by Jerusalem Mayor Nir Barkat. The stirring rendition of Rigoletto featured bravura performances by Boris Statsenko in the role of Rigoletto, Salvatore Cordella in the role of the duke, and Hila Fahima in the role of Gilda.
On June 21st, the Second International Yoga Day event took place at the historical site The Tachana Compound in Tel Aviv. The event was organized by the Embassy of India Israel, in collaboration with the Israeli Ministry of Culture & Sports, Ministry of Tel Aviv-Jaffa, the Israeli Yoga Teachers' Association and additional Yoga organizations.
During the 5 hours and a half event nearly 2,000 people attended the event. The event was launched by Deputy Ambassador DR. Anju Kumar. at 17:00. There were five simultaneous sessions around the Tachana, along with Indian stalls and food. The official Yoga Protocol session was conducted by a senior and acclaimed Yoga teacher from India Prasad Rangnekar.
The Ambassador of India in Israel Mr. Pavan Kapoor inaugurated the event with traditional lighting candles ceremony. Deputy Mayor of Tel Aviv-Jaffa Municipality and Shlmoit Nir Toor the Director of Sports for All & sport for women at the Ministry of Culture & Sports spoke at the occasion. The event ended with a cultural program by a local Indian singer Liora Yitzhak and Bharatnatyam dance.
Embassy of India in Tel Aviv "International Yoga Day 2016"
It feels like yesterday that International Yoga Day 2015 was celebrated on June 21 all over the world including in Israel. The day created such a celebratory and overwhelming environment that the aroma lingers on. It was as if the whole world got transformed into a Yoga platform and became a ground for journeys of individuals to the wholeness.
It may be recalled that June 21 has been adopted by the United Nations as the International Yoga Day as per a UN Resolution initiated by India. The Resolution was co-sponsored by 177 countries out of the total 193 member states of the United Nations.
The Indian Prime Minister Mr. Narendra Modi had launched the initiative stating that, “Yoga is an invaluable gift of our ancient tradition. Yoga embodies unity of mind and body, thought and action, restraint and fulfillment, harmony between man and nature, a holistic approach to health and wellbeing. It is not about exercise but to discover the sense of oneness with yourself, the world and the nature.” Yoga aims for holistic health, happiness and harmony.
Given the fervent response to the event last year which saw the participation of about 2000 yoga enthusiasts at the day-long celebrations in Tel Aviv as well as parallel Yoga sessions at several schools all over Israel, the Embassy of India in Tel Aviv is pleased to inform you that we intend to celebrate the International Yoga Day 2016 on an even larger scale.
This year, we are heartened to have the support of the Ministry of Culture & Sports of Israel, Tel Aviv-Jaffa Municipality and several yoga teachers in Israel practicing various streams of Yoga, including Ashtanga Yoga, Iyengar Yoga, Bhrigu Yoga, Shivananda Yoga, Children’s Yoga and Acro Yoga.
This year’s celebrations will be held at the Tachana, Tel Aviv on 21 June and are scheduled to commence at 16:45 hours. Apart from an official ceremony, the event would comprise of several Yoga sessions, Ayurveda lectures and therapies, mind relaxation exercises, special sessions for children, and an Indian cultural performance of dance and music.
Mr. Prasad Rangnekar, a Yoga teacher from India who has been a yoga practitioner for past 30 years will conduct a session at the event. Prasad regularly gets invited to speak around the world at prestigious institutions like the European Commission, various Yoga Festivals and corporate and social organizations.
As last year, we will be organizing parallel yoga sessions at several schools and institutions all over Israel.
There would also be stalls selling Indian food and drinks, spices, clothes and accessories.
Look forward to welcoming all of you to mark International Yoga Day 2016 at Tachana Tel Aviv with us.
“The Comedy of Love” or “Love as Comedy”, the Aeterna Jerusalem Theater of Chamber Opera’s newest production, took place in the recently opened Mikro Theatre of the Jerusalem Center of Performing Arts on May 24th 2016. Under the musical direction of Ilya Plotkin, the a-capella Musica Aeterna Choir was founded 20 years ago. Then, thirteen years ago, Maestro Plotkin established Opera Aeterna, its first production being “The Impresario” by W.A.Mozart. The idea for the 2016 production, a combination of three of Italian Baroque music’s most popular comic intermezzo operas – Pergolesi and Paisiello’s settings of “La serva padrona” and Telemann’s “Pimpinone” - was thought up by Maestro Plotkin. Eleanore Plot in was project director. The idea was realized in the hands of stage director Julia Plakhin. Costumes and sets were designed by Irina Tkachenko, with makeup by Helena Plotkin. Maestro Plotkin directed a competent chamber orchestra of strings players and continuo. Opera Aeterna, whose members (and much of the audience at this performance) are largely Russian-speaking immigrants to Israel, is supported by the “Keshet Omanuyot” Association, the Ministry of Absorption, the Center for Absorption of Immigrant Artists and Returning Residents and by the Gabriel Sherover Foundation.
How does one combine three operas on one stage? For a start, each presents the theme of the maid-mistress setting her sights at an older, gullible man and the consequences thereof, as inspired by Jacopo Angelo Nelli’s 1714 play “La serva padrona” (The Servant Turned Mistress). Opera Aeterna’s comic twist was to have all characters of both operas on stage. From “La serva padrona” there was not one but two Serpinas – Serpina I – soprano Shirelle Dashevsky, soprano II – soprano Julia Plakhin, with bass Andrei Trifonov as Uberto. From “Pimpinone”, Irina Mindlin played Vespetta, with baritone Dmitry Lovtsov in the role of Pimpinone. Opera Aeterna makes no practice of using surtitles in its productions, so, in addition to the traditional Italian characters of both operas, actor Yitzhak Peker assumed the (non-singing) role of narrator: he was the landlord of the house in which all these questionable, go-getter characters were living. In addition to explaining, commenting and constantly communicating with Maestro Plotkin, the landlord himself was also looking for love, thus also being involved in the romantic attractions and rejections all taking place in his house. And there was another new character on the scene - Stam-Coli (tenor Dmitry Semyonov) – the figure of the narcissistic pop singer. Where did he belong in the plot? Actually, nowhere for most of the performance, being so obsessed with himself, his looks, his image, his outfits and his microphone! If early 18th century composers had intended the “serva padrona” characters to represent real-life personalities, replacing commedia dell’arte characters, creating the figure of Stam-Coli was a brilliant touch.
At the left side of the stage we see Uberto’s studio with easel, palette and a few discarded empty bottles. Plants, a bench and an antique chair give the impression of a dwelling. Three large windows at the back of the stage allow the audience to see into other rooms of the house. The chamber orchestra and conductor occupy the right wing of the stage. The landlord enters, an abacus in hand to calculate rent owing to him, as Uberto threatens him. We were soon to realize that the evening’s musical bill consisted of some of the finest solos and duets from all three operas. The stage quickly became alive with action, with womanly wiles taking control and relationships complicating. Both Serpinas pine to rekindle their love with Uberto. Shirelle Dashevsky is coquettish, teasing and ebullient; she is so well suited to the opera buffa style and her well-oiled voice sails naturally through each phrase.
The other Serpina – Julia Plakhin – is vivacious and flirtatious, her vocal agility, musicality and feminine esprit serving her splendidly. But Uberto is not impressed and wants nothing of either of the competing female admirers; in this role, Andrei Trifinov’s richly resounding voice was as pleasing as his face was disgruntled! Dmitry Lovtsov, dressed in pyjamas and an elaborate gold brocade dressing gown, was excellently cast as the foolish, elderly and lecherous Pimpinone. Irina Mindlin was a daring and promiscuous Vespetta, scheming, snide and quite the vixenish woman. She and Lovtsov pulled out all the plugs as they entertained the audience with their risqué humour, fine voices and superb musical presentation of Telemann’s masterful duets. And how droll it was to hear the shaky, dejected and finally disillusioned Pimpinone suddenly singing in Yiddish! As to the farcical Stam-Col, Dmitry Semyonov, his tenor voice smooth and easeful, had the audience chuckling at his eccentricity as he seemed to float on and off stage, his face fixed in a rapt expression, and sporting some over-the-top costumes. At one moment, he unexpectedly appeared in a Mexican outfit, complete with sombrero, singing the popular Mexican song “Cielito Lindo”. As narrator and the landlord, Yitshak Peker, although somewhat exotically clad, cut a pathetic, needy figure but, with all the “re-pairing” happening by the end of the performance, he finally managed to win his true love – Serpina I – Shirelle Dashevsky. Uberto had won the affections of the hard-to-get Vespetta. Stam-Coli and Serpina II – Julia Plakhin found love in each other – an unlikely match…but, after all, this is opera! Only Pimpinone, looking pathetic hunched sadly behind the window, was to remain alone. In a last spurt of energy, he sprang out, gun in hand, to seek revenge and get Vespetta’s money. There ended the performance, its main themes of money, the duplicity of women and the narcissistic singer interwoven in an evening of fine and truly comical operatic fare.
“The Comedy of Love” or “Love as Comedy”, the Aeterna Jerusalem Theater of Chamber Opera’s newest production, took place in the recently opened Mikro Theatre of the Jerusalem Center of Performing Arts on May 24th 2016. Under the musical direction of Ilya Plotkin, the a-capella Musica Aeterna Choir was founded 20 years ago. Then, thirteen years ago, Maestro Plotkin established Opera Aeterna, its first production being “The Impresario” by W.A.Mozart. The idea for the 2016 production, a combination of three of Italian Baroque music’s most popular comic intermezzo operas – Pergolesi and Paisiello’s settings of “La serva padrona” and Telemann’s “Pimpinone” - was thought up by Maestro Plotkin. Eleanore Plot in was project director. The idea was realized in the hands of stage director Julia Plakhin. Costumes and sets were designed by Irina Tkachenko, with makeup by Helena Plotkin. Maestro Plotkin directed a competent chamber orchestra of strings players and continuo. Opera Aeterna, whose members (and much of the audience at this performance) are largely Russian-speaking immigrants to Israel, is supported by the “Keshet Omanuyot” Association, the Ministry of Absorption, the Center for Absorption of Immigrant Artists and Returning Residents and by the Gabriel Sherover Foundation.
How does one combine three operas on one stage? For a start, each presents the theme of the maid-mistress setting her sights at an older, gullible man and the consequences thereof, as inspired by Jacopo Angelo Nelli’s 1714 play “La serva padrona” (The Servant Turned Mistress). Opera Aeterna’s comic twist was to have all characters of both operas on stage. From “La serva padrona” there was not one but two Serpinas – Serpina I – soprano Shirelle Dashevsky, soprano II – soprano Julia Plakhin, with bass Andrei Trifonov as Uberto. From “Pimpinone”, Irina Mindlin played Vespetta, with baritone Dmitry Lovtsov in the role of Pimpinone. Opera Aeterna makes no practice of using surtitles in its productions, so, in addition to the traditional Italian characters of both operas, actor Yitzhak Peker assumed the (non-singing) role of narrator: he was the landlord of the house in which all these questionable, go-getter characters were living. In addition to explaining, commenting and constantly communicating with Maestro Plotkin, the landlord himself was also looking for love, thus also being involved in the romantic attractions and rejections all taking place in his house. And there was another new character on the scene - Stam-Coli (tenor Dmitry Semyonov) – the figure of the narcissistic pop singer. Where did he belong in the plot? Actually, nowhere for most of the performance, being so obsessed with himself, his looks, his image, his outfits and his microphone! If early 18th century composers had intended the “serva padrona” characters to represent real-life personalities, replacing commedia dell’arte characters, creating the figure of Stam-Coli was a brilliant touch.
At the left side of the stage we see Uberto’s studio with easel, palette and a few discarded empty bottles. Plants, a bench and an antique chair give the impression of a dwelling. Three large windows at the back of the stage allow the audience to see into other rooms of the house. The chamber orchestra and conductor occupy the right wing of the stage. The landlord enters, an abacus in hand to calculate rent owing to him, as Uberto threatens him. We were soon to realize that the evening’s musical bill consisted of some of the finest solos and duets from all three operas. The stage quickly became alive with action, with womanly wiles taking control and relationships complicating. Both Serpinas pine to rekindle their love with Uberto. Shirelle Dashevsky is coquettish, teasing and ebullient; she is so well suited to the opera buffa style and her well-oiled voice sails naturally through each phrase.
The other Serpina – Julia Plakhin – is vivacious and flirtatious, her vocal agility, musicality and feminine esprit serving her splendidly. But Uberto is not impressed and wants nothing of either of the competing female admirers; in this role, Andrei Trifinov’s richly resounding voice was as pleasing as his face was disgruntled! Dmitry Lovtsov, dressed in pyjamas and an elaborate gold brocade dressing gown, was excellently cast as the foolish, elderly and lecherous Pimpinone. Irina Mindlin was a daring and promiscuous Vespetta, scheming, snide and quite the vixenish woman. She and Lovtsov pulled out all the plugs as they entertained the audience with their risqué humour, fine voices and superb musical presentation of Telemann’s masterful duets. And how droll it was to hear the shaky, dejected and finally disillusioned Pimpinone suddenly singing in Yiddish! As to the farcical Stam-Col, Dmitry Semyonov, his tenor voice smooth and easeful, had the audience chuckling at his eccentricity as he seemed to float on and off stage, his face fixed in a rapt expression, and sporting some over-the-top costumes. At one moment, he unexpectedly appeared in a Mexican outfit, complete with sombrero, singing the popular Mexican song “Cielito Lindo”. As narrator and the landlord, Yitshak Peker, although somewhat exotically clad, cut a pathetic, needy figure but, with all the “re-pairing” happening by the end of the performance, he finally managed to win his true love – Serpina I – Shirelle Dashevsky. Uberto had won the affections of the hard-to-get Vespetta. Stam-Coli and Serpina II – Julia Plakhin found love in each other – an unlikely match…but, after all, this is opera! Only Pimpinone, looking pathetic hunched sadly behind the window, was to remain alone. In a last spurt of energy, he sprang out, gun in hand, to seek revenge and get Vespetta’s money. There ended the performance, its main themes of money, the duplicity of women and the narcissistic singer interwoven in an evening of fine and truly comical operatic fare.
The USA Ambassador Does it Again!
His Excellency Ambassador Dan Shapiro and his wife Ms. Julie Fisher outdid themselves at a reception they hosted at the embassy residence in Herzlia Pituach on Wednesday night. The occasion was the visit to Israel of the LGBTQ Mission arranged by the Jewish Federations of North America. Some 110 members of the LGBTQ community came to see the reality of Israel, to have a good time, and then to go home with their own tangible and factual impressions. The Ambassadorial couple opened their home to welcome the visitors and give them an opportunity to meet and socialize with their Israeli counterparts.
This is not the first (and probably not the last) time that the US embassy in Israel has kicked in to promote recognition and acceptance of the American and Israeli LGBTQ communities (and others, worldwide). At one similar event, a year ago, the Ambassador hosted a reception to honor Randy Berry, special envoy of the US State Department to the LGBTQ community who was visiting Israel. Not only are Ambassador Shapiro and his wife personally in favor of equality and liberty for the community, it is State Department policy of the present USA administration.
Ms. Fisher opened the formalities with a short welcome, adding her grateful thanks to all the people who worked hard to make the event such a success. She then called on her husband to address the guests. Ambassador Shapiro gave a moving speech in which he emphasized the importance of the gay pride events (this week in Israel) celebrating “… pride, tolerance, equality and acceptance … and the understanding that liberty and fundamental equal rights include the LGBTQ community. Gay rights are human rights”. He also made special mention of – and welcomed – Knesset member Michal Rozin and US Congresswoman Ileana Ros-Lehtinen (visiting from South Florida).
Following was a brief recorded video message from special envoy Ambassador Randy Berry, who sent warm regards and greetings to the crowd, recalling fondly his last visit to Israel, just before the United States Supreme Court declared that the right to marry, whether for same-sex or “mixed” couples, must be available to all. A historic judgement.
Ms. Ros-Lehtinen was warmly welcomed to the podium and made a very poignant speech. The stress was on the equality to which all sectors of all communities are entitled. (She happens to be Cuban-born, and reached the USA as a young girl in 1960.) “Ambassador Shapiro is the voice of the USA in Israel, a voice that embraces our shared values of democracy and freedom”. She also opened her heart and told the gathering of her son, a transgendered man. “My husband and I love him, whether as a woman or a man. We want to be there for our children’s happiness, so that they can live contented authentic lives”. Her sobering words brought reality to the struggles that LGBTQ communities worldwide still face.
Also addressing the gathering was Stuart Kurlander, the mover and shaker behind the JFNA mission to Israel. He thanked his friends, Ambassador Shapiro and Julie Fisher for their warm hearted support and for hosting the lovely event; and Ms. Ros-Lehtinen for her ongoing support of the State of Israel. “Our mission includes a broad mix of people from a broad range of fields …. [Here in Israel] we have created bonds that we know will last well into the future”.
The light-hearted atmosphere was enhanced by the wonderful weather and the generous buffet dinner, affording the guests the opportunity to mingle, greet old friends and make new ones.
The USA and its Ambassador to Israel are fine examples that other countries – especially Israel’s neighbors – would do well to follow. One day, maybe …
Photo credit: "David Azagury, U.S. Embassy Tel Aviv"
The 49th Abu Gosh Vocal Music Festival to take place June 10th to 12th
The 49th Abu Gosh Vocal Music Festival, under the direction of Hanna Zur, will take place from June 10th to 12th 2016. Concerts will take place at the Church of the Ark of the Covenant, on the hill of Kiryat Yearim (appropriately called the Town of Forests), and in the Crusader Church Crypt that nestles among mature pine trees of a magical garden in the lower area of Abu Gosh.
The Shevuot (Feast of Weeks) Festival will host the Oreya Choir from the Ukraine. Established in 1986, and directed by Alexander Vatsek, the prize-winning chamber choir of 32 voices will perform two concerts at the festival (10.6.’16, 11.6.’16), offering a wide range of music from Renaissance and Baroque to spirituals and modern works, as well as folk songs from the Ukraine and Moravia. Needing no introduction to Israeli- and Abu Gosh audiences, Ensemble Barrocade and the Israeli Vocal Ensemble, conducted by IVE director Yuval Benozer and with as host of very fine Israeli soloists, will collaborate to perform concerts of works by Händel, Mozart, Mendelssohn, Vivaldi, Marcello and Torelli (10.6.’16, 11.6.’16). Another festive event will be the performance of W.A.Mozart’s formidable (and incomplete) Great Mass in C-minor K 427; Hanna Zur herself will conduct soloists, the Ramat Gan Chamber Choir and players of the Israel Philharmonic Orchestra (11.6.’16). “Dvorak-Brahms-Jobim-Villa Lobos” (12.6.’16) – a concert of the very excellent Gary Bertini Choir (Ronen Borshevsky-conductor, Svetlana Kostova-soprano/pianist) will present music of composers who have taken inspiration from folk song repertoire. Conducted by Ron Zarhi and joined by the Upper Galilee Choir, a fine line-up of soloists will perform Purcell’s “Dido and Aeneas” (12.6.’16); Keren Hadar will sing the role of the ill-fated Dido. It has become a tradition for up-and-coming young opera singers of the Meitar Opera Studio (Israeli Opera) to perform with their musical director conductor/arranger David Sebba at Abu Gosh festivals; in “Black Soul Voices (12.6.’16), they will present music of Kurt Weill and Gershwin, also a selection of gospel songs and spirituals.
The Museum of the Jewish People
Dr. Orit Shaham Gover
How does one plan a museum for the Jewish people? How can this extensive heritage be expressed in a limited gallery space? Where does the story begin, and where does it end? From which perspective do we convey this timeless saga? How do we portray the challenges and achievements that mark Jewish history? What is our purpose in telling this story, and what is the message we wish to impart?
Naturally, there is no one answer. So when the planning team of TheMuseum of the Jewish People considered these questions, it chose a distinct approach, creating a museum through which the complexities of the Jewish story could be revealed. The Museum of the Jewish People, comprised of the New Wing (2016) and new Core Exhibition (2019), addresses the various dimensions of Jewish existence, taking visitors on a fascinating journey through a unique and ongoing story. This journey is based on three key principles:
A pluralistic and all-encompassingapproach
The new wing offers inclusive representation of the magnificent mosaic that is the Jewish people, past and present. It recognizes all incarnations of Judaism, across geography and generations, free from both bias and dogma.
A celebration of creativity and renewal
The exhibitions offer a retrospect of the Jewish story and its implications on the Jewish present, using an approach that celebrates prosperity, creativity, cultural dialogue and an endless capacity for regeneration. In other words, while the darker moments in Jewish history are remembered, the Museum moves beyond “oy vey” and “gevald,” looking instead to the future with the promise of “hallelujah!”
Relevancy and identification
By interweaving the threads of past and present and illuminating the idea that we are all part of the greater Jewish story, the Museum promotes the concept that “This story is (also) my own.”
To this end, the new Core Exhibition of The Museum of the Jewish People will begin with the present — displaying, celebrating and opening up a dialogue around contemporary Jewish identity and culture. An entire floor — the largest in the Museum — is dedicated to this discussion, including performing arts (dance, theatre, film and television and music), literature, languages, modern art and Jewish contributions to world culture.
The second floor of the Museum considers the unique and ongoing story of the Jewish people, from time immemorial to the present. Here Jewish history will be viewed through a prism of parallelism, exploring both its light and shadows. Alongside difficulties experienced, emphasis is placed on the flowering of Judaism, on creativity, human and cultural dialogue and renewal. The Museum maintains a pluralistic approach to all communities and individuals, without discrimination in regard to origin or gender. This floor concludes with the establishment of the Jewish state, which, as in the past, exists alongside another large Jewish center: United States Jewry.
At this point, visitor curiosity will awaken to the conceptual foundations — both cultural and religious — of the Jewish story, giving rise to the question, What does it mean to be a Jew? The third floor of the Museum will display universal elements of Judaism alongside ethnic religious elements, with an emphasis on the pervasive impact of the Bible on world culture.
At the heart of the Museum an open atrium will connect the three floors of the building. This space, which once displayed the persecutions and suffering of the Jewish people, will now be a bright space celebrating optimism and the Jewish capacity for hope. A sculpture of light will rise to the ceiling, symbolizing the Jewish belief in a better future.
Another innovation of the Museum is the introduction of original artifacts that will allow appreciation of actual objects that survived the test of time. The Museum’s curators have arranged both to borrow and acquire unique pieces from around the world that directly relate to the stories on display.
Planning of this new Core Exhibition will conclude at the end of 2016, construction and production will begin in early 2017, and the future Museum will open in 2019.
The New Wing
Opening in May 2016 — in advance of the new Core Exhibition — is a new wing of the current Museum. This new wing encompasses the spirit and vision of The Museum of the Jewish People, with four galleries that uniquely represent various aspects of pluralism, celebration and identification.
The Synagogue Hall – Permanent Exhibition
This gallery showcases in a new, exciting and thought-provoking manner the Museum’s prestigious collection of world-renowned synagogue models. The exhibition includes 21 models, each revealing the different functions of the synagogue: social gatherings, study, work and prayer. It depicts activities related to the synagogue including weddings and bar/bat mitzvahs, community functions, fundraising events and charity work and beyond. This one-of-a-kind display raises questions: How did creativity develop in synagogues over the years? Why do Jews congregate? Where will future Jewish communities converge?
Alongside each model a ceremonial item originating from the synagogue or related community is displayed. These artifacts enhance the exhibition and our understanding of the cultural and artistic identity of each community. Additionally, this exhibition features an impressive stained glass window by the artist Friedrich Adler, c. 1919 Germany, as well as historical and contemporary Judaica, prayer books and various manuscripts from various periods.
In addition to the models and displays, the Synagogue Hall is rich in media. A large screen in the center of the gallery focuses on the three daily prayers — “Shaharit, Mincha, Ma’ariv” (morning, afternoon, evening); video artwork by the artist Ran Slavin is displayed in a mirror-encircled space showcasing 24 additional synagogues from around the world; four animated films in period settings illuminate distinctive gatherings in synagogues; and a humoristic film starring Israeli journalists Jacky Levy and Kobi Arieli describes the similarities and differences between Sephardic and Ashkenazi prayer.
Visitors are invited to participate in four interactive stations: Personal Prayer (from our database the visitor selects a prayer he empathizes with, and in return is invited to share a story or prayer of his own); Jewish Music in Synagogues (nine “piyutim” (hymns) are performed by renowned artists that allow the audience to travel to the locations where these piyutim were, and still are, sung); Synagogue Architecture (24 buildings representing architectural achievements in the history of the synagogue); and Interactivity for Children (children are invited to design and build their own synagogues).
This gallery celebrates creativity and renaissance in Jewish life and culture through the multifaceted lens of the synagogue.
Forever Young – Bob Dylan at 75
This special exhibition celebrates cultural and creative wealth, personified by the work of Bob Dylan, who, more than any other Jewish musician, has influenced 20th century culture. The enigmatic Bob Dylan is represented through films, images, posters, displays and a vast collection of his original music. His story is relayed through the revolution he generated, his influence on music and his connection to Judaism.
Via this exhibition original footage by Elliott Landy, the official photographer of Woodstock, will be seen for the first time in Israel. A twelve-minute documentary, “My Dylan” — produced especially for the exhibition — presents Dylan’s influence on Israeli music.
Acclaimed Israeli music editor Yoav Kutner, is the Artistic Director of the exhibition and the narrator of the exhibit’s audio guide.
“Forever Young” celebrates Judaism’s capacity for creativity, cultural dialogue and renewal through the unique and pervasive contributions of Bob Dylan.
Operation Moses: 30 Years After
This special media exhibition gives voice to those who personally experienced the immigration to Israel from Ethiopia. For the first time ever, this story will be told by those who lived it. Their voices will be heard, free from the influence of the society that received them.
The films’ director, Orly Malessa, was a child when she immigrated to Israel as part of Operation Moses. For this film she selected — from Beit Hatfutsot’s historic collection — stills taken by Doron Bacher in 1984 in Ethiopia. The incognito photos were then uploaded to a designated Facebook calling upon users to recognize themselves and their families. Through “comments”, “likes” and “tagging”, Orly was able to choose immigrants from all over Israel to represent the Ethiopian immigrant community and share its story, featuring each in a five-minute documentary film. Together they render in first person the immigrants’ absorption into Israeli society, considering the ups and downs of a long, difficult and complex process.
Through the stories of individuals who made their way to and within a new country, this exhibition celebrates the ways in which individual voices come together to convey the great story of the Jewish people.
Heroes: Trailblazers of the Jewish People – A Permanent Exhibition for Children
Bravery is one of humanity’s most mysterious and complex attributes. It is often linked to overcoming fear or apprehension in times of war or in the face of adversity. Admired, the hero becomes a role model, and is often the central figure in stories, songs and epics, instilling in future generations a hero’s values.
The Jewish people understand that heroes come in many forms. This complexity is the foundation of this exhibition, which offers children a wide variety of heroes to whom they can relate.
This exhibition is comprised of eight categories of Jewish heroes throughout history: scientists, philosophers, revolutionaries, cultural giants, athletes, courageous individuals and economic leaders.
In this way children — and their parents — are encouraged to redefine those qualities that make a hero. They are alerted to various aspects of success, including conquering temptation, daring to think outside the box and going against the grain.
This exhibition reflects Beit Hatfutsot’s commitment to emphasizing diversity in Judaism. It celebrates Jewish culture both throughout history and in the present day, laying the foundation for pluralistic expression of who and what is exceptional in the Jewish sphere.
Heroes: Trailblazers of the Jewish People is designed for children ages six-through-twelve and their parents. The gallery, designed as an open space that facilitates free movement, has fifteen interactive stations and six animated movies. Textual information appears alongside each hero in the exhibit, enabling parents to provide additional material to their children. The center of the open space is illuminated and ringed with both seating and iPads containing information about the 143 heroes represented in the exhibition.
The Museum of the Jewish People
Dr. Orit Shaham Gover
How does one plan a museum for the Jewish people? How can this extensive heritage be expressed in a limited gallery space? Where does the story begin, and where does it end? From which perspective do we convey this timeless saga? How do we portray the challenges and achievements that mark Jewish history? What is our purpose in telling this story, and what is the message we wish to impart?
Naturally, there is no one answer. So when the planning team of TheMuseum of the Jewish People considered these questions, it chose a distinct approach, creating a museum through which the complexities of the Jewish story could be revealed. The Museum of the Jewish People, comprised of the New Wing (2016) and new Core Exhibition (2019), addresses the various dimensions of Jewish existence, taking visitors on a fascinating journey through a unique and ongoing story. This journey is based on three key principles:
A pluralistic and all-encompassingapproach
The new wing offers inclusive representation of the magnificent mosaic that is the Jewish people, past and present. It recognizes all incarnations of Judaism, across geography and generations, free from both bias and dogma.
A celebration of creativity and renewal
The exhibitions offer a retrospect of the Jewish story and its implications on the Jewish present, using an approach that celebrates prosperity, creativity, cultural dialogue and an endless capacity for regeneration. In other words, while the darker moments in Jewish history are remembered, the Museum moves beyond “oy vey” and “gevald,” looking instead to the future with the promise of “hallelujah!”
Relevancy and identification
By interweaving the threads of past and present and illuminating the idea that we are all part of the greater Jewish story, the Museum promotes the concept that “This story is (also) my own.”
To this end, the new Core Exhibition of The Museum of the Jewish People will begin with the present — displaying, celebrating and opening up a dialogue around contemporary Jewish identity and culture. An entire floor — the largest in the Museum — is dedicated to this discussion, including performing arts (dance, theatre, film and television and music), literature, languages, modern art and Jewish contributions to world culture.
The second floor of the Museum considers the unique and ongoing story of the Jewish people, from time immemorial to the present. Here Jewish history will be viewed through a prism of parallelism, exploring both its light and shadows. Alongside difficulties experienced, emphasis is placed on the flowering of Judaism, on creativity, human and cultural dialogue and renewal. The Museum maintains a pluralistic approach to all communities and individuals, without discrimination in regard to origin or gender. This floor concludes with the establishment of the Jewish state, which, as in the past, exists alongside another large Jewish center: United States Jewry.
At this point, visitor curiosity will awaken to the conceptual foundations — both cultural and religious — of the Jewish story, giving rise to the question, What does it mean to be a Jew? The third floor of the Museum will display universal elements of Judaism alongside ethnic religious elements, with an emphasis on the pervasive impact of the Bible on world culture.
At the heart of the Museum an open atrium will connect the three floors of the building. This space, which once displayed the persecutions and suffering of the Jewish people, will now be a bright space celebrating optimism and the Jewish capacity for hope. A sculpture of light will rise to the ceiling, symbolizing the Jewish belief in a better future.
Another innovation of the Museum is the introduction of original artifacts that will allow appreciation of actual objects that survived the test of time. The Museum’s curators have arranged both to borrow and acquire unique pieces from around the world that directly relate to the stories on display.
Planning of this new Core Exhibition will conclude at the end of 2016, construction and production will begin in early 2017, and the future Museum will open in 2019.
The New Wing
Opening in May 2016 — in advance of the new Core Exhibition — is a new wing of the current Museum. This new wing encompasses the spirit and vision of The Museum of the Jewish People, with four galleries that uniquely represent various aspects of pluralism, celebration and identification.
The Synagogue Hall – Permanent Exhibition
This gallery showcases in a new, exciting and thought-provoking manner the Museum’s prestigious collection of world-renowned synagogue models. The exhibition includes 21 models, each revealing the different functions of the synagogue: social gatherings, study, work and prayer. It depicts activities related to the synagogue including weddings and bar/bat mitzvahs, community functions, fundraising events and charity work and beyond. This one-of-a-kind display raises questions: How did creativity develop in synagogues over the years? Why do Jews congregate? Where will future Jewish communities converge?
Alongside each model a ceremonial item originating from the synagogue or related community is displayed. These artifacts enhance the exhibition and our understanding of the cultural and artistic identity of each community. Additionally, this exhibition features an impressive stained glass window by the artist Friedrich Adler, c. 1919 Germany, as well as historical and contemporary Judaica, prayer books and various manuscripts from various periods.
In addition to the models and displays, the Synagogue Hall is rich in media. A large screen in the center of the gallery focuses on the three daily prayers — “Shaharit, Mincha, Ma’ariv” (morning, afternoon, evening); video artwork by the artist Ran Slavin is displayed in a mirror-encircled space showcasing 24 additional synagogues from around the world; four animated films in period settings illuminate distinctive gatherings in synagogues; and a humoristic film starring Israeli journalists Jacky Levy and Kobi Arieli describes the similarities and differences between Sephardic and Ashkenazi prayer.
Visitors are invited to participate in four interactive stations: Personal Prayer (from our database the visitor selects a prayer he empathizes with, and in return is invited to share a story or prayer of his own); Jewish Music in Synagogues (nine “piyutim” (hymns) are performed by renowned artists that allow the audience to travel to the locations where these piyutim were, and still are, sung); Synagogue Architecture (24 buildings representing architectural achievements in the history of the synagogue); and Interactivity for Children (children are invited to design and build their own synagogues).
This gallery celebrates creativity and renaissance in Jewish life and culture through the multifaceted lens of the synagogue.
Forever Young – Bob Dylan at 75
This special exhibition celebrates cultural and creative wealth, personified by the work of Bob Dylan, who, more than any other Jewish musician, has influenced 20th century culture. The enigmatic Bob Dylan is represented through films, images, posters, displays and a vast collection of his original music. His story is relayed through the revolution he generated, his influence on music and his connection to Judaism.
Via this exhibition original footage by Elliott Landy, the official photographer of Woodstock, will be seen for the first time in Israel. A twelve-minute documentary, “My Dylan” — produced especially for the exhibition — presents Dylan’s influence on Israeli music.
Acclaimed Israeli music editor Yoav Kutner, is the Artistic Director of the exhibition and the narrator of the exhibit’s audio guide.
“Forever Young” celebrates Judaism’s capacity for creativity, cultural dialogue and renewal through the unique and pervasive contributions of Bob Dylan.
Operation Moses: 30 Years After
This special media exhibition gives voice to those who personally experienced the immigration to Israel from Ethiopia. For the first time ever, this story will be told by those who lived it. Their voices will be heard, free from the influence of the society that received them.
The films’ director, Orly Malessa, was a child when she immigrated to Israel as part of Operation Moses. For this film she selected — from Beit Hatfutsot’s historic collection — stills taken by Doron Bacher in 1984 in Ethiopia. The incognito photos were then uploaded to a designated Facebook calling upon users to recognize themselves and their families. Through “comments”, “likes” and “tagging”, Orly was able to choose immigrants from all over Israel to represent the Ethiopian immigrant community and share its story, featuring each in a five-minute documentary film. Together they render in first person the immigrants’ absorption into Israeli society, considering the ups and downs of a long, difficult and complex process.
Through the stories of individuals who made their way to and within a new country, this exhibition celebrates the ways in which individual voices come together to convey the great story of the Jewish people.
Heroes: Trailblazers of the Jewish People – A Permanent Exhibition for Children
Bravery is one of humanity’s most mysterious and complex attributes. It is often linked to overcoming fear or apprehension in times of war or in the face of adversity. Admired, the hero becomes a role model, and is often the central figure in stories, songs and epics, instilling in future generations a hero’s values.
The Jewish people understand that heroes come in many forms. This complexity is the foundation of this exhibition, which offers children a wide variety of heroes to whom they can relate.
This exhibition is comprised of eight categories of Jewish heroes throughout history: scientists, philosophers, revolutionaries, cultural giants, athletes, courageous individuals and economic leaders.
In this way children — and their parents — are encouraged to redefine those qualities that make a hero. They are alerted to various aspects of success, including conquering temptation, daring to think outside the box and going against the grain.
This exhibition reflects Beit Hatfutsot’s commitment to emphasizing diversity in Judaism. It celebrates Jewish culture both throughout history and in the present day, laying the foundation for pluralistic expression of who and what is exceptional in the Jewish sphere.
Heroes: Trailblazers of the Jewish People is designed for children ages six-through-twelve and their parents. The gallery, designed as an open space that facilitates free movement, has fifteen interactive stations and six animated movies. Textual information appears alongside each hero in the exhibit, enabling parents to provide additional material to their children. The center of the open space is illuminated and ringed with both seating and iPads containing information about the 143 heroes represented in the exhibition.
A DIALOGUE ABOUT ART AND COOKING
Linda Dangoor Gil Hovav
A Portrayal of the Jewish Iraqi Kitchen-then and now
Accompanied by the
Musician Yair Dalal andMuseum Curator Idit Sharoni
Date: Monday, 30 May 2016
Reception: 20:00 Event: 20:30
At: The Babylonian Jewry Heritage Center, 83 Ben Porat Avenue, Or Yehuda
Cost: 60 NIS
For tickets call: 03 5339278 Ext 8
Places are limited, please book in advance.
Book purchase available at the BJHC.
Linda Dangoor – Artist, potter and Author
Linda has lived in the UK since the 60s. her interests in food and her Iraqi heritage have culminated in a beautifully designed cookery book: Flavours of Babylon
Gil Hovav – leading culinary journalists and television personality
Gil has played a major role in changing Israeli cuisine from one of basic traditional foods to one of enviable gourmet dining. He was involved in creating, producing and presenting some of Israel's most viewed and loved television food shows.
Yair Dalal - a composer, violinist, oud player and singer
Yair is an Israeli musician of Iraqi-Jewish descent. He plays an important role in shaping the global world music scene.His main instruments are the oud and the violin.
Lag BaOmer Message - MWU Dept of Education - 2016
Lag BaOmer Message Bar Kochba and Ben-Gurion: FROM INSPIRATION TO ACTION
Dear Friends,
Military victories led by Shimon Bar Kochba gave the People of Israel nearly 3 years of national independence during 132-135 CE (Common Era); we celebrate that Great Hebrew Revolt on Lag BaOmer (May 26 this year), but it also led to the worst massacres of Jews in ancient times, and the Exile of most of our People from almost all of our ancestral Land of Israel. Bar Kochba's war began in the hills of Judea and carried so far afield as Beit She'an in Lower Galilee. It cost Rome and its Empire the utter destruction of 2 complete Legions of the 12 eventually sent to crush the rebellious Jews, a lavish expedition of huge numbers of troops led by Julius Severus, the best Roman general of the time, summoned from faraway Britannia.
That brief flicker of freedom won from Rome inspired the Fathers of the Jewish Nation in modern times. The Father of the Third Jewish Commonwealth, Israel's first Prime Minister David Ben Gurion, adopted his Hebrew family name from one of Bar Kochba's generals. The tenacity, decisive action, and total commitment to achieving independence from the oppressive yoke of Rome inspired the just struggle of Zionist leaders to restore Jewish national life in our old-new Land of Zion and Jerusalem. They focused on the spirit ofBar Kochba's struggle rather than its tragic results; in 1947-49 it was the only way to fight the battle the whole world saw as hopeless, the War and that led to Israel's 68th Independence Day we celebrated on May 12. Ben Gurion's refusal to accept the logic of military realities gave the Jewish People its best and most profound achievement in 1800 years since Bar Kochba: national redemption in the State of Israel. That's probably what Ben Gurion meant when he famously said: "Anyone who does not believe in miracles is not a realist." Without that inspiration, without that faith in the Destiny of our People, we would today not have had our State.
Published: 22 May 2016
President Rivlin marks 60 years of Tel Aviv University, hosts Board of Governors members from around the world
President Reuven Rivlin hosted this morning (Sunday), more than 240 representatives of Tel Aviv University, including members of the institution's Board of Governors from around the world, to mark 60 years of the university.
President Rivlin welcomed all the delegates, and congratulated them on the University's 60th anniversary. He stressed, "Education is not just about learning and teaching - it is a way of life that drives the whole country forward. It is the beating heart of the modern state." The President continued, "Our universities are a key part of the debate in this is country. They are a place where we hear support and criticism of Israeli politics. They are proof that criticism of politics or of different policies, is as much part of Zionism as support for Israel. So to the people who want to boycott Israeli students, professors, and universities, we say very clearly: We will not allow hatred to silence the debate. An academic boycott is a major threat not just to Israel, but to the entire scientific world, and we must fight it and stop it."
Also addressing the event were Chairman of the Board of Governors Professor Jacob Frenkel, representative of the Board of Governors from Italy, Mrs. Selina Goren Komeran, and President of Tel Aviv University Professor Joseph Klafter.
“Sign from Iran” is an exhibition of contemporary Iranian placards opening at the L.A.Mayer Museum of Islamic Art, Jerusalem on May 19th 2016. At a press conference on May 17th, museum director Mr. Nadim Shiban spoke about the museum’s recent activity, introducing political poster artist, teacher and designer Yossi Lemel whose inspiration it was to have the exhibit. Curators of the exhibition are Professor Lemel and Dr. Marta Sylvestrovà of the Moravian Gallery, Brno, Czechoslovakia.
35 years ago, Yossi Lemel travelled to Turkey, reaching the Turkish-Iran border; he dreamt of entering Iran but was unable to do so for obvious reasons. He spoke of the process of putting the current exhibit together as a difficult one, fraught with complications. The placards, collected in Czechoslovakia, Slovenia and Germany, represent a synthesis of east and west, of topography and calligraphy and shed light on the culture and people of Iran – of art, theatre, society and political issues. Due to sensitive aspects of the show, there were some artists who decided to withdraw their works from the exhibition in Jerusalem, which was put together especially for the Museum of Islamic Art, Jerusalem. Lemel emphasized its importance both for us and for the artists, for the visitor to see the human content in a world that addresses Iran from a political point of view; he also pointed out the disparity of what is actually shown and what remains concealed in art on a country whose society is as conservative as Iran. Yet despite prohibitions and restrictions imposed by the regime, the country’s artists have certainly made their mark and have proved themselves innovative in the world of calligraphy and typography.
Entering the gallery, one is confronted by a huge, vivid photo of young Iranian people, mostly women, in a clandestine café. The women’s faces are not covered and one is smoking a cigarette. The picture was taken by French photographer Jeremy Suyker, who has been traveling to Iran since 2013, documenting the country’s rich culture and history as well as Tehran’s underground art scene. As to the 60 posters of 27 artists, on different levels they connect to Iran’s cultural, historic and religious traditions, the poets and philosophers of the last 1000 years of Persian history and the relationship between Arabic and Persian script, and through the eyes of the sophisticated modern artist. Addressing political and social issues, artists have used visual puns, metaphors and indirect poetic messages to convey their message. The viewer is challenged to read into the symbols on these placards. Women artists, combining their rich cultural heritage and multidisciplinary techniques, give expression to women’s issues. An exhibition of great beauty and interest, the viewer experiences the sensuality and mystery of ancient times through the eyes of masterful contemporary artists.
“Sign from Iran” - May 19th - November 19th.
The L.A.Mayer Museum of Islamic Art, 2 Hapalmach St., Jerusalem
There’s a big wide world out there.
Mention most countries or areas to anyone and usually an image or concept pops into their consciousness right away; snow in Switzerland, sand in the Sahara, sunshine in Sydney. Israel conjures up many thoughts, but the most frequent one is probably “Judaism” and the Jewish homeland. Although sophisticated people do know that the Holy Land is the center of the world for all three monotheistic religions, how many people know just how much there is to see in Israel concerning the birthplace and stamping grounds of Christ?
The Pontifical Institute of Notre Dame in Jerusalem is a good place to begin your road to discovery. Jerusalem is no stranger to controversy; Notre Dame aspires to be the route to serenity, peaceful coexistence and normalcy.
Its history is long and checkered and not within the scope of this article. Today the old but beautifully restored building houses not only the guest house (they prefer not to call it a hotel), but also three restaurants, a gift shop, conference rooms and a giant auditorium. Not to mention of course – of course! – the tranquil chapel. This is after all a Catholic institution, property of the Vatican. There is free Wi-Fi in the lobby area, but no tennis court, swimming pool or gym. Only the suites have TVs. This no ordinary hotel.
And then there is the “Shroud of Turin” museum. (Yes, Turin Italy.) The history of the shroud (said to be the mantle that covered the body of Jesus for burial), how and why it reached Turin, and why it is believed to be the real thing, awaits you at Notre Dame. The mystery, the theory, the multidisciplinary research and scientific examinations, the religious beliefs, the perplexing photographic evidence – all come together in this mind-boggling museum.
The Institute also runs a school to train young people for a career in the hospitality and tourism industry. The school celebrated its silver jubilee in 2015 and there are currently about 140 students.
Confused? Don’t be. Although Notre Dame might be considered as “only” a guest house for pilgrims, it is really a fine hotel, and far from Spartan. A welcoming lobby and reception desk, comfortable rooms, a generous and varied breakfast, fine dining at the rooftop restaurant and the other cafes and dining areas. The Jerusalem location is right opposite the New Gate into the old city. (The gate was opened when Notre Dame was built, for convenient pilgrim access to the old city’s many Christian sites.) The concept of Notre Dame is of “a gift for humanity” that embodies Jerusalem: moderation, co-existence, downed barriers, and peace. Not to mention the typical Jerusalem architecture of a bygone age. The “Mosaic Suite” must surely be unique in the entire world. If you are fortunate enough to stay there, or even to visit it briefly….
The Christian community in Israel serves as a buffer between militant Muslims and militant Jews and the religious diversity, so apparent at Notre Dame, tends to enhance its power for dialog between antagonists. But more than that, the Pontifical Institute Notre Dame also serves not only as a buffer, but as a link, between Judaism and Christianity.
Nowhere is that clearer than at “Magdala”, a site on the Sea of Galilee which is currently being completed, and which is closely linked to the Notre Dame Center and the Catholic Church. Magdala is right by the town where Mary Magdalene lived 2000 years ago. Soon after excavations began, the ruins of the oldest 1st century synagogue were discovered. Nearby, the ruins of the “mikveh” (Jewish bathhouse for ritual cleansing and purification) were excavated. Is this the synagogue where Christ prayed, studied and preached? All signs indicate it was. On the lake shore just 100 meters away is the port where fishermen brought their catches 20 centuries ago, where Jesus performed miracles, where the community market place was located. Over the old restored market place floor now stands “Duc in Altum” – the main so-called “boat chapel” and the four smaller side chapels (for quiet reflection and prayer). The building is breathtakingly beautiful in its elegant simplicity.
Magdala, with its synagogue and chapel, set in secular Israel, is symbolic of the bridging aimed at by the Vatican Church leadership in Israel, of bringing the vision to life. Magdala’s core mission and purpose is to offer a 1st century experience in a 21st century environment and to highlight its historical, cultural and spiritual significance. “To really bring the vision to life.” It is staffed (and visited) by people from all walks of life, all religions, races, sects and nationalities. The message is reconciliation, compromise, peace, tranquility and harmony. The Catholic Church sees itself as the “mother of humanity” and as such has a role to play in bringing her sometimes unruly children together.
The issues of womanhood are spotlighted in “Duc in Altum”, where the main atrium is space devoted to women of biblical times. How appropriate that is in 2016, at the town where Mary Magdalene lived. Religion, history and culture come together in this continuity of Judaism and Christianity at the crossroads of Jewish and Christian history. In this day and age, we found the message refreshing in its simplicity. We believe you might too.
There is much to see, learn, experience and especially, to reflect on, both at the Notre Dame Center and at Magdala.
Peres' Mini Mondial for Peace:
In a call against the recent racism and violence in football stadiums - The Ninth President Shimon Peres held the "Mini Mondial for Peace", joined by Israeli Premier League Football players, Ambassadors from around the world, Mayors from across Israel, and 300 Jewish and Arab, Israeli and Palestinian children
Peres blew the opening whistle and called the football players to unite against racism and violence on the pitch:
"There is no place for racism and violence on the football pitch – you, the players, serve as an example to young people of every nation"
"The fact that you came here to play today - not only with your feet, but also your soul – proves that, together, we can make a difference."
Yossi Benayoun:
"We are happy for this opportunity- we came here to do our part through the game to lead by example on the field and beyond."
Against the backdrop of racism and violence in football stadiums around the world, The Ninth President Shimon Peres began the day (9.5) with the Peres Center for Peace's "Mini Mondial for Peace" in Herzliya. The event opened with two unique exhibition games, the first featuring Ambassadors from around the world and Mayors from across Israel playing against a team of young Arab and Jewish, Israeli and Palestinian participants from the "Twinned Peace Sports Schools" program. This was followed by a second exhibition match featuring Israeli Premier League all-star football players who played together with the Israeli and Palestinian young footballers. The Peres Center's "Twinned Peace Sports Schools" program promotes co-existence between youths throughout Israel and the West Bank. Ambassadors, Mayors, professional footballers, and the young participants came together to promote a message of peace and against the recent violence and racism that has taken place in football stadiums around the world.
At a briefing in the locker room with the professional all-star players prior to the start of the event Peres said: "I am so happy that you have joined us in playing for peace. We must end the recent negativity occurring on the pitch. You come here today to not only play with your feet, but also with your soul." Peres took to the pitch and said: "Thank you for coming here to make a statement against racism and violence. Your presence here along with Israeli and Palestinian children sends a clear message against racism and violence and for the promotion of peace through sports. We must draw a clear line on the field and in life. Violence and racism on the football pitch affects our children- so you must lead by example. I am proud that, every week, Israelis and Palestinians come together to play football and prove that it is possible.
At the "Mini Mondial" opening ceremony, the Peres Center held a moving tribute to the legendary football player Johan Cruyff, who passed away this year. Cruyff was a staunch proponent of education for coexistence and tolerance through football in Israel for many years and was a strong supporter of the Peres Center's Twinned Peace Sports Schools project. Peres and several of the young participants - Arab and Jewish - presented his son, Jordi Cruyff, with an honorary jersey with number 14 on the back, which was his father's number, and the professional all-star players wore orange jerseys in his memory.
The "Ambassador Peace Team" players included: Ambassadors from Albania and Austria, and senior diplomats from the Democratic Republic of the Congo, the United States, Italy, France, and Australia. They were joined by Mayors and Heads of regional councils including: the Msayors of Acre, Herzliya, and Kfar Saba, and the heads of Yoav Regional Council, Sha'ar Hanegev, Abu Ghosh, Hof HaSharon, and Shibli.
The Israeli Premier Football League players included: Yossi Benayoun, Ahmed Abed, Avihai Yadin, Gal, Dan Aybinder, Yuval Spungin, Guy Haimov, Pedro Joaquín Galván, Hisham Kiwan, Dai Saba, Haiim Margishvili, Omar Padida, Stav Pinish, Zion Tsemach, Ahmed Kasumi, Naor Peser, Dor Alov, Shai Constantine, Ohad Cohen, Omar Padida.
Herzliya Mayor Moshe Fadlon said: "There is nothing like sport and football to connect people and religions and to transcend differences of opinion. This is the third year we have hosted the "Mini Mondial for Peace", the Peres Center for Peace, and President Peres, and we are proud of your vision."
Ofer Eini, Chair of the Israeli Football Association said: "If we, the adults, can act like these young football players, together we can conquer racism and violence, and we will have a better future for ourselves and with our neighbors".
The "Mini Mondial for Peace" is the annual peak event of the Peres Center for Peace's "Twinned Peace Sports Schools" program in which Jewish and Arab, Israeli and Palestinian children meet on the football field. Throughout this project the children meet one another, train together, learn each other's language, and play football together on mixed teams. This project, which has been running for 14 years, brings together hundreds of children from different communities all over the country every year. To date, over 20,000 children have participated in this project.
Category: Art & Culture
Published: 04 May 2016
STATE. Exhibition of the artists Dorina Horătău and Claudia Mușat at The Artists' House, Tel Aviv. 7 - 21 May 2016
The Romanian Cultural Institute has the honor to invite you at the exhibition STATE, open between the 7th and the 21st of May, 2016, at Tel Aviv Artists' House. On display there will be fiber artworks by Dorina Horărău and Claudia Mușat, two of the best Romanian fiber artists today.
The exhibition highlights a series work stages, as well as studies of the textile materials in various phases of processing. The artworks of Claudia Mușat reveal the artists' researches on silk and the tri-dimensional works of Dorina Horătău express meaningful moments of her private life.
The opening will take place on Saturday, the 7th of May, at 12:00 hrs., in the presence of the artist Dorina Horătău.
The exhibition will be open for public at Tel Aviv Artists' House, 9 Alharizi st. on the following schedule: Monday to Thursday between 10:00-13:00 and 17:00-19:00, Friday between 10:00-13:00 and Saturday between 11:00-14:00. More information: http://
Spring festival in the Ein-Yael "Hands-on" Museum in Jerusalem- taking visitors 2,000 years back in time
Meeting ancient artisans in the colorful Roman street ; treasure hunt for the whole family in the garden of Song of Songs; the wonderful children's play "Magical moments by the spring" ; making musical instruments from natural materials ; live music in the beautiful outdoors of Ein-Yael ; weaving wicker baskets; spinning wool in the spindle and a variety of other fun activities for the whole family
The Ein Yael "Hands-on" Museum is holding a spring festival in Hol Hamoed of Passover (24 -28 of April) this year! Among the activities: artisans recreating ancient handicrafts in the magical Roman street ; a treasure hunt for the whole family in the Song of Songs garden; live music which will be played around the site and a variety of other fun activities for the whole family.
In addition, visitors will be invited to experience all of Ein Yael's wonderful workshops: weaving baskets and making musical instruments of natural materials, painting wet plaster in the fresco workshop, learning about ancient building methods in the mud workshop, making clay in the ceramic workshop, planning and cutting a personal mosaic and lots more.
The dates of the festival are: 24-27th of April, from 10:00 to 17:00.
And on the 28th of April from 10:00 to14:00
The Ein-Yael museum provides a special and enriching fun-filled activity for the entire family, combining arts and crafts with learning about the ancient way of life. In the museum you will find orchards, a recreated Roman street, petting corner, a live spring, ancient agricultural facilities and olive trees, vineyards and more.
Entrance cost: 45 NIS for child, 35 NIS for adult.
The Ein-Yael "Hands-on" Museum, Jerusalem (next to "Malcha" train station)
First Time - Pre-Eurovision Promo Event in Israel
Sponsored by the Israeli Ministry of Tourism, the Israeli Ministry of Foreign Affairs, the Municipality of Tel-Aviv, and Ir Olam Organization. Produced by Tali Eshkoli.
Twenty leading artists from all over Europe who will be representing their countries in the upcoming Eurovision Song Contest in Stockholm, came to Israel for a three-day visit [from 11th to 14th April], to perform in a unique event with their entries for this year’s Eurovision Song Contest. Israel Calling 2016 was the first Pre-Eurovision Event in Israel intended not only to promote the Eurovision Song Contest, but also the City of Tel-Aviv and Israel throughout Europe. Together with the artists participating in the Eurovision Song Contest, there were journalists who came from all around the world.
They made a tour around the city of Tel-Aviv and Ancient Jaffa, also having the time to plant trees with KKL-JNF in KKL-JNF’s Tzora forest. There was a good and friendly atmosphere with lots of singing and much happiness. They ate in excellent restaurants, took photos, and reported their adventures back to their worldwide fans via the social media.
A press conference took place on April 12th at midday.
A festive and welcoming gala event took place on April 11th, with the attendance of all the artists and delegations, Kids.IL (The Israeli representatives at Junior Eurovision Song Contest 2012) , Moran Mazor – The Israeli representative at Eurovision 2013 , as well as local and international media, Ambassadors and Diplomatic Staff of the participating countries, and former Eurovision representative of Israel.
The highlight – the live show on Tuesday 12th April at the Moadon Hateatron [Theater Club] that in addition to the 20 Eurovision artists attending, there were also representatives of Israel’s former Eurovision Competitions present, including, among others, Yizhar Cohen [first Israeli Eurovision Winner in 1985], Avi Toledano [who came second in 1982 and 1983], and Tzvika Pick, [composer of the winning song ‘Diva’ sung by Dana International in 1998], Hanna Dresner - Tzakh better Know by her Stage name Ilanit .
This is the biggest Eurovision event to take place in Israel since the country hosted the Eurovision Song Contest in 1999. Such promo events having been taking place for many years already in The Netherlands, United Kingdom and Russia, and this is the first time that a promo event has gone out of continental Europe to take place in Israel.
The Israel Festival is marking 55 years of its existence.
At a press conference at the Eden-Tamir Music Center, Ein Kerem Jerusalem on April 11th 2016, chairman of the Israel Festival board of directors Dan Halperin opened the meeting, stating the aim of the 2016 Israel Festival, to take place from May 24th to June 11th, as addressing the many different kinds of people in Israel, offering them a range of events they will not experience anywhere else and at reasonable prices.
Young, go-ahead Jerusalem city councilman Ofer Berkovich, co-founder and chairman of the Wake Up Jerusalem movement, mentioned that Eyal Sher (CEO of the Israel Festival as of 2015) and artistic director Itzik Juli (also as of 2015) have been challenging in their choice of events.
Jerusalem-born Berkovich, referring to the city as a problematic city at times, claims that its artistic life is a normalising factor; he hopes to see the festival attracting Jews, Arabs and tourists to its many events.
Another aim is to give young local artists a stage. This year’s festival will host more than 100 artists from all over the world and will take place in several venues around Jerusalem. Eyal Sher spoke of the Israel Festival’s many goals – the economy, tourism, serving education and the community – but also to be different, witty and even to tease!
One question in which the Israel Festival team has engaged is how to be appealing to the public, yet still maintaining standards of quality and unity. Sher said it was no secret that the Israel Festival is being revised via a different reality. Next to speak was Itzik Juli. For him the “now” being represented at the festival includes consideration of art past and future. He referred to the program as a kind of search, with the opening event homage to one of Israel’s greatest singers Shoshana Damari (1923-2006) with the closing event being Belgian inter-disciplinary artist Jan Fabre’s 24-hour-long contemporary multidisciplinary theatre piece “Mount Olympus”.
Mostly modern and multidisciplinary in approach, this year’s Israel Festival will offer theatre and dance events from Israel, Europe and China, Israeli music and some classical music, (no jazz and no chamber music), music in which east meets west and two musical events of Holocaust content. And there will be outdoor events around Jerusalem and shows to interest the whole family…some at modest prices, others free of charge. Daring, ambitious and thought-provoking, there will be much festival fare to challenge and stimulate open-minded audiences at the 2016 Israel Festival!
An auspicious event of the first Bach in Jerusalem Festival (March 17th-21st 2016) was a recital titled “Preludes and Fugues performed by pianist Jascha Nemtsov. It took place at the Jerusalem Music Centre, Mishkenot Sha’ananim on March 20th.
With his program taking a cue from the music of J.S.Bach at the core of the festival, Professor Nemtsov opened his recital with pieces from Book I of Bach’s Well-Tempered Clavier - a contemplative, gently expansive reading of the Prelude in E major, followed by its bold partner fugue. His poetic rendering of the F-minor Prelude highlighted key notes; then, to the Fugue with its enigmatic, atonal subject, clearly highly inspirational to Nemtsov, whose poly-dimensional playing was variously and imaginatively orchestrated at each stage of the piece.
Many of us were especially drawn to the recital to hear the pianist’s first Israeli performance of a number of the 24 Preludes and Fugues of Ukraine-born composer Vsevolod Zaderatsky (1891-1953), an artist systematically persecuted, excluded from Soviet musical life, exiled and twice imprisoned. Much of his music was destroyed. He did, however, compose six piano sonatas, three programmatic piano cycles, two operas, symphony- and ensemble scores and the cycle of 24 Preludes and Fugues. The Preludes and Fugues (1937-1938) constitute the central work of the composer’s musical legacy (there are also some literary works), having miraculously survived and made it into the hands of the composer’s son who, in the 1970s deciphered what was written in the Kilyma camp of Siberia mostly on telegram forms, copying the pieces out in full. The cycle of Zaderatsky’s Preludes and Fugues was first performed in its entirety by Nemtsov in 2015 at the 6th International Shostakovich Days (Gohrisch, Germany). 2015 also saw the publishing of the work as well as Nemtsov’s double CD recording of the complete set for the Profil label. At the Jerusalem recital, Jascha Nemtsov’s performance of this highly varied group of pieces convincingly displayed Zaderatsky’s kaleidoscope of ideas and his fine (and highly challenging) pianistic writing; beyond those qualities, Nemtsov sketched a picture of the man himself and the breadth of fantasy and emotion that may well have been what saw him through ordeals in the gulag that many do not survive. The pieces also attest to the composer’s mastery at the piano. If Bach’s C-major Prelude of the WTC I is bathed in light and tranquillity, Zaderatsky’s C-major is ghostly, intense, confrontational, sometimes atonal. The splendid A-minor Prelude, with its hectic, bright and cascading agenda, as well as its drone presence, breathes optimism, as does its richly chordal accompanying Fugue, which ends on an octave-and-fifth, pared-down Renaissance-type chord. In the G-major Prelude, with its agile, weightless “Flight-of-the-Bumblebee” texture, Nemtsov’s virtuosic performance displayed the piece’s play of colours and humour. The G-Major Fugue, however, follows by conjuring up a complex soundscape. After the atonal, floating “seascape” of the E-Minor Prelude, the E-minor Fugue, with quotes threaded through the texture, its voices shaped with individual expression, ended on three decisive minor chords. A true gem, the B-Minor Prelude’s fine gossamer melody wrought of parallel seconds took one’s breath away with its beauty; its modal/atonal partner fugue taking on a much weightier character, its texture offering a suggestion of bells. With the F-sharp minor Prelude’s shining, high melodic line and poignant bell-like textures, we were raised up to a more celestial place; its Fugue splendidly chiselled, with each phrase growing out of its predecessor. Nemtsov’s total immersion in the music and in the workings of Zaderatsky’s intellect and soul left the audience humbled and moved.
First silenced as a “degenerate” composer due to his Jewish ancestry, Czech composer Viktor Ullmann composed the “Variations and Fugue on a Hebrew Folk Song”, the fifth and last movement of Sonata No.7, his final work, when interned in Theresienstadt. Against all odds, Ullmann was very creative there. “Theresienstadt was and is for me a school of structure”, he wrote. “I must stress that I have bloomed in my musical work…without inhibition…” In 1944, however, shortly after completing the piece, he was transported to Auschwitz-Birkenau, soon perishing in the gas chambers there. The Hebrew folksong on which the movement is based is a Zionist song sung by Yehuda Sharett. It sets a poem by the poet Rachel. Ullmann’s variations bear resemblance to a Slovak national anthem (banned by the Nazis) and a Hussite hymn, also quoting the Protestant hymn “Now thank we all our God”. Apparent in this final movement are, in fact, a comprehensive array of the elements making up Ullmann’s musical-, emotional- and intellectual existence (references to Bach, to Christianity versus Judaism, folk music, the fugue, tonal- versus atonal music) or might it be an utterance of defiance of his Nazi captors? Nemtsov’s free, playful and brilliant performance of the work reflected the composer’s unshakable optimism. In his introductory words, the artist referred to Ullmann’s Fugue as a “kind of vision”. With BACH motif appearing in the fugue, here was another connection to the festival itself.
When Dmitri Shostakovich went to Leipzig in 1950 for events marking 200 years of J.S.Bach’s death, he heard young virtuoso pianist Tatiana Nikolyeva performing pieces from both books of The Well-Tempered Clavier. Returning to Moscow, he began to sketch out his own 24 Preludes and Fugues, a work alluding to the music of Mussorgsky, Borodin and Russian folk music but also to the world of counterpoint. This diverse and imaginative collection of pieces takes the listener through the wide range of the composer’s emotional world, from bleak despair to exaltation, from the grotesque to devil-may-care jollity. It was Nikolyeva who then premiered the Shostakovich work in 1952. At his Jerusalem recital, Jascha Nemtsov played three pairs of Shostakovich’s Preludes and Fugues opus 87, opening with the C-Major pair - autumnal, harmonically rich, gently dissonanced yet breathing a sense of C-Major purity and directness, its Fugue played with fragile beauty. Nemtsov, having mentioned that the F-Sharp-Minor prelude included motifs from Klezmer music, presented the agitated, feisty miniature with playfulness, cynicism and a touch of whimsy, then drawing the listener into the disturbing banality-cum-dissonance of the Fugue subject and its complex workings, a piece as bewitching as it is disturbing. As to the D-Minor Prelude, Nemtsov highlighted its noble character, giving a natural and free voice to the richly varied emotional agenda of the consequent Fugue. Professor Nemtsov’s playing sensitively plumbs the depths of Shostakovich’s mind, his elegant and nimble touch presenting the pieces with masterful eloquence, his deep enquiry into each revealing its truth.
Pianist and musicologist Jascha Nemtsov was born in Magadan (Siberia), growing up in St. Petersburg and graduating with distinction from the St. Petersburg Conservatory. Since 1992, he has lived in Germany, with a busy international career performing both solo- and chamber music. Nemtsov’s repertoire covers a wide range of works and styles, from Classical- and Romantic repertoire to music of the 20th- and 21st centuries, with emphasis on Russian music – Shostakovich, Zaderatsky, Weinberg and other composers. As a performer and musicologist, he has focused on Jewish art music of the early 20th century and performs works of composers who suffered at the hands of the Nazis. He has been active in salvaging forgotten works of the New Jewish School (Russia, early 20th century). Jascha Nemtsov’s many recordings have won him several prizes. He today holds the chair of History of Jewish Music at the University of Music Franz Liszt Weimar and serves as academic director of the Abraham Geiger College (the Reform rabbinic/cantorial seminary attached to the University of Potsdam, Berlin.)
Photo Pianist and musicologist Jascha Nemtsov performs at the first Bach in Jerusalem Festival
photo credit for Nrmysov pjoto
" My Class " A Personal Documentary movie with a message
"Not on every day of his life does a man stand and get the honor and the privilege to share his perspective on life thru a rich movie with colors, photos, music, poetry and above all - Human beings."
With these words I started my speech (April the 6th) at the gala screening of my documentary movie "My Class" at the Cameri Theater in Tel Aviv.
In July 2015 I joined a Habima and Cameri theatre trip to the Balkans. We visited four states, Macedonia, Albania, Montenegro and Serbia. The aim of the trip was to stage the play "Our Class" which deals with the Holocaust, a play originally written in Polish and translated into Hebrew. From many standpoints, the "Our Class" trip was also my own inner journey to my class in Jerusalem, and that was the reason why I made my movie.
In the movie I show, besides the scenes from the play which I deliberately put in black and white, the breathtaking views and moving events which I witnessed during the trip and which constituted a contrast to the contents of the play.
My aim was to show that the Jewish people survived even after all the horrible events which it suffered in the course of history, especially during the Holocaust, and that all the nations in the world should build and not destroy, to make peace instead of war, and to insure that such a holocaust will never happen again.
Many people who took part in bringing the play "Our Class" to the Balkans participated in the gala screening, the ambassadors of Macedonia, Albania, Serbia, Bosnia and Herzegovina, Angola, and the Israeli ambassador to Macedonia, Dan Oryan, and the Israeli ambassador to Malta and Moldova, David Oren, and well as business partners, actors and others. The guest of honor at the event was the deputy minister of culture of Macedonia. Certainly, all the tremendous effort which was invested in the project was worth it and definitely exciting.
Besides mentioning in my movie the fact that Israel and Macedonia are celebrating twenty years of diplomatic relations, I pointed out the fact that other relations are growing also with the other Balkan countries, and I felt that the gala screening was another cultural brick uniting human beings together.
Being a personal movie, I also said in my speech: "My movie is like a creative dish of food, and each one of you is invited to taste and judge." The fact that I received a large number of varied reactions made me feel proud that I had created something to talk about, whether some liked it or not, or some thought that I should add more materials or change some of them. I didn't pretend to make comparison between the story of the Holocaust which was brought thru the play "Our Class" to my own story with my class in Jerusalem as a pupil, but to share my associations which arose during the tour, due of the fact that in my class sometimes I also suffered discrimination and had to protect myself.
The movie is also not about the actors or the play, even when I'm showing them. I was like a walking shadow who documented them thru my perspective, and the reason I did that is because I really believe that we should keep telling our history to our children, even the horrible events, in order to educate them to improve our world to be a better place to live in.
Some of you who know me as a poet maybe will understand my hidden message by reading this poem which I'm read in the movie:
On the outskirts of Podgorica
Next to the melon shed
I saw from a distance a farmer
Raising his scythe.
When he cut with a sharp blow
I felt how my soul was split in two -
The one whose past does not let go,
And the one whose future is yet before it,
And I chose you
And I chose the future.
At the end of the movie I putt the song "Hands Across the Mountains" by David Ben Reuven, who translated the subtitles of the movie into English, and I thought that this song was a perfect choice because my philosophy, even if it sounds pretentious, us that if all human beings will unite and hold their hands across mountains and oceans we will create a better world.
I dedicated this movie to my late father and my beloved mother, and to my children, with the hope that the message of my movie will be understood by all, and if so, that will be my gain.
photo The Israeli ambassador to Macedonia on the middle, Pierre Lavi on right and the Serbian ambassador and his wife on the left.
Forbes Hosts First-Ever Large-Scale Live Musical Performance Synced to Virtual Reality to Cap Off Its Under 30 Summit EMEA
With the goal of promoting Co-Existence, the concert featured curated acts from around the world, including London-Based Hip-Hop Star Little Simz, Okieriete Onaodowan from the Hit Broadway Musical “Hamilton,” Palestinian Rapper SAZ with an Israeli Funk Band Lucille Crew, and U.S. Rock Band MAE with Violinist Tim Fain and VR Director David Lobser
The concert, attended by more than 600 of the world’s most influential entrepreneurs and game changers, was held at one of the most historic music venues on earth, the 3,000-year-old Tower of David in Jerusalem, on Wednesday, April 6
JERUSALEM (April 7, 2016) – At the 3,000-year old Tower of David in Jerusalem, Forbes hosted yesterday the first-ever large-scale live musical performance synced to virtual reality (VR) to cap off its Under 30 Summit EMEA (Europe, the Middle East and Africa) -- a summit that brought together more than 600 of the world’s most influential young entrepreneurs and game changers as culled from Forbes’ 30 Under 30 lists.
The concert, designed to promote Co-Existence, featured curated acts from around the world, such as London-based hip-hop star Little Simz, Okieriete Onaodowan from the Hit Broadway Musical “Hamilton,” Palestinian rapper SAZ with an Israeli funk band Lucille Crew, and U.S. rock band MAE (Multisensory Aesthetic Experience) with violinist Tim Fain and VR director David Lobser.
“This concert sits in the middle of two days of service in the cause of co-existence,” said Randall Lane, Editor of Forbes magazine. “And we’re making history in the field of virtual reality. People will look back on this night as a turning point in the history of music and performance.”
The concert was powered by Vertigo, a social platform launching this summer which connects the world of music and people in real time. All attendees of the concert wore virtual reality headsets and enjoyed a simultaneous virtual reality experience as MAE, featuring violinist Tim Fain and VR by animation director David Lobser, debuted its song “LIGHT,” its first single in five years. The song and VR experience are available online here for free: www.maevr.vertigomusic.com.
“MAE is honored to collaborate with violinist Tim Fain, VR animator David Lobser and Vertigo Music, to create a first-of-its-kind live synced VR concert experience inside the historic Tower of David as part of the Forbes Under 30 Summit EMEA,” said Jacob Marshall Co- Founder and drummer of U.S. rock band MAE, and Advisor to Vertigo. “We humbly believe that co-existence, reconciliation, and transcendence are messages best initially delivered in the language of inspiration, art and beauty.”
The lineup for the concert was as follows:
- Actor Okieriete Onaodowan, known as Oak, kicked off the concert with a spoken word, which he wrote to promote Co-Existence. An experienced stage actor, Oak is currently playing President James Madison and Hercules Mulligan in the hit Broadway musical "Hamilton.”
- Palestinian rapper SAZ with an Israeli funk band Lucille Crew, performed together under the theme of Co-Existence. Sameh Zakout ("Saz") is a Palestinian rap artist whose music features themes of Palestinian and Arab identity and who calls for peaceful resolution of the Arab-Israeli conflict. Lucille Crew is an international groove collective based in Tel Aviv that fuses elements of hip hop, funk and soul.
- Hip Hop Star Little Simz, the award-winning North London hip hop artist who self-released her critically acclaimed debut album A CURIOUS TALE OF TRIALS + PERSONS, which was named one of the Best Albums of 2015 by Vogue, Entertainment Weekly and more. Little Simz became the first UK rapper to be featured on Forbes Magazine's "30 Under 30" and "Hip Hop Cash Princes" lists
- U.S. Rock Band MAE (M)ultisensory (A)esthetic (E)xperience, an ever-evolving music and art project formed in 2001 in Norfolk, Virginia. MAE consistently delivers emotionally driven cinematic soundscapes for the modern global culture. MAE uses artfully crafted music as a starting point to expand the concept of harmony to include other sensory languages and to place listeners inside of an experience of art for the whole body.
About the Forbes Under 30 Summit
The Forbes Under 30 Summit franchise, one of the company’s most popular franchises, is an extension of Forbes magazine’s annual 30 Under 30 list.
The Forbes Under 30 Summit EMEA brought together 600 of the greatest young entrepreneurs and game-changers from America, Europe, the Middle East and Africa, as culled from Forbes’ 30 Under 30 lists, for five days and nights of fostering world-changing ideas and collaboration. Under the theme “Co-Investment, Co-Creation and Co-Existence,” innovators, inventors, mentors and investors focused on entrepreneurship and long-term, market-driven solutions to global problems, proving that growth is possible even in challenging times.
For more details on the Forbes Under 30 Summit EMEA, please visit http://www.forbesconferences.com/event/2016-forbes-under-30-summit-israel/ . On Twitter, follow #Under30Summit.
About Forbes Media
Forbes Media is a global media, branding and technology company, with a focus on news and information about business, investing, technology, entrepreneurship, leadership and affluent lifestyles. The company publishes Forbes, Forbes Asia and Forbes Europe magazines, as well as Forbes.com. The Forbes brand today reaches 94 million people worldwide with its business message each month through its magazines and 37 licensed local editions around the globe, websites, TV, conferences, research, social and mobile platforms. Forbes Media’s brand extensions include conferences, real estate, education, financial services and technology license agreements.
"Fresh Paint" Contemporary Art & Design Fair opens in Tel Aviv
The 8th edition of Fresh Paint Contemporary Art & Design Fair, the largest annual art event in Israel, is taking place between 5-9 April 2016 in the Levant Fair, near the Tel Aviv Port.
This year Fresh Paint will host international artists, who will present their works alongside Israeli artists. The international works will include a large installation by Japanese artist Onishi Yasuaki, a performance by the Romanian artist Szilard Gaspar and a photographic series by the Senegal artist Fabrice Monteiro.
Also at the fair: leading galleries that will present projects curated especially for the fair, the independent artists' Greenhouse, an original model, providing exposure to about 50 emerging artists at the beginning of their professional careers.
The fair is held in collaboration with the Tel Aviv-Yafo Municipality, UBS Wealth Management (the main supporter of Art Basel art fair) and Israeli and international leading art institutions.
Attached is one of the works featured in the fair, "Sex and Take Out" by Sarah Bahbah.
For the first time in Israel, The world famous and international worldly renowned Musical Ensemble 'Mirabai Ceiba' will give a Premiere Performance on the 13th April at 8.00 p.m. at the 'Samuel Rush' Auditorium at Tel-Aviv University.
The ensemble will give a special, unique and heartwarming concert in dedication to the Non-Profit Organization 'SAVE A CHILD'S HEART', operating at the Wolfson Medical Center in Holon, Israel.
The ensemble will also include the Duo Ensemble – Marcus Siber, Singer, Guitarist, and Angelica Baumbach, Vocalist, Harpist and Keyboard player, alongside with the Great Virtuoso Violinst, Jokish Bogdan, and the Electronic Cellist Yoad Nir.
Their international concert celebrates peace, love and joy and emphasizes their concept of music as an international language uniting peoples, cultures and traditions from all over the world.
The Non-Profit Organization 'SAVE A CHILD'S HEART' has saved more than 4.000 childrens' lives from Africa, South America, Europe, Asia and the Middle East.
For reservations please contact the ZAPPA RESERVATION CENTER at *9080 or alternatively at website;
'DIPLOMAT' a new book by ZALMAN SHOVAL
Members of the MFA ,Political and Banking Seniors, friends and relatives arrived at the Celebratory Launch event of the book 'DIPLOMAT written by Zalman Shoval ', that was held on Sunday 3rd of April at the Tel-Aviv Museum.
Among the greeters were; Ex Defense and Foreign Minister, Moshe Aarons' The Judge – Alikim Rubinstein, also in past, Cabinet Secretary, and Professor Alex Mintz, - Head of the Institute for Policy and Strategy at the Interdisciplinary Center in Herzliya, Gad Proper, Dan Proper, Yair Hamburger, Gideon Hamburger, Micky Federman, Alfred Akirov, Yaakov Frankel – ex Governor of the Bank of Israel, Eldad Shrim, Musical Producer and others.
About the Book and the writer;
Zalman Shoval is an Israeli politician and diplomat. He is also active in Israel's economic life. He was the Israeli ambassador to the United States in the years 1990–1993 and 1998–2000, and an active member of the Knesset in the Rafi party of Ben Gurion, the State List, and the Likud party.
There is ongoing and widening Kaos in the Middle East, and it looks like it will be around in the coming decades, but there are some things that remain stable and permanent, and in that context, one must emphasize the importance of the special relations between Israel and the United States, despite the international withdrawal status voluntarily expressed, hopefully, on a 'temporary' basis.
So asserts ZALMAN SHOVAL, The only man who has twice filled the most significant post ever in Israel – Ambassador to Washington. Between the years 1990-1993, and 1998-2000, under Four Prime Ministers, so diverse in their character traits and in their approaches. Yiitshak Shamir, Yitshak Rabin, Binyamin Netanyahu, and Ehud Barak, the relations that Mr Shuval so openly talks about. James Baker, the most prominent among the American Foreign Ministers in this modern period says about him; ' There is no man who has done more for the Peace Process than Zalman Shoval.'
Shuval, who arrived as a child to Little Tel-Aviv at the end of the 30' {until today he is a captive of Tel-Aviv's charm}, was drawn to Politics ever since his youth. At 16, he met Moshe Dayan for the first time, and in the following years, a deep and trusting relationship developed between the two. After completing his studies in the United States and Switzerland, Zalman served as Service Officer for the Study of Charge [AMAN] and commenced work in the economic sphere., mainly as a Banker, but as he evidently declares; ' The political bug has never left me'. He was among the founders of the political party RAFI in 1965, and entered the Knesset of David Ben-Gurion in 1970, and was very active in the establishment of the Likud in 1973. During Moshe Dayan's term as Foreign Minister 1977-1979, he was entrusted in Israeli Abroad Information, including the Camp David Conference in 1978, where the peace agreement was signed with the Egyptians.
In both his government terms as Ambassador to Israel in the United States, he won favor by his political view and understanding, his talents as a Diplomatic Spokesman, his sympathetic and empathic manner which have given him precedence over previous Israeli Ambassadors, and among his political comrades in the American Government, including the great Jewish Community in the United States. He participated in the Madrid Conference and in the peace talks in Washington. In addition he dealt with very sensitive issues such as the occurring frictions with America on the subject of Military Technology, the efforts and struggles in Iran Nucleation, and he fulfilled the task in obtaining American Guarantees for the U.S.S.R. absorption immigrants back then.
The book, that is written freely and with shades of humor, presents to the reader a wide and curious spectrum of diplomatic activity from within, as it truly is, and defines political and state destinations permeating the horizons in front of us. This book is a MUST for all those who are interested Israel's political and parties' history.
The Moran Singers Ensemble and the Moran Choir perform in "From Silence I Sing" with guest conductor/ composer Ambroz Copi (Slovenia) at the Israel Conservatory, Tel Aviv
The Moran Ensemble Singers and the Moran Choir presented “From Silence I Sing”, an evening of choral works and vocal solos on February 5th 2016 at the Israel Conservatory of Music, Tel Aviv. Guest conductor/composer was Ambrož Čopi (Slovenia).
Ambrož Čopi (b. 1973) graduated in Composition from the Ljubljana Conservatory in 1996, then taking post-graduate studies and working as a vocal assistant. He has also worked as a singer. Alongside his work as music teacher in an arts school, he has done much choral conducting, winning several awards as have his compositions. Frequently serving as a jury member in choral events and competitions, Čopi lectures and is involved in choral music seminars in Slovenia and abroad.
The evening’s concert took the audience on a flying visit to many corners of the earth, the program including works and composers not heard in this part of the world. To set out on the journey, we heard the Moran Singers Ensemble, conducted by house conductor Guy Pelc, in a superbly crafted and evocative reading of Edward Elgar’s a-cappella romance “My love dwelt in a northern land” (1890) to the richly wrought and melancholic images of a poem of Andrew Lang, its descriptions of nature, weather and time personifying the relationship being recalled.
And to eastern Europe and two works of Lithuanian composer Vytautas Miškinis (b.1954), a prolific writer of choral music, with over 250 of his choral works written for children’s choirs. Well-known in his own country but not outside of it, here is a composer writing in the new wave of tonal music. Performed by heart by the Moran Choir (35 singers aged from 12 to 18) and conducted by Moran founder and musical director Naomi Faran, Miškinis’ “Missa Brevis” came across as direct and uncluttered, music accessible, expressive and true to its sacred text, its tenderness and message of peace presented in fine detail, with pianist Oleg Yakerevich’s accompaniment depicting bells in the Kyrie and other subtle musical ideas throughout. Miškinis’ a-cappella “Bonum est confiteri domino” (It is good to praise the Lord, Psalm 92) was sung by the Moran Ensemble Singers and conducted by Čopi. A work sacred and otherworldly but anchored in personal utterance, it was conveyed as a polished assortment of small sections and offering a myriad of contrasts in mood and tempo. We then heard a work of another composer primarily writing choral music – Norwegian Ola Gjeiro (b.1978) – today settled in New York and dividing his time between performing as a professional pianist and composing. The Moran Singers’ Ensemble gave “Ubi Caritas” (Where there is charity) – indeed, a small gem - a reading that was moving and as lush as it was fragile in its harmonic tonings, its course gently flexed.
The program included two works by Ambrož Čopi himself; first, an awe-inspiring tonal, a-cappella setting of the St Thomas Aquinas hymn “O Salutaris Hostia”, performed by the Moran Ensemble Singers and directed by the composer; its deep, intimate spirituality was reflected in gently flowing melodies and lavish harmonies, with soloist Shira Cohen finding a happy compromise between soloing and blending:
‘O saving Victim, opening wide
The gate of Heaven to us below;
Our foes press hard on every side;
Thine aid supply; thy strength below…’
Following performance of a short piece the composer has dedicated to the choir, Ambrož Čopi conducted the Moran Choir in a performance of his “Missa Brevis” (2006) for treble voices, piano and percussion. Opening with a pensive, autumnal soundscape, the choir’s rendition was precise, their unforced singing lending freshness and natural expression to the work’s beauty. The more rhythmical sections, sounding somewhat South American in character, emerged as buoyant but never raucous, the young percussionist’s use of percussion economical, incisive and tasteful. Solos were sung competently and sympathetically by two of the girls.
The evening’s choral pieces were interspersed with a number of solos sung by members of the Moran Singers Ensemble. Soprano Shira Cohen offered an unmannered, gentle rendition of two of Aaron Copland’s folk song settings, their style and her interpretation of the ballad “Long time ago” and the Shaker song “Simple Gifts” so representative of the straightforward gestures of American music of the 1950s. This was followed by Efrat Hacohen in a sensuous and engaging performance of Xavier Montsalvatge’s “Cancion de cuna para dormer a un negrito’ (Cradle song for a small black child), its inebriating and gently dissonanced habanera accompaniment suggestive of the mother rocking her baby. Soprano Shani Oshri’s splendid, silken singing of the Thessaloniki Ladino folk lullaby “Nani, nani” (arr. D. Akiva) was communicative and poignant and highlighted by her superb vocal control. Alto Zlata Hershberg was engaging, theatrical and convincing in Alexander Matveev’s dramatic arrangement of a Russian folk song, as she moved back and forth from the role of a fearful child and the calming mother.
The concert concluded with a work by one of Estonia’s most prominent composers - Veljo Tormis (b.1930) – whose choral oeuvre numbers more than 500 works, many based on ancient traditional Estonian songs. Composed in 1972 for a-cappella mixed chorus and shaman drum (played by Yakerevich), “Raua needmine” (Curse upon Iron) is based on the Finnish epic “Kalevala”, with added texts of contemporary Estonian poets. Conducted by Ambrož Čopi, the Moran Singers Ensemble contended impressively with the work’s rhythmically daring language, its confrontational and relentless repetitiveness as well as the variety of raw, often harsh sounds – whispering, glissandi, chanting, shouting and primal throat singing – the composer uses to express and evoke his timeless, ritualistic style suited to the work’s message. The audience was challenged to immerse itself in the detail of the long, unremittingly powerful text projected in full onto a screen as the singers addressed the work’s gestures, both musical and verbal:
Special film screening: The Elementary School 28. 3. 2016 at 19h, Tel Aviv Cinematheque
Elementary School
28. 3. 2016 at 19h, Tel Aviv Cinematheque
Czech Centre Tel Aviv is joining the iniciative of worldwide celebration of 80th birthday of Czech actor and screenwriter Zdeněk Svěrák and it organises screening of restored film Elementary School in Tel Aviv. Idea was initiated by Oscar winning film director and son of the birthday honouree, Jan Svěrák and the film will be screened at the same time in more then one hundred movie theatres in the Czech Republic as well as all over the world.
This gentle comedy takes place just after World War II., during the academic year 1945-46. Ten-year-old Eda and his friend Tonda attend an elementary school in Prague suburbs. They are pupils of an all-boy class which is famous for its bad behaviour. No wonder one day the teacher is drive out of her mind. Although it seems there exists no remedy, nevertheless… The teacher is replaced by Igor Hnízdo – allegedly the hero of several military operations – an energetic, uncompromising and just man. His only weakness is his grea interest in the fair sex. In no time the little tyrants who have been taken by surprise turn into meek sheep, ready to defend their new teacher at any time and any place. Reticent Eda watches him, comparing him with his own unvaliant father who, in reality, my however have been and probably is much more of an hero…
Script writer Zdenek Sverak has created an autobiographical mosaic of his childhood memories, returning to the time when he was ten years old. At this crucial stage, boys are still children but already perceive the adults’ world with great intensity. This extraordinarily ordinary and artfully simple film endowed with intelligent humour is rich in many surprises, secrets, as well as in an understanding attitude toward human weaknesses. The story will no doubt be a refreshing balm for the souls of the viewers who are constantly attacked by violence, cynicism and formal emptiness..
The Italian Revolution Continues Successfully.
Not the revolution you’re thinking of, but the lesbian, gay, bisexual and transgender (LGBT) revolution still shaking up bella Italia. This week 11 movers and shakers of the Italian LGBT community concluded a short visit to Israel. The tour was hosted by the Israeli Embassy in Rome (under H.E. Ambassador Naor Gillon), and the Foreign Ministry. The purpose: to let the leaders of the LGBT communities in Italy see for themselves the true face of Israel, and to alter the misconceptions and preconceptions fostered by some media outlets. Just as LGBT people themselves suffer under prejudice, misconceptions and intolerance due to misinformation or lack of information, so too does Israel’s image.
It is no surprise that the initiator of the visit was Angelo Pezzana. He founded “FUORI” (an Italian acronym that translates as the “Italian Revolutionary United Homosexual Front”) way back in 1971. Italy was (and to some extent still is) heavily influenced by the Vatican, so Angelo’s brave coalition 45 years ago is nothing to be sneezed at. Until he retired recently, Angelo owned and ran a Jewish bookstore and Judaica center in Turin. He taught himself Hebrew and was for many years the Chairperson of the Italy-Israel Friendship Association. (Angelo is not Jewish).
During their short visit the group heard, among others, presentations by the Tel Aviv Municipality, several LGBT organizations, “New Family”, a gay Christian Arab, a gay Rabbi, representatives of five political parties and the Managing Editor of a major newspaper. In Tel Aviv they visited Meir Park and the Holocaust Memorial for homosexuals murdered by the Nazis, the “Beit Dror” shelter for homeless LGBT youth, and Independence Hall. In Jerusalem they saw the Knesset, had a visit to Yad Vashem and the Jerusalem Open House. Defiantly, the sole Palestinian lesbian organization in Jerusalem refused to cooperate, as did all other Arab organizations, unfortunately.
Mindless hatred is never productive and is always destructive. Dialog, sharing opinions and learning achieve so more. Just last month Italy joined the family of enlightened nations by finally allowing same-sex couples most (but not all) the rights that up to now have been accorded only to heterosexuals. There is still a way to go; visits like this one can only be good for everyone concerned.
Maestro David Shemer leads the Jerusalem Baroque Orchestra and soloists in two versions of the opera “Pimpinone”
The Jerusalem Baroque Orchestra and soloists in two versions of "Pimpinone"
Two versions of “Pimpinone” were the Jerusalem Baroque Orchestra’s bill for the 4th concert of the 2015-2016 season. This writer attended the event on February 25th 2016 in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem YMCA. The first setting heard was that of Tomaso Albinoni to the libretto of Pietro Pariati, the second, that of Georg Philipp Telemann, with the same Italian libretto translated into German and revised by Johann Philipp Praetorius. JBO founder and musical director David Shemer conducted the performance (not from the harpsichord), with baritone Guy Pelc as Pimpinone in both settings; mezzo-soprano Anat Czarny played Vespetta in the Albinoni opera, with Einat Aronstein portraying Vespetta in the Telemann version.
“Pimpinone” or “The Mismatched Marriage” is a comic intermezzo, the genre of intermezzi buffi serving as lavish entertainment, respite or comic relief between acts of larger operas. There are, in fact, a number of versions of the work’s theme and plot. (Pergolesi’s more frequently performed “La serva padrona” was written in 1733.) Vespetta (little wasp) – a cunning servant girl - and Pimpinone – a wealthy, foolish, gullible old bachelor - are stock 18th century intermezzo characters. Pimpinone engages Vespetta as his maidservant, falls in love with her and marries her. Vespetta quickly turns everything to her advantage and the marriage is conducted totally on her terms, with Pimpinone becoming her victim and forced to weaken to her every whim. “Pimpinone”, a satire on everyday Venetian life, raises the question of conflict between social classes.
Albinoni’s “Vespetta e Pimpinone”, one of the earliest surviving Venetian intermezzi, was first performed in 1708 in Venice as an interlude to his own opera “Astarto”; it enjoyed immediate success, becoming a standard work of opera repertoire. In Albinoni and Pariati’s user-friendly opera, its rakish fast succession of brief arias and duets, charming melodies, a quirky use of counterpoint and a parlando style highlighting the amusing text, make for fine entertainment. Anat Czarny’s light, creamy, unforced voice was well suited to the medium as she threw Pimpinone flirtatious looks, turning to the audience saucily to inform it of the cunning Vespetta’s personal agenda. Guy Pelc, not comical enough in his role as the befuddled, stupid and perhaps uncouth Pimpinone (some facial expressions and body language borrowed from the commedia dell’arte would add a little more of the absurd, giving Pimpinone a touch of lust and irritability) as he presented the text with articulate transparency, his experience in the various aspects of Baroque style apparent throughout. Albinoni’s comical writing of the duets, in which each character states conflicting sentiments, came across splendidly. Hebrew and English translations of both “Pimpinone” versions, flashed onto a screen, making sure the listener missed nothing of the whimsical text.
For Telemann’s German-language setting of “Pimpinone”, we heard soprano Einat Aronstein as Vespetta, with Pelc as Pimpinone. First performed in 1725 in Hamburg, Telemann adhered to the Hamburg practice of some of the arias being sung in Italian, with the rest of the text in German. Not often heard today, the work represents Telemann’s writing at its best, the composer’s sophisticated musical score coupled with his bent for language and flair for humour on stage. Aronstein presented the upbeat, frilly, flirtatious and mischievous side of the waspish Vespetta, her bright, flexible voice gliding effortlessly up into its high register, as she teased the audience (and poor Pimpinone) with an occasionally over-extended dissonance at the end of an aria. Pelc’s singing flowed in beautifully-formed phrases as he used the composer’s clever onomatopoeic use of words to dress up the absurdity of the situation. In “So that she may speak badly of her husband”, the most dazzling aria of the last intermezzo, young Pelc’s outstanding singing showed his vocal control and elasticity as he shifted back and forth between his natural voice and falsetto in a patter song bristling with mockery, threats and vocal challenges! Then, as in Albinoni’s work, Pimpinone and Vespetta’s marriage troubles come to a head. In the Albinoni version he threatens to beat her with a stick, in the Telemann version it is she who will take a stick to him…such is life in a mismatched marriage.
Contrary to the disharmony of the plot, Maestro Shemer led his ensemble of fine instrumentalists in playing that was alive with interest, fine detail and Baroque elegance.
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The Felicja Blumental Music Center 2016 Guitar Week
This is the “Guitar Week” at the Felicja Blumental Music Center and there is still time for guitar enthusiasts to get tickets.
We attended Saturday evening’s concert where world-renowned Italian guitarist Aniello Desiderio charmed the enthusiastic audience. He began his musical career at age 8 in his native Naples and has since won no less than 18 international awards.
A treat for music lovers. The Guitar Week is sponsored by, amongst other organizations, the Romanian Cultural Center in Israel and the Tel Aviv Municipality.
Check the Center’s website http://www.fbmc.co.il / categoryId=89895 for concerts and ticket information.
The Center offers a year-round repertoire of music, appearances and festivals. Besides the intimate concert hall, there is a music library (that was founded in 1951!). The facility also hosts lectures, workshops and even private events.
An upcoming festival with an international flavor that will probably be of special interest to the diplomatic community and music lovers alike is the Felicja Blumental International Music Festival in early April. http://en.blumentalfestival.com
Music for the heart and soul.
Festive Festival Fare at the 2016 Eilat Chamber Music Festival
Taking place at the Dan Hotel Eilat from February 3rd to 6th 2016, the 11th Eilat Chamber Music Festival offered a number of events that were different from conventional concert fare, highlighting the fact that this was…a festival, and certainly one of Israel’s best.
The Anderson & Roe Piano Duo’s first performance, “The Rite of Spring”, promised to be a concert played by two young and outstanding pianists, but Elizabeth Joy Roe and Greg Anderson are a duo with a difference! They formed their partnership in 2002 at the Juilliard School of Music and nowadays tour extensively as recitalists and orchestra soloists, they compose and engage in much arranging of works and they present their audiences with action-packed, polished and mind-boggling concerts that keep the listener perched on the edge of his seat. Relaxed and chatty, they talk about the works to be performed. But they bring to the concert hall much more than hype: whether you like their quirky explanations or not, their playing creates a kaleidoscope of vibrant musical canvases. Opening the February 3rd program with Johannes Brahms’ Variations on a Theme by Haydn opus 56B (two pianos), they colored the work with magically sensitive and contrasted playing, fine shaping, majestic gestures and with the mystery of what lies behind sotto voce playing. Their reading of Stravinsky’s “Rite of Spring” (one piano) conjured up the power, cruelty and paganism of the ballet’s storyline, gripping the audience with the work’s asymmetry and jarring accents, their musical description of the sword lethal and uncompromising. But their playing was not just muscular: it was strategically timed, conveying the ballet’s message of estrangement and aloneness. Whisking away the intensity of the “Rite of Spring”, Anderson and Roe played their own arrangement of much-loved melodies from Mozart operas, with playful, opera-buffa-joy and wonderfully cantabile melodies, rounding the number off with their virtuosic, full-on “Ragtime alla Turca”. Their “Carmen thriller” arrangement for two pianos set before the listener so many aspects of Bizet’s “Carmen” – the story’s complexity, its love content, the darker side of gypsy life and much fiery energy. And how delicate and filigree-fine their rendition of the Ballet from Gluck’s “Orphée et Eurodice” was, describing love of a totally different nature, the program ending with a touching rendition of Bob Thiele and George David Weiss’s “What a Wonderful World” (1967), Roe and Anderson’s playing sparkling with optimism and tenderness.
A large audience filled the Tarshish Hall at the Dan Hotel on February 6th to hear violinist Marianna Vasileva (Russia-Israel) perform all 24 of Niccolò Paganini’s Caprices. Apart from only one other piece, Paganini’s only violin publication was this set of solo Caprices, published in 1820, probably written between 1801 and 1817. Considered the last word in violin technique, they were dedicated to “all artists” and comprise nearly all his prized violin techniques (they do not include artificial harmonics) in exceptionally demanding settings. Paganini never performed them in public. Not merely etudes, Vasileva has referred to some as “folk music”, with Paganini infusing the miniatures with music he was hearing around him. Vasileva has been working on the pieces for two years and claims that this will be an ongoing project for years to come. Dazzling and, indeed, winning the audience with their intricacies, the artist gave expression to the pieces’ charm and intensity and to the many contrasts between- and within them, to the violin’s many techniques but, above all, to the work’s musical interest. Presenting of the individual character of each piece, she held the listeners’ attention for the duration of the work. For many people attending the recital, it would have been their first encounter with the mystery and inner-voiced tremolo of “The Trill” (no.6), the imitation of wind instruments in “The Hunt” (no.9) and the sheer virtuosity of “The Devil’s Laughter” (no.13).
“Just About Midnight” on February 4th was an opportune time for night owls to indulge in a rich and unique program of classical music, tango, jazz, gypsy- and new music, performed and improvised by two French artists – ‘cellist François Salque and accordionist/composer Vincent Peirani. In fact, Salque, one of the most outstanding and interesting ‘cellists of his generation and no new face to the Eilat Chamber Music Festival, had performed Chopin’s Sonata for ‘Cello and Piano in g-minor opus 65 (piano: Ivan Rudin) the previous day. A personal project of Salque and Peirani’s has been collecting and recording traditional music of Central- and Eastern Europe. The concert opened with a fervent and moving reading of Ernest Bloch’s “Prayer” (1924), followed by the Peirani/Mienniel setting of Astor Piazzolla’s “Alone, All Alone”, commencing as a meditative, nostalgic mood piece, then breaking into exuberant bravura. There was Milena Dolinova/Krystof Maratka’s Czardas IV, beginning with a sweetly sentimental section, to be followed by the wild, brilliant czardas itself and Bohemian composer/’cellist David Popper’s “Hungarian Rhapsody” (1894) also starting in a quasi-improvisational style, sending the ‘cello into its highest register before moving on to its inevitable excited agenda. Salque and Peirani paid vibrant homage to French gypsy culture with their sensitive and imaginative playing of works by Django Reinhardt and Stéphane Grappelli. And what could constitute more poignant night music than Vincent Peirani’s “Choral” – a modal piece, evocative of the pipe organ - so introspective, calm and suave. Vincent Peirani’s profound musicianship and aesthetic sense are what put him in a class on his own. Peirani and François Salque’s performance lent the nocturnal concert a classy, sophisticated aura.
If concert-goers attending “Breaking Bad” at 23:00 on February 5th were expecting to end the day with a soothing musical “night-cap’, they we presented with a wake-up call to a new concert experience, in which classical music can exist alongside popular-, jazz- and film music. The Belgian-based ensemble “Trilogy” was formed in 2011 by classical violinists Hrachya Avanesyan, Lorenzo Gatto and Yossif Ivanov. The three brilliant artists achieved overnight recognition with their first video “Pulp Fiction”. Addressing the audience, Avanesyan referred to the program as a “summary of the ensemble’s work”. At the Eilat event, the violinists were joined by Alexander Gurning (piano, electronic keyboard) and Eddie Francisque (percussion) in a performance of verve and high amplification! The program opened with Trilogy’s transcription of Vivaldi’s Concerto in a-minor RV522 for three violins and piano Their setting of the Bizet-Giraud “Carmen” Suite was given a sympathetic reading, with John Williams’ dejected and melancholic “Schindler’s List” theme empathic and highly sensitive. The artists’ sense of music as a game to be played was reflected in the ensemble’s arrangement of “Man with a Harmonica” from Ennio Morricone’s 1968 soundtrack to “Once upon a Time in the West”. If in Brahms’ Hungarian Dance no.1 (1869) they offered a mix of mellow playing with Roma-gypsy temperament, the artists’ pulsating, energetic, revved up performance of Soviet-Armenian composer Aram Khachaturian’s “Sabre Dance” (1942) prepared listeners for the energy level of these young players would accelrate as the night wore on. Later items on the program featured such pieces as a medley from “Daft Punk” and music from “Pulp Fiction” in performances of devil-may-care, unleashed energy and undaunted pluck, as the players let their hair down to show festival-goers what classical musicians are made of!
Exciting, enriching and of a high standard, the 2016 Eilat Chamber Music Festival drew large crowds to its events. Leonid Rozenberg has been the festival’s general and artistic director since its inception 11 years ago. Concerts were introduced by Yossi Schiffmann. As in former years, the staff of the Dan Hotel (manager: Mr. Lior Mucznik) went out of their way to make concert-goers welcome, adding festival sparkle to the four days.
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Roe and Anderson (photo:Maxim Reider)
Notes from the 2016 Eilat Chamber Music Festival - orchestras without conductors - Concerto Koeln (Germany) and Les Dissonances (France)
The 2016 Eilat Chamber Music Festival featured two orchestras playing without conductors…in the conventional sense. Concerto Köln, one of the first orchestras to play in the festival’s 11-year existence, has been involved in historically informed performance for 30 years. As members of a self-governed orchestra, the musicians carry a high degree of responsibility for performance results. Concerto Köln is known for its interest in the performance of little-known Baroque works; this was evident in “Händel and the Italian Baroque”, the ensemble’s first concert on February 5th, which featured Dutch mezzo-soprano Rosanne van Sandwijk. Most of the audience would not have been familiar with the first work – Concerto Grosso opus 5 no.6 in D-major by Evaristo Felice Dall’Abaco (1675-1742) – the performance affirming the argument for hearing more of Dall’Abaco’s music. A composer and performer at the Austrian court of Maximilian II and influenced by Vivaldi’s style, Dall’Abaco’s works have been brought to the public “ear” by Concerto Köln. Other instrumental works on the program were a spirited and well contrasted performance of Vivaldi’s Concerto for ‘Cello, Strings and basso continuo in D-minor RV 407 (soloist: Werner Matzke)and Giovanni Battista Sammartini’s Sinfonia in A-major. Rosanne van Sandwijk performed a splended selection of excerpts from a number of Händel works, opening with “Donna, che in ciel di tanta luce splendi”, highlighting its drama as she held the players in constant eye contact. She gave elegance and delicacy to Ruggiero’s aria from “Alcina”, “Mi lusinga il dolce affetto”, contending well with its rapid Neapolitan runs and trills, offering a well ornamented performance of “Cara Speme” (Giulio Cesare). In (Giovanni Battista Ferrandini or) Händel’s sacred cantata “Il pianto di Maria Vergine”, Sandwijk gave gripping, poignant and vehement expression to Mary’s grief, reproachful anger and torment.
Concerto Köln’s second concert featured four of the six Brandenburg Concertos - Italian-flavoured concerti grossi presented by J.S.Bach to the Margrave of Brandenburg in 1721. With each concerto differently scored, here was an opportunity to hear Concerto Köln’s various players in different ensemble combinations. They began with a fresh, vivid reading of No.3, its minimal second movement remaining enigmatic to many of us, then to No.5, graced with transverse flute (Cordula Breuer) with Gerald Hambitzer giving life to the harpsichord solo - its first big break in concerto history. Then to No.6, with its unconventional scoring of strings and harpsichord but no violins, concluding with the hearty Concerto No.4, with its charming recorder duo team (Wolfgang Dey, Cordula Breuer) and truly inspired violin playing on the part of first violinist Evgeny Sviridov.
David Grimal (photo: Maxim Reider)
Also playing with no conductor, or might one say “self-conducted”, Les Dissonances (France), a small orchestral collective established in 2004 by violinist David Grimal, performs the major works of orchestral repertoire up to contemporary music. In “A Mozart Celebration” Grimal (soloist) and his players, many of them young, presented the last three of Mozart’s five violin concertos and, as in Mozart’s day, they were performed without a conductor, with Grimal glancing at players here and there but not engaging in actual conducting gestures. This approach makes more demands on the players, therefore, with the Dissonances members proving that they were indeed polished in the art of producing music with accuracy, coordination and clean entries, as they watched each other intently, sensing the music together. Their reading of Violin Concerto no.3 in G-major K.216 bristled with clarity, lyricism and some splendid wind-playing, with Grimal shaping phrases with much beauty. In the more extroverted and virtuosic Violin Concerto no.4 in D-major K. 218, its surprise package offering a stately gavotte played over a drone in the third movement, Grimal did not allow virtuosity to get in the way of the 19-year-old Mozart’s style of charm and elegance. As to Violin Concerto no.5 in A-major K. 219, Grimal and his players set before the audience the work’s originality, imaginative structure, drama and daring, some meaningful rubati adding to the graceful fragility of the second movement. Following this was Mozart’s unorthodox utterance within the gracious final Rondo movement – an aggressive, clanging, percussive reference to the faux-Turkish music popular at the time. With the violin concertos written without cadenzas, here was Grimal’s opportunity to express his own ideas of the cadenza improvisation. Even if some listeners were surprised or puzzled by some unpredictable turns, I think Mozart would have been happy with Grimal’s daring, his unconventional inventiveness and freedom.
In their second concert - “The Four Seasons” - David Grimal and Les Dissonances chose to perform Antonio Vivaldi’s “Le quattro staggione” in dialogue with Astor Piazzolla’s “The Four Seasons of Buenos Aires”, presenting each composer’s depiction of each season. The score of Vivaldi’s composition, written around 1723, one of the earliest examples of program music, was accompanied by poems (possibly written by Vivaldi himself) describing the feelings associated with each season:
SUMMER
‘Under the heavy season of a burning sun
Man languishes, his herd wilts, the pine is parched
The cuckoo finds its voice and, chiming in with it,
The turtle-dove, the goldfinch…’
Piazzolla’s original version of “Cuatro Estaciones Porteñas” (1965-1970), a set of four tango compositions describing the four seasons in Buenos Aires, was scored for violin (viola), piano, electric guitar, double bass and bandoneon (a large button accordion, of which the composer was a virtuoso player.) From 1966-1968, Russian composer Leonid Desyatnikov arranged the pieces to be more similar in construction to those of Vivaldi – each given three sections – and with some quotes from the Vivaldi work. Not the first ensemble to engage in this meeting of “strange bedfellows” forming an alliance of works from different two continents (in recognition of which Desyatnikov threads elements of Vivaldi’s “Winter” into Piazzolla’s “Summer”!) and composed 250 years apart, Grimal and Les Dissonances took the bull by the horns and presented the audience with the rich and changing canvases, their alternation presenting an exciting challenge to the listener. Some found the changes jarring. Not I. This was fine festival fare and superbly performed. The artists’ playing of the much-loved Vivaldi violin concertos was direct, fresh and poignant, rich in timbral variety and in the inspiration generated by living nature and its secrets, the concertos flexed in accordance with the music’s innate elasticity. Grimal’s playing was poetic, moving and personal in expression. Piazzolla-Desyatnikov’s tango-inspired work, sharing with Vivaldi’s the depiction of all four seasons and the violin solo-string orchestra setting, weaves a vivid tapestry of European musical features, jazz and Argentinean tango, of abrupt shifts and the use of strings in a percussive manner. Swinging between the devil-may-care boldness and melancholy of Piazzolla’s writing, Grimal and his players brought out the vitality, earthiness, the wit and unabashed sentimentality of the Buenes Aires personality, giving themselves to the raw reality, fire, passion and sensuality of the music of Piazzolla’s native Argentina…and all this with no conductor!
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Bulgaria Embassy “Doors of Hope and Music for the Soul.” Delightful Music and Photographs.
The setting was intimate and unusual, the music was gracious and unusual, and the photographs were delightful – and unusual.
Yesterday at the Immanuel Church in Tel Aviv’s historic German-American Colony, the Bulgarian Ambassador to Israel, His Excellency Dimitar Mihaylov, the Embassy of Bulgaria, and the Bulgarian Cultural & Information Center hosted a small gathering of diplomats and friends to a concert of organ music. The concert title was “Doors of Hope and Music for the Soul.” The guests were privileged to hear a concerto played by Professor Sabin Levi of the National Academy of Music in Sofia, and at the same time to view a series of slide photographs, the ‘Doors of Hope’ – pictures taken of doors by Mrs. Nora Mihaylova.
In one of his previous diplomatic postings, Ambassador Mihaylov & Mrs. Mihaylova lived in Syria. Needless to say, many of the beautiful images were from the old city of Damascus, but also from Greece, the USA, and of course Israel – Jaffa, Jerusalem, Akko and Tel Aviv, to name a few. The juxtaposition of the images, combined with the music in the unusual setting was very special.
Guests include Mr. Moni Bar, Honorary Consul of Bulgaria, diplomats, friends and Bulgarian society in Israel (including former Tel Aviv councilor and former Bulgarian, Ms. Shelly Hoshen, who celebrated her birthday as well.)
In his brief welcome to the guests before the performance, the Ambassador added: “What unites us are beauty and art, culture and music”. The evening proved him right: A Jewish Bulgarian professor playing international organ music for the soul in a church in Israel to an enthusiastic mixed audience viewing doors of hope from around the world.
The cocktail reception following the concert was a lovely intermezzo allowing guests to mingle over a glass of wine and snacks.
Tourism seminar:
The Embassy of India and India Tourism Office Frankfurt organised a tourism seminar on February 11, 2016 in Renaissance Hotel, Tel Aviv. The seminar was attended by more than 40 tour operators and tour agents in Israel.
Charge de Affaires Dr. Anju Kumar delivered opening remarks. She spoke about the tourism potential in India and highlighted various sectors such as wild life, luxury tourism, surfing, Jewish heritage and region specific tourism as new facets for promoting Israeli tourism to India.
Professor Agami, retired professor of Botany in Tel Aviv University and expert on nature and wild life tourism gave a presentation on the vast wild life and nature tourism in India. He focused on nature reserve parks and wildlife attractions. Dani Abrahami, spoke the possibilities of short trips to India. He highlighted tourism potential of India as a family destination as well. Mr. Rafi Peled, lecturer at the Tel Aviv University for Sanskrit an expert on Yoga tours talked about Yoga Tourism while Roee Shentiel, an enthusiast surfer, and video editor of MAKO spoke on the huge potential of surf tourism in India and the surfing destinations like Pondicherry, Kerala and Karnataka.
There was a brainstorming session on “How to promote tourism to India” The panel speakers were Dr. Anju Kumar, Charge de Affaires, Mr. Ramkumar Vijayan, Assistant Director, Government of India, Tourism Office, Frankfurt, Mr. Rafi Peled, expert on Yoga Tourism, Mr. Danny Abrahami from Hodu.co.il and Mr. Barak Leibovitch from Eco Tours.
A Rajasthani folk group led by Mr. Esak Khan gave a charming performance at the event. The seminar was followed by a cocktail reception.
Classical guitar recital and master class performed by Mircea Gogoncea during the Tel Aviv Guitar Week, The Felicja Blumental Music Center, March 1-2, 2016
photo source: http://www.fbmc.co.il/?categoryId=103473
The Tel Aviv Guitar Week will take place between February 26, 2016 - March 2nd, 2016 at the Felicja Blumental Music Center.
With the support of the Romanian Cultural Institute in Tel Aviv, Romania will be represented in the international program by the young guitarist Mircea Gogoncea, who will perform a classical guitar recital on March 1st, at 21:00, and a master class on March 2nd between 10:00-17:00 at the Felicja Blumental Music Center in Tel Aviv (26 Bialik St.).
The musical program of the recital includes:
Mario Castelnuovo-Tedesco - Capriccio Diabolico, Op. 85a
Enrique Granados - 8 Valses Poéticos
Joaquin Rodrigo - Tres Piezas Españolas
Benjamin Britten - Nocturnal After John Dowland, op.70
Joaquin Clerch - Guitarresca
Tuesday, March 1st, 2016, at 21:00, tickets and more details: 03-6201185 or online http://www.fbmc.co.il/?categoryId=103473
More details about the master class: 052-2867856
Mircea Gogoncea (www.mirceagogoncea.com ), born in Bucharest, started playing the guitar at the age of 4 and has since performed on 4 continents, having been invited as a guest on more than 350 concerts, radio and TV shows. Upon graduating from high school at the age of 17, he was the Romanian student with the highest number of awards, and to date, has won a total of 153 prizes for music and 7 for his achievements in other spheres of the arts and sciences. Among the most prestigious of these have been the 1st prize at the Julián Arcas Guitar Competition in Almería, the 1st prize at the GFA Youth Solo Competition in Los Angeles, and the Audience Prize at the Francisco Tárrega Competition in Benicassim, Spain.
He made his orchestra debut at the age of 13 together with the National Radio Orchestra of Romania playing the 1st concerto op. 30 by Giuliani. In August 2014, he made his Chinese debut performing a full solo and chamber recital in the China Concert Hall in Beijing, as well as in Shanghai's oldest concert hall (the Lyceum Theatre), as part of a tour that has been continued in the summer of 2015.
In March 2014, he recorded his first album with eminent sound engineer John Taylor in London, featuring music from his China tour. During his studies, he maintains a regular performing career, especially in Europe and Asia.
He studied with Joaquín Clerch at the Robert Schumann Hochschule Düsseldorf and Michael Lewin at the Royal Academy of Music in London, where he finished his master degree in the summer of 2015. In June 2014, he was awarded the inaugural David Russell Prize at the Royal Academy of Music.
The complete program of the Tel Aviv Guitar Week: http://www.fbmc.co.il/?categoryId=97197
Notes from the 2016 Eilat Chamber Music Festival - three chamber music concerts
The 11th Eilat Chamber Music Festival took place at the Dan Eilat Hotel from February 3rd to 7th 2016. Azure skies, the sparkling indigo blue waves of the Red Sea - home to flotillas of small yachts - and the relaxed feel of Israel’s southernmost city welcomed the many festival-goers who attended the concerts taking place in the Tarshish Hall and the larger Big Blue Hall of the Dan Hotel.
“From Russia with Love” opened the festivities, with Franz Schubert’s Sonata in A-minor D821 “Arpeggione”, performed by Israeli ‘cellist Hillel Zori and Russian pianist Ivan Rudin: Zori gave poignant expression to the singing qualities, harmonic interest and contrasts of Schubert’s sound world, with Rudin giving the stage to Zori all the way. However, in three of Liszt’s “Transcendental Études”, Rudin wielded the piano with the authority of the lion tamer: his playing bristled with fantasy, dynamic variety, warmth and spontaneity, at times meditative, at others, vehement. Rudin was then joined by young violinist Marianna Vasileva (Russia-Israel) in Robert Schumann’s Sonata for violin and piano No.1 in A-minor. The two young virtuoso artists took on board the work’s quicksilver fluctuations and temperament with playing that was both intense and lyrical, well nuanced, finely coordinated and flexible. Together with Ivan Rudin, François Salque (France), no new face to the Eilat Chamber Music Festival, performed Frédéric Chopin’s Sonata for ‘cello and piano in G-minor opus 65, a momentous work in that it was the last Chopin published and in which he himself performed; it also represents the composer’s struggle with the ‘cello-piano medium and probably with his separation from George Sand. The artists gave a vigorous, noble and carefully balanced reading of this autumnal work.
Concert no.4 was a recital by violinist Yossif Ivanov and pianist Alexander Gurning, two outstanding young Belgian artists, both members of the unconventional ensemble – Trilogy. Their transparent sound, delicately shaped phrases, incisive playing and off-beat sforzandi (3rd movement) of Beethoven’s Violin Sonata opus 12 no.1 in D-major made for a fine representation of the composer’s early- but already distinctive style. In Edvard Grieg’s Sonata no.3 in C-minor opus 45, the artists addressed the work’s darker colorings and intensity, its lyricism, subtlety and the work’s references to the composer’s national music. Then to Igor Stravinsky’s Divertimento for violin and piano (1928) based on his ballet music to “The Fairy’s Kiss” and constructed around some melodies of Tchaikovsky. Also tinted with folk music features, the work held the audience’s attention with its rich canvas of sweet melodies, rich harmonic variety, heavy ostinatos, its fantasy and unpredictable changes. The recital concluded with Maurice Ravel’s “Tzigane”, in which both Ivanov and Gurning’s technical agility, fired by their own temperament and spontaneity, captured the composer’s interest in gypsy- and Hungarian culture.
For chamber music aficionados, Trio Wanderer’s performance was a reason to visit the 2016 festival. This was the second time the French trio has performed at the Eilat Chamber Music Festival. All three players were graduates from the Paris Conservatoire before studying at the Bloomington School of Music and the Juilliard School. Today, violinist Jean-Marc Phillips-Varjabédian and ‘cellist Raphaël Pidoux have teaching posts at the Paris Conservatoire; Vincent Coq teaches at the Haute École de Musique, Lausanne. Joseph Haydn’s Trio in C-major Hob.XV:27 (1797) was a fine opener, with much fresh, positive and communicative playing and Classical elegance. The first of a set of three trios, they were published as “Sonatas for the Pianoforte with Accompaniment of Violin and Violoncello”, showing where Haydn’s demands were (and they were well met by Vincent Coq), his range and writing for the keyboard pointing to the fact that it would have been played on a large English grand piano. In Franz Schubert’s Piano Trio no.2 in E-flat major, opus 100 D.929, the artists negotiated the appealing and majestic Allegro movement splendidly, with its Schubertian major-minor duality, to be followed by Pidoux’ sombre and meditative playing of the haunting ‘cello melody in the Andante movement. With tempos never achingly slow in any one movement, the artists stood back to present Schubert’s emotional world, its tensions and nostalgia relieved by good-natured lightness of texture as they attentively addressed each human gesture and mood. The concert ended with Piotr Ilych Tchaikovsky’s Trio in A-minor opus 50 (1882), a large-scale work on many levels, a work dedicated to the memory of Nicholas Rubenstein (brother of pianist and composer Anton Rubenstein) but also colored by Tchaikovsky’s own melancholic state of mind. The artists gave expression to the composer’s intense emotionalism and melodiousness in the opening elegiac movement. The simple folk-like theme (introduced by the piano) provided the subject for the eleven variations of the second movement, in which the trio presented each with its individual character – the Scherzo of Variation 3, the sweeping minor lines of Variation 4, the music box/drone effect of Variation 5, the elegant waltz of Variation 6, the contrapuntal interweaving of Variation 8, the Mazurka in Variation 10. Then, in the Finale, beginning with a jubilant variation, the artists take the listener back to the heavy-heartedness and mourning of the first movement, leaving the listener coming to grips with the intensely sad final layering of a tragic funeral march with the first movement theme, then fading and dying away. Trio Wanderer’s convincing and moving reading of the work left the audience in silence at its conclusion…laudation well earned by the superb performance of Trio Wanderer. For its encore, Trio Wanderer performed Ernest Bloch’s Nocturne no.2.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Published: 10 February 2016
In “A Celebration of Two Pianos” a new piano duo on the Israeli concert scene – Ariel Halevy and Misha Zartsekel – played to a full house at the Felicja Blumental Music Center (Tel Aviv) on January 21st 2016. Born in Jerusalem, Ariel Halevy began his piano studies at the Conservatory of the Jerusalem Academy of Music, receiving bachelor and master’s degrees from the Mannes School of Music (New York). As a soloist and recitalist he performs internationally, also leading a busy teaching life. In 2015, he recorded late Brahms piano works for the RomeoRecords label. Born in Rostov, southern Russia, Misha Zartsekel moved to Moscow at age 9. He immigrated to Israel in 2000, working with Rietta Lisokhin in Haifa as well as Prof. Itzhak Katz and Yaron Rosenthal at the Jerusalem Academy of Music and Dance. A recitalist and chamber musician, he has soloed with orchestras in Israel and abroad.
The program opened with Johann Sebastian Bach’s Concerto for two Harpsichords in C-major BWV 1061, the composer’s only work for two keyboards. Probably originally composed for two harpsichords from the outset, an orchestral accompaniment was added, possibly not by Bach. In the latter, the keyboard instruments play less against the orchestra, conversing more with each other, so that the two keyboards alone produce a full and satisfying musical setting. And now that we have come a safe distance from the stringency of the Authentic Early Music Movement, it is time to reconsider the performance of Bach on the piano. Halevy and Zartsekel gave a bold, clean and fresh reading of the concerto, their use of the sustaining pedal never blurring a line as they presented each motif with articulacy. Their absolute precision of timing provided a most splendid basis for the counterpoint to play out its complex game of melodic strands. Following the personal expression of the 2nd movement – Adagio ovvero Largo – in which the artists allowed themselves immerse themselves within the affect, they gave an exhilarating, dynamic and contrasted reading of the final movement – Fuga – a true celebration of the king of Baroque contrapuntal forms.
Johannes Brahms was introduced to a set of divertimenti for winds attributed to Haydn in 1870. He liked the theme of the second, the Chorale St. Antoni, a hymn sung by pilgrims on St. Anthony’s Day, copying the melody into his notebook. In 1873, he showed the two-piano version of his variations on the theme to Clara Schumann; she and Brahms gave it its first airing at a private gathering in Bonn that year. An orchestral version followed, being referred to as opus 56a, whereas the piano version is 56b, was published later. Critical of his own previous- but well-received sets of variations and those of his contemporaries, he wrote to violinist Joseph Joachim in 1856, claiming that in writing variations “we cling nervously to the melody…we don’t handle it freely” and “we merely overload it”. Brahms’ “Variations on a Theme by Haydn” were a turning point on that score. They are also a mammoth undertaking on the part of the pianists. Halevy and Zartsekel gave a rich rendition of Brahms’ “orchestration” of the piano. Nuanced with the strong, rewarding timbres of the Romantic soundscape, the artists’ playing took the listener from lyrical, singing melodies, to moments of urgency, to the sober, haunting message of the “minore” Variation IV, to a variation of breathless garrulousness that pushes bar-lines aside as it forges its way ahead (Variation V), to chordal textures, to the lovingly-treated and gently hesitating personal utterances of the Siciliano ((Variation VII), to the illusive sleight-of-hand of the last variation, ending with the wink of an eye. Their committed playing of the massive Finale endorsed Brahms’ aim to extend the boundaries of the variation form.
Sergei Rachmaninoff’s Suite No.1 opus 5, the “Fantasie-Tableaux”, inspired by a stay in the Russian countryside, was the composer’s first attempt at writing program music. It was written when the composer was just 20 years old. The work, however, shows a mature approach to the technical, tonal and interpretive resources of the two-piano medium. Each movement is headed by a quotation from one of four poets. Halevy and Zartsekel created each of the tableaus insightfully, lending magic and luxuriant colour to the layering of the opening Barcarolle, with its underlying hint of sadness, then evoking an intense description of night “La nuit…l’amour” (Night…Love), the cascading scales and copious trills forming the material of fantasy. A quote from Lord Byron’s poem “Parisina” introduces “La nuit”:
“It is the hour from when the boughs
The nightingale’s high note is heard;
It is the hour – when lovers’ vows
Seem sweet in every whisper’d word;
And gentle winds and waters near,
Make music to the lonely ear…”
“Les larmes” (Tears) began with an almost visual picture of single teardrops falling onto a bare soundscape; then, as the textures fill out, the artists take the listener into the inner regions of the senses, the “sculpted” tears ever returning, laden with longing. Sweeping away the melancholy state of mind of the previous movements, “Pâques” (Easter) is an exuberant and extroverted depiction of bells ringing out on Easter morning, the characteristic “noise” and repetitiveness of bells present in a myriad of astounding textures. Beyond the technical versatility and strength required in playing the “Fantasie-Tableaux”, this performance was clearly the result of deep enquiry into the fine details and meaning of this masterpiece.
Ending on a more light-hearted note, the artists performed W.A.Mozart’s Sonata in D-major for Two Pianos K.448, the composer’s only work for two pianos. This was not one of the composer’s duets played by him and his sister; indeed, the first piano part was played by Josepha von Auernhammer, a young woman who, it seems, had designs on the still single Mozart in 1781. In this work, constituting Mozart at his most galant, Halevy and Zartsekel brought the spirit of the Viennese salon and its fine entertainment to the audience at the Blumental Center, with Mozart’s graceful, songful music, its elegance and exhilarating virtuosity amounting to a true masterwork. In playing that was solid, positive and well contrasted, the opening movement breathed Mozart’s joy and positive outlook, also his modesty, as the two artists listened, matched and supported each other, with the Andante (2nd movement) setting the listener’s heart afloat with its charm and tender gestures, the artists’ phrases finely chiselled. With the engaging energy of the Allegro molto, the artists sent the audience home with a sense of well-being in which Mozart’s playful, refreshingly naïve and carefree agenda was alive with the joy of the piano duo.
A duo for only a year, Misha Zartsekel and Ariel Halevy share the music with warm resonance, clarity, precision and well balanced sonorities, with a strong sense of cooperation and of sharing.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
"So French, So Good" Fourth Annual French Culinary Week February 7-12
28 French chefs are bringing the best of France's culinary heritage to 20 restaurants and 4 bakeries in 6 Israeli cities: Tel Aviv, Haifa, Jerusalem, Be'er Sheva, Akko, Tiberias
On Sunday, February 7th, Israeli and international diplomats, businessmen, and media came together at the French Ambassador's residence for the most savory form of diplomacy—culinary diplomacy.
The evening marked the launch of “So French, So Good”, an annual week-long festival celebrating French culinary heritage, and connecting French and Israeli economic, cultural, and culinary interests. This year's festival was held in conjunction with the Toulouse municipality, Israeli supermarket chain Shufersal, Grey Goose vodka, Fly Card (the credit card of El-Al airlines), and JCDecaux Israel.
As part of the week-long celebration, 28 top French chefs worked with Israeli chefs at 20 restaurants and 4 bakeries all around Israel to prepare special menus highlighting the best of French cuisine. This year for the first time, French bartenders arrived to create cocktails complementing the meals.
This year's festival focused on Toulouse, the fourth-largest metropolitan area in France. The delegation of French chefs was led by Gomez Guillaume, the head chef of Élysée Palace, the residence of the French President, and including a number of chefs from Toulouse, led by Michel Sarran.
Israelis will also be able to satisfy their appetites for French cuisine at Shufersal branches, which are stocking an exclusive collection of top-quality French products as part of their "French Party" special.
Social activism played a central role in French Culinary Week as well. A number of Israeli charities were chosen as special beneficiaries. The visiting French chefs will be performing cooking workshops for charities, including the Bialik Rogozin campus for immigrant children in south Tel Aviv, children of the SOS youth villages, a women's shelter in Tira, and other charities. In addition, Israeli non-profit Leket will be collecting food all week long from the participating restaurants, and the French Embassy will be holding a special food-donation evening in conjunction with the Latet ("to Give") organization.
The opening event for French Culinary Week was held at the home of Ambassador Patrick Maisonnave. The mayors of Tel Aviv-Yafa, Jerusalem, Haifa, Acco, Be'er Sheva and Tiberias were invited to the event, and the mayor of Toulouse sent a representative to speak on his behalf. In addition to a variety of French delicacies prepared for the event, food-inspired artwork was also featured.
Ambassador Maisonnave addressed the guests, before introducing Shufersal CEO Itzik Abercohen, and representatives of Grey Goose Vodka and the Toulouse municipality to speak. Ambassador Maisonnave stressed the cultural and commercial ties between Israel and France that French Culinary Week seeks to advance. The ambassador noted that the event continues to grow from year to year (in 2014, ten chefs were flown in; last year the number rose to 19, and this year reached 28) and pledged to ensure that the event would continue to grow accordingly. For his part, Abercohen spoke about the response of consumers to the new products being stocked, and offered his own promise to do all he could to expand the supply of high-quality French food products available at Shufersal branches. After the speeches, the visiting French chefs , along with their Israeli counterparts, were called on stage to be formally recognized. Following that, the main course was served—including of course an entire room dedicated to wines and cheeses.
On Thursday, February 11, French Culinary Week will culminate with a series of workshops. The visiting French chefs will deliver cooking and baking workshops to the chosen charities, and a special workshop will be taught by Alexis St. Martin, Martial Enguehart and Ridha Khader at the Sheraton hotel, from 13:00-17:00, as part of a special tourism cooperation initiative launched by Israel and France in 2011.
Tel Aviv Samsung Marathon 2016 Nonstop Running, Nonstop Party 42 km around the city, 42 things to do in 42 hours in Tel Aviv
Tel Aviv is the Nonstop City, where people party nonstop. Once a year, we add to the nonstop party the Tel Aviv Samsung Marathon – the biggest sporting event in Israel with 40,000 participants, this year taking place on the 26th of February, 2016.
This year, the Tel Aviv Marathon is an urban route and the 42 km will intertwine with the city's beating heart. We recommend runners to not only catch a glimpse of the main square, a remarkable restaurant and run the 42km, but to stay in Tel Aviv for 42 hours to experience the city. In the morning, run past a trendy bar in the marathon, and in the evening, sit there and enjoy a drink.
The Tel Aviv Marathon's route begins at the Tel Aviv Convention Center located in northern Tel Aviv. The course leads the runners to the Tel Aviv boardwalk and the opportunity to run along the shore of the Mediterranean Sea and white sandy beaches. The route is also a run through history when it arrives in Jaffa, Tel Aviv's old city and one of the most ancient port cities in the world. At this point the track routes in to the city center, usually bustling with activity but on the day of the marathon the Nonstop City stops to cheer the runners on.
Here are 42 things to do in 42 hours in Tel Aviv:
Enjoy the show by " Voca People ".
You can try Israeli music, with Israel legendary singer Shalom Hanoch .
Maybe a rock concert? The Israeli band Monica Sex is on.
And if you want some international music, it's available also Greg Dullin is coming to perform at Tel Aviv.
If art is your thing, you can check out the exhibitions presented in town around the variety of museums like The Tel Aviv Museum of Art .
You must bear gifts while returning home! The best place for arts and crafts is the artist market at Nachlat Binyamin .
Visit the authentic Ha'carmel Market and try our local delight: Halva!
Definitely try Hummus in Abu Hassan.
The city's main square is Rabin Square, hosting the Tel Aviv Marathon Expo .
The best Asian food in Tel Aviv: Taizu .
Eat in one of the 400 vegan-friendly restaurants across town.
Visit the beautiful Sarona Compound.
You can even wakeboard at LakeTLV.
Have a glass of wine at Jajo Bar to kick off the night.
Even when you are in an urban sphere, you can experience nature in an innovative way at a night safari .
Welcome the Shabbat in at Drummer Beach, adjacent to the Dolphinarium beach, on Friday afternoon.
Photo Ronen Topelberg
Tel Aviv, The Smartest City in the world is now also a Smart Tourism City
Tel Aviv was awarded Smartest City in the World in 2014 and was ranked the #1 startup ecosystem outside of the United States in 2015. In addition, the city was recently ranked as one of the top tourist destinations by Lonely Planet.
Nowadays, Tel Aviv is investing in becoming a Smart Tourism City, combining its specialties in the field of tourism and technology.
On February 9-10, 2016, IMTM (International Mediterranean Tourism Market), the largest tourism fair in the Middle East, will take place at the Tel Aviv Convention Center in Israel. The fair provides tourism professionals with an opportunity to meet colleagues, buyers, suppliers and exhibitors from Israel and overseas.
The IMTM will feature 2 major events in the field of Smart Tourism:
Futurism.com: an Innovation conference, featuring panels with fascinating and prominent keynote speakers from around the world, relating to Smart Tourism. During the conference the winner of Tel Aviv Mayor's Smart Tourism Award will be announced.
The Digital Travel Dome: an exhibition featuring technological breakthroughs and startups with the latest innovation in the field of tourism.
Here are some examples of Smart Tourism Apps, all made in Tel Aviv:
Sidekix: helps you make the most of each walk by personalizing your route based on what you want to see or do along the way.
Eatwith: a global community that lets you enjoy authentic and intimate dining at a local's home.
LocalYoo: enables you to explore your destination from the local perspective: to discover all the little secrets that are known only to the ones living in the city.
Jettaplus: an online marketplace that allows travelers to trade their non-refundable plane tickets and get paid by people who look for cheap flights.
Roomer: connects travelers that have to cancel and who are stuck paying for an empty hotel room with the travelers looking for a last minute sweet deal.
FairFly: enables travelers who’ve already purchased an airline ticket to rebook their ticket when a better priced option becomes available.
Bossee: provides a fast way to build an itinerary around the schedule of business travelers in order to create a unique experience that they can hold on to while also accomplishing their business-needs.
Booksonmap: connects between book quotes, and places on the map where they took place.
Dotz: connects between those countless Dotz that make a city: parks, restaurants, galleries, shows, cool spots & amazing people.
Kiki: A unique platform for the international gay community combining a designated social network with upscale tourism and exclusive nightlife packages.
Published: 02 February 2016
New discovery at Tel Aviv University excavation of Qesem Cave reveals tortoises played a supplementary role in the diets of early humans 400,000 years ago
Turtle Soup, Perchance? Prehistoric Man Had a Penchant for Tortoises
New discovery at Tel Aviv University excavation of Qesem Cave reveals tortoises played a supplementary role in the diets of early humans 400,000 years ago
Tel Aviv — Grilled, boiled or salted? Turtles, or tortoises, are rarely consumed today, but a select few cultures, primarily East Asian, still consider turtle soup, made from the flesh of the turtle, a certain delicacy.
According to a new discovery at Qesem Cave, near Tel Aviv, the site of many major findings from the late Lower Paleolithic period, they are not alone in their penchant for tortoise. Tel Aviv University researchers, in collaboration with scholars from Spain and Germany, have uncovered evidence of turtle specimens at the 400,000-year-old site, indicating that early man enjoyed eating turtles in addition to large game and vegetal material. The research, published today in Quaternary Science Reviews, led by Dr. Ruth Blasco of the Centro Nacional de Investigacion Sobre la Evolucion Humana (CENIEH), Spain, and TAU’s Institute of Archaeology together with Prof. Ran Barkai and Prof. Avi Gopher of TAU’s Department of Archaeology and Ancient Near Eastern Civilizations, in collaboration with Dr. Jordi Rosell and Dr. Pablo Sanudo of Universitat Rovira i Virgili (URV), Spain, Dr. Krister T. Smith and Dr. Lutz Christian Maul of Senckenberg Research Institute and Natural History Museum, Germany, provides direct evidence of the relatively broad range of food early Palaeolithic people feasted on – and of the “modern” tools and skills employed to prepare it.
“Until now, it was believed that Palaeolithic humans hunted and ate mostly large game and vegetal material,” said Prof. Ran Barkai. “Our discovery adds a really rich human dimension – a culinary and therefore cultural depth to what we already know about these people.”
The research team discovered tortoise specimens strewn all over the cave at different levels, indicating that they were consumed over the entire course of the early human 200,000-year inhabitation. Once exhumed, the bones revealed striking marks that reflected the methods the early humans used to process and eat the turtles.
“We know by the dental calculus we discovered earlier, that the Qesem inhabitants also ate vegetables,” said Prof. Barkai. “Now we can say they also ate tortoises, which were collected, butchered and roasted even though they do not provide as many calories as fallow deer, for example.”
According to the study, Qesem inhabitants hunted mainly medium and large game – wild horses, fallow deer, cattle – zeroing in on their large quantities of fat and meat, which supplied the necessary calories. Moreover, it was until recently commonly believed that only Homo sapiens enjoyed a broad diet of vegetables and animals, large and small. However, evidence of the depreciation of small animals over time – this discovery included – begs otherwise.
“In some cases in history, we know that tortoises, slow-moving animals, were used as a ‘preserved’ or ‘canned’ food,” said Prof. Barkai. “But maybe the inhabitants of Qesem were simply maximizing their local resources. Either way, this discovery adds an important new dimension to the knowhow, capabilities and perhaps taste preferences of these people.”
According to Prof. Gopher, the new evidence also raises possibilities concerning the division of labor at Qesem Cave.
“Which part of the group found and collected the tortoises?” explained Prof. Gopher. “Maybe members who were not otherwise involved in hunting large game, who could manage the low-handling costs of these reptiles – perhaps the elderly or children.
“According to the marks,” said. Prof. Barkai, “most of the turtles were roasted in the shell. In other cases, their shells were broken and then butchered using flint tools. The humans clearly used fire to roast the turtles. Of course they were focused on larger game, but they also used supplementary sources – tortoises – which were in the vicinity.”
The researchers are currently examining bird bones recently discovered at Qesem Cave.
Figure 1: Cut marks on tortoise humerus from Qesem Cave. Images combining a 3D-model generated by a KH-8700 3D Digital Microscope, stereo light microscope with an oblique cold light source and analytical ESEM operated at LV mode. Note the morphology similar to a chop mark in the case of the main incision in figure 1, and the internal and parallel microstriations on one of its planes in figure 2, indicating directionality in the cut (which seems to have been produced near-transversely to the long axis of the bone).
Figure 2: Costal bone fragment of tortoise showing burning (degree 3) on the external surface while internal surface remains unburned.
On Thursday, January 28th, the US Embassy's American Center in Jerusalem hosted a Model UN conference including 60 Arab and Jewish students from Petah Tikva, Tira, Taybe, Baqa al-Gharabiya and Modiin. The students represented countries ranging from Albania to the United Arab Emirates, and they spent 5 hours debating and negotiating before producing resolutions on the conflict in Burundi, and on the topic of Refugees.
Both are very salient issues: the Burundi committee, acting as the Security Council, passed a resolution authorizing an African Union peacekeeping intervention into Burundi, about 72 hours before the African Union itself stepped back from its threat to intervene in Burundi. The Refugee committee convened about 48 hours before Europol’s warning that 10,000 refugee children are missing.
At the awards ceremony, Yehuda Stolov of the Interfaith Encounters Association, a cosponsor of the event, American Center Director Bill Murad, and Rachel Amrani, Director of the Young Ambassadors program, all addressed the students, before awards were handed out to the top students from each committee. The event was also covered by AlHurra News to be aired in Jerusalem, Beirut, Dubai, Cairo and Washington, DC.
"The Young Ambassadors School is a youth leadership program run by the Petah Tikva Municipality under Mrs. Rachel Amrani. The goal of the program is to create, empower and support a new generation of young leaders, with all of the knowledge, skills and experience to succeed. The program is geared for students in grades 8-12 and includes courses in journalism, leadership, public speaking, diplomacy and Model United Nations. In addition, Young Ambassadors have the opportunity to volunteer, receive delegations of students from abroad and guest speakers, visit government offices and foreign embassies, and participate in delegations abroad. Students who participate in the program learn international relations, public speaking, debate, negotiation and conflict resolution, enabling them to both contribute to their own society, and to represent Israel abroad.
This year the Model United Nations program has undertaken to hold bimonthly conferences with other MUN clubs, including schools from Baqa alGharabiya, Tira, Taybe and Modiin, adding an interfaith and intercity component to the program.
Steven Aiello oversees the Model United Nations program, including teaching classes, organizing conferences and guest lectures. He holds a BA in Economics (NYU), an MA in Diplomacy (IDC Herzliya) and is currently an MA student in Islamic Studies at Tel Aviv University."
Photos provided by Steven Aiello
“The Prague String Trio performs at the Embassy of the Czech Republic, Tel Aviv”
On January 14th 2016, the Prague String Trio gave a recital at the Embassy of the Czech Republic in Tel Aviv. The trio is supported by the Dvořák Foundation for Young Musicians. Members of the trio are violinists Pavel Kirs and Sang-a Kim (Korea) and violist David Schill. All three young are seasoned soloists and chamber players, with David Schill an accomplished orchestral player; the three are presently studying for artist diplomas at the Buchmann-Mehta School of Music, Tel Aviv. Founded in 2012, the Prague String Trio won 1st prize and invitations for more recitals at the International Competition for Chamber Ensembles at the Burg Kniphausen Academy, Wilhemshaven, Germany. The trio plays at major Czech festivals and at other international festivals. Its concerts are broadcast by the Vltava Czech radio station.
Mr. Arthur Polzer, press-, scientific- and cultural attaché of the Czech Embassy in Tel Aviv, opened the evening with words of greeting and information on the trio and its members. Pavel Kirs also offered some explanations on the two works on the program.
Antonin Dvořák (1841-1904) composed his Terzetto in C major opus 74 in 1887, at the height of his career. It came about by dint of circumstances: the composer’s mother-in-law rented a room to a chemistry student Josef Kruis, who was taking violin lessons. He was sometimes visited by Jan Pelikán, a string player in Prague’s National Theatre Orchestra, who was possibly his teacher. Dvořák, who enjoyed playing the viola, wrote the Terzetto within seven days, with the aim of playing it with them. As it turned out, the work was too difficult for the student and was premiered by players of the Prague Chamber Music Society. At the Tel Aviv concert, The Prague Trio gave expression to the work’s lyrical, sweet-toned flowing melodies and warm harmonies, together with its gently melancholic appeal, keeping a careful distance from over-sentimental playing. The graceful and indeed dense Larghetto gives way to a Scherzo rich in surprises. Following their spicy performance of the third movement Furiant with its vivacious Bohemian dance mannerisms, the players gave the final movement’s recitative-like, harmonically mischievous (original but folk-like) melody and variations much variety of mood and texture; the movement plays out major-minor ambivalence. David Schill highlighted the composer’s skillful working of the viola line, the role of which would ordinarily have been played by the ‘cello.
Zoltán Kodály (1882-1967) composed the Serenade for string trio opus 12 at a traumatic time of his life. Together with Bartok and Dohnányi, he had taken part in the so-called “musical directorship” in the 1919 Hungarian Soviet Republic, for which he became resented after its suppression by the rightist regime. He was blacklisted and performances of his works were banned. For two years he disappeared from the national- and international music scene. His teaching post was restored in 1922. The Serenade for Two Violins and Viola, one of the few important works written from 1919-1920, takes its inspiration from the treasury of folk music Kodály had collected together with Bartok. In the opening Allegramente, the Prague String Trio wove in Hungarian folk melodies with driving energy, to be contrasted by an expressive viola melody. The players proceeded to address the mystery and anguished agenda of the second movement – Lento ma non troppo – its disturbing pianissimo tremolo passages played by the 2nd violin (Sang-A Kim) and providing a haunting harmonic framework to the quasi-dialogue between 1st violin (Pavel Kirs) and viola (David Schill). This personal utterance takes the listener to the depths and despair of the composer’s mind. Then, creating much interest with the energetic Vivo movement, characterized by tempo contrasts, its variety of textures and rustic references to Hungarian folk idiom, the three artists brought the work to brilliant close.
With their musicality and outstanding ability, members of the Prague Trio, engaging in one of the less common trio combinations, collaborate closely to strike a fine balance between intelligent, carefully detailed performance and the spirit of music as derived from its folk sources, its influences and the composer as a person. The Tel Aviv Czech Embassy hosts recitals on a monthly basis.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
New Exhibition from Yad Vashem Opens at the German Historical Museum in Berlin with the participation of Chancellor Angela Merkel
On Monday, January 25 at 11:30am a press conference will be held at the German Historical Museum in Berlin at which the new exhibition "Art from the Holocaust: 100 Works from the Yad Vashem Collection" will be unveiled to the international media.
The exhibition, which was jointly curated by Yad Vashem and the Bonn-based Foundation for Art and Culture, is the first-ever art exhibition of its size and stature that Yad Vashem has sent abroad. The exhibition will be on display from January 26- April 3, 2016.
At the press conference, remarks will be made by key figures from the participating organizations, including :
Prof. Dr. Alexander Koch, President of the German Historical Museum
Avner Shalev, Chairman of Yad Vashem
Eliad Moreh-Rosenberg, Director of the Yad Vashem Art Department and Co-Curator of the Exhibit
Prof. Dr. Walter Smerling, Chairman of the Foundation for Art and Culture and Co-Curator of the Exhibit
Kai Diekmann, Board Member of the Foundation for Art and Culture and Editor-in-Chief of the national daily BILD media partner
The exhibition will be inaugurated at the German Historical Museum on the evening of Monday, January 25, with the participation of Chancellor of Germany H.E. Angela Merkel, Avner Shalev, Prof. Dr. Alexander Koch and Kai Diekmann.
A selection of the artworks featured in the exhibition may be viewed on Yad Vashem's website.
For more information on the exhibition and to attend the press conference, please contact the Communications Division at Yad Vashem. Additionally, a press kit will be available for those interested after the press conference.
The exhibition is made possible through the sponsorship of Daimler AG and the Deutsche Bank AG. The catalogue accompanying the exhibition is published by the Wienand Verlag, Cologne.
Ther Mendi Rodan Symphony Orchestra (Musical director: Eitan Globerson) and guests open the 2016 season
The Mendi Rodan Symphony Orchestra was joined by five members of the Meitar Opera Studio for the opening concert of the 2016 season on January 12th in the Mary Nathaniel Golden Hall of Friendship of the Jerusalem International YMCA.
Established in 2012 the Mendi Rodan Symphony Orchestra is named in memory of Maestro Mendi Rodan, Israel Prize winner, professor of conducting and Head of the Jerusalem Academy of Music and Dance. Members of the orchestra are students at the Academy; they audition to be accepted as players and work intensively prior to each concert, first in sectional rehearsals, then with all players. This way, participants receive professional training and become familiar with orchestral repertoire. Prof. Eitan Globerson, the orchestra’s founder, home conductor and musical director, conducted the opening concert.
The Meitar Opera Studio, under the auspices of the Israeli Opera and directed by Maestro David Sebba, is a practical study- and performance program for young Israeli opera singers following their graduation from music academies, giving them training and stage experience in preparation for opera careers. On graduation from the Meitar course, some singers join the Israeli Opera, with others performing further afield.
Following the Mendi Rodan Symphony Orchestra’s finely crafted playing of the Overture to W.A.Mozart’s opera “Don Giovanni”, members of the Meitar Opera Studio gave some electrifying renditions of opera arias: soprano Efrat Vulfsons and tenor Gitai Fisher contended well with the large orchestra, giving expression to “Ma quale mai s’offre oh dei” (What is this I behold) from Don Giovanni. Vulfsons presented all the strong emotions of the piece, Donna Anna’s shrieks of relief, hallucinations and revenge, with Fisher a stable and authoritative Don Ottavio. In “Quando m’en vo…” (And you who know) from Puccini’s “La Bohème, Vulfsons combines her variety of textures with a fine technique to create an unaffected performance of this opera favorite. In Ferrando’s aria from “Cosi fan tutti” “Un’aura amorosa” (A loving aura) Fisher’s cantabile, tender singing of the serenade was pure delight. Tenor Osher Sebbag, equipped with both a superb operatic voice and charisma, pours emotion into each role as he addresses his audience. With his tender, heartfelt performance of Nemorino’s aria “Un furtive lagrima” (A furtive tear) from Donizetti’s “L’elisire d’amore”, replete with carefully placed dramatic pauses, he took his audience with him all the way. Sebbag was joined by soprano Tali Ketzef for two arias from Verdi’s “La Traviata”; with the orchestra highlighting the delicacy of the moment of Violetta and Alfredo’s reuniting in “Parigi, o cara” (Dearest, we shall leave Paris), the singers collaborated well, timing gestures sensitively. In “Sempre libera” (Free and aimless) Ketzef floats the dizzying coloratura sections with ease, depicting Violetta as a jolly (or possibly insane) woman, with Alfredo’s amorous voice heard from the street. In “O, mia Babbino caro” (O my dear father) from Puccini’s “Gianni Schicchi”, soprano Irena Alhazov’s warmth of tone and vocal ease provided the audience with much enjoyment of the opera’s most famous aria. Kudos to the Mendi Rodan Symphony Orchestra’s players and their articulate conductor for their sensitive, richly colored and finely detailed orchestral support of these outstanding singers.
Following the intermission, Maestro Eitan Globerson and the Mendi Rodan Symphony Orchestra performed Hector Berlioz’ “Symphonie Fantastique” (1830), a work surely of great interest to the young players, its style and fantasy launching the spirit of Romantic period in music, its extra-musical agenda firing the fantasy of both players and listeners. In 1827 Berlioz saw a performance of Shakespeare’s “Hamlet”; he was smitten by the power of the drama but also by the beauty of actress Harriet Smithson. It seems she did not return his advances, hence the symphony’s program with its “idée fixe” running throughout the work, eventually taking the composer to the gallows (Berlioz’ eventual marriage to her ended in divorce.) To what extent the work is authentically programmatic (in time, Berlioz addressed less importance to the several programs he had written) or the result of visions due to the effects of drugs is not certain. Such superb and original music, the astounding, innovative combinations of its orchestration, not to speak of the “speaking” part given to the drums, keep the 5-movement work inspiring in its freshness and no less fascinating in its psychological aspects. The score calls for 2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets and 2 cornets, 3 trombones, 2 ophicleides (usually replaced by bass tubas), timpani, bass drum, snare drum, cymbals, low-pitched bells, two harps and strings. All of the above background and ideas make this work an experientially musical and affecting experience for players and audience alike. Globerson and his players gave fervent expression to the work’s sweeping melodic lines and shapes, its timbral interest, its small plangent solos and abundantly colored tutti. Much attention was also given to the work’s more intimate utterances, finding their way straight to the listener’s heart. The choice of the “Symphonie Fantastique” may have been no coincidence: as to the workings of the mind, Prof. Globerson is a researcher of brain science at Bar Ilan University, his post-doctoral research probing the perception of melody, using state-of-the-art imaging to track brain responses to pitch, loudness, timbre and other auditory attributes. Berlioz once wrote: “The predominant qualities of my music are passionate expression, inner fire, rhythmic drive – and the unexpected.” This was indeed evident in Prof. Globerson and the Mendi Rodan Symphony Orchestra’s exciting and masterful performance.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
The Jerusalem Baroque Orchestra performs a house concert prior to the "Bach in Jerusalem" Festival
A festive fundraising concert for the Jerusalem Baroque Orchestra was generously hosted by Mrs. Ora Holin on January 8th 2016 at her home in Kfar Shmaryahu, a tranquil suburb within the Tel Aviv district. Inclement weather did not deter the many guests from arriving from near and far to attend the house concert performed by some of the orchestra’s artists, both instrumental and vocal. Maestro David Shemer, the orchestra’s founder and musical director, opened with words of thanks to Mrs. Holin, talking briefly about the orchestra. He added that playing in a private home was indeed the most authentic environment for performing Baroque music.
The evening’s musical program opened with Antonio Vivaldi’s Trio Sonata opus 1 no.12 “La Follia” in d-minor RV63, the final work of twelve trio sonatas composed in 1705. This bold and daring work, scored for two violins (Noam Schuss, Dafna Ravid) and basso continuo (Eliav Lavie-theorbo, Orit Messer-Jacobi-‘cello, David Shemer-harpsichord), a true concert piece bearing the stamp of Vivaldi’s true genius, was a hearty opener for such an event. One of several sets of variations based on the same melody, Vivaldi’s “La Follia”, a single-movement sonata, comprises the subject melody and 19 variations. The JBO players presented the full variety of moods offered by Vivaldi’s work, from the noble opening variations, to virtuosic variations for first violin (Schuss) or ‘cello (Messer-Jacobi), to tranquil charm and elegance, to a dirge-like variation, to energetic brightness, variations of fuller and lesser textures, from the intimate to the exciting and exhilarating, then ending with two understated, retreating phrases to bring the listener back down to earth. One sensed the inspiration of the moment in some eloquent ornamentation heard, especially on the part of Noam Schuss.
For the three last movements of Johann Sebastian Bach’s Suite no.2 in b-minor, the ensemble was joined by Idit Shemer-flute, Tami Borenstein-viola and Yehuda Halevy-double bass. In this work, Bach took the opportunity of giving the flute the solo part: the transverse flute was coming into its own at the time. Composed in Leipzig, there is every reason to assume it was performed one-to-a-part, this theory endorsed by Joshua Rifkin and Andrew Parrott. The JBO players’ performance at the house concert gave lively support to this assumption. Here was Bach’s secular music – his stylized dance vocabulary - played in all its refinement, sophistication and subtlety, with flautist Idit Shemer opting to emphasize the elegant and playful side of the virtuosic flute role.
The final work on the program was Giovanni Battista Pergolesi’s “Stabat Mater”, the dying composer’s masterpiece, with its compelling paradox of tenderness and vividness. Vocal soloists soprano Daniela Skorka and countertenor Alon Harari coordinated well, setting the tragic scene in the opening section, leaning into dissonances, Harari’s accenting and ornaments highlighting verbal gestures, with Skorka utilizing her easeful vibrato to color strategic words. Both addressed the rhetoric with empathy, lyricism and, at times, forthright intensity. In “Dum emisit spiritum” (Till His spirit forth he sent) each detached syllable created a spine-chilling sense of the waning of life. The crystal-clear, personal utterances of the instrumentalists, weaving Pergolesi’s rich counterpoint through the musical fabric, made for an inspiring milieu for singers and audience alike.
Following the concert, Mr. Dan Shorer spoke of the first international “Bach in Jerusalem” Festival to take place from March 17th to 21st 2016 under the auspices of the JBO and centering around the actual date of J.S.Bach’s birthday. Inviting the Baroque music-loving public to give its support to this exciting project, he spoke of renowned artists taking part in the concerts and emphasized the slant the international festival would be taking: to examine the influence Bach’s music has had on musicians and the development of music in general.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Ninth President of Israel Shimon Peres sent out a special New Years greeting addressing all people and leaders across the world
He addressed the challenges faced across the world throughout 2015, yet expressed his strong optimism for the New Year ahead
Ninth President of Israel Shimon Peres sent out this morning a special New Years greeting addressing all people and leaders across the world. As part of his message he discussed the past year, pointing out the challenges faced across the world, such as terrorist attacks, poverty, and the refugee crisis in Europe. However, Peres noted that "We are facing a new promise, a promise of science and technology, where each and every one of us can grow, where we have new opportunities, new relations, and new tools in a new future." The Ninth President wished for a better future for all filled with happiness and peace, and stressed that the best years are still to come as all people the world over are more connected than ever before.
As part of the video, Peres said:
"Dear Friends, Happy New Year. We are today united as human beings like never before. We have had some problems in the passing year – terror, victims, refugees. But we are also facing a new promise, a promise of science, where we can improve, each of us and all of us, where we can produce new opportunities, new relations, new tools in the new future.
I would like to pray from here, from Jerusalem, for all the children in the world that they would have a better future, a better world, more happiness. It can be achieved, and we have to do everything to achieve it.
HAPPY NEW YEAR!"
President Rivlin hosts Christian community leaders for reception marking civil New Year
President Rivin: "A faithful Jew cannot be anti-Christian or anti-Muslim."
"We all have a duty, at the beginning of the New Year, and every day, to stand together, and show the world that the conflict in this region is not a war about religion, it is a war against hate."
President Reuven Rivlin this morning (Monday), hosted the traditional annual reception for leaders of Israel's Christian communities to mark the civil New Year. Speaking at the event along with the President was Greek Orthodox Patriarch of Jerusalem, His Beatitude Theophilos III. In addition, the event was attended by heads of various churches in Israel, senior members of the community, and representatives of the Israeli government.
President Rivlin began by noting that the last year had marked fifty years since the Nostra Aetate declaration, which defined the Catholic Church's policy against anti-Semitism and - as the President noted - paved the way for dialogue between the Jewish and Catholic communities. The President said, "I was honored this year, to meet with the Pope in the Vatican, where we spoke about how this relationship has grown stronger over the years. I appreciate very much what he said against anti-Semitism, and against converting Jews. His message of understanding and acceptance reflects both Christian and Jewish ideas – 'Love your neighbor, like yourself'. Pope Francis said, 'A true Christian cannot be an anti-Semite'. Let me say – a faithful Jew cannot be anti-Christian or anti-Muslim. The Ten Commandments – holy to Jews and Christians – teach respect for God and respect for man. These values do not go against each other, they go with each other. At the same time, the Jewish and democratic values of Israel go hand in hand."
The President added, "I am proud that Israel protects the freedom of worship and expression for everyone, of every faith. It is not enough for us to only be a safe home for Christians. We want the community to prosper, and play a part in Israeli society."
He concluded by wishing the Christian communities a joyful festive season, and said, "Jerusalem is the center of the world. Billions of people look to this city in hope and prayer. We all have a duty - at the beginning of the New Year and every day - to stand together and show the world that the conflict in this region is not a war about religion, it is a war against hate. We must work to build bridges between our communities, in the Holy Land and around the world. We must build dialogue, and show that people with different beliefs can live side by side, and even together; in schools and universities, in the workplace, in parliament, and even on the soccer field. This has been my mission as President, and it is a task which lies before all of us. This house, as the house of all the Israeli people, is your house too - my door is always open."
In response, representing the Church heads, Greek Orthodox Patriarch of Jerusalem His Beatitude Theophilos III said, "In this festive season, we greet you Mr. President, and wish to express our appreciation for the strong stand you have continued to take in demonstrating respect for all religions, and your condemnation of violence from whatever side it comes. We understand the importance in the region of healthy diversity of ethnic and religious traditions, with true coexistence, mutual respect, and security for all. We join you in these affirmations and condemnations. Allow us to reiterate our commitment to education based on the principles of moral values that derive from our common heritage. This is paramount to the shaping of our social fabric."
Statue of a ram discovered near ancient church in Caesarea
An impressive marble statue of a ram, an ancient Christian symbol for Jesus, was discovered on Christmas Eve during the excavation of a Byzantine-period church in Caesarea
An impressive marble statue of a ram was exposed near an ancient church that dates to the Byzantine period. The discovery was made last Thursday morning in an archaeological excavation the Israel Antiquities Authority http://www.antiquities.org.il/default_en.aspx is conducting in the Caesarea Harbor National Park http://www.caesarea.com/en/home/tourism-and-leisure/harbor/general-info/caesarea-harbor-national-park-map , at the initiative of the Caesarea Development Corporation.
In Christian art the ram is often depicted carried on the shoulders of the “Good Shepherd” (that is, Jesus, who is portrayed as the shepherd tending his flock), and sometimes the ram is situated to the left or right of Jesus. In Christianity the ram, like the lamb, represents the faithful, or Jesus himself, whose anguish and death were meant according to Christian belief to atone for original sin (the origin of the image is in John 29:1).
The ram appeared alongside the Greek gods Hermes and Mercury in Roman art, and it was a representation of the god Amun in Egyptian mythology.
According to Dr. Peter Gendelman and Mohammad Hater, directors of the excavation on behalf of the Israel Antiquities Authority, "Caesarea never ceases to surprise as evidenced by this amazing statue that was discovered today. In ancient Christianity Jesus was not portrayed as a person. Instead, symbols were used, one of which was the ram. It may or may not be a coincidence, but the statue was uncovered on Christmas Eve. The statue that we found might have been part of the decoration of a Byzantine church from the sixth–seventh centuries CE at Caesarea. By the same token it could also be earlier, from the Roman period, and was incorporated in secondary use in the church structure”.
The marble statue discovered in Caesarea. Photo: Vered Sarig, The Caesarea Development Corporation
TENS OF THOUSANDS ARE EXPECTED TO VISIT ISRAEL DURING THE CHRISTMAS PERIOD
The Tourism Ministry to provide free shuttle transport between Jerusalem and Bethlehem for Christmas Mass celebrations and to support Christmas festivities in Nazareth * Tourism Minister to host pre-Christmas reception on 21/12/15 for Church leaders in Jerusalem
Tourism Minister Yariv Levin: "I welcome the thousands of visitors who are expected to arrive in Israel for the Christmas holiday. We are doing our utmost to offer assistance to each and every one and welcome them. The ministry invests significantly throughout the year in the conservation and upgrading of Christian sites in order to ensure that every Christian can visit the sites that are sacred for him. We invite you to visit these sites and enjoy a powerful religious and spiritual experience."
Jerusalem, December 17, 2015 - The Tourism Ministry is working to welcome the tens of thousands of visitors expected to arrive in Israel for the Christmas period. From 15:00 on Christmas Eve through to 03:00 on Christmas Day, the Ministry of Tourism will offer free shuttle transportation, helping pilgrims travelling between Jerusalem and Bethlehem. Buses will leave every 30 minutes on the hour and half hour from the bus stop near the Carta Parking lot (opposite Jaffa Gate and near to the Mamilla Boulevard). The bus will also stop near the entrance to the Mar Elias Monastery, and at the Rosmarin junction, before continuing via Rachel's Crossing to Bethlehem - and then back again. Representatives from the Ministry of Tourism will welcome tourists and pilgrims at Rachel’s Crossing with sweets in the spirit of the holiday. The ministry will also provide a firework display during the Christmas parade in Nazareth.
EVENTS AND FESTIVITIES IN JERUSALEM AND NAZARETH
21 December 2015
Tourism Minister Yariv Levin will host the traditional pre-Christmas reception for leaders of the Christian communities and churches in Israel at the Shimshon Center, Beit Shmuel in Jerusalem at 11:00. Also participating in the reception alongside ambassadors and Christian leaders will be the Director-General of the Tourism Ministry Amir Halevi, and representatives of the Church, government and private bodies involved in promoting Christian tourism to the Holy Land. Among the Church leaders attending the reception: His Beatitude Greek Orthodox Patriarch Theophilus III, His Eminence Vatican Ambassador Giuseppe Lazzarotto and the Custos of the Holy Land His Paternity Pierbattista Pizzaballa. The minister will send season’s greetings for Christmas to the Christian communities and invite the faithful around the world to make a pilgrimage to the Holy Land.
24 December 2015
On Christmas Eve, 24.12.15, the traditional parade of thousands of local youth, together with the leaders of the Christian communities, will pass through Nazareth from 15:00. The parade ends at the plaza in front of the Basilica with a firework display, sponsored by the Tourism Ministry, to announce the opening of the festive Christmas celebrations (17:30). Christmas Mass will be celebrated in the Basilica of the Annunciation at 19:00.
In recent years, the Tourism Ministry has invested close to NIS 100 million in developing and maintaining the infrastructure of Christian sites, in order to enrich the pilgrim's spiritual experience. These sites include, among others, the baptism site at Qasr el Yahud near the Dead Sea, Mount Zion and Ein Karem in Jerusalem and the Gospel Trail in the Galilee. Other projects include, among others, the boardwalk from Tiberias to Capernaum, Korazim and Mount Precipice.
The Papal visit to Israel in May 2014 brought thousands of tourists and pilgrims to Israel and, following the visit, hundreds of thousands more tourists who traveled to the Holy Land as a result. The Tourism Ministry invested about NIS2.5 million around the visit in marketing to leverage the visit of the Pope.
The ministry runs dedicated websites and facebook pages for the Catholic and Evangelical communities.
www.holyland-pilgrimage.org (the Tourism Ministry’s dedicated site for Catholic pilgrims, available in English, Spanish, French, Italian, German, Polish and Portuguese).
http://www.goisrael.com/Evng (the Tourism Ministry’s dedicated site for Evangelical Christians)
Christian tourism:
54% of the 2.9 million tourist entries (those staying at least one night) in 2014 were Christians. Of these, 39% were Catholic, 27% Protestants, 27% Orthodox. Among the Protestants, 74% were Evangelicals (who comprise 20% of all Christian tourists and 8% of all tourists) while 26% were from the mainstream and the Afro-American church. Among the Orthodox, 85% belong to the Russian Orthodox Church, and 15% to the Greek Orthodox and others.
21% of all visitors to Israel defined the purpose of their visit as pilgrimage. The vast majority of all Christian visitors visit Jerusalem, with about a third visiting Tel Aviv-Jaffa. The most visited sites by Christians (by descending order) Church of the Holy Sepulcher, the Jewish Quarter, Capernaum, Old Jaffa, Tower of David, Qumran, Yad Vashem, Beit Shean and Qasr el Yahud.
Information about Christmas services: Christian Information Center http://www.cicts.org/default.asp?id=353 .
The Israeli opening of “Moments from a Unique Relationship”, a photo exhibition commemorating 50 years of German-Israeli diplomatic relations, took place on December 2nd 2015 at the Ben-Zvi Institute, Jerusalem, which hosted the event together with the Tel Aviv Embassy of the Federal Republic of Germany.
Opening the event and introducing the speakers and musical content, Dr. Judith Loebenstein-Witztum drew our attention to the hall in which we were seated – the Presidential Cabin, built in 1951 - where Rolf Friedemann Pauls, the first German ambassador to Israel, presented his credentials. President Yitzhak Ben-Zvi, who had assumed office in December 1952, believed the president to be a figure who should set an example of modesty, hence the pleasant, uncluttered décor of the room. Itzhak Ben-Zvi and his family lived in a wooden hut in the central Jerusalem suburb of Rechavia. The State of Israel purchased the adjacent wooden house to provide additional space for the President’s residence, providing offices for the President and his wife, Rahel Yanait. As to the cabin, with its folk-like but interesting wooden interior and cases of commemorative items, Ben-Zvi wanted it to be an environment where all Israeli would feel welcome.
The Ben-Zvi Institute of Yad Itzhak Ben-Zvi and the Hebrew University of Jerusalem was founded by Itzhak Ben-Zvi in 1947 for the purpose of the study of documents, manuscripts and printed material relating to the history, communal life and culture of Jewish communities from Islamic countries and in other countries of the Middle East and Asia. The institute initiates and supports research on these communities.
Following words of welcome from Prof. Haim Saadoun, director of the Ben-Zvi Institute, Dr. Clemens von Goetze, Germany’s 14th Ambassador to Israel spoke, expressing his thanks to the Ben-Zvi Institute for hosting the event and the exhibition. Dr. Goetze spoke of German-Israeli relations as having been initiated by Israel, of the very uniqueness of the collaboration and of it now covering many aspects and enjoying multiple achievements. He added that this uniqueness would remain.
With a deep connection to its research material, the Ben-Zvi Institute is the home to the Piyyut Ensemble, a group made up of people of different backgrounds performing material mostly from the North African repertoire of piyyut (the ancient collection of Jewish liturgical poems usually sung, chanted or recited in religious services.) Members of the Piyyut Ensemble of the Ben-Zvi Institute meet in search of a new choral sound that combines the traditional with the interpretive. All artists take inspiration from their own oriental backgrounds, those being mostly Moroccan. A few members (all men) of the ensemble performed two pieces in singing that was mostly in unison, the works structured but with spontaneous and solo elements. Convincing and spiritually-oriented, the artists gave emphasis to articularly sung texts, with sympathetic not-overly-obtrusive percussion accompaniments. In the second piece, oud (a plectrum-played, pear-shaped string instrument), percussion and ney (an end-blown flute commonly played in the Middle East) joined the singing, adding gentle textures and an oriental touch to the performance.
Giving much information on the exhibition itself, we heard Dr. Chana Schütz, curator of the exhibition and associate director and head of the research department of the Centrum Judaicum of the New Jewish Synagogue in Berlin. Dr. Chana Schütz is the daughter of Klaus Schütz (1926-2012), who was a German politician of the Social Democrat Party. He was Mayor of West Berlin from 1967-1977, President of the Bundesrat 1967-8, becoming federal Ambassador to Israel from 1977 to 1981. Chana Schütz felt she wanted to create the photographic exhibition in honor of her father. Addressing the development of this collaboration of the recent 50 years, she claimed that its progress could not have been predicted, that major problems might have caused it to unfold very differently and that its story has been “written” by individual people. She referred to Gershom Sholem’s discussion of the “myth of the German-Jewish dialogue”, in which he had claimed that the possibility of Jews overcoming their feelings to be hopeless; she also referred to an embarrassing incident with Polish-born Jewish authority in literary criticism Marcel Reich-Ranicki at the Schütz home in Jerusalem. Her own connection with this time in history bears many personal aspects: living in Jerusalem, she received her B.A. from the Hebrew University and it was in Jerusalem that she met her Texan husband-to-be.
The exhibition itself, Dr. Schütz explained, had come from the Centrum Judaicum, opening in May 2014, with Israeli President Reuven Rivlin making his first official visit to Germany for the occasion. First shown at the Federal Foreign Office in Berlin, it was opened by State Secretary Steinlein and the Israeli Ambassador to Germany Yaakov Hadas-Handelsman and Hermann Simon, director of the New Synagogue Berlin-Centrum Judaicum Foundation. Titled “Snapshots of a Unique Relationship”, the exhibition presents some of the highlights of the bilateral relations as of May 12th 1965, featuring photographs, information boards and film sequences to recall several significant moments of those 50 years. It focuses on the following themes: “Beginnings”, “Historical Responsibility”, “The Games Must Go On”, “Shared Values”, “Partnerships” and “Homelands”. Chosen by Dr. Schütz, all the material constitutes primary sources, most being of public domain. She expressed her gratitude to recently retired government press office photographer Moshe Milner and to the Israel Press Office for making photos available. The 52 images of the exhibition are interconnected, though not necessarily in chronological order. Visiting the exhibit, one can spend time viewing the mostly black-and white photos that bring to life so many important moments in the two countries’ recently shared half-century: first Israeli ambassador to Germany Asher Ben-Natan arriving on German shores in 1965, Ygal Alon and Willi Brandt photographed together (looking like brothers), a tense Menachem Begin shaking hands with German foreign minister Hans Dietrich Genscher in 1974, a bakery opened in Germany by a kibbutznik, a German-made submarine near Haifa in 2012, the first Israeli passport design by Hamburg-born Francesca Baruch…and much more. Dr. Chana Schütz ended her talk by referring to Israel and Germany as “mutually incompatible countries” yet bound by fundamental human values, the vital essence on which cooperation is based.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Photo :copyright: Ben Zvi – Ashley Silvern
POLISH INSTITUTE is delighted TO INVITE TO:
Opening event for ‘ Tribute to Polanski’ project. The event will be held at Cinemateque Tel Aviv, on Sunday 13th of December.
At 8.00 p.m. opening of the exhibition of works from WIZO Art Academy ( results of a weeklong workshop with Bartosz Kosowski- poster designer),
followed by screening of the film “ Carnage” and a Q& A with R. Polanski’s film editor, Herve de Luze, who is coming especially for this project and to receive an life time achievement award,
during Jewish Film Festival In Jerusalem.
RSVP to : This email address is being protected from spambots. You need JavaScript enabled to view it.
, till Thursday 10th,
A colourful Christmas celebration at the BIG FASHION Nazareth Mall
Santa Claus, holiday decorations and a festive holiday fair creating an unforgettable Christmas experience in BIG FASHION Nazareth shopping center
The lights, the trees, the colours and tastes. Everything in a European style:
The Big Fashion Nazareth Mall is celebrating Christmas just like any mall in the European capitals. The mall is decorated head to toe with Christmas trees, twinkle lights, a giant snowball and many stands offering holiday gifts.
The different stores and chains of the mall, all decorated their window displays, just like in Europe with snowflakes, trees, reindeers and glitters, attracting our eyes even from afar. The mall is having a Prettiest Window contest offering a pampering reward for the staff of the shop with the most festively decorated window.
Santa Claus’s traditional tree house, all decorated with lights, has been built inside the mall as a Christmas Pop-Up Shop offering a range of products, gifts, decorations and holiday novelty. Santa himself is roaming the mall, heading parades, surprising children with presents, dancing and celebrating to holiday tunes.
In addition, a spectacular holiday scenery will be set up to demonstrate a cozy in-doors holiday feel including a wooden fireplace, wool carpet, rocking chair, decorated twinkling Christmas tree with present underneath and more.
There will also be a festive Christmas market at the mall, offering special holiday accessories: authentic decorations, Santa hats, special food, spices and more.
The international atmosphere created in the Nazareth BIG FASHION Mall during the holiday is inseparable from the celebrations taking place throughout the city. The mall offers its shoppers a full holiday experience identical to those offered in shopping malls around the world.
BIG FASHION Nazareth Mall of the BIG Shopping Center Group is a first of its kind life style center in Israel characterized with a wide range of shops of the best international brands, empathizing fashion, cosmetics, jewelry and coffee shops. The center is built as an avenue of open streets fitting in to the environment and local scenery, turning the center in to a unique space of international atmosphere giving an experience of shopping in an urban street with the highest level of design.
Nazareth Big Fashion’s Facebook page is quickly and easily updated with all the hottest news from the mall- sales, brands, fashion trends, new collections and different holiday activities and events taking place at the mall during Christmas.
Big Fashion Nazareth Mall Christmas celebrations will start on November 10th
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Join BIG’s Facebook page for live feeds on events, sales and other surprises waiting for you at BIG shopping centers around the country!
The Israel Contemporary Players opened its 25th “Discoveries” season
The Israel Contemporary Players opened its 25th “Discoveries” season with a representative selection of the ensemble’s wide range of repertoire, from Stravinsky’s “Ragtime”, to music of Ligeti, to folk-flavored music, to the premiering of a work by Eitan Steinberg, with music from England, Europe and Israel. The concert was conducted by Professor Zsolt Nagy (b. Gyula Hungary, 1957), who has served as chief conductor and artistic adviser to the ICP since 1999. A collaboration of The Voice of Music IBA Israeli radio and the Jerusalem Music Centre Mishkenot Sha’ananim, with the support of the Ministry of Culture and the Tel Aviv-Jaffa Municipality, the series is under the artistic direction of Dan Yuhas and Zmira Lutzky. This writer attended the concert on November 1st 2015 at the Jerusalem Music Centre.
The program opened with “Pierrot on the Stage of Desire” (1998) by British conductor and composer Roger Redgate (b.1958), a work for flute, clarinet, violin, percussion and piano, written in the “New Complexity” style of the late 20th and early 21st centuries. As the title infers, the piece focuses on the character of the dreamy, naïve clown Pierrot and his sadly unrequited love for Columbine. In three miniature but evocative and richly designed movements, the players presented the opening movement’s feisty, witty character in crisp, articulate gestures, the middle movement more introspective than the two outer movements. With fine clarinet playing on the part of Danny Erdman, the sextet’s articulate and skillful performance offered much to fire the listener’s imagination, as the agitated third movement finally dissipated into nowhere. Redgate, who has worked in the fields of jazz, improvised music and performance art, writes music for film and television and writes about music. In 1999, he collaborated with the New York-based experimental rock band GAWK.
Then to what Zmira Lutzky referred to as a significant work in the development of modern chamber music – György Ligeti’s Chamber Concerto. Composed 1969-1970, it is scored for flute, clarinet (doubling bass clarinet), horn, trombone, harpsichord (doubling Hammond organ), piano (doubling celesta) and solo strings. As to its format, it is not a concerto in the conventional sense but “all 13 players are virtuoso soloists and all are treated as equals”, in the composer’s words. This being the case, the Israel Contemporary Players’ reading of it was beguiling and not just for its virtuosic performance. Nagy brought his ensemble together in articulate and wonderfully precise playing of the work’s extraordinary textures and different techniques, rendering it transparent, accessible and exciting. In its four contrasting movements, concluding with a wild, whirring series of rapid cadences, the work reminds the listener that this major classical work, in its inventive, playful, poetic and communicative utterance, still has much to say to today’s audiences.
We then heard the Israeli premiere of “Cosmic Progressions in the Heart II” for 10 instruments by Israeli composer Eitan Steinberg (b. 1955), one of today’s prominent Israeli composers. “Cosmic Progressions in the Heart II” was commissioned and premiered in 2011 by the El Perro Andaluz Ensemble (Dresden, Germany.) It is the second of three pieces, each the result of a process of change, referred to by Steinberg as non-linear change, with the composer interested in examining what might constitute development or a lack thereof in the pieces. Scored for orchestra, “Cosmic Progressions in the Heart I” was premiered by the Israel Camerata Jerusalem in 2008. “Cosmic Progressions in the Heart III” for symphony orchestra was premiered in 2013 by the Tbilisi Symphony, Georgia, conducted by Vakhtang Kakhidze. Referring to the pieces and their title, Steinberg spoke of the cosmos and the heart as what we all possess, that what we do has impact on the cosmos, with the cosmos also influencing our actions. When composing the work, what was echoing in the composer’s mind was that Albert Einstein had claimed that past and present are only directions like left and right, forward and backwards. Over recent years, as Steinberg has returned to the work to change parts here and there, creating new versions, it has gone through its own natural processes, hence its three versions. “Cosmic Progressions in the Heart II”, as performed at the ICP concert, is scored for strings, flute, clarinet, percussion, accordion and piano. A richly wrought canvas comprising tiny fragments as well as intense drawn-out sounds, a sprinkling of tonal references, dancelike moments, the use of insistent ostinato, a nostalgic folk-type melody played on accordion, Steinberg’s orchestration and palette of timbres are both sophisticated and attractive, personal and emotional, making for an exhilarating listening experience.
Igor Stravinsky’s “Ragtime” (1918), one of the composer’s “essays in jazz portraiture”, is scored for flute, clarinet, 2 horns, trombone, bass drum, snare drum, side drum, cymbals, 2 violins, viola, double bass and cimbalom. In 1915, Swiss conductor Ernest Ansermet took Stravinsky to hear Aladar Racz playing the Hungarian cimbalom - a hammered dulcimer from Eastern Europe, introduced into Hungary by the Roma (Gypsy) people - at a bar in Geneva. Stravinsky, fascinated by the trapezoid shape of the instrument and its rich timbre, decided to buy one; he and Racz found an elderly Hungarian gypsy with one for sale. The composer first used it to produce raucous animal effects in his chamber opera-ballet “Renard”, later using it wherever possible. Assuming an almost solo role in “Ragtime” (an extension of the dance in “A Soldier’s Tale”), Stravinsky used the cimbalom to imitate the sound of a honky-tonk piano. Guest artist at this ICP concert, Hungarian composer, improviser, jazz musician and master of the cimbalom Miklós Lukács (b.1977), on his first visit to Israel, joined Nagy and the ensemble in a performance that was jaunty, clean, pithy, bristling with energy and tinged with Stravinsky’s brand of cynicism, the uncommonly grainy character of the cimbalom infusing a unique voice into the texture.
The program concluded with “Da Capo” (2003-2004) for cimbalom (or marimba) and ensemble by Hungarian conductor and composer Peter Eötvös (b.1944), with Miklós Lukács performing the cimbalom part on the Israel Contemporary Players’ instrument (tuned chromatically). In an interview with Tünde Szitha appearing in the blog of Universal Music Publishing Classical in May of 2014, Eötvös spoke of the work’s title as relating to the structure of the work, to the constant process of starting afresh. “The music begins and reaches a certain point, but, before it is completed, it starts again…in a different way…nine times.” Introducing fragments of themes from Mozart archives as initial ideas, these launch a creative process transforming them into Eötvös’ own music. Referring to it as his “newest and oldest” work, the composer suggests that the piece could be subtitled “Reading Mozart”, but speaks of its scoring as being very different from Mozart’s orchestration, considering the fact that some of the instruments he uses did not exist in Mozart’s time. The essential difference lies in the variety of percussion instruments, not to speak of the instrument in the solo role. The latter was inspired by Miklós Lukács’ virtuoso playing, which, as we heard, was no understatement. In his dazzling performance, underlining the composer’s complex polyphonic writing, Lukács joins the ICP, serving as soloist and ensemble player as Eötvös runs the listener through the unpredictable course of “Da Capo”, its busy, split-character canvas juxtaposing velvety, touching Mozart gestures with blatant, fiery moments of atonality, the use of ostinati, some references to jazz and devil-may-care energy. For his encore, Miklós Lukács played his own composition “After Dark”, a virtuosic and folk-music-inspired piece, this time playing the cimbalom with his hands rather than with hammers.
In yet another evening of polished, dedicated and finely detailed performance, Maestro Nagy and members of the Israel Contemporary Players opened the new concert season with an outstanding evening of music.
Pamela Hickman's Music Interviews Blog http://pamelahickmansmusicinterviews.blogspot.co.il/
Pamela Hickman's Concert Critique Blog http://pamelahickmansblog.blogspot.co.il/
Eitan Steinberg photo by Eytan Shouker
| i don't know |
What is the name of the toning that produces brown and white photographs? | Toning Black & White Photographs | James Gilmore, Photographer
November 30, 2011 by James Gilmore
Toning Black & White Photographs
In photography, toning is a method of changing the color of black-and-white photographs.
In analog photography, toning is a chemical process carried out on silver-based photographic prints. This darkroom process can not be done with a color photograph and although the black-and-white photograph is now toned, it is still considered a black and white photograph as it is monochromatic.
Because toners convert the silver of the image into some other material, they can improve the long-term stability of a print. As well as toning the whole picture, you can achieve particularly striking results in some cases by toning (or coloring) selected areas.
Next Wednesday, Dec. 7th, at 3pm, we will be ‘stinking up’ McCloud Hall with sepia toner. Please bring UNMOUNTED black and white photos for toning. You can sepia tone individual photos, or your whole project. Dress down for this activity, or just bring an old kitchen apron to wear.
NOTE: I am requiring at least one sepia photo in your notebook!
Sepia Toning
Sepia toning converts the silver image to tones ranging from light to dark brown. Such toning can be achieved by using either Direct or Indirect toners. Sepia toning requires the image to be bleached before toning. Both lead to an improved image permanence.
Below gives details on ‘Direct’ and ‘Indirect’ techniques – for sepia toning images.
Direct Sulphide toners
Direct Sulphide toners are single solution toners, and act on the image directly – to convert it (partially or completely) to silver sulphide.
Direct sulphide toners work well with Multigrade FB Warmtone paper. Such toners have little effect on Multigrade IV papers however.
These types of toners have the advantage that toning can be stopped when the desired colour is reached, and also partially toned images can be further treated in other toners to produce various other special effects.
Prints toned in direct sulphide toners generally have similar density and contrast – to untoned prints.
These toners can be used at room temperature but they act very slowly – taking up to 30 minutes to reach completion. This time can be shortened considerably by raising the temperature to 100F/38C, but the drawback is that at higher temperatures this already initially strong smelling toning solution – will be even more unpleasant.
Examples of commercially available direct sulphide toners are :- Kodak Brown toner, Photographers Formulary Hypo-alum, and Photographers Formulary Polysulfide.
Indirect Sulphide toners
Indirect sepia toning is done in three stages. First the print is soaked in a potassium ferricyanide bleach to convert the metallic silver to silver halide. The print is washed to remove excess potassium ferricyanide then immersed into a bath of toner, which converts the silver halides to silver sulfide. The bleach used is normally a ferricyanide bromide type – which converts the silver image to silver bromide.
The darkening (redeveloping) solution is a solution of sodium sulphide. This solution has a very strong/nasty smell – and most users now prefer to use odorless toners. Odorless toners use an alkaline solution of thiourea to convert the silver bromide image to silver sulphide. Apart from being odorless, they also have the advantage of allowing the resulting image color to be adjusted by controlling the pH of the second bath. The pH adjustment is achieved by adding more or less sodium hydroxide solution to the second bath. More additive gives a colder image tone, less additive gives a warmer image tone.
Prints toned to have a very warm image tone generally have considerably lower density and contrast to untoned prints.
Examples of commercially available indirect sulphide toners are :
Indirect sulphide toners – Berg Rapid RC Sepia, Kodak Sepia, Photographers Formulary Sepia Sulphide 221, and Tetenal Sulphide.
Thiourea sulphide toners (non variable warmth) – Photographers Formulary Thiourea, Speedibrews Speedisepia.
Thiourea sulphide toners (variable warmth) – Fotospeed ST20 sepia toner, Rayco Varisepia, Tetenal Triponal.
| Sepia |
How did Van Gogh commit suicide? | +
What's This?
Split tone photography is a technique that has allowed photographers to produce some of the most amazing shots you will ever see. Done well, it can transform a scene into an eerie or stark movie-like scape. Done poorly, it doesn’t look too great at all. We decided to trawl the internet for the best resources on the art of split tone photography so that you can hone your own skills.
What is Split Tone Photography?
Split toning uses more than one colour to tone an image.
Backgrounder: In traditional print photography, toning was a way to change the basic colour of black and white photographs (traditional toning still creates a monochromatic image). Perhaps the most popular type of toning done traditionally was Sepia which produced a brown to orange cast and warms the overall photograph.
Experimentation with traditional forms of toning such as sepia eventually lead to several ways to “split tone” a photograph. For example, with sepia photographs, if the final bleaching was incomplete, the result was that the highlights would be sepia with the mid-tones and shadows remaining grey. This was one of the original ways to “split tone” a photograph.
When is It Best to Use Split Toning?
In the early days, split toning simply afforded photographers an extra avenue to pursue in their art form. It was one more arrow in their quiver and became quite popular in some quarters.
Today many photographers still enjoy the images that can be produced by emulating split toning in post-production software such as Photoshop and Lightroom. Often split toning can comfortably match a theme – think “blue steel” or “red dawn” and photographers often employ the technique to give a little extra punch to monochromatic images.
River Lightroom by ansik , on Flickr
How Do I Make Split Tone Photographs?
There are a lot of different ways to get the split tone effect in digital photography. Many of the most popular post-productions packages have the ability to turn out very high quality split tone images. We have collected a few tutorials on the more common packages below – Photoshop, LightRoom, Aperture and GIMP.
How to Do Split Toning in Photoshop
Split Toning in Photoshop is a great tutorial from the clever people at Digital Photography School who always manage to put out amazingly high-quality tutorials. This one is no different and covers the fundamentals (with lots of screen shots so you can follow along easily) of using Photoshop for this fun technique.
Two Quick Split Toning Techniques in Photoshop covers a couple of ways to achieve this effect and is put together by the folks at Tuts+ who are also always producing amazing tutorials like this. There are some good screen shots to give you an idea of what they are doing and solid examples of the effects.
Breath Taking Split Toning Effect is another Photoshop tutorial worth checking out (similar to the other examples), but the initial comparison of potential split toning effects is a good little visual representation of what can be achieved.
Split Toning in Photoshop is a great little video on Youtube from Yanik’s Photography School (which is a cool site that you should check out too). It’s a few years old now, but the process still works with more recent versions of Photoshop. Worth a watch if you prefer learning these things by watching others do them.
How to Do Split Toning in Lightroom
Split Toning Color Images in Adobe Lightroom is a 13 minute video on how to get the split tone effect in one of the most popular image management software packages around.
Create Beautiful, Warm Photos With Split Toning is a great tutorial from the folks at the Tuts Plus network (which is an amazing quality site if you didn’t already know) which focusses on enhancing the warm tones of the image with the split toning method. Lots of screen shots and progressive example to work to too!
How to Do Split Toning in Apple Aperture
Surprisingly, there are not too many tutorials online about split toning images in Apple Aperture. Somebody really needs to write some more so we can link to them from here (hint, hint)! These couple are a good start though.
Split Toning in Aperture 3 – This is probably the best tutorial of any version of Aperture and is well worth the read for Aperture users.
Aperture vs Lightroom – Split Toning – This is a comparison come tutorial for split toning in Aperture and it covers Lightroom too and how they compare. Definitely worth a read for Aperture users though. It’s brief, but gets the point across.
How to Do Split Toning in GIMP
GIMP Split Tone Tutorial – takes you through a very effective example of split toning in GIMP with an amazing result. Well worth a read from one of the best sites on the internet for the open source software phenomenon known as GIMP.
How to Split Tone with Gradient Map in the GIMP – takes you through an alternative way to get the split toning effect in GIMP.
Check Out These Great Examples of What Can be Done With Split Tone Photography
| i don't know |
'Glass of Absinthe' is a sculpture by which 20th century artist? | Looking at Absinthe Art and the “Green Fairy” | Peachridge Glass
Looking at Absinthe Art and the “Green Fairy”
Posted on 26 March 2013 by Ferdinand Meyer V
“la fée verte” (the green fairy)
While looking in to an an incoming e-mail yesterday and the eventual development of a post that partially touched New Orleans Absinthe makers , I became side tracked with reading about Absinthe and the “la fée verte” or Green Fairy. Many of the pieces of art I looked at were represented by an image of la fée verte. The Green Fairy is the female embodiment of the enticing, oft-mistrusted green elixir.
Absinthe arose to great popularity as an alcoholic drink in late 19th- and early 20th-century France, particularly among Parisian artists and writers. Owing in part to its association with bohemian culture, the consumption of absinthe was opposed by social conservatives and prohibitionists. Ernest Hemingway, Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, Henri de Toulouse-Lautrec, Amedeo Modigliani, Vincent van Gogh, Oscar Wilde, Aleister Crowley, Erik Satie and Alfred Jarry were all known absinthe drinkers. [Wikipedia]
Absinthe Spoons
I was really impressed with the artwork on many of the large lithographic advertising pieces of the late 19th century. This was at the height of the absinthe boom. Some of the greatest poster artists of the period – Cappiello, Privat-Livemont, Lefevre, Tamagno – created famous images to advertise the absinthe grand marques. [oxygenee].
Of equal interest were the artists who were using absinthe in their subject matter in their paintings. Artist such as Viktor Oliva, Albert Maignan, Pablo Picasso, Edouard Manet and Edgar Degas to name a few. Examples are represented below.
Please enjoy the art. Personally I feel a little bit more educated about absinthe this week. I definitely want to go to the oldest bar in downtown Houston, “La Carafe”, on one of my creative jaunts and order a glass of absinthe. I will then pull out my journal or iPad and get creative or bohemian. Or try at least.
A B S I N T H E G A L L E R Y
An unrecorded lithographic poster for Rosinette, Absinthe Rosé
Oxygénée, (37″ x 50″), printed by Camis around 1900. – Oxygenee.com
“The Absinthe Drinker” by Viktor Oliva
Felix Pernod Poster
Albert Maignan’s painting of “Green Muse” (1895) shows a poet succumbing to absinthe’s mind-altering effects. (Credit: Courtesy of the Musée de Picardie, Amiens)
“ASBSINTHE la Fee Verte” Poster
“The Absinthe Drinker” – 1901 – Pablo Picasso
A striking 1895 2 sheet poster showing Absinthe Mugnier’s famous desert legionnaireby Lucien Lefèvre, a pupil of Chéret. – Oxygenee.com
“The absinthe drinker” – 1850, Paris, France – Edouard Manet
One of the most iconic art nouveau images of all, this 1896 image for Absinthe Robette by the Belgian posterist Privat-Livemount has spawned a million reproductions. – Oxygenee.com
“The Absinthe Drinker Au Café (l’Absinthe)” – Edgar Degas – The two figures in this painting are Ellen Andree, a noted French Actress, and Marcellin Desboutin, an artist and noted bohemian personality, sitting at the Café de la Nouvelle-Athenes, in Paris, France. In front of the woman sits a glass of the greenish colored liquid, Absinthe. It was first exhibited in 1872, where it was criticized as ugly and disgusting, and a later exhibition in 1892 it was removed from the show. It was shown a year later inn England, where it sparked controversy. The woman in the painting was derided as a whore and the entire image was seen as a blow to morality and the degradation of society due to absinthe.
The often reproduced Absinthe Blanqui poster quintessential art-nouveau image, heavily influenced by the then fashionable vogue for orientalism. The original is rare, with only three surviving copies recorded. – Oxygenee.com
Poster for J. Edouard Pernot Absinthe
One of the most spectacular and important of all absinthe posters, this famous image by Gantner laments the prohibition of absinthe in France in 1915. In the centre, trampling the mortally wounded Green Fairy, is Raymond Poincaré, the arch-prohibitionist President of the French Republic, while in the background French troops are shown engaged in the first terrible battles of the 14-18 war. The white ribbon at the bottom “Les Habitués d’…” is left blank, to allow the name of the bar or café that originally purchased the poster to be added. A really tremendous rarity: this poster is missing from the collections of both the absinthe museums in France, and there are in total only 4 known examples. – oxygenee.com
Absinthe Ducros Fils Poster – All Posters
Poster for Absinthe Bourgeois – image Bruce Silva
About Ferdinand Meyer V
Ferdinand Meyer V, President, Federation of Historical Bottle Collectors, is a native of Baltimore, Maryland and has a BFA in Fine Art and Graphic Design from the Kansas City Art Institute and School of Design. Ferdinand is the founding Principal of FMG Design, a nationally recognized design consultation firm. Ferdinand is a passionate collector of American historical glass specializing in bitters bottles, color runs and related classic figural bottles. Ferdinand is married to Elizabeth Jane Meyer and lives in Houston, Texas with their daughter and three wonderful grandchildren. The Meyers are also very involved in Quarter Horses, antiques and early United States postage stamps.
| Pablo Picasso |
With which other painter would you associate painter Francoise Gilot? | Picasso's Rarely-Seen Sculptures Stir Absinthe Culture Back to Life | Bon Appetit
Picasso's Rarely-Seen Sculptures Stir Absinthe Culture Back to Life
Written By Elyssa Goldberg
When prolific artist Pablo Picasso wasn't completing one of almost 1,900 paintings, the Cubist was busy sculpting—though you'd never know it from his reputation. The new Picasso Sculpture exhibit at the Museum of Modern Art (MoMA) in New York is changing that, surfacing 141 rarely-seen sculptures from September 2015 until February 2016. Among them are six sculptures—titled Glass of Absinthe—reconstructing what it was like to drink absinthe in Paris in the early 20th century, when the drink reached peak mystery and allure.
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The absinthe glasses were made in 1914, about 12 years after Picasso made his first-ever sculpture. To construct the glasses, Picasso modeled two glasses out of wax, turned one upside down, and inserted a wooden dowel between them for stability. That was then cast into bronze. Up top sits a bronze sugar cube that balances on a real-life absinthe spoon.
According to Nancy Lim, a curatorial assistant in the department of painting and sculpture who worked on the exhibit, "It was revolutionary for him to incorporate the real spoons. No one else was integrating these real objects, except for maybe Duchamp," she says, referencing the Dada sculptor best-known for his Bicycle Wheel and Fountain.
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Sculpture was fun for Picasso. "He saw scupture as an arena of freedom, joy, play, and experimentation," Lim explains. "His relationship with painting was more anguished, and he worked on it continuously." He sculpted because he loved it, working on his practice passionately and episodically for the rest of his life. It was where he could be more adventurous with his subjects: "It was radical to sculpt a subject like a fruit, which he did. It was the same with the absinthe glasses and the real-life spoons. It demonstrated his openness to what was around him and what he thought could be worthy of sculpture-making, even if no one else thought so," she says.
To Picasso, it didn't matter if anyone liked his more than 700 sculptures. They never saw the light of day until a few years before he died, and he treated them intimately, as if they were friends. "He would seat them in chairs and talk with them; have conversations with them; and wrap scarves around them to keep them warm," explains Lim.
A real-life glass of absinthe with a spoon and sugar cube perched up top. Photo: Flickr/hugob0ss
Flickr/hugob0ss
Sculpture gave him the perfect opportunity to challenge popular conventions at the time. While he was sculpting the absinthe glasses, there were heated conversations in France over whether the green drink, thought to be an addictive hallucinogen that made people crazy, should be banned entirely. "But then of course we don't know if it actually did make people crazy," Lim says. "I just think that a lot of crazy people liked to drink it."
The way she sees it, "The absinthe glass sculptures could be seen as a type of foreshadowing, a predictive memoriam" of the popular drink. Because, in 1915, the French government formally banned the sale and production of the green liquor—only one year after Picasso's absinthe glass sculptures were completed.
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"On whose life is Somerset Maugham's ""The Moon and Sixpence"" based on?" | The Moon and Sixpence by W. Somerset Maugham | PenguinRandomHouse.com
About The Moon and Sixpence
One of the novels that galvanized W. Somerset Maugham’s reputation as a literary master
The Moon and Sixpence follows the life of one Charles Strickland, a bourgeois city gent whose dull exterior conceals the soul of a genius. Compulsive and impassioned, he abandons his home, wife, and children to devote himself slavishly to painting. In a tiny studio in Paris, he fills canvas after canvas, refusing to sell or even exhibit his work. Beset by poverty, sickness, and his own intransigent, unscrupulous nature, he drifts to Tahiti, where, even after being blinded by leprosy, he produces some of his most extraordinary works of art. Inspired by the life of Paul Gauguin, The Moon and Sixpence is an unforgettable study of a man possessed by the need to create—regardless of the cost to himself and to others.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
About The Moon and Sixpence
Based on the life of Paul Gauguin, The Moon and Sixpence is W. Somerset Maugham’s ode to the powerful forces behind creative genius.
Charles Strickland is a staid banker, a man of wealth and privilege. He is also a man possessed of an unquenchable desire to create art. As Strickland pursues his artistic vision, he leaves London for Paris and Tahiti, and in his quest makes sacrifices that leave the lives of those closest to him in tatters. Through Maugham’s sympathetic eye Strickland’s tortured and cruel soul becomes a symbol of the blessing and the curse of transcendent artistic genius, and the cost in human lives it sometimes demands.
From the Trade Paperback edition.
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Praise
"[A] witty, compelling roman à clef…that mock[s] the way the world makes saints of the sinners who are often its best artists." -The Boston Globe
"It is very difficult for a writer of my generation, if he is honest, to pretend indifference to the work of Somerset Maugham…. He was always so entirely there." -Gore Vidal
About W. Somerset Maugham
W. Somerset Maugham was born in Paris in 1874. He trained as a doctor in London where he started writing his first novels. In 1926 he bought a house in Cap Ferrat, France, which was to become a meeting place… More about W. Somerset Maugham
About W. Somerset Maugham
W. Somerset Maugham was born in Paris in 1874. He trained as a doctor in London where he started writing his first novels. In 1926 he bought a house in Cap Ferrat, France, which was to become a meeting place… More about W. Somerset Maugham
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What was the name of the painter who was the son of Hans Holbein the Senior? | The Moon and Sixpence by William Somerset Maugham · OverDrive: eBooks, audiobooks and videos for libraries
Biography & Autobiography Nonfiction
This carefully crafted ebook: "The Moon and Sixpence: One Man's Journey Across the Field of Art and into Its Depths (Based on Paul Gauguin's Life)" is formatted for your eReader with a functional and detailed table of contents.
The Moon and Sixpence is a novel by W Somerset Maugham, told in episodic form by a first-person narrator, in a series of glimpses into the mind and soul of the central character Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. It is based on the life of the painter Paul Gauguin.
William Somerset Maugham (1874–1965) was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930s.
This carefully crafted ebook: "The Moon and Sixpence: One Man's Journey Across the Field of Art and into Its Depths (Based on Paul Gauguin's Life)" is formatted for your eReader with a functional and detailed table of contents.
The Moon and Sixpence is a novel by W Somerset Maugham, told in episodic form by a first-person narrator, in a series of glimpses into the mind and soul of the central character Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. It is based on the life of the painter Paul Gauguin.
William Somerset Maugham (1874–1965) was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930s.
This carefully crafted ebook: "The Moon and Sixpence: One Man's Journey Across the Field of Art and into Its Depths (Based on Paul Gauguin's Life)" is formatted for your eReader with a functional and detailed table of contents.
The Moon and Sixpence is a novel by W Somerset Maugham, told in episodic form by a first-person narrator, in a series of glimpses into the mind and soul of the central character Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. It is based on the life of the painter Paul Gauguin.
William Somerset Maugham (1874–1965) was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930s.
This carefully crafted ebook: "The Moon and Sixpence: One Man's Journey Across the Field of Art and into Its Depths (Based on Paul Gauguin's Life)" is formatted for your eReader with a functional and detailed table of contents.
The Moon and Sixpence is a novel by W Somerset Maugham, told in episodic form by a first-person narrator, in a series of glimpses into the mind and soul of the central character Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. It is based on the life of the painter Paul Gauguin.
William Somerset Maugham (1874–1965) was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930s.
This carefully crafted ebook: "The Moon and Sixpence: One Man's Journey Across the Field of Art and into Its Depths (Based on Paul Gauguin's Life)" is formatted for your eReader with a functional and detailed table of contents.
The Moon and Sixpence is a novel by W Somerset Maugham, told in episodic form by a first-person narrator, in a series of glimpses into the mind and soul of the central character Charles...
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Which museum houses Velazquez's only painting of nude buttocks? | Diego Velázquez
Diego Velázquez
Location of death: Madrid, Spain
Cause of death: Fever
Nationality: Spain
Executive summary: Las Meninas
Head of the Spanish school of painting and one of the greatest painters the world has known, Diego Vel�zquez was born in Seville early in June 1599, the year in which Anthony Van Dyck also first saw the light at Antwerp. His European fame is of comparatively recent origin, dating from the first quarter of the 19th century. Until then his pictures had lain immured in the palaces and museum of Madrid; and from want of popular appreciation they had to a large extent escaped the rapacity of the French marshals during the Peninsular War. In 1828 Sir David Wilkie wrote from Madrid that he felt himself in the presence of a new power in art as he looked at the works of Velazquez, and at the same time found a wonderful affinity between this master and the English school of portrait painters, being specially reminded of the firm, square touch of Raeburn. He was struck by the sense of modernness of impression, of direct contact with nature, and of vital force which pervaded all the work of Velazquez, in landscape as well as in portraiture. Time and criticism have now fully established his reputation as one of the most consummate of painters, and accordingly John Ruskin says of him that "everything Velazquez does may be taken as absolutely right by the student." At the present day his marvellous technique and strong individuality have given him a power in European art such as is exercised by no other of the old masters. Although acquainted with all the Italian schools, and the friend of the foremost painters of his day, he was strong enough to withstand every external influence and to work out for himself the development of his own nature and his own principles of art. A realist of the realists, he painted only what he saw; consequently his imagination seems limited. His religious conceptions are of the earth earthy, although some of his works, such as the "Crucifixion" and the "Christ at the Column", are characterized by an intensity of pathos in which he ranks second to no painter. His men and women seem to breathe, his horses are full of action and his dogs of life, so quick and close is his grasp of his subject. England was~ the first nation to recognize his extraordinary merit, and it owns by far the largest share of his works outside of Spain. But Velazquez can only be seen in all his power in the gallery of the Prado at Madrid, where over sixty of his works are preserved, including historical, mythological and religious subjects, as well as landscapes and portraits. It is hardly creditable to the patriotism of Seville, his native town, that no example of his work is to be seen in the gallery of that city. Seville was then in the height of its prosperity, "the pearl of Spain", carrying on a great trade with the New World, and was also a vigorous center of literature and art. For more than a hundred years it had fostered a native school of painting which ranked high in the Peninsula, and it reckoned among itS citizens many whose names are prominent in Spanish literature.
Velazquez was the son of Rodriguez de Silva, a lawyer in Seville, descended from a noble Portuguese family, and was baptized on the 6th of June 1599. Following a common Spanish usage, he is known by his mothers name Velazquez. There has been considerable diversity of opinion as to his full name, but he was known to his contemporaries as Diego de Silva Velazquez, and signed his name thus. He was educated, says Palomino, by his parents in the fear of God, and was intended for a learned profession, for which he received a good training in languages and philosophy. But the bent of the boy was towards art, and he was placed under the elder Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school. From his works in Seville we can see that Herrera was a bold and effective painter; but he was at the same time a man of unruly temper, and his pupils could seldom stay long with him. Velasquez remained but one year -- long enough, however, to influence his life. It was probably from Herrera that he learned to use long brushes, or, as J. E. Hodgson suggested, brushes with long bristles, by means of which his colors seem to be floated on the canvas by a light, fluent touch, the envy and despair of his successors. From Herrera's studio Velazquez betook himself to a very different master, the learned and pedantic Pacheco, the author of a heavy book on painting, and, as we see by his works at Madrid, a dull, commonplace painter, though at times he could rise to a rare freedom of handling and to a simple, direct realism that is in direct contradiction to the cult of Raphael preached by him in his writing. A portrait by Pacheco, owned by Sir Frederick Cook, which shows this master's full power, was exhibited at Burlington House in 1907. In Pacheco's school Velazquez remained for five years, studying proportion and perspective, and seeing all that was best in the literary and artistic circles of Seville. Here also he fell in love with his master's daughter Juana, whom he married in 1618 with the hearty approval of Pacheco, who praises his hand and heart, claiming at the same time all the credit of having been his master. The young painter set himself to copy the commonest things about him -- earthenware jars of the country people, birds, fish, fruit and flowers of the marketplace. To paint well and thoroughly what he saw, to model with his brush, and to color under the influence of light and shade were for him the vital purpose, the first lesson, in his art. It was with deliberate purpose that Velasquez painted these bodegones (tavern-pieces), as they were called; for we are told that he said he would rather be the first painter of common things than the second in higher art. Carrying out this idea still further, Velasquez felt that to master the subtlety of the human face he must make this a special study, and he accordingly engaged a peasant lad to be his servant and model, making innumerable studies in charcoal and chalk, and catching his every expression. We see this model, probably, in the laughing boy of the Hermitage "Breakfast", or in the youngest of the "Musicians" acquired for the Berlin Museum in 1906. In such work as this, and in his studies by the wayside, Velasquez laid the foundation of his subsequent mastery of expression, of penetration into character, and of rendering the life of his sitter to the quick. He saw the world aroind him teeming with life and objects interesting to the painter, and he set himself to render these. His manner is as national as that of Miguel de Cervantes . He lived and died racy of the soil. The position and reputation of Velazciuez were now assured at Seville. There his wife bore him two daughters --all his family so far as is known. The younger died in infancy, while the elder, Francisca, in due time married Bautista del Mazo, a painter, whose large family is that which is represented in the important picture in Vienna which was at one time called the "Family of Velazquez." This picture is now by common consent given to Mazo. In the gallery at Madrid there is a portrait of Juana, his wife, holding a drawing-tablet on her knee. There was formerly in the possession of Lord Dudley another portrait of his wife by Velazquez, painted, perhaps, in the first year of their happy marriage. Of this early Seville manner we have an excellent example in "El Aguador" (the Water-Carrier). Firm almost to hardness, it displays close study of nature. One can see in it the youthful struggle to portray the effects of light stealing here and there over the prominent features of the face, groping after the effects which the painter was to master later on. The brushwork is bold and broad, and the outlines firmly marked. As is usual with Velazquez at this time, the harmony of colors is red, brown and yellow, reminding one of Jos� de Ribera . For sacred subjects we may turn to the "Adoration of the Magi" at Madrid, dated 1619, and the "Christ and the Pilgrims of Emmaus" in the collection of Don Manuel de Soto in Zurich, in both of which we have excellent examples of his realism. In the "St. John in the Desert" we again find his peasant boy transformed into the saint.
But Velazquez was now eager to see more of the world. Madrid, with its fine Titian s, held out strong inducements. Accordingly, in 1622, fortified with letters of introduction to Fonseca, who held a good position at court, he spent some months there, accompanied only by his servant. Here be painted the portrait of the poet Gongora, a commission from Pacheco, but the picture known by that name in the gallery at Madrid cannot with certainty be identified as Velasquez's portrait; it is more probably by Zurbaran. The impression which Velazquez made in the capital must have been very strong, for in the following year he was summoned to return by Olivares, the all-powerful minister of Philip IV, fifty ducats being allowed to defray his expenses. On this occasion he was accompanied by his father-in-law. Next year (1624) he received from the king three hundred ducats to pay the cost of the removal of his family to Madrid, which became his home for the remainder of his life. Weak and worthless as a king, Philip had inherited the art-loving propensities of his race, and was proud to be considered a poet and a painter. It is one of the best features of his character that he remained for a period of thirty-six years the faithful and attached friend of Velazquez, whose merit he soon recognized, declaring that no other painter should ever paint his portrait. By his equestrian portrait of the king, painted in 1623, Velazquez secured admission to the royal service with a salary of twenty ducats per month, besides medical attendance, lodgings and payment for the pictures he might paint. The portrait was exhibited on the steps of San Felipe, and was received with enthusiasm, being vaunted by poets, among them Pacheco. It has unfortunately disappeared, having probably perished in one of the numerous fires which occurred in the royal palaces. The Prado, however, has two portraits of the king (Nos. 1070 and 1071) in which the harshness of the Seville period has disappeared and the tones are more delicate. The modelling is firm, recalling that of Antonio Mor, the Dutch portrait painter of Philip II, who exercised a considerable influence on the Spanish school. In the same year the Prince Of Wales (afterwards Charles I) arrived at the court of Spain. We are told that he sat to Velazquez, but the picture has disappeared.
In 1628 Peter Paul Rubens visited Madrid on a diplomatic mission for nine months, and Velazquez was appointed by the king to be his guide among the art treasures of Spain. Rubens was then at the height of his fame, and had undertaken as a commission from Olivares the large pictures which now adorn the great hall in Grosvenor House, London. These months might have been a new turning point in the career of a weaker man than Velazquez, for Rubens added to his brilliant style as a painter the manner of a fascinating courtier. Rubens had a high opinion of the talent of Velazquez, as is attested by Fuensalida, but be effected no change in the style of the strong Spaniard. He impressed him, however, with the desire to see Italy and the works of her mighty painters. In 1627 the king had given for competition among the painters of Spain the subject of the Expulsion of the Moors. Velazquez bore off the palm; but his picture was destroyed in a fire at the palace in 1734. Palomino, however, describes it. Philip III points with his baton to a crowd of men and women driven off under charge of soldiers, while Spain, a majestic female, sits looking calmly on. The triumph of Velazquez was rewarded by his being appointed gentleman usher. To this was shortly afterwards added a daily allowance of twelve reals, the same amount as was allowed to the court barbers, and ninety ducats a year for dress, which was also paid to the dwarfs, buffoons and players about the kings person -- truly a curious estimate of talent at the court of Spain. As an extra payment he received (though it was not paid for five years) one hundred ducats for the picture of Bacchus, painted in 1629 (No. 1058 of the Madrid gallery). The spirit and aim of this work are better understood from its Spanish name, "Los Borrachos" or "Los Bebedores" (the Topers), who are paying mock homage to a half-naked ivy-crowned young man seated on a wine barrel. It is like a story by Cervantes, and is brimful of jovial humour. One can easily see in this picture of national manners how Velazquez had reaped the benefit of his close study of peasant life. The painting is firm and solid, and the light and shade are more deftly handled than in former works. Altogether, this production may be taken as the most advanced example of the first style of Velazquez. It is usual to divide his artistic career by his two visits to Italy, his second style following the first visit and his third the second. Rougbly speaking, this somewhat arbitrary division may be accepted, though it will not always apply, for, as is usual in the case of many great painters, his styles at times overlap each other. Velazquez rarely signed his pictures, and the royal archives give the dates of only his more important works. Internal evidence and history, as regards his portraits, supply to a certain extent the rest.
In 1629 Philip gave Velazquez permission to carry out his desire of visiting Italy, without loss of salary, making him besides a present of four hundred ducats, to which Olivares added two hundred. He sailed from Barcelona in August in the company of the Marquis de Spinola, the conqueror of Breda, then on his way to take command of the Spanish troops at Milan. It was during this voyage that Velazquez must have heard the details of the surrender of Breda from the lips of the victor, and he must have sketched his fine head, known to us also by the portrait by Van Dyck. But the great picture was not painted until many years later, for Spinola had fallen into disfavor at court. In Venice Velazquez made copies of the "Crucifixion" and the "Last Supper" of Tintoretto , which he sent to the king, and in Rome he copied Michelangelo and Raphael, lodging in the Villa Medici until fever compelled him to remove into the city. Here he painted the "Forge of Vulcan" (No. 1059 of the Madrid gallery), in which Apollo narrates to the astonished Vulcan, a village blacksmith, the news of the infidelity of Venus, while four Cyclops listen to the scandal. The mythological treatment is similar to that of the "Bacchus": it is realistic and Spanish to the last degree, giving a picture of the interior of an Andalusian smithy, with Apollo thrown in to make the story tell. The conception is commonplace, yet the impression it produces is undoubted from the vividness of the representation and the power of expression. The modelling of the half-naked figures is excellent. Altogether this picture is much superior to the other work painted at the same time, "Joseph's Coat", which now hangs in the Escorial. Both these works are evidently painted from the same models. In looking at these two pictures the spectator is especially struck by the fact that they betray no trace of the influence of the Italians. Velazquez remained true to himself. At Rome he also painted the two beautiful landscapes of the gardens of the Villa Medici, now in the Madrid museum (1106 and 1107), full of sparkle and charm. Landscape as an expression of art never had attraction for the Spaniards; but Velazquez here shows how great a master he was in this branch. The silvery views of Aranjuez, which at one time passed under his name, are now considered to be the work of his pupil Mazo. After a Visit to Naples in 1631, where he worked with his countryman Ribera, and painted a charming portrait of the Infanta Maria, sister of Philip, Velazquez returned early in the year to Madrid.
He then painted the first of many portraits of the young prince, Don Baltasar Carlos, the heir to the throne, dignified and lordly even in his childhood, caracoling in the dress of a field-marshal on his prancing steed. The Wallace Collection includes an example which is probably a copy by Mazo; but the finest in the United Kingdom is the well-known picture at Grosvenor House, a masterly example of the second manner of Velazquez. The color is warm and bright, the workmanship solid and fused like enamel, while light and air pervade every corner. The scene is in the riding-school of the palace, the king and queen looking on from a balcony, while Olivares is in attendance as master of the horse to the prince. Don Baltasar died in 1646 at the age of seventeen, so that judged by his age this picture must have been painted about 1641, two years before the fall of Olivares. This powerful minister was the early and constant patron of the painter. His impassive, saturnine face is familiar to us from the many portraits painted by Velazquez, a face which, like his royal masters, seems never to have known a smile, and in which are written pride and disdain. Two are of surpassing excellence -- the full-length formerly in the Holford Collection (exhibited at Burlington House in 1887), stately and dignified, in which he wears the green cross of Alcantara and holds a wand, the badge of his office as master of the horse; the other the great equestrian portrait of the Madrid gallery (No. 1069), in which he is flatteringly represented as a field-marshal in all his pomp during an action. It is difficult to overpraise the excellence of this work, either as regards its dramatic power or its masterly execution. In these portraits Velazquez has well repaid the debt of gratitude which he owed to his first patron, whom he stood by in his fall, thus exposing himself to the risk -- and it was not a light one -- of incurring the anger of the jealous Philip. The king, however, showed no sign of malice towards his favored painter. Faithful in few things, Philip kept true to Velazquez, whom he visited daily in his studio in the palace, and to whom he stood in many attitudes and costumes, as a huntsman with his dogs, as a warrior in command of his troops, and even on his knees at prayer, wearing ever the same dull uninterested look. His pale face and lacklustre eye, his fair flowing hair and moustaches curled up to his eyes, and his heavy projecting Austrian under-lip are known in many a portrait and nowhere more supremely than in the wonderful canvas of the London National Gallery (No. 745), where he seems to live and breathe. Few portraits in the whole range of art will compare with this work, in which the consummate handling of Velazquez is seen at its best, for it is, in his late and most perfect manner. From one of the equestrian portraits of the king, painted in 1638, the sculptor Monta�es modelled a statue which was cast in bronze by the Florentine sculptor Tacca, and which now stands in the Plaza del Oriente at Madrid, "a solid Velazquez", as it has been well named by Ford. This portrait exists no more; but there is no lack of others, for Velazquez was in constant and close attendance on Philip, accompanying him in his journeys to Aragon in 1642 and 1644, and was doubtless present with him when he entered Lerida as a conqueror. It was then that he painted the great equestrian portrait (No. 1066 of the Madrid gallery) in which the king is represented as a great commander leading his troops -- a role which Philip never played except in a theatrical pageant. All is full of animation except the stolid face of the king. It hangs as a pendant to the great Olivares portrait -- fit rivals of the neighboring Charles V by Titian, which doubtless fired Velazquez to excel himself, and both remarkable for their silvery tone and their feeling of open air and harmony combined with brilliancy. The light plays on the armor and scarf thrown to the wind, showing how completely Velazquez had mastered the effects he strove to reach in his early days. Of these two great works the Wallace Collection includes small but excellent copies.
But, besides the forty portraits of Philip by Velazquez, or attributed to him, we have portraits of other members of the royal family, of Philip's first wife, Isabella of Bourbon, and her children, especially of her eldest son, Don Baltasar Carlos, of whom, besides those already mentioned, there is a beautiful full-length in a private room at Buckingham Palace. Cavaliers, soldiers, churchmen and poets Of the court, as for example the Quevedo at Apsley House (shown in Burlington House in 1887), sat to the painter and, even if forgotten by history, will live on his canvas. The Admiral Pulido Pareja from Lord Radnor's collection, now at the National Gallery, is said to have been taken by Philip for the living man; nevertheless, A. de Beruete is emphatic in denying Velazquez's authorship of this picture, which he attributes to Mazo. It has been remarked that the Spaniards have always been chary of committing to canvas the portraits of their beautiful women. Queens and infantas may be painted and exhibited, but ladies rarely. One wonders who the beautiful woman can be that adorns the Wallace Collection, the splendid brunette so unlike the usual fair-haired female sitters to Velasquez. She belongs to this period of his work, to the ripeness of his middle period. Instinct with life, her bosom seems to heave and the blood to pulsate through her veins, The touch is firm but free, showing the easy strength of the great master. Rarely has flesh been painted with such a glow, yet with such reserve. This picture is one of the ornaments of the Wallace Collection. But, if we have few ladies of the court of Philip, we have in great plenty his buffoons and dwarfs. Even these deformed or haif-witted creatures attract our sympathy as we look at their portraits by Velazquez, who, true to his nature, treats them gently and kindly, as in "El Primo" (the Favorite), whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wiser and better-educated man than many of the gallants of the court. "El Bobo de Coria", "El Ni�o de Vallecas" and "Pablillos", a buffoon evidently acting a part, all belong to this middle period. From these commissioned portraits of the menials of the court it is pleasant to turn to one of the greatest of historical works, the "Surrender of Breda", often known as "Las Lanzas", from the serried rank of lances breaking the sky, which is believed to have been painted about 1647. It represents the moment when the vanquished Justin of Nassau in front of his Dutch troops is submissively bending as be offers to his conqueror Spinola the keys of the town, which, with courteous grace, the victor refuses to accept, as he lays his hand gently on the shoulder of his defeated foe. Behind Spinola stand the Spanish troops bearing their lances aloft, while beyond is a long stretch of the Low Country, dotted with fortifications and giving the impression of vast space and distance. The picture is full of light and air, and is perhaps the finest example of the silvery bluish style of Velazquez. In conception it is as fine as in execution, and one looks in vain for a trace of the malicious pencil which Sir William Stirling-Maxwell discerned in the treatment of Justin and his gallant Dutchmen. The greatest of the religious paintings by Velazquez belongs also to this middle period, the "Christ on the Cross" (Madrid gallery, No. 1055). Palomino says it was painted in 1638 for the convent of San Placido. It is a work of tremendous power and of great originality, the moment chosen being that immediately after death. The Saviour's head hangs on his breast and a mass of dark tangled hair conceals part of the face. The beautiful form is projected against a black and hopeless sky from which light has been blotted out. The figure stands absolutely alone, without any accessory. The skull and serpent described by Sir William Stirling-Maxwell were added by some pious bungler at a much later date. The picture was lengthened to suit its place in an oratory; but this addition has since been removed. To the same period belongs the great "Boar Hunt" at the National Gallery, a magnificent work in spite of some restorations. The smaller "Boar Hunt" in the Wallace Collection is from the brush of Mazo; and the "Conversation, a Group of Thirteen Persons", at the Louvre, a picture which in conception has much in common with these hunting scenes, probably owes its origin to the same artist. A. de Beruete emphatically denies Velazquez's authorship of this much belauded picture, which he describes as a "mediocre imitation, probably by Mazo."
Velazquez's son-in-law Mazo had succeeded him as usher in 1634, and he himself had received steady promotion in the royal household, receiving a pension of 500 ducats in 1640, increased to 700 in 1648, for portraits painted and to be painted, and being appointed inspector of works in the palace in 1647. Philip now entrusted him with the carrying out of a design on which he had long set his heart, the founding of an academy of art in Spain. Rich in pictures, Spain was weak in statuary, and Velazquez was commissioned to proceed to Italy to make purchases. Accompanied by his faithful slave Juan de Pareja , whom he taught to be a good painter, he sailed from Malaga in 1649, landing at Genoa, and proceeding from there by Milan to Venice, buying Titians, Tintorettos and Veroneses as he went. A curious conversation which he is said to have had with Salvator Rosa is reported by Boschini, in which the Spaniard with perfect frankness confesses his want of appreciation of Raphael and his admiration of Titian, "first of all Italian men." It seems a possible story, for Velazquez bought according to his likings and painted in the spirit of his own ideals. At Modena he was received with much favor by the duke, and doubtless here he painted the portrait of the duke at the Modena gallery and two splendid portraits which now adorn the Dresden gallery, for these pictures came from the Modena sale of 1746. They presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of Pope Innocent X in the Doria palace at Rome, to which city Velazquez now proceeded. There he was received with marked favor by the pope, who presented him with a medal and gold chain. Of this portrait, thought by Sir Joshua Reynolds to be the finest picture in Rome, Palomino says that Velazquez took a copy to Spain. There exist several in different galleries, some of them possibly studies for the original or replicas painted for Philip. One of the most remarkable is that in Apsley House, exhibited in Burlington House in 1887. The modelling of the stern impassive face comes near to perfection, so delicate are the gradations in the full light; all sharpness of outline has disappeared; and the features seem moulded by the broad and masterly brushwork. When closely examined, the work seems coarse, yet at the proper distance it gives the very essence of living flesh. The handling is rapid but unerring. Velazquez had now reached the manera abreviada, as the Spaniards call this bolder style. This is but another way of saying that his early and laborious studies and his close observation of nature had given to him in due time, as to all great painters, the power of representing what he saw by simpler means and with more absolute truth. At Rome he painted also a portrait of his servant Pareja, probably the picture of Lord Radnor's collection, which procured his election into the academy of St. Luke. Philip was now wearying for his return; accordingly, after a visit to Naples, where he saw his old friend Ribera, he returned to Spain by Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which he afterwards arranged and catalogued for the king. Undraped sculpture was, however, abhorrent to the Spanish Church, and after Philip's death these works gradually disappeared.
Isabella of Bourbon had died in 1644, and the king had married Mariana of Austria, whom Velazquez now painted in many attitudes. He was specially chosen by the king to fill the high office of "aposentador major", which imposed on him the duty of looking after the quarters occupied by the court whether at home or in their journeys -- a responsible function, which was no sinecure and interfered with the exercise of his art. Yet far from indicating any decline, his works of this period are amongst the highest examples of his style. The dwarf "Don Antonio el Ingl�s" (the Englishman) with his dog, "Aesop", "Menippus" and "the Sculptor Monta�es", all in the Madrid gallery, show his surest and freest manner. To these may be added the charming portraits of the royal children in the Louvre and Vienna, among the choicest of his works. It is one of these infantas, Margarita Maria, the eldest daughter of the new queen, that is the subject of the well-known picture "Las Meni�as" (the Maids of Honor), 1062 in the Madrid gallery, painted in 1656, where the little lady holds court, surrounded by her ladies-in-waiting, her dwarfs and her mastiff, while Velazquez is seen standing at his easel. This is the finest portrait we have of the great painter. It is a face of much dignity, power and sweetness -- like his life, equable and serene, unruffled by care. "Las Meni�as" was the picture of which Luca Giordano said that it was the "theology of painting", another way of expressing the opinion of Sir Thomas Lawrence , that this work is the philosophy of art, so true is it in rendering the desired effect. The result is there, one knows not by what means, as if by a first intention without labor, absolutely right. The story is told that the king painted the red cross of Santiago on the breast of the painter, as it appears to-day on the canvas. Velazquez did not, however, receive the honor until 1659, three years after the execution of this work. Even the powerful king of Spain could not make his favorite a belted knight without a commission to inquire into the purity of his lineage on both sides of the house. The records of this commission have been found among the archives of the order of Santiago by M. Villaamil. Fortunately the pedigree could bear scrutiny, as for generations the family was found free from all taint of heresy, from all trace of Jewish or Moorish blood and from contamination by trade or commerce. The difficulty connected with the fact that he was a painter was got over by his being painter to the king and by the declaration that he did not sell his pictures. But for this royal appointment, which enabled him to escape the censorship of the Inquisition, we should never have had his splendid "Venus and Cupid", formerly belonging to Mr. Morritt of Rokeby Hall and bought by the National Art Collections Fund for �45,000 for the National Gallery in 1905. It is painted in his latest manner and is worthy of comparison with Titian. There were in truth but two patrons of art in Spain -- the church and the art-loving king and court. Murillo was the artist favored by the church, while Velazquez was patronized by the crown. One difference, however, deserves to be noted. Murillo, who toiled for a rich and powerful church, left scarcely sufficient means to pay for his burial, while Velazquez lived and died in the enjoyment of good salaries and pensions. Yet on occasions Philip gave commissions for religious pictures to Velazquez -- among others, and belonging to this later period, the "Coronation of the Virgin" (Madrid, 1056), splendid in color -- a harmony of red, blue and grey -- but deficient in religious feeling and dignity. It was painted for the oratory of the queen, doubtless Mariana, in the palace at Madrid. Another royal commission for the hermitage of Buen Retiro was the "St. Anthony the Abbot and St. Paul the Hermit", painted in 1659, the landscape of which excited the warm admiration of Sir David Wilkie (No. 1057 in the Prado). The last of his works which we shall name is "Las Hilanderas" or the Spinners (Madrid, 1061), painted about 1656, representing the interior of the royal tapestry works. The subject is nothing, the treatment everything. It is full of light, air and movement, splendid in color and marvelous in handling. This picture, Raphael Mengs said, seemed to have been painted not by the hand but by the pure force of will. We see in it the full ripeness of the power of Velazquez, a concentration of all the artistic knowledge he had gathered during his long career of more than forty years. In no picture is he greater as a colorist. The scheme is simple -- a harmony of red, bluish-green, grey and black, which are varied and blended with consummate skill.
In 1660 a treaty of peace between France and Spain was to be consummated by the marriage of the infanta Maria Theresa with Louis XIV , and the ceremony was to take place in the Island of Pheasants, a small swampy island in the Bidassoa. Velazquez was charged with the decoration of the Spanish pavilion and with the whole scenic display. In the midst of the grandees of the first two courts in Christendom Velazquez attracted much attention by the nobility of his bearing and the splendor of his costume. On the 26th of June he returned to Madrid, and On the 31st of July he was stricken with fever. Feeling his end approaching, he signed his will, appointing as his sole executors his wife and his firm friend Fuensalida, keeper of the royal records. He died on the 6th of August 1660, passing away in the full possession of his great powers, and leaving no work behind him to show a trace of decay. He was buried in the Fuensalida vault of the church of San Juan, and within eight days his wife Juana was laid beside him. Unfortunately this church was destroyed by the French in 1811, so that his place of interment is now unknown. There was much difficulty in adjusting the tangled accounts outstanding between Velazquez and the treasury, and it was not until 1666, after the death of Philip, that they were finally settled.
Velazquez can hardly be said to have formed a school of painting. Apart from the circumstance that his occupations at court would have prevented this, his genius was too personal for transmission by teaching. Yet his influence on those immediately connected with him was considerable. In 1642 he befriended young Murillo on his arrival in Madrid, received him into his house, and directed his studies for three years. His son-in-law Mazo painted in his manner, and doubtless many pictures by Mazo are attributed to the master. Carre�o, though never a pupil, was a favorite and had the good sense to appreciate him and imitate him. His faithful slave Pareja studied his methods and produced work which by the favor of Velazquez procured his manumission from Philip. But the appreciation of the fine talent of Velazquez passed away quickly in Spain, as that country began to fall to pieces.
Wife: Juana Pacheco (his master's daughter, m. 1618)
Daughter: (d. infancy)
| National Gallery |
Emanuel Radinsky was born in Philadelphia in 1890 and died in Paris in 1976. He was a surrealist painter and photographer. By which name is he better known? | Diego Velázquez
Diego Velázquez
Location of death: Madrid, Spain
Cause of death: Fever
Nationality: Spain
Executive summary: Las Meninas
Head of the Spanish school of painting and one of the greatest painters the world has known, Diego Vel�zquez was born in Seville early in June 1599, the year in which Anthony Van Dyck also first saw the light at Antwerp. His European fame is of comparatively recent origin, dating from the first quarter of the 19th century. Until then his pictures had lain immured in the palaces and museum of Madrid; and from want of popular appreciation they had to a large extent escaped the rapacity of the French marshals during the Peninsular War. In 1828 Sir David Wilkie wrote from Madrid that he felt himself in the presence of a new power in art as he looked at the works of Velazquez, and at the same time found a wonderful affinity between this master and the English school of portrait painters, being specially reminded of the firm, square touch of Raeburn. He was struck by the sense of modernness of impression, of direct contact with nature, and of vital force which pervaded all the work of Velazquez, in landscape as well as in portraiture. Time and criticism have now fully established his reputation as one of the most consummate of painters, and accordingly John Ruskin says of him that "everything Velazquez does may be taken as absolutely right by the student." At the present day his marvellous technique and strong individuality have given him a power in European art such as is exercised by no other of the old masters. Although acquainted with all the Italian schools, and the friend of the foremost painters of his day, he was strong enough to withstand every external influence and to work out for himself the development of his own nature and his own principles of art. A realist of the realists, he painted only what he saw; consequently his imagination seems limited. His religious conceptions are of the earth earthy, although some of his works, such as the "Crucifixion" and the "Christ at the Column", are characterized by an intensity of pathos in which he ranks second to no painter. His men and women seem to breathe, his horses are full of action and his dogs of life, so quick and close is his grasp of his subject. England was~ the first nation to recognize his extraordinary merit, and it owns by far the largest share of his works outside of Spain. But Velazquez can only be seen in all his power in the gallery of the Prado at Madrid, where over sixty of his works are preserved, including historical, mythological and religious subjects, as well as landscapes and portraits. It is hardly creditable to the patriotism of Seville, his native town, that no example of his work is to be seen in the gallery of that city. Seville was then in the height of its prosperity, "the pearl of Spain", carrying on a great trade with the New World, and was also a vigorous center of literature and art. For more than a hundred years it had fostered a native school of painting which ranked high in the Peninsula, and it reckoned among itS citizens many whose names are prominent in Spanish literature.
Velazquez was the son of Rodriguez de Silva, a lawyer in Seville, descended from a noble Portuguese family, and was baptized on the 6th of June 1599. Following a common Spanish usage, he is known by his mothers name Velazquez. There has been considerable diversity of opinion as to his full name, but he was known to his contemporaries as Diego de Silva Velazquez, and signed his name thus. He was educated, says Palomino, by his parents in the fear of God, and was intended for a learned profession, for which he received a good training in languages and philosophy. But the bent of the boy was towards art, and he was placed under the elder Herrera, a vigorous painter who disregarded the Italian influence of the early Seville school. From his works in Seville we can see that Herrera was a bold and effective painter; but he was at the same time a man of unruly temper, and his pupils could seldom stay long with him. Velasquez remained but one year -- long enough, however, to influence his life. It was probably from Herrera that he learned to use long brushes, or, as J. E. Hodgson suggested, brushes with long bristles, by means of which his colors seem to be floated on the canvas by a light, fluent touch, the envy and despair of his successors. From Herrera's studio Velazquez betook himself to a very different master, the learned and pedantic Pacheco, the author of a heavy book on painting, and, as we see by his works at Madrid, a dull, commonplace painter, though at times he could rise to a rare freedom of handling and to a simple, direct realism that is in direct contradiction to the cult of Raphael preached by him in his writing. A portrait by Pacheco, owned by Sir Frederick Cook, which shows this master's full power, was exhibited at Burlington House in 1907. In Pacheco's school Velazquez remained for five years, studying proportion and perspective, and seeing all that was best in the literary and artistic circles of Seville. Here also he fell in love with his master's daughter Juana, whom he married in 1618 with the hearty approval of Pacheco, who praises his hand and heart, claiming at the same time all the credit of having been his master. The young painter set himself to copy the commonest things about him -- earthenware jars of the country people, birds, fish, fruit and flowers of the marketplace. To paint well and thoroughly what he saw, to model with his brush, and to color under the influence of light and shade were for him the vital purpose, the first lesson, in his art. It was with deliberate purpose that Velasquez painted these bodegones (tavern-pieces), as they were called; for we are told that he said he would rather be the first painter of common things than the second in higher art. Carrying out this idea still further, Velasquez felt that to master the subtlety of the human face he must make this a special study, and he accordingly engaged a peasant lad to be his servant and model, making innumerable studies in charcoal and chalk, and catching his every expression. We see this model, probably, in the laughing boy of the Hermitage "Breakfast", or in the youngest of the "Musicians" acquired for the Berlin Museum in 1906. In such work as this, and in his studies by the wayside, Velasquez laid the foundation of his subsequent mastery of expression, of penetration into character, and of rendering the life of his sitter to the quick. He saw the world aroind him teeming with life and objects interesting to the painter, and he set himself to render these. His manner is as national as that of Miguel de Cervantes . He lived and died racy of the soil. The position and reputation of Velazciuez were now assured at Seville. There his wife bore him two daughters --all his family so far as is known. The younger died in infancy, while the elder, Francisca, in due time married Bautista del Mazo, a painter, whose large family is that which is represented in the important picture in Vienna which was at one time called the "Family of Velazquez." This picture is now by common consent given to Mazo. In the gallery at Madrid there is a portrait of Juana, his wife, holding a drawing-tablet on her knee. There was formerly in the possession of Lord Dudley another portrait of his wife by Velazquez, painted, perhaps, in the first year of their happy marriage. Of this early Seville manner we have an excellent example in "El Aguador" (the Water-Carrier). Firm almost to hardness, it displays close study of nature. One can see in it the youthful struggle to portray the effects of light stealing here and there over the prominent features of the face, groping after the effects which the painter was to master later on. The brushwork is bold and broad, and the outlines firmly marked. As is usual with Velazquez at this time, the harmony of colors is red, brown and yellow, reminding one of Jos� de Ribera . For sacred subjects we may turn to the "Adoration of the Magi" at Madrid, dated 1619, and the "Christ and the Pilgrims of Emmaus" in the collection of Don Manuel de Soto in Zurich, in both of which we have excellent examples of his realism. In the "St. John in the Desert" we again find his peasant boy transformed into the saint.
But Velazquez was now eager to see more of the world. Madrid, with its fine Titian s, held out strong inducements. Accordingly, in 1622, fortified with letters of introduction to Fonseca, who held a good position at court, he spent some months there, accompanied only by his servant. Here be painted the portrait of the poet Gongora, a commission from Pacheco, but the picture known by that name in the gallery at Madrid cannot with certainty be identified as Velasquez's portrait; it is more probably by Zurbaran. The impression which Velazquez made in the capital must have been very strong, for in the following year he was summoned to return by Olivares, the all-powerful minister of Philip IV, fifty ducats being allowed to defray his expenses. On this occasion he was accompanied by his father-in-law. Next year (1624) he received from the king three hundred ducats to pay the cost of the removal of his family to Madrid, which became his home for the remainder of his life. Weak and worthless as a king, Philip had inherited the art-loving propensities of his race, and was proud to be considered a poet and a painter. It is one of the best features of his character that he remained for a period of thirty-six years the faithful and attached friend of Velazquez, whose merit he soon recognized, declaring that no other painter should ever paint his portrait. By his equestrian portrait of the king, painted in 1623, Velazquez secured admission to the royal service with a salary of twenty ducats per month, besides medical attendance, lodgings and payment for the pictures he might paint. The portrait was exhibited on the steps of San Felipe, and was received with enthusiasm, being vaunted by poets, among them Pacheco. It has unfortunately disappeared, having probably perished in one of the numerous fires which occurred in the royal palaces. The Prado, however, has two portraits of the king (Nos. 1070 and 1071) in which the harshness of the Seville period has disappeared and the tones are more delicate. The modelling is firm, recalling that of Antonio Mor, the Dutch portrait painter of Philip II, who exercised a considerable influence on the Spanish school. In the same year the Prince Of Wales (afterwards Charles I) arrived at the court of Spain. We are told that he sat to Velazquez, but the picture has disappeared.
In 1628 Peter Paul Rubens visited Madrid on a diplomatic mission for nine months, and Velazquez was appointed by the king to be his guide among the art treasures of Spain. Rubens was then at the height of his fame, and had undertaken as a commission from Olivares the large pictures which now adorn the great hall in Grosvenor House, London. These months might have been a new turning point in the career of a weaker man than Velazquez, for Rubens added to his brilliant style as a painter the manner of a fascinating courtier. Rubens had a high opinion of the talent of Velazquez, as is attested by Fuensalida, but be effected no change in the style of the strong Spaniard. He impressed him, however, with the desire to see Italy and the works of her mighty painters. In 1627 the king had given for competition among the painters of Spain the subject of the Expulsion of the Moors. Velazquez bore off the palm; but his picture was destroyed in a fire at the palace in 1734. Palomino, however, describes it. Philip III points with his baton to a crowd of men and women driven off under charge of soldiers, while Spain, a majestic female, sits looking calmly on. The triumph of Velazquez was rewarded by his being appointed gentleman usher. To this was shortly afterwards added a daily allowance of twelve reals, the same amount as was allowed to the court barbers, and ninety ducats a year for dress, which was also paid to the dwarfs, buffoons and players about the kings person -- truly a curious estimate of talent at the court of Spain. As an extra payment he received (though it was not paid for five years) one hundred ducats for the picture of Bacchus, painted in 1629 (No. 1058 of the Madrid gallery). The spirit and aim of this work are better understood from its Spanish name, "Los Borrachos" or "Los Bebedores" (the Topers), who are paying mock homage to a half-naked ivy-crowned young man seated on a wine barrel. It is like a story by Cervantes, and is brimful of jovial humour. One can easily see in this picture of national manners how Velazquez had reaped the benefit of his close study of peasant life. The painting is firm and solid, and the light and shade are more deftly handled than in former works. Altogether, this production may be taken as the most advanced example of the first style of Velazquez. It is usual to divide his artistic career by his two visits to Italy, his second style following the first visit and his third the second. Rougbly speaking, this somewhat arbitrary division may be accepted, though it will not always apply, for, as is usual in the case of many great painters, his styles at times overlap each other. Velazquez rarely signed his pictures, and the royal archives give the dates of only his more important works. Internal evidence and history, as regards his portraits, supply to a certain extent the rest.
In 1629 Philip gave Velazquez permission to carry out his desire of visiting Italy, without loss of salary, making him besides a present of four hundred ducats, to which Olivares added two hundred. He sailed from Barcelona in August in the company of the Marquis de Spinola, the conqueror of Breda, then on his way to take command of the Spanish troops at Milan. It was during this voyage that Velazquez must have heard the details of the surrender of Breda from the lips of the victor, and he must have sketched his fine head, known to us also by the portrait by Van Dyck. But the great picture was not painted until many years later, for Spinola had fallen into disfavor at court. In Venice Velazquez made copies of the "Crucifixion" and the "Last Supper" of Tintoretto , which he sent to the king, and in Rome he copied Michelangelo and Raphael, lodging in the Villa Medici until fever compelled him to remove into the city. Here he painted the "Forge of Vulcan" (No. 1059 of the Madrid gallery), in which Apollo narrates to the astonished Vulcan, a village blacksmith, the news of the infidelity of Venus, while four Cyclops listen to the scandal. The mythological treatment is similar to that of the "Bacchus": it is realistic and Spanish to the last degree, giving a picture of the interior of an Andalusian smithy, with Apollo thrown in to make the story tell. The conception is commonplace, yet the impression it produces is undoubted from the vividness of the representation and the power of expression. The modelling of the half-naked figures is excellent. Altogether this picture is much superior to the other work painted at the same time, "Joseph's Coat", which now hangs in the Escorial. Both these works are evidently painted from the same models. In looking at these two pictures the spectator is especially struck by the fact that they betray no trace of the influence of the Italians. Velazquez remained true to himself. At Rome he also painted the two beautiful landscapes of the gardens of the Villa Medici, now in the Madrid museum (1106 and 1107), full of sparkle and charm. Landscape as an expression of art never had attraction for the Spaniards; but Velazquez here shows how great a master he was in this branch. The silvery views of Aranjuez, which at one time passed under his name, are now considered to be the work of his pupil Mazo. After a Visit to Naples in 1631, where he worked with his countryman Ribera, and painted a charming portrait of the Infanta Maria, sister of Philip, Velazquez returned early in the year to Madrid.
He then painted the first of many portraits of the young prince, Don Baltasar Carlos, the heir to the throne, dignified and lordly even in his childhood, caracoling in the dress of a field-marshal on his prancing steed. The Wallace Collection includes an example which is probably a copy by Mazo; but the finest in the United Kingdom is the well-known picture at Grosvenor House, a masterly example of the second manner of Velazquez. The color is warm and bright, the workmanship solid and fused like enamel, while light and air pervade every corner. The scene is in the riding-school of the palace, the king and queen looking on from a balcony, while Olivares is in attendance as master of the horse to the prince. Don Baltasar died in 1646 at the age of seventeen, so that judged by his age this picture must have been painted about 1641, two years before the fall of Olivares. This powerful minister was the early and constant patron of the painter. His impassive, saturnine face is familiar to us from the many portraits painted by Velazquez, a face which, like his royal masters, seems never to have known a smile, and in which are written pride and disdain. Two are of surpassing excellence -- the full-length formerly in the Holford Collection (exhibited at Burlington House in 1887), stately and dignified, in which he wears the green cross of Alcantara and holds a wand, the badge of his office as master of the horse; the other the great equestrian portrait of the Madrid gallery (No. 1069), in which he is flatteringly represented as a field-marshal in all his pomp during an action. It is difficult to overpraise the excellence of this work, either as regards its dramatic power or its masterly execution. In these portraits Velazquez has well repaid the debt of gratitude which he owed to his first patron, whom he stood by in his fall, thus exposing himself to the risk -- and it was not a light one -- of incurring the anger of the jealous Philip. The king, however, showed no sign of malice towards his favored painter. Faithful in few things, Philip kept true to Velazquez, whom he visited daily in his studio in the palace, and to whom he stood in many attitudes and costumes, as a huntsman with his dogs, as a warrior in command of his troops, and even on his knees at prayer, wearing ever the same dull uninterested look. His pale face and lacklustre eye, his fair flowing hair and moustaches curled up to his eyes, and his heavy projecting Austrian under-lip are known in many a portrait and nowhere more supremely than in the wonderful canvas of the London National Gallery (No. 745), where he seems to live and breathe. Few portraits in the whole range of art will compare with this work, in which the consummate handling of Velazquez is seen at its best, for it is, in his late and most perfect manner. From one of the equestrian portraits of the king, painted in 1638, the sculptor Monta�es modelled a statue which was cast in bronze by the Florentine sculptor Tacca, and which now stands in the Plaza del Oriente at Madrid, "a solid Velazquez", as it has been well named by Ford. This portrait exists no more; but there is no lack of others, for Velazquez was in constant and close attendance on Philip, accompanying him in his journeys to Aragon in 1642 and 1644, and was doubtless present with him when he entered Lerida as a conqueror. It was then that he painted the great equestrian portrait (No. 1066 of the Madrid gallery) in which the king is represented as a great commander leading his troops -- a role which Philip never played except in a theatrical pageant. All is full of animation except the stolid face of the king. It hangs as a pendant to the great Olivares portrait -- fit rivals of the neighboring Charles V by Titian, which doubtless fired Velazquez to excel himself, and both remarkable for their silvery tone and their feeling of open air and harmony combined with brilliancy. The light plays on the armor and scarf thrown to the wind, showing how completely Velazquez had mastered the effects he strove to reach in his early days. Of these two great works the Wallace Collection includes small but excellent copies.
But, besides the forty portraits of Philip by Velazquez, or attributed to him, we have portraits of other members of the royal family, of Philip's first wife, Isabella of Bourbon, and her children, especially of her eldest son, Don Baltasar Carlos, of whom, besides those already mentioned, there is a beautiful full-length in a private room at Buckingham Palace. Cavaliers, soldiers, churchmen and poets Of the court, as for example the Quevedo at Apsley House (shown in Burlington House in 1887), sat to the painter and, even if forgotten by history, will live on his canvas. The Admiral Pulido Pareja from Lord Radnor's collection, now at the National Gallery, is said to have been taken by Philip for the living man; nevertheless, A. de Beruete is emphatic in denying Velazquez's authorship of this picture, which he attributes to Mazo. It has been remarked that the Spaniards have always been chary of committing to canvas the portraits of their beautiful women. Queens and infantas may be painted and exhibited, but ladies rarely. One wonders who the beautiful woman can be that adorns the Wallace Collection, the splendid brunette so unlike the usual fair-haired female sitters to Velasquez. She belongs to this period of his work, to the ripeness of his middle period. Instinct with life, her bosom seems to heave and the blood to pulsate through her veins, The touch is firm but free, showing the easy strength of the great master. Rarely has flesh been painted with such a glow, yet with such reserve. This picture is one of the ornaments of the Wallace Collection. But, if we have few ladies of the court of Philip, we have in great plenty his buffoons and dwarfs. Even these deformed or haif-witted creatures attract our sympathy as we look at their portraits by Velazquez, who, true to his nature, treats them gently and kindly, as in "El Primo" (the Favorite), whose intelligent face and huge folio with ink-bottle and pen by his side show him to be a wiser and better-educated man than many of the gallants of the court. "El Bobo de Coria", "El Ni�o de Vallecas" and "Pablillos", a buffoon evidently acting a part, all belong to this middle period. From these commissioned portraits of the menials of the court it is pleasant to turn to one of the greatest of historical works, the "Surrender of Breda", often known as "Las Lanzas", from the serried rank of lances breaking the sky, which is believed to have been painted about 1647. It represents the moment when the vanquished Justin of Nassau in front of his Dutch troops is submissively bending as be offers to his conqueror Spinola the keys of the town, which, with courteous grace, the victor refuses to accept, as he lays his hand gently on the shoulder of his defeated foe. Behind Spinola stand the Spanish troops bearing their lances aloft, while beyond is a long stretch of the Low Country, dotted with fortifications and giving the impression of vast space and distance. The picture is full of light and air, and is perhaps the finest example of the silvery bluish style of Velazquez. In conception it is as fine as in execution, and one looks in vain for a trace of the malicious pencil which Sir William Stirling-Maxwell discerned in the treatment of Justin and his gallant Dutchmen. The greatest of the religious paintings by Velazquez belongs also to this middle period, the "Christ on the Cross" (Madrid gallery, No. 1055). Palomino says it was painted in 1638 for the convent of San Placido. It is a work of tremendous power and of great originality, the moment chosen being that immediately after death. The Saviour's head hangs on his breast and a mass of dark tangled hair conceals part of the face. The beautiful form is projected against a black and hopeless sky from which light has been blotted out. The figure stands absolutely alone, without any accessory. The skull and serpent described by Sir William Stirling-Maxwell were added by some pious bungler at a much later date. The picture was lengthened to suit its place in an oratory; but this addition has since been removed. To the same period belongs the great "Boar Hunt" at the National Gallery, a magnificent work in spite of some restorations. The smaller "Boar Hunt" in the Wallace Collection is from the brush of Mazo; and the "Conversation, a Group of Thirteen Persons", at the Louvre, a picture which in conception has much in common with these hunting scenes, probably owes its origin to the same artist. A. de Beruete emphatically denies Velazquez's authorship of this much belauded picture, which he describes as a "mediocre imitation, probably by Mazo."
Velazquez's son-in-law Mazo had succeeded him as usher in 1634, and he himself had received steady promotion in the royal household, receiving a pension of 500 ducats in 1640, increased to 700 in 1648, for portraits painted and to be painted, and being appointed inspector of works in the palace in 1647. Philip now entrusted him with the carrying out of a design on which he had long set his heart, the founding of an academy of art in Spain. Rich in pictures, Spain was weak in statuary, and Velazquez was commissioned to proceed to Italy to make purchases. Accompanied by his faithful slave Juan de Pareja , whom he taught to be a good painter, he sailed from Malaga in 1649, landing at Genoa, and proceeding from there by Milan to Venice, buying Titians, Tintorettos and Veroneses as he went. A curious conversation which he is said to have had with Salvator Rosa is reported by Boschini, in which the Spaniard with perfect frankness confesses his want of appreciation of Raphael and his admiration of Titian, "first of all Italian men." It seems a possible story, for Velazquez bought according to his likings and painted in the spirit of his own ideals. At Modena he was received with much favor by the duke, and doubtless here he painted the portrait of the duke at the Modena gallery and two splendid portraits which now adorn the Dresden gallery, for these pictures came from the Modena sale of 1746. They presage the advent of the painter's third and latest manner, a noble example of which is the great portrait of Pope Innocent X in the Doria palace at Rome, to which city Velazquez now proceeded. There he was received with marked favor by the pope, who presented him with a medal and gold chain. Of this portrait, thought by Sir Joshua Reynolds to be the finest picture in Rome, Palomino says that Velazquez took a copy to Spain. There exist several in different galleries, some of them possibly studies for the original or replicas painted for Philip. One of the most remarkable is that in Apsley House, exhibited in Burlington House in 1887. The modelling of the stern impassive face comes near to perfection, so delicate are the gradations in the full light; all sharpness of outline has disappeared; and the features seem moulded by the broad and masterly brushwork. When closely examined, the work seems coarse, yet at the proper distance it gives the very essence of living flesh. The handling is rapid but unerring. Velazquez had now reached the manera abreviada, as the Spaniards call this bolder style. This is but another way of saying that his early and laborious studies and his close observation of nature had given to him in due time, as to all great painters, the power of representing what he saw by simpler means and with more absolute truth. At Rome he painted also a portrait of his servant Pareja, probably the picture of Lord Radnor's collection, which procured his election into the academy of St. Luke. Philip was now wearying for his return; accordingly, after a visit to Naples, where he saw his old friend Ribera, he returned to Spain by Barcelona in 1651, taking with him many pictures and 300 pieces of statuary, which he afterwards arranged and catalogued for the king. Undraped sculpture was, however, abhorrent to the Spanish Church, and after Philip's death these works gradually disappeared.
Isabella of Bourbon had died in 1644, and the king had married Mariana of Austria, whom Velazquez now painted in many attitudes. He was specially chosen by the king to fill the high office of "aposentador major", which imposed on him the duty of looking after the quarters occupied by the court whether at home or in their journeys -- a responsible function, which was no sinecure and interfered with the exercise of his art. Yet far from indicating any decline, his works of this period are amongst the highest examples of his style. The dwarf "Don Antonio el Ingl�s" (the Englishman) with his dog, "Aesop", "Menippus" and "the Sculptor Monta�es", all in the Madrid gallery, show his surest and freest manner. To these may be added the charming portraits of the royal children in the Louvre and Vienna, among the choicest of his works. It is one of these infantas, Margarita Maria, the eldest daughter of the new queen, that is the subject of the well-known picture "Las Meni�as" (the Maids of Honor), 1062 in the Madrid gallery, painted in 1656, where the little lady holds court, surrounded by her ladies-in-waiting, her dwarfs and her mastiff, while Velazquez is seen standing at his easel. This is the finest portrait we have of the great painter. It is a face of much dignity, power and sweetness -- like his life, equable and serene, unruffled by care. "Las Meni�as" was the picture of which Luca Giordano said that it was the "theology of painting", another way of expressing the opinion of Sir Thomas Lawrence , that this work is the philosophy of art, so true is it in rendering the desired effect. The result is there, one knows not by what means, as if by a first intention without labor, absolutely right. The story is told that the king painted the red cross of Santiago on the breast of the painter, as it appears to-day on the canvas. Velazquez did not, however, receive the honor until 1659, three years after the execution of this work. Even the powerful king of Spain could not make his favorite a belted knight without a commission to inquire into the purity of his lineage on both sides of the house. The records of this commission have been found among the archives of the order of Santiago by M. Villaamil. Fortunately the pedigree could bear scrutiny, as for generations the family was found free from all taint of heresy, from all trace of Jewish or Moorish blood and from contamination by trade or commerce. The difficulty connected with the fact that he was a painter was got over by his being painter to the king and by the declaration that he did not sell his pictures. But for this royal appointment, which enabled him to escape the censorship of the Inquisition, we should never have had his splendid "Venus and Cupid", formerly belonging to Mr. Morritt of Rokeby Hall and bought by the National Art Collections Fund for �45,000 for the National Gallery in 1905. It is painted in his latest manner and is worthy of comparison with Titian. There were in truth but two patrons of art in Spain -- the church and the art-loving king and court. Murillo was the artist favored by the church, while Velazquez was patronized by the crown. One difference, however, deserves to be noted. Murillo, who toiled for a rich and powerful church, left scarcely sufficient means to pay for his burial, while Velazquez lived and died in the enjoyment of good salaries and pensions. Yet on occasions Philip gave commissions for religious pictures to Velazquez -- among others, and belonging to this later period, the "Coronation of the Virgin" (Madrid, 1056), splendid in color -- a harmony of red, blue and grey -- but deficient in religious feeling and dignity. It was painted for the oratory of the queen, doubtless Mariana, in the palace at Madrid. Another royal commission for the hermitage of Buen Retiro was the "St. Anthony the Abbot and St. Paul the Hermit", painted in 1659, the landscape of which excited the warm admiration of Sir David Wilkie (No. 1057 in the Prado). The last of his works which we shall name is "Las Hilanderas" or the Spinners (Madrid, 1061), painted about 1656, representing the interior of the royal tapestry works. The subject is nothing, the treatment everything. It is full of light, air and movement, splendid in color and marvelous in handling. This picture, Raphael Mengs said, seemed to have been painted not by the hand but by the pure force of will. We see in it the full ripeness of the power of Velazquez, a concentration of all the artistic knowledge he had gathered during his long career of more than forty years. In no picture is he greater as a colorist. The scheme is simple -- a harmony of red, bluish-green, grey and black, which are varied and blended with consummate skill.
In 1660 a treaty of peace between France and Spain was to be consummated by the marriage of the infanta Maria Theresa with Louis XIV , and the ceremony was to take place in the Island of Pheasants, a small swampy island in the Bidassoa. Velazquez was charged with the decoration of the Spanish pavilion and with the whole scenic display. In the midst of the grandees of the first two courts in Christendom Velazquez attracted much attention by the nobility of his bearing and the splendor of his costume. On the 26th of June he returned to Madrid, and On the 31st of July he was stricken with fever. Feeling his end approaching, he signed his will, appointing as his sole executors his wife and his firm friend Fuensalida, keeper of the royal records. He died on the 6th of August 1660, passing away in the full possession of his great powers, and leaving no work behind him to show a trace of decay. He was buried in the Fuensalida vault of the church of San Juan, and within eight days his wife Juana was laid beside him. Unfortunately this church was destroyed by the French in 1811, so that his place of interment is now unknown. There was much difficulty in adjusting the tangled accounts outstanding between Velazquez and the treasury, and it was not until 1666, after the death of Philip, that they were finally settled.
Velazquez can hardly be said to have formed a school of painting. Apart from the circumstance that his occupations at court would have prevented this, his genius was too personal for transmission by teaching. Yet his influence on those immediately connected with him was considerable. In 1642 he befriended young Murillo on his arrival in Madrid, received him into his house, and directed his studies for three years. His son-in-law Mazo painted in his manner, and doubtless many pictures by Mazo are attributed to the master. Carre�o, though never a pupil, was a favorite and had the good sense to appreciate him and imitate him. His faithful slave Pareja studied his methods and produced work which by the favor of Velazquez procured his manumission from Philip. But the appreciation of the fine talent of Velazquez passed away quickly in Spain, as that country began to fall to pieces.
Wife: Juana Pacheco (his master's daughter, m. 1618)
Daughter: (d. infancy)
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Which famous artist designed the Chupa Chups logo? | Salvador Dalí's Real Masterpiece: The Logo For Chupa Chups Lollipops | Co.Design | business + design
Salvador Dalí's Real Masterpiece: The Logo For Chupa Chups Lollipops
Working at a cafe table for an hour, Salvador Dalí managed to design a logo that’s sold billions.
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Belinda Lanks 03.08.12 9:22 AM
Salvador Dalí, the wacky surrealist known for his signature pointy mustache and painting melting clocks, was also graphic designer behind the classic Chupa Chups—an enduringly sweet, bright rendition of a daisy.
The Catalan lollipop made its first appearance in 1958, when the company founder Enric Bernat hatched the idea of placing a bonbon on a stick. He called the product "GOL," imagining the candy as a soccer ball and the open mouth a net. It didn’t go over well. So Bernat hired an ad agency that renamed his product "Chupa Chups" (from the Spanish chupar, meaning "to suck"). All that was left was the branding. In 1969 , Bernat complained about what he had while having coffee with his artist friend—none other than Salvador Dalí.
You need a logo?!
According to lore , the painter went to work immediately, doodling for an hour on newspapers that were laying around. Dalí's version masterfully integrated the wordmark into the daisy design, and has hardly changed since. And Phaidon points us to one subtle, extremely smart feature of the design:
Acutely aware of presentation, Dalí insisted that his design be placed on top of the lolly, rather than the side, so that it could always be viewed intact. It’s proved to be one of the most enduring pieces of branding ever and one that’s still used today, four billion sales later.
What would induce the famous artist to take on such a project? Dinero. The guy rarely turned it down, causing surrealist poet André Breton to nickname him "Avida Dollars"—an anagram of Dalí's name that roughly translates to "eager for cash."
[Image: p4nc0np4n ]
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What type of paint was made out of pigment and egg yolk? | The Art of Logo Design: Auspicious Origins of the Chupa Chups Daisy
A blog dedicated to custom commercial signage, vehicle wraps and graphics, and business signs of all kinds!
The Art of Logo Design: Auspicious Origins of the Chupa Chups Daisy
Posted by Brooke Randell on Mar 26, 2014 11:00:00 AM
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Have you ever had a Chupa Chups lollipop before? These Spanish lollipops have been a favorite of children all over the world for over 50 years! Part of what has made them so successful (other than the fact that they are delicious, of course) is their unique and instantly recognizable logo.
Photo via ricardo/zone41.org on Flickr
What you may not have known about Spain's most famous candy is that the logo was designed by one of its most famous artists. This guy right here:
"Hey man, I heard you needed a logo."
Spanish candyman Enric Bernat is the person you can thank for thinking to put candy on a stick. He saw that regular sweets didn't meet the needs of children—his primary consumers—because they would make the children's hands sticky and get them in trouble with their mothers. So, he put the candy on a stick (It's "like eating a sweet with a fork!") and the lollipop was born! He first called his company "GOL" because he wanted to capitalize on the popularity of football to promote the ball-shaped candy. The sucker was the soccer ball and the child's mouth was the net. But, the campaign missed the mark and didn't bring Bernat much success. In 1958 he hired an ad agency and they changed the name to "Chups" and then "Chupa Chups" after the success of a catchy jingle they made. The name derives from the Spanish word "Chupar," meaning "to suck." There was still trouble with branding however, what logo design should he go with to market his newly named confection?
Bernat was complaining about his dilemma over coffee one day in 1969 with none other than his artist friend, Salvador Dali. Yes, that Salvador Dali. The one with the bizarre mustache and melting clocks. Over the next hour or so Dali doodled on newspapers until he worked the company name inside of a golden daisy.
Original Chupa Chups logo designed by Dali in 1969
The logo may seem very simple but it just goes to show Dali's genius as a salesman as well as an artist. The bright primary colors used for both the flower and the font are sure to stand out to children at candy stores. Dali also thought to put the daisy on the very top of the lollipop wrapper so the logo never gets crinkled or obscured. He wasn't just thinking like an artist, but like a man who knew how to sell things using art (aka a graphic designer).
If you are wondering why such a famous modern artist would trouble himself with something as commercial as a logo design, it was because the man rarely turned down a paying gig. Fun fact: Dali's fellow surrealist buddy André Breton called Salvador Dali "Avida Dollars," which is an anagram of Dali's name that roughly translates to "eager for cash." Maybe not so artistically idealistic, but that doesn't diminish from the results of his work! The Chupa Chups daisy is one of the most enduring pieces of branding of all time and, other than a slight update in 1988, the design has barely changed from Dali's original sketch.
Logo update in 1988. This design is still used by the company today.
Over 4,000,000,000 in sales later, the Chupa Chups logo can still be found on the tops of their lollipops. They didn't stop at the candy wrappers to brand, though. Chupa Chups delivered the candy to sweet shops in company fleet vehicles with their branding on the side (because vehicle wrap advertising totally works) and set up the lollipops in P.O.P displays that they had designed.
The evolution of the Chupa Chups logo via chupachups.com
Today, the brand itself has become so popular that the confectioners were able to create a "lifestyle" market in addition to selling their candy. Chupa Chups partners with manufacturers to put the Chupa Chups brand style on all sorts of products. The logo is put on everything from brightly colored nail polish to t-shirts to video game accessories urging people to live a life "less serious."
It just goes to show that something as seemingly simple as a logo design can take a company a long way!
Looking for your own company logo design? Contact us today to talk to one of brand experts and graphic designers!
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Which painter's trip to and later residence in California inspired him to make a series of paintings of swimming pools in Los Angeles using the comparatively new acrylic medium, rendered in a highly realistic style using vibrant colours? | 1000+ images about David Hockney on Pinterest | Armchairs, Celia birtwell and Hollywood
DAVID HOCKNEY / Paper Pools / Swimmer Underwater, 1978 colored and pressed paper pulp 72x85 1/2 in.
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June 26, 2016
Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal
From Wikipedia, the free encyclopaedia
English painter, draughtsman, printmaker, stage designer and photographer. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
Hockney lives in Bridlington, East Riding of Yorkshire, and Kensington, London. He maintains two residences in California, where he lived on and off for over 30 years: one in Nichols Canyon, Los Angeles, and an office and archives on Santa Monica Boulevard in West Hollywood.
Hockney was born in Bradford, England, to Laura and Kenneth Hockney (a conscientious objector in the Second World War), the fourth of five children. He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art (where his teachers included Frank Lisle) and the Royal College of Art in London, where he met R. B. Kitaj.
While there, Hockney said he felt at home and took pride in his work. At the Royal College of Art, Hockney featured in the exhibition Young Contemporaries—alongside Peter Blake—that announced the ARRIVAL OF BRITISH POP ART. He was associated with the movement, but his early works display expressionist elements, similar to some works by Francis Bacon. When the RCA said it would not let him graduate in 1962, Hockney drew the sketch The Diploma in protest. He had refused to write an essay required for the final examination, saying he should be assessed solely on his artworks.
Recognising his talent and growing reputation, the RCA changed its regulations and awarded the diploma.
A BIGGER SPLASH (1967), TATE COLLECTION, LONDON.
A visit to California, where he subsequently lived for many years, inspired him to make a series of paintings of swimming pools in the comparatively new acrylic medium rendered in a highly realistic style using vibrant colours. The artist moved to Los Angeles in 1964, returned to London in 1968, and from 1973 to 1975 lived in Paris. He moved to Los Angeles in 1978, at first renting the canyon house he lived in and later bought the property and expanded it to include his studio. He also owned a 1,643-square-foot beach house at 21039 Pacific Coast Highway in Malibu, which he sold in 1999 for around $1.5 million.
Hockney is openly gay, and unlike Andy Warhol, whom he befriended, he openly explored the nature of gay love in his portraiture. Sometimes, as in We Two Boys Together Clinging (1961), named after a poem by Walt Whitman, the works refer to his love for men. Already in 1963, he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back.[12] In summer 1966, while teaching at UCLA he met Peter Schlesinger, an art student who posed for paintings and drawings, and with whom he was romantically involved.[13]
On the morning of 18 March 2013, Hockney’s 23-year-old assistant, Dominic Elliott, died as a result of drugs, drinking acid and alcohol at Hockney’s Bridlington studio. Elliott was a first- and second-team player for Bridlington rugby club. It was reported that Hockney’s partner drove Elliott to Scarborough General Hospital where he later died.
WORK
Hockney made prints, portraits of friends, and stage designs for the Royal Court Theatre, Glyndebourne, La Scala and the Metropolitan Opera in New York City. Born with synaesthesia, he sees synesthetic colours in response to musical stimuli. This does not show up in his painting or photography artwork, but is a common underlying principle in his designs for stage sets for ballet and opera—where he bases background colours and lighting on the colours he sees while listening to the piece’s music.
Mr and Mrs Clark and Percy (1970–71), Tate Gallery, London
Hockney painted portraits at different periods in his career. From 1968, and for the next few years he painted friends, lovers, and relatives just under lifesize and in pictures that depicted good likenesses of his subjects. Hockney’s own presence is often implied, since the lines of perspective converge to suggest the artist’s point of view. Hockney has repeatedly returned to the same subjects – his parents, artist Mo McDermott (Mo McDermott, 1976), various writers he has known, fashion designers Celia Birtwell and Ossie Clark (Mr and Mrs Clark and Percy, 1970–71), curator Henry Geldzahler, art dealer Nicholas Wilder, George Lawson and his ballet dancer lover, Wayne Sleep.
On arrival in California, Hockney changed from oil to acrylic paint, applying it as smooth flat and brilliant colour. In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating a ready-made art collection.[18]
THE "JOINERS"
In the early 1980s, Hockney began to produce photo collages, which he called "joiners", first using Polaroid prints and subsequently 35mm, commercially processed colour prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image.
An early photomontage was of his mother. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney’s major aims—discussing the way human vision works. Some pieces are landscapes, such as Pearblossom Highway #2, others portraits, such as Kasmin 1982, and My Mother, Bolton Abbey, 1982.
Creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realized it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique. Frustrated with the limitations of photography and its ‘one eyed’ approach, however, he returned to painting.
LATER WORK
In 1976, at Atelier Crommelynck, Hockney created a portfolio of 20 etchings, The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso. The etchings refer to themes in a poem by Wallace Stevens, "The Man With The Blue Guitar". It was published by Petersburg Press in October 1977. That year, Petersburg also published a book, in which the images were accompanied by the poem’s text.
Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of Vogue. Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views, as if the eye had scanned her face diagonally.
In December 1985, Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. Using the program was similar to drawing on the PET film for prints, with which he had much experience. The resulting work was featured in a BBC series that profiled a number of artists.
His artwork was used on the cover of the 1989 British Telecom telephone directory for Bradford.
Hockney returned more frequently to Yorkshire in the 1990s, usually every three months, to visit his mother[27] who died in 1999. He rarely stayed for more than two weeks until 1997,[when his friend Jonathan Silver who was terminally ill encouraged him to capture the local surroundings. He did this at first with paintings based on memory, some from his boyhood. Hockney returned to Yorkshire for longer and longer stays, and by 2005 was painting the countryside en plein air.
He set up residence and an immense redbrick seaside studio, a converted industrial workspace, in the seaside town of Bridlington, about 75 miles from where he was born.
The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour (for over a year in 2003–2004). He created paintings made of multiple smaller canvases—nine, 15 or more—placed together. To help him visualize work at that scale, he used digital photographic reproductions; each day’s work was photographed, and Hockney generally took a photographic print home.
In June 2007, Hockney’s largest painting, Bigger Trees Near Warter, which measures 15 feet by 40 feet, was hung in the Royal Academy’s largest gallery in its annual Summer Exhibition.
This work "is a monumental-scale view of a coppice in Hockney’s native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks last winter."
In 2008, he donated it to the Tate Gallery in London, saying: "I thought if I’m going to give something to the Tate I want to give them something really good. It’s going to be here for a while. I don’t want to give things I’m not too proud of … I thought this was a good painting because it’s of England … it seems like a good thing to do." The painting was the subject of a BBC1 Imagine film documentary by Bruno Wollheim called David Hockney: A Bigger Picture’ (2009) which followed Hockney as he worked outdoors over the preceding two years.
Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes USING THE BRUSHES IPHONE AND IPAD APPLICATION, often sending them to his friends. His show Fleurs fraîches (Fresh flowers) was held at La Fondation Pierre Bergé in Paris. A Fresh-Flowers exhibit opened in 2011 at the Royal Ontario Museum in Toronto, featuring more than 100 of his drawings on 25 iPads and 20 iPods. In late 2011, Hockney revisited California to paint Yosemite National Park on his iPad.
For the season 2012–2013 in the Vienna State Opera he designed, on his iPad, a large scale picture (176 sqm) as part of the exhibition series Safety Curtain, conceived by museum in progress.
SET DESIGNS
Hockney’s first opera designs, for Stravinsky’s The Rake’s Progress at the Glyndebourne Festival Opera in England in 1975 and The Magic Flute (1978) were painted drops. In 1981, he agreed to design sets and costumes for three 20th-century French works at the Metropolitan Opera House with the title Parade. The works were Parade, a ballet with music by Erik Satie; Les mamelles de Tirésias, an opera with libretto by Guillaume Apollinaire and music by Francis Poulenc, and L’enfant et les sortilèges, an opera with libretto by Colette and music by Maurice Ravel.
The set for L’enfant et les sortilèges is a permanent installation at the Spalding House branch of the Honolulu Museum of Art. He designed sets for Puccini’s Turandot in 1991 at the Chicago Lyric Opera and a Richard Strauss Die Frau ohne Schatten in 1992 at the Royal Opera House in London.
In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo’s Operalia in Mexico City. Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening 6 feet (1.8 m) by 4 feet (1.2 m) in which he built sets in 1:8 scale. He also used a computerized setup that let him punch in and program lighting cues at will and synchronize them to a soundtrack of the music.
EXHIBITIONS
Hockney had his first one-man show when he was 26 in 1963, and by 1970 the Whitechapel Gallery in London had organized the first of several major retrospectives, which subsequently travelled to three European institutions.[39] In 2004, he was included in the cross-generational Whitney Biennial, where his portraits appeared in a gallery with those of a younger artist he had inspired, Elizabeth Peyton.
In October 2006, the National Portrait Gallery in London organized one of the largest ever displays of Hockney’s portraiture work, including 150 paintings, drawings, prints, sketchbooks, and photocollages from over five decades. The collection ranged from his earliest self-portraits to work he completed in 2005. Hockney assisted in displaying the works and the exhibition, which ran until January 2007, was one of the gallery’s most successful. In 2009, "David Hockney: Just Nature" attracted some 100,000 visitors at the Kunsthalle Würth in Schwäbisch Hall, Germany.
A BIGGER PICTURE AT THE ROYAL ACADEMY IN 2012
From 21 January 2012 to 9 April 2012, the Royal Academy presented A Bigger Picture, which included more than 150 works, many of which take entire walls in the gallery’s brightly lit rooms. The exhibition is dedicated to landscapes, especially trees and tree tunnels. Works include oil paintings and watercolours inspired by his native Yorkshire. Around 50 drawings were created on AN IPAD and printed on paper. Hockney said, in a 2012 interview, "It’s about big things. You can make paintings bigger. We’re also making photographs bigger, videos bigger, all to do with drawing."
The exhibition moved to the Guggenheim Museum in Bilbao, Spain from 15 May to 30 September, and from there to the Ludwig Museum in Cologne, Germany, between 27 October 2012 and 3 February 2013.
From 26 October 2013 to 30 January 2014 David Hockney: A Bigger Exhibition was presented at the de Young Museum, one of the Fine Arts Museums of San Francisco, showing work since 2002 and including Photoshop portraits, multi-canvas oils, iPad landscapes and digital movies shot with multiple cameras.
‘Hockney, Printmaker’, curated by Richard Lloyd, International Head of Prints at Christie’s, was the first major exhibition to focus on Hockney’s prolific career as a printmaker. The exhibition ran from 5 February 2014 to 11 May 2014 at Dulwich Picture Gallery before going on tour to The Bowes Museum, Barnard Castle.[47][
COLLECTIONS
Many of Hockney’s works are housed in Salts Mill, in Saltaire, near his home town of Bradford. Writer Christopher Isherwood’s collection is considered the most important private collection of his work. In the 1990s, Isherwood’s long-time partner Don Bachardy donated the collection to a foundation. His work is in numerous public and private collections worldwide, including:
Honolulu Museum of Art
Museum of Fine Arts, Boston
National Gallery of Australia, Canberra
Louisiana Museum of Modern Art, Humlebæk, Denmark
Art Institute of Chicago
Kennedy Museum of Art, Athens, Ohio
Tate Gallery, London
J. Paul Getty Museum, Los Angeles
Los Angeles County Museum of Art
Walker Art Center, Minneapolis
Metropolitan Museum of Art, New York
Museum of Modern Art, New York
Centre Georges Pompidou, Paris
De Young Museum, San Francisco
Museum of Contemporary Art, Tokyo
MUMOK, Vienna
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Smithsonian American Art Museum, Washington, D.C.[29]
RECOGNITION
In 1967, Hockney’s painting, Peter Getting Out Of Nick’s Pool, won the John Moores Painting Prize at the Walker Art Gallery in Liverpool. Hockney was offered a knighthood in 1990 but declined, before accepting an Order of Merit in January 2012.
He was awarded The Royal Photographic Society’s Progress medal in 1988 and the Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2003.
He was made a Companion of Honour in 1997 and is a Royal Academician. In 2012, Queen Elizabeth II appointed him to the Order of Merit, an honor restricted to 24 members at any one time for their contributions to the arts and sciences.
He was a Distinguished Honoree of the National Arts Association, Los Angeles, in 1991 and received the First Annual Award of Achievement from the Archives of American Art, Los Angeles, in 1993. He was appointed to the Board of Trustees of the American Associates of the Royal Academy Trust, New York in 1992 and was given a Foreign Honorary Membership to the American Academy of Arts and Sciences, Cambridge, Massachusetts in 1997. In 2003, Hockney was awarded the Lorenzo de’ Medici Lifetime Career Award of the Florence Biennale, Italy.
Commissioned by The Other Art Fair, a November 2011 poll of 1,000 British painters and sculptors declared him Britain’s most influential artist of all time.
Image published by pedrosimoes7 on 2016-06-26 11:25:44 and used under Creative Commons license.
Tagged: , David Hockney , POP ART , British Pop Art , English Painter , Pintor Inglês , Peintre Anglais , CreativeArtPhotography , Expression , Art Gallery and Museums , Belem , Berardo Collection , Centro Cultural de Belem , Lisbon , Portugal
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What are the 'Society of Friends' commonly called? | Society of Friends - Quakers
Society of Friends - Quakers
General Information
The Society of Friends, commonly called Quakers, is a body of Christians that originated in 17th century England under George Fox. In 1988 the society had 200,260 members, with heavy concentrations in the United States (109,000), East Africa (45,000) and Great Britain (18,000). Quakers unite in affirming the immediacy of Christ's teaching; they hold that believers receive divine guidance from an inward light, without the aid of intermediaries or external rites.
Meetings for worship can be silent, without ritual or professional clergy, or programmed, in which a minister officiates.
Although their antecedents lie in English Puritanism and in the Anabaptist movement, the Society of Friends was formed during the English Civil War. Around 1652, George Fox began preaching that since there was "that of God in every man," a formal church structure and educated ministry were unnecessary. His first converts spread their faith throughout England, denouncing what they saw as social and spiritual compromises and calling individuals to an inward experience of God. In spite of schism and persecution, the new movement expanded during the Puritan Commonwealth (1649 - 60) and after the restoration of the monarchy (1660). By openly defying restrictive legislation, Friends helped achieve passage of the Toleration Act of 1689.
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In colonial America, enclaves of Quakers existed in Rhode Island, North Carolina, Pennsylvania, and western New Jersey. In Pennsylvania, founded by William Penn as a refuge for Quakers and as a "holy experiment" in religious toleration, Friends maintained an absolute majority in the assembly until 1755 and remained a potent force until the American Revolution. Between 1754 and 1776, Friends throughout America strengthened their commitment to pacifism and began to denounce slavery. After the Revolution, Friends concentrated on a wide variety of reform activities: Indian rights, prison reform, temperance, abolition, freedmen's rights, education, and the women's movement.
In a conflict over theology that was complicated by social tensions, the Society underwent a series of schisms beginning in 1827 and ending with the formation of three major subgroups: Hicksites (liberal), Orthodox (evangelical), and Conservative (quietist). During the 20th century, however, Friends have attempted to heal their differences. Many yearly meetings have merged, and most Friends cooperate in organizations such as the Friends World Committee for Consultation and the Friends World Conferences. The rapid growth of pastoral Quakerism in Africa and of silent meetings in Europe makes the Society of Friends an international organization.
The American Friends Service Committee is an independent service organization founded in 1917 to aid conscientious objectors. Today it also provides help to the needy in the United States and a number of Third World countries.
J William Frost
Bibliography
H Barbour, and J W Frost, The Quakers (1988); T D Hamm, The Transformation of American Quakerism: Orthodox Friends, 1800 - 1907 (1988); E Russell, The History of Quakerism (1942).
Religious Society of Friends
General Information
The Society of Friends (in full, Religious Society of Friends), is the designation of a body of Christians more commonly known as Quakers. Their fundamental belief is that divine revelation is immediate and individual; all persons may perceive the word of God in their soul, and Friends endeavor to heed it. Terming such revelation the "inward light," the "Christ within," or the "inner light," the first Friends identified this spirit with the Christ of history. They rejected a formal creed, worshiped on the basis of silence, and regarded every participant as a potential vessel for the word of God, instead of relying upon a special, paid clergy set apart from the rest.
Beliefs
Quakerism emphasizes human goodness because of a belief that something of God exists in everyone. At the same time, however, it recognizes the presence of human evil and works to eradicate as much of it as possible. Quakerism is a way of life; Friends place great emphasis upon living in accord with Christian principles. Truth and sincerity are Quaker bywords; thus, Quaker merchants refuse to bargain, for bargaining implies that truth is flexible. Emulating Christ, the Friends attempt to avoid luxury and emphasize simplicity in dress, manners, and speech. Until late in the 19th century, they retained certain forms of speech known as plain speech, which employed "thee" as opposed to the more formal "you"; this usage indicated the leveling of social classes and the spirit of fellowship integral to Quaker teaching.
In the administration and privileges of the society, no distinction between the sexes is made. Membership qualifications are based on moral and religious grounds and on the readiness of the candidate to realize and accept the obligations of membership. Meetings for worship are held regularly, usually once or twice a week, and are intended to help members to feel God's presence as a guiding spirit in their lives. In these meetings the members measure their insights and beliefs against those of the meeting as a whole. Because the religion of the Quakers was founded as a completely spiritual belief requiring no physical manifestation, the meetings have traditionally had no prearranged program, sermon, liturgy, or outward rites. Today, however, more than half of the Friends in the U.S. use paid ministers and conduct meetings for worship in a programmed or semiprogrammed manner.
In both the unprogrammed and programmed meetings members accept a great deal of responsibility. A group called Worship and Ministry, or Ministry and Oversight, accepts considerable responsibility for the spiritual life of the meeting. Overseers undertake to provide pastoral care for the member or share in that care when a regular pastor is employed. The religious discipline and administration of the society are regulated by periodic meetings known as Meetings for Business. One or more congregations constitute a Monthly Meeting, one or more Monthly Meetings form a Quarterly Meeting, and the Quarterly Meetings within a stated geographical area form a Yearly Meeting of the Religious Society of Friends. The decisions of the Yearly Meeting are the highest authority for all doctrinal or administrative questions raised in any subsidiary meeting within its jurisdiction. Usually no voting takes place in Quaker meetings; members seek to discover the will of God by deliberation concerning any matter at hand. As an integral part of Quaker doctrine, at meetings members are regularly and formally queried on their adherence to Quaker principles. These queries relate to such matters as the proper education of their children, the use of intoxicants, care of the needy, and, on a broader scale, racial and religious toleration and the treatment of all offenders in a spirit of love rather than with the object of punishment. Most American groups of Friends are represented by the American Friends Service Committee (AFSC), founded in 1917. Originally established to handle many of their philanthropic activities, the organization today is primarily concerned with creating a society in which violence need not exist.
Origins
The Society of Friends may be traced to the many Protestant bodies that appeared in Europe during the Reformation. These groups, stressing an individual approach to religion, strict discipline, and the rejection of an authoritarian church, formed one expression of the religious temper of 17th-century England. Many doctrines of the Society of Friends were taken from those of earlier religious groups, particularly those of the Anabaptists and Independents, who believed in lay leadership, independent congregations, and complete separation of church and state. The society, however, unlike many of its predecessors, did not begin as a formal religious organization. Originally, the Friends were the followers of George Fox, an English lay preacher who, about 1647, began to preach the doctrine of "Christ within"; this concept later developed as the idea of the "inner light." Although Fox did not intend to establish a separate religious body, his followers soon began to group together into the semblance of an organization, calling themselves by such names as Children of Light, Friends of Truth, and, eventually, Society of Friends. In reference to their agitated movements before moments of divine revelation, they were popularly called Quakers. The first complete exposition of the doctrine of "inner light" was written by the Scottish Quaker Robert Barclay in An Apology for the True Christian Divinity, as the Same Is Held Forth and Preached by the People Called in Scorn Quakers (1678), considered the greatest Quaker theological work.
The Friends were persecuted from the time of their inception as a group. They interpreted the words of Christ in the Scriptures literally, particularly, "Do not swear at all" (Matthew 5:34), and "Do not resist one who is evil" (Matthew 5:39). They refused, therefore, to take oaths; they preached against war, even to resist attack; and they often found it necessary to oppose the authority of church or state. Because they rejected any organized church, they would not pay tithes to the Church of England. Moreover, they met publicly for worship, a contravention of the Conventicle Act of 1664, which forbade meetings for worship other than that of the Church of England. Nevertheless, thousands of people, some on the continent of Europe and in America as well as in the British Isles, were attracted by teachings of the Friends.
Friends began to immigrate to the American colonies in the 1660s. They settled particularly in New Jersey, where they purchased land in 1674, and in the Pennsylvania colony, which was granted to William Penn in 1681. By 1684, approximately 7000 Friends had settled in Pennsylvania. By the early 18th century, Quaker meetings were being held in every colony except Connecticut and South Carolina. The Quakers were at first continuously persecuted, especially in Massachusetts, but not in Rhode Island, which had been founded in a spirit of religious toleration. Later, they became prominent in colonial life, particularly in Pennsylvania and Rhode Island. During the 18th century the American Friends were pioneers in social reform; they were friends of the Native Americans, and as early as 1688 some protested officially against slavery in the colonies. By 1787 no member of the society was a slave owner. Many of the Quakers who had immigrated to southern colonies joined the westward migrations into the Northwest Territory because they would not live in a slave-owning society.
During the 19th century differences of opinion arose among the Friends over doctrine. About 1827, the American Quaker minister Elias Hicks became involved in a schism by questioning the authenticity and divine authority of the Bible and the historical Christ; many Friends seceded with Hicks and were known as Hicksites. This schism alarmed the rest of the society, who became known as Orthodox Friends, and a countermovement was begun to relax the formality and discipline of the society, with a view to making Quakerism more evangelical. The evangelical movement, led by the British Quaker philanthropist Joseph John Gurney, aroused considerable opposition, particularly in the U.S., and another schism resulted among the Orthodox Friends. A new sect, the Orthodox Conservative Friends, called Wilburites after their leader John Wilbur, was founded to emphasize the strict Quakerism of the 17th century. It is very small today. The general result of these modifications, both those dealing with doctrine and those pertaining to the relations of Quakers to the world in general, was a new spirit among all the Friends. Most abandoned their strange dress and speech and their hostility to such worldly pursuits as the arts and literature.
Numerically, the Friends have always been a relatively small group. In the early 1980s world membership totaled about 200,000, distributed in about 30 countries. The greatest number of Friends is in the U.S., where, according to the latest available statistics, the society had about 1100 congregations with about 117,000 members. The Yearly Meetings in Africa, with about 39,000 members, and in the United Kingdom and Ireland, with about 21,000 members, are the next largest groups. Other groups are located in Central America, Australia, Canada, and New Zealand. The Friends World Committee for Consultation is the international organization of the society.
Edwin B. Bronner
Quakers - Society of Friends
Advanced Information
Known also as Quakers, the Society of Friends can best be understood through the lives of the early leaders. The founder was George Fox, whose youth saw the rule of Charles I and his marriage to a French princess who was a Roman Catholic, the Petition of Right, Archbishop Laud's harsh rules for Nonconformists, the Puritan emigration to America, and the meetings of the Long Parliament. His public career coincided with the defeat and execution of Charles I, the Puritan Commonwealth under Cromwell, the Stuart Restoration and the rule of James II, the Bill of Rights, and the "Glorious Revolution" of 1688. Some of his contemporaries were Locke, Hobbes, Milton, Dryden, Bunyan, Cromwell, Newton, Harvey, Baxter, and Ussher.
In 1647 Fox experienced a profound change in his religious life. In 1652 he said that he had a vision at a place called Pendle Hill; from that point on, he based his faith on the idea that God could speak directly to any person.
Some of the first converts of Fox were called "Friends" or "Friends in Truth." The term "Quaker" was described by Fox as follows. "The priest scoffed at us and called us Quakers. But the Lord's power was so over them, and the word of life was declared in such authority and dread to them, that the priest began trembling himself; and one of the people said, 'Look how the priest trembles and shakes, he is turned a Quaker also.'" According to Fox, the first person to use the term was Justice Bennet of Derby. Among the early converts were English Puritans, Baptists, Seekers, and other Nonconformists. The work spread to Ireland, Scotland, and Wales.
Quakerism took on certain characteristics such as simplicity in the manner of living, encouraging women to be ministers, spiritual democracy in meeting, absolute adherence to truth, universal peace and brotherhood regardless of sex, class, nation, or race. Quakers refused to remove their hats to those in authority and used the singular "thee" and "thou" in their speech, while the common people were supposed to address their betters as "you." In turn, they influenced the thought and social ethics of the English - speaking world far out of proportion to their numbers. Fox was imprisoned eight times during his life, but he pioneered care for the poor, aged, and insane, advocated prison reform, opposed capital punishment, war, and slavery, and stood for the just treatment of American Indians.
George Fox died in 1691, and the movement went into a quiet period. The center shifted to America. The first Friends to visit American were Mary Fisher and Anne Austin, who arrived in Massachusetts in 1656. They were sent away by the magistrates, but others arrived after them. In 1659 William Robinson and Marmaduke Stephenson were hanged on Boston Common, as was Mary Dyer the following year.
Probably the best known historical figure in the Society of Friends was William Penn. Born in 1644, he became a Quaker in 1667 and was an embarrassment to his father, Admiral Penn. King Charles II gave young William a grant of land in American to repay a debt to his father, and thus was launched Pennsylvania, a "holy experiment." By 1700 there were Friends meeting in all of the colonies.
Penn's tolerant policies attracted immigrants from many places. Difficulties arose from the fact that the Quakers wanted only to be at peace, while the British expected them to support the colonial wars against the French and Indians. A similar situation arose when the colonists revolted against the British in 1776.
A division occurred in the Society of Friends about 1827, with one group supporting the views of Elias Hicks, who believed that one should follow the inner light. The other group was influenced by the evangelical movement and put great emphasis on belief in the divinity of Christ, the authority of the Scriptures, and the atonement.
Friends were also active in the antislavery movement. John Woolman, Anthony Benezet, Lucretia Mott, and John Greenleaf Whittier were involved in such activities as the underground railroad and the Colonization Society. Benjamin Lundy's ideas were presented in The Genius of Universal Emancipation.
The tradition of caring for others carried on through the American Civil War, and the American Friends Service Committee was formed in 1917. The purpose of the organization was to provide young conscientious objectors with alternative service opportunities during wartime. A red and black star was chosen to symbolize the group.
The Society of Friends are optimistic about the purposes of God and the destiny of mankind. Their ultimate and final authority for religious life and faith resides within each individual. Many, but not all, seek for this truth through the guidance of the inner light. They believe that they are bound to refuse obedience to a government when its requirements are contrary to what they believe to be the law of God, but they are willing to accept the penalties for civil disobedience. They practice religious democracy in their monthly meetings. After discussion of an issue, for example, the clerk states what appears to be the mind of the group; but if a single Friend feels that he cannot unite with the group, no decision is made. Their stand for religious toleration is symbolized by the inscription on the statue of Mary Dyer across from Boston Common: "Witness for Religious Freedom. Hanged on Boston Common, 1660."
The Society of Friends has no written creed. Their philosophical differences can be seen in the fact that Richard Nixon was born into the group, while Staughton Lynd joined because of their teachings. They do have an interest in education, with the founding of Haverford, Earlham, Swarthmore, and other colleges. The teaching by example has caused some to ask why Quakers do not preach what they practice. Their ideal is to pursue truth at all costs, and it is hard to imagine a higher calling here on earth.
J E Johnson
(Elwell Evangelical Dictionary)
Bibliography
H Barbour, The Quakers in Puritan England; W C Braithwaite, The Beginnings of Quakerism and The Second Period of Quakerism; R M Jones, The Later Periods of Quakerism; E Russell, The History of Quakerism; D E Trueblood, The People Called Quakers; M H Bacon, The Quiet Rebels; A N Brayshaw, The Quakers: Their Story and Message; H H Brinton, Friends for Three Hundred Years; W R Williams, The Rich Heritage of Quakerism.
Society of Friends (Quakers)
Catholic Information
The official designation of an Anglo-American religious sect originally styling themselves "Children of Truth" and "Children of Light", but "in scorn by the world called Quakers".
The founder of the sect, George Fox, son of a well-to-do weaver, was born at Fenny Drayton in Leicestershire, England, July, 1624. His parents, upright people and strict adherents of the established religion, destined him for the Church; but since the boy, at an early period, felt a strong aversion to a "hireling ministry", he was, after receiving the bare rudiments of education, apprenticed to a shoemaker. He grew to manhood a pure and honest youth, free from the vices of his age, and "endued", says Sewel, "with a gravity and stayedness of mind seldom seen in children". In his nineteenth year, while at a fair with two friends, who were "professors" of religion, he was so shocked by a proposal they made him to join them in drinking healths, that he abandoned their company. Returning home, he spent a sleepless night, in the course of which he thought he heard a voice from heaven crying out to him: "Thou seest how young men go together into vanity, and old people into the earth; thou must forsake all, young and old, keep out of all, and be a stranger unto all." Interpreting the injunction literally, Fox left his father's house, penniless and with Bible in hand to wander about the country in search of light. His mental anguish at times bordered on despair. He sought counsel from renowned "professors"; but their advice that he should take a wife, or sing psalms, or smoke tobacco, was not calculated to solve the problems which perplexed his soul. Finding no food or consolation in the teachings of the Church of England or of the innumerable dissenting sects which flooded the land, he was thrown back upon himself and forced to accept his own imaginings as "revelations". "I fasted much", he tells us in his Journal, "walked abroad in solitary places many days, and often took my Bible and sat in hollow trees and lonesome places until night came on; and frequently in the night walked mournfully about by myself. For I was a man of sorrows in the first working of the Lord in me." This anguish of spirit continued, with intermissions, for some years; and it is not surprising that the lonely youth read into his Bible all his own idiosyncrasies and limitations. Founding his opinions on isolated texts, he gradually evolved a system at variance with every existing form of Christianity. His central dogma was that of the "inner light", communicated directly to the individual soul by Christ "who enlightenth every man that cometh into the world". To walk in this light and obey the voice of Christ speaking within the soul was to Fox the supreme and sole duty of man. Creeds and churches, councils, rites, and sacraments were discarded as outward things. Even the Scriptures were to be interpreted by the inner light. This was surely carrying the Protestant doctrine of private judgment to its ultimate logical conclusion. Inconvenient passages of Holy Writ, such as those establishing Baptism and the Eucharist, were expounded by Fox in an allegorical sense; whilst other passages were insisted upon with a literalness before unknown. Thus, from the text "Swear not at all", he drew the illicitness of oaths, even when demanded by the magistrate. Titles of honour, salutations, and all similar things conducive to vanity, such as doffing the hat or "scraping with the leg", were to be avoided even in the presence of the king. War, even if defensive, was declared unlawful. Art, music, drama, field-sports, and dancing were rejected as unbecoming the gravity of a Christian. As for attire, he pleaded for that simplicity of dress and absence of ornament which later became the most striking peculiarity of his followers. There was no room in his system for the ordained and salaried clergy of other religions, Fox proclaiming that every man, woman or child, when moved by the Spirit, had an equal right to prophesy and give testimony for the edification of the brethren. Two conclusions, with disagreeable consequence to the early Friends, were drawn from this rejection of a "priesthood"; the first was, that they refused to pay tithes or church rates; the second, that they celebrated marriage among themselves, without calling in the services of the legally appointed minister. Impelled by frequent "revelations", Fox began the public preaching of his novel tenets in 1647. It was not his intention to increase the religious confusion of the time by the addition of a new sect. He seems to have been persuaded that the doctrine by means of which he himself had "come up in spirit through the flaming sword into the paradise of God" would be greeted alike by Christian, Turk, and heathen. The enthusiasm and evident sincerity of the uncouth young preacher gained him numerous converts in all parts of Britain; whilst the accession of Margaret, wife of Judge Fell, afterwards of Fox himself, secured to the Friends a valuable rallying-point in the seclusion of Swarthmoor Hall, Lancashire. In an incredibly short time, a host of unordained apostles, male and female, were scouring the two hemispheres, carrying to the ends of the earth the gospel of Fox. One enthusiast hastened to Rome to enlighten the pope; a second went to the Orient to convert the sultan. The antagonistic religions dominant in England before and after the Restoration, Presbyterianism and the Established Church, made equally determined efforts, through the aid of the civil power, to crush the growing sect. From the detailed record which the Friends, in imitation of the primitive Christians, kept of the sufferings of their brethren, we gather that during the reign of Charles II, 13,562 "Quakers" were imprisoned in various parts of England, 198 were transported as slaves beyond seas, and 338 died in prison or of wounds received in violent assaults on their meetings. They fared still worse at the hands of the Puritans in Massachusetts, who spared no cruelty to rid the colony of this "cursed sect of heretics", and hanged four of them, three men and a woman, on Boston Common. What marked them out for persecution was not so much their theory of the inward light or their rejection of rites and sacraments, as their refusal to pay tithes, or take the oaths prescribed by law, or to have anything to do with the army; these offences being aggravated in the estimation of the magistrates by their obstinacy in refusing to uncover their head in court and "thouing and theeing" the judges. The suffering Friends found at last a powerful protector in the person of their most illustrious convert, William, son of admiral Penn, who defended his coreligionists in tracts and public disputes, and, through his influence with the last two Stuart kings, was frequently successful in shielding them from the violence of the mob and the severity of the magistrates. Penn furthermore secured for them a safe refuge in his great colony of Pennsylvania, the proprietorship of which he acquired from Charles II in liquidation of a loan advanced to the Crown by his father. With the accession to the throne of James II the persecution of the Friends practically ceased; and by successive Acts of Parliament passed after the Revolution of 1688, their legal disabilities were removed; their scruples about paying tithes and supporting the army were respected; and their affirmation was accepted as equivalent to an oath.
Meanwhile, Fox, in the intervals between his frequent imprisonments, had laboured to impart the semblance of an organization to the society; whilst the excesses of some of his followers compelled him to enact a code of discipline. His efforts in both these directions encountered strong opposition from many who had been taught to regard the inward light as the all-sufficient guide. However, the majority, sacrificing consistency, acquiesced; and before the death of Fox, 13 Jan., 1691, Quakerism was established on the principles which it has since substantially preserved.
Although the Friends repudiate creeds as "external" and "human", yet they, at least the early Quakers and their orthodox modern followers, admit the fundamental dogmas of Christianity as expounded in the Apostles' Creed. Rejecting as non-Scriptural the term Trinity, they confess the Godhead of the Father, the Son, and the Holy Ghost; the doctrine of the Redemption and salvation through Christ; and the sanctification of souls through the Holy Spirit. Their ablest apologists, as Robert Barclay and William Penn, have not been able to explain satisfactorily in what respect the "inward light" differs from the light of the individual reason; neither have they reconciled the doctrine of the supreme authority of the "inner voice" with the "external" claims of Scripture and the historic Christ. These doctrinal weaknesses were fruitful germs of dissensions in later times.
Though one of the earliest of Fox's "testimonies" was in reprobation of "steeple-houses", that is, the stately edifices with which Catholic piety had covered the soil of England, nevertheless, as his adherents grew in numbers, he was forced to gather them into congregations for purposes of worship and business. These "particular meetings" assembled on the first day of the week. They worshipped without any form of liturgy and in silence until some man, woman, or child was moved by the Spirit to "give testimony", the value of which was gauged by the common sense of the assembly. By a process of development, a form of church government came into being, which has been described as follows:
"The whole community of Friends is modelled somewhat on the Presbyterian system. Three gradations of meanings or synods -- monthly, quarterly, and yearly -- administer the affairs of the Society, including in their supervision matters both of spiritual discipline and secular policy. The monthly meetings, composed of all the congregations within a definite circuit, judge of the fitness of new candidates for membership, supply certificates to such as move to other districts, choose fit persons to be elders, to watch over the ministry, attempt the reformation or pronounce the expulsion of all such as walk disorderly, and generally seek to stimulate the members to religious duty. They also make provision for the poor of the Society, and secure the education of their children. Overseers are also appointed to assist in the promotion of these objects. At monthly meetings also marriages are sanctioned previous to their solemnization at a meeting for worship. Several monthly meetings compose a quarterly meeting, to which they forward general reports of their condition, and at which appeals are heard from their decisions. The yearly meeting holds the same relative position to the quarterly meetings that the latter do to the monthly meetings, and has the general superintendence of the Society in a particular country." (See Rowntree, Quakerism, Past and Present, p. 60.)
All the yearly meetings are supreme and independent, the only bond of union between them being the circular letters which pass between them. The annual letter of London Yearly Meeting is particularly prized. With the passing away of its founders and the cessation of persecution, Quakerism lost its missionary spirit and hardened into a narrow and exclusive sect. Instead of attracting new converts, it developed a mania for enforcing "discipline", and "disowned", that is, expelled, multitudes of its members for trifling matters in which the ordinary conscience could discern no moral offence. In consequence, they dwindled away from year to year, being gradually absorbed by other more vigorous sects, and many drifting into Unitarianism.
In the United States, where, in the beginning of the last century, they had eight prosperous yearly meetings, their progress was arrested by two schisms, known as the Separation of 1828 and the Wilburite Controversy. The disturbance of 1828 was occasioned by the preaching of Elias Hicks (1748-1830), an eloquent and extremely popular speaker, who, in his later years, put forth unsound views concerning the Person and work of Christ. He was denounced as a Unitarian; and, although the charge seemed well founded, many adhered to him, not so much from partaking his theological heresies, as to protest against the excessive power and influence claimed by the elders and overseers. After several years of wrangling, the Friends were split into two parties, the Orthodox and the Hicksite, each disowning the other, and claiming to be the original society. Ten years later the Orthodox body was again divided by the opposition of John Wilbur to the evangelistic methods of an English missionary, Joseph John Gurney. As the main body of the Orthodox held with Gurney, the Wilburite faction set up a schismatic yearly meeting. These schisms endure to the present day. There is also a microscopical sect known as "Primitive" Friends, mainly offshoots from the Wilburites who claim to have eliminated all the later additions to the faith and practice of the early founders of the society.
In the fields of education, charity, and philanthropy the Friends have occupied a place far out of proportion to their numbers. There exist in the United States many important colleges of their foundation. They are exemplary in the care of their poor and sick. Long before the other denominations, they denounced slavery and would not permit any of their members to own slaves. They did not, however, advocate the abolition of slavery by violent measures. They have also been eminently solicitous for the welfare and fair treatment of the Indians. According to Dr. H.K. Carroll, the acknowledged authority on the subject of religious statistics (The Christian Advocate, Jan., 1907), the standing of the various branches of Friends in the United States is as follows:
Orthodox: 1302 ministers, 830 churches, 94,507 communicants
Hicksite: 115 ministers, 183 churches, 19,545 communicants
Wilburite: 38 ministers, 53 churches, 4,468 communicants
Primitive: 11 ministers, 9 churches, 232 communicants
Publication information Written by James F. Loughlin. Transcribed by Thomas J. Bress. The Catholic Encyclopedia, Volume VI. Published 1909. New York: Robert Appleton Company. Nihil Obstat, September 1, 1909. Remy Lafort, Censor. Imprimatur. +John M. Farley, Archbishop of New York
Bibliography
SCHAFF, Creeds and Christendom (New York, 1884), I, III; THOMAS, ALLAN C. AND RICHARD H., History of the Society of Friends in America in American Church History Series (New York, 1894), XII--contains excellent bibliography; SMITH, JOSEPH, Descriptive Catalogue of Friends' Books (London, 1867; supplement, London, 1893); IDEM, Bibliotheca Anti-Quakeriana, A Catalogue of Books Adverse to the Society of Friends (London, 1873); JANNEY, History of the Religious Society of Friends from the Rise to the year 1828 (2nd ed., Philadelphia, 1837-50). The Works of FOX were published at London, 1694-1706; the Works of BARCLAY were edited by WILLIAM PENN (London, 1692).
The individual articles presented here were generally first published in the early 1980s. This subject presentation was first placed on the Internet in May 1997.
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In racing, who rode the winner of the 1951 'Derby'? | FAQs about Quakers | Friends General Conference
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Nurturing faith and Quaker practice
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Frequently Asked Questions about Quakers
Quaker Beliefs
Quaker Beliefs
What do Quakers believe?
We believe that every person is loved and guided by God. Broadly speaking, we affirm that "there is that of God in everyone." Everyone is known by God and can know God in a direct relationship. We are called to attend to this relationship and to be guided by it. Quakers use many words to describe the Divine. Some of them include: God, the Light Within, Christ, Spirit, Seed, and Inward Teacher. [ back to top ]
Are Quakers Christian?
The Quaker way has deep Christian roots that form our understanding of God, our faith, and our practices. Many Quakers consider themselves Christian, and some do not. Many Quakers today draw spiritual nourishment from our Christian roots and strive to follow the example of Jesus. Many other Quakers draw spiritual sustenance from various religious traditions, such as Buddhism, Judaism, Islam, Hinduism, and the nature religions. [ back to top ]
It sounds like Quakers can believe anything they like―is that so?
Quakers invite the word of God to be written in our hearts, rather than as words on paper—we have no creed. But we also believe that if we are sincerely open to the Divine Will, we will be guided by a Wisdom that is more compelling than our own more superficial thoughts and feelings. This can mean that we will find ourselves led in directions or receiving understandings that we may not have chosen just from personal preference. Following such guidance is not always easy. This is why community is important to Quakers, why we turn to each other for worshipful help in making important choices, and why we read the reflections of other Quakers who have lived faithful lives. [ back to top ]
Do Quakers believe in heaven and hell?
The emphasis of a Quaker’s life is on present time―on experiencing and following the leadings of the Light in our lives today. Individual Quakers hold a variety of beliefs about what follows our lives on earth. [ back to top ]
Do Quakers read the Bible?
The Bible is a book close to the hearts of many Friends. Many Quakers turn to the Hebrew and Christian scriptures for inspiration, insight, and guidance. They are valued as a source of wisdom that has been sacred to many generations. Quakers are informed by Biblical scholarship that offers perspective on the creation of the Bible and the understanding we have of it today. Most Quakers do not consider the Bible to be the final authority or the only source of sacred wisdom. We read it in the context of other religious writings and sources of wisdom, including the Light Within and worshipful community discernment. Some Quakers have little interest in the Bible. For more on this topic, see the QuakerSpeak video How Quakers Read the Bible . [ back to top ]
Quaker Worship
What happens in Quaker worship—is it really silent?
Quaker worship is based on silent waiting, where we expect to come into the presence of God. In this living silence, we listen for the still, small voice that comes from God through the Inward Light. Worshiping together in silence is a way for a community to be brought together in love and faithfulness.
During silent worship, anyone—adult or child—may feel inspired to give vocal ministry (speak out of the silence). After the person speaks the message, the silence resumes. Such messages may be offered several times during a meeting for worship, or the whole period of worship may be silent. Someone will signal the close of worship by shaking hands with another person, then everyone shakes hands with those seated nearby. For more on silent worship, see the QuakerSpeak video Quaker Silence . [ back to top ]
How do Quakers practice baptism and communion?
For Quakers, sacraments are understood as an inward, spiritual, experience. We don’t have a custom of performing sacramental ceremonies. For more on why not, see the QuakerSpeak video "Form without Substance." [back to top ]
Can I attend Quaker meeting?
Yes! You are welcome to attend Quaker worship. There are Quakers of all ages, religious backgrounds, races and ethnicities, sexual orientations, gender identities, abilities, and classes. All are welcome. You can find meetings in your area at quakerfinder.org . [ back to top ]
What should I wear to Quaker meeting?
Dress comfortably. In general, Quakers wear everyday clothes to meeting. This may range from what you would wear at work in an office to jeans and a t-shirt. You are welcome to join us for worship as you are! [ back to top ]
Quakers Engaging with the World
What are Quaker testimonies?
Quakers find that attending to the Light Within influences the ways we act in our personal lives, as well as the changes we work for in the wider world. We have noticed that certain values seem to arise more or less consistently when we try to stay close to the guidance of the Inward Teacher, and we call these principles our “testimonies.” They are not so much rules that we try to obey as the outcomes of our efforts to live in harmony with the Holy Spirit. Some commonly recognized testimonies include peace, integrity, equality, simplicity, community, and care for the earth. [ back to top ]
Do I have to be a pacifist to be a Quaker?
Peace has always been a very important expression of how Quakers are guided by the Spirit. We wrestle with our understanding of what God requires of us. We are asked to consider if we are called to be pacifists, but this determination is left to the individual as conscience dictates. For many, it has meant a commitment to nonviolence and conscientious objection to participating in war. Some Quakers, however, have served in the military. Quaker institutions, such as meetings, generally hold to a pacifist position. For more on Quaker pacifism, see the QuakerSpeak video The End of Violence? [ back to top ]
What do Quakers think about science?
Quakers find compatibility in our longing for spiritual understanding and in our desire to understand the workings of the natural world. Many Quakers have been leaders in science, including some who have won the Nobel Prize in a variety of fields. We understand that people evolved over millennia, and we stand in awe of the creation. Many Quakers feel called to help protect and heal the world that we are blessed to inhabit. [ back to top ]
Quaker Practices
How do Quakers live today?
There are Quakers of all ages, religious backgrounds, races and ethnicities, education, sexual orientations, gender identities, abilities, and classes. Modern Quakers generally “blend in” with the larger culture, rather than adopting the distinctive dress and patterns of speech associated with Quakers of earlier centuries.
Quakers try to live and act in ways that are consistent with the divine harmony that we seek in worship. Through this effort come our testimonies of peace, integrity, equality, community, simplicity, and care for the environment. [ back to top ]
How do Quaker meetings make decisions?
Once a month, the meeting (congregation) holds a “meeting for worship for business.” Anyone who is part of the meeting may attend. Decisions are made without voting. Instead, the participants discuss the matter and listen deeply for a sense of spiritual unity. When the clerk recognizes that unity has been reached, it is called the “sense of the meeting.” If those present agree with the clerk’s expression of that sense, then the decision is recorded in the minutes. [ back to top ]
What does the pastor do? How do Quakers get organized without a leader?
Quakers believe that we are all ministers and responsible for the care of our worship and community. Rather than employing a pastor, Quaker meetings function by appointing members to offices and committees, which take care of things like religious education for adults and children, visiting the sick, planning special events, having the meeting house roof repaired—all the many things that any congregation needs.
A member of the meeting is appointed as “clerk,” a volunteer office. The clerk chairs business meetings and handles communications. When the clerk’s term expires, a new clerk is appointed. [ back to top ]
How do Quakers get married?
During a special meeting for worship, the couple stand and face each other, then make very simple promises, giving themselves and taking each other in marriage. They sign a special certificate of marriage containing the words of their promises, then after the close of the meeting for worship, everyone present signs the certificate as a witness. Most states make some kind of special allowance for legalizing a Quaker wedding when there is no pastor to “officiate.” [ back to top ]
How do Quakers celebrate Christmas?
In modern times, most Quakers celebrate a low-key Christmas, and sometimes Easter, as part of our larger culture. However, traditionally, Quakers did not celebrate any religious holidays because all days are “holy days.” [ back to top ]
How do I become a member?
You become a Quaker by joining a meeting. Quakers encourage newcomers to spend some time getting familiar with the Quaker way and with the community before making up their minds to formally join. You may spend anywhere from a few months to a few years as an "attender," participating in worship and other meeting activities before you feel ready to make a commitment. (Some choose to be active attenders for a lifetime.) The first step toward membership is to write a letter to the clerk of the meeting expressing your wish to join formally. The clerk or a member of the appropriate meeting committee will be pleased to explain the membership process to you, but they may wait for you to take the first step, since Quakers are often reluctant to make someone feel pressured to join. [ back to top ]
Quakers throughout the World
Are all Quakers alike?
Quakers have evolved and diverged into several difference varieties over our three and one-half centuries. The kind of Quaker belief and worship described here represents just one variety. Other branches of Quakers do have pastors and more structured worship, and have a more Bible-centered emphasis in their beliefs. In the United States, those branches are more likely to be affiliated with the umbrella organizations Friends United Meeting or Evangelical Friends Church International , rather than Friends General Conference (whose website you are on).
Friends who worship in silence are often called “unprogrammed” or “nonpastoral” Friends, while those who follow pastor-led worship are called “programmed” or “pastoral” Friends. [ back to top ]
What’s the difference between a Quaker meeting and Quaker church?
Unprogrammed Quakers (those which worship in silence) call their congregations “meetings.” Programmed Quakers (those which have a pastor-led service with a shorter amount of silence, or none) sometimes use the word “meeting” and sometimes call their congregation a “church.” [ back to top ]
How many Quakers are there?
In 2007 there were approximately 359,000 adult members of Quaker meetings in the world, with about 87,000 in the United States. This includes all the various branches of the Religious Society of Friends. All of the branches are represented in the United States. In other parts of the world, unprogrammed Friends (who practice silent worship and don’t have pastors) are most common in Europe and in former colonies of Britain; programmed Friends (with prepared worship services and pastors) are most common in Africa and South America. [ back to top ]
Where is the Quaker “central office”?
You could say that it is everywhere and nowhere. There are many Quaker organizations with different functions and which relate to different parts of the larger Quaker movement. A few of the better known examples in the United States include: American Friends Service Committe e (which puts Quaker values into action by operating service, development, and peace programs throughout the world), Friends Committee on National Legislation (which lobbies on behalf of Quaker values), Friends Council on Education (which works in support of Friends schools), and a great many others, including schools and colleges, peace and justice programs, retreat centers, services for the aging, and more. In Canada, the Canadian Friends Service Committee addresses the peace and social concerns of Friends. Each of these organizations is independent of the others, but there is much collaboration and interconnection.
Friends World Committee for Consultation is a worldwide organization, headquartered in London, that promotes fellowship among the various branches of Quakers, but it does not speak on behalf of all Quakers or have authority over them. Some of the Quaker branches have their own “umbrella organizations,” including Friends General Conference (that's us), Friends United Meeting , and Evangelical Friends Church International .
Quaker congregations are affiliated in larger regional bodies called yearly meetings. There are 34 yearly meetings in the United States and Canada. [ back to top ]
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Which was the first English football club to win the European Cup? | BBC ON THIS DAY | 29 | 1968: Manchester Utd win European Cup
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1968: Manchester Utd win European Cup
Manchester United have become the first English club to win the European Cup beating Portuguese side Benfica by four goals to one.
Ten years after the Munich air crash, which killed eight of Matt Busby's young team, Manchester United have reached the pinnacle of European football.
Celtic became the first Scottish and British club to win the cup the previous year.
United's star player, George Best, was named European Footballer of the Year - just a fortnight after being named the football writers' Footballer of the Year.
Massive crowd
Tonight's match at Wembley was watched by a crowd of 100,000 and an estimated 250 million TV viewers. It was the biggest television audience since the World Cup final two years before.
As both teams wear red kit, United opted to play in their blue away strip for the game.
The first half passed in a flurry of fouls before Bobby Charlton headed the opening goal in the second half to make it 1-0.
With only 10 minutes left to go, Benfica scored the equaliser - and very nearly won the match when their feared striker Eusebio broke away from Nobby Stiles, the player tasked with marking him, and blasted the ball towards the net.
But it was saved by keeper Alex Stepney and the game went into extra time.
Winning goal
Two minutes into extra time Best put United ahead again, slipping round the keeper and gently tapping it over the line.
It was followed by two more United goals, from 19-year-old Brian Kidd and captain Bobby Charlton, taking the final score to 4-1.
Manager Matt Busby said: "They've done us proud. They came back with all their hearts to show everyone what Manchester United are made of. This is the most wonderful thing that has happened in my life and I am the proudest man in England tonight."
Busby was seriously injured in the crash which claimed the lives of his so-called Busby Babes and there was speculation at the time that the club had been so badly damaged it would have to fold.
But they struggled on to complete the 1958/59 season and when Busby returned to the manager's role the following season he began the task of rebuilding the side.
The club won the league in 1965 and 1967, but today's win marks the pinnacle of the club's achievements.
Charlton and Bill Foulkes were the only survivors of the crash who played in today's final.
| Manchester United F.C. |
Name the two tiles with the highest score in Scrabble? | BBC - A Sporting Nation - Hibernian reach the first European Cup semi-finals 1956
Hibernian reach the first European Cup semi-finals 1956
© SCRAN
In the early days of European competitions, from the 1950s to late 1960s, clubs like Hibernian, Dundee and Dunfermline Athletic competed at the highest level building a formidable reputation for the Scottish game.
These clubs were pioneers gaining valuable playing and managerial experience and it was their early triumphs that would lead the way to the later successes of Celtic (European Cup winners in 1967) and Rangers (Cup-Winners' Cup winners in 1972).
Under Bob Shankly, Dundee reached the semi-final of the European Cup, defeating Cologne, Sporting Lisbon and Anderlecht before falling to the eventual winners AC Milan in 1963, and Dunfermline Athletic were to reach the semi-final of the European Cup-Winners' Cup in 1969 three years before Rangers won it.
Rangers themselves had been to the semi-final of the European Cup in season 1959-60 and the final of the Cup-Winners' Cup in 1961. But until 1967 Celtic had never been to the latter stages of a European competition.
Key to Scotland's early success was the vision of Hibs Chairman Harry Swan and (former manager) Willie McCartney, who were very forward-looking in taking a club on tours and competitions which others saw as a waste of time, the energy of manager Bob Shankly at Dundee, and the individual skill of Gordon Smith.
Hibernian were the first British club to enter European competition in season 1955/6 (the following year Matt Busby would follow Hibs' lead with Manchester United as the first English club into Europe) and three years before that had graced the Maracana Stadium in Brazil.
In 1953 Hibs were invited to play in Brazil, not as a touring team but to take part in a competition, labelled by the Brazilian FA as a World Club Championship, called the Octagonal Rivadavia Correa Meyer. Hibs qualified as Champions of Scotland for 1951-52 season, but the main reason they were asked to compete was their reputation at the time. This is borne out when remembering that no other Scottish teams have ever been asked to play in Brazil.
According to the Hibs fanzine, Mass Hibsteria: "Hibs took three sets of boots: the usual football boot of the day, a lighter 'shoe' with studs, which they had bought whilst touring Germany, and an even lighter rubber-soled shoe. They also took three sets of strips of varying materials. This is in stark contrast to the preparation of the Scotland National team of the time who still favoured the "tackity boot", as modelled by the Rangers 'Iron Curtain' team of the day."
Travel broadens the mind, and mixing with the powerhouse of world football would have good knock-on effects for the Scottish game, but in these days international travel was rare, expensive and time consuming, and European club competitions were in their infancy.
The feasibility of European football was dependent on two key factors: the new technology of floodlights, which allowed midweek and evening football, and the growing affordability of air travel.
Inevitably this spirit of international exchange, travel and tourism went hand in hand with the urge for big money-making spectacles. Although this is something taken for granted today it was quite revolutionary for its time and was part of a process of the growing phenomena of 'leisure time'. The very idea of evening games, on a Wednesday night, against foreign opposition was an exotic and radical prospect.
Football was becoming a leisure industry. Slowly, over the period between the 1960s and '70s, football clubs would develop from being sporting institutions rooted in their community to big businesses.
While every era is special to those who witness it, perhaps in hard statistical fact, Hibernian's golden age was the late '40s and early '50s. Hibs won the League championship in 1947/48, 1950/51, and 1951/52, and developed a global fame for their attacking football. At this time the club toured Europe and South America long before it was fashionable. Exhibition games were virtually unknown but Hibs played against English clubs such as Manchester United (who they beat 8-3), Tottenham Hotspur and Arsenal.
© SCRAN
Their success and reputation led to the invitation to take part in the inaugural European Cup in 1956, and there's no doubt that this reputation was built upon the rock of their legendary forward line, 'the Famous Five'.
In those days it was common for teams to play with five up-front, two wingers, and 'inside right' and left and a centre forward. Gordon Smith, Bobby Johnstone, Lawrie Reilly, Eddie Turbull and Willie Ormond made up the greatest front line Scotland has ever seen.
As the chant of the time went: "Johnstone was braw, Reilly an' aw, but the cocky wee Gordon was the pride of them aw."
Gordon Smith (Outside Right) – was known as the 'Prince of Wingers', playing 18 times for Scotland, and scoring 170 competitive goals for Hibs, with 17 hat-tricks. After leaving Hibs he became the only player to win league titles with three different non-Glasgow clubs (Hibs, Dundee and Hearts).
It's arguable in fact that Smith was central to Scottish clubs' success in these early days as he went on with some success to contribute to the great Dundee side, of whom more a little later.
But in 1956, Aberdeen were, in fact, Scottish champions, but like English counterparts Chelsea, they ignored the offer. So Hibs were in by default. In the first round they met West German champions RotWeiss Essen. Hibs won 4-0 in Essen and the return tie in Scotland ended in a 1-1 draw.
Eddie Turnbull, later to manage one of the best Hibs sides of all time recalls: "That's where I became the first British player to score in Europe. We gassed Rot-Weiss 4-0 although they were not a bad team, with quite a few of the World-Cup winning team of 1954 on their side."
In the quarter-finals Hibs met Djurgaarden, winning 3–1 at home and losing to a single goal 'away'. The Scandinavian team's pitch was frozen so they played their home match at Firhill in Glasgow. The night of Hibs' win Celtic were playing across the city and the Parkhead programme notes stated: "Already interest in these floodlit evening games is on the wane."
The second leg against Reims at Easter Road was attended by 45,000 spectators. Sadly Hibs were defeated by a Reims side inspired by the great French footballer Raymond Kopa.
Kopa in fact, known as 'the Little General', was recently voted the third greatest French player behind Michel Platini and Zinedine Zidane, dictated both games. Reims were then beaten by Real Madrid in the final.
© SCRAN
Scottish clubs would continue to do well in both the Fairs Cup (precursor to the UEFA Cup, and the European Champions Cup).
Hibs qualified for the UEFA Cup in 1961 and beat Lausanne in the first away leg. Lausanne, perhaps sensing a costly journey to Edinburgh, withdrew, so Hibs joined Barcelona in the quarter-finals drawing 4–4 at the Camp Nou and beating them 3–2 at Easter Road in the return tie.
In the semi-final Hibs played AS Roma with club legend Joe Baker taking his tally to six goals in four games. But after drawing home and away (2-2, 3-3), Hibs mysteriously collapsed 6–0 in the final play-off, Roma inspired by the brilliant Argentinian striker Pedro Manfredini.
The following year - 1962 - was a vintage year for Scottish football in Europe, with highlights including Bob Shankly's Dundee beating Cologne 8–1 in the European Champions Cup and Dunfermline beating Everton (2-0) then Valencia 6-2 in the Fairs Cup.
Shankly came to Dens Park in 1959/60 after previously managing Falkirk and Third Lanark. He quickly honed a well-balanced side, winning the league in 1961/2. The team comprised: Liney, Hamilton, Cox, Sieth, Ure, Wishart, Smith, Penman, Cousin, Gilzean and Robertson. Future Scotland manager Craig Brown was a squad member.
For the '62/63 European campaign Shankly added Liverpool keeper Bert Slater and drew in younger players to freshen things up. En route to the semi-final they beat Cologne (8-1), Anderlecht (4-1; 2-1) and Sporting Lisbon before being stopped by AC Milan at the San Siro (despite beating them at Dens).
Dundee's famous victory over Cologne caused shockwaves through European football but the match was overshadowed when the Cologne keeper was hurt in the opening leg at Dens Park. There was some sinister talk that the Dundee keeper might suffer the same in Germany, and indeed Bert Slater was kicked in the head when going for a ball. He was put on a stretcher and was being taken off when he realised what was happening and fought back into the ground. He played on the wing till frustration took over and he relaced the stand-in Andy Penman in goals, holding the Germans to 4 – 0.
John Rafferty in One Hundred Years of Football writes: "The game finished with the thick crowd round the touchlines and police holding them back with dogs on leads. So nasty was the atmosphere of the match that Dundee refused to join Cologne at the after-match banquet."
Next Dundee would beat Sporting Lisbon, then Anderlecht before facing AC Milan. With the final that year to be played at Wembley, many have commented that if it weren't for a cruel semi-final draw, Dundee might have been the first British club to lift the European Cup. If it had been the case it would have been Ayshire's Bob, not Bill, Shankly to be associated with British club success in Europe.
When Jock Stein came to Hibs as manager in 1964, he built on their European tradition. Often known as a dour character, Stein was more of a showman than he's given credit for. He had just taken over at Easter Road and won the Summer Cup. But Hearts were in Europe and Hibs weren't, so Stein went on the offensive and arranged a game against Real Madrid (October) – then the most famous club in the world.
Pat Stanton recalls being asked to mark Puskas. He recalls: "I got a wee insight early on into Puskas when he went over the top on me. I was a bit taken aback. Here was the world-famous player sorting out me, a young laddie from Niddrie. Anyway we won 2-0 and did a wee lap of honour afterwards."
Dundee's defeat to AC Milan would be revenged four years later when, in season 1967/68, Hibs faced Italian giants Napoli after ejecting Porto from the UEFA Cup competition, winning 3-0 at home and going down 1-3 in Portugal. The Hibees were beaten 4-1 by Napoli in Italy before rallying to put five past Dino Zoff at Easter Road and go through to the third round. Here they were put out by Don Revie's all-conquering Leeds side who went on to win the competition.
The following year Dunfermline would go on to be European Cup-Winners' Cup semi-finalists in 1968/69, then in season 1972/73 the year after Rangers ill-fated final, Hibs qualified for the European Cup-Winners' Cup. The Edinburgh side beat Sporting Lisbon 7-3 and Besa from Albania 8 -2 (helped by two hat-tricks by Jimmy O'Rourke) before going out to Hajduk Split (4-2, 0-3) in the quarter finals.
Central to this impressive early record in European competitions, then, are four characters: Gordon Smith (Hibs and Dundee), Jock Stein, (Hibs then Celtic), Bob Shankly (coach with Stenhousemuir then manager of Falkirk, Third Lanark, Dundee, Hibs), and chairmen with the necessary vision such as Harry Swan at Hibernian.
A side-effect of this internationalism was the emergence of the independence of the manager in charge of the playing staff (when Tommy Docherty replaced Bobby Brown in charge of the Scotland team in 1971 he was given a free hand, and paid significantly more than Sir Alf Ramsey.) But with this success came clubs undoing. The year of Dundee's European adventure 1962-63 season, there was a mini-revolt from the Players wanting bigger signing on fees for winning the League.
Dundee were to lose Ian Ure (to Arsenal) in 1964 for a Scottish record transfer fee of £62,500 and the following year lost their Scottish all-time record goals scorer (50 League and Cup goals) - Alan Gilzean, who was sold for yet another record Scottish fee to Spurs for £72,500. Shankly was disillusioned with the board and was quoted as saying: "They'll sell the groundsman if you make them an offer".
Success bred ambition but ultimately few of the smaller clubs could sustain it. While Hibs and Dundee and Dunfermline were pioneers they would soon see their playing staff and managers poached by clubs with deeper pockets. Little it seems has changed in the intervening period.
Thanks to Dunfermline Athletic FC, Hibernian Historical Trust and Dundee FC for help with this article.
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The Pindus is the main mountain range in what country? | Pindus Mountains | mountains, Europe | Britannica.com
Pindus Mountains
Alternative Titles: Oroseirá Píndhou, Pind Mountains, Píndhos Óros, Pindhou Mountains, Pindos Mountains
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Pindus Mountains, Modern Greek Píndos, also spelled Píndhou, principal range and backbone of mainland Greece , trending north-northwest–south-southeast from Albania to central Greece north of the Peloponnese (Modern Greek: Pelopónnisos).
Píndos (Pindus) Mountains, Greece.
Bogdan Giusca
In antiquity, the name Pindus applied to ranges south of the Aracynthus (Zygós) Pass west of Thessaly (Thessalía). Occasionally the Pindus is said to extend into Albania but also to include the Tymphrestos (Timfristós) massif and even the Gióna massif north of Amphissa in the nomós (department) of Phocis (Fokída). The highest point of the range is 8,651 feet (2,637 metres) in the Smólikas massif, near the Albanian border.
An extension of the calcareous Dinaric range of the Balkans, the core of the Pindus appears to comprise metamorphic and volcanic rocks: schists, serpentines, granite, and jasper. The northern parts, less elevated, have folded Balkan characteristics. Lacking uniformity, the Pindus consists largely of a series of small ranges separated by transverse valleys eroded from limestones that on the eastern slopes often are overlain by geologically younger sandy and marl deposits. The result is often wild, precipitous slopes that afford few passes; the principal one is the Métsovo (Katára pass; 5,593 feet [1,705 metres]), a historic defile that carries the highway from the Epirus (Ípeiros) to Thessaly.
The southern limits of the Pindus are generally considered to be the Tymphrestos Mountains northeast of Karpenísion. From the Albanian border, the local massifs are the Grámmos and Vóïon, Tímfi, Smolikas, Lingos, Lákmos (the latter rising at Peristéri to 7,529 feet [2,295 metres]), and the Athamánon, between the Árachthos and Achelous rivers, rising at Tzoumérka to 8,100 feet (2,469 metres).
Forested with oak, fir, beech , and pine, the Pindus creates a barrier for the westerly weather fronts, which puts the Thessalian plain to the east in a rain shadow. The mountains, snowcapped in winter, receive heavy rainfall that feeds such rivers as the Achelous and Mégdhova on the western slopes and the Pineiós and Aliákmon on the eastern.
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What animal always gives birth to same sex twins? | Sar Mountains | mountains, Macedonia-Kosovo | Britannica.com
mountains, Macedonia-Kosovo
Alternative Titles: Mali i Sharrit, Šar Planina, Sharr Mountains
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Tatra Mountains
Šar Mountains, Šar also spelled Sharr, Serbian and Macedonian Šar Planina, Albanian Mali i Sharrit, mountain range in western Macedonia and southern Kosovo , one of the most rugged and impassable in the Balkans , extending northeast–southwest for about 47 miles (75 km). A southern continuation along the Albanian frontier, which includes the Korab, Bistra, Jablanica, and Galičica massifs, makes the total length about 100 miles (160 km). The Pindus mountain system in Greece is the southward extension of these peaks in Macedonia and Albania . They are fold mountains of nonporous rocks; steep-walled, or cirque, lakes and fretted peaks, many at more than 6,000 feet (1,800 metres), are evidence of local glaciation.
Šar (Sharr) Mountains.
Tadija
The Šar Mountains proper, which form the watershed between the Morava-Drim and Vardar river systems, include Titov Vrh (9,012 feet [2,747 metres]) and Turčin (8,865 feet [2,702 metres]). Between the mountains are several depressions, some containing large lakes; the land there is suitable for arable farming and fruit growing. Pastureland above the tree line supports livestock, especially sheep. The area is especially noted for the production of cheese. The ranges are increasingly an area for climbing and winter sports; Popova Šapka is a winter sports centre. Principal settlements are Tetovo and Gostivar. The dam and resulting lake in Mavrovo National Park provide a head of water for the Vrutok and Raven hydroelectric power stations. Valuable deposits of chrome ore are mined at the foot of the Šar Mountains.
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Joe Yule Jr born 1920 became famous as who? | Mickey Rooney
Mickey Rooney
Location of death: North Hollywood, CA
Cause of death: unspecified
Executive summary: Actor in Andy Hardy comedies, musicals
Military service: US Army (PFC, served in "entertainment unit")
Mickey Rooney's father, Joe Yule, was a vaudeville comic and actor, and Joe Jr. was part of his parents' stage act starting at about 18 months of age. The act ended, along with his parents' marriage, after Junior walked in on his father with another woman.
He made his motion picture debut at the age of five, playing an adult midget in the 1926 silent short Not to Be Trusted. Beginning at age 6, he starred in dozens of silent-era comedy shorts, playing (and billed as) "Mickey McGuire". At 12 he became "Mickey Rooney", when his agent decided he needed a new name to land any roles beyond the McGuire shorts. "He never bothered to ask me whether I liked it", Rooney wrote in his autobiography. "This is the kind of world I was born in, one in which I had only one reason for existence: pleasing others".
As an adolescent, Rooney co-starred with Judy Garland in a series of squeaky-clean MGM musicals, often revolving around the urgent need to put on a show in somebody's barn. Rooney starred in fifteen "Andy Hardy" movies, and made more than 200 other movies and half a dozen TV series. "I was a 14-year-old boy for 30 years", he says.
Among Rooney's more famous movies, he played a gangster in Manhattan Melodrama (1934), a goodhearted crewman in Spencer Tracy 's Captains Courageous (1937), a juvenile delinquent in Tracy's Boys Town (1939), the cynical jockey and trainer in National Velvet (1944) with 12-year-old Elizabeth Taylor , a caricature of a Japanese landlord in Breakfast at Tiffany's (1961) with Audrey Hepburn , a bitter boxing trainer in Requiem for a Heavyweight (1962) with Anthony Quinn and Jackie Gleason , a panicked man in a pilotless plane in It's a Mad Mad Mad Mad World (1963) opposite Buddy Hackett , and another horse trainer in The Black Stallion (1979) with Teri Garr . Rooney continued making movies well into his 80s, although they were usually low-budget direct-to-video atrocities.
He was one of Hollywood's most married men. Barbara Ann Thomason, the fifth of his eight wives and mother of four of his ten children, was murdered in 1966. The following year he married and divorced her good friend, Marge Lane.
When he appeared on talk shows in the 1990s and 2000s, Rooney almost invariably reminded audiences that he was the number one box office star of 1939, 1940 and 1941. "I was the number one star in the world, you hear me? The world!" He then regaled the host with tales from his Hollywood history. He also said he came up with the stage name " Marilyn Monroe " for blonde innocent Norma Jean Baker, and lost his virginity in a brothel where the tab was paid by show-biz pal Milton Berle . He claimed to have "discovered" Sammy Davis, Jr. , and said he turned down the Archie Bunker role in All in the Family. He said that he became a born-again Christian in the early 1970s, when an angel appeared to him in a diner. And he fondly remembered being called "the best actor America ever produced" by Laurence Olivier . At some point, credulity snaps.
In 2005, Rooney filmed a commercial for a cold remedy, in which Rooney's towel slipped off in a sauna, exposing his 84-year-old buttocks for about two seconds. The ad, scheduled to premiere during the Super Bowl, was rejected by network censors. Rooney angrily described the commercial as "a fun spot", and said "the public deserves to see it". He died in 2014.
Father: Joseph Ewell ("Joe Yule", vaudeville comic and actor)
Mother: Nell Carter (chorus girl, vaudeville comic, b. circa 1899)
Father: Fred D. Pankey (stepfather; restaurateur)
Girlfriend: Lana Turner (actress, dated 1938-39)
Wife: Ava Gardner (actress, m. 10-Jan-1942, div. 21-May-1943)
Wife: Betty Jane Rase (Miss Alabama 1944; m. 30-Sep-1944, div. 3-Jun-1949, two children)
Wife: Martha Vickers (actress, m. 3-Jun-1949, div. 25-Sep-1951, one child)
Wife: Elaine Devry (actress, m. 1952, div. May-1959)
Wife: Barbara Ann Thomason (actress, m. 1-Dec-1958, d. 31-Jan-1966, four children)
Wife: Marge Lane (m. 1967, div. 1967)
Wife: Carolyn Hockett (m. 1969, div. 1974)
Wife: Jan Chamberlin (country singer, m. 18-Jul-1978)
Daughter: Kimmy Rooney, Kelly Rooney, Kerry Rooney, Jonelle Rooney
Son: Tim Rooney, Teddy Rooney, Mickey Rooney Jr., Kyle Rooney, Jimmy Rooney
Son: Christopher Aber (stepson)
| Mickey Rooney |
Albert Finney turned down which role that won Peter O Toole an Oscar? | BIOGRAPHY: Mickey Rooney Lifetime
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BIOGRAPHY
Born Joe Yule Jr. in 1920, Mickey, as he was later to be known, started out in showbusiness at an early age.
His parents were popular entertainers on the Vaudeville circuit and Mickey soon became part of their act.
Mickey’s parents divorced when he was three years old and it was his mother who encouraged her young son towards a career in entertainment by taking him to Hollywood to audition for Hal Roach's ‘Our Gang’ series. After missing out on the role, Mickey returned in 1926 and landed his first role in ‘Not To Be Trusted’.
In 1927, he was cast as Mickey McGuire in a series based on a popular comic strip. Around the same time, Joe Yule Jr. became known as Mickey Rooney thanks to a legal name change by his mother.
In 1934, a chance outing at a Los Angeles tennis competition saw the rising young actor spotted by MGM producer, David O. Selznick. Reporting back to studio boss Louis Mayer, Selznick announced that he had discovered a ‘goldmine’ and urged the studio to sign up Rooney.
Selznick signed Rooney up for ‘Manhattan Melodrama’ and following the release of the film in 1934 he was offered a long-term contract with MGM and was educated at the studio's School for Professional Children.
From 1939-41, Mickey Rooney was the number one box office star in the US thanks to his roles in films such as ‘A Midsummer Nights Dream’ and the ‘Andy Hardy’ series. His fame peaked with a string of successful musicals with Judy Garland, including the Oscar nominated ‘Babes in Arms’ and classic films such as ‘National Velvet’ in 1944. Rooney and Garland developed a deep friendship over the years and starred in a total of nine films together.
Rooney completed 21 months of military service during World War II and, although a successful radio broadcaster during this time, his career suffered upon his return from war. During the 1950s, he worked on the television series ‘Hey Mulligan’ and in 1960 he directed and starred in ‘The Private Lives of Adam and Eve’.
Rooney continued to make films during the 60s and 70s, and in 1979 he appeared in the acclaimed stage play 'Sugar Babies' with Ann Miller.
In 1983, the Academy of Motion Picture Arts and Sciences voted him their Academy Honorary Award for his lifetime of achievement.
While his career has been long-lived, Rooney’s marriages have been somewhat shorter. Starting off with Hollywood starlet Ava Gardner in 1941, he has been married eight times. His married his eighth wife, Jan Chamberlin, in 1978 and the couple have been together for longer than all of his previous seven marriages combined. The couple lived in Los Angeles and continued to tour with a multimedia live stage production called ‘Let's Put On A Show!’, until they separated in 2012.
Mickey Rooney died on April 6th 2014.
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In computing, Douglas Engelbart invented what device for input? | Douglas Engelbart, inventor of the computer mouse, has died | PCWorld
Douglas Engelbart, inventor of the computer mouse, has died
Senior U.S. Correspondent, IDG News Service | Jul 3, 2013 10:36 PM PT
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Douglas Engelbart, a Silicon Valley engineer who invented the computer mouse and is credited with many of the concepts that underpin modern computing and the Internet, died on Tuesday at his home in Atherton, California. He was 88.
Born in 1925, Engelbart was coming of age as World War II raged in Europe. He joined the U.S. Navy as an electronic and radar technician, and after the war studied electrical engineering at Oregon State University. He went on to complete a master’s degree and Ph.D. at the University of California at Berkeley, where he was also an assistant professor.
About a year later, in 1957, he joined the Stanford Research Institute (today called SRI International), which was just over a decade old. From 1959 until 1977 he led the organization’s Augmentation Research Center, and in 1963 came up with the concept of the computer mouse .
File photo, SRI International
Douglas Engelbart and the computer mouse he invented
The mouse would go on to revolutionize personal computing, but the public didn’t get their first look at it until several years later.
In a presentation at the Fall Joint Computer Conference in San Francisco on Dec. 9, 1968, he introduced the concepts of hypertext linking, real-time text editing, the use of multiple windows, and teleconferencing. He also showed a set of three devices that worked together to control a computer.
“We have a pointing device called a mouse, a standard keyboard and a special key set,” he told the audience. The demonstration can be seen in archive footage on YouTube .
In a world of mainframe computers controlled by keyboards, the mouse was a new idea.
“I don’t know why we call it a mouse. Sometimes I apologize. It started that way and we never did change it,” he said, explaining the name to his audience.
A year later, the Augmentation Research Center underscored its importance in computing by becoming the second node of the ARPANET, the predecessor to today’s Internet.
“Doug was a giant who made the world a much better place and who deeply touched those of us who knew him,” Curtis Carlson, president and CEO of SRI, said in a statement. “SRI was very privileged and honored to have him as one of our ‘family.’ He brought tremendous value to society. We will miss his genius, warmth and charm. Doug’s legacy is immense—anyone in the world who uses a mouse or enjoys the productive benefits of a personal computer is indebted to him.”
Engelbart received numerous awards for this work through the latter years of his life. They included the National Medal of Technology in 2000, the Lemelson-MIT Prize in 1997 and the Turing Award, also in 1997.
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| Mouse |
What colour is named after a battle fought in Italy in 1859? | Mouse (computing),Mouse (computing) inventors | edubilla.com
: Computing
About Invention
In computing, a mouse is a pointing device that detects two-dimensional motion relative to a surface. This motion is typically translated into the motion of a pointer on a display, which allows for fine control of a graphical user interface.
Physically, a mouse consists of an object held in one's hand, with one or more buttons. Mice often also feature other elements, such as touch surfaces and "wheels", which enable additional control and dimensional input.
The computer mouse as we know it today was invented and developed by Douglas Engelbart, with the assistance of Bill English, during the 1960's and was patented on November 17, 1970. While creating the mouse, Douglas was working at the Stanford Research Institute, a think tank sponsored by Stanford University, and originally referred to the mouse as a "X-Y Position Indicator for a Display System." This mouse was first used with the Xerox Alto computer system in 1973. However, because of its lack of success, the first widely used mouse is credited to being the mouse found on the Apple Lisa computer. Today, the mouse is now found and used on every computer.
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Which authors books are most borrowed from libraries? | Which are the most borrowed library books in the UK?
Which are the most borrowed library books in the UK?
Five children’s authors among the top 10 most borrowed authors in UK libraries
5 February 2016 • 6:54am
The importance of libraries to national literacy was underlined again today with the news that five children's authors – Julia Donaldson, Daisy Meadows, Francesca Simon, Jacqueline Wilson and the collective who write under the pen name Adam Blade – are among the Top 10 most borrowed authors in UK libraries, according to figures from the latest annual data released today by Public Lending Right .
The survey, released on the eve of National Libraries Day, covers 2014-15 and shows again the dominance of thriller writer James Patterson, who topped the chart for the most borrowed author for the ninth year running, and crime writers such as Lee Child. It was also the first year that payments were made for audio books. Here are 10 things we learned from the findings:
1: JAMES PATTERSON IS LIBRARY KING
The man who has churned out more than 300 novels (or paid other writers to do so, having given them a "detailed outline") released 15 books in 2014 alone. The popularity of his thriller novels remains undimmed. James Patterson is still the most borrowed author and has four books - Invisible, Unlucky 13, NYPD Red and Burn Century - in the top 20 most borrowed titles. He is also the author with the most appearances in the Top 100 most borrowed titles list, with 10. However, although overseas authors such as Patterson and Lee Child are included in the loans figures, they aren’t eligible for PLR payments. The 202 authors who receive the maximum capped £6,600 are all from the UK.
Overall, crime fiction and thrillers are hugely popular, with UK library borrowers. Nine of the Top 10 most borrowed books belong to this genre. This include two titles by the most borrowed author, James Patterson Credit: Rex Features/Telegraph
2: ROALD DAHL 1 SHAKESPEARE 0
Shakespeare came in only 10th in the list of most borrowed classic authors. Roald Dahl was top, with Enid Blyton second and Agatha Christie third. Shakespeare, whose 400th anniversary is being celebrated this year, was also beaten by Charles Dickens, PG Wodehouse and JRR Tolkien. Things weren't all Bard for Shakespeare: he did at least beat Jane Austen (11th). And sneaking in at 20th place was Nevil Shute, the not-forgotten-it-seems author of the 1950 classic A Town Like Alice.
Charles Dickens: his best characters in pictures
3: AUDIO WAS GOOD FOR JEFF HARDING
This year’s PLR payments include, for the very first time, loans of audiobooks that were made by public libraries in 2014-15. JK Rowling’s Harry Potter titles occupied the second and third most loaned slots but the most borrowed audiobook was Lesley Pearse's Without a Trace, read by Emma Powell. Few of you may remember Jeff Harding's acting performance in Father Ted (he played an American priest called Buzz Cagney) but many of us it seems know and like his voice reading books. He was the king of the 109 narrators who registered with the PLR (more should, as there are now more than 16,000 audiobooks in UK libraries). Harding registered more than 650 titles including The Bone Collector, by Jeffery Deaver, and Kane and Abel by Jeffrey Archer. His 20% narrator’s share in these titles will earn him more than £3,000 in the February 2016 payment round. He said: "I honestly thought that PLR income would be pennies, not pounds. I am happily surprised and sure to spread the good word among my fellow narrators.”
4: DAVID WALLIAMS CONTINUES TO SOAR. AND DOODLING IS NOT A WASTE OF TIME
David Walliams’w popularity continues to grow and he’s now the 41st most borrowed author compared to his 157th position in 2012-13. His book Awful Auntie was also the most borrowed title in libraries in Northern Ireland. “What fantastic taste the children of Northern Ireland have,” said Walliams. “I am beyond delighted. Libraries are vital for children and adults to discover a wide variety of books. Long may they live!” Another big riser was Liz Pichon (64th from 160th last year), who was told off for doodling as a child. But the author of the excellent Tom Gates series, which she writes and illustrates, is one of the most popular in libraries.
David Walliams’s popularity continues to grow and he’s now the 41st most borrowed author compared to his 157th position in 2012-13 Credit: Rex Features
5: WE STILL LIKE THE SIMPSONS
The most borrowed book across the UK in the humour category was Bart Simpson: Big Shot! by Matt Groening. Readers in the south east did not have the same standards, though, preferring Is it Really Too Much to Ask? by Jeremy Clarkson. So many writers benefit from PLR money. In February 2016, PLR will make payments totalling £6 million to 22,347 writers, illustrators, photographers, editors, translators, adaptors, narrators, producers and abridgers. This year’s rate per loan is 7.67 pence.
9: FEMALE AUTHORS HAVE STAYING POWER
Despite having been dead since 1998, Catherine Cookson remains the UK’s most borrowed author over the past 20 years: her books have been borrowed over 32 million times between 1995 and 2015. Jacqueline Wilson is the UK’s most borrowed children’s author over the past 20 years: her books have been borrowed over 24 million times between 1995 and 2015.
10: IF IT'S POETRY, IT'S PAM
Once again, the most borrowed poetry book was You Made Me Late Again, by Pam Ayres. The English humourist, now 68, is as popular as ever, with gems such as this one called Had a Little Work Done:
O Botox, O Botox,
I’m ever so keen,
To look as I looked at the age of sixteen.
Induce paralysis, do as I ask,
Give me, O give me a face like a mask.
O take up a surgical bicycle pump,
And give me some lips that are lovely and plump,
Young men will stagger and say
‘Oh my God! Here comes Pam Ayres
…and she looks like a cod!’
Pam Ayres Credit: Rex Features
| Catherine Cookson |
On the London Underground map, what colour is the 'Circle Line? | Which are the most borrowed library books in the UK?
Which are the most borrowed library books in the UK?
Five children’s authors among the top 10 most borrowed authors in UK libraries
5 February 2016 • 6:54am
The importance of libraries to national literacy was underlined again today with the news that five children's authors – Julia Donaldson, Daisy Meadows, Francesca Simon, Jacqueline Wilson and the collective who write under the pen name Adam Blade – are among the Top 10 most borrowed authors in UK libraries, according to figures from the latest annual data released today by Public Lending Right .
The survey, released on the eve of National Libraries Day, covers 2014-15 and shows again the dominance of thriller writer James Patterson, who topped the chart for the most borrowed author for the ninth year running, and crime writers such as Lee Child. It was also the first year that payments were made for audio books. Here are 10 things we learned from the findings:
1: JAMES PATTERSON IS LIBRARY KING
The man who has churned out more than 300 novels (or paid other writers to do so, having given them a "detailed outline") released 15 books in 2014 alone. The popularity of his thriller novels remains undimmed. James Patterson is still the most borrowed author and has four books - Invisible, Unlucky 13, NYPD Red and Burn Century - in the top 20 most borrowed titles. He is also the author with the most appearances in the Top 100 most borrowed titles list, with 10. However, although overseas authors such as Patterson and Lee Child are included in the loans figures, they aren’t eligible for PLR payments. The 202 authors who receive the maximum capped £6,600 are all from the UK.
Overall, crime fiction and thrillers are hugely popular, with UK library borrowers. Nine of the Top 10 most borrowed books belong to this genre. This include two titles by the most borrowed author, James Patterson Credit: Rex Features/Telegraph
2: ROALD DAHL 1 SHAKESPEARE 0
Shakespeare came in only 10th in the list of most borrowed classic authors. Roald Dahl was top, with Enid Blyton second and Agatha Christie third. Shakespeare, whose 400th anniversary is being celebrated this year, was also beaten by Charles Dickens, PG Wodehouse and JRR Tolkien. Things weren't all Bard for Shakespeare: he did at least beat Jane Austen (11th). And sneaking in at 20th place was Nevil Shute, the not-forgotten-it-seems author of the 1950 classic A Town Like Alice.
Charles Dickens: his best characters in pictures
3: AUDIO WAS GOOD FOR JEFF HARDING
This year’s PLR payments include, for the very first time, loans of audiobooks that were made by public libraries in 2014-15. JK Rowling’s Harry Potter titles occupied the second and third most loaned slots but the most borrowed audiobook was Lesley Pearse's Without a Trace, read by Emma Powell. Few of you may remember Jeff Harding's acting performance in Father Ted (he played an American priest called Buzz Cagney) but many of us it seems know and like his voice reading books. He was the king of the 109 narrators who registered with the PLR (more should, as there are now more than 16,000 audiobooks in UK libraries). Harding registered more than 650 titles including The Bone Collector, by Jeffery Deaver, and Kane and Abel by Jeffrey Archer. His 20% narrator’s share in these titles will earn him more than £3,000 in the February 2016 payment round. He said: "I honestly thought that PLR income would be pennies, not pounds. I am happily surprised and sure to spread the good word among my fellow narrators.”
4: DAVID WALLIAMS CONTINUES TO SOAR. AND DOODLING IS NOT A WASTE OF TIME
David Walliams’w popularity continues to grow and he’s now the 41st most borrowed author compared to his 157th position in 2012-13. His book Awful Auntie was also the most borrowed title in libraries in Northern Ireland. “What fantastic taste the children of Northern Ireland have,” said Walliams. “I am beyond delighted. Libraries are vital for children and adults to discover a wide variety of books. Long may they live!” Another big riser was Liz Pichon (64th from 160th last year), who was told off for doodling as a child. But the author of the excellent Tom Gates series, which she writes and illustrates, is one of the most popular in libraries.
David Walliams’s popularity continues to grow and he’s now the 41st most borrowed author compared to his 157th position in 2012-13 Credit: Rex Features
5: WE STILL LIKE THE SIMPSONS
The most borrowed book across the UK in the humour category was Bart Simpson: Big Shot! by Matt Groening. Readers in the south east did not have the same standards, though, preferring Is it Really Too Much to Ask? by Jeremy Clarkson. So many writers benefit from PLR money. In February 2016, PLR will make payments totalling £6 million to 22,347 writers, illustrators, photographers, editors, translators, adaptors, narrators, producers and abridgers. This year’s rate per loan is 7.67 pence.
9: FEMALE AUTHORS HAVE STAYING POWER
Despite having been dead since 1998, Catherine Cookson remains the UK’s most borrowed author over the past 20 years: her books have been borrowed over 32 million times between 1995 and 2015. Jacqueline Wilson is the UK’s most borrowed children’s author over the past 20 years: her books have been borrowed over 24 million times between 1995 and 2015.
10: IF IT'S POETRY, IT'S PAM
Once again, the most borrowed poetry book was You Made Me Late Again, by Pam Ayres. The English humourist, now 68, is as popular as ever, with gems such as this one called Had a Little Work Done:
O Botox, O Botox,
I’m ever so keen,
To look as I looked at the age of sixteen.
Induce paralysis, do as I ask,
Give me, O give me a face like a mask.
O take up a surgical bicycle pump,
And give me some lips that are lovely and plump,
Young men will stagger and say
‘Oh my God! Here comes Pam Ayres
…and she looks like a cod!’
Pam Ayres Credit: Rex Features
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The 1960 Summer Olympic Games were held in which city? | 1960 Roma Summer Games | Olympics at Sports-Reference.com
1960 Roma Summer Games
Host City: Roma, Italy (August 25, 1960 to September 11, 1960)
Opening Ceremony: August 25, 1960 (opened by President Giovanni Gronchi)
Taker of the Olympic Oath: Adolfo Consolini (athlete)
Closing Ceremony: September 11, 1960
Events: 150 in 19 sports
Participants: 5,351 (4,738 men and 613 women) from 83 countries
Youngest Participant:
Luciana Marcellini (12 years, 228 days)
Oldest Participant:
Lilian Williams (65 years, 88 days)
Most Medals (Athlete):
Soviet Union (103 medals)
Overview
Rome was awarded the [1908 Olympics] but eventually turned them down after Mt. Vesuvius erupted and the Italian government claimed it needed money to rebuild the cities affected by that disaster. Fifty-two years later the Olympics would return to the eternal city. Never before, and possibly never again, were the ancient and modern civilizations so intertwined at an Olympics. The 1960 Olympics were a wonder. In an Olympic world that was becoming more and more involved in political problems, the Rome Olympics were almost entirely devoid of controversy and politics.
» Click to show/hide rest of overview
Many of the sporting events took place in settings thousands of years old. Wrestling was held in the [Basilica di Massenzio], where similar competitions had taken place two millennia previously. Gymnastics events were contested in the [Terme di Caracalla]. For modern facilities the Italians provided [Stadio Olimpico], a beautiful track & field complex, the Sports Palace for boxing, and the Veldodrome for cycling.
The only minor controversy concerned the athletes from Taiwan. The nation wished to compete as the Republic of China, but the IOC and the organizing committee insisted that they compete using the name "Taiwan/Formosa". As the team marched into Stadio Olimpico during the opening ceremony, their placard bearer pulled out an alternate sign. It read simply, "Under Protest".
A number of heros emerged from the Games. But perhaps the biggest story was the relative collapse of the American track & field dynasty. The U.S. won only nine gold medals in men's athletics, compared to 15 in Melbourne. Heavy favorites such as [Ray Norton] in the sprints and [John Thomas] in the high jump performed poorly and did not win. In probably the biggest upsets, the U.S. failed to win the [100 metres], [200 metres], and [4×100 metre relay] for the only time in Olympic history.
In women's athletics however, the Italians and the world thrilled to the feats of [Wilma Rudolph], an American sprinter from Tennessee. Long-legged and attractive, she was dubbed by the European press as )La Gazelle Noir) – the black gazelle. She won the women's [100 metres], [200 metres] and anchored the [sprint relay].
In basketball and boxing, two of the greatest practitioners of those sports ever were on display. In basketball, the U.S. men's team won very easily as their team was led by [Oscar Robertson], [Jerry West], [Jerry Lucas], [Walt Bellamy], and [Terry Dischinger]. Certainly the greatest amateur team ever, it rivals many of the great NBA teams. In boxing, the light-heavyweight gold medal was won by [Cassius Marcellus Clay], who as Muhammad Ali would thrill the world for the next two decades as )The Greatest).
One of the most beautiful sights of the 1960 Olympics merged the Ancient World and the Modern Olympics, and the old world order and the emerging world order. The [marathon] was the only Olympic marathon to start and finish outside the main Olympic stadium, beginning on Capitoline Hill, and finishing along the Appian Way, under neath the [Arch of Constantine]. Always the province of white runners, often Finnish, the race came down to two black African runners, [Abebe Bikila] of Ethiopia and [Rhadi Ben Abdesselam] of Morocco. The race finished beautifully at night, the Appian Way lit by torchlights, as Bikila, running barefoot, pulled away to win. He was the first black African to win a gold medal, and he did it in the city which 30 years prior had sent troops to conquer his Ethiopian homeland. His victory was but a precursor to the great black African runners who would win many gold medals at the Olympics in the years to come.
The 1960 Olympics were the first ones televised in the United States, although all events were shown on tape delay after the film was flown from Rome to New York. And also for the first time since the [1912 marathon], the Olympics saw the death of a competitor. In the cycling road race, [Knud Enemark Jensen] (DEN) collapsed and later died. He was found to have taken amphetamines and his death was partially responsible for the institution of drug testing in the mid-60s.
With the boycotts, massacres and political problems that were to come, many Olympic afficianados would later yearn for the glory that was Ancient Greece and the grandeur that was Modern Rome.
Country Medal Leaders
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Which 19 year old actress made her debut with Humphrey Bogart in the film 'To Have and Have Not'? | Olympic Games | Olympics Wiki | Fandom powered by Wikia
Main article: Summer Olympic Games
After the initial success, the Olympics struggled. The celebrations in Paris (1900) and St. Louis (1904) were overshadowed by the World's Fair exhibitions in which they were included. The 1906 Intercalated Games (so-called because of their off-year status, as 1906 is not divisible by four) were held in Athens, as the first of an alternating series of Athens-held Olympics. Although originally the IOC recognised and supported these games, they are currently not recognised by the IOC as Olympic Games, which has given rise to the explanation that they were intended to mark the 10th anniversary of the modern Olympics. The 1906 Games again attracted a broad international field of participants—in 1904, 80% had been American—and great public interest, thereby marking the beginning of a rise in popularity and size of the Games.
From the 241 participants from 14 nations in 1896, the Games grew to nearly 11,100 competitors from 202 countries at the 2004 Summer Olympics in Athens . The number of competitors at the Winter Olympics is much smaller than at the Summer Games; at the 2006 Winter Olympics in Turin Italy, 2,633 athletes from 80 countries competed in 84 events.
The Olympics are one of the largest media events. In Sydney in 2000, there were over 16,000 broadcasters and journalists, and an estimated 3.8 billion viewers watched the games on television. The growth of the Olympics is one of the largest problems the Olympics face today. Although allowing professional athletes and attracting sponsorships from major international companies solved financial problems in the 1980s, the large number of athletes, media and spectators makes it difficult and expensive for host cities to organize the Olympics. For example, the 2012 Olympics (which were held in London), is based on an updated budget of over £9bn—one of the biggest budgets for an Olympics to date. Even if sponsorships do lighten the load in terms of the debt that these countries take on, one of the biggest problems faced is how their economies will cope with the extra financial burdens put on them.
Despite the Olympics usually being associated with one host city, most of the Olympics have had events held in other cities, especially the football and sailing events. There were two Olympics where some events were held in a different country: during the 1920 Antwerp Olympics two sailing races were held in the Netherlands; and during the Melbourne Olympics equestrian events were held in Sweden. The 2008 Beijing Olympics marked the third time that Olympic events have been held in the territories of two different NOC 's: at the 2008 Olympics, equestrian events were held in Hong Kong (which competes separately from mainland China.)
203 countries currently participate in the Olympics. This is a noticeably higher number than the number of countries belonging to the United Nations, which is only 193. The International Olympic Committee allows nations to compete which do not meet the strict requirements for political sovereignty that many other international organizations demand. As a result, many colonies and dependencies are permitted to host their own Olympic teams and athletes even if such competitors hold the same citizenship as another member nation. Examples of this include territories such as Puerto Rico , Bermuda , and Hong Kong , all of which compete as separate nations despite being legally a part of another country. Also, since 1980, Taiwan has competed under the name " Chinese Taipei ", and under a flag specially prepared by the IOC. Prior to that year the People's Republic of China refused to participate in the Games because Taiwan had been competing under the name "Republic of China". The Republic of the Marshall Islands was recognised as a nation by the IOC on February 9, 2006, and competed in the 2008 Summer Olympics in Beijing . [9]
Youth Olympic Games
Main article: Youth Olympic Games
The Youth Olympic Games (YOG) [10] are planned to be a "junior" version of the Games, complementing the current "senior" Games, [11] and will feature athletes between the ages of 14 and 18. [12] The idea for such an event was envisioned in 2001 by IOC president Jacques Rogge , [13] and at the 119th IOC session in Guatemala City in July 2007, the IOC approved the Games. [14]
The Youth Games versions will be shorter: the summer version will last at most twelve days; the winter version will last a maximum of nine days. [15] [16] The IOC will allow a maximum of 3,500 athletes and 875 officials to participate at the summer games, while 970 athletes and 580 officials are expected at the winter games. [14] Each participating country would send at least four athletes. The sports contested at these games will be the same as those scheduled for the traditional Games, [13] but with a limited number of disciplines and events, and including some with special appeal to youth. Education and culture are also key components for this Youth edition.
Estimated cost for the game are currently $30 million for the summer and $15–$20 million for winter games. [17] It has been stated the IOC will "foot the bill" for the Youth Games.
The first host city will be Singapore in 2010; the first Winter Olympics is in 2012 in Innsbruk .
Olympic problems
Edit
The 1956 Melbourne Olympics were the first Olympics to be boycotted. The Netherlands , Spain , and Switzerland refused to attend because of the repression of the Hungarian Uprising by the Soviet Union ; additionally, Cambodia , Egypt , Iraq , and Lebanon , boycotted the games due to the Suez Crisis. [18]
In 1972 and 1976 , a large number of African countries threatened the IOC with a boycott, to force them to ban South Africa , Rhodesia , and New Zealand . The IOC conceded in the first two cases, but refused in 1976 because the boycott was prompted by a New Zealand rugby union tour of South Africa, and rugby was not an Olympic sport. The countries withdrew their teams after the games had started; some African athletes had already competed. A lot of sympathy was felt for the athletes forced by their governments to leave the Olympic Village; there was little sympathy outside Africa for the governments' attitude. Twenty-two countries ( Guyana was the only non-African nation) boycotted the Montreal Olympics because New Zealand was not banned. [19]
Also in 1976, due to pressure from the People's Republic of China ( PRC ), Canada told the team from the Republic of China ( Taiwan ) that it could not compete at the Montreal Summer Olympics under the name "Republic of China" despite a compromise that would have allowed Taiwan to use the ROC flag and anthem . The Republic of China refused and as a result did not participate again until 1984, when it returned under the name " Chinese Taipei " and used a special flag. [20]
In 1980 and 1984, the Cold War opponents boycotted each other's games. Sixty-five nations refused to compete at the Moscow Olympics in 1980 because of the Soviet invasion of Afghanistan, but 16 nations from Western Europe did compete at the Moscow Olympics. The boycott reduced the number of nations participating to only 81, the lowest number of nations to compete since 1956. The Soviet Union and 14 of its Eastern Bloc partners (except Romania ) countered by skipping the Los Angeles Olympics in 1984 , arguing the safety of their athletes could not be guaranteed there and "chauvinistic sentiments and an anti-Soviet hysteria are being whipped up in the United States". [21] The 1984 boycotters staged their own Friendship Games in July-August. [22] [23]
There have been growing calls for boycotts of the 2008 Olympics in Beijing in protest of China's poor human rights record and response to the recent disturbances in Tibet, Darfur, and Taiwan. There are also campaigns calling for Chinese goods to be boycotted. [24] [25] [26]
Olympic Problems
Edit
One of the main problems facing the Olympics (and international sports in general) is doping , or performance enhancing drugs. In the early 20th century, many Olympic athletes began using drugs to enhance their performance. For example, the winner of the marathon at the 1904 Games , Thomas J. Hicks , was given strychnine and brandy by his coach, even during the race. As these methods became more extreme, gradually the awareness grew that this was no longer a matter of health through sports. In the mid-1960s, sports federations put a ban on doping, and the IOC followed suit in 1967.
The first and so far only Olympic death caused by doping occurred in 1960. At the cycling road race in Rome the Danish rider Knud Enemark Jensen fell from his bicycle and later died. A coroner's inquiry found that he was under the influence of amphetamines.
The first Olympic athlete to test positive for doping use was Hans-Gunnar Liljenwall , a Swedish pentathlete at the 1968 Summer Olympics , who lost his bronze medal for alcohol use. Seventy-three athletes followed him over the next 38 years, several medal winners among them. The most publicised doping-related disqualification was that of Canadian sprinter Ben Johnson , who won the 100m at the 1988 Seoul Olympics , but tested positive for stanozolol.
Despite the testing, many athletes continued to use doping without getting caught. In 1990, documents were revealed that showed many East German female athletes had been unknowingly administered anabolic steroids and other drugs by their coaches and trainers as a government policy.
In the late 1990s, the IOC took initiative in a more organised battle against doping, leading to the formation of the World Anti-Doping Agency (WADA) in 1999. The recent 2000 Summer Olympics and 2002 Winter Olympics have shown that this battle is not nearly over, as several medalists in weightlifting and cross-country skiing were disqualified due to doping offences. One innocent victim of the anti-doping movement at the Olympics was the Romanian gymnast Andreea Răducan who was stripped of her gold medal-winning performance in the All-Around Competition of the 2000 Sydney games. Test results indicated the presence of the banned-stimulant pseudophedrine which had been prescribed to her by an Olympic doctor. Raducan had been unaware of the presence of the illegal substance in the medicine that had been prescribed to her for a cold she had during the games.
During the 2006 Winter Olympics , only one athlete failed a drug test and had a medal revoked. The only other case involved 12 members with high levels of haemoglobin and their punishment was a five day suspension for health reasons.
The International Olympic Committee introduced blood testing for the first time during these games.
Politics
Main article: Politics in the Olympics
Politics interfered with the Olympics on several occasions, the most well-known of which was the 1936 Summer Olympics in Berlin , where the games were used as propaganda by the German Nazis. At this Olympics, a true Olympic spirit was shown by Luz Long , who helped Jesse Owens (a black athlete) to win the long jump, at the expense of his own silver medal. [27] The Soviet Union did not participate in the Olympic Games until the 1952 Summer Olympics in Helsinki . Instead, the Soviets organized an international sports event called Spartakiads, from 1928 onward. Many athletes from Communist organizations or close to them chose not to participate or were even barred from participating in Olympic Games, and instead participated in Spartakiads. [28]
A political incident on a smaller scale occurred at the 1968 Summer Olympics in Mexico City . Two American track-and-field athletes, Tommie Smith and John Carlos , performed the Black Power salute on the victory stand of the 200-meter track and field race. In response, the IOC's autocratic president Avery Brundage told the USOC to either send the two athletes home, or withdraw the complete track and field team. The USOC opted for the former. [29]
The government of the Islamic Republic of Iran specifically orders its athletes not to compete in any olympic heat, semi-final, or finals that includes athletes from Israel . At the 2004 Olympics, an Iranian judoka who had otherwise earned his place, did not compete in a heat against an Israeli judoka. [30]
Violence
Edit
Despite what Coubertin had hoped for, the Olympics did not bring total peace to the world. In fact, three Olympiads had to pass without Olympics because of war: due to World War I the 1916 Games were cancelled, and the summer and winter games of 1940 and 1944 were cancelled because of World War II.
During the 1972 Summer Olympics in Munich, a massacre of 11 members from the Israeli Olympic team occurred. The team members were taken hostage and eventually killed, along with a German police officer, by the Palestinian group Black September.
During the Summer Olympics in 1996 in Atlanta , a bombing at the Centennial Olympic Park killed two and injured 111 others. The bomb was set by Eric Robert Rudolph, an conservative American domestic terrorist, who is currently serving a life sentence. [31]
The 2002 Winter Olympics in Salt Lake City were the first Olympic Games since the September 11, 2001 attacks. Olympic Games since then have required an extremely high degree of security due to the fear of possible terrorist activities. [32]
There have been pro-Tibet / pro-human rights protests during the Beijing Olympic Games Torch Relay, some of which included violent incidents
Olympic Movement
Edit
A number of organizations are involved in organizing the Olympic Games. Together they form the Olympic Movement. The rules and guidelines by which these organizations operate are outlined in the Olympic Charter .
At the heart of the Olympic Movement is the International Olympic Committee (IOC), currently headed by Jacques Rogge . It can be seen as the government of the Olympics, as it takes care of the daily problems and makes all important decisions, such as choosing the host city of the Games, and the programme of the Olympics.
Three groups of organisations operate on a more specialised level:
International Federations (IFs), the governing bodies of a sport (e.g. FIFA , the IF for football (soccer) , and the FIVB , the international governing body for volleyball .)
National Olympic Committees (NOCs), which regulate the Olympic Movement within each country (eg. USOC , the NOC of the United States )
Organizing Committees for the Olympic Games (OCOGs), which take care of the organisation of a specific celebration of the Olympics.
At present, 202 NOCs and 35 IFs are part of the Olympic Movement. OCOGs are dissolved after the celebration of each Games, once all subsequent paperwork has been completed.
More broadly speaking, the term Olympic Movement is sometimes also meant to include everybody and everything involved in the Olympics, such as national sport governing bodies, athletes, media, and sponsors of the Olympic Games.
Criticism
Edit
Most Olympic Games have been held in European and North American cities; only a few games have been held in other places, and all bids by countries in South America and Africa have failed. Many believe the games should expand to include locations in poorer regions. Economists point out that the massive infrastructure investments could springboard cities into earning higher GDP after the games. However, many host cities regret the high costs associated with hosting the games as a poor investment [33] .
In the past, the IOC has often been criticised for being a monolithic organisation, with several members remaining a member at old age, or even until their deaths. The leadership of IOC president Juan Antonio Samaranch especially has been strongly criticised. Under his presidency, the Olympic Movement made great progress, but has been seen as autocratic and corrupt. Samaranch's ties with the Franco's regime in Spain and his long term as a president (21 years, until he was 81 years old) have also been points of critique.
In 1998, it became known that several IOC members had taken bribes from the organising committee for the 2002 Winter Olympics in Salt Lake City , Utah , in exchange for a vote on the city at the election of the host city. The IOC started an investigation, which led to four members resigning and six being expelled. The scandal set off further reforms, changing the way in which host cities are elected to avoid further bribes. Also, more active and former athletes were allowed in the IOC, and the membership terms have been limited.
The same year (1998), four European groups organized the International Network Against Olympic Games and Commercial Sports to oppose their cities' bids for future Olympic Games. Also, an Anti-Olympic Alliance had formed in Sydney to protest the hosting of the 2000 Games. Later, a similar movement in Vancouver and Whistler, British Columbia organized to protest the hosting of the 2010 Winter Games. These movements were particularly concerned about adverse local economic impact and dislocation of people to accommodate the hosting of the Olympics.
A BBC documentary aired in August 2004, entitled Panorama: "Buying the Games", investigated the taking of bribes in the bidding process for the 2012 Summer Olympics . The documentary claimed it is possible to bribe IOC members into voting for a particular candidate city. In an airborne television interview on the way home, the Mayor of Paris Bertrand Delanoë , specifically accused the British Prime Minister Tony Blair and the London Bid Committee (headed by former Olympic athlete Sebastian Coe ) of breaking the bid rules with flagrant financial and sexual bribes. He cited French President Jacques Chirac as a witness but President Chirac gave rather more guarded interviews. In particular, Bulgaria 's member Ivan Slavkov, and Muttaleb Ahmad from the Olympic Council of Asia, were implicated. They have denied the allegations. Mayor Delanoë never mentioned the matter again. Others have alleged that the 2006 Winter Olympics were held in Turin because officials bribed the IOC and so Turin got the games and Sion, Switzerland (which was the favorite) did not.
The Olympic Movement has been accused of being overprotective of its symbolism (in particular, it claims an exclusive and monopolistic copyright over any arrangement of five rings and the term "olympics"), and have taken action against things unrelated to sport, such as the role-playing game Legend of the Five Rings. It was accused of homophobia in 1982 when it successfully sued the Gay Olympics, an event now known as the Gay Games, to ban it from using the term "olympics" in its name. [34]
Olympic symbols
Main article: Olympic symbols
The Olympic movement uses many symbols, most of them representing Coubertin's ideas and ideals. The Olympic Rings are the most widely used symbol. The five colored rings on a white field form the Olympic Flag . The colors, white, red, blue, green, yellow, and black, were chosen such that each nation has at least one of these colors in its national flag. The flag was adopted in 1914, but the first Games at which it was flown were Antwerp, 1920 . It is hoisted at each celebration of the Games.
The Olympic Motto is "Citius, Altius, Fortius", a Latin phrase meaning "Swifter, Higher, Stronger". Coubertin's ideals are probably best illustrated by the Olympic Creed :
"The most important thing in the Olympic Games is not to win but to take part, just as the most important thing in life is not the triumph but the struggle. The essential thing is not to have conquered but to have fought well."
Prior to each Games, the Olympic Flame is lit in Olympia, Greece and brought to the host city by runners carrying the torch in relay. There it plays an important role in the opening ceremonies. Though the torch fire has been around since 1928 , the relay was introduced in 1936 as part of the then German government's attempt to promote their National Socialist ideology.
The Olympic mascot, an animal or human figure representing the cultural heritage of the host country, was introduced in 1968 . It has played an important part of the games since 1980 with the debut of Misha , a Russian bear.
French and English are the official languages of the Olympic movement.
Olympic ceremonies
Edit
Apart from the traditional elements, the host nation ordinarily presents artistic displays of dance and theatre representative of that country. [35]
Various traditional elements frame the opening ceremonies of a celebration of the Olympic Games. The ceremonies typically start with the hoisting of the host country's flag and the performing of its national anthem.{{ safesubst:ifsubst |{{subst:Unsubst|Citation needed| name|¬|reason|¬| date|October 2007 }}| Template:Fix The traditional part of the ceremonies starts with a "parade of nations" (or of athletes), during which most participating athletes march into the stadium, country by country. One honoured athlete, typically a top competitor, from each country carries the flag of his or her nation, leading the entourage of other athletes from that country.
Traditionally (starting at the 1928 Summer Olympics ) Greece marches first, because of its historical status as the origin of the Olympics, while the host nation marches last. (In 2004, when the Games were held in Athens, Greece marched last as host nation rather than first, although the flag of Greece was carried in first.) Between these two nations, all other participating nations march in alphabetical order of the dominant language of the host country,{{ safesubst:ifsubst |{{subst:Unsubst|Citation needed| name|¬|reason|¬| date|November 2007 }}| Template:Fix or in French or English alphabetical order if the host country does not write its dominant language in an alphabet which has a set order. In the 1992 Summer Olympics in Barcelona , both Spanish and Catalan were official languages of the games, but due to politics surrounding the use of Catalan, the nations entered in French alphabetical order. The XVIII Olympic Winter Games in Nagano, Japan saw nations entering in English alphabetical order since the Japanese language grouped both China and Chinese Taipei together in the Parade of Nations.
After all nations have entered, the president of the host country's Olympic Organising Committee makes a speech, followed by the IOC president who, at the end of his speech introduces the representative of the host country who declares the Games open by reciting the formula:
«I declare open the Games of ... (name of the host city) celebrating the ... (number of the Olympiad) Olympiad of the modern era.» [36] (There is a similar recital for the Winter Games.)
Before 1936, the Opener often used to make a short Speech of Welcome before declaring the Games open. However, since 1936 when Adolf Hitler opened both the Garmisch Partenkirchen Winter Olympics and the Berlin Summer Olympics, the Openers have unswervingly stuck to that formula. The only exception was in 1984, when U.S. President Ronald Reagan opened the Summer Olympics that year in Los Angeles when he said:
Celebrating the XXIII Olympiad of the modern era, I declare open the Olympic Games of Los Angeles. [37]
Despite the Games having been awarded to a particular city and not to the country in general, the Olympic Charter presently requires the Opener to be the host country's head of state . [36] However, there have been many cases where someone other than the host country's head of state opened the Games. The first example was at the Games of the II Olympiad in Paris in 1900, when there wasn't even an Opening Ceremony. There are five examples from the United States alone where the Games were not opened by the head of state. [38]
Next, the Olympic Flag is carried horizontally (since the 1960 Summer Olympics ) into the stadium and hoisted as the Olympic Anthem is played. The flag bearers of all countries circle a rostrum , where one athlete (since the 1920 Summer Olympics ) and one judge (since the 1972 Summer Olympics ) speak the Olympic Oath , declaring they will compete and judge according to the rules. [36] Finally, the Torch is brought into the stadium, passed from athlete to athlete, until it reaches the last carrier of the Torch, often a well-known athlete from the host nation, who lights the fire in the stadium's cauldron. [36] The Olympic Flame has been lit since the 1928 Summer Olympics , but the torch relay did not start until the 1936 Summer Olympics . Beginning at the post- World War I 1920 Summer Olympics , the lighting of the Olympic Flame was for 68 years followed by the release of doves , symbolizing peace. [36] This gesture was discontinued after several doves were burned alive in the Olympic Flame during the opening ceremony of the 1988 Summer Olympics . [39] However, some Opening Ceremonies have continued to include doves in other forms; for example, the 2002 Winter Olympics featured skaters holding kite-like cloth dove puppets.
Opening ceremonies have been held outdoors, usually on the main athletics stadium, but those for the 2010 Winter Olympics will be the first to be held indoors, at the BC Place Stadium . [40]
Closing
Edit
After medals are awarded and presented for a particular event, the flags of the nations of the three medalists are raised. The flag of the gold medalist's country is in the center and always raised the highest while the flag of the silver medalist's country is on the left facing the flags and the flag of the bronze medalist's country is on the right, both at lower elevations to the gold medalist's country's flag. The flags are all raised while the national anthem of the gold medalist's country plays.
This format of medal presentation is also seen in other multi-sporting events such as the Southeast Asian Games , the Commonwealth Games and the Asian Games , as well as some motor racing events including Formula 1 and MotoGP
Olympic sports
Main article: Olympic sports
Currently, the Olympic program consists of 35 different sports, 53 disciplines and more than 400 events. The Summer Olympics includes 28 sports with 38 disciplines and the Winter Olympics includes 7 sports with 15 disciplines. [43] Nine sports were on the original Olympic programme in 1896: athletics , cycling , fencing , gymnastics , weightlifting , shooting , swimming , tennis , and wrestling . If the 1896 rowing events had not been cancelled due to bad weather, they would have been included in this list as well. [44]
At the most recent Winter Olympics, 15 disciplines in seven sports were featured. Of these, cross country skiing , figure skating , ice hockey , Nordic combined , ski jumping , and speed skating have been featured on the programme at all Winter Olympics. In addition, figure skating and ice hockey also have been contested as part of the Summer Games before the introduction of separate Winter Olympics.
In recent years, the IOC has added several new sports to the programme to attract attention from young spectators. Examples of such sports include snowboarding and beach volleyball . The growth of the Olympics also means that some less popular ( modern pentathlon ) or expensive (white water canoeing ) sports may lose their place on the Olympic programme. The IOC decided to discontinue baseball and softball beginning in 2012. Cricket and Rugby union used to be in the Olympic Games but were discontinued; a revival is now seen as possible.
Rule 48.1 of the Olympic Charter requires that there be a minimum of 15 Olympic sports at each Summer Games. Following its 114th Session (Mexico 2002), the IOC also decided to limit the programme of the Summer Games to a maximum of 28 sports, 301 events, and 10,500 athletes. The Olympic sports are defined as those governed by the International Federations listed in Rule 46 of the Olympic Charter. A two-thirds vote of the IOC is required to amend the Charter to promote a Recognised Federation to Olympic status and therefore make the sports it governs eligible for inclusion on the Olympic programme. Rule 47 of the Charter requires that only Olympic sports may be included in the programme.
The IOC reviews the Olympic programme at the first Session following each Olympiad. A simple majority is required for an Olympic sport to be included in the Olympic programme. Under the current rules, an Olympic sport not selected for inclusion in a particular Games remains an Olympic sport and may be included again later with a simple majority. At the 117th IOC Session , 26 sports were included in the programme for London 2012.
Until 1992, the Olympics also often featured demonstration sports . The objective was for these sports to reach a larger audience; the winners of these events are not official Olympic champions. These sports were sometimes sports popular only in the host nation, but internationally known sports have also been demonstrated. Some demonstration sports eventually were included as full-medal events.
Amateurism and professionalism
Edit
Template:See The ethos of English public schools greatly influenced Pierre de Coubertin. The public schools had a deep involvement in the development of many team sports including all British codes of football as well as cricket and hockey .
The English public schools of the second half of the 19th century had a major influence on many sports. The schools contributed to the rules and influenced the governing bodies of those sports out of all proportion to their size. They subscribed to the Ancient Greek and Roman belief that sport formed an important part of education, an attitude summed up in the saying: mens sana in corpore sano – a sound mind in a healthy body. In this ethos, taking part has more importance than winning, because society expected gentlemen to become all-rounders and not the best at everything. Class prejudice against "trade" reinforced this attitude. The house of the parents of a typical public schoolboy would have a tradesman 's entrance, because tradesmen did not rank as the social equals of gentlemen. Apart from class considerations there was the typically English concept of "fairness," in which practicing or training was considered as tantamount to cheating; it meant that you considered it more important to win than to take part. Those who practiced a sport professionally were considered to have an unfair advantage over those who practiced it merely as a "hobby."
In Coubertin's vision, athletes should be gentlemen. Initially, only amateurs were considered such; professional athletes were not allowed to compete in the Olympic Games. A short-lived exception was made for professional fencing instructors. [45] This exclusion of professionals has caused several controversies throughout the history of the modern Olympics.
1912 Olympic pentathlon and decathlon champion, Jim Thorpe , was disqualified when it was discovered that he played semi-professional baseball prior to winning his medals. He was restored as champion on compassionate grounds by the IOC in 1983. Swiss and Austrian skiers boycotted the 1936 Winter Olympics in support of their skiing teachers, who were not allowed to compete because they earned money with their sport and were considered professionals.
It gradually became clear to many that the amateurism rules had become outdated, not least because the self-financed amateurs of Western countries often were no match for the state-sponsored "full-time amateurs" of Eastern bloc countries. Nevertheless, the IOC, led by President Avery Brundage , held to the traditional rules regarding amateurism. In the 1970s, after Brundage left, amateurism requirements were dropped from the Olympic Charter, leaving decisions on professional participation to the international federation for each sport. This switch was perhaps best exemplified by the American Dream Team , composed of well-paid NBA stars, which won the Olympic gold medal in basketball in 1992. As of 2004 , the only sport in which no professionals compete is boxing (though even this requires a definition of amateurism based on fight rules rather than on payment, as some boxers receive cash prizes from their National Olympic Committees); in men's football (soccer) , the number of players over 23 years of age is limited to three per team.
Advertisement regulations are still very strict, at least on the actual playing field, although "Official Olympic Sponsors" are common. Athletes are only allowed to have the names of clothing and equipment manufacturers on their outfits. The sizes of these markings are limited.
Olympic champions and medalists
See also: List of multiple Olympic gold medalists
The athletes (or teams) who place first, second, or third in each event receive medals. The winners receive "gold medals". (Though they were solid gold until 1912, they are now made of gilded silver.) The runners-up receive silver medals, and the third-place athletes bronze medals. In some events contested by a single-elimination tournament (most notably boxing ), third place might not be determined, in which case both semi-final losers receive bronze medals. The practice of awarding medals to the top three competitors was introduced in 1904; at the 1896 Olympics only the first two received a medal, silver and bronze, while various prizes were awarded in 1900 . However, the 1904 Olympics also awarded silver trophies for first place, which makes Athens 1906 the first games that awarded the three medals only. In addition, from 1948 onward athletes placing fourth, fifth and sixth have received certificates which became officially known as "victory diplomas;" since 1976 the medal winners have received these also, and in 1984 victory diplomas for seventh- and eighth-place finishers were added, presumably to ensure that all losing quarter-finalists in events using single-elimination formats would receive diplomas, thus obviating the need for consolation (or officially, "classification") matches to determine fifth through eighth places (though interestingly these latter are still contested in many elimination events anyway). Certificates were awarded also at the 1896 Olympics, but there they were awarded in addition to the medals to first and second place. Commemorative medals and diplomas — which differ in design from those referred to above — are also made available to participants finishing lower than third and eighth respectively. At the 2004 Summer Olympics in Athens, the first three were given wreaths as well as their medals.
Because the Olympics are held only once every four years, the public and athletes often consider them as more important and valuable than world championships and other international tournaments, which are often held annually. Many athletes have become celebrities or heroes in their own country, or even world-wide, after becoming Olympic champions.
The diversity of the sports, and the great differences between the Olympic Games in 1896 and today make it difficult to decide which athlete is the most successful Olympic athlete of all time. This is further complicated since the IOC no longer recognises the Intercalated Games which it originally organised. When measuring by the number of titles won at the Modern Olympic Games, the following athletes may be considered the most successful.
Athlete
Edit
The IOC does not publish lists of medals per country, but the media often does. A comparison between countries would be unfair to countries with fewer inhabitants, so some have made calculations of medals per number of inhabitants, such as [1] for the 2004 Olympics and [2] for a few more. A problem here is that for a very small country, gaining just one medal could mean the difference between the very top and the very bottom of the list (a point illustrated by the Bahamas ' per capita number one position in 2004). On the other hand, a large country may not be able to send a number of athletes that is proportional to its size because a limit is set for the number of participants per country for a specific sport.
A comparison of the total number of medals over time is further complicated by the fact that the number of times that countries have participated is not equal, and that many countries have gained and lost territories where medal-winning athletes come from. A case in point is the USSR , which not only participated relatively rarely (18 times, versus 45 times for the UK ), but also ceased to exist in 1991. The resulting Russian Federation is largely, but not entirely equal to the former USSR. Also, one would have to use population statistics at the time.
The IOC medal tally chart is based on the number of gold medals for country. Where states are equal, the number of silver medals (and then bronze medals) are counted to determine rankings. Since 1996, the only countries that have appeared in the top 10 medal tallies for summer Olympics have been the Russian Federation , United States , China , France , Germany , Australia and Italy . Since 1994, the only countries that have appeared in the top 10 medal tallies for winter Olympics have been Norway , the Russian Federation , the United States , Canada , Germany , Austria , South Korea , Switzerland , France and Italy .
Olympic Games host cities
Main article: List of Olympic host cities
By 2014, the Olympic Games were hosted by 42 cities in 22 countries. The upcoming 2012 Summer Olympic Games will be held in London, and the 2014 Winter Olympic Games will be held in Soshi. The number in parentheses following the city/country denotes how many times that city/country had then hosted the games, with said exclusions.
This table does not include the "Olympic Games" organized by Evangelos Zappas prior to the IOC's creation in 1894. It does list the "Intercalated Games" of 1906 , but it is not included in the counts as the IOC no longer considers them to be official Olympic Games.
Olympic Games host cities
1 Originally awarded to Chicago , but moved to St. Louis to coincide with the World's Fair
2 Cancelled due to World War I
3 Cancelled due to World War II
4 Equestrian events were held in Stockholm , Sweden . Stockholm had to bid for the equestrian competition separately; it received its own Olympic flame and had its own formal invitations and opening & closing ceremonies, just like the regular Summer Olympics. [46]
5 Equestrian events to be held in China's Hong Kong SAR . Although Hong Kong's separate NOC is conducting the equestrian competition, it is an integral part of the Beijing Games; it is not being conducted under a separate bid, flame, etc., as was the 1956 Stockholm equestrian competition. The IOC website lists only Beijing as the host city [47] .
See also
| i don't know |
What stone is used to make the flat bed of a snooker table? | Making a snooker Table | Screwfix Community Forum
Screwfix Community Forum
JimmyWhiteno1 New Member
I am a very infusiastic woodworker/diy'er, and I love the game of snooker with a best break of 72,not bad but could be improved.
If I had a snooker table which would fit in my double garage, I could pratice alot more.
I don't want to buy one, I fancy the challenge of making one.
But I just don't know where I can get the slate required for the base.
Any helpful tips and ideas welcome, but where can I get the slate and how much.
Thanks JimmyWhite
jasonb New Member
Any stone supplier that does granite worktops should also be able to supply slate and cut the bits for the pockets.
Ask mudster on the other trades forum.
Jason
 New Member
To be honest you won't be able to buy a new slate bed for less than the cost of a second-hand snooker table.
I have a full size snooker table bought about 15 years ago. New versions of the table we bought were around £5,500 but I bought (from the manufacturer) an ex-demo table for £2,000. This included delivery and full installation complete with new cloth and new cushions.
The slate is in 4 or 5 pieces (can't remember which) which are assembled at the factory with a type of biscuit join and then ground absolutely flat with a giant grinding machine. It is then taken apart, numbered and delivered.
The pocket holes in the slate bed are ground to a specific shape and contour, not something you could easily do yourself.
The whole thing weighs about 1.3 tonnes.
Full size snooker tables can be bought second hand for next to nothing nowadays as not everyone has a room suitable.
My ramblings above are just a thought as it's not a simple piece of kit when you stand and look at it. I know I wouldn't want to make one.
btw, 72 is an excellent break, 35 better than my best!
Tangoman Active Member
Quite obvious from the comments who has played snooker and who hasn't.
Nobody has mentioned the cushions - absolutely the hardest part of the whole project - surely impossible to get right without precision factory machinery - they need to be very very accurately placed at 90 degrees, and they need to provide a very exacting degree of bounce.
Also fitting a cloth is a specialised skill.
I don't believe it is possible - you could construct a pool table that would stand up to a good game, but there is no way that you could build a 12 foot table precisely enough to allow for the much more skilled game of snooker to be played on it.
Use your DIY skills to do all the rest of the project - cue racks, lighting etc. and buy a 2nd hand table.
Tangoman
> Quite obvious from the comments who has played
snooker and who hasn't.
Nobody has mentioned the cushions - absolutely the
hardest part of the whole project - surely impossible
to get right without precision factory machinery -
they need to be very very accurately placed at 90
degrees, and they need to provide a very exacting
degree of bounce.
Tangoman
This is very true. My table developed a problem with the end cushion after about 2 years. When the balls hit it they left the table bed slightly (bounced) so I called them back.
The cushion had 'sunk' by about 0.5mm (probably by people sitting on it) so they removed it and placed special shims between it and the frame. Problem cured.
It just goes to show how accurate the tolerances have to be.
Tangoman Active Member
Yes - but that is only one part of it.
Contrary to popular belief, when the ball hits the cushion, it does not return at the same angle, as this would imply:
1) No loss of speed at all on striking the cushion which is impossible
2) No friction at all between the ball and the cushion - also impossible
What instead occurs is that the ball has two components of speed relative to the cushion when it strikes - part a directed perpendicular to the cushion and part b - along the cushion.
The idea behind a good table is that the elasticity of the cushion (which controls the change in part a on striking) and the friction between the cushion and the ball (which controls the change in part b) are balanced to provide as close as possible idential angles of impact and return.
It is never idea - strike a ball at the cushion hard at a slight angle - after a few bounces it will almost completely lose part b and end up bouncing perpendicular to the cushion. On a cheap pool table it will do this much quicker.
On a good snooker table, this will only occur when you strike a ball hard into the cushion - normal play and you would not be able to notice the change in angles.
Tangoman
| Slate |
What is the largest state in the USA? | Making a snooker Table | Screwfix Community Forum
Screwfix Community Forum
JimmyWhiteno1 New Member
I am a very infusiastic woodworker/diy'er, and I love the game of snooker with a best break of 72,not bad but could be improved.
If I had a snooker table which would fit in my double garage, I could pratice alot more.
I don't want to buy one, I fancy the challenge of making one.
But I just don't know where I can get the slate required for the base.
Any helpful tips and ideas welcome, but where can I get the slate and how much.
Thanks JimmyWhite
jasonb New Member
Any stone supplier that does granite worktops should also be able to supply slate and cut the bits for the pockets.
Ask mudster on the other trades forum.
Jason
 New Member
To be honest you won't be able to buy a new slate bed for less than the cost of a second-hand snooker table.
I have a full size snooker table bought about 15 years ago. New versions of the table we bought were around £5,500 but I bought (from the manufacturer) an ex-demo table for £2,000. This included delivery and full installation complete with new cloth and new cushions.
The slate is in 4 or 5 pieces (can't remember which) which are assembled at the factory with a type of biscuit join and then ground absolutely flat with a giant grinding machine. It is then taken apart, numbered and delivered.
The pocket holes in the slate bed are ground to a specific shape and contour, not something you could easily do yourself.
The whole thing weighs about 1.3 tonnes.
Full size snooker tables can be bought second hand for next to nothing nowadays as not everyone has a room suitable.
My ramblings above are just a thought as it's not a simple piece of kit when you stand and look at it. I know I wouldn't want to make one.
btw, 72 is an excellent break, 35 better than my best!
Tangoman Active Member
Quite obvious from the comments who has played snooker and who hasn't.
Nobody has mentioned the cushions - absolutely the hardest part of the whole project - surely impossible to get right without precision factory machinery - they need to be very very accurately placed at 90 degrees, and they need to provide a very exacting degree of bounce.
Also fitting a cloth is a specialised skill.
I don't believe it is possible - you could construct a pool table that would stand up to a good game, but there is no way that you could build a 12 foot table precisely enough to allow for the much more skilled game of snooker to be played on it.
Use your DIY skills to do all the rest of the project - cue racks, lighting etc. and buy a 2nd hand table.
Tangoman
> Quite obvious from the comments who has played
snooker and who hasn't.
Nobody has mentioned the cushions - absolutely the
hardest part of the whole project - surely impossible
to get right without precision factory machinery -
they need to be very very accurately placed at 90
degrees, and they need to provide a very exacting
degree of bounce.
Tangoman
This is very true. My table developed a problem with the end cushion after about 2 years. When the balls hit it they left the table bed slightly (bounced) so I called them back.
The cushion had 'sunk' by about 0.5mm (probably by people sitting on it) so they removed it and placed special shims between it and the frame. Problem cured.
It just goes to show how accurate the tolerances have to be.
Tangoman Active Member
Yes - but that is only one part of it.
Contrary to popular belief, when the ball hits the cushion, it does not return at the same angle, as this would imply:
1) No loss of speed at all on striking the cushion which is impossible
2) No friction at all between the ball and the cushion - also impossible
What instead occurs is that the ball has two components of speed relative to the cushion when it strikes - part a directed perpendicular to the cushion and part b - along the cushion.
The idea behind a good table is that the elasticity of the cushion (which controls the change in part a on striking) and the friction between the cushion and the ball (which controls the change in part b) are balanced to provide as close as possible idential angles of impact and return.
It is never idea - strike a ball at the cushion hard at a slight angle - after a few bounces it will almost completely lose part b and end up bouncing perpendicular to the cushion. On a cheap pool table it will do this much quicker.
On a good snooker table, this will only occur when you strike a ball hard into the cushion - normal play and you would not be able to notice the change in angles.
Tangoman
| i don't know |
What is the name of Mickey Mouse's dog? | What is the name of Mickey Mouse's dog | www.QACollections.com
What is the name of Mickey Mouse's dog
What is the name of Mickey Mouse's dog?
Mickey Mouse's dog's name is Pluto.
Top Q&A For: What is the name of Mickey Mouse's dog
What was mickey mouses name beafore it was mickey?
Mickey's orginal name was Mortimer Mouse. Walt's wife thought it sounded to stuffy and suggested the name Mickey.
What is the name of mickey mouses dog?
Pluto
What is the name of Mickey Mouses' girlfriend?
minnie mouse
http://wiki.answers.com/Q/What_is_the_name_of_Mickey_Mouses%27_girlfriend
What was mickey mouses original name?
♥♥♥♥♥♥♥♥♥ Mortimer Mouse ♥♥♥♥♥♥♥♥♥
| Pluto |
Who was beaten by Bjorn Borg in his first Wimbledon title? | Pluto | Disney Mickey
Disney's Have a Laugh Products
Pluto finds the mail a little too surprising when it includes a very lively package.
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Who was Elizabeth the first's mother? | Biography of Queen Elizabeth the First
The Biography of Queen Elizabeth the First
Elizabeth I was born on September 7, 1533. She was the second daughter of King Henry VIII and her mother was Queen Anne Boleyn. Elizabeth was named after Henry's mother, the consort to King Henry VII.
The birth of Elizabeth was a disappointment to Henry because she was not a male heir to the throne. The birth of a male heir was considered imperative to safety of the House of Tudor. However, Henry loved her dearly and kept her close to him until he remarried after the execution of her mother. During these early years of her life, she was his favourite child. She bore a close resemblance to her father in appearance and in her mannerisms. She was one of the first monarchs to be born of pure English descent. This was one of the reasons that the citizens of England fanatically followed her throughout her reign.
Even though Elizabeth was only three years old and too young to remember her mother, she knew what had happened to her. Throughout her reign she never referred to her mother directly but she often referred to what had happened to her. This event made such a dramatic impact on her life that she regretted sentencing anybody to death. To some this was a weakness, however, it proved to be helpful to her reign. Her mother's conviction of treason for committing adultery, and subsequent execution resulted in her father casting her out and forcing her to live close to poverty until shortly before his death.
When her father married Jane Seymour she was sent to live at Hatfield house but still attended court. Jane's reign as Queen was short lived and after bearing Henry a son, Prince Edward, she died of childbed fever. Till Henry's next marriage occurred, Elizabeth was kept in the Royal nursery and was visited regularly by her father. After Henry's marriage to Anne of Cleves was later annulled, Elizabeth was sent from court again and remained in Hatfield house throughout the reign of Queen Catherine Howard.
Queen Catherine shared the fate of her cousin, Queen Anne, was convicted of treason and executed. At this time Elizabeth is quoted as saying that "marriage is death, I will never marry." She was true to her word.
Elizabeth last appeared in her father's court during the Reign of Queen Catherine Parr. Catherine Parr, inadvertently, taught Elizabeth how to avoid the block by pretense and submission. Catherine also insisted that Elizabeth have a proper education and, as a result, Elizabeth became one of the best-educated person of her times.
After the death of her father in 1547, Elizabeth's brother Edward became King. During this time she was living with the Queen Dowager, Catherine Parr. It was here she met the Lady Jane Grey, one of her cousins, and the Lord High Admiral, John Dudley. She and her half sister, the Princess Mary, were both courted by the Admiral and they both refused his affections. Unable to make a match with one of the princesses, he married Catherine Parr, much to the dislike of the young King. Although he was married to Catherine, John Dudley actively pursued Elizabeth. This time enough happened to get Elizabeth expelled from Catherine's court.
Catherine Parr later died in childbed, and the Lord High Admiral was subsequently executed for treason. Elizabeth loved Catherine Parr dearly. Catherine was like a mother to Elizabeth, the only mother she had ever known and loved. Soon after Catherine's death, King Edward died and Lady Jane Grey became Queen for nine days, until Elizabeth's half-sister, Mary, "asserted" her right to the throne. Mary ordered Jane Grey executed for treason and to ensure Elizabeth did not gain power, she had her imprisoned in the Tower of London.
Elizabeth suffered greatly under Queen Mary and was in constant danger of being killed. The danger to Elizabeth further escalated when Queen Mary married Prince Phillip of Spain. To ensure the House of Tudor continued and to maintain stability in England, Queen Mary allowed Elizabeth to live. However, Elizabeth knew that if Mary had a son, Elizabeth would not be needed and would be considered a threat to the throne and executed.
Queen Mary eventually let Elizabeth out of the tower and put her into a "better" prison, a distant castle. It was here that Elizabeth spent most of the five years of Mary's reign. In a later examination of the castle where she stayed, it was found that on a pane of glass were written the words, "Much suspected by me, Nothing proved can be. Quoth Elizabeth prisoner".
Queen Mary finally died on November 17, 1558 and Elizabeth was welcomed as Queen. Mary's reign may have been short, but it was barbaric and earned Mary the title Bloody Mary. Queen Mary, in trying to restore England to Catholicism, plunged England into a dark age and left England impoverished.
Queen Elizabeth worked hard to maintain peace and stability and always tried to please her subjects. She was inspired to create a prospering country by both her need to please the common people and the need to prove to the other monarchs that she was wise, strong and powerful, even though she was a woman.
She took a brilliant approach to restore some of England' treasury. First, she insisted that when she visited a Royal family on her progresses that they were to give her gifts. This allowed her to always dress at the height of fashion without the expense on the treasury. Secondly, she sent Sir Walter Raleigh and other "privateers" to raid Spanish ships for treasure. This brought the treasury a 400% return of her initial investment.
After the problem of renewing the treasury was resolved and England was wealthy, it was time for a husband to be found. Elizabeth knew that her marriage must benefit England, so any marriage would have to be to a foreign monarch. It was rumored that Elizabeth loved Lord Robert Dudley and she used this to her advantage. If her councilors did not agree with her decisions she would threaten to marry Lord Dudley. This usually kept her Councilors in line. Elizabeth did, however, undergo marriage negotiations. In retrospect it is believed that she did this largely because she wanted England to be at peace and immune from attack. For example, if she was being courted by Spain, France would not attack for fear of being attacked by Spain and vice-versa. In doing this she allowed England to prosper and grow.
Elizabeth's reign would have been perfect if not for one thing, the death of the King of France. The Queen Dowager of France, Mary, was also Queen of Scotland and she believed England was rightfully hers. When Mary returned to Scotland she began to pursue the crown of England. Elizabeth finally beheaded Mary, Queen of Scots, in 1587. Mary was one of the few people Elizabeth sentenced to death. Elizabeth felt so strongly about not executing people that it took her 20 years to finally sign Mary's death warrant.
Not long after Mary was executed Spain sent its Armada to invade England. During the years of peace and prosperity, Elizabeth had built-up England's navy and quickly defeated the Armada, which would never again become a naval power. This quick defeat firmly established England's navel power and resulted many more years of peace for the country.
When Elizabeth died on March 23, 1603, she was mourned throughout England. She had created an era of peace in England that would come to be called the Elizabethan era. Her greatest accomplishments during her reign was defeating the Spanish Armada, firmly establishing England and a navel power and giving many years of peace and prosperity to England.
Elizabeth overcame the obstacle of being a female ruler. Her love of the arts created an era of great writers, including William Shakespeare. She aspired to be the greatest Queen England ever had, and she was. Throughout this she never married and she remained chaste. Without her the economic revolution could never have happened. Even though the economic revolution occurred almost a century and a half later, if Elizabeth had not created that era of peace where England developed tremendously, Canada, formed as and
English colony, might not be where it is today. The reign of Elizabeth was a great reign lasting 45 years. She changed the way the world looked at Britain and how people looked at the world.
The Faces of Queen Elizabeth the first
-
| Anne Boleyn |
What colour dust do you get from diamonds? | About Elizabeth I TUDOR (Queen of England) - Description and Dental Implants
Painted in 1585 by Nicholas Hilliard
In the collection of the Marquess of Salisbury, at Hatfield House
See her at The Queen Gallery
Elizabeth Tudor was born on 7 Sep 1533 at Greenwich to Henry VIII and his second wife, Anne Boleyn . Elizabeth's life was troubled from the moment she was born. Henry VIII had changed the course of his country's history in order to marry Anne , hoping that she would bear him the strong and healthy son that Catalina de Aragon never did.
After her christening , Elizabeth spent her first weeks in the royal nurseries, tended by her wet-nurse, her dry nurses the women who rocked her cradle and the women who did her laundry. When she was three months old, she was given her own household, as etiquette required, and on a cold, mid-december afternoon she was carried out to a richly decorated litter and taken in procession through the streets of London, escorted by her great-uncle, the Duke of Norfolk . They stopped at Lord Rutland �s house in Enfield for the night, and the next morning they went on to the palace of Hatfield, in Hertfordshire, which was to be her home.
As soon as he had seen the baby safely settled in her crimson satin cradle, Norfolk rode off to Essex on an embarassing mission. He was to fetch Princess Mary . Already deprived of her title of Princess of Wales and told that she was illegitimate, the resentful seventeen-year old was to go to Hatfield as one of her sister ladies in waiting. Mary �s unhappiness and her obstinancy were disturbing elements in Elizabeth�s early childhood. Whenever the household moved to a different location there was another embarassing scene.
These dramas apart, life in the household was carefully regulated. All major decisions had to be referred to Henry . Anne too kept a close watch to the nursery; she chose all Elizabeth�s clothes: her personal tailor, William Loke, made the princess�s germents. The girl was like her father in colouring, with golden-red hair and a very fair skin, and Anne ordered dresses of white damask, green satin and yellow satin for her. These details mattered, for clothing was an important indication of status.
Anne did eventually conceive a son, but he was stillborn. By that point, Henry had begun to grow tired of Anne and began to plot her downfall. Most, if not all, historians agree that Henry 's charges of incest against Anne were false, but they were all he needed to sign her execution warrant. She was beheaded on the Tower Green in May, 1536, before Elizabeth was even three years old.
No one knows who told Elizabeth what happened, or what she felt. Her own household was thrown into a state of disarray. Henry was peoccupied with his new wife and now that Anne Boleyn was gone there was no one to give the necessary orders about the child�s clothing. To make matters worse, John Shelton , her mother�s uncle, was disrupting the daily routine by imprudently insisting that Elizabeth should take her meals with everyone else in the hall instead of eating in her own nursery quarters. Much upset by this interference, Lady Bryan wrote to protest to the King , and at the end of Jun Henry gave orders for Elizabeth�s household to be reorganized, allowing her thirty-two servants. Her half-sister Mary was not one of them.
Henry has remarried and was eagerly awaiting the son he hoped Jane Seymour was carrying. Jane was now pregnant by this time and parliament had passed a new Act of Succession declaring that the children of this marriage would be Henry �s heirs: like Mary , Elizabeth was now regarded as being illegitimate. When Lady Bryan �s husband told the child that in future she would no longer have her royal title, she stared at him unwinkingly and retorted: "how haps it, Governor, yesterday my Lady Princess, and today but my Lady Elizabeth?"... he could give o suitable reply.
Jane Seymour was eager to gather her new family together, and both Mary and Elizabeth were summoned to Hampton Court for her confinement. As it turned out, she was indeed to bear Henry a son, Edward (future Edward VI). Jane died shortly after Edward was born.
She was still liked by her father, but she fell into the shadows once her half-brother was born. Elizabeth was third in line for the throne of England behind her radical Protestant brother Edward and her conservative Catholic sister Mary .
When Elizabeth was four, her Governess Lady Margaret Bryan transfered to the household of the newly born Prince Edward , and the little girl passed into the care of Catherine Champernowne , the daughter of a solidly respectable gentlefolk from Devonshire who had received an unnusually advanced education for a woman at thet time. In 1545 she became the wife of John Ashley, a distant cousin of Anne Boleyn . Kat Ashley , as she was then known, came to exercise considerable influence over the growing Elizabeth, to whom she was utterly devoted.
Elizabeth's last stepmother was Catherine Parr , the sixth Queen to Henry VIII . She had hoped to marry Thomas Seymour (brother to the late Queen Jane ), but she caught Henry 's eye. She brought both Elizabeth and her half-sister Mary back to court. A cultivated Protestant, she was anxious that the children of the King have a suitable education, and she encouraged Henry to lure a clutch of eminent scholars from Oxford and Cambridge to teach the Prince. Whenever Elizabeth was in the same house, she shared his lessons. When Henry died, she became the Dowager Queen and took her household from Court. Edward ascended to the throne when he was ten years old. Because of the young age of Edward VI , Edward Seymour (another brother of Jane 's and therefore the young King 's uncle) became Lord Protector of England.
Roger Ascham
Radio Times Hulton Picture Library
Elizabeth went to live with Queen Dowager Catherine , but left her household after an incident with the Lord Admiral, Thomas Seymour , who was now Catherine 's husband. Just what occurred between these two will never be known for sure, but rumors at the time suggested that Catherine had caught them kissing or perhaps even in bed together. When Princess Elizabeth was being questioned about her relationship with the Lord Admiral , her custodian, Sir Robert Tyrwhitt , remembered that Elizabeth Fitzgerald, Lady Browne had gotten along well with the Princess and sent for her to spy on the girl. Lady Browne was not successful as a spy, perhaps by intent, and later became a close friend of Elizabeth Tudor’s when she became Queen.
Catherine was pregnant at the time of the incident, and Elizabeth was sent from May to Oct of 1548 to Cheshunt, the house of Sir Anthony Denny . This movement was the week after Whitsun in 1548, wich fell on 20 May; so the date of would be the week of 27 May 1548. Elizabeth will never see her beloved stepmother again. Catherine died of childbirth not too long afterwards. This left Thomas Seymour as an eligible bachelor once again. Elizabeth left Denny �s house and went to Hatfield accompanied by Somerset �s eldest son, Sir John Seymour. She sent a note to the Lord Protector thanking for his concern about her health and for sending Dr. Bill too see her.
Later, Thomas Seymour was arrested for an attempted kidnapping of King Edward and for plotting to marry himself to Elizabeth, who was an heir to the throne. From this incident, both Thomas and Elizabeth were suspected of plotting against the King. Elizabeth was questioned by Sir Robert Tyrwhitt , but was never charged. Seymour however, was arrested and eventually executed for treason.
Elizabeth's household book for the year from October 1551 survives. She was suffering intermittent ill-health, but this did not prevent her from checking and signing every page of her accounts. For a princess she lived modestly, economising where she could. Her table was supplied mainly from her estates.
Young Edward had never been a strong child and eventfully contracted what was then called consumption. It is most likely that he had tuberculosis, from contemporary accounts. When it looked inevitable the the teenager would die without an heir of his own body, the struggle for the crown began.
Reports of the young King 's declining health spurred on those who did not want the crown to fall to the Catholic Mary . It was during this time that Guildford Dudley married Lady Jane Grey , who was a descendant of Henry VIII 's sister Mary , and was therefore also an heir to the throne. At Edward painful death in 1553, Jane was proclaimed Queen by her father and father-in-law, who rallied armies to support her. However, many more supported the rightful heir: Mary , daughter of Henry VIII and Catalina de Aragon .
Elizabeth was at Hatfield throughout the crisis. When she first learned of Edward �s serious illness she set out for London to visit him, but she was only halway when received a message telling her to go back. It was Northumberland 's doing; he could not afford to have her at Court, complicating his plans.
But as Edward 's health continued to deteriorate and death was imminent, Dudley sent a message to Hatfield, ordering Elizabeth to Greenwich Palace. She may have been warned of his intentions - more likely she guessed them. She refused the summons, taking to her bed with a sudden illness. As a further precaution, her doctor sent a letter to the council certifying she was too ill for travel. As for Mary , Dudley had told her that Edward desired her presence; it would be a comfort to him during his illness. She was torn - though Dudley hid the true extent of the king's illness, the Imperial Ambassador had kept Mary informed. He was the agent of her cousin, the Holy Roman Emperor Carlos V; Mary 's mother had been his aunt. Conscious of her sisterly duty, Mary set out for Greenwich from Hunsdon the day before Edward died.
Dudley was enraged by Elizabeth's refusal but he could do nothing. Soon enough, events moved too quickly for the princess to be his primary concern. It was being whispered that Dudley had poisoned the king to place his daughter-in-law on the throne. Of course, this was untrue since Dudley needed Edward to live as long as possible for his plan to work. To this end, he had engaged a female 'witch' to help prolong the king's life. She concocted a mix of arsenic and other drugs; they worked, at least for Northumberland 's purpose. The young king lived for a few more weeks though he suffered terribly. Finally, on 6 Jul 1553, Edward VI died. Immediately, Northumberland had Jane Grey proclaimed queen, an honor she had not sought and did not want. It was only Dudley 's appeal to her religious convictions which convinced her to accept the throne.
As soon as she knew that Jane had been proclamed Queen, Elizabeth took her bed, saying she was far to ill to travel anywhere. During the nine days of Jane 's reign, Elizabeth had continued her pretense of illness. It was rumored that Dudley had sent councilors to her, offering a large bribe if she would just renounce her claim to the throne. Elizabeth refused, remarking, 'You must first make this agreement with my elder sister, during whose lifetime I have no claim or title to resign'. So she remained at her beloved Hatfield, deliberately avoiding a commitment one way or another. Once she heard the rising was over, however, she got up and prepared to ride to the Capital. If she did not show her loyalty to Mary , her enemies would accuse her of setting herself as a rival Protestant claimant. Riding proudly at the head of an impressive entourage, Elizabeth reached London on 29 Jul with 2000 mounted men wearing the green and white Tudor colors, to find that Mary had not yet arrived. The citizens turned out to shout their approval as she passed and she smiled and waved graciously to them. She had not been forgotten after all. She might have few friends at the new Queen �s Court, but the ordinary people were offering her their goodwill, and that could be useful. She awaited Mary 's official arrival into the city in Somerset House. On 31 Jul, Elizabeth rode with her attendant nobles along the Strand and through the City to Colchester, the same path her sister would take. It was here she would receive her sister as queen. They had not seen each other for about five years. In an atmosphere charged emotion, everyone watched as Anne Boleyn �s daughter moved forward to demonstrate her loyalty to Catalina de Aragon �s child. At nineteen, Elizabeth towered over the tiny figure of the Queen. Mary was thirty-seven, and she looked older, tired and worn after all the excitement of the past weeks. Elizabeth knelt befor her, Mary smiled, raised her up and embraced her. It seemed that they were to be friends. other introduction folloed, Elizabeth presenting her own retinue, and finally, when the procession moved off again, she was in the place of honour, immediatly behind the Queen Mary .
Nine days after Jane was proclaimed Queen, Mary rode into London with Elizabeth. Jane Grey and her husband Guildford were imprisoned in the Tower. And so began an even more dangerous time in the life of the Princess Elizabeth...
Shortly after becoming Queen, Mary was wed to Prince Felipe of Spain , which made the Catholic Queen even more unpopular. The persecuted Protestants saw Elizabeth as their savior, since she was seen as an icon of "the new faith". After all, it was to marry her mother Anne Boleyn that Henry instituted the break with Rome.
Elizabeth’s life during Mary ’s reign began well, but there were irreconcilable differences between them, particularly their differing faiths. Mary was suspicious of her sister, whose name was mentioned in the conspiracy of Thomas Wyatt , the man from Kent, who had raised a rebellion protesting Mary ’s intended marriage to Felipe of Spain . When the rebels were captured for questioning, it became known that one of their plans was to have Elizabeth marry Edward Courtenay, Earl of Devon , to ensure an English succession to the throne. Thus, Elizabeth found herself implanted in a very dangerous political plot that was considered by some to be an extremely sinister method of placing her on the throne. Considering Elizabeth’s lack of desire to marry, it is probable that she would have had no knowledge of their plans, or even approved of them. However, the mere mention of her name by the rebels was enough to suggest that Elizabeth indeed had knowledge of the revolt. Now under suspicion, Elizabeth denied any knowledge of Wyatt ’s plans, but Simon Renard, the Queen ’s advisor, did not believe her, and counseled Mary to bring her to trial. Elizabeth was not put on trial, but instead was taken as prisoner to the Tower of London. The thought of going to the place from where so few had returned, including her own mother, terrified her, and she initially refused to enter, declaring repeatedly that she was an innocent, loyal subject of the Queen . She did eventually yield, and on Sunday Mar 18, 1554, Elizabeth was imprisoned in the Tower.
The story of Elizabeth's entry into the Tower is an interesting one. She was deathly (pun intended) afraid of the Tower, probably thinking of her mother's fate in that place, and when she was told she would be entering through Traitor's Gate, she refused to move. She had been secreted to the Tower in the dark so as not to raise the sympathy of supporters. That night was cold and rainy, and the Princess Elizabeth sat, soaking wet, on the stairs from the river to the gate. After her governess finally persuaded Elizabeth to enter, she did so and became yet another famous prisoner of the Tower of London.
Elizabeth stood in grave danger as her very existence was considered a threat to the Queen and to the Spanish marriage. Renard urged her execution. But the lack of evidence against Elizabeth, Wyatt ’s declaration of her innocent as he went to the block, and Elizabeth’s increasing popularity (the crowds greeted her with warm cheers and gifts) worked in her favor.
Elizabeth was no longer seen as a significant threat when Mary had become pregnant, and she decided that Elizabeth should no longer be kept in the Tower of London in 1554 she was sent to the palace at Woodstock starting on 19th May, under the care of Sir Henry Bedingfield . Elizabeth seems to have thought herself in some special danger, for she called to her gentleman usher as he left her and desired him with the rest of his company to pray for her: "For this night", quoth she, "I think to die"'. The first night of the journey was spent at Richmond. Antoine de Noailles, although in disgrace with the Queen for dabbling in Wyatt 's treason, was still taking a close interest in the Princess and had picked up a rumour that two envoys from the Emperor were to meet her at Richmond on the following day and would 'lay before her the proposals for her marriage with the Duke of Savoy'. In order to try to find out more about what was going on, de Noailles sent one of his agents to follow Elizabeth 'under the pretext of carrying her a present of apples', but he had been misinformed. There were no envoys at Richmond, and Bedingfield got an early opportunity to prove his zeal by seizing the messenger and stripping him to his shirt. The second night was at Windsor and the third at West Wycombe with Sir William Dormer. The following night was spent at Rycote with Sir John Williams of Thame and she arrived at Woodstock on 23rd May. On the return journey from Woodstock to Hatfield Elizabeth may have spent the night at Ascott Manor again under the auspices of Sir William Dormer.
Mary Tudor was nearly 40 years old when the new of her "pregnancy" came. After a few months, her belly began to swell, but no baby was ever forthcoming.
Some modern historians think that she had a large ovarian cyst, and this is also what lead to her failing health and eventual death in Nov 1558. On her deathbed and at her husband’s request, Mary reluctantly accepted Elizabeth as heir to the throne. After Elizabeth, the most powerful claim to the throne resided in the name of Mary, Queen of Scots , who had not long before married Francois, the French heir to the throne and enemy of Spain. Thus, although Elizabeth was not Catholic, it was in Felipe and Spain’s best interest to secure her accession to the throne, in order to prevent the French from obtaining it.
There was another rebellion in 1555 led by Sir Henry Dudley , kinsman of the Duke of Northumberland . Queen Mary ruled England under conservative Catholicism and acquired the name “Bloody Mary” by the end of her reign, for she murdered so many Protestants. News of Mary 's death on 17 Nov 1558 reached Elizabeth at Hatfield House. Elizabeth had survived and was finally Queen of England, crowned on 14 Jan 1559. Elizabeth I was crowned by Owen Oglethorpe, Bishop of Carlisle , because the more senior prelates did not recognise her as the Sovereign, and, apart from the archbishopric of Canterbury, no less than eight sees were vacant. Of the remainder, Bishop White of Winchester had been confined to his house by royal command for his sermon at Cardinal Pole 's funeral; and the Queen had an especial enmity toward Edmund Bonner, Bishop of London . With a touch of irony, she had ordered Bonner to lend his richest vestments to Oglethorpe for the coronation.
Elizabeth had a rigorous education. She was fluent in six languages, including Latin, Greek, French, and Italian. She once remarked to an Ambassador that she knew many languages better than her own. She was taught theology, history, philosophy, sewing, and rhetoric. She also loved such activities as hunting, riding, dancing, and playing. As a girl, she was often thought of as very serious, and she had inherited characteristics of both her mother and father such as cleverness and firmness. Elizabeth was incredibly intelligent, and admired her tutor Ascham, who remarked that she had the intelligence of a man, for it was her memory and intellect that distinguished her above others, men and women alike.
Queen Elizabeth had many things to deal with when she became ruler of England. Mary and previous rulers had left the state virtually bankrupt, and England was in need of some sort of religious mediation. She cut back on royal expenses, encouraging her court to purchase her expensive gifts such as elaborate dresses and jewelry to win her affections and to invite her to stay with them. She even encouraged pirating and men like Sir Francis Drake at times to increase the wealth of England, for, if England was rich, she did not care where the wealth came from. She cut down on inflation and reduced England’s debt. Religion was a subject requiring immediate attention as well, for as much as Elizabeth was a Protestant like her half-brother and father, she did not want to acquire the reputation her half-sister Mary did while Queen. Her religious settlement, known as the Elizabethan Settlement, declared that she did not care what men believed, just so long as they attended the Church of England. She also passed the Act of Supremacy , declaring herself supreme governor of the church rather than the supreme head. On subjects such as religion, she became a master of ambiguity.
Elizabeth enjoyed taking to the Thames in her magnificent state barge, served by twenty oarsmen, or a smaller barge covered with satin awnings and pillows of cloth of gold. She visited her favorites palaces: Hampton Court (Surrey), Nonsuch (Surrey) and Greenwich (Kent), both on land and on water.
Elizabeth faced another question upon her arrival to the throne: marriage and succession. She had many suitors , domestic and foreign. She was able to use her unmarried state to her advantage, for Spain could not make war on England in France was courting Elizabeth (and visa versa as well). She entertained many proposals.
If Elizabeth married a foreigner, she would have to choose which country to marry and she would hand England’s rule over to that country as well. If she married domestically, she again would be forced to choose, for she could not appease everyone. Her favorite at home appeared to be Robert Dudley , a childhood friend, and it seemed for a long that she would marry Dudley . Elizabeth never did marry, taking on the image of a virgin and nicknames such as Gloriana, Bess, and Virgin Mary. She created her own following and religion in a way. Only a short time before her death did she name her successor, for she knew better than to do so before because no one would listen to her once her “heir” was named. Any talk of the succession presupposed Elizabeth's death, and this was one subject the Queen could not bear to contemplate. After the execution oh his mother, Mary Stuart , King James of Scotland wrote to the Queen, Nov 1587, trying to have a written promise from Elizabeth that he, James, be declared her rightful heir. James angered her with his importuning. To teach James a lesson for daring to presume too far Elizabeth promptly, and openly, acknowledged that there was another in the running. Arabella Stuart , other claimant to the throne, was invited to the Court for the first time.
The Queen was also politically clever. She was always able to use marriage as an advantage, even when she was older. She worked hard on political affairs, often staying up late at night writing letters and state papers. She tried to keep England out of war for most of her rule, for she saw how war could damage England and its finances from her father’s overindulgence in war. She found calling Parliament a regrettable necessity. She did not like dealing with Parliament, and she would rant and rave at them so she could have her way. She refused to be bullied by her own Parliament. She took an interest in matters of state, despite the fact that the men she worked with could not believe her to be capable of handling such matters. The only war Elizabeth had to deal with was when Spain was sending up their fleet of ships, the Armada , to invade England to overthrow the Queen and reestablish Roman Catholicism. England’s smaller and faster ships, aided by bad weather, defeated the heavy, sluggish Spanish Armada, a great victory for England.
Elizabeth was well liked by her subjects. She went on several progressive trips and made many public appearances, so England could see their Queen and to also increase her popularity among her subjects. She always made each and every person who called out to her as she rode through the city on her litter that she was talking to them. She always kept gifts of flowers, letters, food, and poems in her litter until the journey ended. To her ministers and her Parliaments, she would rant and rave until she got her way, but her private was something more interesting. She went through spells of illnesses and depressions, but something could be said of her arrogance. She enjoyed flattery, for it put her above everyone else in the court. Elizabeth had her way, but she was very emotional as well.
"It is not my desire to live or to reign longer than my life and my reign shall be for your good"
Elizabeth I to her Parliament 1601
Queen Elizabeth as Gloriana may have seemed to many to be immortal, but by the turn of the seventeenth century, she was beginning to display very real human frailty. Life as a monarch may have been glorious at times, but it was a difficult, demanding, and often very lonely task, and Elizabeth was tired both physically and emotionally. She herself said :
“To be a King and wear a crown, is a thing more glorious to them that see it, than it is pleasant
to them that bear it”
She had always known that popularity was a fickle thing, and although she said nothing, she knew that those around her were preparing for the time when her reign would be over. She was old, and the illusion that she was not, was falling away rapidly. When visiting the House of a courtier she had to have a stick to walk up the stairs, and during the opening of Parliament she almost fell under the weight of her heavy robes. Elizabeth knew that an aged Queen could not long command the hearts of the young, who were waiting for the sun to rise on a new world. Also, for some years the Queen had been suffering from some form of mental instability, although at this distance in time it is impossible to diagnose what her condition was. She was no longer quite the charming, witty, graceful, monarch that she had once been. She was rather paranoid, and was increasingly bitter. She was also lonelier and lonelier as more friends passed away. She had never doubted the justice of the execution of her once favourite, Robert Devereux , but she grieved deeply at the death of the man she had loved and nurtured since childhood. Sometimes she would sit in dark rooms, weeping at his young and tragic end.
By the late winter of 1602/3 Elizabeth was feeling unwell. She had caught a chill after walking out in the cold winter air, and complained of a sore throat as well as aches and pains. She lay resignedly on her cushions in her private apartments, and could not be persuaded to leave them for the comfort of her bed. “I am not well” she declared, but refused the administrations of her doctors. It was the opinion of her contemporaries that she would have recovered from this illness if she had fought against it, but she was did not want to. She was old, she was tired, and she was lonely. She was ready to slip into the world where all those she had loved had gone before her. As her condition deteriorated, Archbishop Whitgift (her favourite of all her Archbishops of Canterbury) was called to her side, and the Queen clung tight to his hand. When he spoke to her of getting better, she made no response, but when he spoke to her of the joys of Heaven, she squeezed his hand contentedly. By this time she was beyond speech and could only communicate with gestures. It was clear to all of those around that the great Queen was dying. There was still one matter that the Queen had left unresolved, the matter that had been unresolved since the first day the young Lady Elizabeth had heard that she was now Queen of all England; the succession to the throne. However, it was generally believed that the King of Scotland was to succeed, and this question was put to the dying Queen. Elizabeth may or may not responded, but for the sake of the peaceful transition of power, it was declared that she had gestured for James VI of Scotland to succeed her.
It was getting late, and those in vigilance around the Queen's bed left her to the care of her ladies. The Queen fell into a deep sleep, and died in the early hours of the 24 Mar 1603. It was a Thursday, the death day of her father, and her sister. It was the eve of the annunciation of the Virgin Mary, perhaps an apt day for the Virgin Queen to die. The Elizabethan calendar was also different to ours, as they still used the Julian calendar - the new year beginning on the 25 Mar. Thus the last day of the year 1602 also saw the last hours of the last Tudor monarch. The new year would bring a new reign and a new era in British history.
It was with sadness that the Queen's death was announced on the streets of London the following morning, and witnesses described the eerie silence of the stunned crowd. For almost 45 years they had been ruled by Elizabeth, and knew no other way of life.
As the Queen had wished, there was no post mortem. Her body was embalmed, and placed in a lead coffin. A few days later, the Queen began her last journey. She was taken by water to Whitehall, and laid in state, before being taken to Westminster Hall. There her body was to remain until the new King gave orders for her funeral.
On the 28 Apr 1603, the Queen was given a magnificent funeral. Her coffin, covered in purple velvet, was drawn by four horses draped in black. An effigy of the great Queen, dressed in the robes of state with a crown on her head and a sceptre in her hands, lay on the coffin beneath a mighty canopy held by six knights. Behind the Queen came her palfrey, led by her Master of Horse. The chief mourner, the Marchioness of Northampton , led the peeresses of the realm all dressed in black, and behind them came all the important men of the realm, as well as over two hundred poor folks. The streets were full of people, all come to pay their last respects to the Queen who had ruled them so wisely and for so long as she made her way to her final resting place at Westminster Abbey. When they saw the life-like effigy of the Queen, they wept. John Stow, who attended the funeral wrote:
“Westminster was surcharged with multitudes of all sorts of people in their streets, houses, windows, leads and gutters, that came to see the obsequy, and when they beheld her statue lying upon the coffin, there was such a general sighing, groaning and weeping as the like hath not been seen or known in the memory of man, neither doth any history mention any people, time or state to make like lamentation for the death of their sovereign”
The grief of the nation was unprecedented, and was a tribute to the remarkable achievements of a remarkable woman, Queen Elizabeth I.
There are some surviving descriptions of Elizabeth I, but not all are flattering. She has been described as aged, with irregular yellow and missing teeth. It is unfortunate that dental implants were not available in Elizabeth's time. It is said that Elizabeth had eccentric hygiene habits including cleaning her teeth with sugar which likely led to the tooth decay. Without suitable tooth replacements or dental implants, it was impossible for Elizabeth I to improve her personal appearance during her later years.
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John McEnroe was born in which country? | John McEnroe - IMDb
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Actor | Soundtrack
John McEnroe was born on February 16, 1959 in Wiesbaden, Hesse, Germany as John Patrick McEnroe Jr. He is an actor, known for Wimbledon (1937), McEnroe/Borg: Fire & Ice (2011) and The Chair (2002). He has been married to Patty Smyth since May 23, 1997. They have two children. He was previously married to Tatum O'Neal . See full bio »
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Who patented the 'Zip fastener' in 1893? | John McEnroe - News
NEWS
10 December 2016 9:43 PM, PST | ScreenDaily | See recent ScreenDaily news »
Lebanon-based distributor Phoenicia Pictures has acquired Mena rights to Borg vs McEnroe , about the famous rivalry between tennis players Björn Borg and John McEnroe , at Dubai Film Market.
Sf Studios is handling international sales on the film, which is directed by Janus Metz Pedersen and stars Sverrir Gudnason and Shia Labeouf as Borg and McEnroe . Stellan Skarsgård also stars.
“The film is the first step in Sf Studios’ intention to produce commercial high-quality films for the international market,” said producers Jon Nohrstedt and Fredrik Wikström Nicastro .
The film is currently in post-production for release in autumn 2017. It has also been sold to the UK (Curzon), France ( Pretty Pictures ), Germany (Ascot Pictures), Italy ( Lucky Red ), Poland (Best Film) and China (Hualu), among other territories.
Sf Studios is attending Dubai Film Market as part of a delegation of Nordic producers, funders and sales agents. »
- [email protected] (Liz Shackleton)
6 December 2016 10:21 AM, PST | Indiewire | See recent Indiewire news »
Last month Shia Labeouf showed off his freestyle rapping skills during SiriusXM Shade 45’s “ Sway in the Morning.” Now the actor is back with a new rap, a response to a feud that began with Soulja Boy . The rapper tried to ban Shia from Atlanta and told him to “stick to acting” after Shia called him out on his previous track “Zapruder,” released last week on the New York radio show “The Breakfast Club.”
Then on Monday (December 5), Labeouf released a quick response in which he talks about the feud and also declares that he’ll make a point to visit Atlanta “when [his] schedule is flexible.” In getting his point across, Shia compares himself to Marlon Brando and Stanley Kubrick , as well as notes his latest film role in the biopic “Borg/ McEnroe .”
“I just finished playing tennis like I’m John McEnroe ,” he raps. “Compare me to Brando, Eminem, »
- Liz Calvario
2 December 2016 6:01 AM, PST | Variety - Film News | See recent Variety - Film News news »
“Storytelling, entrepreneurship and adaptation to changing industry environment have always been part of the DNA of Nordisk Film . That — together with owners like Egmont that have a long-term view on the film business — are some of the components for the long-term success,” says CEO Allan Mathson Hansen , of Denmark’s Nordisk Film . This year the country’s leading film company celebrates its 110th anniversary on top of Nordic production and distribution.
When Hansen took over as CEO in 2008, he launched a restructuring of the company.
”We sold parts of our TV format and our music businesses,” he says. “It was all about getting back to the profitable core of the company and then develop from there. Today Nordisk Film is standing on four pillars: we produce and distribute content, we run leading cinema chains, we distribute Sony’s PlayStation, and we have ventured into a range of new adjacent businesses, »
- Jorn Rossing Jensen
25 November 2016 9:38 AM, PST | Indiewire | See recent Indiewire news »
Besides his numerous acting performances, Shia Labeouf is also known for his elaborate performance art pieces that frequently engage and excite the public. One of these pieces was #Allmymovies, an installation in which Labeouf watched all of his films back-to-back at New York’s Angelika Film Center over three days while a fixed camera filmed his reactions and transmitted them across the Internet. The piece was divisive, but many felt received it positively, and now Labeouf discussed his various performance art jaunt last night on “ Jimmy Kimmel Live!”, including #AllMyMovies. Watch the segment below.
Read More: Shia Labeouf Says He ‘Doesn’t Like the Movies’ He Made With Steven Spielberg
“It starts like an ironic, silly thing, like most of the things I do, and then it wound up in a really cool, sincere place,” says Labeouf in response to why he did it in the first place. He went »
- Vikram Murthi
14 November 2016 9:03 AM, PST | Indiewire | See recent Indiewire news »
Shia Labeouf wishes he could have a do over on some of his previous comments about legendary director Steven Spielberg . Shortly after completing Spielberg ’s “ Indiana Jones and the Kingdom of the Crystal Skull ,” Labeouf told the Los Angeles Times that Spielberg had “done so much great work that there’s no need for him to feel vulnerable about one film, but when you drop the ball you drop the ball.”
‘ Man Down ’ Trailer: Shia Labeouf Saw Some Things in the War That You Just Wouldn’t Understand, Man
Labeouf later told Variety that Spielberg was “less a director than he is a f---ing company.” Now, Labeouf says he feels he was too harsh on Spielberg . “I f--- up sometimes, you know,” Labeouf told SiriusXM’s “ Sway In The Morning ” show. “I probably could’ve gone lighter on Spielberg , that was probably something I should’ve backed off of.” Labeouf »
- Graham Winfrey
11 November 2016 3:58 PM, PST | Indiewire | See recent Indiewire news »
In case you didn’t know Shia Labeouf can rap. No , it’s true. The “ American Honey ” actor surprised people at SiriusXM Shade 45’s “Sway in the Morning” when he freestyle rapped during the show’s “ Five Fingers of Death ” segment.
The challenge determines an individual’s freestyling abilities over five different beats and surprisingly, Labeouf impressed everyone with his performance.
In the video below, the actor is heard rapping about his Missy Elliott tattoos and Dr. Dre . He also calls himself the Einstein of rhyming and the “Jewish Pac to this music with a twist of Whitman.” At the end of his rap, host Sway Calloway gets pumped up and yells, “Did you see that? This is what we’ve been talking about.”
Read More: ‘ Man Down ’ Trailer: Shia Labeouf Saw Some Things in the War That You Just Wouldn’t Understand, Man
Labeouf was previously heard rapping in a 2015 viral video, »
- Liz Calvario
7 November 2016 4:27 PM, PST | Variety - Film News | See recent Variety - Film News news »
Sf Studios has inked further deals on two anticipated Scandi pics, the Shia Labeouf starrer “Borg/ McEnroe ” and “Børning2 – On Ice ,” at the American Film Market.
Directed by Janus Metz Pederson, the Danish helmer whose credits include “ Armadillo ” and “ True Detective ,” “Borg/ McEnroe ” has proven an international sales hit since being introduced by Sf Studios and Tre Vanner at Cannes.
“Borg/ McEnroe ” was acquired by Best Film in Poland, Hualu in China, Phoenecia for the Middle East and Fame Solutions/Programs4Media for former Yugoslavia. Ahead of the Afm, the project was picked up by Lucky Red ( Lucky Red ) and Cineplex (Colombia). Sf Studios had previously sold the pic to 10 territories including France ( Pretty Pictures ), UK (Curzon), Gas (Ascot Elite) and Australia/New Zealand (Vendetta).
Meanwhile, “Børning 2 – On Ice , »
- Elsa Keslassy
31 October 2016 7:21 AM, PDT | Indiewire | See recent Indiewire news »
For many distributors, producers and sales agents, the American Film Market is the movie business equivalent of the Super Bowl. Billed as “Hollywood’s global deal-making event” and “the film industry’s largest international conference,” this year’s Afm will draw more than 1,500 film buyers from 80 countries, all of whom will converge upon Santa Monica hoping to close deals for projects in every stage of development and production.
But how important is Afm to the independent film ecosystem? Unlike Sundance, Cannes or Berlin, Afm has no festival, and therefore no flashy premieres to start bidding wars among distributors. While this year’s event will include more than 70 world premiere screenings and roughly 250 market premieres, Afm is known more for pre-sales and getting projects off the ground than finding homes for theatrical titles.
Here are four ways this year’s Afm could have an impact on the independent film world.
1. Hot new projects. »
25 October 2016 1:03 PM, PDT | Indiewire | See recent Indiewire news »
Shia Labeouf has leaned toward the art-house in recent years, with roles in “Nymphomaniac” and “ American Honey ” marking a sharp contrast to his “ Transformers ” days. He’ll next be seen in a more conventional film, however: “ Man Down ,” a new thriller from director Dito Montiel . Watch its new trailer below.
Read More: ‘Borg/ McEnroe ’: See First Image of Shia Labeouf as Tennis Star John McEnroe for Biopic
Labeouf plays a Marine who, after returning from a tour of duty in Afghanistan, finds himself on the search for his wife ( Kate Mara ) and son ( Charlie Shotwell ); he’s aided in that quest by a friend and fellow Marine ( Jai Courtney ) whose trigger-happy approach to conflict resolution is both a hindrance and a help. Labeouf’s character is haunted by one wartime experience in particular, which informs his demeanor and behavior throughout the film.
Read More: Shia Labeouf Says He ‘Doesn »
- Michael Nordine
6 October 2016 12:34 PM, PDT | We Got This Covered | See recent We Got This Covered news »
Shia Labeouf has taken on many diverse roles in his rather curious career, but now he gets to channel his inner tennis player as John McEnroe in the upcoming tennis drama Borg/ McEnroe . Is it going to be a major stretch for Labeouf to play a famous narcissist with a volatile temper? Probably not.
The first photos from Borg/ McEnroe hit the web today, courtesy of a few different Twitter pages, and though they don’t tell us much about what to expect from it, we can at least say that Labeouf looks like the spitting image of McEnroe , though the fabulous 80s hair certainly helps the illusion along.
First image of Shia Labeouf and Sverrir Gudnason as John McEnroe and Bjorn Borg from the upcoming movie “Borg/McEnr… pic.twitter.com/wRn5M9IA7c
— PiFiZone (@PiFiZone) October 4, 2016
Shia Labeouf as Tennis Star John McEnroe in a new Biopic currently filming in Sweden… »
- Lauren Humphries-Brooks
4 October 2016 11:40 PM, PDT | The Hollywood News | See recent The Hollywood News news »
The very first image of Shia Labeouf and Sverrir Gudnason in the forthcoming tennis biopic Borg/ McEnroe has found its way online. Labeouf plays John McEnroe and Gudnason plays the role of Bjorn Borg in the film which revolves around the 1980 Wimbledon final.
Here it is (via (Imgur):
The match between McEnroe and Borg is widely deemed to be one of the greatest ever played – a five-set stunner that captivated audiences on Centre Court and around the world on live television.
The film, directed by Janus Metz Pedersen , features a stellar cast that also includes Stellan Skarsgård as Swedish tennis player and coach Lennart Bergelin, Robert Emms as Vitas Gerulaitis and Tuva Novotny as Romanian tennis player, and ex-wife to Borg, Mariana Simionescu.
Both Labeouf and Gudnason, along with their co-stars were snapped at a press conference in Sweden just yesterday where shooting continues.
The film will be released »
- Paul Heath
4 October 2016 2:34 PM, PDT | Indiewire | See recent Indiewire news »
Shia Labeouf ’s next project is the biopic “Borg/ McEnroe ,” the story about the rivalry between hot-headed tennis star John McEnroe (Labeouf) and Swedish player Björn Borg ( Sverrir Gudnason ) in the late ’70s and early ’80s. The first image of the upcoming drama has been released which shows the actors dressed as the athletes on a tennis court.
Read More: Shia Labeouf Says He ‘Doesn’t Like the Movies’ He Made With Steven Spielberg
Considered one of the greatest tennis players of his time, McEnroe was known for his tantrums and outbursts during his career and faced off 14 times with Borg, who had a cool and emotionless personality. Back in May, Labeouf told Variety how excited he was for this project and that he deeply identified with his character.
“[McEnroe and I have] everything in common. Passionate. Perfectionist. Narcissistic. I’m a bit of a caricature also,” Shia stated. “You look for parallels in your life, »
- Liz Calvario
22 September 2016 5:58 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »
The tennis star expresses astonishment that nobody involved in the forthcoming film about his rivalry with Björn Borg has been in touch
John McEnroe , the tennis star who won seven Grand Slam singles titles, has questioned the authenticity of forthcoming biopic Borg vs McEnroe .
The movie, which is currently shooting, focuses on the rivalry between McEnroe (played by Shia Labeouf ) and the Swedish tennis pro Björn Borg ( Sverrir Gudnason ) in the late 1970s and early 80s. During an interview in Vanity Fair, McEnroe expressed concern about the complete lack of contact from the film-makers.
Continue reading »
15 September 2016 9:34 AM, PDT | FilmExperience | See recent FilmExperience news »
by Murtada
The bad boy of movies is playing the bad boy of tennis. Is this a case of too on the nose casting? What matters of course is if Shia Labeouf can approximate John McEnroe ’s look convincingly. Looks like it. The fro helps.
However it seems that Labeouf is trying to reform that bad boy image. To promote Andrea Arnold ’s American Honey , which comes out later this month, LeBeouf gave a long interview to Variety. In it he might have come up with the best rebuttal for Jared Leto ’s recent shenanigans about being committed to the craft. Labeouf said that he doesn’t think of himself as a method actor anymore:
“The word is getting embarrassing. You don’t hear about female method actors. The whole thing has turned into weird, false masculinity shit.”
Indeed. Could it be that Shia finally said exactly what everyone wants to hear? »
- Murtada Elfadl
6 September 2016 10:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »
A photo shoot with Shia Labeouf is a live-wire experience. With his curly locks slicked back, in Nikes and tattered pants, the 30-year-old actor refuses hair-and-makeup, as he blasts songs on his iPhone, singing along to Nina Simone ’s “If You Pray Right (Heaven Belongs to You).” He’s friendly, but firm about what he won’t do, and he bristles when a Variety photographer suggests that he step inside an ancient-looking wine cellar. “No,” Labeouf says, pointing to the bottles of alcohol. “That sh-t almost f–ked up my life.”
Over the last five years, Labeouf has been embroiled in a bizarre off-screen drama of his own making — one that nearly derailed his career. He’s been dogged by several alcohol-related arrests, a public firing from the 2013 Broadway play “Orphans,” and even accusations of plagiarism surrounding a short film he directed that same year. But the biggest scandal came in 2014: Drunk on whiskey, »
- Ramin Setoodeh
24 August 2016 11:20 AM, PDT | PEOPLE.com | See recent PEOPLE.com news »
The greatest rivals in tennis today will put their personal competition aside to play together in the inaugural Laver Cup in Prague next year. Five tennis legends - Rod Laver , Roger Federer , Rafael Nadal , Bjorn Borg and John McEnroe - came together for a press conference to announce details about the Laver Cup on Wednesday. Named after tennis legend Ron Laver, the tournament was first announced during the Australian Open in January as a men's team event that will take place annually in September, but not during an Olympic year. The cup will feature a European team against a group »
- Ale Russian, @russian_ale
8 August 2016 12:55 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »
Jay Z and Beyoncé sure know how to do family night. On Sunday night, the pair and their 4½-year-old daughter Blue Ivy stepped out to a special invitation-only SiriusXM Coldplay concert at The Stephen Talkhouse in the Hamptons, benefiting the Wounded Warrior Project. " Jay Z was holding Blue Ivy and put his hands over her ears for a second because the music was loud," an onlooker tells People. "Right after Beyoncé walked in she put on her sunglasses," says the source. "They just stayed for a couple minutes inside." While the star-studded event was attended by Jimmy Buffett , Jon Bon Jovi , »
- Nicole Sands, @nicolesands901
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What age was John Lennon when he was killed? | BBC ON THIS DAY | 8 | 1980: John Lennon shot dead
About This Site | Text Only
1980: John Lennon shot dead
Former Beatle John Lennon has been shot dead by an unknown gunman who opened fire outside the musician's New York apartment.
The 40-year-old was shot several times as he entered the Dakota, his luxury apartment building on Manhattan's Upper West Side, opposite Central Park, at 2300 local time.
He was rushed in a police car to St Luke's Roosevelt Hospital Center, where he died.
His wife, Yoko Ono, who is understood to have witnessed the attack, was with him.
Shots heard
A police spokesman said a suspect was in custody, but he had no other details of the shooting.
"This was no robbery," the spokesman said, adding that Mr Lennon was probably shot by a "deranged" person.
Witness reports say at least three shots were fired and others have claimed they heard six.
There are also reports Mr Lennon staggered up six steps into the vestibule after he was shot, before collapsing.
Jack Douglas, Lennon's producer, said he and the Lennons had been at a studio called the Record Plant in mid-town earlier in the evening and Lennon left at 2230.
Mr Lennon said he planned to have some dinner and then return home, Mr Douglas said.
Fans at scene
The Lennons are said to have left their limousine on the street and walked up the driveway when the gunman opened fire.
It is unclear whether the man had been lying in wait in the entrance to the building for Mr Lennon, or whether he came up behind him.
Witnesses describe the gunman as a "pudgy kind of man", 35 to 40 years old with brown hair.
Other former band members, Paul McCartney, guitarist George Harrison and drummer Ringo Starr are thought to have been informed of Lennon's murder.
Fans have already begun arriving at the scene, many still unaware Lennon has died.
Mr Lennon is survived by his wife, their son Sean, and his son from a previous marriage, Julian.
| 40 |
Who became the youngest ever 'Amateur World Snooker Champion in 1980? | John Lennon shot dead by Mark David Chapman in 1980 - NY Daily News
Legendary Beatles singer shot dead by Mark David Chapman
John Lennon shot dead by Mark David Chapman in 1980
NEW YORK DAILY NEWS
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John Lennon of the Beatles is shown in this Dec. 1980 photo taken days before his death. He was scheduled to finish his next album, a follow up to “Double Fantasy," that was released a month earlier and marked his comback after five years in retirement.
(AP)
NEW YORK DAILY NEWS
Sunday, December 7, 2014, 5:37 PM
(Originally published by the Daily News on Dec. 9, 1980. This story was written by Patrick Doyle, Robert Lane and Hugh Bracken.)
Former Beatle John Lennon, the 40-year-old lead singer of the most popular rock group in history, was shot to death last night as he stepped from a limousine outside his home in the Dakota, an exclusive apartment building on Central Park West and 72d St.
Police arrested a suspect, “described as a local screwball,” minutes after the shooting and charged him with Lennon’s murder. The “smirking” suspect, identified as Mark David Chapman, 25, of Hawaii, was seen in the vicinity of the Dakota for several hours before the shooting and reportedly had hounded Lennon for an autograph several times in the last three or four days.
Lennon and his Japanese-born wife, Yoko Ono, were returning to their apartment from a recording session when the shots rang out.
Lennon was taken to Roosevelt Hospital in a police radio car and was pronounced dead on arrival in the emergency room.
“We tried to save him,” said Dr. Stephen Lynn, director of emergency services. “We opened his chest and massaged his heart, but he was virtually dead when they brought him in.” Lennon’s body was then taken to the Bellevue Hospital morgue for an autopsy.
The life and death of John Lennon
Police said Lennon was shot several times at close range inside the large iron gate on the W. 72d St. side of the building and was bleeding profusely when he was placed in the radio car.
Lynn said Lennon was brought into the emergency room a few minutes before 11 p.m. and was pronounced dead at 11:07 p.m. “Extensive resuscitation efforts were made, and despite transfusion and other methods, he could not be revived,” Lynn said.
The doctor added that “significant damage had been done to a major vessel in the chest. There was a massive blood loss.”
Police Officer James Moran, who drove the car that took Lennon to the hospital, said the singer “had no last words.”
A witness to the shooting, Sean Strub, said he saw Chapman walk back and forth at the scene of the shooting and then drop a gun. Police said they later recovered a .38-caliber revolver near the courtyard.
Front page of Tuesday, December 9, 1980, edition of the Daily News, with headline reading "John Lennon Slain Here - Ex-Beatle Shot; Nab Suspect." Shows Yoko Ono being helped from Roosevelt Hospital by David Geffen.
(Kappock, Gene)
John Lennon shot story
(New York Daily News)
Strub said Chapman, whom he described as pudgy and dressed in a brown jacket, scuffled with the police immediately after they arrived on the scene. “Chapman almost had a smirk on his face,” Strub said.
A woman who identified herself as Nina McFadden of W. 94th St. said she heard the shots and then watched as Chapman paced back and forth and threw his jacket to the ground.
“I saw John and Yoko step out of the limousine,” she said. “They walked inside the gate. Then I heard four or five shots. They were loud, ear-shattering.
“I heard Yoko scream, ‘Help, help. Help him’,” McFadden said.
“It was then that I saw the man with the gun and watched him drop it from his side to the ground,” McFadden said.
John Lennon and his wife, Yoko Ono, arrive at The Hit Factory, a recording studio in New York City, the summer before Lennon was murdered outside the Dakota on Dec. 8th.
(STEVE SANDS/AP)
She said she then saw a man walk over to the building security guard and heard him say, “I would leave here if I were you.”
Six policemen put Lennon into the car for the mile ride to the hospital.
The sobbing Yoko, who has told interviewers she is 47, was “very distraught” and “couldn’t believe” Lennon was dead, according to police and a large crowd of fans who gathered silently outside the hospital emergency room as word of Lennon’s death spread. Several hundred persons maintained a vigil outside the Dakota. Most carried radios and listened to news accounts of the singer’s death.
Barbara Tyree, a maid who was taking care of two children on the ground floor of the apartment building, said she was shocked by the shots and terrified when she looked out the window into the courtyard.
“The courtyard was suddenly filled with people,” she said. “It’s terrible, terrible.”
Yoko Ono, center, and John Lennon, right, are shown with Allen Klein, president of ABKCO Industries Inc., and former Beatles manager.
(AP)
Ruth Ford, who lives in the fifth floor of the Dakota, said she was writing Christmas cards when she heard the shots.
“I looked down into the yard from my kitchen,” she said. “I immediately called the police and Roosevelt Hospital.”
She said she knew Lennon and Yoko but did not know Lennon was the shooting victim until the elevator man told her.
Lennon’s producer, Jack Douglas, who arrived at the hospital shortly after Lennon was pronounced dead, said the singer was scheduled soon to put the finishing touches on his next album.
Lennon’s latest album “Double Fantasy,” cut with his wife, was released about a month ago and signaled his comeback after five years in retirement. It received generally good reviews, and the album’s hit single, “Starting Over,” soared to the top of the pop charts.
The Beatles, disbanded in 1970 after seven phenomenal years together. The last time Lennon met with any of his fellow Beatles was Thanksgiving Day, when he and Ringo Starr dined at the Dakota.
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Can you name the 'Seven Dwarfs' from the 1937 Disney film of that name? | What are the names of all of the 7 dwarfs? - Quora
Quora
Seven Dwarfs (on Wikipedia), section "Names" has a big list of various names for those dwarfs.
The most well-known collection is probably that used in the Disney 1937 film (Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, Dopey), but that is not the only group of names for them by far.
Note that the Brothers Grimm version which underlies most if not all of those did not assign them any names at all.
24.4k Views
6.Bashful
7.Grumpy
In the original story , the dwarfs werenever named. The names were only created when Disney made the cartoon version.
6k Views
Eric Johnson , 25 years working in and around USAF F-16s and
Boris Morozov , Served in Israeli Air Force
You shoot them, and deal with the realities of that choice later.
The realities, I must be clear, are that someone very evil put those children in a situation which they could not be prepared to make themselves. Becoming a warfighter is making the conscious choice to place yourself in a position to kill other warfighters. A child can’t make that choice. As I have said before, child soldiers are ...
| doc grumpy happy sleepy bashful sneezy dopey |
Which Dickens novel features the character 'Uriah Heep'? | What are the names of all of the 7 dwarfs? - Quora
Quora
Seven Dwarfs (on Wikipedia), section "Names" has a big list of various names for those dwarfs.
The most well-known collection is probably that used in the Disney 1937 film (Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, Dopey), but that is not the only group of names for them by far.
Note that the Brothers Grimm version which underlies most if not all of those did not assign them any names at all.
24.4k Views
6.Bashful
7.Grumpy
In the original story , the dwarfs werenever named. The names were only created when Disney made the cartoon version.
6k Views
Eric Johnson , 25 years working in and around USAF F-16s and
Boris Morozov , Served in Israeli Air Force
You shoot them, and deal with the realities of that choice later.
The realities, I must be clear, are that someone very evil put those children in a situation which they could not be prepared to make themselves. Becoming a warfighter is making the conscious choice to place yourself in a position to kill other warfighters. A child can’t make that choice. As I have said before, child soldiers are ...
| i don't know |
What is the English word for the Japanese word 'Otemoto'? | Japanese Language: otemoto, class restaurants, loose sense
Japanese Language
Dear Bamboo Sensei,
many thanks for that last one.
So, in "Bungaku wa Hidehira o korosou to inorimashita", the subject of the korosu, as well the as inoru, is Bungaku, is it? In a loose sense, of course - he's not going to kill him with his own hands but he's going to bring about his death by praying.
A new Q:
Which moto is used in otemoto (hashi); what does it mean exactly in the compound (i.e. what role does it play in the meaning �chopsticks�), please?
Best regards, and thanks again,
Simon
Dear Simon-san:
Your understanding of the passge regarding Bungaku is correct.
"Otemoto" meaning "chopsticks" is a euphemism and uses "O" as a honorific, "te" as hand and "moto" as in "kyo" of "kyoka (permission)" or "gen" of "ganjitsu (New year's Day")"
Otemoto is used in high class restaurants and formal places to denote "chopstick" and principally used by the provider of the services rather than guests. Guests to a restaurant would not normally say "Otemoto arimasuka" but would say "Ohashi arimasuka," while waitresses would say "Otemoto omochi shimashita."
"Temoto" meaning chopsticks was originated as a jargon of ladies in attendance at the imperial court, who used a lot of jargons to avoid vanality of ordinary citizen's vocabruary. These jrgons later dissipated outside the court to become part of the citzen's vocabruary. Otemoto is one of such examples.
"Temoto" pricinpally means that which is within your reach. Thus, "temoto kin" means funds at your disposal without accounting to others. In the same vein, "temoto funyoi" means you lack personal spending money.
Questioner's Rating
| Chopsticks |
What is wrapped around a fillet steak to make 'Beef Wellington'? | Appendix:1000 Japanese basic words - Wiktionary
Appendix:1000 Japanese basic words
9.4 Adverbial
This appendix is a specific list of one thousand basic words. It is not a general vocabulary. It is not a frequency list (which is here ), and it is not yet 1000 words. It's a subjective list made by users like you, and it's not finished, so if you know any words that belong on here, be bold and add them.
All words on this list should be in Category:Japanese basic words .
わたし 、 私 – I, myself (watashi)
わたくし 、 私 – I, myself (watakushi [most formal])
ぼく 、 僕 – I, myself (boku, mainly used by males)
おれ 、 俺 – I, myself (ore, mainly used by males [informal])
あたし 、 私 – I, myself (atashi, mainly used by females [softer sounding])
こめ 、 米 – uncooked rice (kome)
いね 、 稲 – rice growing in a field (ine)
つき 、 げつ 、 月 – month (tsuki, gatsu)
(# -gatsu / (January,1st Month): Ichi-,Ni-,San-,Shi-,Go-,Roku-,Shichi-,Hachi-,Ku-,Jyu-,JyuIchi-,JyuNi- (December,12th Month)
とし 、 ねん 、 年 – year (toshi, nen)
(Last year: kyounen, this year: kotoshi, next year: rainen),
きんぞく 、 金属 – metal, metallic (kinzoku)
どろ 、 泥 – mud, mire, clay, plaster (doro)
しお 、 塩 – salt [NaCl] (shio)
Weights and measures[ edit ]
かね 、 金 – money (kane, most commonly o-kane)
さつ 、 札 – bill [of money, e.g., a thousand-yen bill] (satsu)
つりせん 、 釣り銭 、 おつり 、 お釣り – change (tsurisen), change (o-tsuri)
じどうはんばいき 、 自動販売機 – vending machine, slot machine (jidōhanbaiki)
きっぷ 、 切符 – ticket (public transport, fine) (kippu)
こちら 、 こっち – this direction, thing, person, or place (kochira, kocchi)
そちら 、 そっち – that direction, thing, person, or place (sochira, socchi)
あちら 、 あっち – that direction, thing, person, or place over there (achira, acchi)
どちら 、 どっち – which direction, thing, person, or place (dochira, docchi)
いる – to exist [for animate objects] (iru)
ある – to exist [for inanimate objects] (aru)
なる – to become (naru)
壊れる , こわれる – to breakin (kowareru)
in intransitive sense
あるく 、 歩く – to walk (aruku)
とぶ 、 飛ぶ – to jump, to fly (tobu)
もつ 、 持つ – to hold (motsu)
うつ 、 打つ – to hit, to strike (utsu)
なぐる 、 殴る – to hit, to strike (naguru)
さす 、 刺す – to stab (sasu)
さす 、 差す – to raise or extend one's hands (sasu)
はしる 、 走る – to run (hashiru)
in intransitive sense
かわく , 乾く – to become dry (kawaku)
みだす , 乱す - to disturb, to disarrange (midasu)
みだれる , 乱れる - to be disturbed, to become confused (midareru)
つかえる , 仕える - to serve, to work for (tsukaeru)
そなわる , 備わる - to be furnished with (sonawaru)
すぐれる , 優れる - to excel, to surpass (sugureru)
ひえる , 冷える - to grow cold, to get chilly, to cool down (hieru)
さめる , 覚める - to wake, to become sober, to be disillusioned (sameru)
さめる , 冷める - to cool down (sameru)
むく , 向く - to face, to turn toward (muku)
たおれる , 倒れる - to fall, to collapse (taoreru)
かたまる , 固まる - to harden, to solidify, to become firm (katamaru)
うまる , 埋まる - to be filled, to be surrounded, to overflow (umaru)
うもれる , 埋もれる - to be buried, to be covered (umoreru)
ます , 増す - to increase, to grow (masu)
ふえる , 増える - to increase, to multiply (fueru)
はじまる , 始まる - to begin (hajimaru)
おわる , 終わる - to finish, to close (owaru)
きく 、 聞く 、 聴く – to hear, to listen (kiku)
さわる 、 触る – to touch, to feel (sawaru)
なおす 、 直す 、 治す – to fix, repair (naosu)
すてる 、 捨てる – to discard, throw away (suteru)
しかる 、 叱る – to scold (shikaru)
よろこぶ 、 喜ぶ – to celebrate, to be jubilant, to have joy, to have delight, to have rapture (yorokobu)
よろこび 、 喜び – joy, delight, rapture (yorokobi)
なぐさめる 、 慰める – to console, to consolate, to provide empathy (nagusameru)
あきる 、 飽きる – to be disinterested, to be bored, to be tired of, to be weary (akiru)
おどろく 、 驚く – to be astonished, to be surprised, to be scared (odoroku)
あう 、 会う – to meet, to interview (au)
あける 、 開ける – to opentr, to unwraptr (akeru)
うる 、 売る – to sell (uru)
える 、 得る – to obtain [some benefit or knowledge] (eru)
おる 、 折る – to breaktr, to foldtr (oru)
きる 、 切る – to cut (kiru)†
きる 、 着る – to wear [on the upper body] (kiru)
はく 、 履く – to wear [on the lower body] (haku)
かえる 、 変える – to changetr (kaeru)
かえる 、 代える – to exchange, to substitute, to replace (kaeru)
しめる 、 閉める – to closetr (shimeru)
しめる 、 締める – to tie, to fasten (shimeru)
しめる 、 占める – to comprise, to account for (shimeru)
つかれる 、 疲れる – to get tired (tsukareru)
でかける 、 出掛ける – to go out, to depart (dekakeru)
はたらく 、 働く – to work [e.g., at a job] (hataraku)
はなす 、 放す 、 離す – to let go of (hanasu)
やすむ 、 休む – to rest, to take a break, to go to bed (yasumu)
わかれる 、 分かれる – to split intoin, to be divided (wakareru)
わかれる 、 別れる – to partin, to separatein, to break upin (wakareru)
tr transitive sense
なぜなら – that is because, being because (nazenara)
Terminations of verbs[ edit ]
う 、 よう – volitional ending [う for u-verbs, よう for ru-verbs]: "Let's…" or "I will" (u, yō)
せる 、 させる – causative ending [せる for u-verbs, させる for ru-verbs]: to make [someone do something], to allow (seru, saseru)
れる 、 られる – passive verb ending [れる for u-verbs, られる for ru-verbs]: to be <verbed> [e.g., 食べられる, "to be eaten"] (reru, rareru)
そうだ – indicates that it seems the verb occurs [e.g., "It seems he ate"] (sōda)
た – informal past-tense (ta)
たい – indicates desire to perform verb (tai)
だろう – indicates that it seems the verb occurs; also used to ask whether the verb occurs (darō)
ない , ん – informal negative (nai, n) [ん is a slurred version and sounds a little masculine]
ぬ – archaic informal negative ["he hath", "thou didst", etc.] (nu)
ます – formal non-past ending (masu)
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