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651_20 | Performances from the band's 1973–74 tour were documented in the live album, Welcome Back, My Friends, to the Show That Never Ends ~ Ladies and Gentlemen, released in August 1974 as a triple LP. The album peaked at No. 5 in the UK and No. 4 in the US. |
651_21 | 1974–1978: Hiatus and Works |
651_22 | Emerson, Lake & Palmer took an extended break in 1974. They regrouped in 1976 to record Works Volume 1 at Mountain Studios in Montreux, Switzerland and EMI Studios in Paris, France. It is a double album with one side of an LP containing songs by each member and a fourth of group material. Much of the album was recorded with an orchestral accompaniment; Emerson's side consists of his 18-minute, three-movement "Piano Concerto No. 1". Lake contributes five songs he co-wrote with Sinfield, and Palmer's includes two covers of classical pieces by Sergei Prokofiev and Bach. One of the two group tracks, "Fanfare for the Common Man", is a cover of the same-titled orchestral piece by Aaron Copland, who gave permission to have the band release it. Works Volume 1 was released in March 1977 and peaked at No. 9 in the UK and No. 12 in the US. A single of "Fanfare for the Common Man" was released and reached No. 2 in the UK, the band's highest charting UK single. In November 1977, Works Volume 2 was |
651_23 | released as a compilation of shorter tracks recorded from 1973 to 1976 during various album recording sessions. The album was not as commercially successful as the band's previous albums; it reached No. 20 in the UK and No. 37 in the US. Three tracks from the album were released as singles: "Tiger in a Spotlight", "Maple Leaf Rag", and "Watching Over You". |
651_24 | The two Works albums were supported by North American tours which lasted from May 1977 to February 1978, spanning over 120 dates. Some early concerts in 1977 were performed with a hand-picked orchestra and choir, but the idea was shelved after 18 shows with the band due to budget constraints. The final concert with the orchestra and choir took place on 26 August 1977 at the Olympic Stadium in Montreal that was attended by an estimated 78,000 people, the highest attended Emerson, Lake & Palmer concert as a solo act. It was released in 1979 as Emerson, Lake & Palmer in Concert and reached No. 73 in the US. Emerson wished for a double album release, but Atlantic Records decided against it due to the band's pending dissolution at its time of release. In 1993, the album was repackaged with additional tracks as Works Live, and put out on video in 1998. According to Lake on the Beyond the Beginning DVD documentary, the band lost around $3 million on the tour. Lake and Palmer blame Emerson |
651_25 | for the loss as the use of an orchestra on tour was his idea. |
651_26 | 1978–1979: Love Beach and first breakup |
651_27 | After their 1977–78 tour, the band discussed their next move. Emerson recalled that in order for the group to continue, "we would have to do a lot of cutting down" and considered the possibility of producing music with just a piano, bass guitar, and drums. As the group were contractually obliged to record one more studio album, the band relocated to Emerson's home near Nassau in the Bahamas and recorded Love Beach at the nearby Compass Point Studios in 1978. Lake did not carry out the production duties, leaving Emerson to complete the record on his own after his bandmates returned home when recording was complete. The album has been dismissed by the band, who explained it was produced to fulfil a contractual obligation. Sinfield is credited on the majority of the tracks as a lyricist except "Canario", an instrumental based on Fantasía para un gentilhombre by Spanish composer Joaquín Rodrigo. The second side is taken up with "Memoirs of an Officer and a Gentleman", a four-part |
651_28 | 20-minute track that tells a coming of age story of a soldier during the World War II-era. Its cover is a photograph of the group at a beach off an island from Salt Cay, Turks Islands, "decked out as bare-chested late-seventies disco stars". Despite Emerson expressing his disapproval on the album's title and cover to Ertegun, neither was changed. |
651_29 | Love Beach was released in November 1978 and was poorly received by the music press. "All I Want Is You" was released as a single in the UK, but failed to chart. It did sell enough to be certified gold in the US for 500,000 copies sold, in January 1979. In early 1979, Palmer attempted to organise a farewell summer tour and have the group disband at its conclusion. Due to internal problems, such as "what we should play and how we should play it", the tour never materialised. As the band's demise became clear, Palmer formed a band called PM, which released an album called 1PM. |
651_30 | 1985–1989: Related activity
In 1985, Emerson and Lake formed Emerson, Lake & Powell with former Rainbow drummer Cozy Powell. Palmer declined to participate in a reunion as he was busy with commitments with Asia. Rumours also linked Bill Bruford to their new line-up, but he was committed to King Crimson and Earthworks. The group's only album, Emerson Lake & Powell, was released in June 1986 and charted at No. 35 in the UK and No. 23 in the US. The single "Touch and Go" went to No. 60 in the US and No. 2 on the Billboard Hot Mainstream Rock Tracks chart. The trio toured the album in 1986, playing material by the Nice and Emerson, Lake & Palmer.
In 1988, Emerson and Palmer joined with Robert Berry to form the band 3. They released an album, To the Power of Three, in 1988.
1991–1998: Reformation, Black Moon, In the Hot Seat, and second breakup |
651_31 | Thanks to Phil Carson, in 1991, Emerson, Lake & Palmer reformed and issued a 1992 comeback album, Black Moon, on Victory Music. Lake's voice had by this point noticeably deepened from years of heavy cigarette smoking. The bands 1992–93 world tours were successful, culminating in a performance at the Wiltern Theatre in Los Angeles in early 1993 that has been heavily bootlegged, but reportedly, Palmer suffered from carpal tunnel syndrome in one hand and Emerson had been treated for a repetitive stress disorder. In 1994, the band released a follow-up album, In the Hot Seat. |
651_32 | Emerson and Palmer eventually recovered enough to start touring again, beginning in 1996. Their tour schedules took them to Japan, South America, Europe, the United States and Canada, playing new versions of older work. They played in significantly smaller venues compared to their heyday (sometimes fewer than 500 people, as in Belo Horizonte, Minas Gerais, Brazil). Their last show was in San Diego, California, in August 1998. Conflicts over a new album led to another breakup.
2010–2016: 40th anniversary concert and deaths of Emerson and Lake
In April 2010, Emerson and Lake embarked on a North American tour, presenting an acoustic repertoire of their work. On 14 May 2010, Shout! Factory released A Time and a Place, a 4-CD collection of Emerson, Lake & Palmer live tracks. |
651_33 | On 25 July 2010, Emerson, Lake & Palmer played a one-off 40th anniversary concert, headlining the High Voltage Festival event in Victoria Park, London. The entire concert was later released as the double-CD live album High Voltage. On 22 February 2011, Shout! released Live at Nassau Coliseum '78, a 2-CD set live recording of an Emerson, Lake & Palmer concert on 9 February 1978 at the Nassau Veterans Memorial Coliseum in Uniondale, New York.
On 29 August 2011, Emerson, Lake & Palmer released on DVD and Blu-ray ... Welcome Back My Friends. 40th Anniversary Reunion Concert. High Voltage Festival – 25 July 2010, the film of the 40th anniversary concert in Victoria Park, London. A Blu-ray and SD DVD of the concert was produced by Concert One Ltd, together with a definitive documentary of the band's 40-year history. |
651_34 | On 6 December 2011, Shout! Factory released Live at the Mar Y Sol Festival '72, a single-CD set live recording of an Emerson, Lake & Palmer concert on 2 April 1972 at the Mar Y Sol Festival, Vega Baja, Puerto Rico.
ELP signed a worldwide licensing deal with Sony Music Entertainment. In North America, the band moved to Razor & Tie. In 2015, Emerson, Lake & Palmer changed their worldwide distributor to BMG Rights Management.
Keith Emerson died on 11 March 2016, of a gunshot wound to the head ruled as suicide. Greg Lake died on 7 December 2016 from cancer. |
651_35 | Influence and appraisal |
651_36 | A 2016 retrospective review in Rolling Stone listed "10 Essential Songs by EL&P" and noted, "ELP became one of rock's first supergroups upon forming in 1970…The result was a stretch of albums…that turned prog from a black-light-in-the-basement listening experience into a stadium-filling phenomenon. At their heart was Emerson, whose eternal quest for a bigger, grander sound (thanks to a bank of organs and synthesizers that grew to resemble a fortress onstage) helped make ELP one of the most accomplished and absorbing bands rock ever birthed." Koji Kondo, Nintendo's first video game composer, cited ELP as a major influence on his work. Nobuo Uematsu, best known for scoring the majority of titles in the Final Fantasy series, cites ELP as one of his influences. The trio are described as "genuinely classically aware, and openly demonstrated their respect for classical music." They are said to have "formed a genuine fusion between rock and jazz" and were noted for their "virtuosity and |
651_37 | their uninhibited aggression." |
651_38 | Despite their success and influence, ELP received criticism from some music critics, one citing a popular joke from the 1970s: "How do you spell pretentious? E-L-P." Robert Christgau said of the band in Rock Albums of the Seventies (1981), "these guys are as stupid as their most pretentious fans", also calling them the "world's most overweening 'progressive' group". John Kelman of All About Jazz noted that an "overbearing sense of self-importance turned ELP from one of the 1970s' most exciting new groups into the definition of masturbatory excess and self-aggrandizement in only a few short years." Kelman also stated that "in their fall from grace, [ELP] represented everything wrong with progressive rock." Paul Stump, in his History of Progressive Rock, likewise attributed ELP's infamy to their decadent activities during progressive rock's fall from favor: "What prompted ELP to do what they did to their listeners, their critics and ultimately themselves in 1977 can only be guessed at. |
651_39 | What is certain is that it consigned them to eternal rock notoriety. Even discounting Punk, had not the musical climate changed enough to convince them that epics were out of fashion, both on record and in concert?" DJ John Peel went so far as to describe the band as "a tragic waste of talent and electricity". In an appraisal of the band's legacy, PopMatters journalist Sean Murphy said ELP "wore immoderation like a badge of courage", regardless of whether they were loved or loathed: |
651_40 | Discography
Studio albums
Emerson, Lake & Palmer (1970)
Tarkus (1971)
Pictures at an Exhibition (1971, live)
Trilogy (1972)
Brain Salad Surgery (1973)
Works Volume 1 (1977)
Works Volume 2 (1977)
Love Beach (1978)
Black Moon (1992)
In the Hot Seat (1994)
Band members
Keith Emerson – keyboards, synthesizers
Greg Lake – bass guitar, acoustic and electric guitar, harmonica, vocals
Carl Palmer – drums, percussion
References
Further reading
External links
English art rock groups
Atlantic Records artists
British musical trios
British supergroups
English progressive rock groups
Island Records artists
Musical groups established in 1970
Musical groups disestablished in 1979
Musical groups reestablished in 1991
Musical groups disestablished in 1998
Musical groups reestablished in 2010
Rock music supergroups
Symphonic rock groups
Eagle Records artists |
652_0 | The 2001 Alberta general election was held on March 12, 2001 to elect members of the Legislative Assembly of Alberta.
The incumbent Alberta Progressive Conservative Party, led by Ralph Klein, won a strong majority for its tenth consecutive term in government. In addition to increasing its share of the popular vote to almost 62%, the PC Party won a majority of seats in Edmonton for the first time since 1982. In the process, they reduced the opposition to only nine MLAs in total. It was the Tories' biggest majority since the height of the Peter Lougheed era.
The Liberal Party lost 11 seats and ran up a large debt. Its leader, Nancy MacBeth, was defeated in her riding. |
652_1 | The New Democratic Party, led by Raj Pannu, hoped to make gains at the expense of the Liberals in Edmonton and replace them as the official opposition. This did not materialize, but the party did manage to maintain its share of the popular vote and held onto their two seats in the legislature. The NDs attempted to attract young voters with the slogan, "Raj against the Machine".
The right-wing Alberta First Party, contesting its first election, failed to win any seats or come close to winning any. The Social Credit Party, led by James Albers, was unable to build on its moderate success in the 1997 election, and sank back into obscurity. Socred leader Lavern Ahlstrom, however, performed well in Rocky Mountain House and finished second behind the incumbent Ty Lund.
Results
Overall voter turnout was 53.38%.
Notes:
* Party did not nominate candidates in the previous election.
x - less than 0.005% of the popular vote.
Results by riding |
652_2 | |-
|Airdrie-Rocky View|||
|Carol Louise Haley13,19579.79%
|
|Carol L'Abbee2,04312.35%
|
|Christopher Hill5923.58%
|
|Tom Humble (Ind.)6834.13%|||
|Carol Louise Haley
|-
|Athabasca-Wabasca|||
|Mike Cardinal4,23866.62%
|
|Al Wurfel1,26419.87%
|
|Colin Piquette6069.53%
|
|David Klassen (SoCred)1532.41%Ian Hopfe (Green)941.48%
||
|Mike Cardinal
|-
|Banff-Cochrane|||
|Janis Tarchuk9,41869.94%
|
|Norman Kent2,14715.95%
|
|Cathy Harrop1,3119.74%
|
|Cory Morgan (Ind.)5384.00%|||
|Janis Tarchuk
|-
|Barrhead-Westlock
||
|Kenneth R. Kowalski7,18369.06%
|
|Laurie Hodge1,25912.10%
|
|Suzanne Forbes5695.47%
|
|Jeff Willerton (SoCred) 135213.00%|||
|Kenneth R. Kowalski
|-
|Bonnyville-Cold Lake|||
|Denis Ducharme5,64170.37%
|
|Ronald Young1,75521.89%
|
|Ellen Ulfsten3133.90%
|
|James William Skretteberg (Ind.)2753.43%|||
|Denis Ducharme
|-
|Calgary-Bow|||
|Alana S. DeLong8,27463.82%
|
|Kelly McDonnell3,23024.91%
|
|Jeff Bayliss8586.62%
|
|Margaret (Peggy) Askin (Ind.)1841.42%Jan Triska (Green)394
|| |
652_3 | |Bonnie Laing
|-
|Calgary-Buffalo|||
|Harvey Cenaiko5,58253.92%
|
|Brian Edy4,13539.94%
|
|Neil McKinnon4734.57%
|
|Dave Schwartz (SoCred)1131.09%|||
|Gary Dickson
|-
|Calgary-Cross|||
|Yvonne Fritz6,81674.67%
|
|Keith Jones1,83620.11%
|
|Ramiro Mora4414.83%
|
||||
|Yvonne Fritz
|-
|Calgary-Currie|||
|Jon Lord6,92261.75%
|
|Pat Murray2,66723.79%
|
|Garth Mundle1,1149.94%
|
|J. Bruce Miller (Ind.)4343.87%|||
|Jocelyn Burgener
|-
|Calgary-East|||
|Moe Amery6,03870.32%
|
|Brendan Dunphy2,01023.41%
|
|Giorgio Cattabeni3283.82%
|
|Alan Schoonover (Ind.)1091.27%Jason Devine (Comm.)41
||
|Moe Amery
|-
|Calgary-Egmont|||
|Denis Herard10,33874.08%
|
|Wayne Lenhardt2,61318.72%
|
|Shawn Christie5674.06%
|
|Bradley R. Lang (Ind.)3992.86%|||
|Denis Herard
|-
|Calgary-Elbow|||
|Ralph Klein10,21366.68%
|
|Harold Swanson4,53329.59%
|
|Mathew Zachariah3692.41%
|
|Monier Rahall (Ind.)1661.08%|||
|Ralph Klein
|-
|Calgary-Fish Creek|||
|Heather Forsyth9,71674.39%
|
|Marc Doll2,85321.84%
| |
652_4 | |Ryan Todd4653.56%
|
||||
|Heather Forsyth
|-
|Calgary-Foothills|||
|Pat Nelson12,07067.21%
|
|Harry B. Chase5,05128.13%
|
|Jon Adams7844.37%
|
||||
|Patricia Black
|-
|Calgary-Fort|||
|Wayne Cao6,74068.29%
|
|Brian Huskins2,00420.30%
|
|Vinay Dey5015.08%
|
|Raymond (Chick) Hurst (SoCred)1601.62%Michael Alvarez-Toye (Green)1211.23%Metro Peter Demchynski (Ind.)1021.04%Brian Slater (Ind.)1001.02%Wyatt McIntyre (Ab. First)991.00%
||
|Wayne Cao
|-
|Calgary-Glenmore|||
|Ron Stevens9,67867.51%
|
|Michael Broadhurst3,70825.86%
|
|Jennifer Stewart4413.08%
|
| James S. Kohut (Green)4673.27%
||
|Ron Stevens
|-
|Calgary-Lougheed|||
|Marlene Graham8,95273.95%
|
|Pete Montgomery2,53820.97%
|
|Marc Power5774.77%
|
||||
|Marlene Graham
|-
|Calgary-McCall|||
|Shiraz Shariff6,55869.94%
|
|John Phillips2,08222.20%
|
|Preet Sihota4494.79%
|
|Darryl Elvers (Ab. First)1391.48%Rory M. Cory (SoCred)1211.29%|||
|Shiraz Shariff
|-
|Calgary-Montrose|||
|Hung Pham6,32970.35%
|
|Art Danielson2,09323.27%
| |
652_5 | |Robert Scobel5436.04%
|
||||
|Hung Pham
|-
|Calgary-Mountain View|||
|Mark Hlady6,46260.23%
|
|Jennifer Spencer2,61024.33%
|
|Keith Purdy1,63715.26%
|
||||
|Mark Hlady
|-
|Calgary-North Hill|||
|Richard Charles Magnus7,03463.60%
|
|Darryl G. Hawkins2,52922.87%
|
|Christine McGregor1,0679.65%
|
|Darcy Kraus (Ab. First)4043.65%|||
|Richard Charles Magnus
|-
|Calgary-North West|||
|Greg Melchin15,29271.38%
|
|Paul Allard4,97123.21%
|
|Patricia Alward8283.87%
|
|Douglas A. Picken (SoCred)2991.40%|||
|Greg Melchin
|-
|Calgary-Nose Creek|||
|Gary Mar11,99774.58%
|
|Peter Willott3,26320.28%
|
|Eileen Nesbitt7764.82%
|
||||
|Gary Mar
|-
|Calgary-Shaw|||
|Cindy Ady20,30680.60%
|
|Jim McPherson3,59514.27%
|
|Ryan Falkenberg7292.89%
|
|Peter Singleton (Ab. First)2220.88%Kevin Agar (Ind.)153>br/>0.61%Darren Popik (Ind.)1510.60%
||
|Jonathan Niles Havelock
|-
|Calgary-Varsity|||
|Murray D. Smith8,17359.14%
|
|Carrol Jaques3,93828.49%
|
|Susan Scott1,3099.47%
|
|Tavis Du Preez (Green)3342.90%
|| |
652_6 | |Murray D. Smith
|-
|Calgary-West|||
|Karen Kryczka12,86672.92%
|
|Lorne B. Neudorf3,45919.60%
|
|Greg Klassen1,2637.16%
|
||||
|Karen Kryczka
|-
|Cardston-Taber-Warner|||
|Broyce G. Jacobs5,25653.58%
|
|Ron Hancock1,74717.81%
|
|Suzanne Sirias2402.45%
|
|John Reil (Ab. First)255726.07%|||
|Ron Hierath
|-
|Clover Bar-Fort Saskatchewan|||
|Rob Lougheed9,67462.59%
|
|W.H. (Skip) Gordon4,60629.80%
|
|Merrill Stewart1,1427.39%
|
||||
|Rob Lougheed
|-
|Cypress-Medicine Hat|||
|Lorne Taylor7,22272.71%
|
|Beverley Britton Clarke2,07420.88%
|
|Cliff Anten5986.02%
|
||||
|Lorne Taylor
|-
|Drayton Valley-Calmar|||
|Tony Abbott7,67368.29%
|
|Roger Coles2,22919.84%
|
|Mark Patty5885.23%
|
|Roger Stefura (Ind.)7296.49%|||
|Tom Thurber
|-
|Drumheller-Chinook|||
|Shirley McClellan6,68472.77%
|
|Greg Pyra0,92110.03%
|
|Gerry Hamilton5465.94%
|
|Eileen Walker (Ind.)8198.92%Peter Smits (SoCred)1842.00%|||
|Shirley McClellan
|-
|Dunvegan|||
|Hector G. Goudreau5,85767.02%
|
|Bruce Rutley1,88821.60%
| |
652_7 | |Yvonne Sinkevich5085.81%
|
|Ron (Earl) Miller (Ind.)2482.85%Fred Euler (Ind.)2082.39%
||
|Glen Clegg
|-
|Edmonton-Beverly-Clareview|||
|Julius E. Yankowsky4,73245.61%
|
|Bauni Mackay3,29031.71%
|
|Elisabeth Ballermann1,98519.13%
|
|Ken Shipka (Ind.)>br/>2112.04%Teo Zanetic (Ab. First)920.89%Tanya Gill (Ind.)560.54%
||
|Julius E. Yankowsky
|-
|Edmonton-Calder|||
|Brent Rathgeber5,12841.90%
|
|Lance D. White4,65438.03%
|
|Christine Burdett2,43219.87%
|
||||
|Lance D. White
|-
|Edmonton-Castle Downs|||
|Thomas A. Lukaszuk5,97151.03%
|
|Boris Yaremko4,47938.28%
|
|Michael Charrois1,23510.56%
|
||||
|Pamela Paul
|-
|Edmonton-Centre
|
|Don J. Weideman4,44638.16%|||
|Laurie Blakeman5,09543.73%
|
|David Eggen1,95916.82%
|
| Naomi J. Rankin (Comm.)760.66%
||
|Laurie Blakeman
|-
|Edmonton-Ellerslie
|
|Sukhi Randhawa4,20941.95%|||
|Debby Carlson4,48144.66%
|
|Deborah Morrison1,29912.95%
|
||||
|Debby Carlson
|-
|Edmonton-Glengarry
|
|Andrew Beniuk4,71544.85%|||
|Bill Bonner4,78445.51%
| |
652_8 | |Shane Watt1,0049.55%
|
||||
|Bill Bonner
|-
|Edmonton-Glenora|||
|Drew Hutton5,51545.57%
|
|Howard Sapers5,32844.03%
|
|Guy Desrosiers1,23210.18%
|
||||
|Howard Sapers
|-
|Edmonton-Gold Bar
|
|David Fletcher5,98139.85%|||
|Hugh MacDonald7,65451.00%
|
|Peter Cross1,1597.72%
|
|Margaret Marean (Green)1931.29%
||
|Hugh MacDonald
|-
|Edmonton-Highlands
|
|Robert Bilida3,47734.51%
|
|Kim Cassady1,92119.07%|||
|Brian Mason4,64146.07%
|
||||
|Brian Mason
|-
|Edmonton-Manning|||
|Tony Vandermeer5,90345.44%
|
|Ed Gibbons5,52342.51%
|
|Hana Razga1,53811.84%
|
||||
|Ed Gibbons
|-
|Edmonton-McClung|||
|Mark P. Norris6,97650.41%
|
|Nancy J. MacBeth5,92042.78%
|
|Lorne Dach8045.81%
|
|Patrick D. Ellis (Ind.)1330.96%|||
|Nancy J. MacBeth
|-
|Edmonton-Meadowlark|||
|Bob Maskell6,10848.50%
|
|Karen Leibovici5,67445.06%
|
|Mike Hudema6365.05%
|
|Peggy Morton (Ind.)1441.14%|||
|Karen Leibovici
|-
|Edmonton-Mill Creek|||
|Gene Zwozdesky8,08555.51%
|
|Bharat Agnihotri4,22929.04%
| |
652_9 | |Edwin Villania1,89313.00%
|
|Kyle Harvey (Ab. First)2201.51%Harlan Light (Green)970.67%
||
|Gene Zwozdesky
|-
|Edmonton-Mill Woods
|
|Carl Benito4,40243.69%|||
|Don Massey4,92048.83%
|
|Mel H. Buffalo7257.20%
|
||||
|Don Massey
|-
|Edmonton-Norwood|||
|Gary Masyk3,30438.06%
|
|Brian Bechtel3,16436.45%
|
|Harvey Voogd2,19625.30%
|
||||
|Sue Olsen
|-
|Edmonton-Riverview
|
|Wendy Kinsella5,88339.29%|||
|Kevin Taft7,42049.55%
|
|Doug McLachlan1,4699.81%
|
|Jerry Paschen (Green)1651.10%
||
|Linda Sloan
|-
|Edmonton-Rutherford|||
|Ian McClelland6,17348.08%
|
|Rick Miller5,55843.29%
|
|Shane MacDonald1,0718.34%
|
||||
|Percy Wickman
|-
|Edmonton-Strathcona
|
|John Logan4,74934.27%
|
|Jim Jacuta1,94414.03%|||
|Raj Pannu6,99850.50%
|
|James Lakinn (Ab. First)1360.98%|||
|Raj Pannu
|-
|Edmonton-Whitemud|||
|David Hancock10,88458.45%
|
|Bruce King6,50334.92%
|
|Katie Oppen Benschop1,1786.33%
|
||||
|David Hancock
|-
|Fort McMurray|||
|Guy C. Boutilier5,91464.36%
|
|John S. Vyboh1,75919.14%
| |
652_10 | |Lyn Gorman1,49816.30%
|
||||
|Guy C. Boutilier
|-
|Grande Prairie-Smoky|||
|Mel Knight6,24167.51%
|
|Barry Robinson1,77719.22%
|
|Leon R. Pendleton8429.11%
|
|Dennis Young (Ind.)3804.11%|||
|Walter Paszkowski
|-
|Grande Prairie-Wapiti|||
|Gordon J. Graydon5,67465.40%
|
|Ray Stitsen1,48917.16%
|
|Elroy Deimert8199.44%
|
|Ivo Noga (SoCred)4324.98%Terry Dueck (Ind.)136Robert Weberg (Ind.)1121.29%
||
|Wayne Jacques
|-
|Highwood|||
|Don Tannas13,32179.71%
|
|Leonard Borowski2,00011.97%
|
|Gunhild Hoogensen7734.63%
|
| Julie Walker (Green)5813.48%
||
|Don Tannas
|-
|Innisfail-Sylvan Lake|||
|Luke Ouellette9,72574.40%
|
|Garth E. Davis2,65220.29%
|
|Eileen Clancy Teslenko6514.98%
|
||||
|Gary Severtson
|-
|Lac La Biche-St. Paul|||
|Ray Danyluk5,33559.92%
|
|Vital Ouellette3,19535.88%
|
|John Williams3564.00%
|
||||
|Paul Langevin
|-
|Lacombe-Stettler|||
|Judy Gordon8,22170.00%
|
|Doug McDavid2,50021.29%
|
|Lorenzo Fiorito4553.87%
|
|Douglas R. Chitwood (Ind.)5544.72%|||
|Judy Gordon
|- |
652_11 | |Leduc|||
|Albert Klapstein9,23566.69%
|
|Joyce Assen3,57525.82%
|
|Leilani O'Malley9576.91%
|
||||
|Albert Klapstein
|-
|Lesser Slave Lake|||
|Pearl M. Calahasen4,76673.80%
|
|Rick Noel1,42922.13%
|
|Doris Bannister2323.59%
|
||||
|Pearl M. Calahasen
|-
|Lethbridge-East
|
|Ron Carroll4,70436.87%|||
|Ken Nicol6,93954.39%
|
|Gaye Metz5424.25%
|
|Mark Ogden (Ab. First)5544.34%|||
|Ken Nicol
|-
|Lethbridge-West|||
|Clint Dunford6,68547.97%
|
|Leslie Vaala5,49639.43%
|
|Mark Sandilands1,0627.62%
|
|Brian Stewart (Ab. First)6624.75%|||
|Clint Dunford
|-
|Little Bow|||
|Barry McFarland6,88164.70%
|
|Arij Langstraat2,53423.82%
|
|Andrea Enes3193.00%
|
|Jon Koch (Ind.)8858.32%|||
|Barry McFarland
|-
|Livingstone-Macleod|||
|David Coutts6,34060.47%
|
|Ernie Patterson3,03528.95%
|
|James Tweedie5535.27%
|
|Larry Lybbert (Ab. First)5194.95%|||
|David Coutts
|-
|Medicine Hat|||
|Rob Renner8,10961.80%
|
|Karen Charlton4,16631.75%
|
|Luke Lacasse7876.00%
|
||||
|Rob Renner
|- |
652_12 | |Olds-Didsbury-Three Hills|||
|Richard Marz10,55380.51%
|
|Gayleen Roelfsema1,66312.69%
|
|Brenda L. Dyck3832.92%
|
|Nicholas Semmler (SoCred)4603.51%|||
|Richard Marz
|-
|Peace River|||
|Gary Friedel3,78264.29%
|
|Susan Callihoo1,54426.25%
|
|Steve Crocker3385.75%
|
|John Iftody (Ab. First)2063.50%|||
|Gary Friedel
|-
|Ponoka-Rimbey|||
|Halvar C. Jonson6,79771.87%
|
|Tim Falkiner1,29613.70%
|
|Linda Roth5746.07%
|
|Charles Park (Ind.)7648.08%|||
|Halvar C. Jonson
|-
|Red Deer-North|||
|Mary Anne Jablonski5,02557.04%
|
|Norm McDougall3,11035.30%
|
|Jim Guthrie3093.51%
|
|Patti Argent (Ab. First)3564.04%|||
|Mary Anne Jablonski
|-
|Red Deer-South|||
|Victor Doerksen7,68459.93%
|
|Garfield Marks3,92730.63%
|
|Erika Bullwinkle5123.99%
|
|Bob Argent (Ab. First)4593.58%Ryan Lamarche (Ind.)2031.58%
||
|Victor Doerksen
|-
|Redwater|||
|Dave Broda7,31958.14%
|
|Andrew Raczynski3,92431.17%
|
|Mike Radojcic6585.23%
|
|Tony Ollenberger (Ab. First)6475.14%|||
|Dave Broda
|- |
652_13 | |Rocky Mountain House|||
|Ty Lund7,82070.27%
|
|Wijnand Horemans1,17110.52%
|
|Doug Mac Angus4083.67%
|
|Lavern J. Ahlstrom (SoCred)170515.32%|||
|Ty Lund
|-
|Sherwood Park|||
|Iris Evans13,24364.03%
|
|Louise Rogers5,78727.98%
|
|Chris Harwood1,6067.76%
|
||||
|Iris Evans
|-
|Spruce Grove-Sturgeon-St. Albert|||
|Doug Horner8,01055.23%
|
|Colleen Soetaert5,83240.22%
|
|Dale Apostal6164.25%
|
||||
|Colleen Soetaert
|-
|St. Albert|||
|Mary O'Neill9,53752.50%
|
|Len Bracko7,47941.17%
|
|Michelle Mungall1,1226.18%
|
||||
|Mary O'Neill
|-
|Stony Plain|||
|Stan Woloshyn9,19767.06%
|
|Monika Cappis3,22823.54%
|
|Stephen Lindop1,2619.19%
|
||||
|Stan Woloshyn
|-
|Strathmore-Brooks|||
|Lyle Oberg8,58574.92%
|
|Barry Morishita1,77415.48%
|
|Don MacFarlane2902.53%
|
|Christopher Sutherland (Ind.)5114.46%Rudy Martens (SoCred)2732.38%|||
|Lyle Oberg
|-
|Vegreville-Viking|||
|Ed Stelmach7,19160.63%
|
|Ross Demkiw3,39128.59%
|
|Greg Kurulok1,24310.48%
|
||||
|Ed Stelmach
|- |
652_14 | |Vermilion-Lloydminster|||
|Lloyd Snelgrove6,97873.01%
|
|David Tschorn0,98010.25%
|
|Raymond Stone97610.21%
|
|Grant West (Ab. First)5896.16%|||
|Steve West
|-
|Wainwright|||
|Robert A. (Butch) Fischer6,91063.53%
|
|Ronald Williams1,26911.67%
|
|Lilas I. Lysne4203.86%
|
|Jerry D. Barber (Ab. First)1,39412.82%Jeff Newland (Ind.)8687.98%
||
|Robert A. (Butch) Fischer
|-
|West Yellowhead|||
|Ivan J. Strang5,76359.10%
|
|Lyle Benson3,18032.61%
|
|Noel Lapierre8018.21%
|
||||
|Ivan J. Strang
|-
|Wetaskiwin-Camrose|||
|LeRoy Johnson9,09072.25%
|
|Stewart Larkin1,67113.28%
|
|Philip Penrod1,42011.29%
|
|Ben Lussier (Ind.)3823.04%|||
|LeRoy Johnson
|-
|Whitecourt-Ste. Anne|||
|George VanderBurg7,57968.41%
|
|Derril Butler2,89026.09%
|
|Wade Franko5705.15%
|
||||
|Peter Trynchy
|-
|} |
652_15 | References
Further reading
2001 elections in Canada
2001
2001 in Alberta
March 2001 events in Canada |
653_0 | Edward Toner Cone (May 4, 1917 – October 23, 2004) was an American composer, music theorist, pianist, and philanthropist.
Life and career
Cone was born in Greensboro, North Carolina. He studied composition under Roger Sessions at Princeton University, receiving his bachelor's in 1939 (Latin salutatorian and the first Princeton student to submit a musical composition as his senior thesis). Cone and Milton Babbitt were the first to earn graduate degrees in musical composition from Princeton (MFA, 1942). He studied piano with Karl Ulrich Schnabel and Edward Steuermann. During the Second World War, Cone served first in the army (as a pianist) and later in the Office of Strategic Services. Beginning in 1946, he taught at Princeton. He was the co-editor of the journal Perspectives of New Music between 1965 and 1969. |
653_1 | Cone, known for his contributions to music criticism and analysis, also composed a significant body of music. His scholarly work addressed musical form and aesthetics, particularly questions of rhythm and musical phrasing. He died in Princeton, New Jersey, aged 87.
Cone's students include Michael Dellaira, Hobart Earle, Alan Fletcher, Robert Greenberg, John Heiss, David Lewin, Gilbert Levine, Mathilde McKinney, Robert P. Morgan, Mario Pelusi, Malcolm Peyton, Harold Powers, Victor Rosenbaum, John Solum, Richard Aaker Trythall, Beth Wiemann, and Edgar Warren Williams.
Composition
Instrumental works
Orchestra
Elegy (1953)
Music for Strings (1964)
An Overture for the War (Prelude to Victory) (1942)
Symphony (1953)
Variations for Orchestra (1968)
Solo instrument and orchestra
Cadenzas (1979) for violin, oboe, and string orchestra
Concerto for Violin and Small Orchestra (1959) for violin and orchestra
Nocturne and Rondo for Orchestra and Piano (1957) for piano and orchestra |
653_2 | Small ensemble (3–14 players) |
653_3 | Capriccio for String Quartet (1981) for 2 violins, viola, and cello
Clarinet Quintet (1941) for clarinet, 2 violins, viola, and cello
Divertimento for Woodwinds (1940–46) for flute, oboe, English horn, 2 clarinets, and bassoon
Fanfare (1948) for 6 trumpets, 3 horns, 3 trombones, and 2 tubas
Funeral Stanzas (1965) for flute, oboe, clarinet, horn, and bassoon
Music for a Film (1951) for clarinet, 2 violins, viola, and cello
Ostinato, Cadenza and Finale (1990) for viola, cello, and piano
Quartet for Strings and Piano (1983) for violin, viola, cello, and piano
Quintet for Piano and Strings (1960) for 2 violins, viola, cello, and piano
Serenade (1975) for flute, violin, viola, and cello
String Quartet (#1) (1939) for 2 violins, viola, and cello
String Quartet (#2) (1949) for 2 violins, viola, and cello
String Sextet (1966) for 2 violins, 2 violas, and 2 cellos
String Trio (1973) for violin, viola, and cello
Trio (1951) for violin, cello, and piano |
653_4 | Variations on a Fan-Fair (1965) for 2 trumpets, horn, and trombone |
653_5 | Duos
Cavatina (1976) for treble viol and harpsichord
Duo for Violin & Clarinet (1969) for clarinet and violin
Duo for Violin & Harp (1959) for violin and harp
Duo for Violin and 'Cello (1963) for violin and cello
Elegy (1946) for violin and piano
Fantasy for Two Pianos (1965) for 2 pianos
Nocturne for 'Cello and Piano (1946) for cello and piano
Pastoral Variations for Flute and Harp (1996) for flute and harp
Prelude and Variations for Piano Four-Hands (1946) for piano four-hands
Rhapsody (1947) for viola and piano
Sonata for Violin and Piano (#1) (1940) for violin and piano
Sonata for Violin and Piano (#2) (1948) for violin and piano
Wedding Music (1977) for 2 trumpets
Solo strings
Sonata for Unaccompanied Violin (1961) for violin solo
Sonata for Violoncello Solo (1955) for cello solo
Variations for Solo Viola (after 1996) for viola solo
Solo keyboard |
653_6 | Another Page from a Diary (1985) for piano
Etude for Either Hand, or Both (1963) for piano
Fantasy (1950) for piano
Fantasy on a Hebrew Theme (1947) for organ
Fantasy on an Advent Hymn (1948) for organ with optional TBB chorus
In Memoriam – R. D. W. (1951) for piano
Page from a Diary (1977) for piano
Piano Sonata (1947) for piano
Prelude, Passacaglia and Fugue (1957) for piano
Sphinxes (1974) for piano
Twelve Bagatelles on the Triads (1959) for piano
Twelve Tonal Studies (1962) for piano
Twenty-One Little Preludes (1940) for piano
Two Fugues for J. Merrill Knapp (1940) for organ
Cadenzas
Cadenza for Bach's Concerto for Four Harpsichords, Strings & Continuo in A Minor (after Vivaldi, RV 580), BWV 1065 (1989) for 4 pianos
Cadenzas for Mozart Concerto for 2 Pianos & Orchestra, E-flat Major, K. 365 (1997) for 2 pianos
Cadenzas for Mozart Piano Concerto No. 21 in C major, K. 466 (1981) for piano
Completions |
653_7 | Completion of a Cadenza for Beethoven's Piano Concerto in C Major, Opus 15 (1984) for piano
Completion of Bach's Unfinished Fugue in C Minor (1974) for keyboard
Choral and solo vocal works
Chorus and orchestra
Two Psalms for Chorus and Orchestra (1948) for SSATBB and orchestra
Chorus, solo voice, and orchestra
The Hollow Men (1950) for TTBB, tenor & baritone soloists, winds, and percussion
The Lotos-Eaters (1946) for TTBB, tenor & bass soloists, and orchestra
Chorus and small ensemble
Around the Year (1956) for SATB, 2 violins, viola, and cello. Text by Walter de la Mare
Chorus and keyboard
Fantasy on an Advent Hymn (1948) for organ with optional TBB
In the Last Days (1957) for SATB and piano
Let Us Now Praise Famous Men (1946) for TTBB, tenor solo, and organ
A Memory (1947) for TTBB and piano
Veni Creator Spiritus (1950) for TBB and organ
A capella chorus |
653_8 | Excursions (1946) for SSATBB
Petit Chant de Noel (1955) for SATBB. Text by Gabriel Vahanian.
Songs of Innocence and Experience (after 1996) for SATB. Text by William Blake
Three Miniatures (1948) for TTBB. Text by James Stephens
Two Limericks (1965) for SATB
Two Songs from Shakespeare (1972) for SATB
Solo voice and orchestra
Dover Beach (1941) for baritone and orchestra
The Duchess of Malfi (1954) for contralto, tenor, bass, and orchestra
La Figlia che Piange (1962) for tenor and chamber orchestra
Solo voice and small ensemble
Four Lyrics from Yeats (after 1996) for medium voice, 2 violins, viola, and cello. Text by W. B. Yeats.
Ozymandias (1989) for soprano, oboe, clarinet, bassoon, and piano
Philomela (1970) for soprano, flute, viola, and piano
Scarabs (1948) for soprano, 2 violins, viola, and cello. Text by R. P. Blackmur.
Two Gardens (1986) for soprano, 2 violins, viola, cello, and piano. Text by Joyce Carol Oates.
Solo voice and single instrument |
653_9 | Bells in Tower at Evening Toll (1940) for voice and piano
Cover Me Over, Clover (n.d.) for voice and piano. Text by Richard Eberhart
Dover Beach (1941) for baritone and piano
An Epitaph (1940) for voice and piano
Four Songs from Mythical Story (1961) for soprano and piano
If It Chance Your Eye Offend You (1940) for voice and piano
In the Morning (1940) for voice and piano
Into My Heart (1940) for voice and piano
Loveliest of Trees (1940) for voice and piano
Mona Lisa (1940) for voice and piano
New Weather (1993) for tenor or soprano and piano. Text by Paul Muldoon.
Nine Lyrics from Tennyson's "In Memoriam" (1978) for baritone and piano. Text by Alfred Tennyson
Parta Quies (1940) for voice and piano
Psalm CXXI (1973) for soprano and organ
The Shell (1948) for contralto and piano
Silent Noon (1959) for soprano and piano
Sir Thomas' House (1948) for soprano and flute. Text by John Berryman.
Solace (1990) for soprano and piano. Text by Richard Eberhart. |
653_10 | The Street Sounds to the Soldier's Tread (1940) for voice and piano
Three Songs from Pippa Passes (after 1996) for mezzo-soprano and piano. Text by Robert Browning.
Triptych (1950) for tenor or soprano and piano. Text by John Berryman.
Two Women (1987) for soprano and piano
With Rue My Heart is Laden (1940) for voice and piano |
653_11 | Books
Musical Form and Musical Performance (New York, 1968)
The Composer's Voice (Berkeley, 1974)
Music: a View from Delft (Chicago, 1989)
Hearing and Knowing Music: The Unpublished Essays of Edward T. Cone (Princeton, NJ, 2009)
Edited volumes
(ed., with Benjamin Boretz) Perspectives on Schoenberg and Stravinsky (Princeton, NJ, 1968, Revised 2nd ed. 1972)
(ed.) Hector Berlioz: Fantastic Symphony (New York, 1971) (annotated score)
(ed., with B. Boretz) Perspectives on American Composers (New York, 1971)
(ed., with B. Boretz) Perspectives on Contemporary Music Theory (New York, 1972)
(ed., with B. Boretz) Perspectives on Notation and Performance (New York, 1976)
(ed.) Roger Sessions on Music (Princeton, NJ, 1979)
(ed., with Edmund Keeley and Joseph Frank) "The Legacy of R. P. Blackmur: Essays, Memoirs, Texts" (New York, 1987)
Articles and reviews
1940–49 |
653_12 | "Roger Sessions' String Quartet." Modern Music 18, no. 3 (1941): 159–63.
"The Creative Artist in the University." American Scholar 16, no. 2 (1947): 192–200.
Review of Paul Bowles: Six Preludes for Piano. Notes. 4. 4 (1947).
Review of Paul Creston: Review of Five Two-Part Inventions for the Piano. Notes. 4. 2 (1947): 191–192.
Review of David Diamond: Review of Sonatina for Piano. Notes. 4. 4 (1947).
1950–59 |
653_13 | Review of Carlos Riesco: Canzona E Rondo, for Violin and Piano. Notes. 11. 1 (1953): 155.
Review of Tibor Serly: Sonata in Modus Lascivus, for Solo Violin. Notes. 11. 1 (1953): 155.
Review of Berlioz: Romeo and Juliet, Complete Orchestral Score. (N. Y. Philharmonic-Symphony Orch., Mitropoulos) The Musical Quarterly. 39. 3 (1953): 475–478.
Review of Berlioz: The Trojans in Carthage. (Ensemble Vocal de Paris, André Jouve, Hermann Scherchen, Orchestre de la Société des Concerts du Conservatoire) The Musical Quarterly. 39. 1 (1953): 138–141.
"The Old Man's Toys: Verdi's Last Operas." Perspectives USA 6 (1954): 114–33. Reprinted in Cone, Music: A View from Delft, 159–75.
"Words into Music: The Composer's Approach to the Text." In Sound and Poetry, edited by Northrop Frye, 3–15. English Institute Essays, 1956; New York, 1957. Reprinted in Cone, Music: A View from Delft, 115–23. |
653_14 | Review of Robert Ward: Symphony No. Three; Stein: Three Hassidic Dances. (Cincinnati Symphony Orchestra, Thor Johnson, Robert Ward, and Stein) The Musical Quarterly. 42. 3 (1956): 423–425.
Review of Roger Sessions: Second String Quartet; Colin McPhee: Concerto for Piano with Wind Octette Accompaniment. (New Music Quartet, Grant Johannesen, Carlos Surinach) The Musical Quarterly. 43. 1 (1957): 140–142.
Review of Berlioz: L'Enfance Du Christ. (Boston Symphony Orchestra, Charles Munch, Cesare Valletti, Florence Kopleff, Gérard Souzay, Giorgio Tozzi, New England Conservatory Chorus, Lorna Cooke de Varon) The Musical Quarterly. 44. 2 (1958): 259–261.
"Musical Theory as a Humanistic Discipline." Juilliard Review 5, no. 2 (1957–58): 3–12. Reprinted in Cone, Music: A View from Delft, 29–37. |
653_15 | 1960–69
"Analysis Today." The Musical Quarterly 46, no. 2 (1960): 172–88. Reprinted in Problems of Modern Music, edited by Paul Henry Lang, 34–40. New York, 1960. Also reprinted in Cone, Music: A View from Delft, 39–54.
"Music: A View from Delft." The Musical Quarterly 47, no. 4 (1961): 439–53. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 57–71. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 13- 27.
"The Not-So-Happy Medium." The American Scholar 30, no. 2 (1961): 254–67. Reprinted in Essays Today, vol. 5, edited by Richard Ludwig, 87- 96. New York, 1962.
"Stravinsky: The Progress of a Method." Perspectives of New Music 1, no. 1 (1962): 18–26. Reprinted in Perspectives on Schoenberg and Stravinsky, edited by Benjamin Boretz and Edward T. Cone, 155–64. New York, 1972. Also reprinted in Cone, Music: A View from Delft, 293–301. |
653_16 | "The Uses of Convention: Stravinsky and His Models." The Musical Quarterly 48, no. 3 (1962): 287–99. Reprinted in Stravinsky: A New Appraisal of His Work, edited by Paul Henry Lang, 21- 33. New York, 1963. Also reprinted in Cone, Music: A View from Delft, 281–92.
"From Sensuous Image to Musical Form." American Scholar 33, no. 3 (1964): 448- 62.
"A Budding Grove." Perspectives of New Music 3, no. 2 (1965): 38–46.
"On the Structure of 'Ich folge dir.'" College Music Symposium 5 (1965): 77–85.
"Toward the Understanding of Musical Literature." Perspectives of New Music 4, no. 1 (1965): 141–51.
"Conversations with Roger Sessions." Perspectives of New Music 4, no. 2 (1966): 29–46. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 90–107. New York, 1971.
"The Power of The Power of Sound." Introductory essay in Edmund Gurney, The Power of Sound, i–xvi. New York, 1966. |
653_17 | "Beyond Analysis." Perspectives of New Music 6, no. 1 (1967): 33–51. Reprinted in Perspectives on Contemporary Music Theory, edited by Benjamin Boretz and Edward T. Cone, 72–90. New York, 1972. Also reprinted in Music: A View from Delft, 55–75.
"Webern's Apprenticeship." The Musical Quarterly 53, no. 1 (1967): 39–52. Reprinted in Music: A View from Delft, 267–80.
"What is a Composition?" Current Musicology 5 (1967): 101–7.
Review of Eric Walter White: Stravinsky – The Composer and His Works. Perspectives of New Music. 5. 2 (1967): 155–161.
Review of Josef Rufer: Arnold Schönberg: Sämtliche Werke. Abteilung I, Reihe A, Band 1, Lieder Mit Klavierbegleitung. The Musical Quarterly. 53. 3 (1967): 416–420.
"Conversation with Aaron Copland." Perspectives of New Music 6, no. 2 (1968): 57–72. Reprinted in Perspectives on American Composers, edited by Benjamin Boretz and Edward T. Cone, 131–46. New York, 1971.
"Beethoven New-Born." American Scholar 38, no. 3 (1969); 389–400. |
653_18 | Review of Donald N. Ferguson: The Why of Music. Notes. 26. 2 (1969): 258–260. |
653_19 | 1970–79
"Schubert's Beethoven." The Musical Quarterly 56, No.4 (1970): 779–93.
Review of Reinhold Brinkmann: Arnold Schönberg: Drei Klavierstücke Op. 11. Studien Zur Frühen Atonalität Bei Schönberg." Notes. 27. 2 (1970): 267–268.
"Radical Traditionalism." Listener 2229 (1971); 849.
"Inside the Saint's Head; The Music of Berlioz." Musical Newsletter 1, no. 3 (July 1971); 3–12; 1, no. 4 (October 1971); 16–20; 2, no. 1 (January 1972); 19–22. Reprinted in Music: A View from Delft, 217–48.
"In Honor of Roger Sessions." Perspectives of New Music 10, no. 2 (1972); 130–41.
"Editorial Responsibility and Schoenberg's Troublesome 'Misprints.'" Perspectives of New Music 11, no. 1 (1972); 65- 75.
Review of Roger Sessions: Review of Questions About Music. Perspectives of New Music. 10. 2 (1972): 164–170.
"The Miss Etta Cones, the Steins, and M'sieu Matisse." The American Scholar 42, no. 3 (1973); 441- 60. |
653_20 | "Bach's Unfinished Fugue in C minor." In Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, edited by Robert L. Marshall, 149–55. London, 1974.
"Sound and Syntax: An Introduction to Schoenberg's Harmony." Perspectives of New Music 13, no. 1 (1974): 21–40. Reprinted in Music: A View from Delft, 249–66.
Review of Leonard B. Meyer: Explaining Music: Essays and Explorations." Journal of the American Musicological Society. 27. 2 (1974): 335–338.
"In Defense of Song: The Contribution of Roger Sessions." Critical Inquiry 2, No.1 (1975): 93–112. Reprinted in Music: A View from Delft, 303–22.
"Sessions' Concertino." Tempo 115 (1975): 2–10.
"Yet Once More, 0 Ye Laurels." Perspectives of New Music 14, no. 2; 15, no. 1 (1976): 294–306.
"Beatrice et Benedict." Boston Symphony Program (October 1977): 9–15. |
653_21 | "Beethoven's Experiments in Composition: The Late Bagatelles." In Beethoven Studies, vol. 2, edited by Alan Tyson, 84–105. London, 1977. Reprinted in Music: A View from Delft, 179–200.
"One Hundred Metronomes." The American Scholar 46, no. 4 (1977): 443–59.
"Three Ways of Reading a Detective Story-Or a Brahms Intermezzo." Georgia Review 31, no. 3 (1977): 554–74. Reprinted in Cone, Music: A View from Delft, 77- 93.
Review of Hector Berlioz: Review of New Edition of the Complete Works, 9: Grande Messe Des Morts. Notes. 36. 2 (1979): 464–465. |
653_22 | 1980–89 |
653_23 | "Aunt Claribel's 'Blue Nude' Wasn't Easy to Like." Art News 79, no. 7 (1980): 162–63.
"Berlioz's Divine Comedy: The Grande messe des morts." 19th-Century Music 4, no. 1 (1980): 3–16. Reprinted in Cone, Music: A View from Delft, 139–57.
"The Authority of Music Criticism." Journal of the American Musicological Society 34, no. 1 (1981): 1–18. Reprinted in Cone, Music: A View from Delft, 95–112.
"On the Road to Otello: Tonality and Structure in Simon Bocanegra." Studi Verdiana 1 (1982): 72–98.
"Roger Sessions: Symphony No.6." San Francisco Symphony Stagebill (May 1982): v–ix.
"Schubert's Promissory Note: An Exercise in Musical Hermeneutics." 19th Century Music 5, no. 3 (1982): 233- 41. Revised version reprinted in Schubert: Critical and Analytical Studies, edited by Walter Frisch, 13–30. Lincoln, 1986.
"The Years at Princeton." The Piano Quarterly 119 (Robert Casadesus issue, 1982): 27–29. |
653_24 | "A Cadenza for Op. 15." In Beethoven Essays: Studies in Honor of Elliot Forbes, edited by Lewis Lockwood and Phyllis Benjamin, 99–107. Cambridge, 1984.
"Schubert's Unfinished Business." 19th-Century Music 7, no. 3 (1984): 222- 32. Reprinted in Cone, Music: A View from Delft, 201- 16.
"Musical Form and Musical Performance Reconsidered." Music Theory Spectrum 7 (1985): 149–58.
"A Tribute to Roger Sessions." Kent Quarterly 5, no. 2 (1986): 29–31.
"Twelfth Night." Musiktheorie 1 (1986): 41–59. Reprinted in original English version in Journal of Musicological Research 7, nos. 2–3 (1987): 131–56.
"Brahms: Songs with Words and Songs without Words." Integral 1 (1987): 31–56.
"Dashes of Insight: Blackmur as Music Critic." In The Legacy of R. P. Blackmur, edited by Edward T. Cone, Joseph Frank, and Edmund Keeley, 10–12. New York: Ecco Press, 1987. |
653_25 | "Music and Form." In What Is Music? An Introduction to the Philosophy of Music, edited by Philip Alperson, 131–46. University Park: Pennsylvania State University Press, 1994 (1987).
"On Derivation: Syntax and Rhetoric." Music Analysis 6, no. 3 (1987): 237- 56.
"The World of Opera and Its Inhabitants." In Cone, Music: A View from Delft, 125- 38.
"Responses" (to "The Composer's Voice: Elaborations and Departures"). College Music Symposium 29 (1989): 75–80. |
653_26 | 1990–99 |
653_27 | "Harmonic Congruence in Brahms." In Brahms Studies, edited by George S. Bozarth, 165–88. Oxford, 1990.
"Poet's Love or Composer's Love?" In Music and Text, edited by S. P. Scher, 177- 92. Cambridge, 1992.
"Ambiguity and Reinterpretation in Chopin." In Chopin Studies 2, edited by John Rink and Jim Samson, 140- 60. Cambridge, 1994.
"Thinking (about) Music." Proceedings of the American Philosophical Society, 138, no. 4 (1994): 469–75.
"Edward T. Cone Makes a Plea for Good Citizenship." Musical Times 135, no. 12 (December 1994): 734–38.
Review of Nicholas Cook: Music, Imagination, and Culture." Music Theory Spectrum. 16. 1 (1994): 134–138.
"The Pianist as Critic." In The Practice of Performance: Studies in Musical Interpretation, edited by John Rink, 241–53. Cambridge, 1995.
"Attacking a Brahms Puzzle." Musical Times 136, no. 2 (February 1995): 72- 77. |
653_28 | "Adding Up Beauty and Truth" (Article Review of Edward Rothstein: Emblems of Mind: The Inner Life of Music and Mathematics). Yale Review 83, no. 4 (October 1995): 121- 34.
"'Am Meer' Reconsidered: Strophic, Binary, Ternary." In Schubert Studies 5, edited by Brian Newbould, 112- 26. Aldershot, 1998. |
653_29 | 2000–09
"Repetition and Correspondence in Schwanengesang." In Companion to Schubert's Schwanengesang, edited by Martin Chusid, 53- 89. New Haven, 2000.
References |
653_30 | Paula Morgan. "Edward T. Cone". The New Grove Dictionary of Music and Musicians online.
Biographical Memoirs: Edward T. Cone. Proceedings of the American Philosophical Society Vol. 151, No. 1, March 2007. https://web.archive.org/web/20111018041937/http://www.amphilsoc.org/sites/default/files/151110.pdf.
Edward T. Cone Papers, 1924–1996 (bulk 1939–1996) Finding Aid C1027. https://web.archive.org/web/20110610174947/http://diglib.princeton.edu/ead/getEad?id=ark%3A%2F88435%2Fdz010q062.
The Music of Edward T. Cone: A Brief Catalog. http://music.princeton.edu/The_Music_of_Edward_T_Cone.pdf.
Edward T. Cone, music professor, pianist and composer, dies. http://www.princeton.edu/pr/news/04/q4/1026-cone.htm.
Edward T. Cone: Not Theory, Practice..., New Music Box, April 1, 2003. https://nmbx.newmusicusa.org/edward-t-cone-not-theory-practice/.
Edward T. Cone, 87, Music Professor, Dies. Margalit Fox, The New York Times, October 30, 2004. https://www.nytimes.com/2004/10/30/arts/30Cone.html/. |
653_31 | Edward Cone: Composer, pianist and musicologist of 'unparalleled' eloquence, Martin Anderson, The Independent, November 29, 2004. .
Obituary, EdCone.com, October 23, 2004. http://edcone.typepad.com/wordup/2004/10/edward_t_cone_d.html.
Edward T. Cone – CRI CD 737, Review, Michael Dellaira. https://web.archive.org/web/20081121115543/http://www.michaeldellaira.com/2004/Texts/Reviews/ETCONE.htm
Notes for Edward T. Cone – CRI CD 737, http://www.newworldrecords.org/uploads/filed9m09.pdf. |
653_32 | External links
Princeton Symphony Program Notes for An Overture for the War – Prelude to Victory and Elegy.
1917 births
2004 deaths
American music theorists
American male classical composers
American classical composers
20th-century classical composers
Pupils of Roger Sessions
Musicians from Greensboro, North Carolina
20th-century American composers
20th-century musicologists
20th-century American male musicians |
654_0 | Woodlands Family Theme Park is an all-weather family amusement park and falconry display on the A3122 road, 5 miles from Dartmouth, in South Devon, England. It is part of Bendalls Leisure Ltd which also owns Twinlakes Theme Park and Wheelgate Park.
Set in Devon’s most beautiful countryside Woodlands has over of family attractions including 16 rides, as well as around 500 animals. The falconry display has over 50 birds of prey. During the October half term the park hosts a Halloscream Week.
Designed by the Bendall family there are extensive play zones throughout the Park, each having a selection of rides and attractions enabling all the family to play together or enjoy play equipment designed to the guest’s abilities. The massive indoor playcentres at Woodlands are essential for guests to enjoy the highest standard of venture equipment, soft play and rides whatever the weather conditions. |
654_1 | History
The site was purchased by the Bendall family in 1971 as a 200-acre dairy farm and diversified in 1989 to a 90-acre leisure park and caravan park. It remains a family owned company, Bendalls Leisure Ltd. The layout, café, shop, buildings, play equipment and landscaping all designed by family Bendall members.
The first year that the park opened saw 60,000 visitors. The average annual Leisure Park visitor numbers are now around 350,000. The redevelopment of Woodlands over the years:
1996/7
2nd Caravan Park (Falcons View) built and opened
Installation of first indoor play complex, 1 million pounds
1999
Installation of Tango Trolls Mystic Maze
Arctic Gliders
New roads and parking
2000
Two million pounds spent on critical indoor attractions to build visitor numbers in wet weather, five levels of play equipment and rides: The Empire of the Sea Dragon.
2001 |
654_2 | New toilets and facilities
New admission kiosks
3rd Caravan Park (Wellpark) created
Master Blaster Indoor Centre – replacing out dated equipment
2002
Completed Wellpark Caravan Park
New landscaping
Water zapping Bumper Boats
– for under sevens
Renewing parts of the Commando Course
2003-2006
Rock ‘n’ Roll Tugboat installed
Circus Train Ride –train for young children
Avalanche Ride – huge drop water ride
Big Top Playcentre – under fives
Dune Buggy Ride – younger children
Polar Pilot Ride – younger children
Abbey Ruins ‘Archaeological Dig’
Sand Diggers
2007
Re-building of Zoo-Farm Complex
2008
Installation of Swing Ship ride – white knuckle ride and Dolphin Toddler Play, relocation of Bumper Boats
2009
Seascape Mirror Maze
play zone
2010
Safari Adventure Golf and Mini Ninja Playtime
2011
Expansion of the first rollercoaster
2012
Dinosaur Farm Ride
2013
Fantasi Forest - a mystical adventure attraction in the woods
2014 |
654_3 | Chicken & Pizza Parlour
2015
Super Hero Theming and Mascot - ‘Unleash the Hero in You!’
2016
DinoTrek, Jumping Pillow and Farmyard Ride
2017
Vertigo – new ride - Reach New Heights!
Father Christmas Grotto
Attractions
The park comprises numerous playzones including: 3 Watercoasters, Toboggan run, Arctic Gliders, Avalanche, Pedal Boats, Bumper Boats, Tango Trolls Mystic Maze, Sand Diggers & Big Dig, Swing Ship Ride, Dolphin Toddlers Play, Ninja Towers, Seascape Mirror Maze, Whistle Stop Junction, Pedal Karts, Commando Course, Safari Adventure Golf and the indoor attractions Teddy Mountain, Masterblaster, Circusdrome & Empire of the Sea Dragon. Also, large Zoo Farm Complex and Indoor Falconry Centre. More recent attractions are the Dinotrek, Jumping Pillow, Farmyard Ride and Vertigo. |
654_4 | Location
On the A3122, 5 miles from Dartmouth, South Devon. Set in 100 acres of great natural beauty, mostly in an ancient wooded valley. Containing three woodland lakes, Laura’s Wood Wildlife Sanctuary, outstanding landscaping and gardens.
Employees
Approximately 60 permanent staff and 130 seasonal staff.
Awards
Membership to Best of British Quality Touring and Holiday Parks
'AA Quality Standard’ Rating of 5 Pennants, with a score of 92%
AA Five Gold Pennant Award
Practical Caravan Top 100 Parks Awards
Motor Caravan and Caravan Your Top 101 Sites
Five Stars in the ‘Loo of the Year Awards’
Camping & Walking Magazine: Campsite of the Year.
South Hams Tourism: South Hams for all Seasons
England for Excellence: Environmental last six.
Nominated for Best Small Business by Countryside Commission.
England for Excellence: Best Holiday Centre, last six.
Good Guide to Britain: Traditional Family Outing of the Year.
Good Guide to Britain: Top Attraction. |
654_5 | External links
http://www.woodlandspark.com official park site
Amusement parks in England
Tourist attractions in Devon
Amusement parks opened in 1989
Companies based in Devon
1989 establishments in England |
655_0 | Electrotropism is a kind of tropism which results in growth or migration of an organism, usually a cell, in response to an exogenous electric field. Several types of cells such as nerve cells, muscle cells, fibroblasts, epithelial cells, green algae, spores, and pollen tubes, among others, have been already reported to respond by either growing or migrating in a preferential direction when exposed to an electric field. |
655_1 | Electrotropism in Pollen Tubes
Electrotropism is known to play a role in the control of growth in cells and the development of tissues. By imposing an exogenous electric field, or modifying an endogenous one, a cell or a group of cells can greatly redirect their growth. Pollen tubes, for instance, align their polar growth with respect to an exogenous electric field. It has been observed that cells respond to electric fields as small as 0.1 mV/cell diameter (Note that the average radius of a large cell is in the order of a few micrometers). Electric fields have also been shown to act as directional signals in the repair and regeneration of wounded tissue. |
655_2 | The pollen tube is an excellent model for the understanding of electrotropism and plant cell behavior in general. They are easily cultivated in vitro and have a very dynamic cytoskeleton that polymerizes at very high rates, providing the pollen tube with interesting growth properties. For instance, the pollen tube has an unusual kind of growth; it extends exclusively at its apex. Pollen tubes, as most biological systems, are influenced by electrical stimulus. |
655_3 | Introduction to Electrotropism Experiment in Pollen Tubes |
655_4 | Electrical fields have been shown to influence a gamut of cellular processes and responses. Animals, plants, and bacteria have a range of responses to electrical structures. The electrophysiology in humans consists of the nervous system regulating our actions and behaviors through controlled responses. Action potentials in our nerves and our heart are regulated based on our sodium and potassium levels. Pressure applied to our skin opens up mechanosensitive sodium channels. With the right amount of stimulus it can cause the action potential to reach threshold and cause an influx of sodium during the depolarization phase. After a couple of seconds, the membrane potential becomes positive and causes potassium ions to exit the cell during the repolarization phase and go below the threshold level into the hyperpolarization phase. The leaky sodium and potassium channels bring back the membrane potential to resting. The electrical signaling in humans allows us to perform rapid movements |
655_5 | during periods of stress and anxiety. Similarly in plants, electrotropism is used in plant defense signaling and growth. |
655_6 | Plant growth in response to electric signals and fields has been studied by some researchers; however, it has not been as widely tested on pollen tubes. Specifically, pollen tubes are plants that are able to grow quickly in response to mechanical, electrical and chemical cues. This behavioral response allows pollen tubes to attack flower pistils and drop off sperm cells to ovules for fertilization. Carlos Agudelo and colleagues investigated the relationship between electrical signaling and pollen tube growth. The model organism used by the researcher was Camellia japonica pollen, because it displayed a differential sensitivity to the electrical fields when different parts of the tube were exposed. This flower is found in the wild areas of mainland China and Taiwan at elevations of 300–1100 meters. The plant grows at temperatures of 45-61 Fahrenheit and forms buds in the autumn and winter time. |
655_7 | Experimental Conditions |
655_8 | Analyzing the plant’s homeostatic conditions and implementing it in the experiment, the researchers exposed parts of the pollen tube that were either the whole cell or the growing tip to see how growth occurs in response to an external field. The pollen tube serves as a useful model because it is similar to a nerve ending which conducts electrical signaling in humans and animals. Using the tip as a place for growth allows the cell to invade a substrate and for tropism. The experiment that the researchers conducted to support their hypothesis was that they suspended Camellia japonica pollen into an electrical field. Camellia japonica pollen was collected, dehydrated, and stored on silica gel at −20 °C until use. Pollen was thawed and rehydrated in a humid atmosphere for one hour before submersion in liquid growth medium and injection into the chip. By doing this setup Once the pollen is positioned in the ELoC, the growth medium flow is stopped and the electric field is turned on. The |
655_9 | ELoc system is used to mimic the conditions surrounding a pollen tube when its grown in a plant. Then the pollen tubes are left to germinate and grow for 2 hours undisturbed unless otherwise stated. After the pollen tubes germinated, they were placed in DC and AC electric fields to see how an external field affected the growth of pollen tubes and the grains inside of them. The researchers applied varying voltages and frequencies to the pollen tubes and the grains to see how this affected their growth rate. |
655_10 | To ensure reproducibility of test conditions, no dyes were implemented, no extreme voltages were applied, and pollen from the same plant and flowering season was used as not to be confounders in the experiment. The researchers applied an increasing voltage to not wear out the microelectrodes and not cause the pollen tubes and grains to burst. It was difficult to remove the air bubbles involved in the process, but they tried to reduce the amount of water that was present in the microchamber.
Under a constant electric field of 1 V/cm pollen tubes of Camellia japonica have been reported to grow towards the negative electrode. Tomato and tobacco pollen tubes grew towards the positive electrode for constant electric fields higher than 0.2 V/cm. Agapanthus umbelatus pollen tubes grow towards the nearest electrode when a constant electric field of 7.5 V/cm is applied. Another report states that pollen tubes do not change growth direction under AC electric fields. |
655_11 | Results and Discussion |
655_12 | The authors had some compelling results based on their experimental procedure. In the zero-voltage test all zones within the electric chamber showed a similar average tube length indicating that the simple vicinity to the aluminium electrode did not affect pollen tube growth. As the electric fields increased the average pollen tube length decreased. Notably, the percentage of pollen germination decreased when the applied electric field increased. Germination was not as affected by small electric fields but was decreased when the electric field was raised above the threshold of 8 V/cm. The authors of this paper concluded that the presence of external electric fields on the behavior of Camellia japonica pollen tubes interfered with pollen germination and growth in a dose dependent manner. AC fields restored pollen tube growth for frequencies greater than 100 mHz. Importantly, this recovery of growth was achieved under the same strong field strengths (up to 10.71 V/cm) that caused |
655_13 | complete growth inhibition at lower frequencies and with DC fields. This indicates that pollen cells can tolerate strong electric fields and perform normal growth—as long as these are applied in the form of high frequency AC fields. The critical field strength that inhibited pollen performance when the entire cell (including grain) was exposed was approximately 10 V/cm. By contrast under a DC field, a much stronger field of 30 V/cm was necessary to impede pollen tube growth when only the growing tip of the cell was exposed. This suggests that pollen tubes can endure stronger fields than grains. This finding may be explained by differences in ion transport behaviour in these two cellular regions, and is consistent with the extremely polar organization of the cell. Ions are being transported when an electric field is applied to cells that are producing the necessary nutrients for growth. |
655_14 | Proposed Physiology
Although the authors did not delve deep in the physiology of how electric fields affect plants, they did propose that ions are being regulated during this experiment. The researchers stated that an electric field’s signal is the stimulus that binds to a receptor on the pollen tube. The electrical signal causes a signal cascade that leads to the increased production of sodium and potassium ions in the cell. These ions accumulate in the cell wall of the pollen tube which causes the expansion of the cell wall due to the buildup of the ions. With a strong electric field, it allows the plant to grow in the direction of the electric field. |
655_15 | Conclusions
This experiment performed by the researchers shows that electrical fields and forces that exist in plants can shape their external and internal structures. Plants have the ability to detect small electrical fields resulting from wounds or structures within their organelles. The magnetic field on Earth and in the electrical signals in plants can affect plant growth and crop yield. Photosynthesis may be affected by the electrical field as conducted by Hebda and colleagues. It is important to take into consideration the plant’s electrical signaling system when assessing its growth and behavior.
Even though efforts have been made to clarify the mechanisms of intra- and extracellular electrical signaling in pollen tubes, the understanding of how pollen tubes react to electric fields and how the electric cue is related to the internal dynamics of pollen tube growth remains limited. |
655_16 | Root and Shoot Growth
Electric fields may affect root and shoot growth of plants. The effects of electrotropism on plant growth can be witnessed in the grape “Uslu”. An electric field has similar forces as a magnetic field. A magnetic field can be created by using an alternating electric field. Thus, a magnetic field may have similar effects on plants as an electric field used in electrotropism. A study used a Helmholtz coil with electricity to induce a magnetic field around scions of Uslu grape. It is suggested that magnetic field intensity and duration can influence the root and shoot growth of Uslu grape scions. In the specific study, the application of 0.15 mT at 50 Hz for 10 and 15 minutes gave rise to the highest shoot length and plant weight. The mechanism of how a magnetic field induced by electricity can cause plant growth is yet unknown. |
655_17 | Further, it is known that plant shoot length is controlled by an increase in the hormone auxin. Auxin signals the apical buds at the apex of the plant stem to start elongating upwards. There may be a connection between electric fields and the release or production of auxin in increasing elongation of the shoot. |
655_18 | Root Directional Growth
Electric fields may also dictate the direction of plant root growth. In one study, an electric field applied to the Vigna mungo root, which caused the Central Elongation Zone (CEZ) to move toward the anode; however, the Distal Elongation Zone (DEZ) of the root moved toward the cathode of the field. This type of movement results in a curvature of the root. This result stays consistent when the electric field is applied locally to either the CEZ or DEZ individually, showing that it is not an overall gravitropic response. Although the mechanism of root electrotropism is not known, it is clear that different root regions have different behaviors in response to electricity. |
655_19 | Root Morphological Change
One study suggests that when a weak DC electric field is applied to the roots of the plant Arundo donax, there are morphological changes in the roots. An electric field of 12.0 V/m with a current of 10 mA was applied to the test plants. The treated samples had root hairs that were oversized compared to the control. Specifically, roots had larger diameters, more branching, and longer lengths. The test group's root hairs were also notably longer than the control group's root hairs. This could mean that the plant treated with an electric field is able to uptake water and nutrients differently, leading to differential plant growth in electric field conditions. Larger root hairs may enable better carbon dioxide release in the roots and increase the rate of cation exchange from soil particles.
References
Electrophysiology |
656_0 | The Prix Théophraste-Renaudot or Prix Renaudot () is a French literary award.
History
The prize was created in 1926 by ten art critics awaiting the results of deliberation of the jury of the Prix Goncourt. While not officially related to the Prix Goncourt, it remains a complement to it: The Prix Renaudot laureate is announced at the same time and place as the Prix Goncourt, namely on the first Tuesday of November at the Drouant restaurant in Paris. The Renaudot jurors always pick an alternative laureate in case their first choice is awarded the Prix Goncourt.
The prize is named after Théophraste Renaudot, who created the first French newspaper in 1631. |
656_1 | In 2013, the prize revived the career of Gabriel Matzneff, which collapsed in 2020 as his pedophilia – long known and defended by his literary peers, including the Renaudot jurors – became more widely known through a report of one of his victims, Vanessa Springora. In the view of The New York Times, the episode illustrated "the self-perpetuating and impenetrable nature of many of France's elite institutions", including the Prix Renaudot, where "control often rests with a small, established group — overwhelmingly older, white men — that rewards like-minded friends", disregarding conflicts of interest. At the time, only one woman sat on the jury of the prize. French media also criticized the prize, and one judge, Jérôme Garcin, left the jury, but no changes took place.
Jury
As of 2021, the jury consists of: |
656_2 | Christian Giudicelli
Dominique Bona
Franz-Olivier Giesbert
Georges-Olivier Châteaureynaud
Jean-Noël Pancrazi
Patrick Besson
Frédéric Beigbeder
Stéphanie Janicot
Cécile Guilbert
J. M. G. Le Clezio |
656_3 | Laureates
1926: Nicolo Peccavi, Armand Lunel (Éditions Gallimard)
1927: Maïtena, Bernard Nabonne (Grasset)
1928: Le Joueur de triangle, André Obey (Grasset)
1929: La Table aux crevés, Marcel Aymé (Gallimard)
1930: Piège, Germaine Beaumont (Lemerre)
1931: L'Innocent, Philippe Hériat (Denoël)
1932: Voyage au bout de la nuit, Louis-Ferdinand Céline (Denoël)
1933: Le roi dort, Charles Braibant (Denoël)
1934: Blanc, Louis Francis (Gallimard)
1935: Jours sans gloire, François de Roux (Gallimard)
1936: Les Beaux Quartiers, Louis Aragon (Denoël)
1937: Mervale, Jean Rogissart (Denoël)
1938: Léonie la bienheureuse, Pierre Jean Launay (Denoël)
1939: Les Javanais, Jean Malaquais (Denoël)
1940: La Vallée heureuse, Jules Roy (Charlot)
1941: Quand le temps travaillait pour nous, Paul Mousset (Grasset)
1942: Les Liens de chaîne, Robert Gaillard (Colbert)
1943: J'étais médecin avec les chars, Dr.André Soubiran (Didier) |
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