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1576_35 | vulnerable Steller's eider (Polysticta stelleri). |
1576_36 | Ravens, like other corvids, are definitive hosts of West Nile Virus (WNV). The transmission can be from infected birds to humans, and ravens are susceptible to WNV. However, in a 2010 study, it was shown that the California Common Ravens did not have a high positivity rate of WNV.
Cultural depictions
Across its range in the Northern Hemisphere, and throughout human history, the common raven has been a powerful symbol and a popular subject of mythology and folklore.
In some Western traditions, ravens have long been considered to be birds of ill omen, death and evil in general, in part because of the negative symbolism of their all-black plumage and the eating of carrion. In Sweden, ravens are known as the ghosts of murdered people, and in Germany as the souls of the damned. In Danish folklore, valravne that ate a king's heart gained human knowledge, could perform great malicious acts, could lead people astray, had superhuman powers, and were "terrible animals". |
1576_37 | As in traditional mythology and folklore, the common raven features frequently in more modern writings such as the works of William Shakespeare, and, perhaps most famously, in the poem "The Raven" by Edgar Allan Poe. Ravens have appeared in the works of Charles Dickens, J. R. R. Tolkien, Stephen King, George R. R. Martin and Joan Aiken among others.
It continues to be used as a symbol in areas where it once had mythological status: as the national bird of Bhutan (Kings of Bhutan wear the Raven Crown), official bird of the Yukon territory, and on the coat of arms of the Isle of Man (once a Viking colony).
In Persia and Arabia the raven was held as a bird of bad omen but a 14th-century Arabic work reports use of the raven in falconry.
The modern unisex given name Raven is derived from the English word "raven". As a masculine name, Raven parallels the Old Norse Hrafn, and Old English *Hræfn, which were both bynames and personal names.
Mythology |
1576_38 | In Tlingit and Haida cultures, Raven was both a trickster and creator god. Related beliefs are widespread among the peoples of Siberia and northeastern Asia. The Kamchatka Peninsula, for example, was supposed to have been created by the raven god Kutkh. There are several references to common ravens in the Old Testament of the Bible and it is an aspect of Mahakala in Bhutanese mythology. |
1576_39 | In Norse mythology, Huginn (from the Old Norse for "thought") and Muninn (from the Old Norse for "memory" or "mind") are a pair of ravens that fly all over the world of humans, Midgard, and bring the god Odin information. Additionally among the Norse, raven banner standards were carried by such figures as the Jarls of Orkney, King Cnut the Great of England, Norway and Denmark, and Harald Hardrada. In the British Isles, ravens also were symbolic to the Celts. In Irish mythology, the goddess Morrígan alighted on the hero Cú Chulainn's shoulder in the form of a raven after his death. In Welsh mythology they were associated with the Welsh god Bran the Blessed, whose name translates to "raven." According to the Mabinogion, Bran's head was buried in the White Hill of London as a talisman against invasion. |
1576_40 | A legend developed that England would not fall to a foreign invader as long as there were ravens at the Tower of London; although this is often thought to be an ancient belief, the official Tower of London historian, Geoff Parnell, believes that this is actually a romantic Victorian invention. |
1576_41 | In the Jewish, Christian and Islamic traditions, the raven was the first animal to be released from Noah's Ark. "So it came to pass, at the end of forty days, that Noah opened the window of the ark which he had made. Then he sent out a raven, which kept going to and fro until the waters had dried up from the earth. He also sent out from himself a dove, to see if the waters had receded from the face of the ground." The raven is mentioned 12 times in the Bible. In the New Testament Jesus tells a parable using the raven to show how people should rely on God for their needs and not riches (Luke 12:24). The raven is also mentioned in the Quran at the story of Cain and Abel. Adam's firstborn son Cain kills his brother Abel, but he does not know what to do with the corpse: "Then Allah sent a raven scratching up the ground, to show him how to hide his brother's naked corpse. He said: Woe unto me! Am I not able to be as this raven and so hide my brother's naked corpse? And he became |
1576_42 | repentant." |
1576_43 | References
Cited texts
Further reading
Heinrich, B. (1999). Mind of the Raven: Investigations and Adventures with Wolf-Birds. New York: Cliff Street Books.
External links
RSPB: Raven
Common Raven Species Account – Cornell Lab of Ornithology
Ageing and sexing (PDF; 3.1 MB) by Javier Blasco-Zumeta & Gerd-Michael Heinze
Common raven images at ARKive
Corvus corax at Encyclopedia of Life
Common Raven – Corvus corax – USGS Patuxent Bird Identification InfoCenter (includes CBC/BBS range maps)
Raven recordings at naturesongs.com
Corvus
Holarctic birds
Ravens
Talking birds
Territorial symbols of Yukon
Birds described in 1758
Articles containing video clips
Fauna of the San Francisco Bay Area
Taxa named by Carl Linnaeus |
1577_0 | British United Air Ferries (BUAF) was a wholly private, British independent car and passenger ferry airline based in the United Kingdom during the 1960s. It specialised in cross-Channel ferry flights carrying cars and their owners between its numerous bases in Southern England, the Channel Islands and Continental Europe. All-passenger and all-cargo flights were operated as well. Following several identity and ownership changes, it went out of business in 2001.
In its final years, as British World Airlines, its head office was at Viscount House, London Southend Airport. |
1577_1 | History
BUAF came into being on 1 January 1963 as a result of the merger of Channel Air Bridge and Silver City Airways. The newly formed airline was a wholly owned subsidiary of Air Holdings, which in turn was a subsidiary of British & Commonwealth (B&C). This ownership structure made BUAF a sister airline of British United Airways (BUA), at the time Britain's biggest independent airline and the country's leading independent scheduled operator.
BUAF operated scheduled and non-scheduled vehicle ferry, passenger and freight services. This included scheduled routes from Southend, Lydd Ferryfield and Hurn to ten points in the Channel Islands and Continental Europe. Aviation Traders Carvairs operated what the airline called "deeper penetration" routes to Basle, Geneva and Strasbourg.
Bristol Superfreighters plied the routes to Jersey, Guernsey, Cherbourg, Le Touquet, Calais, Ostend and Rotterdam. |
1577_2 | The airline's scheduled services between the UK, Le Touquet and Ostend formed part of rail-air operations linking the respective capital cities at each end. These were operated in conjunction with Société Nationale des Chemins de Fer français (SNCF) and Société Nationale des Chemins de fer Belges/Nationale Maatschappij der Belgische Spoorwegen (SNCB/NMBS), the respective national railway companies of France and Belgium. (Amongst these, was a six-times daily Southend—Ostend vehicle ferry service operated in conjunction with erstwhile Belgian flag carrier Sabena. This service, which had been launched by Air Charter in partnership with Sabena in 1957 with three dedicated Superfreighters in full Sabena livery and which BUAF had inherited from Channel Air Bridge, continued until 1964.) Coach-air services were provided in conjunction with local coach operators between the UK, France, Belgium, the Netherlands and Switzerland via Calais, Ostend, Rotterdam and Basle. |
1577_3 | In addition, all-passenger configured Bristol Freighters/Superfreighters were used for inclusive tour work on behalf of BUA (Services) Ltd. Sister airline BUA (C.I.) assumed the former Silver City routes linking the North of England with the Channel Isles and the Continent.
BUAF subsequently added routes linking Southampton with Rotterdam, Ostend, Calais, Deauville, Le Touquet, Jersey, Guernsey, Dinard and Cherbourg to its scheduled route network, while discontinuing its "deeper penetration" routes to Basle, Geneva and Strasbourg as these generated insufficient traffic to sustain a viable operation. Some of the new Southampton routes were part of rail-air operations in conjunction with the French and Belgian national railway companies as well.
British Air Ferries (BAF)
As a consequence of B&C's reorganisation of the BUA group of companies during 1967/8, BUAF changed its name to British Air Ferries (BAF) in September 1967. |
1577_4 | In October 1971, BAF's ownership passed from Air Holdings to the Keegan family.
In 1972, BAF became a wholly owned subsidiary of Transmeridian Air Cargo (TMAC), a Stansted-based all-cargo airline controlled by the Keegan family.
In 1975, BAF began replacing its remaining Carvairs with Handley Page Dart Herald turboprops on its cross-Channel routes linking Southend with Le Touquet, Ostend and Rotterdam. This resulted in these services being converted into ordinary passenger schedules and the Carvairs being transferred to cargo flying.
On 1 January 1977, BAF operated its last car ferry service. Later the same year, on 31 October, BAF Herald G-BDFE operating the airline's inaugural scheduled passenger flight from Southend to Düsseldorf under the command of Captain Caroline Frost and First Officer Lesley Hardy became Britain's first airliner flown by an all-female crew. |
1577_5 | On 1 January 1979, BAF transferred its entire scheduled operation including associated aircraft and staff to British Island Airways (BIA).
Following British Airways's decision to withdraw from its loss-making regional routes and to retire its Vickers Viscount turboprop fleet, BAF acquired the entire 18-strong fleet along with the spares inventory during the early 1980s. This acquisition made it the world's largest Viscount operator at the time.
As a result of the changes the airline underwent in the late 1970s and early 1980s, BAF mainly concentrated on leasing, charter and oil industry support work.
In 1983, the Keegans put some of their businesses into receivership and in March of that year, sold the British Air Ferries name along with the airline's commercial flying operations to the Jadepoint investment group for £2m. |
1577_6 | Growing financial difficulties at Jadepoint resulted in BAF being placed in administration in January 1988. A new holding company, called Mostjet, was formed within a year to enable the airline to emerge from administration in May 1989, the only British airline to do so at the time.
British World Airlines (BWA)
In April 1993, BAF was renamed British World Airlines (BWA), ICAO code BWL.
Following delivery of BWA's first ATR 72 on 1 April 1996, the airline converted its three remaining passenger-configured Viscounts to freighters. On 18 April the same year, BWA Viscount G-APEY operated the type's last passenger flight, marking the 43rd anniversary of the Viscount's entry into full commercial air service with British European Airways (BEA).
BWA ceased trading on 14 December 2001, as a result of the tough business climate during the post-9/11 downturn.
Fleet
BUAF/BAF/BWA operated the following aircraft types: |
1577_7 | Aviation Traders ATL 98 Carvair (BUAF/BAF)
ATR 72-200 (BWA)
BAC One-Eleven 200 (BAF)
BAC One-Eleven 500 (BWA)
BAe ATP (BWA)
BAe 146-100 (BAF)/200 (BAF)/300 (BWA)
Bristol 170 Freighter Mark 21E (BUAF)
Bristol 170 Freighter Mark 31 (BUAF)
Bristol 170 Superfreighter Mark 32 (BUAF/BAF)
Boeing 727-200 (BAF)
Boeing 737-300 (BWA)
Boeing 757-200 (BWA)
British Aerospace ATP (BWA)
British Aerospace 146-300 (BWA)
Canadair CL-44 (BAF)
Fokker F-27 600 (BAF)
Handley Page Dart Herald 200 (BAF)
Hawker Siddeley HS 125 (BAF)
McDonnell-Douglas MD-80 (BAF)
Shorts 330 (BAF)
Shorts 360 (BAF)
Vickers Viscount 800 (BAF/BWA).
Hovercraft
Vickers VA3 (BAF)
In BUAF's days, all aircraft were given individual names.
Fleet in 1963
In April 1963, the BUAF fleet comprised 28 aircraft.
BUAF employed 519 people at this time.
Fleet in 1967
In September 1967, the BUAF fleet comprised 23 aircraft.
BUAF employed 633 people at this time. |
1577_8 | Fleet in 1972
In May 1972, the BAF fleet comprised 8 aircraft.
BAF employed 300 people at this time.
Fleet in 1978
In April 1978, the BAF fleet comprised 18 aircraft.
BAF employed 450 people at this time.
Fleet in 1984
In March 1984, the BAF fleet comprised 10 aircraft.
BAF employed 165 people at this time.
Fleet in 1990
In March 1990, the BAF fleet comprised 22 aircraft.
BAF employed 450 people at this time.
Fleet in 1994
In March 1994, the BWA fleet comprised 18 aircraft.
BWA employed 222 people at this time.
Fleet in 2001
In December 2001, the BWA fleet comprised 15 aircraft.
Accidents and incidents
During the early part of its existence, when the airline traded as British United Air Ferries, it suffered one non-fatal incident.
On 24 September 1963, a Bristol 170 Superfreighter Mark 32 (registration: G-AMWA) was damaged beyond repair in a takeoff accident at Guernsey Airport. |
1577_9 | Operating a scheduled passenger flight to Bournemouth, the Bristol 170 was preparing for takeoff from Guernsey Airport's runway 28. The first officer, who was flying the aircraft used full power to counteract the effects of a crosswind. Due to a problem with the port engine the First officer decided to abort takeoff as speed approached 80 knots. As the aircraft was going to overshoot the end of the runway he steered it to the left to avoid hitting obstacles. The aircraft became airborne for a short distance, crashing through the airport boundary fence, crossing a public road and coming to a halt a quarter of a mile from the runway end. Although the aircraft was a complete write-off, there were no fatalities among the four occupants (three crew and one passenger). |
1577_10 | The accident investigators established the probable cause of the accident as the inability of the pilot in command to bring the aircraft to a stop within the remaining runway length, following his decision to abandon the takeoff due to a malfunction of the port engine, .
The company suffered two non-fatal incidents during the British Air Ferries era.
Vickers Viscount 806 G-APIM Viscount Stephen Piercey,
was hit on 11 January 1988 by a Fairflight Shorts 330 (registration: G-BHWT), which had suffered a nosegear brake and steering failure while preparing to take off from Southend Airport to Fairflight's Biggin Hill base. The collision destroyed the left-hand side of the Viscount's nose. Although the aircraft was deemed damaged beyond economical repair, it was subsequently restored and put on display at the Brooklands Museum.
The final two recorded incidents occurred during the British World period. One of these involved fatalities. |
1577_11 | On 25 February 1994, a BWA Vickers Viscount 813 (registration: G-OHOT) operating an all-cargo flight from Edinburgh to Coventry encountered severe icing conditions en route. This caused the no. 2 engine to fail and its propeller to autofeather while the aircraft had begun its descent from flight level (FL) 150. During that time, the no. 3 engine started losing power as well. In response air traffic control immediately cleared the flightdeck crew to descend to FL070 and thereafter, FL050. The crew attempted to restart the no. 2 and 3 engines but when this proved futile, they elected to divert to Birmingham. The crew did manage to restart the no. 2 engine but this was followed by failure of no. 4. Five minutes short of Birmingham, the aircraft lost all electrical power and as a result radio navigation and intercom. The aircraft struck trees on southwest of Uttoxeter, causing it to break up and kill one of the two pilots. |
1577_12 | The official accident investigation report of the UK's Air Accidents Investigation Branch (AAIB) identified the several factors as the likely cause:
Multiple engine failures were a consequence of extreme icing conditions.
The flightdeck crew's failure to complete the emergency drills as a result of not referring to the emergency checklist prejudiced their chances of restarting the engines successfully.
The crew's actions to secure and restart the failed engines, which did not comply with the operator's procedures, restricted the power that was available.
The drag induced by the failed engines' unfeathered propellers and the weight increase suffered by the heavily iced airframe caused a loss of height and control before reaching the diversion airfield. |
1577_13 | The crew had no contingency plan to avoid the forecast severe icing conditions and was unaware of the relative position of a closer diversion airfield that could have been chosen by using ATC services more effectively. This constituted poor crew resource management, which reduced the potential for emergency planning, decision making and workload sharing. |
1577_14 | Film and TV appearances
BUAF aircraft appeared in the following feature films and TV series: |
1577_15 | In the opening scenes of the 1966 film That Riviera Touch, Eric Morecambe and Ernie Wise, better known as Morecambe and Wise, along with their elderly car, fly to Le Touquet in a BUAF Bristol Superfreighter.
A BUAF Superfreighter is seen in the 1965 film Hysteria flying Robert Webber and his girlfriend abroad.
A BUAF Carvair is seen transporting Auric Goldfinger and his car in the James Bond film Goldfinger from Southend Airport to Geneva.
A BUAF Carvair is featured in several brief scenes (cars being loaded, taking off, taxi-ing) in The Sentimental Agent episode (six) 'Meet my son Henry'.
BUAF's car ferry service is shown in the episode "Racist" of the Anthony Quayle series The Strange Report.
A BUAF aircraft is seen in the opening scene of the video clip for the song "Do-Wah-Doo". The song "Do-Wah-Doo" is performed and written by Kate Nash. It was released in early 2010.
Albert Finney and Audrey Hepburn use a BUAF car ferry service in Stanley Donen's film Two for the Road. |
1577_16 | BAF aircraft are seen in the background of scenes shot at Jersey Airport on several occasions in the BBC detective series Bergerac.
A BWA BAC111 (G-OBWA)is seen in the BBC high-tech series “Bugs” in the Season 1 episode “All Under Control”.
A BUAF 737 is seen in Series 4 Episode 11 of Airline, operating a service from London Luton to Palma, Majorca. |
1577_17 | See also
List of defunct airlines of the United Kingdom
Notes
Notes
Citations
References
(various backdated issues relating to British United Air ferries, 1963–1967)
Further reading
(Aircraft Illustrated online)
External links
British United Air Ferries, Air Commerce, Flight International, 2 August 1962, p. 155
British United Air Ferries, Air Commerce ..., Flight International, 2 August 1962, p. 156
British United Air Ferries at the Aviation Safety Network Database
British Air Ferries at the Aviation Safety Network Database
British World Airlines at the Aviation Safety Network Database
British World Airlines Ltd.
BUAF/BAF/BUA flight schedules & timetables
Pictures of BUAF aircraft at Airliners.net
Defunct airlines of the United Kingdom
Airlines established in 1963
Airlines disestablished in 2001 |
1578_0 | CUPS (formerly an acronym for Common UNIX Printing System) is a modular printing system for Unix-like computer operating systems which allows a computer to act as a print server. A computer running CUPS is a host that can accept print jobs from client computers, process them, and send them to the appropriate printer. |
1578_1 | CUPS consists of a print spooler and scheduler, a filter system that converts the print data to a format that the printer will understand, and a backend system that sends this data to the print device. CUPS uses the Internet Printing Protocol (IPP) as the basis for managing print jobs and queues. It also provides the traditional command line interfaces for the System V and Berkeley print systems, and provides support for the Berkeley print system's Line Printer Daemon protocol and limited support for the server message block (SMB) protocol. System administrators can configure the device drivers which CUPS supplies by editing text files in Adobe's PostScript Printer Description (PPD) format. There are a number of user interfaces for different platforms that can configure CUPS, and it has a built-in web-based interface. CUPS is free software, provided under the Apache License. |
1578_2 | History
Michael Sweet, who owned Easy Software Products, started developing CUPS in 1997 and the first public betas appeared in 1999. The original design of CUPS used the Line Printer Daemon protocol (LPD) protocol, but due to limitations in LPD and vendor incompatibilities, the Internet Printing Protocol (IPP) was chosen instead. CUPS was initially called "The Common UNIX Printing System". This name was shortened to just "CUPS" beginning with CUPS 1.4 due to legal concerns with the UNIX trademark. CUPS was quickly adopted as the default printing system for most Linux distributions. In March 2002, Apple Inc. adopted CUPS as the printing system for Mac OS X 10.2. In February 2007, Apple Inc. hired chief developer Michael Sweet and purchased the CUPS source code. On December 20, 2019, Michael Sweet announced on his blog that he had left Apple. In 2020, the OpenPrinting organization forked the project, with Michael Sweet continuing work on it.
Overview |
1578_3 | CUPS provides a mechanism that allows print jobs to be sent to printers in a standard fashion. The print-data goes to a scheduler which sends jobs to a filter system that converts the print job into a format the printer will understand. The filter system then passes the data on to a backend—a special filter that sends print data to a device or network connection. The system makes extensive use of PostScript and rasterization of data to convert the data into a format suitable for the destination printer. |
1578_4 | CUPS offers a standard and modularised printing system that can process numerous data formats on the print server. Before CUPS, it was difficult to find a standard printer management system that would accommodate the very wide variety of printers on the market using their own printer languages and formats. For instance, the System V and Berkeley printing systems were largely incompatible with each other, and they required complicated scripts and workarounds to convert the program's data format to a printable format. They often could not detect the file format that was being sent to the printer and thus could not automatically and correctly convert the data stream. Additionally, data conversion was performed on individual workstations rather than a central server. |
1578_5 | CUPS allows printer manufacturers and printer-driver developers to more easily create drivers that work natively on the print server. Processing occurs on the server, allowing for easier network-based printing than with other Unix printing systems. With Samba installed, users can address printers on remote Windows computers, and generic PostScript drivers can be used for printing across the network.
Scheduler
The CUPS scheduler implements Internet Printing Protocol (IPP) over HTTP/1.1. A helper application (cups-lpd) converts Line Printer Daemon protocol (LPD) requests to IPP. The scheduler also provides a web-based interface for managing print jobs, the configuration of the server, and for documentation about CUPS itself. |
1578_6 | An authorization module controls which IPP and HTTP messages can pass through the system. Once the IPP/HTTP packets are authorized they are sent to the client module, which listens for and processes incoming connections. The client module is also responsible for executing external CGI programs as needed to support web-based printers, classes, and job status monitoring and administration. Once this module has processed its requests, it sends them to the IPP module which performs Uniform Resource Identifier (URI) validation to prevent a client from sidestepping any access controls or authentication on the HTTP server. The URI is a text string that indicates a name or address that can be used to refer to an abstract or physical resource on a network. |
1578_7 | The scheduler allows for classes of printers. Applications can send requests to groups of printers in a class, allowing the scheduler to direct the job to the first available printer in that class. A jobs module manages print jobs, sending them to the filter and backend processes for final conversion and printing, and monitoring the status messages from those processes.
The CUPS scheduler utilizes a configuration module, which parses configuration files, initializes CUPS data structures, and starts and stops the CUPS program. The configuration module will stop CUPS services during configuration file processing and then restart the service when processing is complete.
A logging module handles the logging of scheduler events for access, error, and page log files. The main module handles timeouts and dispatch of I/O requests for client connections, watching for signals, handling child process errors and exits, and reloading the server configuration files as needed. |
1578_8 | Other modules used by the scheduler include:
the MIME module, which handles a Multipurpose Internet Mail Extensions (MIME) type and conversion database used in the filtering process that converts print data to a format suitable for a print device;
a PPD module that handles a list of Postscript Printer Description (PPD) files;
a devices module that manages a list of devices that are available in the system;
a printers module that handles printers and PPDs within CUPS.
Filter system
CUPS can process a variety of data formats on the print server. It converts the print-job data into the final language/format of the printer via a series of filters. It uses MIME types for identifying file formats. |
1578_9 | MIME databases
After the CUPS system has assigned the print job to the scheduler, it is passed to the CUPS filter system. This converts the data to a format suitable for the printer. During start-up, the CUPS daemon loads two MIME databases: mime.types that defines the known file types that CUPS can accept data for, and mime.convs that defines the programs that process each particular MIME type.
The mime.types file has the syntax:
mimetype { [file-extensions] | [pattern-match] }
For example, to detect an HTML file, the following entry would be applicable:
text/html html htm \
printable(0,1024) + (string(0,"<HTML>") string(0,"<!DOCTYPE"))
The second line matches the file contents to the specified MIME type by determining that the first kilobyte of text in the file holds printable characters and that those characters include HTML markup. If the pattern above matches, then the filter system would mark the file as the MIME type text/html. |
1578_10 | The mime.convs file has the syntax:
source destination cost program
The source field designates the MIME type that is determined by looking up the mime.types file, while the destination field lists the type of output requested and determines what program should be used. This is also retrieved from mime.types. The cost field assists in the selection of sets of filters when converting a file. The last field, program, determines which filter program to use to perform the data conversion.
Some examples:
text/plain application/postscript 50 texttops
application/vnd.cups-postscript application/vnd.cups-raster 50 pstoraster
image/* application/vnd.cups-postscript 50 imagetops
image/* application/vnd.cups-raster 50 imagetoraster
Filtering process
The filtering process works by taking input data pre-formatted with six arguments: |
1578_11 | the job ID of the print job
the user-name
the job-name
the number of copies to print
any print options
the filename (though this is unnecessary if it has been redirected from standard input).
It then determines the type of data that is being input and the filter to be used through the use of the MIME databases; for instance, image data will be detected and processed through a particular filter, and HTML data detected and processed through another filter. |
1578_12 | CUPS can convert supplied data either into PostScript data or directly into raster data. If it is converted into PostScript data an additional filter is applied called a prefilter, which runs the PostScript data through another PostScript converter so that it can add printer specific options like selecting page ranges to print, setting n-up mode and other device-specific things. After the pre-filtering is done, the data can either be sent directly to a CUPS backend if using a PostScript printer, or it can be passed to another filter like Foomatic by linuxprinting.org. Alternatively, it can be passed to Ghostscript, which converts the PostScript into an intermediary CUPS-raster format. The intermediary raster format is then passed onto a final filter which converts the raster data to a printer-specific format. The default filters included with CUPS include: |
1578_13 | raster to PCL
raster to ESC/P or ESC/P2 (an Epson printer language, now largely superseded by their new ESC/P-Raster format)
raster to Dymo (another printer company).
raster to Zebra Programming Language or ZPL (a Zebra Technologies printer language)
other proprietary languages like GDI or SPL (Samsung Printer Language) are supported by Splix, a raster to SPL translator.
However, several other alternatives can integrate with CUPS. HPLIP (previously known as HP-IJS) provides Linux+CUPS drivers for HP printers, Gutenprint (previously known as Gimp-Print) is a range of high-quality printer drivers for (mostly) inkjet printers, and TurboPrint for Linux has another range of quality printer drivers for a wide range of printers. |
1578_14 | Backends
The backends are the ways in which CUPS sends data to printers. There are several backends available for CUPS: parallel, serial, and USB ports, cups-pdf PDF Virtual Printing, as well as network backends that operate via the IPP, JetDirect (AppSocket), Line Printer Daemon ("LPD"), and SMB protocols.
A new mdns backend in CUPS 1.4 provides Bonjour (DNS-SD) based printer discovery. In CUPS 1.6, Bonjour printer discovery and sharing using Avahi is also supported. |
1578_15 | Compatibility
CUPS provides both the System V and Berkeley printing commands, so users can continue with traditional commands for printing via CUPS. CUPS uses port 631 (TCP and UDP), which is the standard IPP port, and optionally on port 515 by inetd, launchd, the Solaris Service Management Facility, or xinetd which use the cups-lpd helper program to support LPD printing. When CUPS is installed the lp System V printing system command and the lpr Berkeley printing system commands are installed as compatible programs. This allows a standard interface to CUPS and allows maximum compatibility with existing applications that rely on these printing systems.
User interface tools
Several tools exist to help set up CUPS.
CUPS web-based administration interface
On all platforms, CUPS has a web-based administration interface that runs on port 631. It particularly helps organisations that need to monitor print jobs and add print queues and printers remotely. |
1578_16 | CUPS 1.0 provided a simple class, job, and printer-monitoring interface for web browsers.
CUPS 1.1 replaced this interface with an enhanced administration interface that allows users to add, modify, delete, configure, and control classes, jobs, and printers.
CUPS 1.2 and later provide a revamped web interface which features improved readability and design, support for automatically discovered printers, and a better access to system logs and advanced settings.
GNOME
In GNOME starting from GNOME 3, CUPS printing has been handled in the Settings application, which is part of the GNOME Core Applications. The GUI can add CUPS printers and manage CUPS printers and queues. Before GNOME 3, the GNOME Print Settings (formerly called CUPS Manager) were used to fulfil these tasks.
GNOME's widget toolkit GTK+ included integrated printing support based on CUPS in its version 2.10, released in 2006.
KDE |
1578_17 | The KDEPrint framework for KDE contains various GUI-tools that act as CUPS front-ends and allows the administration of classes, print queues and print jobs; it includes a printer wizard to assist with adding new printers amongst other features. KDEPrint first appeared in KDE 2.2.
KDEPrint supports several different printing platforms, with CUPS one of the best-supported. It replaced a previous version of printing support in KDE, qtcups and is backwards compatible with this module of KDE. kprinter, a dialogue-box program, serves as the main tool for sending jobs to the print device; it can also be started from the command line. KDEPrint includes a system to pre-filter any jobs before they are handed over to CUPS, or to handle jobs all on its own, such as converting files to PDF. These filters are described by a pair of Desktop/XML files.
KDEPrint's main components include: |
1578_18 | a Print Dialog box, which allows printer properties to be modified
a Print Manager, which allows management of printers, such as adding and removing printers, through an Add Printer Wizard
a Job Viewer/Manager, which manages printer jobs, such as hold/release, cancel and move to another printer
a CUPS configuration module (integrated into KDE)
Mac OS X
In Mac OS X 10.5, printers are configured in the Print & Fax panel in System Preferences, and in printer proxy applications which display the print queues and allow additional configuration after printers are set up. Earlier versions of Mac OS X also included a Printer Setup Utility, which supplied configuration options missing from earlier versions of the Print & Fax preference pane. |
1578_19 | PrinterSetup
The PrinterSetup system can manage CUPS queues. It takes the approach of assigning a text file to describe each print queue. These 'PrinterSetupFiles' may then be added to other text files called 'PrinterSetupLists'. This allows logical grouping of printers. the PrinterSetup project remains in its infancy.
Red Hat Linux/Fedora
Starting with Red Hat Linux 9, Red Hat provided an integrated print manager based on CUPS and integrated into GNOME. This allowed adding printers via a user interface similar to the one Microsoft Windows uses, where a new printer could be added using an add new printer wizard, along with changing default printer-properties in a window containing a list of installed printers. Jobs could also be started and stopped using a print manager and the printer could be paused using a context menu that pops up when the printer icon is right-clicked. |
1578_20 | Eric Raymond criticised this system in his piece The Luxury of Ignorance. Raymond had attempted to install CUPS using the Fedora Core 1 print manager but found it non-intuitive; he criticised the interface designers for not designing with the user's point-of-view in mind. He found the idea of printer queues was not obvious because users create queues on their local computer but these queues are actually created on the CUPS server.
He also found the plethora of queue type options confusing as he could choose from between networked CUPS (IPP), networked Unix (LPD), networked Windows (SMB), networked Novell (NCP) or networked JetDirect. He found the help file singularly unhelpful and largely irrelevant to a user's needs. Raymond used CUPS as a general topic to show that user interface design on Linux desktops needs rethinking and more careful design. He stated: |
1578_21 | The meta-problem here is that the configuration wizard does all the approved rituals (GUI with standardized clicky buttons, help popping up in a browser, etc. etc.) but doesn't have the central attribute these are supposed to achieve: discoverability. That is, the quality that every point in the interface has prompts and actions attached to it from which you can learn what to do next. Does your project have this quality?
ESP Print Pro
Easy Software Products, the original creators of CUPS, created a GUI, provided support for many printers and implemented a PostScript RIP. ESP Print Pro ran on Windows, UNIX and Linux, but is no longer available and support for this product ended on December 31, 2007.
See also
Foomatic
Gutenprint
HP Linux Imaging and Printing
Lp (Unix)
LPRng
Scanner Access Now Easy
Spooling
Xprint
References |
1578_22 | Further reading
Design of CUPS Filtering System — including the context for Mac OS X ("Jaguar"). LinuxPrinting.org. Retrieved January 5, 2005.
KDE. KDEPrint information. KDE-printing website. Retrieved January 14, 2005.
How to Manage Printers in Linux, Linux.com, 2015-04-27.
External links
OpenPrinting
Universal Plug and Play – Printer Device V 1.0 and Printer Basic Service V 1.0
1999 software
Apple Inc. acquisitions
Apple Inc. software
Computer printing
Device drivers
Free PDF software
Free software programmed in C
Unix network-related software
Software using the Apache license |
1579_0 | William Vincent Wallace (11 March 1812 – 12 October 1865) was an Irish composer and pianist. In his day, he was famous on three continents as a double virtuoso on violin and piano. Nowadays, he is mainly remembered as an opera composer of note, with key works such as Maritana (1845) and Lurline (1847/60), but he also wrote a large amount of piano music (including some virtuoso pieces) that was much in vogue in the 19th century. His more modest output of songs and ballads, equally wide-ranging in style and difficulty, was also popular in his day, some numbers being associated with famous singers of the time.
Early life |
1579_1 | Wallace was born at Colbeck Street, Waterford, Ireland. Both of his parents were Irish; his father, Spencer Wallace of County Mayo, one of four children, who was born in Killala, County Mayo in 1789, became a regimental bandmaster with the North Mayo Militia based in Ballina. William was born while the regiment was stationed for one year in Waterford, one of several successive postings in Ireland and the UK. The family returned to Ballina some four years later, in 1816, and William spent his formative years there, taking an active part in his father's band and already composing pieces by the age of nine for the band recitals. |
1579_2 | The band, having a reputation for high standards, apart from regimental duties would have featured at social events in big houses in the area. Under the tuition of his father and uncle, he wrote pieces for the bands and orchestras of his native area. Wallace became accomplished in playing various band instruments before the family left the Army in 1826 (their regiment then being the 29th Foot), moving from Waterford to Dublin, and becoming active in music in the capital.
Wallace learned to play several instruments as a boy, including the violin, clarinet, organ, and piano. In 1830, at the age of 18, he became organist of the Roman Catholic Cathedral at Thurles, County Tipperary, and taught music at the Ursuline Convent there. He fell in love with a pupil, Isabella Kelly, whose father consented to their marriage in 1832 on condition that Wallace become a Roman Catholic. The couple soon moved to Dublin, where Wallace was employed as a violinist at the Theatre Royal. |
1579_3 | Career and travels |
1579_4 | Economic conditions in Dublin having deteriorated after the Act of Union of 1800, the whole Wallace family decided to emigrate to Australia in 1835. Wallace, together with his wife Isabella and young son, Willy, travelled as free emigrants from Liverpool in July. His father, with his second wife Matilda and one child, travelled with the rest of the family, Elizabeth, a soprano, and Wellington, a flautist, as bounty emigrants from Cork that autumn. The composer's party first landed at Hobart, Tasmania in late October, where they stayed several months, and then moved on to Sydney in January 1836, where, following the arrival of the rest of the family in February, the Wallaces opened the first Australian music academy in April. Wallace had already given many celebrity concerts in Sydney, and, being the first virtuoso to visit the Colony, became known as the "Australian Paganini". His sister Elizabeth, at age 19, in 1839 married an Australian singer John Bushelle, with whom she gave many |
1579_5 | recitals before his early death in 1843 on a tour of van Diemen's Land. Wallace was also active in the business of importing pianos from London, but his main activity involved many recitals in and around Sydney under the patronage of the Governor, General Sir Richard Bourke. The most significant musical events of this period were two large oratorio concerts at St. Mary's (Roman Catholic) Cathedral in Sydney in 1836 and 1838, on behalf of the organ fund, which were directed by Wallace, and which utilized all the available musical talent of the Colony, including the recently formed Philharmonic [Choral] Society. |
1579_6 | In 1838, he separated from his wife, and began a roving career that took him around the globe. Wallace claimed that from Australia he went to New Zealand on a whaling-voyage in the South seas and while there encountered the Maori tribe Te Aupouri, and having crossed the Pacific, he visited Chile, Argentina, Peru, Jamaica, and Cuba, giving concerts in the large cities of those countries. In 1841, he conducted a season of Italian opera in Mexico City. Moving on to the United States, he stayed at New Orleans for some years, where he was feted as a virtuoso on violin and piano, before reaching New York, where he was equally celebrated, and published his first compositions (1843–44). |
1579_7 | He arrived in London in 1845 and made various appearances as a pianist. In November of that year, his opera Maritana was performed at Drury Lane with great success, and was later presented internationally, including Dublin (1846), Vienna, Austria (1848), and in Australia. Wallace's sister, Elisabeth, appeared at Covent Garden in the title role in 1848. Maritana was followed by Matilda of Hungary (1847), Lurline (1847/60), The Amber Witch (1861), Love's Triumph (1862) and The Desert Flower (1863) (based on the libretto of Halévy's Jaguarita l'Indienne). He also published numerous compositions for the piano. |
1579_8 | Vincent Wallace was a cultivated man and an accomplished musician, whose work as an operatic composer, at a period by no means encouraging to music in England, has a distinct historical value. Like Michael William Balfe, he was born an Irishman, and his reputation as one of the few composers known beyond the United Kingdom of Great Britain and Ireland at that time is naturally coupled with Balfe's.
Later life |
1579_9 | In 1854, Wallace became an American citizen after a (most likely common-law) marriage in New York with the German-born pianist Hélène Stoepel, sister of composer Robert Stoepel. In New York, in 1843–44, he had been associated with the early concert seasons of the New York Philharmonic Society, and in 1853 was elected an Honorary (Life) Member of the Society. In later years, having returned to Europe for the premieres of his later operas, he developed a heart condition, for which he received treatment in Paris in 1864. He died in poor circumstances at the Château de Bagen, Sauveterre de Comminges, in the Haute Garonne (the home of Hélène's sister, Marie-Therese, Baroness de Saintegeme), on 12 October 1865, leaving two widows, a son, Willy, from his first marriage who died in 1909, and two sons by Hélène, Clarence Sutherland and Vincent St. John, the latter of whom, faced with a terminal condition in the French hospital in San Francisco in 1897, committed suicide. Wallace was buried in |
1579_10 | Kensal Green Cemetery, London; the epitaph on his recently refurbished headstone (from 2007) now reads "Music is an art that knows no locality but heaven – Wm. V. Wallace". |
1579_11 | Selected compositions
Opera
Maritana, opera, 3 acts (London: Drury Lane, 15 November 1845) (publ. 1846)
Matilda [of Hungary] (Alfred Bunn), opera, 3 acts (London: Drury Lane, 22 February 1847) (publ. 1847)
Lurline (Edward Fitzball), opera, 3 acts (1847, completed 1860) (London: Covent Garden, 23 February 1860) (publ. 1859)
The Amber Witch (Henry Fothergill Chorley), opera, 4 acts (London: Her Majesty's, 28 February 1861) (publ. 1861)
Love's Triumph (James Robinson Planché), opera, 3 acts (London: Covent Garden, 3 November 1862) (publ. 1862)
The Desert Flower (Augustus Harris & Thomas J. Williams), opera, 3 acts (1862–63) (London: Covent Garden, 12 October 1863) (publ. 1864)
five further operas (or operettas) that were either not completed or not performed as follows: The Maid of Zurich, Gulnare, Olga, The King's Page, Estrella.
Orchestral music
Violin Concerto (Souvenir de New York) (1844)
Concertino for violin (1860) |
1579_12 | Songs for voice and piano
Echo's Song (Robert Stewart) (Sydney, c. 1836)
A Fireside Song (Henry Fothergill Chorley) (London, c. 1850)
Cradle Song (Alfred Tennyson) (New York, 1851)
The Flag of Our Union (George Pope Morris) (New York, 1851)
Alary's Celebrated Polka Aria (New York, 1852)
The Carrier Dove: A Lay of the Minstrel (George Pope Morris) (New York, 1852)
Annie Dear, Good Bye (Edward Fitzball) (New York, 1854) |
1579_13 | Album 1854, Respectfully Dedicated to the Ladies of the United States, New York: William Hall, 1854; see below for "Edition (with CD)". Contains: Joyful, Joyful Spring, canzonet (Henry C. Watson); It is the Happy Summer Time, canzonet (Watson); The Leaves are Turning Red, canzonet (Watson); The Spring and Summer Both are Past, canzonet (Watson); Say my Heart Can this be Love, ballad (Watson); Sisters of Mercy, trio (Edward Fitzball); Tis the Harp in the Air. Souvenir de Maritana, la romance favorite (piano solo); La Pluie d'or. Valse gracieuse (piano solo); The Village Festival. Schottisch (piano solo).
The Daughters of Eve (G. Hodder) (London, 1858)
The Bell Ringer (John Oxenford) (London, 1860)
The Coming of the Flowers (J. E. Carpenter) (London, 1860)
The Song of May (Wellington Guernsey) (London, 1864) |
1579_14 | Piano music
El Amistad. Valse (New York: Firth & Hall, 1844)
La Chilena. Waltz (New York: Firth & Pond, 1844)
La Petite polka de concert, Op. 13 (London: Cramer & Beale, 1847)
La Gondola. Souvenir de Venice, Op. 18 (New York: Firth, Hall & Pond, 1844)
Chant des pèlerins. Nocturne, Op. 19 (New York: Firth & Hall, 1844)
Trois Nocturnes, Op. 20 (New York: Firth & Hall, 1844; also London: Martin & Co., 1851)
Le Rêve. Romance, Op. 21 (New York: Firth & Hall, 1844)
The Midnight Waltz (New York: Firth & Pond, 1844)
La Mexicana. Waltz (New York: Firth, Hall & Pond, 1844)
Deux Romances, Op. 25. 1: Toujours; 2: À mon étoile (New York: Firth & Hall, 1844; also London: Martin & Co., 1851)
Chant d'amour. Romance, Op. 26 (Paris: Richault, 1845)
Grand valse de concert, Op. 27 (New York: Firth & Hall, 1845)
Grande fantaisie et variations sur La Cracovienne (Philadelphia, 1847)
Grande fantaisie sur des motifs de l'opéra Maritana, Op. 29 (Vienna, c.1848) |
1579_15 | Grande nocturne, Op. 32 (London, 1848)
Ange si pure, de Donizetti (London, 1848)
Romance, Op. 36 (London: Cramer, Beale & Co., 1847)
Au bord de la mer, Op. 37 (Vienna, 1848; also London: Chappell, 1849)
Angelina's Solitude (London, 1850)
The Blue Bells of Scotland, Op. 40 (London: Robert Cocks, 1847)
Alpine Melody (New York: William Hall, 1851)
Le Zéphyr. Nocturne, Op. 47 (Vienna, 1848; also London: Chappell, 1848)
1ère Grande polka de concert, Op. 48 (New York: William Hall, 1850; also Vienna: A. Diabelli, 1851)
The Evening Star Schottisch (New York: William Hall, 1852)
Mélodie irlandaise (= Come o'er the Sea), Op. 53 (New York: William Hall, 1850)
Les Cloches du monastère. Nocturne, Op. 54 (London, c.1851)
The Angler's Polka (New York: William Hall, 1854)
Woodland Sketches, Op. 57 (New York: William Hall, 1851). Contains: 1. Village Maidens' Song; 2. Music Murmurings in the Trees 24 Preludes and Scales, Op. 61 (New York: William Hall, 1855; also Leipzig, 1874) |
1579_16 | Midnight Chimes. Impromptu, Op. 62 (New York: William Hall, 1859)
Fantaisie brillante sur des motifs de l'opera La Traviata de Verdi, Op. 63 (London, 1857)
2ème Polka de Concert, Op. 68 (New York: William Hall, 1852)
Souvenir de Varsovie. Mazurka, Op. 69 (New York: William Hall, 1854; also Leipzig, 1874)
The Celebrated Witches' Dance Composed by Paganini, Op. 71 No. 3 (New York: William Hall, 1852; also Leipzig, c.1854)
3ème Grande Polka de concert, Op. 72 (New York: William Hall, 1854; also Leipzig, c.1854)
The Last Rose of Summer, Op. 74 (Hamburg: Schuberth & Co., 1856)
Souvenir de Naples. Barcarole, Op. 75 (New York: William Hall, 1854)
Six Études de Salon, Op. 77 (New York: William Hall, 1853). Contains: La Grâce; La Rapidité; La Force; Il Sostenuto; La Classique; Les Arpèges.
Ballade de Rigoletto, Op. 82 (New York: William Hall, 1855)
The Favorite Irish Melodies 'Coolun', 'Garry Owen', 'St. Patrick's Day (London: Robert Cocks, 1859) |
1579_17 | Recollections of Switzerland (London: Robert Cocks, 1859)
Air de ballet (London: Robert Cocks, 1864)
Air russe (London: Duff & Stewart, 1868)
Polka de concert (Glissando), Op. 91 (Leipzig, 1880) |
1579_18 | Edition (with CD)
Album 1854, Respectfully Dedicated to the Ladies of the United States, New York: William Hall, 1854; facsimile reprint ed. by Una Hunt with foreword by Richard Bonynge, music and CD notes by Peter Jaggard, and accompanying CD of all the pieces performed by Máire Flavin (mezzo), Royal Irish Academy of Music Vocal Trio, Una Hunt (piano); Dublin: Heritage Music Productions and RTÉ lyric fm, 2012. Direct link. |
1579_19 | Recordings
Opera recordings
Highlights from The Bohemian Girl, Maritana, The Lily of Killarney, featuring selections from operas by Michael Balfe, Wallace, and Julius Benedict respectively. Performed by Veronica Dunne (soprano), Uel Dean (tenor), Eric Hinds (baritone), unnanmed Orchestra, Havelock Nelson (cond.) on EMI/Odeon CSD 3651, LP (1968)
Classics on the Battlefield which features Serenade from "Maritana" (arranged by Gustavus W. Ingals) as well as music by Mozart, Meyerbeer, Schubert, Balfe, Haydn, Rossini, Graffula, von Weber, Bellini, Johann Crüger, Verdi, Mendelssohn, Donizetti and von Suppé. 1st Brigade Band, Dan Woopert (bandmaster). Making History Live Series, volume 11. Heritage Military Music Foundation, CD (1991) |
1579_20 | Maritana, performed by Majella Cullagh (soprano), Lynda Lee (mezzo), Paul Charles Clarke (tenor), Ian Caddy (baritone), Damien Smith (baritone), Quentin Hayes (bass), RTÉ Philharmonic Choir, RTÉ Concert Orchestra, Proinnsías Ó Duinn (cond.); on: Marco Polo 8.223406-7, CD (1996), re-issued on Naxos 8.660308-9, CD (2011).
The Power of Love (= selections from Maritana, Lurline, The Amber Witch, Love's Triumph), performed by Deborah Riedel (soprano), Australian Opera and Ballet Orchestra, Richard Bonynge (cond.), on: Melba 301082, CD (2000).
Lurline, performed by Sally Silver (soprano), Fiona Janes (mezzo), Bernadette Cullen (mezzo), Keith Lewis (tenor), Paul Ferris (tenor), David Soar (baritone), Donald Maxwell (baritone), Roderick Earle (bass), Victorian Opera and Orchestra, Richard Bonynge (cond.); Naxos 8.660293-4, CD (2010). |
1579_21 | British Opera Overtures, performed by Victorian Opera Orchestra, Richard Bonynge (cond.), on: Somm Célèste SOMMCD 0123, CD (2013). Contains overtures to Lurline, The Amber Witch, Love's Triumph; also overtures by Balfe, Barnett, Benedict, Goring Thomas, Loder, Macfarren. |
1579_22 | Other vocal recordings
Songs by William Vincent Wallace, performed by Sally Silver (soprano), Richard Bonynge (piano), on: Somm Célèste SOMMCD 0131, CD (2013). Contains: Why do I Weep for Thee?; The Gipsy Maid; Cradle Song; Go! Though Restless Wind; Happy Birdling of the Forest; Softly Ye Night Winds; The Star of Love; Orange Flowers; It is the Happy Summer Time; The Leaves are Turning Red; The Spring and Summer Both are Past; Wild Flowers; Good Night and Pleasant Dreams; The Winds that Waft my Sighs to Thee; Old Friends and Other Days; Alice; Over the Silvery Lake; Through the Pathless Forest Drear (from opera The Desert Flower); Bird of the Wild Wing; Seabirds Wing their Way. |
1579_23 | Piano recordings
The Meeting of the Waters. Celtic Piano, performed by Rosemary Tuck, on Cala United CACD 88042, CD (2002). Contains: The Minstrel Boy & Rory O'More; The Bard's Legacy; Coolun & Gary Owen & St. Patrick's Day; The Meeting of the Waters & Eveleen's Bower; Mélodie Irlandaise; Annie Laurie; Roslin Castle & A Highland Lad My Love was Born; Homage to Burns: Impromptu on 'Somebody' and 'O, For Ane and Twenty Tam'''; The Keel Row; Ye Banks and Braes; Charlie is My Darling & The Campbells are Coming; My Love is Like a Red, Red Rose & Come O'er the Stream, Charlie; Comin' thro' the Rye; The Last Rose of Summer; Kate Kearney & Tow, Row, Row; Robin Adair; Auld Lang Syne & The Highland Laddie. |
1579_24 | To My Star. Celtic Romance, performed by Rosemary Tuck, on: Cala Records CACD 88044, CD (2005). Contains: La Louisiana; Music Murmerings in the Trees; Mazurka-Étude; L'Absence et le retour; To My Star (À mon etoile); La Rapidité; La Force; A Flower of Poland (Une fleur de Pologne); Nocturne dramatique; The Empress (L'Imperatrice); The Shepherd's Lament (La Plainté du berger); Souvenir of Spain (El nuevo jaleo de Jerez); The Bee and the Rose; Valse militaire; La Cracovienne. |
1579_25 | Opera Fantasies and Paraphrases, performed by Rosemary Tuck, partially with Richard Bonynge (pianos), on: Naxos 8.572774, CD (2011). Contains: Fantaisie brillante sur des motifs de l'opéra La traviata de Verdi; Souvenir de Bellini. Fantaisie de salon sur l'opéra La sonnambula; Souvenir de l'opéra. Fantaisie de salon sur l'opéra Lucia di Lammermoor; Nabucco de Verdi: Va pensiero; Variations brillantes pour le piano à quatre mains sur la Barcarolle de l'opéra L'Elisir d'amore de Donizetti; Rigoletto de Verdi. Quatuor: Bella figlia dell'amore; The Night Winds. Nocturne for piano from Wallace's Lurline; Fantaisie de salon sur des thèmes de l'opéra Don Pasquale; Grande fantaisie sur de thèmes de l'opéra Maritana; Grande duo pour deux pianos sur l'opéra d'Halévy L'Éclair. |
1579_26 | Celtic Fantasies, performed by Rosemary Tuck, partially with Richard Bonynge (pianos), on: Naxos 8.572775, CD (2012). Contains: The Yellow-Hair'd Lassie & Whistle and I Come to you, my Lad; Brilliant Fantasia on My Nanny O! & My Ain Kind Dearie & Bonnie Dundee; The Gloomy Night is Gathering Fast & The Lass o' Gowrie; Go Where the Glory Waits Thee & Love's Young Dream; When Ye Gang Awa' Jamie; The Harp that Once Through Tara's Halls & Fly Not Yet; Desmond's Song; Believe Me if All those Endearing Young Charms & An Irish Melody; The Blue Bells of Scotland; Fantaisie Brillante de Salon pour Piano sur des Melodies Ecossaises Roy's Wife and We're a'Noddin'; John Anderson My Jo & Thou Hast Left Me forever, Jamie; The Weary Pund o' Tow & There's Nae Luck about this House; Flow on, thou Shining River & Nora Creina; Maggie Lauder; Rondino on the Scotch Melody Bonnie Prince Charlie; Kinloch of Kinloch & I'm O'er Young to Marry Yet; Scots Wha Hae; Home Sweet Home. Ballade; Ye Banks and Braes; |
1579_27 | Auld Robin Gray & The Boatie Rows. |
1579_28 | Chopinesque, performed by Rosemary Tuck, partially with Richard Bonynge (pianos), partly with Tait Chamber Orchestra, on: Naxos 8.572776, CD (2012). Contains: Polonaise de Wilna; Nocturne mélodique; La Sympathie. Valse; Le Zéphir. Nocturne; Souvenir de Cracovie. Mazourka; Woodland Murmurs. Nocturne; Le Chant des oiseaux. Nocturne; Valse brillante; Au bord de la mer. Nocturne; Varsovie. Mazourka; Three Nocturnes, Op. 20 No. 1; Souvenir de Naples. Barcarolle; La Brunette. Valse brillante de salon; Innocence. Romance; Victoire. Mazourka; La Grace. Nocturne; Grande fantaisie La Cracovienne (orchestrated). |
1579_29 | Bibliography
Arthur Pougin: William Vincent Wallace. Étude biographique et critique (Paris: A. Ikelmer et Cie., 1866).
W.H. Grattan Flood: William Vincent Wallace. A Memoir (Waterford: Waterford News, 1912).
Robert Phelan: William Vincent Wallace. A Vagabond Composer (Waterford: Celtic Publications, 1994), .
David Grant: "A Reappraisal of W. Vincent Wallace with new Documentary Information on his Death", in: British Music 25 (2003), p. 60–79.
David Grant: "Wallace, (William) Vincent", in: Dictionary of Irish Biography, ed. James McGuire and James Quinn (Cambridge: Cambridge University Press, 2009), vol 9, p. 716-718.
Andrew Lamb: William Vincent Wallace. Composer, Virtuoso and Adventurer (West Byfleet, Surrey: Fullers Wood Press, 2012), .
Jeremy Dibble: "Wallace, (William) Vincent", in: The Encyclopaedia of Music in Ireland, ed. by Harry White and Barra Boydell (Dublin: UCD Press, 2013), p. 1039–1040.
Notes
References |
1579_30 | External links
Wallace, William Vincent (1812–1865) at the Australian Dictionary of Biography''
Information about Wallace and Maritana
Sheet music for "Softly ye night winds", Macon, GA: John W. Burke, from the Confederate Imprints Sheet Music Collection
1812 births
1865 deaths
19th-century classical composers
19th-century male musicians
19th-century Irish people
Burials at Kensal Green Cemetery
Composers for piano
Irish classical composers
Irish opera composers
Male opera composers
Musicians from County Waterford
People from Waterford (city)
Romantic composers |
1580_0 | Nockherberg is the name of a small terrace on the slope of the eastern bank of the Isar in Munich, situated in the urban district of Au. An annual beer festival rich in tradition takes place there in the Paulaner Brewery - the Salvator-Ausschank auf dem Nockherberg The name of the raised terrace is often used synonymously for this festival or its opening event, the tapping of the first barrel of a strong, seasonal beer (Starkbieranstich).
Origin and location
The name of the Nockherberg and two nearby streets can be traced back to the banking family Nockher. The family had settled in Munich in the 18th century and built a summer house on the eastern Isar heights in 1789, the so-called ‘Nockher palace’. It was located on the street known today as 'Am Nockherberg'. |
1580_1 | The Nockherberg terrace is situated in the district of Au-Haidhausen. From the Nockherberg, (approx 535 m above sea level), the terrain descends north-west towards the Isar for approximately 20 metres. Below the hill, the street ‘Am Neudeck’ with the former prison is located. To the north is the Mariahilfplatz and in a south-westerly direction the old Paulaner breweries.
From Neudeck, the road ‘Am Nockherberg’, formerly named Ohlmüller Street, snakes up the mountainside and merges into Sankt Bonifatius Street at the top. The new brewery buildings between Reger Street in the east and Hoch Street in the west form the north-eastern part of the Nockherberg, with a rail connection to München Ost station. Hoch Street forks off Nockerberg street near the top and joins it again via the small ‘Zacherlweg’. |
1580_2 | Across the street ‘Am Nockherberg’ from the new brewery area there is an urban park named 'Kronepark', which is situated on the south-western part of the hill and includes a playground. 'Kronepark' was built in 1958 on land owned by the former circus director and his widow Ida Krone, who died in 1957. Several flights of steps lead down to Nockher Street, formerly ‘Bei den Jägerhäusln’, where the road proceeds westwards below the park. A social science research centre, the (German Youth Institute) stands here. Columbus Square is situated at the south-western end of Nocker Street.
The strong beer festival
The strong beer festival takes place annually during Lent in the Paulaner main hall at Hoch Street 77. It starts around St Joseph's Day (19 March) and lasts for 17 days. The festival is associated with the traditional ‘Holy Father Feast’ on April 2, commemorating Francis of Paola, founder of the Paulaner religious order. |
1580_3 | With its ale-benches, light music and huge crowd of visitors, today's Salvator-Ausschank resembles the pole marquees at the Munich Oktoberfest. On the Nockherberg, beer is not served in usual beer glasses, but in , tankards made of robust earthenware. The sturdy tankards keep the beer cool longer and also make ‘undemonstrative’ refilling possible.
History |
1580_4 | Serving strong beer at Lent can be traced back to a regulation from the religious order of the Paulaner (Minims] monastery in Neudeck ob der Au. The Paulaner monks have brewed beer in the monastery for their own consumption at least since 1634. Their nutrition was, on principle, very modest, even more so during Lent, and therefore they were permitted to brew a stronger version of their ‘liquid bread’ during this time of fasting. This strong beer, that has been brewed every year in spring since 1651, was named the ‘Holy Father Beer’ in honour of the founder of the order; later it was given the name Salvator beer. The monks later sold Salvator beer also to the public – mainly to supply the poor rural population with a nourishing drink during Lent, but also to supplement the monastery's income. |
1580_5 | In the 18th century the Bavarian elector was habitually invited to the annual tapping of the first keg of strong beer on April 2 and he was served the first mug of beer. In a mandate dated 31 March 1751, elector Maximilian III. Joseph explicitly permitted the public serving of beer on the feast day of Francis of Paola. On 26 February 1780, Karl Theodor, elector of Bavaria since 1777, permitted the Paulaner monks to serve beer to the public year-round. The ‘Holy Father Feast’ of 1799, at which the whole court of elector Maximilian IV. Joseph participated, was the city's largest Volksfest up to that date. However, that same year the monastery of Neudeck was disbanded. The brewery located opposite the monastery was expropriated in the course of secularisation and initially sold to the Sovereign Military Order of Malta in 1803. |
1580_6 | In 1806, master brewer (1772–1849) took a lease on the Paulaner brewery and eventually purchased it in 1813, whereby the brewery became an ordinary commercial undertaking. 'Zacherlweg' at the Nockherberg is a street named after him. Zacherl continued the tradition of annual strong-beer tapping on 2 April and the festive sale of beer (Ausschank) in the following Octave (eight days). Towards the middle of the 19th century, the first tapping shifted to March and the strong beer time was extended. In 1861, the Salvator-Ausschank started the Sunday before St. Joseph's Day and lasted for 12 days. Starting in 1858, the brewery arranged for performances by Gstanzl singers and popular folk actors () to increase business. During the tapping in 1891, the first "Salvator speech" was held. After an interruption from 1939 to 1950 due to World War II, the strong beer festival reappeared in its present form, during which individual politicians were made fun of in clever speeches; the German term |
1580_7 | for being subjected to this kind of friendly insult is derbleckt. |
1580_8 | The 'Salvator Battle' of 1888 |
1580_9 | The only violent event in the history of the town festival occurred on 23 May 1888, when a trivial quarrel turned into a mass brawl between soldiers and civilians. When an artillerist drew his sabre, a fight broke out in which walking-sticks and beer mugs were also put to good use, causing a relatively large number of injuries. The fight spread throughout the hall and into the garden. Neither the gendarmes nor the jail guard from Neudeck could control the mob, so a 50-man unit of Heavy Cavalry was called, who rode into the hall swinging their sabres. When the conflict broke out there had been only one gendarmerie sergeant on duty at the Nockherberg. In a later investigation this was considered the reason for the inability to control the escalation. It was also claimed that irritation caused by an increase in the price of Salvator beer was the underlying reason for the wrath of the festival guests. The 'scandal year' 1888 remained a topic of conversation in Munich for many years. |
1580_10 | Venue
The Salvator-Ausschank did not originally take place on the Nockherberg but in the old brewery at Neudeck, on the corner of Falken Street and Ohlmüller Street. In 1822, the Zacherlgarten inn was constructed on the grounds of the Paulaner garden to facilitate year-round drinking of Lent beer; it existed until 2008. From 1846 until 1860, beer was tapped in the so-called Neudecker Garden on a field nearby. In 1858, banker Georg Nockher sold his summer residence on the Nockherberg to the Paulaner brewery (called "Zacherlbräu" at that time), and it was turned into a beer garden. Starting in spring 1861, beer was served only here in the new Zacherl-Keller, renamed the Salvator-Keller in 1928. The inn Zum Nockhergarten, the former Nockher palace (Nockherschlösschen), was razed in 1903/1904. |
1580_11 | During World War II the brewery gallery with its massive arches was used as the command post of Munich's air-raid defence headquarters. Part of the building was also made available to the public as a shelter. The cellar was completely destroyed during a bombing raid on 24 April 1944. The new Salvator-Keller, designed by professor Franz Zell, reopened on 11 March 1950. |
1580_12 | On 28 August 1965, the extreme right-wing NPD held its first federal party conference in the Salvator-Keller. In the night of 27 to 28 November 1999, the cellar, now called Paulaner-Keller, was almost entirely destroyed by arson. Firefighting operations with 89 fire engines lasted for two days. The resulting damage amounted to approximately 15 million euros. In spite of intensive efforts, the offender has so far not been identified amongst 650 suspects. In March 2004, 39-year-old Karl R., known as the "step-brother" of Nockherberg publican Peter Pongratz and relative of the Fischer-Vroni family, was remanded in custody as a suspect in the crime. However, he was released after a few months for lack of evidence. |
1580_13 | In the years 2000 to 2002, the Salvator-Ausschank took place in a specially-built tent on the Mariahilfplatz below the Nockherberg. The Paulaner-Keller was torn down in 2001 and in 2003 replaced by a newly constructed above-ground Paulaner festive hall, which offers room for up to 2500 customers. The reconstruction cost around 25 million euros. One of the rooms in the vaulted cellar of the new inn Paulaner am Nockherberg is now once again called the Salvatorkeller. The fountain, famous from television advertising, is located in the beer garden, which has again been accessible since 2003. |
1580_14 | Political kick-off: sampling the strong beer
The kick-off event of the annual Salvator-Ausschank is the tasting of the first strong beer of the "fifth season", attended by many regional and federal Bavarian politicians. Due to Bavarian Television broadcasts since 1982, the tapping of the strong beer keg on the Nockherberg and the subsequent program can be viewed by a wide audience. The television broadcast in 2004 had approximately 2.8 million viewers. In 2015, the live-broadcast was followed by 2.8 million viewers Germany-wide, of which 2.05 million were Bavarian viewers. |
1580_15 | The event begins with an actual beer tasting. The first Maß, which was originally presented to the prince-elector, has been handed to the Bavarian minister-president since 1965. The head of the brewery passes him the mug with the traditional words: Salve pater patriae! Bibas, princeps optime! (lat. "Be welcome, father of the fatherland! Drink, best prince!"). However, the present "father of the nation" is not expected to carry out the traditional Salvator test, which would not function anyway because the recipe has been modified; originally, Lenten beer was considered to be strong enough only if a bench drenched with the beer would adhere to a person's Lederhosen when he attempted to stand up. |
1580_16 | The highlight of the event is the of politicians, a political cabaret in front of invited guests, consisting of a speech followed by a Singspiel. In both contributions current Munich issues as well as sharp commentaries on regional and federal politics are presented in cleverly worded ironic statements and more or less heavy sideswipes aimed at politicians of all parties. For a Bavarian politician, not being "derbleckt", meaning not being taken for a ride in the festive contributions, can almost be interpreted as a sign of one's irrelevance or lack of a distinctive personality.
In 1991, the Nockerberg beer festival was cancelled due to the Gulf War, and in 2003 due to the Iraq War. In 2009 the event was scheduled for 12 March but postponed to the end of the Salvator-Ausschank period on 2 April because of the Winnenden school shooting.
Tradition of Derblecken |
1580_17 | (Bavarian for 'making fun of someone') can be traced back to the tradition of an innkeeper greeting his guests. In former times he was apt to know all the villagers by name and was quite familiar with all the local stories and rumours. Regular guests were frequently teased with those stories by humorous and self-confident innkeepers. For events where the guests were to be welcomed in a similar way, rhetorically less talented innkeepers or hosts ordered professional or Gstanzl singers who informed themselves about the guests' peculiarities and sensitivities beforehand. The victims of mockery were expected to take it with good grace, since any offense taken would give rise to even greater public amusement. |
1580_18 | This tradition is still cultivated today. Since the 'victims' are invited guests, overly rude or insulting criticism, which would reflect on the host (or the brewery itself) is prohibited. Consequently, the authors of the festive contributions strive to put forth particularly critical 'attacks' indirectly, with clever wording, or with a wink.
Commemorative speech
The first Salvator speaker was humourist Jakob Geist in 1891. In 1922 he was followed by actor Weiß Ferdl, master of ceremonies Adolf Gondrell, Gstanzl singer Roider Jackl and radio host Emil Vierlinger, who organised the radio broadcasting of the Derblecken on the Nockherberg after World War II. After his serious illness in the 1970s, Michl Lang, Klaus Havenstein, Franz Schönhuber, Ernst Maria Lang, and finally the actor and Paulaner spokesperson Walter Sedlmayr (1982–1990) took over. |
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