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"Melodies of Different Nations": Anthologies of International "National Airs" in Britain 1800-1830 - Pt. 2
Go back to Part 1
As we have seen Mr. Thomson from Edinburgh didn't manage to compile a collection of international airs. I don't doubt that this would have been an interesting publication, especially with Beethoven writing the arrangements. But Thomas Moore, at that time the most popular modern songwriter, took the chance and once again he struck gold:
A Selection of Popular National Airs with Symphonies and Accompaniments by Sir John Stevenson MusDoc; [Henry R. Bishop]. The Words by Thomas Moore, Esq., 6 Volumes, J. Power, London, 1818-1828 (first 3 Vols. digitized by BStB: 4 Mus.pr. 35243-(1-3) [click on Einzelbände]; also available at Google Books: Vol. 1, Vol. 2, Vol. 3; at the Internet Archive; otherwise see a later complete ed.: Charles W. Glover (ed.), National Airs, with Words by Thomas Moore, Longman, Green, Longman & Roberts, London 1860, available at the Internet Archive)
I don't know if this was his own idea or his publisher's but he managed to bring out the best and most successful collection of this kind. Once again Sir John John Stevenson wrote the arrangements. In the preface - the "Advertisement" - to the first volume Moore wrote about "the abundance of wild, indigenous airs, which almost every country, except England, possesses" and praised his work with a humbleness that could only grow out of great self-confidence:
"The lovers of this simple, but interesting, kind of music are here presented with the First Number of a collection, which, I trust, their contributions will enable us to continue. A pretty air without words resembles one of those half creatures of Plato, which are described as wandering in search of the remainder of themselves through the world. To supply this other half, by uniting with congenial words the many fugitive melodies, which have hitherto had none, or only such as are unintelligible to the generality of their hearers, is the object and ambition of the present work [...] As the music is not my own, and the words are little more than unpretending interpreters if the sentiment of each air, it will not be thought presumption in me to say, that I consider it one of the simplest and prettiest collections of songs to which I have ever set my name" .
The critics did agree:
"This is a truly elegant little book in every sense; and we know not when we have been so gratified by music and words of such a kind [...] The author of the poetry has here given us one clue to his fertility in the production of words which speak so deliciously to the heart, and too often so voluptuously to the sense, while they are in the finest accordance with the melodies [...]" (Quarterly Musical Magazine and Review 1, 1818, pp. 225-9).
A writer for the Gentleman's Magazine (90 I, 1820, pp. 521-2) declared that this was "one of the most pleasing collections of the kind we ever recollect to have met with" and praised "the delightful poetry" as "some of the most highly polished specimens of the art of Songwriting we know in the English language". This volume included tunes said to be from from, for example, India, Spain, Portugal, Scotland, Hungary and some of the songs became very popular, especially "Oft in the stilly night", "Flow on, thou shining river", "Those Evening Bells" and of course "Hark! the Vesper Hymn is stealing". Interestingly the reviewer in the Quarterly Musical Magazine (p. 228) noted that the tune of the latter - according to Moore a "Russian air" - sounded suspiciously similar to a song published about a decade earlier, "Hark to Philomela singing" by one William Knyvett (c. 1807).
This means that we should not always take for granted what Moore claimed about all these tunes' origins. But this is a general problem with these collections, not only Moore's but also the others that were published after him. The sources of the melodies are difficult to find and often enough one gets the impression that the musical input of the songwriters and arrangers was somewhat bigger than it should have been. But we should not forget that these were first and foremost collections of popular songs and not scholarly compilations like - for example - Mr. Crotch's Specimens.
Moore published five more volumes of this series until 1828, now with composer Henry Rowley Bishop as the arranger. The second book also got favorable reviews (see The Quarterly Musical Magazine and Review 2, 1820, pp. 233-41) but in the end he apparently ran out of steam. Volume 6 was not received kindly by the reviewer of The Harmonicon (1828, p. 62):
"The sixth number [...] shows such decided symptoms of exhausted materials, that we should advise that it be the last. Among the many pieces which the volume contains [...] we have not been able to discover a single page, not even a line, that has the remotest chance of resting in memory [...]"
In fact this was the last number. But nonetheless the Popular National Airs remained the most successful example of this particular genre of song collections. They were known even in Germany. Friedrich Silcher in Tübingen plundered Moore's work for his own Ausländische Volksmelodien (4 Vols., 1835-41, see this text in my blog), the most popular German collection of foreign "Volkslieder". His versions of some of Moore's songs, especially "Hark! the Versper Hymn is stealing" and - from Vol. 4 - "Here sleeps the bard" are known and performed until today.
Melodies of Various Nations. With Symphonies and Accompaniments by Henry R. Bishop [Sir John Stevenson]. The Words by Thomas H. Bayly, Esq., Author of Rough Sketches of Bath, 4 Vols, Goulding, D'Almaine & Potter, London, n. d. [1821-1830]
(available at Nanki Music Library)
Publishers Goulding, D'Almaine & Potter were obviously great fans of the Popular National Airs. Therefore they started a series that can only be called a shameless copy, or in the words of one reviewer, "one of the imitations to which Mr. Moore's genius and writings have given rise" (Quarterly Musical Magazine and Review 4, 1822, p. 74). They even hired the same arrangers, Bishop for Vols. 1, 3 & 4 and Stevenson for Vol. 2. Thomas H. Bayly wrote the new lyrics. Later he would become a successful and popular songwriter but here he was still at the start of his career.
The first volume included included 12 songs with tunes said to be from all kinds of different countries, like Portugal, France, Tyrol, Italy and others. But I would not be too sure about that. The melody of "To the home of my childhood" (p. 68) - a precursor of "Home, Sweet Home" - is described as "Sicilian". But it appears that it was most likely derived from a song by German composer J. A. P. Schulz (see Underwood 1977). The reviewer of the Quarterly Musical Magazine was very disappointed with this volume:
"The numbers of national airs by Mr. M. are amongst the most beautiful and elegant specimens of the combined music and poetry of our time. Mr. Bayley's [sic!], alas! are amongst the least poetical in point of versifications, while there is scarcely an air that is worth preservation, and still more unfortunately, the best are rendered useless by the vapid or ridiculous turn of the words to which they are set".
But perhaps it was not that bad. Three more volumes followed and at least one song became a great hit: "Oh No We Never Mention Her" (Vol. 3, No. 11). This song was also published as sheet music (see Google Books, with a wrong date). Interestingly Bishop and Bayly worked on another project for the same publisher where they also used foreign tunes. This was a series of four booklets with songs about the seasons:
Songs for Spring Mornings/Songs for Summer Days/Songs for Autumn Evenings/Songs for Winter Nights. The Poetry by Thomas H. Bayly; The Symphonies and Accompaniments Composed and the Whole Adapted and Arranged by Henry R. Bishop, Goulding & D'Almaine, London, n. d. [1827-28]
(not yet digitized; see the catalog of the Gaylord Music Library, Washington: 1, 2, 3, 4)
The volume with spring songs includes melodies described as "French", "German", "Portuguese" and even "Burmese". The reviews were mostly favourable (see Quarterly Musical Magazine and Review 9, 1827, pp. 243-4; The Harmonicon, 6, 1828, p. 62 & pp. 201-2). But these booklets are very rare and only a few copies have survived.
Foreign Melodies. The Words by H. S. van Dyk, the Symphonies and Accompaniments by T. A. Rawlings, Goulding, D'Almaine & Co, London, n. d. [1825]
(not yet digitized; apparently only 2 copies have survived, one of them at the British Library, see Copac)
Songs of the Minstrels. The Poetry by H. S. van Dijk. The Music composed by John Barnett, Mayhew & Co., London, n. d. [1828]
(not yet digitized; see the ad in The Harmonicon 6, September 1828; there are a few extant copies, one in the BL, others in American libraries)
Harry Stoe van Dijk (1798-1828, see Annual Biography 13, 1829, pp. 173-186), a young poet and writer, was during his short life involved in two projects of this kind, or better, two more attempts to step into Mr. Moore's shoes. The Foreign Melodies with composer Thomas Rawlings were kindly received by the critics (see Harmonicon, 3, 1825, p. 205) and it seems that they have used at least some original melodies:
"The choice of the airs generally speaking is satisfactory, although a considerable number will be recognised by most persons familiar with foreign musical productions, and not a few have ere been issued in some shape or other from the press of this country" (Repository of Arts, Literature, Fashions 6, 1825, pp. 55)
For Songs of the Minstrels he worked with young composer John Barnett who wrote all the tunes himself. In fact he is explicitly named as the writer of the music.
The reviewer in The Harmonicon (6, 1828, pp. 135-6) seems to have been somewhat tired of this kind of song collections. He was not particularly impressed by van Dijk's poetry and also wondered about "imitations of well known national melodies of those various countries". But he clearly saw the problems of this particular genre and why it was still so popular:
"This [...] leads to the question, why Mr. Barnett, who has talent for invention, did not rather trust to his own means of original creation, than expend his strength in making musical paraphrases; more particular as the public are, and have been, for some time past, fairly surfeited by by real as well as factitious national airs, coming from, or pretending to come from, all quarters of the globe? - But he will, perhaps, deny our postulate, and affirm that there is yet an abundance of appetite left for anything of foreign growth, or foreign in manner [...] and that he who would succeed with the fashionable world, especially as a composer, must either have, or affect to have, a well-bred contempt for all that has not something exotic in its form or substance".
So it seems there was still enough left of Mr. Moore's cake and these kind of compilations of international airs with English words were apparently a lucrative undertaking. The same year another expert for Scottish and Irish airs tried his hand at foreign tunes:
R. A. Smith, Select Melodies, with appropriate Words, Chiefly Original, Collected and Arranged with Symphonies and Accompaniments for the Pianoforte, Purdie, Edinburgh, 1828
(available at the Internet Archive)
Robert Archibald Smith (1780-1829, see McAulay 2009, pp. 138-152) from Edinburgh had already produced the Scotish Minstrel in 6 Volumes (1821-24, available at the Internet Archive) and the Irish Minstrel in one volume (1825, at the Internet Archive). In these books he had recycled many of the tunes already published by Thomson, Moore and others, often with new poetry, for example by James Hogg, and in easier arrangements. These collections were also cheaper than the original editions. Not without reason Moore's publisher Power accused him of plagiarism and the first edition of the Irish Minstrel had to be taken off the market (see Hughes 2002).
The "chiefly original" Select Melodies - including the "Best Melody, of the Nile" which he had received from "a Gentleman who noted it in the spot when in Egypt" (pp. 36-7) - were published together with new editions of both the Scotish Minstrel and the Irish Minstrel (see the review in The Harmonicon 6, pp. 104-5) and were also reviewed favorably (see dto., pp. 105-6):
"This is a miscellaneous collection of melodies, for which more than half of the countries of the globe have been laid under contribution: England, Scotland, Ireland, Wales, Germany, Italy, Switzerland, Russia, Greece, Hindoostan, &c., &c., have all furnished airs; while Ms. Hemans, Messrs. Hogg, Kennedy, Weir, Riddell, Motherwell, Rogers, and Lawrence Anderson, have supplied verse [...] Many of the airs are well known, a few are already very popular. The poetry written to them is all respectable, and some of the verses are far above mediocrity. These are applied to the notes in a careful, sensible manner [...]".
All the collections listed here seem to have been the major works in this field. But there was much more. Looking through advertisements, reviews in the contemporary press and library catalogs one gets the impressions that foreign national airs - real one or imitations, often enough it was difficult to distinguish - were ubiquitous at that time. Many smaller publications - sheet music and inexpensive booklets of tunes or songs - covered the same field.
For example circa 1820 Italian guitar virtuoso Charles Michael Sola - who lived and worked in England since 1817 - put together a little collection with the title Six Ballads, Adapted to Favorite National Melodies with an Accompaniment for the Spanish Guitar (see Copac). Here he simply took tunes from Italy, Germany and Ireland as well as those of "Last Rose of Summer" and "Auld Lang Syne" and published them with new lyrics. In 1827 - to name only one more relevant title - one Samuel Poole brought out Le Plaisir Pour Les Jeunes, consisting of twelve National Airs with - I assume - simple arrangements for the piano (title from catalog SUB Hamburg, M B/4530).
In fact especially beginners were regularly treated with this kind of music, as is shown by an advertisement for some books for pianists and flutists in April 1830 in The Harmonicon (at Google Books). At this point international airs of all kinds - no matter if original or imitations - had become an important part of the musical repertoire. The publishers still saw them as a worthwhile endeavor and the customers were still buying them, either as new popular songs or in instrumental versions.
Gillian Hughes, 'Irish Melodies and Scottish Minstrel', in: Studies in Hogg and his World, 13, 2002, pp. 36 – 45
Karen E. McAulay, Our Ancient National Airs. Scottish Song Collecting c. 1760 - 1888, PH. D. thesis, University of Glasgow, 2009 (online available at http://theses.gla.ac.uk/1242/; a revised and extended edition was published by Ashgate with the title: Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era, Farnham 2013, see Google Books)
Byron Edward Underwood, The German Prototype of the Melody of "Home! Sweet Home!", in: Jahrbuch für Volksliedforschung 22, 1977, pp. 36-48
See also my article about collections of foreign "national airs" in Germany:
"Ausländische Volkslieder" in 19th-Century Germany - Some Important Collections 1829-1853
Part 1 & Part 2
Labels: Music History, national airs, Thomas Moore
The years from the late 1780s until 1830 may have been something like the "golden era" of the national air. A great number of relevant collections of songs and tunes appeared in Britain: first and foremost of course books of Scottish, Irish and Welsh songs and tunes. But besides these there were also collections of foreign national airs, for example from Germany, Denmark or Russia (see The Russian Troubadour, Or a Collection of Ukrainian, and Other National Melodies, 1816, at the Internet Archive) Even more exotic tunes from far away places were made available, for example from China - like Karl Kambra's Two Original Chinese Songs, c. 1796 (at Harvard UL) - and India, - like Charles Horn's Indian Melodies (c. 1813).
In fact there was no shortage of foreign and exotic tunes - or what was regarded as such - and it was only natural to compile and publish anthologies including national airs from all kinds of different countries, either only melodies or complete songs with new English poetry. The idea of comparative anthologies of "national" music was of course not new. Already in 1730 - only a few years after the "invention" of this new genre in Scotland and the appearance of the first relevant tune collections there and in Ireland - the London printer and publisher Daniel Wright put together a little booklet with the title Aria di Camera, a "Choice Collection of Scotch, Irish & Welsh Airs for the Violin and German Flute" (see IMCO).
More exotic surveys were first made available in French musicological works. Rousseau's Dictionnaire de Musique (1768) included a page with assorted tunes from China, Canada, Switzerland and Persia and Laborde's Essai Sur La Musique Ancienne Et Moderne (1780) offered not only a fascinating collection of songs from Scandinavia (Bk 4, pp. 397-418) but also melodies from China, Ireland and Russia (pp. 174-7).
But it was Italian musician Domenico Corri (1748-1825) who put together the first truly multicultural anthology of "national songs" published in Britain. He had just come to Scotland in the early 1780s and his first big project was a Select Collection of the Most Admired Songs, Duetts &c. from Operas in the highest esteem and from other works in Italian, English, French, Scotch & Irish in three volumes (Edinburgh, c. 1783-4). The first book included the standard repertoire of Italian songs, mostly from operas, by popular composers (available at the Internet Archive & Google Books). The second one offered "English Songs" by Arne, Hook and others while the third (both only available behind closed doors at ECCO) consisted "of National Airs, Notturni, Duetts, Terzetts, Canzonets, Rondos, Catches, & Glees. In the Italian, French, English, Scotch and Irish Languages". Besides the most popular Scottish and Irish songs - some even in Gaelic - he added French airs, Venetian and Neapolitan ballads and even an Persian song. In fact this volume was at that time the most impressive collection of international "national airs" available in Britain.
Meanwhile in Germany Johann Gottfried Herder had published his Volkslieder (1778/9), an immensely influential anthology of "national songs". Of course he only included the words but no tunes. Nonetheless this collection would inspire numerous musicians and the first was the legendary Abbé Vogler whose Polymelos ou Caractères de Musique de differentes Nations - with 6 tunes - came out in 1791 (available at BLB Karlsruhe, DonMusDr 272). Vogler had been in London the year before and he was apparently inspired by multicultural musical atmosphere there. In fact he started this project in earnest after his return to Germany and some of the tunes he had surely learned in London, for example the Scottish one as well as a Chinese melody that he then regularly performed in his concerts and later included in a second version of his Polymelos in 1806 (for more about Vogler see this text in my blog) .
The real history of comparative collections of international national airs in England only started with the groundbreaking publications of Welsh harper Edward Jones. Most important were the Lyric Airs: consisting of Specimens of Greek, Albanian, Walachian, Turkish, Arabian, Persian, Chinese, and Moorish National Songs and Melodies in 1805 (available at the Internet Archive). In the title he also claimed that this was the "first selection of the kind ever yet offered to the public". It seems he didn't know Vogler's little collection. Jones himself would publish more works of this kind during the next 15 years (see the previous blogpost) but also other publishers and musicians followed suit. Here are short introductions to what I regard as the most important publications of this kind between 1808 and 1830.
William Crotch, Specimens of Various Styles of Music referred to in A Course of Lectures, read at Oxford & London and Adapted to keyed Instruments, Vol. 1, London, n. d. [1808]
Crotch (1775-1847), composer, organist and scholar, offered here a fascinating collection of national tunes from around the world. Of course there was the usual amount of Irish, Scottish, Welsh and "old English" melodies but he also included tunes from European countries like Germany, Italy, France, Norway as well more exotic ones, for example from China, India and America. This book is the closest to a documentation of what was known at that time.
Mr. Crotch clearly knew all relevant literature, both from Britain and from abroad. But he also had an informant who supplied him with otherwise unpublished material. John Malchair (1730-1812) from Oxford, a musician and painter of German origin (see Wollenberg 2007; Harrison et al. 1998) had made "National Music his study" (p. 3) and was able to help him out with British and foreign pieces from his own collection.
The introduction is well worth reading. Crotch added notes about the sources of the tunes as well as some helpful comments. As the title says the book was supposed to accompany and illustrate his lectures about this topic that he held for many years. As late as 1829 one was announced in The Harmonicon (p. 160):
"On the Music of the Ancients, and National Music. The National Music of the Hebrews, of the Hebrews, of China, Java, the East Indies, Greece, Ireland, Scotland, Wales, England, France, Scandinavia, and Norway".
William Shield, Introduction to Harmony. A New Edition (Being The Second), London, n. d. [1815]
(available at the Internet Archive; the new appendix was also published separately and is also available at the Internet Archive)
Composer William Shield also felt it necessary to add a selection of national airs to the new edition of his popular standard work (pp. 26-43). Of course this was not as comprehensive as Crotch's collection but nonetheless interesting. He confined himself mostly to tunes and songs from the British isles and only included a few more exotic pieces like a song sung by Canadian voyagers (p. 39).
These collections by Crotch and Shield - and at least partly some of those by Jones - had a documentary and more or less scholarly approach even though they of course arranged the tunes for practical use by musicians and singers. A different kind of approach was first introduced by George Thomson from Edinburgh for his Scottish collections (since 1793). He commissioned popular composers like Pleyel, Haydn, later Beethoven to write the arrangements and also added new lyrics - by Burns and other poets - if he thought the old words inappropriate and not up to his standards. This was perfected by Thomas Moore for his famous Irish Melodies (since 1808) where he used these traditional tunes as a starting point and basis for new popular songs.
His concept was then also applied for other national collections like Horn's Indian Melodies, the Hebrew Melodies with new poetry by Lord Byron (since 1815), Sola's Spanish Melodies (1821; see The Quarterly Musical Magazine And Review 3, 1821, pp. 477-84), Eavestaff's French Melodies (1825, see Quarterly Musical Magazine And Review 7, 1825, pp. 504-6, The Harmonicon, 3, 1825, p. 65 & p. 205) and Moscheles' Tyrolese Melodies (1827-9, at the Internet Archive). In fact there was no shortage of Melodies of all kinds and British poets were in great demand to supply them with new poetry.
A Selection from the Melodies of Different Nations, including a few popular Airs by celebrated Authors, united to original English Verses never before published, with new Symphonies and Accompaniments for the Piano Forte by Muzio Clementi. The Poetry by David Thomson, Volume 1st, London, 1814
(not yet digitized; see catalog Bodleian, Oxford: Tyson Mus. 1126, with title list)
The first one to use Moore's approach for a collection of tunes of "different Nations" was famous composer and pianist Muzio Clementi (1752-1832). He already worked at that time with poet David Thomson - about whom I don't know anything - on another project along the same lines: Mozart's melodies with new English poetry. The first volume had appeared the previous year (see the review in Monthly Magazine 36, 1813, p. 154). So it was perhaps only natural to try out international airs. One reviewer called it a "valuable and elegant little work" (The European Magazine 66, 1814, pp. 138-40; see also Monthly Magazine, Vol. 37, pp. 247-8). But it seems that this collection was not a big success. No further volumes were published.
George Thomson & Ludwig van Beethoven
I was somewhat surprised to find out that even George Thomson from Edinburgh, the publisher of the groundbreaking Select Collections of Scottish Airs - and also of Welsh and Irish collections - tried to produce one of international songs (see Cooper, pp. 9, 25-29, 57, 67-8, 217-8). In fact in a letter from January 1st, 1816 he asked Beethoven in Vienna - with whom he was working at this time - to supply him with tunes from, for example, Germany, Poland, Russia, Tyrol, Venice and Spain (Albrecht 1996, No. 215, pp. 87-8).
All in all Thomson managed to acquire 29 tunes, the most of them contributed by Beethoven (for the sources see Dorfmüller 1993) and few by himself. But this promising project failed. Apparently there were problems with finding adequate English poetry for these melodies. Most of these songs including Beethoven's arrangements were only first published very much later in Germany:
Ludwig van Beethoven, Neues Volksliederheft. 23 Tiroler, Schweizer, schwedische, spanische und andere Volksweisen. für eine Singstimme und Klavier mit Begleitung von Violine and Violoncell. Zum ersten Male nach der Handschrift herausgegeben von Georg Schünemann, Leipzig, n. d. [c. 1940]
(available at Beethoven-Haus, Bonn & IMSLP)
Theodore Albrecht, Letters to Beethoven & Other Correspondence, Vol. 2: 1813-1823, Lincoln., 1996
Barry Cooper, Beethoven's Folksong Settings. Chronology, Sources, Style, Oxford & New York 1994
Kurt Dorfmüller, Beethovens "Volksliederjagd", in: Stephan Hörner & Bernhold Schmid (ed.), Festschrift Horst Leuchtmann, Tutzing, 1993, pp. 107-25
Colin Harrison, Susan Wollenberg & Julian Munby, John Malchair of Oxford. Artist and Musician, Oxford, 1998
Susan Wollenberg, John Baptist Malchair of Oxford and his Collection of 'National Music', in: Rachel Cowgill & Peter Holman (ed.), Music in the British Provinces, 1690-1914, Aldershot & Burlington, 2007, pp. 152-162
Go to Part 2
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Labels: Music History, national airs
Edward Jones & His Collections of National Airs (1784-1821) - What Is Available Online?
Edward Jones (1752-1824; see Welsh Biography Online; DNB 30, 1892, p. 98), harper, pianist, composer, arranger, music teacher, editor and collector of rare tunes and rare books, was born in Wales. He came to London in 1775 where he quickly made a career as a musician. In 1783 Jones was appointed "Bard to the Prince of Wales", a title he always proudly displayed in his many publications. In an obituary in the Gentleman's Magazine (Vol. 94/2, 1824, pp. 185-6) he was called "perhaps the most distinguished performer on the harp of this day" and "nearly the last of the race of Welsh bards". Most important among his many publications were his groundbreaking works about Welsh music (see Kinney, pp. 57-70). The first volume of the Musical and Poetical Relicks of the Welsh Bards appeared in 1784. Volumes 2 & 3 followed in 1802 and 1821.
But besides these he also edited an astounding amount of collections with foreign music. The years from the late 1780s to the 1830s were in some way a golden era of the "national air". Songs and tunes from Scotland and Ireland were published in great numbers. But one could also find "national music" from many European countries like for example Denmark, Russia or Italy and even from the most exotic and far away places like China and India.
Jones was a major protagonist of this particular genre, not only with his books about Welsh music but also with more than half a dozen international collections. Typical were the Lyric Airs (1805) that included "Greek, Albanian, Walachian, Turkish, Arabian, Persian, Chinese, and Moorish National Songs and Melodies". In others one could find Maltese, Norwegian or Swiss tunes and even one from Lapland. He himself apparently never traveled to foreign countries to collect music. But Mr. Jones clearly was familiar with all the relevant literature and also had informants who supplied him with what he needed. For example some of the Greek and Turkish tunes in the Lyric Airs were contributed by an "English traveller in the Levant".
The Welsh collections:
Edward Jones, Musical and Poetical Relicks of the Welsh Bards: Preserved by Tradition, and Authentic Manuscripts, from Remote Antiquity; Never Before Published [...], London, 1784
The first edition can be found at IMSLP, together with scans of a couple of later editions. A new edition published in 1794 is also available at the Internet Archive and Google Books. A 2nd ed. of the 2nd part of this book with only the tunes was offered in 1800 (at the Internet Archive). The third edition appeared in 1808 (at the Internet Archive and BStB-DS, 2 Mus.pr. 3307) and another later one was recently digitized and made available at the Internet Archive by the University of Western Ontario. This is the best scan so far:
Edward Jones, The Bardic Museum, of Primitive British Literature; and other admirable rarities; forming the second volume of the Musical, Poetical, and Historical Relicks of the Welsh Bards and Druids [...], London, 1802
Scans of the 2nd volume are easily available at IMSLP, the Internet Archive, Google Books and BSB: 4 P.o.rel. 50-2.
Edward Jones, Hên ganiadau Cymru. Cambro-British Melodies, or the National Songs, and Airs of Wales, enriched with curious Historical Illustrations, and never before published. [...], London, 1821
This is the 3rd volume. It was first announced in the Morning Chronicle on July 7, 1821 (at BNCN). The title is taken from Copac. As far as I know this book has not been digitized yet.
Edward Jones, A Choice Collection of Welsh Airs, Carnavon, n. d. [1800]
(available at Google Books [incomplete, with 25 tunes] and at IMSLP [with 50 tunes])
In between he also published this little collection of Welsh tunes for popular consumption.
International collections:
Edward Jones, A Miscellaneous Collection of French and Italian Ariettas; Adapted with Accompaniments for the Harp or Harpsichord, London, n. d. [1785]
Edward Jones, The Musical Bouquet; or Popular Songs, and Ballads: Some of which are Composed, & others Selected by the Editor: to which are added, proper Accompaniments for the Harp, or Harpsichord, London, n. d. [1799]
(available at Google Books)
This is - as the title says - a collection of popular songs but it includes at least some exotic pieces, for example an "Egyptian Love Song" composed by himself (p. 4) and "The Death Song of the Cherokee Indian", a popular American hit at that time (p. 18).
Edward Jones, Lyric Airs: consisting of Specimens of Greek, Albanian, Walachian, Turkish, Arabian, Persian, Chinese, and Moorish National Songs and Melodies; (being the first selection of the kind ever yet offered to the public:) to which are added Basses for the Harp, or Piano-Forte. Likewise are subjoined a few explanatory notes on the figures and movements of the Modern Greek Dance; with a short dissertation on the Origin of the Ancient Greek Music, London, n. d. [1805]
(available at IMSLP, Biblioteca Digital Hispánica & now at the Internet Archive)
This is a very impressive and fascinating collection with tunes and songs from all kinds of different countries. He even gives the sources for many of these pieces as well as some explanations. A review can be found in the Monthly Review (Vol. 66, 1810, pp. 376-9). There are several extant copies of this book in British libraries (see Copac) but it was digitized in Spain.
Edward Jones, A Selection of most Admired and Original German Waltzes, never before published; adapted for the Harp, or Piano-Forte, London, n. d.[1806]
(available at Beinecke Rare Book & Manuscript Library)
I have to include this one too, if only to show that Mr. Jones was really up to date. This was one of the earliest English collections of German Waltzes (i. e. the new Viennese Waltz). Amusingly there is even a piece called "Werter's Waltz", the one "which Werter and Charlotte are said to have first danced together" (No. 3, p. 3).
Edward Jones, Maltese Melodies; Or National Airs, And Dances, usually performed by the Maltese Musicians at their Carnival & other Festivals; with a few other characteristic Italian Airs & Songs; To these are annex'd a selection of Norwegian Tunes, never before Published; and to which are added Basses for the Harp or Piano-Forte, London, n. d. [1807]
A short review can be found in the Monthly Magazine (Vol. 24/2, 1807, p. 182). Of particular interest are the Norwegian tunes. The collection of "folk tunes" in Norway started only several decades later. I really wonder where he found these pieces.
Edward Jones, Musical Curiosities; or a Selection of the most characteristic National Songs, & Airs ... Consisting of Spanish, Portuguese, Russian, Danish, Lapland, Malabar, New South Wales, French, Italian, Swiss and particualarly some English, and Scotch National Melodies, to which are added Variations for the Harp, or the Piano-Forte, London, n. d. [1811]
(not yet digitized)
A review was published again in the Monthly Magazine (Vol. 34, 1812, p. 54):
"Mr. Jones, of whose industry, as a gleaner of national music, we have often had occasion to speak, has furnished, in the present collection, a great number of popular, and some exceedingly curious, foreign and domestic airs. The whole occupies forty two folio pages, and forms a body of variegated and well chosen melodies, that do much credit to the selector's judgment, and will be found highly acceptable to the public".
Edward Jones, The Musical Hive; or, A Selection of some of the choicest and most Characteristic National Melodies; consisting of Irish, Spanish, and English Songs and Airs; to which are added, Variations for the Harp or Piano-Forte, London, n. d. [1812]
Some copies of the last two publications have survived in British Libraries (see Copac).
Edward Jones, Terpsichore's Banquet, or, Select Beauties of Various National Melodies consisting of Spanish, Maltese, Russian, Armenian, Hindostan, English, Swedish, German, French, Swiss, and other favourite airs; most of them never before published; & now arranged with basses properly adapted to the harp, or piano-forte ; to which are added Variations to several of the airs, & a solo, opera 13th, London, 1813
One extant copy can be found in the British Library (see Copac) and another one in the USA, in the NYPL (see the catalog entry, with a title list).
Edward Jones, The Musical Portfolio: containing a selection of the most popular national melodies; consisting of Scotch, Irish, English, and other favourite airs, adapted to the harp, or piano-forte, to which are added variations, London, n. d. [1817]
This little booklet was first announced in Morning Chronicle on May 27, 1817 (at BNCN). One copy can be found in the NYPL, see again the catalog entry. Apparently three more numbers of the Musical Portfolio were published until 1821, at least according to an ad in the Morning Chronicle on July 7 that year.
I have left out the works that apparently do not include foreign national airs: Musical Trifles (1791), Musical Remains (1796, with pieces by Händel, Bach, Abel & co.), Popular Cheshire Melodies (1798), Minstrel's Serenades (1809; some of his own compositions), Musical Miscellany (1810; some sonatas). All in all this is an interesting and impressive oeuvre that deserves further study. Let's hope some more of these publications will be made available in the not so distant future.
BNCN = 19th Century British Library Newspapers (Gale)
Phillis Kinney, Welsh Traditional Music, Cardiff, 2011
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"Melodies of Different Nations": Anthologies of In...
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Digital Campus Innovation:
If you can't measure it, you can't manage it.
This motto has motivated a team of Carleton University researchers to develop a cutting-edge project that could help the university become more sustainable – and, save money on the $12 million spent to heat, cool, ventilate, light and power its 44 buildings.
It's called the Digital Campus Innovation (DCI) Project, and thanks to a $60,000 boost from the Office of the Vice-President (Research and International) Research Excellence Fund, the plan can now be put into action.
"I was very happy to see Carleton supporting something that I felt was very important," says Liam O'Brien, an assistant professor in architectural conservation and sustainability engineering who spearheaded the project.
"Frankly, I think we had a real hole-in-one."
The basic idea behind the DCI Project is to create digital files detailing a structure on campus (think Google Earth, but in a building), which is called Building Information Modelling (BIM).
I was very happy to see Carleton supporting something that I felt was very important
Carleton's Steve Fai, Liam O'Brien and Mario Santana
From these files, a user can get access to almost anything about the building – including its energy use, indoor environmental quality, and accessibility – which is all visible through a database.
When implemented, Carleton will be the first university campus in North America with a comprehensive BIM model.
Right now, the pilot project includes models for three buildings on campus: Mackenzie, Canal and Architecture.
"We wanted three buildings that were close together, but diverse by age and building types," O'Brien explains. "They're the newest to the oldest buildings, and they're fairly representative of the Carleton campus."
He adds that the diverse buildings would give the research teams interesting findings – especially the brand new Canal Building which has state-of-the-art digital controls that would make it more efficient, versus the older Architecture Building that still has room for improvement.
Carleton will be the first university campus in North America with a comprehensive BIM model
Ramtin Attar, Autodesk
This is the largest project using this kind of technology for this kind of in-depth study anywhere in the world
But, as time goes on, O'Brien says the project could encompass the entire university campus.
"We're trying to set up the infrastructure for further research," he says. "This could be a tool for campus planning and expansion."
Stephen Fai, director of the Carleton Immersive Media Studio (CIMS), was a co-applicant to the Research Excellence Fund for the DCI Project along with Mario Santana, assistant professor of Architectural Conservation and Sustainability, Johan Voordouw, an assistant professor in the Azrieli School of Architecture and Urbanism, and Ramtin Attar of the project's partner, Autodesk – a world-leading software company that specializes in 3D design, engineering, and entertainment software and services.
Fai is responsible for building the project's models.
"This is a ground breaking research project," he says. "We're hoping it will help improve campus operations and building performance."
Fai adds that the partnership with Autodesk has been extremely valuable.
"This is the largest project using this kind of technology for this kind of in-depth study anywhere in the world," he says.
Attar, who's also a Carleton alumnus, says Autodesk has partnered with Carleton in the past and has a great working relationship with the university.
Autodesk will be helping collect the data, and has also contributed $36,000 cash and $100,000 in-kind.
"We're really hoping that the project will lead to tangible outcomes that have a broader impact beyond the academic community," Attar says.
We're really hoping that the project will lead to tangible outcomes that have a broader impact beyond the academic community
Transparency also plays a major role in the project, O'Brien adds.
The DCI Project will make energy use data available to the wider community – which he says could help conservation in the long-run.
But Fai and O'Brien both say there's more to the project than energy efficiency.
"This would be a model of campus that is real-time to the actual operation of the campus," Fai explains. "So, if a sensor or alarm goes off in a building, you can find out what the problem might be."
O'Brien adds that the building models could also help run simulations, climate change scenarios – even help a person visualize a room they would like to use for an on-campus event.
The DCI Project will also help students get real-world experience while learning in the classroom. Over the project's three-year run, it will fund six graduate students and four undergraduate students in both the architecture and engineering programs.
Plus, research will be built into the engineering and architecture curricula.
"This project creates a partnership between architecture and engineering, it creates meaningful student opportunities, and it could help the facilities," O'Brien says. "Everyone is on the same page."
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Cyprus News Agency: News in English (AM), 00-06-12
Cyprus News Agency: News in English Directory - Previous Article - Next Article
[01] Social Democrats - Elections
[02] Cyprus Foreign Minister - EU - IGC
[03] Weather forecast for Cyprus
[04] President Clerides - Holger
0830:CYPPRESS:01
Nicosia, Jun 12 (CNA) -- Vassos Lyssarides was elected Sunday unopposed president of the Social Democrats Movement at the first electoral conference the party has staged since it was formed in late February.
Yiannakis Omirou was elected, also unopposed, to the post of deputy party president.
CNA MM/GP/2000
ENDS, CYPRUS NEWS AGENCY
Nicosia, Jun 12 (CNA) -- Cyprus Foreign Minister Ioannis Kasoulides leaves Tuesday for Luxembourg to participate in the Intergovernmental Conference of the European Union.
During his stay in Luxembourg the Cypriot will have a series of bilateral meetings with European counterparts, an official press release said.
Nicosia, Jun 12 (CNA) -- According to the Meteorological Office at Larnaca International Airport, the weather forecast for Cyprus is:
Tuesday and wednesday : 13/06/2000 to 14/06/2000
Weather fine and hot. Winds light to moderate, northerly during nightime and mornings, and southeasterly to southwesterly in the afternoon.
Maximum temperature 37C inland, 34C south coast, 31C west coast. Minimum temperature 24C, inland and south coast, 21C west coast.
Outlook for Thursday and Friday 15/06/2000 to 16/06/2000
The weather will continue fine and hot and on Friday the temperature and mainly the minimum one will note a small decrease.
Sea temperature: 24C
CNA GP/2000
Nicosia, Jun 12 (CNA) -- Outgoing UN Secretary General's acting special representative James Holger paid today a farewell visit to President Glafcos Clerides and expressed the view that "efforts are on the way" to solve the Cyprus problem.
Speaking to the press after the meting, Holger said he was sad to leave the island, pointing out he has friends both in the government-controlled and the Turkish-occupied areas and stressed that "the people of Cyprus deserve a better future, not a situation of uncertainty".
CNA/MCH/GP/2000
CNA ENDS
cna2html v2.01 run on Monday, 12 June 2000 - 15:21:08 UTC


text:
Reliable Spouses and Innocent Children, Upholding Marriage
Herein are the records made by the legislators when no-fault divorce was enacted in Ohio.
If you are relying on your spouse to uphold obligations promised in marriage, see elsewhere some lawful actions you can take to ensure those obligations are upheld as much as possible: Resources / Defending Marriage / Pro-families Ohio (HERE)
Legislative Archives (Excerpts)
Testimony Joint Committee – Anthony Fiorette, Cleveland Marshall College of Law
State Archives Container List, House Representatives, Series 2361
Report of Joint Committee on Domestic Relations to 109th General Assembly
S.B. 348 Bill File for S. Judiciary
SB 348, Bill File for S. Judiciary, Third Reading
H.B. 233 for House Judiciary, June 1973
HB 233, SB 348, House Judiciary Committee, First Hearing
HB 233, SB 348, House Judiciary Committee, Second Hearing
S.B. 348 Bill File As reported by House Judiciary Committee, July 1973
S.B. 348 Bill File showing purpose as reported by House Judiciary Committee, July 1973
H.B. 233 Bill File as reported by the House Judiciary Committee, July 1973
H.B. 233 Bill Files as Passed by the House, Jan. 1974
Remarks by State Rep. Norris on House Floor in Support of his Bill H.B. 233
Rep. Norris (sponsor H.B. 233) after bill passed House, on way to Senate
S.B. 348 Bill File As reported by House Judiciary Committee
HB 348, Governor Signed into Law, Feb. 5, 1974
LSC Memorandum Norris re. HB 233, Modification of alimony decrees
H.B. 233 Bill Fill as reported by the Senate Judiciary Committee, March 1974
Cleveland Bar Association asks Senate to fund Domestic Relations Courts
HB 348, Secretary of State's Legislative Acts (chronology 73-74)
LSC Memorandum Norris re. HB 233, May '74
HB 233, Governor Signed into Law, June 24, 1974
H.B. 233 Memorandum from Legislative Service Commission to Senator
H.B. 477 Bill Fill as reported by the Senate Judiciary Committee, Feb 1982
Ohio State Bar Association Family Law Committee Proposes Adding "Incompatibility Unless Denied" as Grounds for Divorce
LSC letter to Rep. Tranter, re. Bill Proposed by Ohio Bar Association HB129
HB 129, 1st Committee Hearing Minutes, House Judiciary
HB 129, 2nd Committee Hearing Minutes, House Judiciary
HB 129 Announcement 3rd Hearing, House Judiciary
HB 129, Final Hearing Minutes, Vote, House Judiciary Committee
HB 129, Signed into Law, May 26, 1989. Senate Judiciary reports to Senate Republicans
Ohio is not a Pure No-Fault Divorce State
The legislators who enacted the option of no-fault divorce in Ohio were clear about this.
This bill does not call for an easy divorce system similar to California's "no-fault" divorce. I am opposed to the California system — and let me tell you why. In California, if either spouse wants a divorce — for any reason — or for no reason at all — that spouse gets his or her divorce, with the other marriage partner having no opportunity to contest or defend. … Now that kind of one-sided procedure offends my sense of justice — it took both parties to enter into the marriage, both should be involved in deciding whether to terminate it
(Norris 1974)
Representative Alan E. Norris, January 10, 1974.
Now I hold the view that a marriage contract is one of the highest contracts – – and one of the most important contracts, and one of the most far-reaching contracts that a man and woman can ever enter into during a lifetime. And I can't conceive under the circumstances and the importance of the family to the community, and the raising of children, why any man or woman should be permitted to be released from that contract merely by a change of mind. I strongly cling to the view that fault should be the basic reason for dissolving a marriage — a fault recognized by the people through their legislators.
Source: LSC Library
Publisher: OH Joint Committee
Presenter: Anthony Fiorette, Cleveland Marshall College of Law
Link: Document (pdf)
size: 7 pages, 3.4 Mb
The Ohio Historical Society keeps archived records for the General Assembly. The cover sheet of the index describes the rules for archiving records. Series 2361 is for the Ohio House of Representatives. Files cover initial and subsequent hearings that show the amendment, adoption, or rejection of legislation by committee, record of members' attendance and votes, and lists of witnesses favoring or opposing bills before the committee, and minutes of the meetings. Files may also contain additional materials.
Sample page State Archives Container List shows the location, by number, of boxes in which committe records are archived. Records cannot be removed from the Historical Society Library and the staff of the library have made copies for registered visitors for a nominal copying fee.
Source: Ohio Historical Society Library
Publisher: OH General Assembly
Presenter: Ohio Historical Society Library
size: 2 pages, 868 Kb
As directed by House Joint Resolution No. 38, 108th General Assembly, your committee on Domestic Relations has examined the inequities, hardships, and social problems resulting from divorce, …
… The Committee concludes that Ohio's divorce laws need major revision. Either of two alternative approaches to such revision might provide material aid in strengthening familiy life and protecting minor children. …
Presenter: Alan E. Norris, Chairman (House Member), Paul E Gillmor, Vice-Chair (Senate Member) and others
Legislative Service Commission issues statement summarizing effect of legislation, content and operation.
Creates a new cause upon which a divorce may be granted … when husband and wife have lived separate and apart … when the court finds that such separation is beyond any possibility of reconciliation. …
Publisher: OH Legislative Service Commission BF, etc
Presenter: LSC
size: 1 page, 176 Kb
Legislative Service Commission issues statement summarizing effect of legislation, content and operation.Creates a new cause upon which a divorce may be granted … when husband and wife have lived separate and apart … when the court finds that such separation is beyond any possibility of reconciliation. …
Reps. Noris – Roberto. Allows divorce to be granted after complete and uninterrupted separation of two years; provides for the dissolution of a marriage by the court if both spouses agree on all separation terms; details conciliation procedures, pre=marriage counseling for minors, guidelines for determining child custody and child support and alimony payments; does away with the defenses to a divorce petition of condonation, collusion, and recrimination.
Presenter: Unknown, LSC or Reps. Norris and Roberto
(starting at page 3) Mr. Norris H.B. #233, Mr. Gillmor S.B. #348. A doctor and an attorney testified against bills.
This concludes the first hearing of H.B. #233 and S.B. #348 in full committee.
Publisher: OH House of Representatives
Presenter: Secretary and Chaiman of House Judiciary Committee
(starting at page 2) Mr. Norris H.B. #233, Mr. Gillmor S.B. #348. Two Ohioans testified against bills. One spoke in support.
Roll was called and the bill was recommended for favorable passage and ordered reprinted by a vote of 11 to 2.
House changes from one to two year separation. Senate Bill 348 showed one year separation, and House shows changes from their Judiciary committee.
Presenter: Reported, H.Judiciary
House changed Senate Bill from one to two years of separation. The defense of res judicator (a previous action by a court wherein a divorce had been refused to either of the parties) and recrimination (an act or acts by the party seeking the divorce, which would entitle the other party to a divorce) would not be available against this new cause for divorce while they ordinarily would be and are available to a party in a case brought on other grounds.
Under the bill, if the spouses have been separated without cohabitation and without interruption for a period of two years, either party may apply for divorce. This is a new ground for divorce, and provides a nonadversary situation in contrast to the existing ground of willful absence of an adverse party for one year.
The second major change in the grounds for divorce under this bill , is in providing a nonadversary dissolution of marriage. …
ProFamilies Ohio Commentary: These legislators leave standing the law that abandonment is a crime; consequently, the parties who have been separated for two years would have been doing so in mutual agreement. Otherwise the abandoned party could seek recourse using criminal code (Ohio Law R.C. 2919.21).
Presenter: Reported by House Judiciary
Allows divorces to be granted after compete and uninterrupted separation of two years. Provides for the dissolution of marriage by the court if both spouses agree on all separation terms. Details conciliation procedures, premarriage counseling for minors, guidelines for determining child custody and child support and alimony payments. Does away with the defense to a divorce petition of condonation, collusion, and recrimination.
Presenter: As Passed by House
size: 2 pags, 676 Kb
This bill does not call for an easy divorce system similar to California's "no-fault" divorce. I am opposed to the California system — and let me tell you why. In California, if either spouse wants a divorce — for any reason — or for no reason at all — that spouse gets his or her divorce, with the other marriage partner having no opportunity to contest or defend.
… Now that kind of one-sided procedure offends my sense of justice — it took both parties to enter into the marriage, both should be involved in deciding whether to terminate it.>
… The "one-partner-at-fault" concept would be retained in a divorce action where there is a controversy between the parties on the question of divorce, child custody, property settlement, child support, or alimony; in other words, where one spouse wants to "contest" a divorce.
ProFamilies Ohio Commentary: This bill did not in any way attempt to amend or repeal the law specifying that to abandon one's spouse is criminal (O.R.C. 2919.21).
Source: House Republican Caucus
Presenter: Representative Alan E. Norris
size: 6 pags, 1.9 Mb
The "one-partner-at-fault" concept would be retained in divorce actions where there is a controversy between the parties on the question of divorce, child custody, property settlement, child support, or alimony. Under these circumstances the present adversary court procedure where the party seeking the divorce must show the other spouse is guilty of marital misconduct — i.e. prove "grounds" exist for a divorce — would be retained.
However, if both spouses agree on a divorce and reduce to writing their agreement on custody, property division, child support and alimony, under the proposal they could together petition the court for a "Dissolution of Marriage."
… The proposal does include "no-fault" divorce in one situation where both parties have not agreed upon a divorce. It recommends addition of a new ground for divorce where divorce would be authorized when the parties have lived apart without cohabitation and without interruption for two years, whether or not either party is at fault.
Presenter: Rep. Alan E. Norris
(page three) Shows timeline from introduction in April 1973, to passed House in January 1974, to Senate concur., to House ammendments in January 1974.
Presenter: LCS
Governor signs law giving state authorization to end a marriage, on the application of either party, when husband and wife have lived separated for two years. A plea of res judicata or of recrimination with respect to any provision of this section does not bar either party from obtaining a divorce on this ground.
Publisher: OH Secretary of State
Presenter: Governor John J. Gilligan
This memorandum is in response to your request for information concerning the jurisdiction of a court to modify an alimony order.
Permits judicial dissolution of marriage if both spouses have agreed in writing to matters specified by statutes. … Authorizes the court to order 90-day conciliation effort in domestic relation cases.
Presenter: Reported by Senate Judiciary
The board of county commissioners shall appropriate such sum of money each year as will meet all the administrative expenses of the court of domestic relations, including reasonable expenses of the domestic relations judge and such court counselors and other employees as he may designate to conduct the handling, servicing, and investigation of divorce, alimony and annulment cases…
Publisher: Other Correspondence
Presenter: Bar Association of Greater Cleveland
The chronological milestones of legislative acts are published by the Ohio Secretary of State. Full title is "The State of Ohio, Volume CXXXV, Legislative Acts (Excepting Appropriations Acts) Passed and Joint Resolutions Adopted by the One Hundred and Tenth General Assembly of Ohio, At Its Second Regular Session January 2, 1974 To December 10, 1974, Issued by Ted W. Brown Secretary of State. The National Graphics Corporation, Columbus, Ohio 43216, 1975.
The "Legislative Acts" shows the dates bill was introduced, sent to committee, reported, passed, voted, received from Senate, sent to Governor, approved, and effective date, etc..
Source: Law Library
Presenter: Ted W. Brown, Secretary of State
The following are some considerations relating to H.B. 233. …Other minor changes … we have three possible interpretation of the meaning of the word "continuing" …
size: 4 pages, 1Mb
Governor signs law giving spouses power to end their own marriages with marital dissolution (O.R.C. 3105.61). Each spouse acknowledges that he has voluntarily entered into the agreement to end their marriage (O.R.C. 3105.64).
size: 18 pages, 10.7 Mb
Presenter: Ohio Secretary of State
Divorce proceedings in this state have been substantially revised by H.B. 233 which passed the Legislature this year and became effective September 23, 1974. The particular grounds for granting a divorce, including gross neglect and extreme cruelty, would still apply if a divorce was contested by one of the parties. Under the new dissolution of marriage sections, however, the spouses can obtain a dissolution of their marriage provided the spouse have agreed in writing to all relevant matters, including child custody, support, and visitation, and a division of their property.
… In the new law" […] "a court is given a method to delay a divorce proceeding if the court feels that there is some chance of reconciliation between the parties. A court, after a divorce proceeding has been initiated, may order the parties to submit to conciliation procedures for not more than 90 days.
Presenter: Legislative Service Commission, Charles Sell
… modify this ground … lived separate … for on year without interruption (section 3105.01(K)
[T]he majority of committee members still were not in favor of pure no-fault grounds in the State of Ohio (page 2, ¶1). … Secondly, the bill addresses the situation where the parties are in complete agreement that the marriage should end, but cannot settle the attendant issues such as child custody, support and division of property. H.B. 129 would permit the divorce to proceed and enable the court to resolve these ancillary issues (page 4, ¶ 3). NOTE, the publication date of document is unknown.
Source: Ohio State Bar Association (forwarded from)
Publisher: OSBA Ohio State Bar Association
Presenter: Joel S. Moskowitz, Chairman, OSBA Family Law Committee
Enclosed, per your request, is a bill draft that would make certain revisions in the grounds for divorce as proposed by the Ohio State Bar Association Family Law Committee. Per your instruction, the bill draft would eliminate the following grounds for divorce; willful absence of the adverse party for one year; fraudulent contract; and habitual drunkenness. It would add incompatibility as a ground for divorce, unless denied by either party.
ProFamilies Ohio Commentary: The legislature never repealed the ground for divorce of "willful absence of the adverse party for one year." The legislature also retained the longstanding law in Ohio that abandoning one's spouse is a crime. House Bill 129, did eventually pass and "incompatibility" unless denied by the other party became a ground for divorce in Ohio.
Presenter: Legislative Service Commission, Research Attorney, Aida S. Jordan
He stated that this bill would add the incompatibility section. He introduced this bill at the request of the Ohio State Bar Association.
Mr. Robert A. Koblentz represneted the Ohio State Bar Association as a proponent. He stated that "incompaitbility" would allow the same ease as a dissolution, but with oug the 30 day waiting period required for adissolution. Also, this would reduce the level of bitterness. He also feels that eliminationg "habitual drunkenness" would be okay because other grounds cover this.
Questions were asked by member of the commitee and a brief discussion was held.
[preceding text] The last bill bt be hear today was House Bill 129, legislation sponsored by Rep. Terry M. Tranter. This was the first hering on this bill which concerns gounds for divorce.
Signed Secretary Stephen O. Williams.
Signed Terry M. Tranter, Chairmen of the Committee
Presenter: House Judiciary and Criminal Justice Commitee
Since there was no on persent to testify on this bill today, this constituted the second hearing.
[previous text] The last bill to be considered today was Houst Bill 129, legislation sponsored by Rep. TerryM. Tranter. This was the second hearing on this bill which concenrs grounds for divorce.
Signed Steven Williams, Secretary
Signed Terry M Tranter, Chairman
Since there was no one present to testify on this bill today, this constituted the second hearing.
Presenter:House Judiciary and Criminal Justice Commitee
Bills Scheduled to be Heard. Bill: H.B. 129. Sponsor: Tranter. Title: Grounds for Divorce. Status: 3rd Hearing.
Presenter: Ohio House of Representatives
By a vote of 13-1, the bill was favorably reported out at this time.
[previous text] The last bill to be heard today was House Bill 129, legislation sponsored by Representative Terry M. Tranter. This was the third h earin on this bill which concerns gounds for divorce.
Ohio is not a "no-fault state," and we do not want to move to that. If one party objects, the other would have to prove another ground.
[previous text] H.B. 129 (Tranter) Grounds for Divorce
A. Rep. Tranter-Sponsor
1. establishes incompatibility as grounds for divorce unless denied by either party
2. currently, when two parties which to divorce, the grounds of "neglect of duty" or a more serious charge must be used- -often, however, the reason is simply incompatibility.
3 bill originated from the Ohio State Bar Asso.
a. What does "unless denied by either party" mean?
1. Ohio is not a "no-fault state," and we do not want to move to that. If one party objects, the other would have to prove another ground.
This bill was signed by the Governor on May 26, 1989. See page 3, Legislative Status Sheet 118 GA here)
Publisher: OH Senate
Presenter: Senate Judiciary Committee


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Buying a Mattress Online Was Easy
Now, About the Return
Web-based mattress retailers vow they'll take the product back if it flunks a comfy-sleep test. And they do, but it's not simple.
Your Money By RON LIEBER SEPT. 16, 2016 Here is your mattress shopping bill of rights, 2016 edition:
You are entitled to a multiple-night sleep test in your home.
Returns should be free.
Getting rid of the mattress should not require turning back flips and begging.
In recent years, a number of new companies, including Casper, Helix, Leesa, Saatva and Tuft & Needle, have declared that they will abide by these rules. This is great news, assuming they actually follow through. So this summer, I put the five companies to the test by ordering a mattress from each one, then returning them all, just to see how painful the process would be.
Why bother? Let's begin with something that should have been obvious to mattress retailers decades ago but apparently was not: Buying bedding in a showroom is absurd. Most of us spend a quarter to a third of our lives on mattresses, and they are essential to our physical and mental health. So testing plastic-covered beds while fully clothed, under the florescent lights of a store with a commissioned salesclerk hovering over us, makes no sense whatsoever.
When I made a similar declaration (and conducted a similar test) in The Wall Street Journal in 2004, the process was painful and expensive. I paid several hundred dollars in return and "disposal" fees and spent a lot of time waiting.
Things are better now. All five of the companies I tested charged me nothing for the return. Only Saatva charges any shipping or delivery fee, and its $99 covered three guys showing up at my apartment with a plastic-wrapped mattress and carefully carrying it inside. The other four companies compress their mattresses and cram them into boxes for shipping, though Casper offers free courier delivery of the box in my neighborhood.
I offer no recommendations on comfort. Mattresses are like shoes or bras or chairs in that different people with different bodies will have different needs.
As for the hassle of returning an unwanted mattress, none of the companies flunked the test. Leesa normally requires customers to keep a mattress for at least 30 days before returning it, but it waived that rule when I sent an email questioning the logic of that policy when I knew I didn't want it anymore.
The Times's Your Money columnist, Ron Lieber, opening the Leesa mattress outside his apartment in Brooklyn. Credit Cole Wilson for The New York Times Saatva sent a crew to pick up its mattress, so there was no trouble there. (And it should have been hassle-free given that it snootily markets its product as a "luxury purchase, unlike other online mattress sellers who stuff their beds in a box and leave it for you to handle.")
Still, many things happened during the return process that I never could have predicted. It's not practical for individual consumers to re-compress their beds, shove them in the original boxes and hand them back over to UPS or FedEx, though one early Tuft & Needle customer did manage to box up his mattress for return and stick the company with a $300 shipping bill.
So the surprises began when Casper, Helix and Leesa dispatched the 1-800-Got-Junk truck to fetch my never-been-slept-on bedding. Under normal circumstances, the companies try to find a way to get returned mattresses to a needy person. Helix claims to have 3,000 donation partners in its database.
Like most online sellers, Tuft & Needle compresses the mattresses for shipping. Credit Cole Wilson for The New York TimesBut when it came to my mattresses, the local Salvation Army truck was booked until October, according to the customer service representatives at Tuft & Needle and Helix who tried to help me before calling in the junk haulers. Bedbug-fearing nonprofit groups and strict New York City regulations pose special challenges for the companies in my area, it turns out.
Evan Cohen, the general manager of the 1-800-Got-Junk franchise that covers Brooklyn, Queens, the Bronx and Staten Island, says that it manages to completely recycle 30 to 40 percent of the mattresses. The other mattresses go to transfer stations, where some parts of them may be recycled before the rest of the material ends up in a landfill.
The potential environmental cost of returns is bad enough. But the companies must also pay 1-800-Got-Junk to haul the mattresses away. Mr. Cohen said that he would charge an individual $118 to haul away an old mattress. Mattress companies that hire the company to handle returned mattresses get a bulk discount.
Saatva guarantees that a local delivery company will bring your mattress. Ours came wrapped in plastic. Credit Cole Wilson for The New York Times Still, those costs are high enough on mattresses that ranged from about $550 to about $950 for my full-size models to have the potential to cause serious problems for the companies. David Wolfe, chief executive of Leesa, said he was all for the unalienable right to an in-home trial. "But it's not going to be helpful for the industry if people start to order multiple mattresses," he said.
He urged consumers to thoroughly research any mattress purchase before starting an in-home trial. And you can't blame the guy for not wanting to end up like Zappos, where people frequently order piles of shoes with the intention of keeping just one or two pairs.
All of the companies claim return rates below 10 percent. 1-800-Got-Junk reports having taken in about 9,000 mattresses this year on behalf of the various direct-selling mattress retailers it works with.
Casper provided a tool to open its mattress. Credit Cole Wilson for The New York Times Tuft & Needle provided the most unusual return experience I've ever had as a consumer. Its website promises that "we" will work together to donate a returned mattress. "It's that easy," the site reads.
In reality, the company could not find a charity partner near me. So it posed a challenge of sorts. I could find a worthy organization on my own and send Tuft & Needle an ad hoc receipt of sorts, with a signature from the recipient. Failing that, I could give the mattress to a friend or family member in need and provide similar proof. If that didn't work, I could post a note on Craigslist or Free cycle offering to give the mattress away. And if that wasn't possible, the junk truck was an option.
Given that the other companies had already told me how hard it was to give a mattress away in New York City, I wasn't optimistic. But I posted a note on my personal Facebook page, and a friend I'd made years ago and hadn't seen since popped up to tell me about a sex-trafficking victim her organization was helping. The client had just moved to a new apartment with her family and was sleeping on the floor. Could I help her? And sorry but no, the organization had no moving truck or anything like that.
Helix claims to have 3,000 donation partners in its database. Credit Cole Wilson for The New York Times Which was how I found myself behind the wheel of a rental van a few nights later with a case manager from Sanctuary for Families, driving to a neighborhood in Queens that the organization asked me not to identify. We hauled the mattress up a narrow flight of stairs and dropped it off for the grateful recipient. "I will be able to sleep happy for once," she said.
That was a heartwarming and unexpected ending to what was supposed to be a virtual shopping experience, but I need not have left my own apartment. Daehee Park, a co-founder of Tuft & Needle, said that if I had spoken up about the van rental bill and the time-consuming nature of the potential donation, the company might have hired a errand runner from Task rabbit to handle it. "We try to do what we can," he said.
Like Mr. Wolfe at Leesa, however, he does worry about people abusing their in-home testing privileges (though he declined The New York Times's offer to pay in full after all, as did the other companies). He and his competitors deserve enormous credit for trying to make free, in-home trials the price of admission for participating in the mattress industry, and all of us should demand the same deal from brick-and-mortar retailers.
So now that the mattress start-ups have proved that they're serious about real-world sleep tests, please don't take undue advantage of them. "You can never prevent people from gaming a system," Mr. Park said.
Ron Lieber
A version of this article appears in print on September 17, 2016, on page B1 of the New York edition with the headline: A Mattress That's Just Right.
Often imitated, never duplicated–
Buying a mattress online, getting it just right. Look at all the companies Ron Lieber of the New York Times has found that have tried to copy the FloBeds model. Of course Flobeds are 100% Talalay Latex… and do cost a bit more. You get what you pay for? (Oh… and of the 4% we can't get just right… the return is very straight forward:) But then again, we've been shipping Dreams in a Box for 20 years!
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What fuels power the planet?
Watts Up With That has produced a useful readable summary of energy consumption trends 1965 – 2017. This is the period covering the noisy war on carbon fuels and the massive subsidies and hype about wind and solar energy.
Another very revealing graph shows that the greater the proportion of renewable energy per capita, the higher the electricity cost.
And the verdict in the war on carbon fuels? CARBON WON.
Previous Previous post: What Supports Green Energy?


Image © 2010, John Vanacore || 2 time Defending Champion Caroline Wozniacki defended her title in the Pilot Pen Tournament at Yale University on Satuday 8/28/10 by beating Nadia Petrova in 3 sets. The win moved Wozniacki into the #1 seed in the upcoming US Open and the #2 ranked player in the world.
John Vanacore's Message: Hello and welcome to my page.
I've been shooting sports photography on and off for the last 25 years. I picked up my first camera at age 12, and used that very camera in High School shooting for the School paper, as well as a contributor to the local weekly paper. Presently, i am doing freelance work for several publications in the Northeast, as well as some projects which i have scheduled for the Summer of '09 of some High School sports showcase events. I love the limitless freedoms the Freelance area provides. Photography is a never ending learning curve, and as a Sportshooter member, i hope to learn so much more to add to my craft, and to my clients benefit.
2.17.10 8:31 AM OT: What are some of your non-photo hobbies?
What happened when Tony Gonzalez met Mickey Pfleger? Crazy stuff! ::..


I started my professional career in Edinburgh where I studied classical ballet at the Academy of Ballet under the Principles Jack Spurgeon and Joan Tucker. I then went on to dance professionally worldwide and extensively in the UK in theatre and television.
A dancer's career is a short one and at the age of 29 I started to think about my future. The Callanetics method was always with me even during my classical training. This was in the 1980's when Callan was a household name and Callanetics was at the top of the fitness charts. I decided to train as a Callanetics teacher. This was a natural transition for me because the Callanetics exercises were all based on Classical ballet positions. At that point, I bought the franchise for Edinburgh opening my current Callanetics studio in 1995.


text:
+++
date = "2018-11-05T08:09:26-07:00"
title = "You might not need Kubernetes"
author = "Jessica Frazelle"
description = "Why use something bloated when you could use something minimal."
+++

I have realized recently that a lot of people think I am just a shill for
Kubernetes and I am not. What I have done is write a few blog posts on
some interesting problems to be solved in Kubernetes. _But_ I would like to
emphasize that those problems are pretty exclusive to the way Kubernetes was
designed and you could easily build your own orchestrator without them.

## Use Containerd

If you need an example of a custom, minimal orchestrator with containerd you
should checkout [stellar](https://github.com/ehazlett/stellar/).

Or see my [design doc for a multi-tenant orchestrator](https://blog.jessfraz.com/post/secret-design-docs-multi-tenant-orchestrator/).

I'll let you dive into that in your own time though. Let's take a new look at
a blog post I wrote about [Building images securely on Kubernetes](https://blog.jessfraz.com/post/building-container-images-securely-on-kubernetes/).

I feel like I should have more clearly stated how this problem is pretty
exclusive to Kubernetes. It's also not really a hard problem. The hard problem
I was solving in that post was _not_ how to build images on Kubernetes but how to
build images as an unprivileged user in Linux. _That_ is a hard problem. And
a serious problem for companies who don't allow root on their machines.

The easier choice if all you need to do is build an image _and_ you are already
using containerd, is to run
[buildkit](https://github.com/moby/buildkit) on the same machine and then you
can use the buildkit API library to build your dockerfiles.

Or just run docker-in-docker, I have done this for years on my CI with
absolutely no problems.

Anyways, the point I am trying to make is you should use whatever is the easiest
thing for your use case and not just what is popular on the internet. With
complexity comes a steep learning curve and with a massive number of pluggable
layers comes yak shaves until the end of time.

Think for yourselves, don't be sheep.

![/img/sheep.gif](/img/sheep.gif)

redpajama_set_name: RedPajamaGithub


text:
The Museum of Metz (Musée de la Cour d'Or - Metz Métropole), in Metz, France, was founded in 1839. It is a labyrinthine organization of rooms, incorporating the ancient Petites Carmes Abbey, the Chèvremont granary, and the Trinitaires church. The institution is organized into four broad sections:
The history and archeological museum, containing rich collections of Gallo-Roman finds — extension works to the museums in the 1930s revealed the vestiges of Gallo-Roman baths;
The medieval department;
The museum of architecture;
The museum of fine arts.

The museum recreates the world of the ancient and medieval city's inhabitants.

References

External links

 Musée de la Cour d'Or - Metz Métropole
 Mairie de Metz
 Metz Métropole

Museums established in 1839
Buildings and structures in Metz
Archaeological museums in France
Architecture museums
Art museums and galleries in France
Military and war museums in France
Metz
1839 establishments in France
Museums of ancient Rome in France
Tourist attractions in Metz

redpajama_set_name: RedPajamaWikipedia


text:
See Film
a surfer's journey through italy unlocks the door to a modern world of culture, tradition and passion
Bella Vita garners Audience Choice Award at La Costa Film Festival
http://www.hollywoodreporter.com/news/la-costa-festival-espn-films-735933
The network's film division took home best feature documentary for Brothers in Exile and best documentary short for Tommy and Frank. (Brothers in Exile also won the Audience Award for feature documentary.)
The festival kicked off Sept. 18, 2014, withFrank vs. God, starring Henry Cusick andEver Carradine, at the Omni La Costa Resort and Spa in Carlsbad, Calif.
Throughout its four-day run, the festival screened 43 films from 13 countries and drew a number of prominent filmmakers including Ed Harris and Ron Shelton(Bull Durham). More than 4,500 attended this year's incarnation.
This year, the festival launched a partnership with Peter Guberand Mike Tollin's Mandalay Sports Media to co-curate the festival's sports-themed narrative, documentary and shorts programs.
The 2014 jury featured a roster of industry professionals, including producer Cash Warren, Boys & Girls Clubs of Carlsbad CEO Brad Holland, Emmy winner Ira Opper, KUSI-TV sports director Paul Rudy and former San Diego Chargers kicker John Carney.
A complete list of winners can be found below:
Sports Jury Competition Winners:
Feature Film: Brothers in Exile (ESPN Films)
Short Film: Tommy and Frank (ESPN Films)
Audience Choice Awards:
Narrative Feature: Una Vida, Richie Adams
Foreign Narrative Feature: White Lies, Dana Rotberg
Documentary Feature: Brothers in Exile, Mario Diaz
Documentary Feature: Bella Vita, Jason Baffa
Short Film: Tandem, Matthew Douglas Helfgot, Jared Hillman
Foreign Short Film: Bis gleich, Benjamin Wolff
Honorable Mention: h2mexico, Brent Deal
Festival Honors:
Legacy Award: Ed Harris
"Ambassador of Sports" Award: Ron Shelton
High School Short Film Competition Winner: Sofia, Jason Phillips and Brandon Chase of Canyon Crest High School
Email: Tatiana.Siegel@THR.com
Twitter: @TatianaSiegel27
Posted on 26th Sep
Bella Vita Releases Worldwide
BELLA VITA RELEASES WORLDWIDE on DVD, iTunes, Digital VOD AND IN SELECT THEATERS VIA TUGG.COM
Los Angeles, CA (September 22, 2014) – After a whirlwind year of festival screenings worldwide including multiple audience, cinematography and best feature awards, Jason Baffa's Bella Vita releases worldwide today on DVD, iTunes, Digital VOD and in select theaters in the U.S. via the on-demand theatrical platform, TUGG.com.
Bella Vita (www.bellavitafilm.com) is Baffa's chronicle of Chris Del Moro's pilgrimage back to his ancestral Italian homeland with elite professional surfers Dave Rastovich, Lauren Lyndsey Hill, Conner & Parker Coffin and Italian stand-outs Alessandro Ponzanelli and Leonardo Fioravanti as they explore the burgeoning surf culture blossoming amongst the Mediterranean's oldest and cherished traditions.
"We've had an amazing international festival run," notes L.A. based filmmaker, Baffa, " I see it as a film about life as told through the eyes of these surfers traveling in Italy. I'm so honored how audiences throughout the world have embraced it's introspective themes and I'm excited to finally show it to the world."
"A stunning piece of visual art" as reviewed by the London Arts News, Bella Vita has screened at festivals in 8 countries, winning awards in the U.S., France, UK and Germany.
"The film has a lot of heart. I see it as a fantastic Italian meal, where course after course something is served up that is better than before," says renown free-surf professional and environmental activist Dave Rastovich.
Shot in 35mm and supported by its core community via a Kickstarter finishing campaign, the visually-stunning coming-of-age surf journey features Chris Del Moro tracing the roots of his Italian heritage in a tribute to the grandparents who raised him and on a hunt for the elusive waves that captured his imagination as a young boy.
Rollicking to a superb surf film style soundtrack including a track by Grammy Award Winning Artists, Mumford & Sons, the film explores the history of a passionate Italian surfing subculture in a reflective look at the ways this group has sustained its traditions in the face of globalization and hyper-commoditization by embracing time-tested methods focusing on sustainability and craftsmanship.
Staying true to its grass roots origins, the film is currently available in major U.S. theaters via TUGG.com, an on-demand theatrical distributor which, like Kickstarter, allows passionate film audiences to support and promote local screening events by pre-purchasing tickets toward an activation threshold. Anyone can request and promote a screening within their immediate community and the film has seen a remarkable turnout among surf lifestyle enthusiasts and retail outlets sponsoring screenings around the country. Visit www.bellavitafilm.com/see-film for info on local screenings and on how to host a screening.
Bella Vita's custom-designed collector's edition DVD release features an eight-panel package with postcards and artwork by Del Moro as well as commentary from Baffa and Del Moro, a companion "making-of" feature and English, Italian, Spanish and German subtitles.
Complimenting the film's roll-out, a series of "Filmmaker Edition" wines are in the works via Italian cast-member and wine-maker, Piergiorgio Castellani, under the Zio Baffa label.
Additionally, special edition publisher Arkitip has released a limited edition companion book, Arkitip #0059 - Bella Vita, with a selection of stills, interviews, sketches, backstory and artwork created by Del Moro. Each issue includes a custom Bella Vita Velcro-wallet thanks to the support of Quiksilver.
Filmmakers and Cast are available for interviews upon request. Photos and editorial assets are also available upon request.
For more information on Bella Vita and to view the film trailer, please visit
http://www.bellavitafilm.com
Media Contact: Greg Schultz / greg@haymakerprojects.com
DVD Distribution: James Ravenel / james@wearegrandview.com
Theatrical/Digital/TV: David Kennedy / dkennedy@goldcrestfilms.com
Posted on 22nd Sep
Bella Vita Wins Audience Choice Award!
Bella Vita wins the Audience Choice award at the 2014 Costa Rican International Film Festival
Posted on 10th Aug
French Premiere
Bella Vita will be making its French Premiere at the International Surf Film Festival d'Anglet. Mark your calendars for Friday July 11th at 6pm.
For more info & tickets: http://surf-film.com/
Posted on 24th Jun
Newport Surf Fest
Stoked to be kicking off Surf Fest IV for newportFILM on Thursday July 10th in Queen Anne Square.
Make sure to RSVP and come meet Director, Jason Baffa by RSVPing here: http://bit.ly/1jkYUWS
Posted on 22nd Jun
If you're in Honolulu, join Jason Baffa at the Ward Village Courtyard Cinema for a screening of Bella Vita. This is an outdoor screening, so you'll have to bring your own chair.
Starting June 12, Ward Village, in partnership with the Hawaii International Film Festival and Consolidated Theatres, will host Courtyard Cinema, a new monthly film series that will showcase a selection of HIFF curated films!
Check out www.wardvillagecourtyardcinema.com for all the details.
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text:
,  - , est un romancier japonais du début de l'ère Shōwa. Il écrit sous trois pseudonymes différents, chacun avec une personnalité unique, et fait sensation avec ses ouvrages de fiction, ses essais et ses traductions. Il a signé des œuvres sous les pseudonymes Tani Jōji, Hayashi Fubō et Maki Itsuma.

Jeunesse
Né sur l'île de Sado dans la préfecture de Niigata, Hasegawa est le l'aîné d'une fratrie d'intellectuels : le peintre et écrivain Hasegawa Rinjirō, les écrivains Hasegawa Shun et Hasegawa Shirō. Son père est journaliste et s'installe à Hakodate sur l'île de Hokkaidō où Kaitarō est exposé à un âge précoce à un environnement cosmopolite avec de nombreuses influences étrangères. Il est accepté à l'Université Meiji à Tokyo en 1917. Durant son séjour dans la capitale, il rencontre l'anarchiste Ōsugi Sakae. Une fois diplômé, il embarque en  pour les États-Unis sur le vapeur Katori Maru de la Nippon Yūsen. Il doit intégrer  l'Oberlin College en Ohio, mais dès , il décide de quitter la vie scolaire et de voyager partout aux États-Unis en prenant des notes sur ses expériences. Il mène une vie de quasi vagabondage dans le Midwest et à New York. En 1924, il retourne au Japon sur un cargo, via l'Amérique du Sud, l'Australie et Dalian dans le Guandong, d'où il rentre au Japon via la Corée occupée. Il a l'intention de retourner aux États-Unis mais se voit refuser un visa en raison des règles d'immigration américaines plus restrictives, et décide de rester au Japon pour tenter sa chance en tant qu'écrivain.

Carrière littéraire
Peu de temps après son retour au Japon en 1924, Hasegawa crée le nom de plume  avec lequel il publie des nouvelles dans la revue littéraire Shinseinen (« L'Homme moderne ») à partir de 1925. En 1926, il épouse Kazuko Katori, traductrice d'anglais. Faute d'argent, le couple vit dans une chambre louée dans un petit temple dans le quartier Zaimokuza de Kamakura, tandis que Hasegawa travaille comme chargé de cours à la proche école supérieure des femmes de Kamakura. Cependant, ses efforts en tant qu'auteur sont couronnés de réussite, en particulier ses nouvelles américaines souvent empreintes d'humour, appelée Meriken jappu mono ("recits jap américains") et qui mettent souvent en avant les difficultés éprouvées par les immigrants japonais aux États-Unis. Le premier volume de cette série, Tekisasu Mushuku (« Sans domicile au Texas »), est publié en 1929.

Hasegawa écrit également sous le nom de plume  des semi-romans historiques qui paraissent en feuilleton dans le Tokyo Nichi Nichi Shinbun et le Mainichi Shinbun d'Osaka. Dans Shimpan Ooka Seidan (1927–1928). Son principal protagoniste est Tange Sazen, un borgne, manchot super-épéiste. Succès immédiat de librairie, le personnage est rapidement adapté au cinéma et quatre studios concurrents portent simultanément à l'écran des histoires de Hasegawa à partir de 1928.

En 1928, le Chūō Kōron parraine un voyage autour du monde d'un peu plus d'un an pour Hasegawa et son épouse en échange d'essais et de récits situés à différentes étapes de leur périple. Le couple visite quatorze pays. Au cours de ce voyage en Europe, sa femme écrit aussi des articles sur Londres et Paris qui sont publiés dans la revue littéraire pour femmes Fujin Kōron (« Revue des femmes »). Il publiera à son retour en 1929 une compilation de ses articles parus durant son séjour à l'étranger : Odoru chiheisen (L'Horizon dansant).

À son retour, Hasegawa utilise plus souvent le nom de plume  pour publier des récits de non-fiction sur les grands faits divers occidentaux et des récits décrivant la vie sophistiquée urbaine japonaise, ce qui lui vaut un grand succès auprès des lectrices japonaises. Il se voit offrir au même moment une suite à l'Hôtel impérial de Tokyo, mais en 1929, il s'installe à Kamakura où il demeure jusqu'à sa mort en 1935, d'asthme bronchique aigu. Sa tombe se trouve au temple Myōhon-ji à Kamakura.

Œuvres traduites en français

 Chroniques d'un trimardeur japonais en Amérique, traduit du japonais et présenté par Gérald Peloux, Les Belles Lettres, 2019.

Notes et références

Voir aussi

Bibliographie
 Campbell, Alan. Japan: An Illustrated Encyclopedia . Kodansha (1993).
 Standish, Isolde. New History of Japanese Cinema. Bloomsbury Academic (2006)

Articles connexes
 Tange Sazen

Liens externes

  e-textes sous le nom Tani Joji sur Aozora Bunko
  e-textes sous le nom Maki Ikuma sur Aozora Bunko
  e-textes sous le nom Hayashi Fubo sur Aozora Bunko

Écrivain japonais du XXe siècle
Romancier japonais du XXe siècle
Essayiste japonais
Nouvelliste japonais du XXe siècle
Auteur japonais de roman policier
Nom de plume
Naissance en janvier 1900
Décès en juin 1935
Décès à Kamakura
Décès à 35 ans
Mort d'une crise d'asthme
Naissance à Sado