. . . [Fleming's voice is] heavy and rich and dark and perfect for this music . . . she gives the music depth and abandon . . . [Messiaen's] "L'Epouse" is especially moving . . . Fleming feels this overheated music and communicates it with conviction. She brings out the rhythms and primal energy of seven songs by Henri Dutilleux.
She is rapturous and glorious in "Le Temps L'Horloge" . . . it's in the Dutilleux that we find her at her considerable best. It's worth acquiring just for that.
Her involvement with the intoxications of Ravel's "Shéhérazade" is obvious, the journey into this "forest filled with mystery" navigated with an enchantment . . . thrilling.
. . . an example of rich, collaborative storytelling . . . [Ravel: Shéhérazade]: she gives a vivid interpretation, and Alan Gilbert leads the Orchestre Philharmonique de Radio France in a brilliant, sharply delineated performance . . . in Messiaen's "Poèmes pour Mi," Gilbert culls full, surging sound from the group, and individual lines come through with clarity and bold color. Fleming captures character well from the playful, sensual "Le Collier" to the violent "Les Deux Guerriers" . . . [Dutilleux: Deux Sonnets]: Flowing, expansive and imaginative, "Le Masque" is a highlight . . .
. . . the state of her voice is cause for wonderment. The plush, peachy tone, her trademark, sounds unimpaired by the years . . . her accounts of the Dutilleux songs and Messiaen's early, rhapsodic "Poèmes pour Mi" are surely hors concours. The American soprano justifiably revels in the sound of her own voice . . . [Ravel: Shéhérazade]: none is more beautifully sung.
. . . gorgeously sensuous and committed . . . the finely pitched reading of Messiaen's "Poèmes pour Mi" is particularly successful. Two leading French orchestras play beautifully.
. . . [Ravel: Shéhérazade]: soaring gorgeousness . . . Fleming brings the right note of febrile dreaminess to Ravel's languorous [music] . . . Alan Gilbert does a suitably swooney job with the Orchestre Philharmonique de Radio France . . . [Dutilleux: Le temps l'horloge]: a Ravel-esque Gallic treat.
. . . [Ravel: Shéhérazade]: Beautifully supported by L'Orchestre Philharmonique de Radio France, whose guest conductor, Alan Gilbert, provides accompaniment as languorous and misty as her singing, Fleming is in wonderful voice . . . it shows Fleming equally adept at sensual mystery . . . she puts everything she's got into this music, to marvelous effect . . . you have a recording that merits accolades . . . the soprano at her versatile best . . . she gives us a definitive performance on what I believe to be her finest recording in many a year.
"Shéhérazade" finds Fleming in seductive voice . . . Dutilleux provides an appealing series of soundworlds that suits the warm sumptuousness of her voice.
. . . a delightful journey . . . a flowing performance of "Le Temps l'horloge" . . . Her voice radiates throughout and her phrasing is a joy.
. . . [a] magnificent disc . . . an inspired exploration of the still-developing French tradition . . . [Fleming's] lower register has become ever-richer toned, yet fluid, while higher up her silken soprano remains undiminished . . . [Dutilleux: " Le temps l'horloge"]: The cycle of four songs . . . is succinct in expression . . . Fleming is utterly ravishing in Ravel's "Shéhérazade", and her performance of Messiaen's "Poémes pour Mi" is sensational. This music is as luxuriant as the Ravel, and both cycles are captured in warm sound . . . here is a singer with the sumptuousness, character and burnished luminosity this score demands. Her control at the end of "L'épouse" is effortless, yet there is no holding back, with fire and steel where needed . . . Fleming is simply intoxicating.
The outstanding item in this French collection is the first recording of Dutilleux's "Le temps l'horloge" . . . [Fleming] revels in its rapturous lyricism . . . [the music is] wonderfully suggestive . . . Fleming's soprano soars and dips, hinting at great truths always just out of reach . . . [The live recording] is superb in all respects . . . In Ravel's "Shéhérazade", Fleming paints the cycle's descriptive pictures of the exotic East in detail . . . the voice's luminous quality has ecstasy within its reach . . . [The new Dutilleux cycle] is worth the price of the disc by itself.
Die amerikanische Sängerin hat ein Timbre wie nur ganz wenige Sopranistinnen: sehr füllig, sehr warm und mit einer dunklen Leuchtkraft. Diese Sinnlichkeit passt hervorragend zur Scheherazade von Ravel . . . Alan Gilbert und das Philharmonische Orchester von Radio France verschmelzen hier mit dem Sopran zu einem einzigen Klangkörper . . . Ganz wunderbar [ist die Studioaufnahme der beiden Sonnette von Dutilleux] . . . [Fleming demonstriert] mit der neuen CD einmal mehr ihren Ausnahmerang . . .
. . . [Das Programm] bringt das, was Renée Flemings Singen in Reinkultur ausmacht, zur schönsten Geltung. Da ist zunächst die Eigenschaft ihrer Stimme, in schillernden Farben verstärkend oder komplementär zu einer raffiniert oszillierenden Orchestrierung zu treten. Da sind weiterhin die Resonanz und die Wärme, die sie in der Mittellage entfaltet . . . Der getragene Duktus von Ravels Liedern und die herbstlichen Facetten von Renée Flemings Timbre verbinden sich zu einer Wiedergabe, die von verhaltener Melancholie geprägt ist . . . Messiaens "Poémes pur Mi" zeigen, dass die Künstlerin auch in dramatischer Musik zu bestehen weiß . . . Alan Gilbert vermag es, wie bei Ravel den Orchestersatz transparent zu halten. Vor allem aber ergibt sich aus dem Nebeneinander von üppiger Instrumentierung und vokaler Feinzeichnung eine Art expressiver Schwebezustand, der einen eigenen Reiz erzeugt . . . Da wehen die Klänge, etwa in "Le Temps l'horloge", gleichsam herein, trippeln einzelne Blasinstrumente über die von Seiji Ozawa präzise eingerichtete imaginäre Bühne -- und inmitten all dessen steht Renée Fleming, die auch hier für höchsten Wohllaut sorgt.
Von den ersten Klängen der Shéhérazade an merkt man: Fleming ist hier wirklich in ihrem Element. Maurice Ravels raffinierten Exotismus fängt sie perfekt ein . . . [Renée Fleming lässt] auch in den "Poèmes pour Mi" den Zauber der Liebeslieder immer durchscheinen. Von staunender Zurückhaltung steigert sich Fleming in immer neue, mitreißende Stimmungen hinein -- auch bei Henri Dutilleux . . . [Fleming demonstriert,] zu welch ungeheurer Ausdruckskraft ihre Stimme noch fähig ist . . . eine beeindruckende Reise in die französische Musik des 20. und 21. Jahrhunderts . . .
Hinreißend führt sie -- eine der wenigen Sopranistinnen, die sowohl stimmlich als auch optisch über eine Divenausstrahlung verfügt -- in die Märchenwelt von "Shéhérazade" ein. Die Sängerin behauptet sich mit Leichtigkeit gegen die süffige, klangmächtige Orchesterbegleitung Ravels. Sie lässt ihre luxuriöse Stimme verströmen auch in Messiaens anrührenden "Poèmes pour Mi" . . . Überwältigend ebenfalls die Interpretation der Lieder von Henri Dutilleux. Bezwingend, wie Fleming dabei Landschaften, Träume und vergehende Stunden besingt.
. . . [Dutilleux: "Deux Sonnets de Jean Cassou"]: Das zweite, "J'ai rêvé que je vous portais entre mes bras", ein trauriger Erinnerungstraum, gehört zu den Höhepunkten der CD . . . [Ravel: "Shéhérazade"]: In Ravels opiatischer Vision einer erotischen asiatischen Sinnenwelt gelingt Fleming die Verbindung von luxurierend schönem und fantasievollen Singen. Sie hat auch die Reserven für den emphatischen Ausdruck . . . [Messiaen: "Poemes pour Mi"]: Faszinierend die Ekstatik des Ersten mit seinen psalmodischen Rezitationen und seinem Alleluja-Jauchzen . . . [Renée Fleming überzeugt] auch bei Ausbrüchen durch genau kontrollierte dynamische Kontraste . . . Hier zeigt sich auch, dass die Stimme in der unteren Oktave voller geworden ist und eine bemerkenswerte Farbenpalette besitzt. Betörend die lyrisch-inständigen Lieder . . .
. . . eine wunderbar cremige, sahnige Stimme . . . [Ravel: "Shéhérazade"]: Mit üppig sinnlichem Timbre und exzellenter Legatokultur trifft sie den Tonfalls des Werks vorzüglich . . . [Dutilleux: "Deux Sonnets de Jean Cassou"]: wunderbar fließend . . .
Uneingeschränkt herrlich ["Le temps de l'horloge" von Henri Dutilleux] . . . sehr empfehlenswert!
. . . [eine] wunderbar cremige, sahnige Stimme . . . [Ravel: "Shéhérazade"]: Mit üppig sinnlichem Timbre und exzellenter Legatokultur trifft sie den Tonfall des Werks vorzüglich . . . [Dutilleux: "Deux Sonnets de Jean Cassou"]: wunderbar fließend . . . Eine der großen Stimmen unserer Zeit . . .
. . . mit subtilen Färbungen und sanft maniriertem Legato verwandelt sie die Vorlagen in pure Schönheit . . . Schönklang pur.
Si ce n'est pas une déclaration d'amour, cela y ressemble . . . quelles mélodies!
. . . [Poèmes pour Mi]: tension et inquiétude mais aussi hallucination déclamée et finalement heureuse (Ta voix) que Renée Fleming porte avec une intensité admirable . . . et ce legato d'une infinie souplesse, surgissent avec un relief imprévu . . . [les Dutilleux]: Seiji Ozawa fait miracle en ces stances contemporaines, véritables hymnes à la psyché curieuse et évanescente . . . De Ravel à Dutilleux se lit un même souci du verbe provocateur et onirique: l'"Enivrez- vous" d'après Baudelaire en est l'emblème le plus captivant où le chant soyeux et sensuel de Renée Fleming s'embrase littéralement: on comprend dès lors que Dutilleux ait choisi la cantatrice pour muse de prédilection. Récital envoûtant.
All singing is a kind of story telling, and René́e Fleming, whose vast repertoire includes many works demonstrating the breadth and richness of the French tradition, is no stranger to the particular skills required of the art. Scheherazade, as she is usually spelt in English, was the teller of the Tales of the Arabian Nights, whose prowess at inventing stories enabled her to survive a Sultan's cruel decree for 1001 nights— and thereafter, presumably, live happily ever after. In 1888, the Russian composer Rimsky-Korsakov wrote a colourful orchestral suite celebrating her and some of her stories, which Maurice Ravel would certainly have known when, in 1898, he began an opera about her. Nothing seems to survive of that unfinished work apart from the overture, which is entirely separate from the group of three orchestral songs the composer wrote five years later.
Ravel's Shéhérazade dates from his early maturity and its lush yet subtle harmony and refined if occasionally overwhelming orchestration are typical of the magic this delicate human being could create with his powerful art. They are settings of a poet whose real name was Léon Leclère (1874–1966), but whose pen name, which combined the hero of one of Wagner's operas with the villain of another, was Tristan Klingsor.
The cycle was first performed in Paris in May 1904. The first song conjures up a vision of Asia, an Asia of the imagination drawn from picture books and fairy tales and including mystery, violence, beauty, eroticism, and a variety of perfumed scenes from Syria, Persia, India and China as if visited on a flying carpet. The second, La Flûte enchantée, begins with the tones of the instrument. The singer is listening to it from inside a house where her master is asleep. She is a servant, and her lover, outside, plays the flute. In the final song, L'Indiffé́rent, a young man of ambivalent sexuality strolls attractively by a house from where the singer watches and invites him in. But he merely passes on, with a graceful gesture.
Olivier Messiaen composed Poèmes pour Mi for his first wife, the violinist and composer Claire Delbos. They had met at the Paris Conservatoire, where both were students, and soon they were giving recitals together. They married on St Cecilia's Day (22 November) 1932. "Mi" was the composer's pet name for his wife. Messiaen went on to compose, in 1936, this cycle of nine songs to his own texts — both intimately personal and religious — celebrating their happiness. They were originally for voice and piano; he created an orchestral version the following year. With its immediacy and blend of simplicity with voluptuousness, the cycle has become one of his most performed works.
Tragically, towards the end of the Second World War, Mme Messiaen's health declined. Following an operation she lost her memory and was hospitalised, remaining in institutions until her death in 1959. Together with the Chants de terre et de ciel (1938), which also celebrates the Messiaens' son Pascal, the Poèmes remain as a moving testimony to the short-lived happiness of the composer's first marriage.
Messiaen himself died in 1992 at the age of eighty-three. His colleague Henri Dutilleux, eight years his junior, is fortunately still with us. His relatively small output is of consistent quality and imagination, as audiences both in France and elsewhere are increasingly appreciating. The recipient, especially in recent years, of several major awards — notably the Ernst Siemens Prize (2005), the Prix Midem (2007), an honorary fellowship from Cardiff University and the Gold Medal of London's Royal Philharmonic Society (both 2008) — Dutilleux is now attracting the widespread attention he has so long merited.
He too studied at the Paris Conservatoire and later taught there, also enjoying an important professional relationship as Head of Music Production for French Radio from the end of the war until 1963. A member of no school, and not tied to any particular system of composition, Dutilleux has created a highly individual and distinguished œuvre, indebted to a degree to his forebears Debussy and Ravel, but also occasionally lightly shaded by the experience of jazz. A master of the orchestra, he has composed two symphonies as well as two major concertos — one for cello (written for Rostropovich) and one for violin (for Isaac Stern) — in addition to piano music and chamber works. Vocal music has figured infrequently in his output, but the small selection of his works for voice clearly demonstrates the high quality of his musical thought.
His first extant songs (Dutilleux has withdrawn some earlier examples) are the Deux Sonnets de Jean Cassou, composed in 1954 for voice and piano but later orchestrated. Cassou (1897–1986) was a museum curator who joined the French Resistance in 1940 when dismissed from his post by the Vichy government. His Thirty-Three Sonnets Composed in Secret (from which Dutilleux selects two) were created during his subsequent imprisonment, though not then written down as he was denied the means to do so; they were clandestinely published under the pseudonym Jean Noir in 1944 and their writer later received the Croix de Guerre.
Dutilleux returned to vocal composition for the important orchestral cycle Correspondances, premiered by Dawn Upshaw and the Berlin Philharmonic under Simon Rattle in 2003, and has more recently been inspired by the voice and artistic personality of Francophone soprano René́e Fleming to compose Le Temps l'horloge — four songs plus an interlude positioned between the last two (2006–09). The first performance of the complete cycle was given by Fleming at the Théâtre des Champs-É́lysées, Paris, with the Orchestre National de France under Seiji Ozawa, on 7 May 2009. The work employs a large orchestra with a couple of unusual additions — harpsichord and accordion — used with Dutilleux's regular selectivity and subtlety.
His choice of poets is again characteristic. The first two songs — Le Temps l'horloge and Le Masque — set words by Jean Tardieu, a poet and musician alongside whom Dutilleux worked for many years at Radio France. Unusually, the interlude is also associated with a text — Tardieu's prose poem Le Futur antérieur — though it does not set it. The text of Le Dernier Poème is by the Surrealist Robert Desnos, another member of the French Resistance, who died in the Nazi concentration camp at Terezín (Theresienstadt) in 1945. Finally, Dutilleux turns to his beloved Baudelaire, whom he cites as a major influence on his creativity and whose work also provided the title for his cello concerto, Tout un monde lointain. Enivrez-vous is one of Baudelaire's posthumously published Petits Poèmes en prose, urging the necessity for a drunken (presumably meaning thoroughly uninhibited) approach to life in all its aspects.
de trois mélodies orchestrales que le compositeur écrivit cinq ans plus tard.
Shéhérazade date des premières années de la maturité de Ravel, et ses harmonies opulentes mais subtiles et son orchestration raffinée jusque dans sa luxuriance sont typiques de la magie que cet être délicat était capable de conjurer par la seule puissance de son art. Ces mélodies mettent en musique un poète qui s'appelait en réalité Léon Leclère (1874–1966), mais dont le nom de plume, associant le héros et le scélérat de deux opéras de Wagner, était Tristan Klingsor.
Le cycle fut créé à Paris en mai 1904. La première mélodie évoque une vision de l'Asie, une Asie imaginaire sortie de livres d'images et de contes qui mélange le mystère, la violence, la beauté, l'érotisme et tous les effluves de scènes décrivant la Syrie, la Perse, l'Inde et la Chine comme si on les survolait en tapis volant. La deuxième mélodie, La Flûte enchantée, commence au son de cet instrument.
La narratrice l'écoute de l'intérieur de la demeure où son maître est endormi. C'est une servante, et son amoureux, dehors, joue de la flûte. Dans la dernière mélodie, L'Indifférent, un jeune homme à la sexualité ambivalente passe devant une maison d'où le narrateur l'observe, séduit par sa démarche chaloupée. Il l'invite à entrer, mais le garçon se contente d'esquisser un geste gracieux et poursuit son chemin.
Olivier Messiaen composa Poèmes pour Mi à l'intention de sa première épouse, la violoniste et compositrice Claire Delbos. Ils s'étaient rencontrés au Conservatoire de Paris, où ils étudiaient tous les deux, et s'étaient rapidement mis à donner des récitals ensemble. Ils se marièrent en 1932, un 22 novembre — jour de la Sainte-Cécile. "Mi" était le surnom que donnait le compositeur à sa femme. En 1936, Messiaen composa donc ce cycle de neuf mélodies sur des textes de sa main—à la fois très intimes et pleins de ferveur religieuse — qui célèbrent leur bonheur. Au départ, ils étaient écrits pour voix et piano et il en tira une version orchestrale l'année suivante. Grâce à son charme immédiat et à son alliage de simplicité et de sensualité, le cycle est devenu l'une des œuvres du compositeur les plus données.
Hélas, vers la fin de la Deuxième Guerre mondiale, la santé de Claire Messiaen se mit à décliner. À la suite d'une opération, elle perdit la mémoire et fut hospitalisée, demeurant internée jusqu'à sa mort, survenue en 1959. Avec les Chants de terre et de ciel (1938), écrits pour Pascal, le fils des Messiaen, les Poèmes constituent un émouvant témoignage du bonheur de la première union du compositeur, bonheur qui fut malheureusement de courte durée.
Messiaen s'éteignit à son tour en 1992, à l'âge de quatre-vingt-trois ans. Son confrère Henri Dutilleux, de huit ans son cadet, vit encore. Sa production relativement réduite dénote une valeur et une imagination qui ne sont jamais démenties et sont de plus en plus appréciées par les mélomanes de France et d'ailleurs. Récipiendaire, surtout ces dernières années, de plusieurs prix prestigieux — notamment le prix Ernst Siemens (2005), le Midem (2007), une bourse honoraire de l'Université de Cardiff et la Médaille d'or de la Royal Philharmonic Society de Londres (toutes deux en 2008) —, Dutilleux attire désormais l'ample attention qu'il mérite depuis si longtemps.
Lui aussi a étudié au Conservatoire de Paris et y a enseigné ensuite, menant également une belle carrière professionnelle en qualité de directeur de la production musicale pour la radio française, depuis la fin de la guerre jusqu'en 1963. Sans appartenir à une école particulière ni être attaché à un système de composition défini, Dutilleux a créé un corpus d'œuvres extrêmement personnelles et remarquables, avec une certaine dette envers ses prédécesseurs Debussy et Ravel, mais aussi parfois l'influence indirecte du jazz. Maître de l'écriture orchestrale, il a composé deux symphonies ainsi que deux grands concertos — l'un pour violoncelle (écrit pour Rostropovitch) et l'autre pour violon (pour Isaac Stern) — en plus de pièces pour piano et de musique de chambre. La musique vocale a peu figuré dans sa production, mais ses quelques œuvres pour la voix démontrent clairement l'éminente qualité de sa pensée musicale.
Les premières mélodies existantes de Dutilleux (il en avait supprimé quelques exemples plus anciens) sont les Deux Sonnets de Jean Cassou, composés en 1954 pour voix et piano mais orchestrés ultérieurement. Cassou (1897–1986) était conservateur de musée et rejoignit la Résistance en 1940 quand il fut révoqué par le gouvernement de Vichy. Il a créé ses Trente-trois Sonnets composés au secret (dont deux ont été sélectionnés par Dutilleux) pendant son incarcération subséquente, mais sans pouvoir les consigner par écrit car il n'avait pas droit au papier; ils furent publiés clandestinement sous le pseudonyme de Jean Noir en 1944, et par la suite, leur auteur fut décoré de la Croix de guerre.
Dutilleux retourna à la composition vocale pour l'important cycle orchestral Correspondances, créé par Dawn Upshaw et le Philharmonique de Berlin sous la direction de Simon Rattle en 2003, et plus récemment, il a été inspiré par la voix et la personnalité artistique de la soprano francophone Renée Fleming, composant pour elle Le Temps l'horloge — quatre mélodies plus un interlude placé entre les deux dernières (2006–2009). La création du cycle complet a été donnée le 7 mai 2009 par Renée Fleming au Théâtre des Champs-Élysées à Paris avec l'Orchestre National de France sous la baguette de Seiji Ozawa. L'ouvrage fait appel à un grand orchestre, avec deux ajouts insolites — un clavecin et un accordéon — utilisés avec le discernement et la subtilité coutumiers de Dutilleux.
Son choix de poètes est caractéristique. Les deux premières mélodies — Le Temps l'horloge et Le Masque — mettent en musique des textes de Jean Tardieu, poète et musicien aux côtés de qui Dutilleux travailla pendant de nombreuses années à Radio France. Fait inhabituel, l'interlude est également associé à un texte — le poème en prose de Tardieu Le Futur antérieur —, même s'il ne le met pas en musique. Le texte du Dernier Poème est signé par le poète surréaliste Robert Desnos, lui aussi résistant, qui mourut dans le camp de concentration nazi de Terezín (Theresienstadt) en 1945. Enfin, Dutilleux se tourne vers son cher Baudelaire, qu'il cite comme une influence majeure sur sa production, et dont l'œuvre lui a également fourni le titre de son concerto pour violoncelle, Tout un monde lointain. Enivrez-vous est l'un des Petits Poèmes en prose de Baudelaire publiés à titre posthume, qui exhorte ses lecteurs à se laisser griser par tous les aspects de la vie — autrement dit, sans doute, à faire fi de leurs inhibitions.
Singen ist immer auch Geschichtenerzählen; und Renée Fleming, deren enormes Repertoire viele Werke aus der reichhaltigen französischen Tradition einschließt, verfügt über die besonderen Fähigkeiten, die diese Kunst verlangt. Scheherazade (so die übliche deutsche Schreibweise) ist die Erzählerin der Erzählungen aus den Tausend und ein Nächten, die diese Geschichten so geschickt ausspann, dass sie das grausame Todesurteil eines Sultans 1001 Nächte lang hinausschieben konnte — und darauf lebten sie vermutlich glücklich bis an ihr Lebensende. 1888 schrieb der russische Komponist Rimskij-Korsakov eine farbenfreudige Orchestersuite über sie und einige ihrer Geschichten, die Maurice Ravel sicher gekannt hat, als er 1898 eine Oper, Shéhérazade, zu schreiben begann. Von diesem unvollendeten Werk hat sich anscheinend nichts außer der Ouvertüre erhalten, die gar nichts mit den drei Orchesterliedern zu tun hat, die er fünf Jahre später komponiert hat.
Ravels Shéhérazade stammt aus seiner frühen Reifezeit und die üppige, doch subtile Harmonik sowie die raffinierte, wenn auch gelegentlich überwältigende Orchestrierung sind typisch für die Magie, die dieser feinfühlige Komponist mit seiner eindringlichen Kunst erzeugen konnte. Es sind Vertonungen eines Dichters, der eigentlich Léon Leclère (1874–1966) hieß, aber einen Künstlernamen trug, der den Helden einer Wagneroper mit dem Bösewicht einer anderen verband — Tristan Klingsor.
Der Zyklus wurde im Mai 1904 in Paris uraufgeführt. Das erste Lied zaubert eine Vision Asiens aus der Phantasiewelt von Bilderbüchern und Märchen hervor, voller Geheimnisse, Gewalt, Schönheit, Erotik, mit einer Vielzahl exotisch angehauchter Szenen aus Syrien, Persien, Indien und China, gleichsam von einem fliegenden Teppich aus gesehen. Das zweite Lied, La Flûte enchantée, beginnt mit den Klängen dieses Instruments. Die Sängerin lauscht ihm vom Inneren eines Hauses, in dem ihr Gebieter schläft. Sie ist eine Dienerin, und ihr Geliebter spielt draußen auf der Flöte. Im letzten Lied, L'Indifférent, flaniert ein junger Mann von ambivalenter Sexualität verlockend vor einem Haus, aus dem die Sängerin ihn beobachtet und hereinbittet. Doch er geht mit einer anmutigen Geste vorüber.
Olivier Messiaen komponierte die Poèmes pour Mi für seine erste Frau, die Geigerin und Komponistin Claire Delbos. Sie waren einander als Studenten am Pariser Conservatoire begegnet, gaben bald gemeinsam Konzerte und heirateten am Cäcilientag (22. November) 1932. "Mi" war der Kosename des Komponisten für seine Frau. 1936 komponierte Messiaen dann diesen Zyklus mit neun Liedern auf eigene (sowohl höchst persönliche als auch religiöse) Texte, die ihr gemeinsames Glück besingen. Im folgenden Jahr schrieb er eine Orchesterfassung dieser ursprünglich für Stimme und Klavier komponierten Lieder. Der Zyklus wurde dank seiner Unmittelbarkeit und der Mischung aus Schlichtheit und Sinnlichkeit zu einem der meistaufgeführten Werke des Komponisten.
Unglücklicherweise verschlechterte sich der Gesundheitszustand von Claire Delbos gegen Ende des Zweiten Weltkriegs. Nach einer Operation verlor sie ihr Gedächtnis, kam ins Krankenhaus und lebte bis zu ihrem Tod 1959 in verschiedenen Anstalten. Zusammen mit den Chants de terre et de ciel (1938), die auch ihrem Sohn Pascal gewidmet sind, bilden die Poèmes ein bleibendes und bewegendes Zeugnis für das kurze Glück von Messiaens erster Ehe.
Der Komponist starb 1992 mit 83 Jahren. Sein acht Jahre jüngerer Kollege Henri Dutilleux lebt erfreulicherweise noch. Sein relativ schmales Werk ist von dauerhafter Qualität und Einfallskraft, was Hörer in Frankreich und andernorts zunehmend würdigen. Dutilleux erhielt, besonders in jüngster Zeit, einige bedeutende Auszeichnungen, so vor allem den Ernst Siemens Preis (2005), den Prix Midem (2007), die Ehrenmitgliedschaft der Cardiff University sowie die Goldmedaille der Royal Philharmonic Society London (beide 2008). Der Komponist findet nun überall die Beachtung, die er so lange schon verdient hat.
Er hat ebenfalls am Pariser Conservatoire studiert und später dort unterrichtet; außerdem hatte er als Leiter der Musikproduktion beim französischen Rundfunk vom Kriegsende 1945 bis 1963 eine wichtige Position inne. Dutilleux hing keiner Schule und auch keinem besonderen Kompositionssystem an und schuf ein höchst individuelles und herausragendes Œuvre, das in gewissem Maß seinen Vorgängern Debussy und Ravel verpflichtet ist, gelegentlich aber auch eine leichte Jazz-Färbung aufweist. Der meisterhafte Orchesterkomponist schrieb zwei Sinfonien sowie zwei bedeutende Konzerte, ein Cellokonzert (für Rostropovitsch) und ein Violinkonzert (für Isaac Stern) neben Klavier- und Kammermusikwerken. Es gibt nur wenige Gesangswerke von ihm; doch die schmale Auswahl seiner Vokalkompositionen erweist deutlich die hohe Qualität seines musikalischen Denkens.
Die ersten noch vorhandenen Lieder von Dutilleux (er hat einige frühere Exemplare zurückgezogen) sind die Deux Sonnets de Jean Cassou, 1954 für Gesang und Klavier komponiert, später jedoch auch orchestriert. Cassou (1897–1986) war ein Museumskurator, der sich 1940 der französischen Resistance anschloss, als er vom Vichy-Regime seines Amtes enthoben wurde. Seine Trente-trois Sonnets composés au secret (aus denen Dutilleux zwei auswählte) entstanden während seiner anschließenden Gefangenschaft, wurden damals allerdings nicht aufgeschrieben, da man ihm die Mittel dafür verweigerte. Sie erschienen 1944 geheim unter dem Pseudonym Jean Noir; ihr Verfasser erhielt später das Croix de Guerre.
Dutilleux wandte sich mit dem bedeutenden Orchesterzyklus Correspondances wieder der Gesangskomposition zu; das Werk wurde 2003 von Dawn Upshaw und den Berliner Philharmonikern unter Simon Rattle uraufgeführt. In jüngerer Zeit inspirierten ihn die Stimme und die künstlerische Persönlichkeit der frankophonen Sopranistin Renée Fleming zur Komposition von Le Temps l'horloge — vier Lieder mit einem Zwischenspiel zwischen den letzten beiden Liedern (2006–09). Die Uraufführung des vollständigen Zyklus fand am 7. Mai 2009 mit Renée Fleming und dem Orchestre National de France unter Seiji Ozawa im Théâ̂tre des Champs-Élysées, Paris, statt. Dutilleux hat das große Orchester dieses Werkes noch durch einige ungewöhnliche Instrumente, Cembalo und Akkordeon, ergänzt, die er (wie bei ihm üblich) wählerisch und subtil handhabt.
Seine Dichterauswahl ist ebenfalls charakteristisch. Die ersten beiden Lieder — Le Temps l'horloge und Le Masque — sind Vertonungen nach Texten von Jean Tardieu, einem Dichter und Musiker, an dessen Seite Dutilleux viele Jahre bei Radio France gearbeitet hat. Ungewöhnlicherweise bezieht sich auch das Zwischenspiel auf einen (allerdings nicht vertonten) Text: Tardieus Prosadichtung Le Futur antérieur. Der Text von Le Dernier Poème stammt von dem Surrealisten Robert Desnos, ebenfalls einem Mitglied der französischen Resistance, der 1945 in dem Nazi-Konzentrationslager Terezín (Theresienstadt) starb. Und schließlich wendet Dutilleux sich auch seinem geliebten Baudelaire zu, den er als wichtigen Einfluss für seine Kreativität anführt und dessen Werk Tout un monde lointain auch den Titel für sein Cellokonzert lieferte. Enivrez-vous ist eines der posthum erschienenen Petits Poèmes en prose Baudelaires, in dem die Notwendigkeit eines trunkenen (gemeint wohl gänzlich ungehemmten) Umgangs mit dem Leben in allen Aspekten angemahnt wird.


The Berkshire Mall has seen trials and tribulations over the last couple of years and it seems that the trend is continuing at a rapid pace.
According to a post on iBerkshires.com's Facebook page, apparently, power has been turned off throughout half of the Berkshire Mall. What that means is anybody's guess, but the question on everybody's mind has to relate to whether this is the beginning of the end for the Lanesborough based shopping mall.
The Berkshire Mall has seen major stores close, or on the way to closing, over the last couple of years, including Best Buy, Macy's, JC Penney, Sears and most recently, American Eagle.
The story of the mall's recent woes has been a sad one. The Berkshire Mall has been host of many major events for the radio station over the years, such as Malloween, the Berkshire Home & Garden Expo, the Mall-I-Day Madness game show, as well as multiple Take Home a Highlander live broadcasts.
Malls across the country have experienced hard times, some of those have thrived by evolving into something fresh. Whether or not this is trending in the end of the Berkshire Mall, rather than stay negative, let's focus on what can be done to make the space, possibly, even better.


This book is the sequel and the final chapter in the love story between Giani and Christine. The first book, "IF ONLY THERE WAS MUSIC…The Poetry of Forbidden Love" (a co-authored poetic project), was a love story told thru the eyes of two lovers…but written for the hearts of many.
Across oceans and thru many barriers, two hearts try to connect – but with the distance between them, will their love survive? And, with the forces-that-be against them, coming in the form of murder plots and domestic abuse, the bigger question is…will they?
To my dearest reader: If you should encounter any typo during your read of this book, I would so appreciate you letting me know at 4WillsPublishing@gmail.com. Even with the keenest of vision, mistakes are always possible.
UPDATE: I took the original copy down to make a few formatting corrections on 4/8/18 @ 8:58 PM CT, so if you purchased a copy before this time, please wait 48 hours and re-download for a better read. If I notice that the problem still exists, I will remove it and send it back for re-formatting.
Thanks for your support and enjoy this short story read!
Posted in Uncategorized and tagged ...And The Music Played, If Only There Was Music, Nonnie Jules, Rave Reviews Book Club, Rave Writers International Society of Authors, RRBC, RWISA, Short Stories. Bookmark the permalink.
Congratulations, Nonnie. I enjoyed your first book, "If Only There Was Music," and look forward to reading this second book.


Our client, headquartered in Europe, is a pioneer in fully integrated algorithmic software solutions for quantitative hedge funds. Their product allows for automation of complex, quantitative trading strategies in Equity, Forex & Derivative markets. It is one of first platforms that allows automated trading of Bitcoin & other cryptocurrencies.
They see a huge potential for growth in APAC and as part of their focus to invest in Singapore, they are looking for a Regional Sales Manager - Quantitative Trading Software.
In the next 3-5 years, this role (as envisioned) will manage a business of $10m USD and a team in Asia.
Our client, a leading quantitative trading software provider, is looking for someone who has a desire to join a hyper growth sales business. This role is for someone who is keen to build and run businesses with the backing of a team of industry experts and with an aim to make you the Asia lead. If you are looking for a low risk job with a fixed compensation driven package, this won't be the right role for you.


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Con-way drivers say 'no' to Teamsters in latest vote
The Teamsters Union was dealt a blow this week in its efforts to organize Con-way (No. 6 in the CCJ Top 250) workers, as employees at Con-way Freight's maintenance facility in Portland, Ore., voted to reject representation by the union.
Over the past year, the union has been campaigning to organize drivers and other employees Con-way and FedEx Freight.
Most recently, employees in Hayward, Calif., voted against the union, joining Con-way facilities in Buffalo, N.Y., Santa Fe Springs, Calif., San Fernando Valley, Calif., Bakersfield, Calif., Manchester, N.H., and Harlingen, Texas, in rejecting the union's efforts.
"I want to thank our employees for the thorough and careful consideration they gave to this matter and for voting to remain union-free," said Joseph M. Dagnese, president of Con-way Freight. "We continue to believe that our best path forward is one where we are focused on our customers, working together directly with our employees to deliver a superior service experience, without the interference of a third party."
The Teamsters did win over Con-way employees last year in Miami Lakes, Fla., Los Angeles, and Laredo, Texas.
Fuel prices resume steady summer decline
Swift ordered to pay owner-operator $2.6 million after trailer squashed his foot
Mariners-themed Kenworth to help raise money for children's literacy program
Food Cowboy grows ways to reduce waste
Dezl Truck Navigators

redpajama_set_name: RedPajamaCommonCrawl


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5 Best Surprises Of Harry Potter And The Half-Blood Prince
Katey Rich
Published: Jul. 12. 2009 1:27 PM
Given how long they made us wait to see the film, and how many clips and images they've released over the course of the year-and-a-half long marketing campaign, it's fair to assume you know everything about Harry Potter and the Half-Blood Prince. Particularly if you've read the books, right? How much surprise can there be in actually seeing Ron be wooed by Lavender Brown?
Trust me, I was right there with you, until I finally saw the sixth movie and was thrilled to find new things to enjoy, even in a movie that slices out some of the best parts of the book. Part of it is just seeing the world come to life, part is the maturation of the series' main actors, and part is just a bit of genius on part of the filmmakers. Below, my five favorite surprises from Harry Potter and the Half-Blood Prince, with no spoilers for the movie, but maybe a few from the book if you haven't read it. And if you haven't, seriously, what are you waiting for?
He's been skulking in the background of the last few pictures, as Harry took on villains far more significant than petty meanie Draco Malfoy. But in the sixth book Malfoy finally tiptoes toward his long-awaited redemption, albeit via some pretty nefarious means, and Felton digs into the role as if it's what he's been waiting for all along. As he's grown his face has become all sharp angles and daggers, and it's a wonder to see it all crumple as he cries in front of a bathroom mirror, overwhelmed at the task at hand. As Daniel Radcliffe's acting skills have seemingly shrunk with age, Felton has just gotten better. It sure doesn't hurt that he's also gotten handsome.
None of the Potter films have really known how to handle Quidditch, the wizarding sport that seems so logical on the page but baffles most filmmakers. Yates memorably cut it out of the fifth film entirely. But in depicting one particularly challenging game for Ron as the Gryffindor team's new Keeper, Yates makes the game exciting and even mostly coherent. The technology for depicting these matches has improved immensely since Ron and Harry first learned how to ride brooms, and watching Ron dive to catch Quaffles or the Beaters swinging their bats, the heights and the rushes of wind actually feel real. Added bonus: they show us Luna Lovegood's crazy roaring lion hat, which looks exactly as great as you imagined.
Harry and Dumbledore don't spend nearly as much time delving into Voldemort's memories as they did in the book, mostly because it would be a fairly frustrating movie if it were made up entirely of flashbacks. But two key memories-- Dumbledore's visit to Tom at the orphanage, and Slughorn's memory-- are intact, and Yates captures an excellent ephemeral, dreamy quality to both memories. It's hard to describe, but seeing teenage Voldermort turn into a wisp of black smoke looks effortless, almost as if it was what was there in the books all along.
The climactic scene of the book, in which Harry and Dumbledore undertake a dangerous journey inside a cave, is the scariest part of the series for my money. And when I heard that Half-Blood Prince had earned a PG rating, I was concerned they would tame down the scene, cut the terror felt by Dumbledore or the horrifying creatures living within the cave. And wouldn't you know it? They actually increased the scares. Nothing can ever be as frightening as what you imagine, of course, but using his clever visual style and a powerhouse actor like Michael Gambon, Yates makes you feel the chills all over again.
There will be a lot of talk about the humor of this film, how it focuses on teen romances and even pratfalls rather than the usual dark meditations on evil and coming-of-age. And while Rupert Grint's the best comedian in the bunch-- look forward to seeing him struck by a love potion-- the real surprise is Daniel Radcliffe, who gets to cut loose when Harry takes another kind of potion that makes him feel, well, a little drunk. In the book Harry was full of purpose and energy after drinking the potion, but Radcliffe's version is a bit more manic, and way more fun, than we've ever seen him before. It's a brief scene, but maybe the freshest of the whole series.
Katey Rich View Profile
Staff Writer at CinemaBlend
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UT's Pearson named rape suspect, suspended indefinitely
Matt Slovin, and Anita Wadhwani
University of Tennessee wide receiver Von Pearson has been named a suspect in a sexual assault that allegedly occurred in an off-campus apartment early Friday morning, according to the Knoxville Police Department.
Pearson, who will be a senior in the fall, is named as the only suspect. He was suspended from the football team indefinitely on Friday, according to associate athletics director Jimmy Stanton.
Pearson, 23, is at least the sixth University of Tennessee football player on the roster during last fall's season who has been accused of sexual assault.
Pearson did not respond to a text message seeking comment. Efforts to leave a voicemail message were unsuccessful because an automated message noted the voicemail was full.
A police report also names six witnesses, including two current members of the football team: Dimarya Mixon, a defensive lineman, and Alton "Pig" Howard, a wide receiver.
Campus police responded to the university's John C. Hodges Library at approximately 4 a.m. Friday, according to its report. There, the alleged victim indicated that a sexual assault had occurred off campus. She was transferred to University of Tennessee Medical Center for evaluation.
The case was later turned over to the Knoxville Police Department. A Knoxville police department investigator responded to the hospital at 6 a.m. Friday morning.
The University of Tennessee police report notes alcohol was involved and that the alleged sexual assault was "group/gang involved." Under "gang activity," the Knoxville Police Department report says there was "none/unknown."
The alleged assault occurred between 3 and 4 a.m. Friday morning at the University Walk Apartments and the investigation is ongoing, according to police records. Charges have not been filed.
Pearson, a Newport News, Va., native, caught 38 passes for 393 yards and a team-leading five touchdowns in 2014.
Other UT cases
In February, Michael Williams, a defensive back, and A.J. Johnson, a former star linebacker, were indicted by a Knox County grand jury on two counts each of aggravated rape. The players are accused of raping a female student at Johnson's off-campus apartment in November.
Attorneys for both players have denied the charges. While Williams remained enrolled at UT and Johnson graduated in December, the alleged victim has since withdrawn from the university.
An Aug. 24 trial date for Johnson and Williams has been set.
Riyahd Jones, 20, was named as a suspect in a reported sexual assault that allegedly occurred at an off-campus apartment Feb. 5, according to a Knoxville police report.
Jones, a Vols defensive back for the past two seasons, was part of the football team until Jan. 2 when Tennessee's season came to an end.
Charges were dropped against Jones after the alleged victim declined to pursue the case.
In September 2014, a football player was named in a sexual assault complaint made to university officials by a freshman woman, according to an internal university investigation and emails from university officials obtained by The Tennessean.
University officials investigated the case and issued a finding that no assault occurred and the incident was instead consensual sex. The player remains in good standing on the team. The Tennessean is not naming the football player because he has not been publicly accused and no police report was filed.
In 2013, Marlin Lane, 23, was named as a suspect in the rape of an 18-year-old high school student in Lane's dorm room on April 9, 2013, according to a University of Tennessee police report. Lane, a running back, was suspended from the team four days later for unspecified "disciplinary reasons."
The case was turned over to the Knox County district attorney, who declined to prosecute after the alleged victim said she did not want to pursue charges. Lane was reinstated to the Vols less than two months later.
Reach Matt Slovin at mslovin@tennessean.com or on Twitter @MattSlovin. Reach Anita Wadhwani at 615-259-8092 or on Twitter @AnitaWadhwani.


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Soldiers seize power in Sao Tome
Soldiers have seized power in the tiny West African nation of Sao Tome and Principe in an early morning coup on Wednesday.
16 Jul 2003 16:00 GMT
Resentment has been brewing in Sao Tome for sometime
Residents said the soldiers seized control while the country's president, Fradique de Menezes was away on an official visit to the Nigerian capital of Abuja.
The country's Prime Minister Maria das Neves and several other key officials were immediately taken into custody as the heavily armed soldiers patrolled the capital, having taken control of the television station, airport and the central bank.
Coup leaders cited tough socio-economic conditions and political instability as the reasons behind the coup, heralded at dawn by a short spell of gunfire and grenade explosions around the capital.
Sao Tome has been hit by political turmoil lately, fuelled by wrangling over what may be billions of barrels of oil lying off its coast. No oil has yet been found though.
Neighboring Nigeria, which will help Sao Tome develop the potential reserves as a joint venture, condemned the coup and cautioned its leaders against harming Nigerian citizens of property.
The apparent coup leader, Major Fernando Pereira, declared a state of emergency on national radio and told members of the government to gather at the police headquarters.
Defence Minister Fernando Danqua and Parliament speaker, Dionisio Dias were also taken into custody by the soldiers.
On a visit to Portugal, Sao Tome's Foreign Minister Mateus Meira Rita demanded power be returned to the elected government.
He linked the coup leaders to the Democratic Christian Front, a party which launched protests earlier in July calling for the government's overthrow.
In a country of 170,000, Sao Tome's armed forces number about 900 troops.
Some young army officers had taken over the impoverished country for a week in 1995, protesting against backbreaking poverty.


The size of the worldwide freighter fleet will nearly double over the next 20 years, according the to the latest Cargo Global Market Forecast published by industry giants Airbus.
Their predictions suggest that worldwide airfreight traffic will rise to around 3000 aircraft across the next 20 years, with an average growth of 4.8% each year. These figures and the projected growth is guided by positive global economic trends such as industrial production, private consumption, and general worldwide trade.
By the year 2032, the forecast suggests that a rise in global airfreight demand will require that approximately 2700 new or converted aircraft be brought into action. Over 50% of this amount will be for replacing retired aircraft, whilst the rest will be required for growth.
Of the 2,700 aircraft, 870 will be new build factory freight planes. A predicted 175 aircraft that are in service today will still be in use as service freighters in the year 2032.
One of the major factors in the predicted growth is the upturn in demand from emerging economies. China remains the single nation driving the most growth in the air cargo industry, holding 15% of the current global airfreight market. This figure is predicted to rise to 22% by 2032. The Asia-Pacific area makes up 36% of world freight traffic, expected to increase to 42% by 2032.
In comparison, the combined share of the developed nations' (made up of Europe, Commonwealth of Independent states, and North America) accounted for just over 50 percent of global air freight traffic in 2012. Although traffic in developed nations will continue to rise, by 2032 the combined share of total world freight traffic is predicted to fall slightly to approximately 45% due to the faster rate of growth in the developing nations.
« Department for Transport encourages haulage, freight, and similar enterprises to study safety techniques.


"This is a catastrophe," my wife said—slightly horrified—as she swiped through page after page of apps on my phone. "Why do you even have most of these?" It's a good question.
It's hard to believe that just a decade ago, the App Store icon showed up on the iPhone. It debuted with just 500 apps total, but that number has grown to over 2 million. It's an embarrassment of riches when it comes to applications, but some of them are, frankly, kind of embarrassing. Unless you're meticulous about your phone maintenance practices, there's a good chance you're toting around more apps than you need—and it could be harming your overall smartphone experience.


37281 - HWH BDC LOCAL Train Time Table: This train runs from HOWRAH JN (HWH) to BANDEL JN (BDC) 7 days of week on MON, TUE, WED, THU, FRI, SAT, SUN. It starts from HOWRAH JN (HWH) at 21:30 and arrives at BANDEL JN (BDC) at 22:30 hrs on same day. It takes around 1 day(s) to cover the distance of 39 km and stops at 17 stations during the journey between HOWRAH JN (HWH) and BANDEL JN (BDC).


25 Box jumps 60/ 45 cm.
*Sc:. 20/16" Half way rope climbs.
These are 2 metabolic demanding couplet workouts. With both a different scoring. Go easy on you burpees and max out on the air squats. If you stop moving on your squats start again with burpees.


For the first time in history, the senate judiciary committee rejected a supreme court nominee. Governor Christie attributed the 7-6 vote not to confirm his nominee to an attempt by Democrats to appease unions after voting last year to revamp public employee health insurance and pension benefits. Democrats cited concerns about business dealings by the nominee's family and about whether he is politically independent, as Christie asserts.


Legal Insurance (sometimes called Legal Expenses Insurance or Legal Protection Insurance) is just like any other insurance you provide your employees: you may choose to pay the monthly premium or you may pass some or all of the costs on to your employees. Either way, when your employees need legal assistance, they select an attorney from our panel of skilled legal professionals to work with, and we pay their legal fees directly.
Do You Recommend Attorneys For My Employees?
Florida State law prohibits us from recommending a specific attorney. To help your employees find the right lawyer, we offer an Attorney Finder that can locate someone in their geographic area that can provide the experienced legal guidance/representation they need.
If I Offer My Employees This Coverage, How Much Will a Lawyer Cost Me?
You pay nothing outside of the monthly premiums.
The exact cost to your employees will depend on the level of coverage selected. Refer to your Certificate of Coverage for details.
Also be aware that all non-lawyer costs of a legal matter, including court costs, filing fees, postage, copy fees, and travel costs, are not covered by Florida Legal policies; your employees will be responsible for these costs.
If An Employee Has a Legal Matter Not Covered, Can They Still Use Your Attorneys?
Yes. However, they will have to use the normal methods of paying that attorney for the services they provide.
When Do The Benefits Become Available?
For bankruptcy-related legal issues, there is a 90-day waiting period.
For divorce and the modification, enforcement, or establishment of a family court order, there is a six-month waiting period.
For all other benefits, the policy begins covering your employees on the first day of the month after you sign up with Florida Legal.
Does A Florida Legal Policy Cover Matters Already In Process?
No; only legal matters that commence after the date coverage begins (or the relevant waiting period; see above) are covered by Florida Legal policies.
Does The Policy Cover My Employees' Family Members?
The following issues are covered for the Employee only: The modification, enforcement, or establishment of a family court order; Divorce.
All other legal needs are covered for each family member listed on your policy.
Once a given benefit is used, the same employee cannot use the same benefit again until the plan year renews.
Can I Get A Florida Legal Plan for My Business' Legal Matters?
No; our plans are only for personal legal matters. We can cover you and your employees' individual legal matters, but any business-related matters are not covered.
Can My Employees Use an Out-Of-Network/Out-of-State Attorney?
Yes, there are still benefits available for using attorneys that are not panel members. Contact us for further details.
Is This a Discount or Referral Program?
No; Florida Legal offers Legal Insurance; the attorney your employees choose will submit a claim directly to Florida Legal for the covered legal services provided by a panel attorney.
How Does My Employee Acquire In-Office Services or Representation in Court?
They simply confirm that their matter is covered by the plan you provide and use our Attorney Finder to choose a lawyer. They contact that lawyer, tell them they have a Florida Legal plan and make an appointment.
Can my Employees Use the Legal Insurance I provide them to Sue Me?
No. Employees are not allowed to use their Florida Legal plan to bring a legal action against their employer.
Do You Provide Any Resources for Basic Legal Advice?
Your employees can call our Legal Hotline and speak with an attorney directly for quick/basic legal questions.


WeatherTech floor liners are the only way to fit your 2006-2008 Lexus RX400h.
Let's be honest: it's troublesome to keep mud and muck outside your car's flooring. This is where this front & rear WeatherTech floor liner set helps you, safeguarding your auto from soiled flooring in spots where it's most vulnerable. DigitalFit floor mats are the best choice in WeatherTech's floor mats offerings.
To say it another way, if you are looking for the premium, serious, most advanced safeguard for your auto's interior carpet, WeatherTech DigitalFit floor liners are the way to keep your car looking like new. Engineered by engineers at WeatherTech, the WeatherTech FloorLiner DigitalFit is the most advanced mat available right now.
Your 2006-2008 Lexus RX400h floor liners are laser manufactured for the best coverage. WeatherTech has a patented gadget that lets them laser engineer all of the interior grooves where your floor liners go, making sure that your floor liners fit fully. These liners are designed not to allow for any crevices for spills.
The liner's state-of-the-art engineered surface is built with fluid and dirt-carrying grooves that whisk troublesome spills off into a reservoir at the bottom, helping keep your carpet stay clean. Don't distress about spillage, the last reservoir has more grooves, helping to make sure you're not getting any liquid movement while you operate your car. Once trapped in the WeatherTech Floor Liner DigitalFit reservoir, messes are straightforward to clear away and clean without any additional mess.
The FloorLiner is a proprietary, tri-extruded material composition formed from a proprietary custom-blended TPO, which means your mats add to a unyielding, firm base that will provide toughness and will be resistant to wear and tear. These DigitalFit mats also have surface friction to the flooring and provide for a hugely beneficial surface that's pleasing to the touch. Your WeatherTech mats will stay flexible under weather peaks.
Yes, you likely want to make your car looking nice and staying spotless for you to use, but don't forget that at a time in your time ahead, you might buy a new vehicle. These WeatherTech floor mats will protect your vehicle's blue book cost!
These WeatherTech mats are happily built in America and come guaranteed against defective manufacturing and materials for three years after the purchase date, excluding normal wear and tear.
Your Lexus RX400h DigitalFit floor mats are covered by the manufacturer's 3 year warranty.


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The Competitive Zeal Pushing Kathy Bergen To 23 World Records
This inelegantly named newsletter is written by a Journalist with more than 40 years experience cover
This inelegantly named newsletter is written by a Journalist with more than 40 years experience covering Sports for major media. Geezer Jock is storytelling about the triumphs and joys of older athletes. Readers say this newsletter inspires them to do more. That's the idea. Insights and tips are part of the package, too, every Saturday. It's FREE.
Kathy Bergen is 81. She was part of a 4x100 relay team this summer that set an American record in the 60-64 division. (Photo: National Senior Games Association).
Kathy Bergen would rather kiss a hot iron, or stare at the sun, than lose in track & field. Her nemesis could be a 10-hour plane ride away, not 20 feet away celebrating a win, and Bergen wouldn't feel any better about second place.
Rietje Dijkman of the Netherlands went 1.16 meters outdoors in the High Jump on September 18, which bested Bergen's world record of 1.15 for the 80-84 year old division. Ask Bergen how that made her feel and you get this:
"Crappy," she said.
Bergen is 81 and she is ready to throw down against you right now, this instant, if you walk out on the track with her with laced up shoes.
"I'm here to set world records," she has said.
That competitiveness is one of the reasons why Bergen, who lives in La Canada, Calif., was named the USA Masters Track & Field Athlete of the Year. Accomplishments in 2020 and 2021 were combined to select the 2021 winner because most of the 2020 season was wiped out by Covid, but not before Bergen had her say in a couple of meets.
The hyper-competitive Bergen went head-to-head with Covid and won. Of course, she did.
She was 80 years old for the 2020 season and the youngest in a cohort is usually the one who gobbles up records for the age group. Bergen didn't want to let that window close. So she and her husband, Bert, looked far and wide for races in the 80-84 division before Covid could take a grip on the country and interrupt things.
Not surprisingly, they found opportunity in Texas in early 2020. They flew to Houston and she set three indoor world records (60m,10.02, 200m 35.66, and high jump 1.20m).
They went to another meet, this time outdoors in Texas, and she set world records in the 100m (16.62) and high jump (1.15m). It was the high jump record that was eclipsed in September by Dijkman, by a scant centimeter.
In 2021, Bergen was 81, a year older for the 80-84 cohort, at the USA Track & Field Masters National Championships in Ames, Iowa. Still, she took home medals with wins in the 100m (16.54), 200m (37.20), high jump (1.11m), and discus throw (17.89m).
Not only that, but Bergen ran the lead-off leg in the 4X100 relay in the 65-69 division and her team from the Southern California Striders Track Club set an American record.
The Bergens have been competing for 27 years. She has, at one time or another, set 23 world records, indoors and outdoors, and 33 American records. She has five world records still on the books. Bert is an accomplished high jumper in Masters Track with some national wins of his own.
You might be tempted to make the case that Kathy Bergen is setting world records because the competition is thinning out with age. That might be true, except, she was vanquishing opponents and getting her name in the record books two decades ago starting with the women's 55-59 division.
It is a remarkable stretch of resiliency for a woman who showed up for her first Masters meet in 1994 in the byzantine footwear of "sneakers."
Ask her if she saw any of this coming 27 years ago and Bergen says, "I had no idea."
There is a takeaway here, a significant one, that helps explain her near-three decades run of medal taking.
Rest.
Bergen said she owes some of her durability to Eric Dixon, her track coach from 2010-2020. They mostly worked together remotely and Dixon preached rest over and over to Bergen. She was too enthusiastic about athletics and didn't know how to switch off.
"I started with him when I was 70," Bergen said. "I was trying to run every day, play tennis, go to the gym, and high jump. He said I was doing too much; I wasn't allowing my body to rest.
"So now I do a track workout on Tuesday, Thursday and Saturday, and then go to the gym in the afternoon to do mostly weights and stretching, and the rest of the time I do less. But I do throw in some high jump workouts. I don't wear myself out anymore like I used to."
Here is another takeaway and this should stick with you.
Bergen, like many young girls in the 1950s, did not have an opportunity for track & field, not like the boys. There is no question Kathy could have been a high school competitor, perhaps even a college athlete, if she had come along 25 years later.
The upside of the discrimination is that Bergen does not have 65 years of beat-down on her bones and muscles or psyche. Imagine if, through 6 ½ decades, she had fed the track rage. High school meets, college meets, professional meets, Masters meets.
Women shunned because of their gender are smacking back in later years, catching up so to speak, and it is keeping them healthy and vibrant.
Kathy was built for the track. Damn straight she could have been a high school, or college star. She was a racehorse, even in grammar school in Brooklyn. She said she could beat all the boys in sprints and it infuriated them. The "Tomboy" taunts came at her, but did no good because, she said, after all, "I was a Tomboy."
The grammar school and sandlot races against the boys was as far as she got in track. She went to college and studied Economics and had a career and five children.
Two things add up for Bergen and explain her success. She had the genetics and the love of track to become a successful senior athlete.
Bergen's father, Jim McCaffrey, was a Geezer Jock in his time. He played on the company softball team for Bendix Corporation, a large American manufacturing and engineering company. He was in his 60s and mashing that potato with men 20-30 years younger.
It was Bergen's mother, Marian, who got her enthralled with track & field.
Kathy was a school girl in the 1950s and her mom would take her to all the big meets in New York; The Millrose Games at Madison Square Garden, Knights of Columbus meets, and New York Athletic Club events. Track was a spectacle in those days, not just in an Olympic year, as it is now.
Track interested her, but Bergen's family interested her more, so she never pursued the competition. She and Bert moved around the country before settling in southern California. It wasn't until her youngest was a teen that they entered their first Masters competition at Occidental College in 1994 and were hooked.
Bergen has had her share of injuries, of course. "I've pulled everything from the neck down," she says. But she keeps coming back, undaunted by soreness, or a few more wrinkles. And, she says, "I've had a great physical therapist I've been working with for 23 years."
She is going into the offseason, but Bergen is not completely relaxing. Dixon had her varying the workouts so she wasn't doing the same things over and over. Over the winter, she will run a 200, a 250, and three 200s. Bergen will come back with a 150 meter run, followed by three 300s.
This desire and consistency is how you set 22 world records. Over the next few months, she will work out three days a week around her volunteering in the area, which includes work in a hospital.
With her success, Bergen has a platform to try and convince other seniors to take up track & field. So far, her friends haven't followed her and Bert out on to the track, Bergen said.
"We understand the challenges for us and our age and what we have to do to maintain a certain level of excellence," she said. "My friends know the kind of work I put into track and field and they're not interested. I play tennis with them."
Their friends may not be converts, but the Bergens manage to spread the word to younger athletes. They help coach a track team at a local Catholic high school and they talk to Girl Scouts and local grammar schools, too.
"You show them that track is truly a lifetime sport," Bergen said.
Older athletes can be stigmatized by the blather, "It's just a game" as if their dutiful training is over-wrought. But why shouldn't seniors, like Bergen, be as competitive as the younger generations? Who says the yearn to win has to switch off at a certain age?
Kathy uses starting blocks to practice her takeoff. The science of a winner.
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Geezer Jock @geezerjocknews
This inelegantly named newsletter is written by a Journalist with more than 40 years experience covering Sports for major media. Geezer Jock is storytelling about the triumphs and joys of older athletes. Readers say this newsletter inspires them to do more. That's the idea. Insights and tips are part of the package, too, every Saturday. It's FREE.
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Жирау-ду-Понсиану ()  —  муниципалитет в Бразилии, входит в штат Алагоас. Составная часть мезорегиона Сельскохозяйственный район штата Алагоас. Входит в экономико-статистический  микрорегион Арапирака.

История
Город основан в 1959 году.

Примечания

Муниципалитеты штата Алагоас

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Mercy Corps survey on COVID-19 impact on households, businesses in Puerto Rico
Contributor November 23, 2020
The survey is conducted exclusively by the Mercy Corps team. All information provided will be confidential and completely anonymous, the nonprofit said.
Nonprofit organization Mercy Corps is conducting a survey to assess how the COVID-19 pandemic is impacting households and businesses in and across several countries/territories in the Caribbean: The Bahamas, Haiti and Puerto Rico.
Participation in this survey is voluntary, and all information survey participants provide will be completely anonymous.
This information will help the nonprofit design future economic recovery strategies for the various sectors most affected by this situation, it said in a statement.
Families and business owners in Puerto Rico may participate in the online survey which can also be found at Mercy Corps Puerto Rico's on the Facebook page.
Through the research, Mercy Corps is seekig to analyze the effect of the pandemic within the framework of: unemployment; distribution of financial aid; food security; business operation; and access to education, among others.
"In the case of Puerto Rico, we've already been going through various crises; the COVID-19 pandemic has had devastating consequences," said Vimaris Rivera, program manager for Mercy Corps Puerto Rico.
"We're interested in learning from the families themselves how the pandemic has affected their lives and how businesses in this region have been affected," she said.
"To get direct responses from the public, we've prepared a short online survey in Spanish. With the results, we hope to design more effective recovery efforts for citizens and be able to meet the main needs of those who have been most affected by COVID-19," said Denis Pereira, Mercy Corps Puerto Rico business development officer.
The deadline to participate is Nov. 30.
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Kiara Visbal-González December 28, 2020