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Classical music: Oakwood Chamber Players take a "Journey" to explore neglected and oppressed German and Dutch composers this Saturday night and Sunday afternoon
The accomplished and acclaimed Oakwood Chamber Players (below) continue their exploration of neglected repertoire and end their "Journey" season with two performances of a concert titled Legacy on this Saturday night, May 19, at 7 p.m. and on Sunday afternoon, May 20, at 2 p.m.
The concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison's far west side near West Towne Mall.
Tickets can be purchased with cash or personal checks at the door: $25 general admission, $20 seniors and $5 students. Visit www.oakwoodchamberplayers.com for more information.
Trio for flute, clarinet and bassoon by Dutch composer Julius Röntgen (below) was written in 1917 and is neo-Classical in style. Röntgen was a classmate and lifelong friend of Edvard Grieg's whom he met at the Leipzig Conservatory. He studied with Lachner and Reinecke, and collaborated with Brahms and Casals in concerts. His musical career spanned the roles of composer, teacher, and concert pianist. He was instrumental in the founding of the Amsterdam Conservatory and the world-famous Concertgebouw Orchestra.
A frequent participant in chamber music himself, he was a fine contributor to the genre. Röntgen's Wind Trio in G Major shows his compositional facility: from a playful Haydn-influenced first movement (which you can hear in the YouTube video at the bottom) to an adagio melody in the second movement that is drawn from Johann Sebastian Bach's "St. Matthew's Passion" and to the final movement with a Danish folk melody at its heart that is enhanced by upbeat creative variations.
German composer Heinrich Kaminski (below) wrote his atmospheric String Quartet in F major. Written over the time period leading up to World War I, this four-movement piece encompasses moodiness contrasted with high energy. The scherzo movement has the feel of a driven dance, the adagio movement is emotionally charged, and Kaminski's final movement recaps themes of the piece's restless expressivity.
Recognition of his talent in Berlin was cut short when the Nazi Gestapo intercepted correspondence that revealed Jewish heritage. His music was deemed unsuitable for performance in Germany and banned in 1937. He fled to Switzerland yet his life was profoundly impacted by events. He died shortly after the war, having endured the dissolution of his marriage, declining health and loss of children. However interest in Kaminski's unique composition style has led to resurgence in recent performances of his works.
Dutch composer Leo Smit (below) studied at the Amsterdam Conservatory and then lived in Paris for a decade before returning to Holland. He was greatly influenced by Ravel and Stravinsky's innovations and exchanged ideas with fellow composers Darius Milhaud, Francis Poulenc and Arthur Honegger. He enjoyed jazz rhythms and they often are found in his works.
His three-movement Sextet for piano and wind quintet is full of variety, warm melodic lines and fascinating harmonies. With the German invasion during World War II Smit's circumstances as a Jewish musician deteriorated and he was forbidden to continue as a professional musician. Despite the dire circumstances he continued composing, completing a Sonata for flute and piano in 1943 just prior to his transportation to and death in a concentration camp.
The program ends with a cleverly written piece by German composer Bernhard Sekles (below). The final movement from his Capriccio for violin, cello and piano is titled Yankee-Doodle with variations and a delightful way to conclude the concert. Based in Frankfurt, Sekles was an innovative composer and teacher, and in 1928 became the first European teacher of jazz.
Oakwood Chamber Players members are Marilyn Chohaney, flute; Amanda Szczys, bassoon; Anne Aley, horn; Leyla Sanyer, violin; and Maggie Darby Townsend, cello. They will be joined by guests Martha Fischer, piano; Elspeth Stalter-Clouse, violin; Shannon Farley, viola; Aaron Hill, oboe; and Bernard Parish, clarinet.
The Oakwood Chamber Players are a group of Madison-area professional musicians who play in other professional organizations such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and who have rehearsed and performed at Oakwood Village for over 30 years.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
Tags: #AmsterdamConservatory, #ArthurHonegger, #BannedArt, #BannedMusic, #BerlinGermany, #CarlReinecke, #ConcentrationCamp, #ConcertgebouwOrchestra, #ConcertPianist, #DariusMilhaud, #DutchComposer, #EdvardGrieg, #EuropeanComposer, #EuropeanMusician, #FolkMelody, #FrancisPoulenc, #FranzJosephHaydn, #GermanComposers, #GermanMusic, #HeinrichKaminski, #IgorStravinsky, #JazzMusic, #JewishComposers, #JewishMusic, #JohannesBrahms, #JohannSebastianBach, #JuliusRontgen, #LeipzigConservatory, #LeipzigGermany, #LutheranReligion, #MadisonSymphonyOrchestra, #MauriceRavel, #NaziGermany, #NaziGestapo, #NaziPersecution, #NeglectedComposers, #NeglectedRepertoire, #OakwoodChamberPlayers, #PabloCasals, #ParisFrance, #St.MatthewPassion, #ThemeAndVariations, #WestTowneMall, #WisconsinChamberOrchestra, #WorldWarI, #WorldWarII, #YankeeDoodle, Amsterdam, Arts, Bach, ban, Baroque, Bassoon, Berlin, Carl Reinecke, Cello, Chamber music, children, clarinet, Classical music, composer, Concertgebouw, conservatory, Danish, Denmark, Dutch, energy, Europe, European, flute, genre, Germany, Gestapo, Grieg, Haydn, Health, Holland, influence, Jacob Stockinger, Jazz, Jewish, Johann Sebastian Bach, Julius Rontgen, LeoSmit, loss, Lutheran, Madison, Madison Symphony Orchestra, melody, mood, Music, Nazi, neo-Classical, Netherlands, Oakwood Chamber Players, Oakwood Village, Paris, performance, Piano, repertoire, rhythm, sextet, Sonata, style, Switzerland, Teacher, theme and variations, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, war, winds, Wisconsin, Wisconsin Chamber Orchestra, World War I, World War II, YouTube
Classical music: UW Choral Union and soloists succeed impressively in Bach's massive "St. Matthew Passion." Plus, a FREE concert of Leonard Bernstein songs is at noon on Friday
ALERT: This Friday's FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features two husband-and-wife teams. Singers bass-baritone Paul Rowe and soprano Cheryl Bensman-Rowe and pianists Bill Lutes and Martha Fischer will perform an all-Leonard Bernstein program in honor of his centennial. The program includes selections from "Arias and Barcarolles," "Mass," "Peter Pan," "On the Town," "Wonderful Town" and "Songfest." The concert runs from 12:15 to 1 p.m.
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photographs.
It comes a bit late for this year's Holy Week, but the UW Choral Union's impressive mounting of Johann Sebastian Bach's St. Matthew Passion last Sunday was still a major contribution to our music this spring.
Running at almost three hours, this is Bach's longest single work, and is regarded by now as one of the musical monuments of Western Civilization. But its length and its demands make it something performed only on special occasions.
No antiquarian, conductor Beverly Taylor, who directs choral activities at the UW-Madison, tried to follow carefully Bach's elaborate specifications, which call for both a double chorus and a double orchestra, along with soloists.
A traditionally ample agency, the Choral Union this time fielded a total of 100 singers, plus a 12-member children's choir, as against a pair of student orchestras numbering 14 and 12 respectively, all playing modern instruments.
This was hardly a balanced combination and Bach himself could never have assembled, much less managed, so huge a chorus as this. It certainly overwhelmed the orchestras, and quite drowned out the children's group in their appearance at the beginning and ending of Part I.
Still, there is no denying the magnificence of such a large choral force. It was just a bit challenged by the turbae or crowd passages. Nevertheless, to hear such a powerful choir sing so many of the intermittent chorales in Bach's harmonizations is to feel the glory of the entire Lutheran legacy in religious expression.
A total of 16 soloists were employed, in functions of varying consequence.
At the head of the list stand two. Tenor Wesley Dunnagan (below left) has a voice of more Italian than German character, to my taste. But he not only carried off the heavy duties of the narrating Evangelist, he also sang the tenor arias as well, with unfailing eloquence. And faculty baritone Paul Rowe (below right) was truly authoritative as Jesus in the parts reserved for the Savior.
The arias were otherwise addressed by a double cast of singers, two each on the other voice parts. Of the two sopranos, Sara Guttenberg (if I have the identity correctly from the confusing program) was strong and splendidly artistic.
Talia Engstrom was more a mezzo-soprano than a true contralto, and not an equally powerful singer, but I did like her very engaging singing. (You can hear the lovely contralto and violin aria "Erbarme dich, mein Gott" in the YouTube video at the bottom.)
The sharing of the alto arias with a countertenor was, however, not a good idea. Of the two bass-baritones, Matthew Chastain (if I have his identity aright) sang with strong and rich tone. The other singers, mostly singing the character parts in the Gospel text, were generally students, ranging widely in maturity and appeal.
Taken as a whole, though, this performance was an admirable achievement for Beverly Taylor (below). Her tempos were on the moderate side, accommodating especially the large chorus. Above all, her enterprise was obvious in tackling this massive work, while the choral singers obviously found a special thrill in participating in it.
Compliments should be given the program, which contained the full German text interlarded with the English translation. With full house lighting, this wisely allowed the audience to follow along closely.
But the performance was divided into two sittings, one for Part I at 4 p.m., the second for Part II at 7:30 p.m., with a break in between of over two hours — really too long, I found.
Tags: #AaronCopland, #Americancomposers, #AmericanMusic, #AmericanRecordGuide, #AriasandBarcarolles, #BeverlyTaylor, #Children'sChoir, #ChoralUnion, #EmilyDickinson, #EnglishTranslation, #Erbarmedich, #FirstUnitarianSocietyofMadison, #FridayNoonMusicale, #HolyWeek, #husband-and-wife, #IsthmusNewspaper, #JesusChrist, #JohannSebastianBach, #JohnW.Barker, #LeonardBernstein, #LutheranReligion, #MadisonEarlyMusicFestival, #MartinLuther, #MedievalHistory, #PaulRowe, #PianoMusic, #St.Matthew, #St.MatthewPassion, #TheEvangelist, #TheGospels, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #UWChoralUnion, #UWProfessor, #VocalMusic, #WesternCivilization, American Record Guide, aria, Arts, Bach, barcarolle, baritone, Baroque, bass, bass-baritone, Bernstein, Cello, Chamber music, children, China, choral music, Chorale, Christ, Classical music, composer, conductor, contralto, Copland, countertenor, crowd, Early music, Emily Dickinson, English, Erbarme dich, evangelist, First Unitarian Society of Madison, German, Germany, History, husband, instrument, Isthmus, Italian, Italy, Jacob Stockinger, Jesus, Johann Sebastian Bach, Lutheranism, Madison, Madison Early Musical Festival, Medieval, Mezzo-soprano, modern, Orchestra, Pianist, Piano, professor, Season, singer, song, soprano, Spring, Sunday, symphony, tenor, text, translation, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, wife, Wisconsin, YouTube
Classical music: UW Choral Director Beverly Taylor talks about her life with Bach's "St. Matthew Passion," which she will conduct this Sunday afternoon and night
Johann Sebastian Bach's "St. Matthew Passion" always ranks high on the short list of the greatest choral works ever composed.
And for good reason.
It represents a peak of Bach's sacred music and his choral compositions.
This Sunday afternoon and night in Mills Hall, Beverly Taylor, director of choral activities at the University of Wisconsin-Madison's Mead Witter School of Music and the assistant music director of the Madison Symphony Orchestra, will conduct the UW Choral Union (below) — comprised of university and community singers — plus soloists and an orchestra, in a performance of the complete work.
At 4 p.m. they will do Part 1 and then at 7:30 p.m., Part 2.
Tickets (one ticket is good for both parts) are $15, $8 for students and seniors. To purchase tickets, go to: https://www.music.wisc.edu/about-us/tickets/
Tickets will also be available at the door.
The Ear is always curious to learn more about the relationship between a professional musician and a towering masterpiece.
He found out more when Taylor (below) recently answered an email Q&A about her past and current experiences with the "St. Matthew Passion":
When did you first hear the "St. Matthew Passion" and what was your reaction?
I never heard it until my late 20s, would you believe? I'd been through grad school and all its training, and learned German, knew a lot of Bach; and when Seiji Ozawa and the Boston Symphony did it on Good Friday, I sat spellbound for over three hours.
I was shaken to the core by its beauty, and even though it was hardly an early music performance, it was well handled, and one of my favorite British singers, Robert Tear, was the Evangelist. I've never forgotten it!
Where do you place the "St. Matthew Passion" among Bach's works and especially among his many choral works?
As with all masterpieces, it's hard to choose. It's the longest work, and its size and scope alone make it a frequent choice of many for favorite work.
It's more dramatic than the breath-taking B Minor Mass and more meditative than the St. John Passion, but I also love the unbelievable variety of cantatas that Bach (below) produced.
Don't make me choose!
What role has the "St. Matthew Passion" played in your personal and professional life?
I'd say it's a pinnacle work. This is only my second time performing it, and I'm unlikely to have the chance again, although one hopes. So I'm invested in its beauty and in its core message of hope in the face of tragedy.
Are there things you would like audiences to know about your upcoming performance?
There are several things.
We have a wonderful cast of soloists, and the orchestra is not the usual student orchestra, since the UW Symphony Orchestra is committed to another program in the near future, but is instead a mixture of students, semi-pros and pros.
The work is set for the two choruses and two orchestras that play with them. Many of the choral movements are set for both orchestras, but Bach varies the texture of each movement by varying who plays in what.
If a listener hasn't been to a Passion performance before, then you might want to know that:
The character of the Evangelist (sung superbly in this case by Wesley Dunnagan, below) is the narrator of the drama. He is accompanied by the continuo part—which is made up of a keyboard (usually organ with sacred works) and a low melody instrument, usually cello.
The chorus members sing sometimes in the character of Greek chorus commentary, sometimes as characters in the roles of Mob, Roman soldiers, Pharisees, and disciples. Most of this text comes from the book of St. Matthew. However, German theologians wrote commentary that is used for the beautiful Chorales-which basically are hymn-style settings of well-known Lutheran tunes. These chorales turn personal—for instance when Judas betrays Jesus, the chorus, after being a mob, turns around and says in repentance—It is I, I'm the one that killed you. (You can hear the final chorus in the YouTube video at the bottom.)
The text is so important, and Bach uses myriad details to bring it out. It is typical that when the text is about death, or evil, or sin, the writing is chromatic, or full of augmented fourth intervals (once nicknamed the devil's interval). When Jesus has died and been buried, the chorus sings what feels like a lullaby, with the rocking cradle motion. When an earthquake follows Jesus' death and the curtain of the temple is torn, the continuo cello breaks out of accompaniment mode and tears down the scale like lightning
Although this work presents Bach's Christian view in the heart of the church year, the scope and issues of faithfulness and disloyalty, trust and fear, should resonate with listeners of all faiths.
We've chosen, as some other presenters have, to have a dinner/snack break between the two parts of the three-hour work. One ticket will get you into either or both halves. We do this to give singers and players a little rest, and a little movement to our listeners. Part I runs from 4 p.m. to about 5:15 p.m., and Part II runs from 7:30 p.m. to about 9:15 p.m.
Tags: #BaroqueMusic, #BeverlyTaylor, #BMinorMass, #BostonSymphony, #ChoralMusic, #ChristianChurch, #ChristianReligion, #GermanLanguage, #GoodFriday, #GreatBritain, #GreekChorus, #JesusChrist, #JohannSebastianBach, #KeyboardMusic, #MadisonSymphonyOrchestra, #MeadWitterSchoolofMusic, #OrchestralMusic, #PersonalLife, #ProfessionalLife, #RobertTear, #RomanSoldiers, #SacredMusic, #SeijiOzawa, #Sin, #St.JohnPassion, #St.Matthew, #St.MatthewPassion, #UnitedKingdom, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #UWChoralUnion, Arts, Bach, Baroque, beauty, Boston Symphony, British, Cantata, Cello, choral music, Chorale, chorus, church, Classical music, community, composer, death, disloyalty, drama, dramatic, Early music, earthquake, Easter, email, English, evangelist, evil, faith, fear, German, Good Friday, Great Britain, hymn, Jacob Stockinger, Jesus, Jesus Christ, Johann Sebastian Bach, Keyboard, life, lightning, lullaby, Lutheran, Madison, Madison Symphony Orchestra, masterpiece, meditative, melody, mob, Music, narrator, Orchestra, organ, personal, personal life, professional, Q&A, sacred, Seiji Ozawa, singer, singers, soloist, symphony, temple, text, theologian, tragedy, trust, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Wisconsin, YouTube
Classical music: Choral music and string music are in the spotlight during a busy week of concerts at the UW-Madison
With the end of the academic year less than a month away, the last concerts of the semester are stacking up at the University of Wisconsin-Madison's Mead Witter School of Music.
Below are major events. But there are many more, including a lot of noteworthy student recitals. For a complete listing, go to: https://www.music.wisc.edu/events/
At 7:30 p.m. in Morphy Recital Hall, the Ann Arbor-based Back Pocket Duo (below) of percussionist Colin McCall and pianist Annie Jeng will perform a FREE program that includes a commission by contemporary composer Ivan Travino. For details, go to:
https://www.music.wisc.edu/event/guest-artists-back-pocket-duo/
The spring program of Opera Scenes by University Opera, to be held at Music Hall, has been CANCELLED.
At 7:30 p.m. in Mills Hall, the Twisted Horn Ensemble, under the direction of UW professor Daniel Grabois (below) will perform a FREE concert. Sorry, no word on composers or works on the program.
At 7:30 p.m. in Mills Hall, the Pro Arte Quartet (below, in a photo by Rick Langer) will perform a FREE concert of string quartets. The program, features the String Quartet in G Minor, Op; 20, No. 3, by Franz Joseph Haydn; and the final String Quartet No. 15 in G Major, D. 887, by Franz Schubert.
At 6 p.m. UW-Madison students in the Collegium Musicum will perform a FREE concert of early music under the direction of keyboard professor John Chappell Stowe (below, in a photo by Katrin Talbot). Sorry, no word about composers or pieces on the program.
At 8 p.m. in Mills Hall. A combined choirs concert of the UW Women's Chorus (below) and University Chorus will perform a FREE program.
Works to be performed under conductor Chris Boveroux include "Curse Against Iron" by Veljo Tormis; "Miniwanka" or The Moments of Water," performed in North American Indian dialects, by R. Murray Schafer (below); and the world premiere of a work composed by UW student Brianna Ware.
https://www.music.wisc.edu/event/combined-choirs-concert-2/
At 8 p.m. in Mills Hall, the Concert Choir (below) performs the program "On a Lark" under conductor Beverly Taylor graduate assistant conductor Chris Boveroux.
The program features the Wisconsin premiere of "A Dome of Many-Coloured Glass" by Dominick DiOrio (below), a 2012 four-movement setting of Amy Lowell's poetry, featuring marimba and soprano soloist with the choir.
For more information, go to: https://www.music.wisc.edu/events/2018-04-21/
At 4 p.m. (Part 1) and then 7:30 p.m. (Part 2) in Mills Hall, the UW Choral Union and the UW Symphony Orchestra (both below), under Beverly Taylor, will perform the "St. Matthew Passion" by Johann Sebastian Bach.
At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet, made up of UW graduate students, will perform a FREE concert.
This year's members (below from left, in a photo by Katrin Talbot) are Kyle Price, cello.; Vinicius "Vinny" Sant'Ana, violin; Blakeley Menghini, viola; Chang-En Lu, violin.
The program offers the "Quartettsatz" (Quartet Movement) by Franz Schubert; the String Quartet in B minor, Op. 11 (with the original version of the famous Adagio for Strings) by Samuel Barber; and the String Quartet in C minor, Op. 18, No. 4, by Ludwig van Beethoven.
Tags: #AcademicYear, #AdagioforStrings, #AmyLowell, #BackPocketDuo, #BaroqueMusic, #BrassMusic, #ChamberMusic, #ChoirMusic, #ChoralMusic, #CollegiumMusicum, #DominickDiOrio, #FranzJosephHaydn, #FranzSchubert, #HornMusic, #IvanTravino, #JohannSebastianBach, #LudwigVanBeethoven, #MeadWitterSchoolofMusic, #NativeAmerican, #NewMusic, #NorthAmericanIndians, #OperaScenes, #PercussionMusic, #ProArteQuartet, #R.MurraySchafer, #SamuelBarber, #SchoolofMusic, #St.MatthewPassion, #StringMusic, #StringQuartet, #TheHuntQuartet, #ThisWeek, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #UniversityOpera, #UWChoralUnion, #UWSymphonyOrchestra, #VeljoTormis, #Women'sChorus, academic, Adagio for Strings, Amy Lowell, Arts, Baroque, Beethoven, Cello, Chamber music, Choir, choral music, Classical music, classicalmusic, commission, composer, dialect, Early music, earlymusic, Franz Schubert, Friday, graduate student, Haydn, Horn, iron, Ivan Travino, Jacob Stockinger, Johann Sebastian Bach, Keyboard, Ludwig van Beethoven, Mead Witter School of Music, Monday, Music, New Music, noteworthy, Orchestra, Piano, piece, poem, Poetry, premiere, Pro Arte Quartet, professor, recital, Saturday, scenes, studnet, Sunday, symphony, tear, Thursday, Tuesday, Twisted Horn Ensemble, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, water, Wednesday, Wisconsin, word, YouTube


text:
#pragma once

#include <errno.h>
#include <stdint.h>
#include <stdbool.h>
#include <stddef.h>
#include "../math/tinymt/tinymt32.h"

// TEMPORARY HACK!!
struct p_dev
{
    int property[32];
};

struct p_team
{
    p_dev_t *dev;   // pointer to the associated device structure
    int size;       // number of member nodes
    p_team_t *team; // list of addresses, one per node (int)
    p_team_t *stat; // list of status "regs". idle/working
};

// Optimize later, focus on function...
struct p_mem
{
    p_team_t *team; // pointer to the associated team structure
    int mutex;      // optional mutex to grab before reading/writing 'mem'
    int takeit;     // indicates that new data is ready (wraparound impl)
    int gotit;      // indicates that data was read (wraparound impl)
    int pilot;      // temp var used for flushing read/write path to 'mem'
    size_t size;    // size of memory buffer
    void *mem;      // pointer to allocated memory
};

struct p_program
{
    p_dev_t *dev; // pointer to the associated device structure
    char *name;   // executable file name
};

struct p_symbol
{
};

struct p_event
{
};

struct p_atom_u32
{
    uint32_t mutex; // resource mutex
    uint32_t var;   // atomic variable
};

/*
 ***********************************************************************
 * Global system variables (will be replaced with O/S real time
 ***********************************************************************
 */

struct dev_op;
struct dev;
struct rank_range;
struct team;
struct prog;
struct pal_global;

struct dev_ops {
    /* These must be defined */
    p_dev_t (*init) (struct dev *, int);
    void (*fini) (struct dev *);

    int (*query) (struct dev *, int);
    struct team *(*open) (struct dev *, struct team *, int, int);
    int (*run) (struct dev *, struct team *, struct prog *, const char *,
                int, int, int, const p_arg_t *, int);
    int (*wait) (struct dev *, struct team *);

    /* Optional */
    int (*early_init) (struct dev *);
    void (*late_fini) (struct dev *);
};

struct dev {
    struct dev_ops *dev_ops;
};

struct rank_range {
    int first;
    int n;
};

struct team {
    struct team *next;
    struct dev *dev; // Support only one device per team (at leat for now)
    struct rank_range *ranges;
    size_t ranges_size;
};

struct prog {
    struct prog *next;
    struct dev *dev;
    char *name; // Must be '\0' terminated
    char *path; // Must be '\0' terminated
    char *buf;
    size_t buf_size;
};

struct pal_global {
    struct dev  *devs[P_DEV_LAST+1];
    struct team *teams_head;
    struct team *teams_tail;
    struct prog *progs_head;
    struct prog *progs_tail;
#if 0
    struct symbol *symbols_head;
    struct symbol *symbols_tail;
    struct event *events_head;
    struct event *events_tail;
    struct mem *mems_head;
    struct mem *mems_tail;
    struct atom *atoms_head;
    struct atom *atoms_tail;
    struct mutex *mutexes_head;
    struct mutex *mutexes_tail;
#endif
    tinymt32_t random; // PRNG state

    uint32_t rank;
};

extern struct pal_global __pal_global;

/*
 ***********************************************************************
 * Error handling
 ***********************************************************************
 */

/* Equivalent to generic Linux Kernel implementation of passing error codes
 * through pointers. This restricts us from returning pointers in the
 * upper-most 4096 byte address range, which should be fine considering it is
 * reserved for stack on most systems. Another option would be to use the
 * lowest bit to indicate error conditions.
 */

#define P_REF_ERR_MAX 4095

/* Convert an error code to a reference */
static inline p_ref_t p_ref_err(const int err)
{
    return (p_ref_t) ((intptr_t) -err);
}

static inline bool p_ref_is_err(const p_ref_t ref)
{
    return (((uintptr_t) ref) >= ((uintptr_t) -P_REF_ERR_MAX));
}

static inline int p_ref_get_err(const p_ref_t ref)
{
    if (p_ref_is_err(ref))
        return (int) ((intptr_t) ref);
    else
        return 0;
}

/*
 ***********************************************************************
 * CPU YIELDING
 ***********************************************************************
 */

/*
 * Prevents excessive wastage of processing units if lock is contended
 * when possible
 */

#if defined(__i386) || defined(__x86_64__)
#define p_cpu_relax() __asm__ volatile("pause\n": : :"memory")
#elif defined(__powerpc__) || defined(__ppc__) || defined(__PPC__) \
	|| defined(__powerpc64__) || defined(__ppc64__) || defined(__PPC64__)
#define p_cpu_relax() __asm__ volatile("or 27,27,27\n": : :"memory")
#elif defined(__ARM_ARCH_6T2__) || defined(__ARM_ARCH_7__) || defined(__ARM_ARCH_7A__) \
	|| defined(__ARM_ARCH_7R__) || defined(__ARM_ARCH_7M__) \
	|| defined(__ARM_ARCH_7S__) || defined(__aarch64__)
#define p_cpu_relax() __asm__ volatile("yield\n": : :"memory")
#elif defined(__FreeBSD__) || defined(__linux__) || defined(__NetBSD__) \
	|| defined(__OpenBSD__) || defined(__MACH__)
/* Many OSes support it, but some require odd macros to get the declaration */
int pthread_yield(void);
#define p_cpu_relax() pthread_yield ()
#else
#define p_cpu_relax() ((int) 0)
#endif

redpajama_set_name: RedPajamaGithub


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text:
Home/News/SACM launches upgraded version of its website
SACM launches upgraded version of its website
The Saudi Arabian Cultural Mission (SACM) in Australia recently launched an upgraded version of its website. The new version aims at upgrading the content, improving the methods of displaying information and improving the website appearance and technicality in line with the modern trends of websites functionality, including compatibility with tablets and smart phones.
The Cultural Attaché expressed his appreciation to the team involved in the upgrade process, commending their efforts in the development of the website for more than six months.
As part of SACM's development programs, the website undergoes ongoing upgrade and improvement. The Arabic version of the website provides a helpful source of information for scholarship students about regulations and procedures, while the English version offers comprehensive information to English speaking readers about SACM and Saudi Arabia. SACM's English website can be viewed on: www.sacm.org.au.
The Saudi Arabian Cultural Mission (SACM) in Australia organized a seminar themed "Preserving the Arabic …

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How can I recover files after accidentally running "git clean -df"? I have accidentally run git clean -df. It removed my files from my current commit, which I had yet to push. Now, in git status, those files are marked with D, which means "deleted".
Is there any way to get those files back?

A: git clean only untracked files and not committed ones.
You might have done other operations if you see D as the status for already committed files.
You get back those files, do:
git checkout .

or
git reset --hard

redpajama_set_name: RedPajamaStackExchange


text:
> TV & Film
Keeley Hawes talks feeling 'responsibility' in roles ahead of new drama Finding Alice
Finding Alice is due out early 2021
January 13, 2021 - 12:18 GMT Francesca Shillcock The actress recently spoke to press ahead of the release of new ITV six-part drama Finding Alice...
Keeley Hawes has opened up about feelings of 'responsibility' when playing certain roles in her career.
Speaking to HELLO! and other press at a recent Q&A about upcoming drama Finding Alice, in which she plays the lead role and serves as executive producer, the actress explained that it's often that actors feel a sense of responsibility in the roles they undertake.
MORE: 26 shows to get excited about in 2021
Keeley, who appeared at the virtual event alongside Finding Alice co-stars Joanna Lumley and Isabella Pappas, told reporters: "Quite often you do feel responsible, and on something like Honour there felt a huge responsibility to those real people, and I do feel a responsibility to the Durrell family and her children and grandchildren. But Alice is a unique creation."
WATCH: ITV's Finding Alice official trailer
The Line of Duty star continued: "What I really hope is some people will relate to her, and find something within her and her reaction to her grief that they can relate to, and that may help. It's unique to all of us the way that we all experience grief whether it's a parent, a child or pet. So I can't be responsible for that, but I hope people relate."
MORE: Bridgerton star Nicola Coughlan reveals disastrous injury on set
MORE: Virgin River star shares theory on season two's shock cliffhanger
Finding Alice, which is due out on ITV in January, tells the story of Alice and her grief journey after her partner, Harry, suddenly dies. The comedy-drama's director and executive producer, Roger Goldby, also told reporters during the Q&A event last month about the theme of grief behind the show. "[Grief] seems such a common thing, it just naturally came together as something to tell a story about.
MORE: Anne Hathaway praised by fans after sharing post that may cause offence
Keeley Hawes as lead in upcoming drama Finding Alice
"The other thing that was important was, we wanted to tell a story that didn't shy away from any of the truth and the pain, but also embrace the humour that is always, I think, very close to pain. It was important to weave that in, it's very natural and very organic and comes out of those situations."
Keeley's co-star Joanna Lumley also opened up about her role of playing Sarah, Alice's mother, during the same event. "I think if you look at Alice's parents, you can see that Roger is much more connected to his daughter. Sarah seems hard-hearted because she is hard-hearted and she's tactless.
"She's not a cruel person and she's not a bad person, but she just hasn't got any, or can't see any reasons to have any special graces. So she's kind but fairly dismissive of Harry's parents. She's perpetually irritated by Alice who's made, she thinks, the wrong choice in man."
Finding Alice starts Sunday 17 January, 9pm on ITV.
Like this story? Sign up to our newsletter to get other stories like this delivered straight to your inbox.
Keeley Hawes
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La IIIª edizione dei campionati europei di nuoto di fondo ha avuto luogo a Slapy Dam, nella Repubblica Ceca, il 28 e 29 agosto 1993.
È stata l'ultima edizione indipendente dell'evento, prima che il nuoto in acque libere venisse inglobato nel programma dei Campionati europei di nuoto. La manifestazione tornerà poi ad essere riproposta in questo formato a partire dal 2008.

Medagliere

Risultati

Uomini

Donne

Bibliografia
 Aronne Anghileri, Alla ricerca del nuoto perduto, Cassina de' Pecchi, SEP editrice S.R.L., 2002, vol. II. ISBN 88-87110-27-1.

Voci correlate
Campionati europei di nuoto 1993

Campionati europei di nuoto di fondo
Competizioni di nuoto in Repubblica Ceca
Sport acquatici nel 1993

redpajama_set_name: RedPajamaWikipedia


Our aim is to provide the highest standard of care, support and understanding for everyone that our Surgery serves.
If you have a problem that you believe needs our help and needs to be dealt with that day we will offer you the opportunity to speak to or be seen by a doctor or nurse on the day that you call. We will always respond swiftly and appropriately to emergencies. All of our GPs and staff are here to help.
You can book an appointment up to three months in advance in person, over the telephone or online.
We believe that continuity of care is important and have organised our appointment system to enable you to see the doctor or nurse of your choice wherever possible. We work hard as a Practice Team to try to meet your needs the best that we can at all times.
We pro-actively invite our patients to attend regular review appointments for the management of long term conditions with our nursing team and GP's for a wide number of conditons including asthma and diabetes. We will let you know in writing when your review is due and if you need more than one then we will try and arrange these all on the same day to save you having to make more than one visit to the Surgery.
We offer a wide variety of medical services including antenatal and postnatal care, minor surgery, joint injections, full contraception services and childhood vaccinations. We are also able to assess and treat minor injuries.
In addition, we are also keen to enable other healthcare professionals to use our Surgery so that services can be provided close to home for our patients. Podiatry, physiotherapy, addictive behaviour and mental health services are all provided within the practice through visiting consultants and other health care professionals.
We have full disabled access with automatic doors and all services are on one level. We have a disabled parking bay in our car park at the back of the surgery.
To support our patients in the home, we work closely as a team with the community nurses and health visitors who have a base in our building. We also work closely with the Macmillan, Heart Failure and Respiratory and Diabetes Specialist nurses.
We have a Voluntary Sector Liaison Team within the Surgery. This team works closely with our third sector colleagues to help promote the essential work that they do both within the Surgery and, where appropriate, to individual patients too. If you are involved with a voluntary or community group and would like us to promote the work that they do then please contact us and ask to speak to Gilly.
The Kirkbymoorside Surgery is a member of the York GP Registrar Scheme. This means that we provide vocational training in general medicine for those doctors who want to specialise in working in general practice. Whilst undertaking this trianing, these doctors are known as GP Registrars. They usually complete a six-month placement in two different GP practices. Dr Lodge is accredited to provide this high level of training.


To date I have made no public comment on the SNU's unilateral decision to wind up Psychic Press (1995) Ltd. and I do not propose to do so here. However, speculation abounds regarding the fate of Spiritualism's flagship newspaper, and I would like to thank Roy Stemman for his accurate and perceptive coverage of an issue which is a source of concern to Spiritualists worldwide, not least the editorial team of Psychic News.
My sole reason for posting today is to confirm that an offer has been made to the SNU to purchase Psychic News with a view to making it independent again for the first time in many years. As editor, I wholeheartedly support this offer. The dearest wish of Maurice Barbanell (a minister of the SNU) was that Psychic News would be a vehicle for the truth of Spiritualism itself and not allied to any individual group within the Spiritualist movement. Negotiations between the two parties will take place shortly and I ask all who have PN's future at heart to send out thoughts that guidance and inspiration will be given to all involved in those negotiations."
One must now hope that the SNU will treat this offer seriously and allow PN to once more become an independent voice for Spiritualism. If they don't I fear that the reputation and credibility of the NEC, already sadly undermined by their actions thus far, will be damaged beyond repair.
However much the SNU may desire to have a vehicle for promoting its brand of Spiritualism, surely this cannot be, must not be, at the expense of a newspaper with such an illustrious history. PN simply must be allowed to rise from the ashes of this situation to once more provide to Spiritualists around the world with the right to have news of their movement available to them.
May those in the SNU who hold the power realise PN belonged to all Spiritualists not just those who came under the SNU banner. In doing so, I hope they will recognise the importance of letting PN go from their control and into the hands of those who will respect and protect it and ensure that Maurice Barbanell's vision for an independent newspaper for all Spiritualists will continue.
I believe what Geoff has to say is well worth reading.
It is important not to blame the SNU for this; it was brought about by approximately ten members of the NEC, without any reference to the members. This, in spite of the outgoing president having said at the 2009 Conference that any closure of the Psychic News would be a matter for the members.
It is the NEC who have, in this instance, dragged the SNU's name through the mud. They really did not seem to have considered anything beyond the financial aspects of the question.
PN is a space where people can present ideas and exchange views. It is a place where church leaders (worthy of the name) can learn about the environment in which they operate and gain a sense of their purpose. It is a cohesive force which unites Spiritualists in 63 countries across the world and has until now enhanced the leadership of the SNU as the largest Spiritualist movement in the world. Was this not vastly more valuable than the piffling £3,000 per year they were reputed to be subsidising it by?
To replace this with a vacuum, was an act of supreme folly and creates an environment in which only rumour mills, uncertainty and even dictatorships thrive. Further, to think that the SNU - with its pitiful attempts at publications - could produce anything better that the Susan Farrow product, is an act of vanity or self-delusion, or both.
But here is the key to PN's long-term future - circulation. We need to have an 'each one reach one' campaign with each reader recruiting another. There are many ways to boost circulation in an affinity group like ours - and experts exist whom we can consult. But word of mouth is also a powerful way we can all take some personal responsibility in regaining that audience that made a judgment on PN when it was less well edited. They need to get up to date and return to the fold. Its not longer an 'ought-to' read, its now a 'must-read'.
Approximately 20% of SNU members are readers. This may sound disheartening, but that is a very significant number. According to the Pareto's principle - the 'law of the vital few and the trivial many' - 80% of results are brought about by 20% of the activity; 80% of sales are created by 20% of the sales force. Most areas of human activity have spotted this principle in action when they have looked.
So the SNU readership of PN is actually its cream and although the NEC may have thought they might offend a general cross-section of the movement in closing PN, they were actually striking at its most vital members. At the movement's very heart.
Hence the firestorm of protest which must have staggered the NEC. They have many fences to mend. I only hope they will not make things worse for themselves by declining the offer now placed before them.
But let's remember, committees are made up of human beings. They are driven by many motivations - worthy and otherwise - and these can attract the wrong kind of inspiration to their work. A problem in every Spiritualist committee from time to time. Those in spirit life that Imperator termed 'the adversaries' (Stainton Moses' Spirit Teachings) must find our committees, particularly the NEC, as presenting prize targets. It is very important that the good people who work on these committees in our churches and at other levels, examine themselves and their actions in that forum where egotism, competing interests and personal agendas can leave us open to those very presences.
I say it again, we need a Vision for the movement. 'Winning the world for Spiritualism' is what drove our pioneers. Is this, or that, action helping us attain that vision or isn't it? It's a question that can spring us out of many a spiritual dilemma if we test it against the Vision.
Yes, the NEC have messed up. They now know it and will, I have no doubt, work hard to redeem the situation. At risk of seeming to break the 100% opposition to this act, I say: Let us give them a chance to unwind themselves and the Union out of this sorry episode."
How does Geoff Griffiths think the NEC are doing at the redemption process? Perhaps he would give us an update?
Can someone explain why I have been refused a refund for my Stewart Alexander ticket? I am aware that the company's liquidation is confirmed (Psychic World, August issue) yet the company is not under admistration and has not not been liquidated and appears to still be trading? What possible reason can they have for not refunding me?
Duncan Gascoyne said there was no alternative to liquidation. David Bruton also, though his comments seem to convey he had a 'scheme' to ensure PN survived in some way - because it was such an important 'voice of Spiritualism' - yet the company does not appear to be in Administration, no liquidation has been registered and no one appears to have been successful in buying it. No creditors have been contacted to explain the situation, and that includes ticket purchasers and subscribers.
A very curious state of affairs.


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Q: Confused with this IP subnetting case I Was looking in the previous year exam papers for a subject called "Networks", i have exam next month , anyway i found this question that made me confused :
Given the network address 117.223.0.0 and the number of subnets Required is : 16
a.  What would be the suitable Subnet Mask ?
b.  What is the 1st   Subnet Address ?
c.  What is the 3rd    Subnet Address ?
d.  What is the Subnet broadcast address for the before last Subnet ?
this is a Class A ip , and the number in the second octet is 223, they didn't mention if they used the default subnet mask , so if i want to subnet such ip would i start from 117.0.0.0 and forget about the second octet"223" ?! or what ? in other way , should i consider the subnet mask 255.0.0.0 which is the default for Class A , and take 4 bits for the networking subnetting requirements and start from 117.0.0.0 up to 16 network from that address or the second octet should be taken in consideration ?
My answers for the above question are :
a.  255.240.0.0
b.  117.0.0.0
c.  117.32.0.0
d.  117.239.255.255
e.  From 117.240.0.1 To 117.255.255.254
Please Help me to understand how to solve such question in case i get any in my exam .
Kind regards

A: They gave you a starting network address that uses at least the first 16 bits. So although it's slightly ambiguous, they almost certainly want you to subnet this /16. To put that in 1980's classfull networking terms, "treat it like a class B".
a. You need 4 additional subnet bits to create 16 sinners, so your mask is a /20: 255.255.240.0.
b. First subnet network address is 117.223.0.0/20.
c. Third subnet network address is 117.223.32.0/20.
d. Next-to-last subnet broadcast address is 117.223.239.255.
e. (You never gave us the question for part e.)
Basically, it looks like you knew how to do it right, except you based it on a /8 instead of a /16. The question was poorly worded though if they didn't specify that it was a /16 that you were starting with. (Thought experiment: What if it was just the first subnet of a /17?)


from the seminal '60s band Jefferson Airplane.
over Europe, Japan and even Armenia.
collection for posterity as an archive of music history.
York resident Hannah Moorhead, with guitarist and namesake Don Piper.
music lovers to experience Marty as a singer, a songwriter, a guitar player and a storyteller.
Edward Rogers and Stephen Butler are both Zip Records artists. They bonded over a mutual love and respect for British singer-songwriter, Duncan Browne. Over the past few years, they've written several songs together, resulting in the duo's debut EP, Diana Dorrs, which will be released on Zip Records in early 2019. Rogers is a British-born, NYC-based singer/songwriter with seven solo albums. His most recent release, TV Generation, pairs his authentic and reflective lyricism with his powerful melodic voice "As much as he reminds me of Kevin Ayers, there is also plenty of Ray Davies and perhaps a bit of Bill Fay. Rogers' songwriting skills are easily and fairly compared to these fine songwriters." DC Live. Edward has played in the US, Europe and the UK several times. He has been invited to open for several artists such as Colin Blunstone of The Zombies, Dave Davies of The Kinks, The Zombies, Ian Hunter and Terry Reid and has also performed many solo shows. Most recently, he was on a U.S. tour with Marty Willson-Piper (The Church, All About Eve, The Saints). Butler is an American singer-songwriter and along with his brother Brian, one of the founding members of Smash Palace. The group's 12th CD, Right As Rain, was designed to be your soundtrack for the summer of 2018. Butler does what he does best… 60′s jangle rock, 70′s rock swagger, 80′s power pop, 90′s Brit rock all rolled into a contemporary style that's all his own. It's like listening to songs you know but haven't heard before. "a swath of British Invasion verve, an effortless blend moving with a catchy rock swagger that's infectious enough to require Cipro." Philadelphia Weekly. Stephen Butler was first discovered by Hilly Kristal at CBGB's then signed to Columbia Records, as a member of Quincy. His band, Smash Palace, was later signed to Epic Records. He was rediscovered by Zip Records' label president Arthur Herman after playing a show at the Cavern Club in Liverpool, 2005.


The National Inpatient Sample (NIS) is a database of hospital inpatient stays. It was developed by the Healthcare Cost and Utilization Project (HCUP), and up until 2011 was known as the Nationwide Inpatient Sample. The name and the design of the database changed in 2012. The NIS was formerly a sample of hospitals, with all discharges retained, but in 2012 the design changed to become a sample of discharges from all participating hospitals. Variables captured in the database include patient demographics, diagnosis and procedure codes, admission and discharge status, length of stay, expected payer, total charges, and hospital characteristics.
Healthcare Cost and Utilization Project (HCUP), Agency for Healthcare Research and Quality (AHRQ). United States Nationwide Inpatient Sample 2014. Rockville, United States: Healthcare Cost and Utilization Project (HCUP), Agency for Healthcare Research and Quality (AHRQ).


text:
Rothschild & Sons
Forty-five years after it premiered as The Rothschilds, Sheldon Harnick and Sherman Yellen revise their musical about the famous banking family.
David Gordon
Robert Cuccioli as Mayer Rothschild in Jerry Bock, Sheldon Harnick, and Sherman Yellen's Rothschild & Sons at York Theatre Company.
(© Carol Rosegg)
The Rothschilds has a small but significant place in musical-theater history. Earning nine 1971 Tony nominations, it is perhaps best remembered as the show that ended the legendary partnership of songwriters Jerry Bock and Sheldon Harnick. After squabbling over Michael Kidd replacing Derek Goldby as their Rothschilds director, the team that gave the world Fiddler on the Roof and She Loves Me would never write a full show together again.
Perhaps that's one reason why The Rothschilds has seen only one other New York production, an off-Broadway revival at the American Jewish Theater in 1990. Nevertheless, the show has remained a curiosity for its surviving writers. In cooperation with Bock's estate, Harnick, now 91, and Yellen, 83, have created a radically recalibrated version of the work titled Rothschild & Sons. With a restructured book, several previously unheard Bock and Harnick trunk songs, and only 11 cast members, this almost-new musical is currently seeing its world premiere at the York Theatre Company. Unfortunately, their new concoction, directed by Jeffrey B. Moss, is a puzzlement to say the least.
Like its predecessor, Rothschild & Sons follows the rise of the Rothschild banking family from their home in the Jewish ghetto in Frankfurt, Germany, to the heights of European prominence. The hero is Mayer Rothschild (Robert Cuccioli), a lowly Jewish citizen who, despite the constant anti-Semitic taunts of "do your duty," manages to entice the interest of Prince William of Hesse (Mark Pinter) with stories and promises of rare coins. He bribes the Prince to allow him to marry his fiancée, Gutele (Glory Crampton), so they can circumvent Frankfurt's marriage quotas. As Mayer's friendship with the Prince grows — to the point that he becomes the agent for the court's bankers — he and Gutele have five sons, who follow him into the family business. But Mayer's main objective is to see the ghetto walls torn down before he dies.
Mayer's journey is a moving one, and in Cuccioli's expert hands, it's laden with real emotion. His performance, along with his impassioned delivery of the show's eleven-o'clock number, "In My Own Lifetime," is one of the few highlights of this otherwise misguided production, with a staging that baffles at every turn.
The problems start with Yellen's book, which has been compressed, from two acts to one, with a new focus on Mayer's relationship with his sons. The dialogue is filled with anachronisms, and the storytelling is as dry and deadly serious as can be. As for Bock and Harnick's score, played by a four-member band, it lacks the musical zest we expect from this pair. You'd never know that these were the authors of rousing, memorable numbers like "To Life" and tender, beautiful ballads such as "Will He Like Me?"
Moss' staging too feels limp and listless, while the cast (with the exception of Cuccioli) seems unaware that they are a part of an ensemble. Thankfully, the costumes, by Carrie Robbins, are big and pretty in that flagrantly over-the-top late 17th-century style, and Kirk Bookman's lighting creates some haunting images onstage. On the other hand, James Morgan's dark and black set is too funereal for the proceedings.
Perhaps most damaging is the fact that, in both writing and staging, Rothschild & Sons doesn't feel authentically Jewish. Sure, the male characters wear yarmulkes and the music sounds like it was written in a minor key. But in the end, it doesn't capture the essence of the people whose struggle to rise above their hellish existence catapulted them to a fortune that still exists today.
Tagged in this Story
York Theatre Company
Sheldon Harnick
James Morgan
Carrie Robbins
Jerry Bock
Sherman Yellen
Rothschild and Sons


Having a mat outside our front door is a necessity. We need something there for wiping feet off before coming in doors. Why not buy a mat and help a great cause at the same time.
Every mat is adorned with that pink ribbon we all know, the internationally recognized symbol for Breast Cancer Awareness.
25% of the purchase price of each Pink Ribbon welcome mat sold through the Carpet One Floor & HomeWelcomes Your Support Campaign is donated to The Breast Cancer Research Foundation®. So far, the campaign has raised nearly 1 million dollars for a variety of breast cancer research charities.
I'd probably choose the Sweater Weather rug if I won!
I would like the Branches mat.
I would choose the flag map.
i would choose the meow mat. it is my favorite.
I would love the Meow rug.
I would choose the Woof mat if I won.
I would choose the Branching Out mat if I win.
Since we are military family I would choose the Flag Mat.
I would choose the Branches mat.
The flag mat is very nice.I would pick that one out !
I would go with the woof one!
I would choose the Meow mat.