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Алексе́й Ма́ркович Дуке́льский (9.06.1909, Киев — 15.01.1938, Свердловск) — уральский  (Свердловск, Магнитогорск).

Биография
Родился в 1909 году в Киеве в семье преподавателя химической технологии, профессора Киевского политехнического института, приват-доцента Киевских высших женских курсов (университета Святой Ольги) Дукельского Марка Петровича (1875—1956) и Дукельской Наталии Евгеньевны (1876—1957, в девичестве — Корш) — внучки известного журналиста Валентина Фёдоровича Корша.

В 1915—1920 годах семья жила в Воронеже, где отец Алексея руководил кафедрой технологии и переработки сельскохозяйственных продуктов в новом, учреждённом в 1912 году, Воронежском государственном аграрном университете имени императора Петра I. После развода родителей в 1924 г. переехал вместе с матерью и старшим братом Владимиром в Петроград.

Ленинград. Академия художеств. Первые проекты. Магнитогорск
«Работать по искусству», а так он указал в своей краткой автобиографии 1937 года, Алексей начал регулярно с 1924 года в школе художника Савелия Зайденберга. В 1926 году поступил, выдержав конкурсный экзамен, в Высший художественно-технический институт (ВХУТЕИН, бывшая Императорская Академия художеств), работал там под руководством профессоров Серафимова С. И., Руднева Л. В., Мунца О. Р. и Фомина И. А.; последний, вспоминал Алексей, «имел особенно сильное влияние на мое развитие».
После реорганизации института и упразднения архитектурного факультета зимой 1930 года был переведён в Ленинградский Институт коммунального строительства (ЛИКС), который окончил в этом же году.
(Примечание. В 1931 году институт получил новое название: Ленинградский институт инженеров коммунального строительства (ЛИИКС). Именно это наименование указано в анкете в уголовном деле Дукельского А. М.)

А. М. Дукельский начал работать самостоятельно в 1930 году, во время учёбы, в составе творческого коллектива под руководством Овсянникова Сергея Иосифовича в ленинградском «Гипромезе». Его возглавлял в те годы будущий (в 1933-37 гг.) директор Магнитогорского металлургического завода Завенягин Авраамий Павлович.  Проектировал вспомогательные цеха этого завода (механический и электромеханический), контору доменного цеха. В конторе — 5-этажном административно-бытовом корпусе — разместилась, к примеру, и первая редакция заводской газеты «Доменщик» («За металл»). Сегодня рабочие ММК называют её «старой диспетчерской».

В 1932 году на городской территории Магнитогорска недалеко от завода на «пригорке НКВД» по проекту Дукельского был построен клуб ОГПУ-НКВД. В 1940 году Наркомат внутренних дел передал клуб заводу, цеху железнодорожного транспорта. Там, в клубе ЖДТ, проводились, например, первые репетиции драматического театра (ТРАМ). В 1953 г. с расширением Магнитогорского завода и переносом улицы Кирова, вместе с другими бараками 1930-х годов, клуб был снесён. Краевед Ю. Писаренко в статье «Сохраним память отцов» упомянул, что «здание было оригинальное». Но, вероятно, сам проект был упрощённым, экономным, не выдержал испытаний времени, устарел морально, а с переносом центра города на правый берег реки Урал, был заброшен и забыт.

Дукельский принимал участие также в планировке города Петровска-Забайкальского, разработал проект амбулатории. Необходимость проектирования соцгорода возникла при реконструкции старого (открытого в 1789 г.) железоделательного завода и строительстве нового.

Свердловск. Парк культуры и отдыха
В июне 1931 года А. М. Дукельский был откомандирован ВСНХ в распоряжение «Союзкокса», направлен в Харьков, оттуда немедленно перекомандирован в Свердловск, куда приехал в августе 1931 года. «Здесь, за невозможностью использования в системе "Кокс", передан в "Уралэнергострой", где 3 месяца проектировал оконные переплёты для железнодорожных станций Урала».
С марта 1932 года он стал работать в Уральском строительном институте, а также в отделе Горкомхоза, где была создана дирекция строительства образцового парка культуры и отдыха Большого Свердловска. Архитектурно-планировочную группу возглавил Соколов Вениамин Дмитриевич, а главным инженером назначили молодого архитектора Дукельского. В работе над проектом парка, как писали авторы в пояснительной записке, широко использовался опыт Ленинграда и Москвы. Было разработано 3 функциональной схемы планировки, последняя была утверждена московской комиссией.
Предлагалось «разместить на 1440 гектарах парка несколько тематических секторов: ближе к входу — зрелищное ядро парка с аттракционами, вдоль аллей — выставочное пространство; сами аллеи приводят на поле массовых действ и в сектор оборонной работы. В глубине парка — летний театр и эстрада, территория тихого отдыха; вдоль берега реки — физкультурные площадки и отдых на воде. В наибольшем удалении от входа — обширное пространство для детского отдыха и оздоровления».
Все вместе они должны были обеспечить отдых для 150 тыс. человек в день.
 «Продвигаясь от "площади прибытия" по "магистралям" парка в его глубину посетитель тренирует своё эстетическое чувство, созерцая ясность и лаконичность планировки, наращивает политическую грамотность, ознакомляясь с выставками на злобу дня, может тренировать своё тело на физкультурных площадках и стрельбище, осваивать нормы городской культурности в театре, кино, на танцплощадке или буфете».
На открытии парка 18 июня 1933 года, по оценкам журналистов, в парке присутствовало 20 тысяч человек, с некоторых предприятий рабочие приходили целыми коллективами. Для посетителей были организованы игры, гуляния, танцы под баян, пение большого импровизированного хора, катание на лодках, посещение читальни и столовой.
Пресса раскритиковала столь традиционную (и не всегда гладкую) организацию отдыха в новом парке.
 «Разработанный В. Д. Соколовым и А. М. Дукельским проект тематически организованного пространства, нагруженного задачами формирования новой городской культуры и советского субъекта, обернулся воспроизводством привычных для горожан форм отдыха в парке — только на новой территории»
Свердловский ЦПКиО проектировался как эталонный парк Уральской области. 17 января 1934 года Уральская область была ликвидирована, финансирование Свердловска сократилось, строительство многих «столичных» объектов было свёрнуто или удешевлено. Также 1934 год стал переломным для советской архитектуры: начался поворот от авангардного стиля конструктивизма к неоклассике. В итоге, парк смог предложить горожанам лишь то, что не требовало значительных финансовых затрат. В 1936 году была построена деревянная арка центрального входа, открыты кинотеатр и летний цирк — от первоначального проекта остались лишь разрозненные элементы.

Семья

Алексей Маркович в 1927 году познакомился с Ксенией Юрьевной Стравинской (1906—1979) — дочерью архитектора Юрия Фёдоровича Стравинского. В 1931-м они вступили в брак вопреки воле всех родственников.
Ксения Юрьевна, архитектор, автор книги воспоминаний (1978 г.) о дяде — композиторе Игоре Стравинском, рассказывала позднее, что Алексей «мог бы стать одним из крупнейших архитекторов нашей страны, так как его яркий талант был всеми отмечен. По характеру он всегда был старше своего возраста, что ясно сказывалось в семейных делах. Он невероятно быстро читал, буквально переворачивал страницу за страницей». Проверив однажды, Ксения Юрьевна убедилась, что он почти дословно повторил прочитанный текст.
Для рождения дочери Елены (07.10.1932 — 30.07.2015) она уезжала в Ленинград к родственникам, затем вернулась в Свердловск. Вскоре к семье присоединилась и мать Алексея, Наталия Евгеньевна Дукельская (1876—1957), которая занялась воспитанием внучки.
Елена вспоминала, что Алексей Маркович мало интересовался ею, маленькой дочкой, поэтому у Алёны (так её называли в семье) не осталось конкретных воспоминаний о нём: «Отец утверждал, что когда я вырасту, он будет дружен со мной, но, как известно, этому не суждено было исполниться».
«Мои родители интересовались всеми культурными новинками, часто ходили в театры, на концерты и т. д.»
Дукельские получили 3-комнатную квартиру на улице Вайнера, 9а — в «Доме специалистов», построенном в 1928 году. Позднее это здание назовут «Дом горсовета № 5», «Дом-коммуна», а возведённые с некоторой задержкой дома из этого комплекса — по Банковскому переулку № 8 и 10 (архитектор Г.А. Голубев) — «Дома специалистов № 1 и 2» соответственно. Начало их строительства курировал и Алексей Маркович, буквально — выходя по утрам на работу.

Свердловск. Театр музкомедии
8 июля 1933 года по инициативе секретаря Уральского обкома партии И. Д. Кабакова открылся Свердловский театр музыкальной комедии. Первоначально здание, построенное в стиле модерн в 1915 г. по проекту Бабыкина К. Т., было предназначено для Коммерческого собрания: с игральными залами, столовой, буфетом и большим зрительным залом. После революции 1917 г. здание отреставрировали, разместили Дом Октябрьской революции, затем — непродолжительное время — Театр рабочей молодёжи (ТРАМ) и клуб строителей. К 1933 году требовалась серьёзная реконструкция. По проекту Алексея Дукельского были выполнены новые фасады.

Жилой дом для работников Аффинажного завода
В связи с разукрупнением Уральской области и сокращением ряда проектных организаций, работавших на Большой Урал, в Свердловске при облисполкоме были организованы архитектурные мастерские № 1 и № 2. Руководитель мастерской № 1 Вениамин Дмитриевич Соколов пригласил к себе А. М. Дукельского. С 1934 по 1937 год Алексей Маркович выполнял ряд крупных работ. Так по проекту Соколова-Дукельского был построен 5-этажный кирпичный полнометражный жилой дом для работников Аффинажного завода (ОЦМ) по улице Ленина, 13а, сданный в 1937 году. В доме имелись как 2-комнатные квартиры площадью 41-44 м², так и большие четырёхкомнатные — 85-87 м².

Здание жилтоварищества «Сталинец»
На улице Ленина (после 1962 г. проспект Ленина) № 81/83 по совместному проекту В. Д. Соколова, В. Дрожжина и А. Дукельского в середине 1930-х возвели здание жилтоварищества «Сталинец», занимающее по длине квартал от улицы Мичурина до улицы Восточной. Зигзагообразный 4-этажный 100-квартирный дом имеет ось симметрии север-юг, что способствует лучшей освещённости помещений. Тогда это воспринималось архитекторами как правило гигиены жилья. Убранство фасада было решено в лаконичной манере с использованием некоторых элементов классицизма: отделка углов выступающих частей здания «под руст», разрезка отдельных частей фасада на картины. Деревья и кустарники опоясывали фасад всего жилого комплекса. Внутри двора был установлен декоративный фонтан с небольшим бассейном. В доме разместили несколько магазинов и парикмахерскую. Квартиры получились разными, от 3-х до 5-ти комнат, но все они были отдельными, коммунальных квартир не предполагалось изначально.
Этот дом отличали полноценные кухни, санузел с ванной, горячее и холодное водоснабжение, высокие потолки и большие окна. На каждой площадке располагалось по две квартиры. Жилой комплекс «Сталинец» стал одним из немногочисленных в Свердловске домов, которых и по нынешним меркам можно отнести к разряду элитного жилья. А в то время он был недосягаемой мечтой для многих — норма жилой площади на человека в 1932 году в Свердловске составляла 4,2 квадратных метра.

Свердловское отделение Союза архитекторов СССР
Сохранились упоминания и о других творческих работах Дукельского: жилые дома для работников Уралоблсоюза и для учителей, жилой дом для Аэрофлота, неосуществлённый проект наружного оформления фасадов гостиницы «Большой Урал», внутренняя отделка Клуба строителей и поликлиники Уралпрофсовета, фасад школы № 1 им. Л. М. Кагановича (ул. Мамина-Сибиряка, 43).
В 1930-х годах сразу за улицей Восточной начиналась поросшая лесом сырая болотина, постепенно переходившая в сухой ягодный лес. В этом лесу, к северу от строящихся корпусов Уральского политехнического института, планировалось построить Уральский филиал Академии Наук (УФАН). Был объявлен открытый конкурс. За короткий срок в 1934 г. поступило 17 проектов от отдельных архитекторов, архитектурных мастерских и проектных институтов. В результате обсуждения ни один проект не был принят как полностью удовлетворительный, но победителями конкурса признали творческий дуэт В.Д. Соколова и А.М. Дукельского. Однако вскоре от строительства пришлось отказаться по причине отсутствия финансирования.
За творческие достижения в 1935 году молодой одарённый архитектор был избран членом правления Свердловской организации Союза советских архитекторов, а в 1936 году — её ответственным секретарём. Алексей Маркович — участник Первого съезда архитекторов СССР 16-26 июня 1937 г., на котором он стал членом Центрального правления Союза архитекторов.

Дворец пионеров
Одна из крупных работ Алексея Марковича — реконструкция интерьеров особняка Харитонова-Расторгуева под Дворец пионеров и школьников (совместно с архитекторами Емельяновым В. В. и Шишовым Леонидом Владимировичем). Это самое красивое и выдающееся строение в Свердловске, но после национализации и сдачи в аренду Уральскому коммунистическому университету (в 1924 г.) усадьба пришла в упадок. В 1936 году особняк вместе с садом передали в бессрочное пользование Дворцу пионеров, и в 1937-м началась его очередная реконструкция с частичной перепланировкой основных построек, расширением флигеля и бывших служб. Одновременно в помещениях заменили печное отопление с дымоходами внутри стен на центральное, изменили навесы высоченных дверей для лёгкого открывания их детьми, сделали скрытой электропроводку — невероятная роскошь в те времена. Для работы над интерьерами по инициативе Алексея Дукельского пригласили художников из Палеха. Они оформили Пушкинскую комнату, «Комнату сказок» — в год 100-летия со дня смерти поэта.

В мае 1937 года Алексей Маркович познакомился с Надеждой Петровной Абатуровой (в девичестве Лукиной; 26.07.1913 — 14.08.1981), учителем физики и математики школы № 2 им. И.Тургенева (ул. Вайнера, 2), назначенной Свердловским обкомом ВЛКСМ директором Дворца пионеров.
26 сентября они зарегистрировали брак в Сталинском районном ЗАГСе Свердловска. Первая жена Алексея, Ксения Стравинская, тяжело переживала развод и на лето вместе с дочерью уехала в Ленинград к своим родителям. А через некоторое время после её возвращения Алексея Марковича арестовали, буквально — через неделю после регистрации второго брака.

Комплекс зданий Штаба УралВО
Одна из самых престижных и последних работ А.М. Дукельского — комплекс жилого и служебного комбината (военный городок № 17) для воссозданного в 1935 году в Свердловске Уральского военного округа (УралВО). Мастерской № 1 Свердлоблисполкома в сжатые сроки поручили разработать проект комплекса, в который должны входить здание штаба для осуществления оперативной работы и жилые дома для офицерского состава. На должность главного архитектора Управления строительством штаба утвердили А.М. Дукельского, работу он выполнял под кураторством В.Д. Соколова. В коллектив архитекторов входили: А. И. Вилесов, А. Г. Нейфельд, А.В. Десятков, Д.Н. Козяев. Сам же А.М. Дукельский с коллегами проектировал жилые здания.

Объёмно-пространственная композиция комплекса УралВО была построена на пяти различных по типологии и этажности объектах: 4-этажном П-образном в плане здании штаба, расположенном вдоль квартала по улице Ленина; двух Г-образных смешанной (от 4 до 5) этажности корпусах параллельно улиц Кузнечной и Бажова; а во внутреннем дворе комплекса А.М. Дукельский разместил спортзал и 2-этажную столовую, соединённую переходами с главным зданием.

Здание Штаба (проспект Ленина, 71) возведено в подчёркнуто крупном масштабе. Центром главного фасада является ризалит с сильно выступающим 6-колонным портиком, опирающимся на аркаду, и завершённый тяжелым фронтоном типа аттика с бетонным барельефом на тему вооружения Красной армии, выполненным по эскизу А.М. Дукельского скульптором Камбаровым И.А.

В этом барельефе самолет АНТ-20 "Максим Горький" — гордость советского авиастроения — летит в сопровождении истребителей И-5 (автор использовал конкретную фотографию 1935 г.) над так и не построенным Дворцом Советов и фантастическими танками. Изображение самолета АНТ-20 изменено: на крыльях вместо шести двигателей — 4, как у тяжёлого бомбардировщика ТБ-3 (АНТ-6), похожего по силуэту на АНТ-20. Возможно, это связано с тем, что «Максим Горький» разбился в 1935 году, и при создании рельефа в 1937-м автор сознательно пошёл на подобное искажение.
Плакатную чрезмерность Дукельский посчитал оправданной: гигантский самолет, грандиозный Дворец Советов (огромное многоярусное здание с обилием колонн, увенчанное статуей В.И. Ленина, проектная высота всего сооружения 495 м.), огромные танки — настоящий гимн военной мощи СССР. При этом ромбовидные формы танков казались ему предпочтительнее, нежели силуэт реального советского 5-башенного танка-гиганта Т-35 (вес 50 т, высота 3,4 м.). Возникший благодаря авторской фантазии образец имеет выразительно-рельефные детали: гусеницы с катками, лестницы, заклёпки на броне и сложные по форме башни. Расходящиеся веером от основания Дворца Советов рельефные лучи объединяют всю композицию, а дым от залпа танковых пушек образует декоративные облака. Возникает причудливая смесь академических традиций и приемов ар-деко, плакатной описательности и сюрреалистичности образов, тяга к реалистической точности и к орнаментальности.

Здание Штаба было построено зимой 1937 г., весь комплекс зданий был завершён в 1940 году — после гибели автора.

Архитектурный облик двух жилых корпусов (ул. Кузнечная, 41 и Бажова, 78) был решён на принципах конструктивизма с элементами неоклассики.
Здесь А. М. Дукельский с коллегами разработал «определённый тип жилой ячейки, более совершенный, чем тот, который был до этого в практике Свердловска», который отличался большими по площади прихожими и наличием помещения для прислуги-домработницы, чего не было в советской архитектуре с 1918 года. На планах квартир офицерского состава Дукельским была дана примерная расстановка мебели в комнатах — своеобразная подсказка хозяевам. На первых этажах в узловых частях зданий намечались магазины.
Комплекс УралВО на различных совещаниях строителей и архитекторов отмечался как образцовый для того периода времени, в настоящее время является памятником истории и культуры федерального значения.

Производственная характеристика на Дукельского А. М
7 августа 1937 года на одном из заседаний правления Свердловской организации Союза советских архитекторов (СО ССА СССР) Алексей Маркович Дукельский как активный и грамотный зодчий был рекомендован на вакантную должность главного архитектора одного их городов страны. Характеристику, направленную в Главное архитектурно-планировочное управление Наркомата коммунального хозяйства СССР, составили члены правления Сигизмунд Владиславович Домбровский и Георгий Александрович Голубев.
Положительную личную характеристику дал и В.Д. Соколов, который работал вместе с Дукельским более пяти лет в различных проектных организациях: «Я поручал ему проектирование самых ответственных объектов: здание УФАНа, Управление штаба УралВО и другие. К порученному архитектор Дукельский А. М. относился всегда вдумчиво и серьёзно и ярко выявил свои творческие способности при решении различных архитектурных задач…».

Но после ареста Алексея Марковича (3 октября 1937 г.) коллеги были вынуждены отказаться от своих слов. На заседании областного правления 10 октября 1937 г. Дукельского, как разоблачённого врага народа, исключили из Союза архитекторов, из членов Свердловского правления ССА и подали заявление исключить из Всесоюзного правления.
Сохранился протокол этого заседания:
«Вопросы критики и самокритики в работе правления не имеют большевистской остроты и понимаются неправильно. Существует либеральное взаимоотношение между членами правления, аполитичность, притупление бдительности и беспечность. Совершенно отсутствовала проверка исполнения и контроль за работой отдельных членов. Бывший ответственный секретарь правления Дукельский А. М., будучи тесно связан с врагами народа Кабаковым, Головиным и другими, являясь их агентом в проведении подрывной работы на идеологическом фронте на Урале, двурушничая и скрывая своё настоящее лицо врага народа, проводил свою гнусную работу и в правлении, сознательно приводя её к развалу, пользуясь политической слепотой и доверчивостью отдельных членов правления».

В акте ревизионной комиссии от 13 октября 1937 г. указано: «Дукельский замял разбор дела о враге народа Замихровиче, не использовал факт его ареста для активизации работы в Союзе и не акцентировал внимание членов Союза на вопросе повышения политической бдительности, фактически взяв врага народа под защиту»

Дукельского обвинили в срыве «показа политического и творческого лица Свердловской организации как одной из крупных организаций ССА» на съезде архитекторов в Москве в июне 1937 г., а также в том, что он, «не заслушав тезисы для выступления» на предварительном заседании областного правления, «основное выступление [на съезде] взял на себя и сорвал его, уехав со съезда» задолго до его окончания.

В следственном деле № 23572 Дукельского А. М. нет показаний коллег (как нет показаний и обеих жён архитектора) — ничего «полезного» для обвинения их допросы не дали.

Арест
Постановление на арест Алексея Марковича («Постановление об избрании меры пресечения и предъявления обвинения») было подписано 1 октября 1937 года, арестовали же его 3 октября — в воскресенье, через 7 дней после регистрации второго брака.
Оперативную разработку НКВД начал в марте 1937 года — обнаружив связь Дукельского с командующим войсками Уральского военного округа Ильёй Ивановичем Гарькавым. Комкора судили по «делу Тухачевского» и 1 июля 1937 года расстреляли. Архитектора же обвинили в подрывной деятельности по заданиям Гарькавого и срыве строительства Штаба УралВО, как активного участника контрреволюционной троцкистской организации.
В справке на Дукельского — первом документе в уголовном деле — упоминаются показания Каменева В. П. от 28 марта 1937 г.: «В одну из встреч в первой половине 1936 г. Дукельский мне сообщил, что он очень близок с Гарькавым, и что ему со слов последнего известно о существовании в УралВО троцкистско-террористической организации, ставящей своей целью свержение советского строя путём организации террористических актов против руководителей ВКП(б) и правительства и поражение Советского Союза в предстоящей войне».

Дукельский и Гарькавый действительно общались на этапе проектирования Штаба — комкор выступал в роли главного заказчика. Необходимо было оптимально распределить помещения и залы для заседаний, предусмотреть простую и понятную коридорную систему, широкие и многочисленные выходы из зданий. Сами выходы Дукельский оформил выступающими за габарит стен портиками с колоннами. Кроме украшения они имеют и оборонное значение: на случай теракта и попытки захвата Штаба входы легко можно переоборудовать в долговременные огневые точки, а вместе с жилыми домами командного состава с тыла они обеспечивают полную круговую оборону. Вероятно, это предложил сам комкор Гарькавый — участник и Первой Мировой, и Гражданской войн: он знал, что штабы в Москве и Ленинграде — старинные здания и подобного усиления не имеют.
В разговорах А. Дукельский и И. Гарькавый неминуемо должны были коснуться и темы реформирования армии, подготовки к возможной войне.

Обвинения же в срыве строительства Штаба не обоснованы по причине завершения этого строительства к февралю 1937 года. В архиве сохранился протокол собрания архитекторов Свердловска от 18 февраля, посвящённого творческому самоотчёту А. М. Дукельского. Его заслушали 8 февраля 1937 года, и этому «предшествовала экскурсия на окончившуюся стройку».

Следователи НКВД также необоснованно дополнили дело сведениями, что Дукельский ещё «в 1927 году, учась в Академии художеств в Ленинграде, входил в контрреволюционную группу из числа студентов. В 1929-31 гг. поддерживал связь с террористом Черкасовым, от которого получал задания о создании террористической группы». В итоге, через полтора месяца пребывания в тюрьме Алексей Маркович признался, что «в конце 1935 года, будучи секретным сотрудником госбезопасности, был вовлечён в троцкистскую организацию и скрыл это, чтобы не навлечь подозрения».

Архитектор на военном объекте обязан был дать подписку о неразглашении государственной тайны, в которой имелся пункт о своевременном информировании органов УГБ о любых подозрительных лицах, интересующихся данным объектом. Дукельский ничего не сообщил. Из этого органы сделали вывод, что он сам является террористом и подлежит суду Военной Коллегии Верховного Суда СССР по статье 58 (пункты 7, 8, 11) УК РСФСР. Общий «Список лиц, подлежащих суду Военной Коллегии» по всей стране и Свердловской области в частности, подписали начальник 8 отдела ГУГБ НКВД старший майор госбезопасности Цесарский В. Е. и от правительства «Жданов — за. Молотов, Каганович, Ворошилов» 3 января 1938 года; он сохранился в РГАСПИ. Среди осуждённых по первой категории (расстрел) под номером 16 фигурирует Дукельский Алексей Маркович.

Приговор закрытого заседания выездной сессии Военной Коллегии Верховного Суда СССР в Свердловске от 15 января 1938 года, составленный секретарём военным юристом 3 ранга Шапошниковым Н. И. и подписанный председателем дивизионным военным юристом Горячевым А. Д. и членами — бригадными военюристами Преображенцевым С. В. и Алексеевым Г. А. — «окончательный и, на основании постановления ЦИК СССР от 1 декабря 1934 года, подлежит немедленному исполнению».
Дукельского расстреляли 15 января 1938 года. В этот же день арестовали и его жену, Надежду Петровну, вызванную в НКВД для дачи новых показаний. Её приговор — при отсутствии вещественных доказательств и признания себя виновной — 5 лет исправительно-трудовых лагерей как члена семьи изменника Родины.

Реабилитация
3 октября 1957 года, ровно через 20 лет после ареста, Военная Коллегия Верховного Суда СССР в составе председательствующего — полковника юстиции Цырлинского, членов — полковника юстиции Жилина и подполковника юстиции Санжаревского определила: «приговор от 15 января 1938 г. в отношении Дукельского Алексея Марковича по вновь открывшимся обстоятельствам отменить и дело производством прекратить за отсутствием состава преступления». На Мемориальном комплексе жертв политических репрессий 1930-50 гг. «12 километр» близ Екатеринбурга — предполагаемом месте захоронения — установлены 3 памятные доски на разных стелах (списки оказались дублирующими) с фамилией «Дукельский А. М. (1909—1938)».

Семья
 Отец — Дукельский Марк Петрович (1875—1956), профессор кафедр общей химической технологии ряда институтов Киева, Воронежа, Москвы. Доктор химических наук с 1936 г. Награждён орденом Трудового Красного Знамени (1946 г.)
 Мать — Дукельская Наталия Евгеньевна (1876—1957; в девичестве Корш) — мать, домохозяйка
 Брат — Дукельский Владимир Маркович (1900—1983) — старший брат, доктор физико-математических наук, основатель школы физики атомных столкновений, лауреат Ленинской премии 1972 г.
 Сестра — Дукельская, Наталия Марковна (1902—1990), териолог, автор нескольких зоологических таксонов
 Первая жена — Стравинская Ксения Юрьевна (4.03.1906 — октябрь 1979), архитектор Свердловска и Ленинграда, автор книги «О И.Ф. Стравинском и его близких родственниках» (1978 г.). Награждена медалями «За оборону Ленинграда» (1942 г.) и «В память 250-летия Ленинграда» (1958 г.)
 Дочь — Стравинская Елена Алексеевна (при рождении Дукельская; 7.10.1932 — 30.07.2015), кандидат химических наук с 1973 г., сотрудник Института озероведения РАН СССР, награждена медалью «За трудовую доблесть» (1986 г.)
 Вторая жена (с 26.09.1937) — Дукельская Надежда Петровна (26.07.1913 — 14.08.1981; в девичестве Лукина, в первом браке Абатурова, в третьем браке Тихомирова) — учитель физики и математики в школах Перми и Свердловска; после ареста 1 октября 1937 года А. М. Дукельского арестована как ЧСИР 15 января 1938, после освобождения врач-лаборант в посёлке Осетрово (Усть-Кут, Иркутская обл.) и городе Краснокамске (Пермский край).

Литература
 Berkovich, Gary. Reclaiming a History. Jewish Architects in Imperial Russia and the USSR. Volume 2. Soviet Avant-garde: 1917–1933. Weimar und Rostock: Grunberg Verlag. 2021. С. 166.

Примечания

Выпускники Санкт-Петербургского архитектурно-строительного университета
Конструктивисты
Репрессированные в РСФСР
Расстрелянные в РСФСР
Посмертно реабилитированные в СССР

redpajama_set_name: RedPajamaWikipedia


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text:
filed: January 23, 2012 • Maryland
O'Malley to try again for offshore wind development
Credit: By Aaron C. Davis, The Washington Post, www.washingtonpost.com 22 January 2012 ~~
Maryland Gov. Martin O'Malley, seeking to overcome the most visible policy failure of his second term, will on Monday introduce a revamped plan to subsidize development of some of the nation's first offshore wind power.
As happened a year ago, lawmakers from both parties and lobbyists for energy firms are poised to line up against the multibillion-dollar subsidy, which would be shouldered by electricity ratepayers. They say it would cost customers too much and leave too much power in the hands of regulators handpicked by O'Malley (D) to structure the plan.
A recent retreat by Congress in helping to fund such clean-energy projects has raised doubts about whether developers could secure financing for an offshore wind farm even with the aid O'Malley's plan could offer.
But relative to other legislative battles that O'Malley faces over same-sex marriage and an array of proposed tax increases, the governor is beginning his renewed fight for offshore wind ahead of those others. Powerful Democrats say they are more likely to support the governor's plan after months of behind-the-scenes negotiations with his staff. And the company of O'Malley's former chief of staff says it is no longer involved in a potentially lucrative venture to develop the state's offshore wind – a factor several Democrats cited last year as compromising the integrity of the governor's first proposal.
Still, with O'Malley also seeking several tax increases, including one on incomes of six-figure earners, and probably another on the state's gas tax, it remains to be seen whether the General Assembly may view adding long-term costs to residents' electric bills as too much all at once.
To head off such concerns, O'Malley's new plan seeks to guarantee that a subsidy would increase residents' rates no more than $2 per month and 2.5 percent for the state's largest commercial and industrial businesses, according to administration officials with extensive knowledge of the governor's bill.
The plan would also require state regulators to hire an independent analyst to assess whether the costs to ratepayers – which would probably be added to monthly bills beginning in 2017 and continue for 20 years – would be outweighed by what the administration calculates are the potential benefits: 1,800 new construction jobs, increased electricity production and reduced air pollution.
"This whole issue of additional ratepayer costs, it's just hard for the committee to approve," said Sen. Thomas M. Middleton, (D-Charles), who chairs the Finance Committee, where the governor's offshore wind bill died last year. He said he has been working with O'Malley's office to ensure that the version of the bill introduced Monday is one that his committee could support.
"With a mandate for net positive economic development benefit, where you have jobs and manufacturing and those types of things, and an independent analysis . . . I think we'll get there," Middleton said.
To make the bill more palatable to Middleton and his counterpart in the House, Del. Dereck E. Davis (D-Prince George's), O'Malley's office also did away with a mandate in last year's version that required utilities to buy wind power at a set price high above current market rates.
Rather, to ensure that developers can turn a profit, the state's Public Service Commission, which regulates utilities, would set up a kind of commodities market. The electricity created from offshore wind would be sold at competitive prices. But the energy would also come with renewable-energy credits. The credits are needed by the state's power generators to meet Maryland guidelines requiring them to obtain a growing share of their power from wind, solar and other renewable sources. The price of the credits would fluctuate in tandem with market rates to ensure that offshore wind producers can continuously count on a stable profit.
The model is one that Republican Gov. Chris Christie has backed in New Jersey, but Maryland's version would come with an explicit requirement that the cost of the credits add no more than the $2 a month to residents' bills.
Although the arrangement is highly complicated, Maryland lawmakers are familiar and more comfortable with it. The state has a similar renewable energy credit requirement that subsidizes solar power generation, albeit at a much smaller cost to ratepayers.
A potential downside of the system for ratepayers is that unlike O'Malley's plan last year, which would have added a line-item fee on residents' monthly bills for offshore wind, the credits would be built into the base electric rates customers pay.
If solar is any example, that means it could be nearly impossible for residents to calculate the cost of the subsidy.
Although O'Malley's bill would mandate that the cost be no more than $2 per month, that per-household price would have to be estimated up front on a 20-year prediction of future energy prices – a term twice as long as the state's Public Service Commission typically forecasts.
If the commission's estimate is wrong, the subsidy for wind could be much higher or lower.
"We could look like geniuses, or people could experience the price more" than $2, said one administration official, who spoke on the condition of anonymity to freely discuss the governor's proposal.
Senate Republican leader E.J. Pipkin (Cecil) said lawmakers and the public should have no faith that the price of offshore wind would be limited to $2. He said the PSC – which is controlled by O'Malley appointees, including two who lobbied for offshore wind last year – could not objectively analyze the costs and benefits of offshore wind.
"The governor can't come in the front door with this because when you analyze the details, it doesn't work," Pipkin said. "This is a back-door approach, punting the details to the PSC, which the governor has stacked with lobbyists for offshore wind."
Mike Tidwell, director of the Chesapeake Climate Action Network, who has rallied grass-roots support for offshore wind in Maryland, said there is a more pressing question lawmakers must answer: The General Assembly has passed a law mandating that the state increase its reliance on renewable energy, and the only way it can meet that goal is to approve offshore wind.
"We don't have enough open space for land-based wind, we're not sunny Arizona," he said. "Either we repeal the . . . law, and lose the quality jobs that would come with it, or we develop offshore wind. It's that straightforward."
Source: By Aaron C. Davis, The Washington Post, www.washingtonpost.com 22 January 2012

redpajama_set_name: RedPajamaCommonCrawl


The "XV Festival Internacional Guitarras del Mundo 2009" (15th Guitars of the World International Festival 2009), will take place from October 6th through October 18th, 2009, with free entrance to the public.
For the past 15 years, the Festival "Guitarras del Mundo" has remained the biggest world wide event dedicated to guitars and guitar players, in which over 700 artists have participated and 36 countries from America, Europe, Asia and Africa have been represented.
"Guitarras del Mundo" features regional music from around the world as well as new musical pieces, promoting at the same time meetings among different guitar schools.
In this year's edition local and international guitar players will offer over 100 concerts with free entrance in 84 venues around the country. Some of the prestigious artists that will participate in the festival are: Juanjo Dominguez, Jorge Cardoso, Rudi, Nini Flores, Ricardo Moyano, Juan Falú (Argentina); Janne Lehtinen and Pentti Hilden (Finland); Bandini-Chiacchiaretta Duo and Stefano Raponi (Italy); Iliana Matos and Eduardo Martin (Cuba); Cem Duruöz and Serkán Yilmaz (Turkey); Ignacio López, José Luis Martinez, Rosalía Royo (Spain); Dale Kavanagh (Canada); Eduardo Fernández (Uruguay); Elias Esper (Argentina-Syria); Nora Buschmann (Germany); Juan Carlos Laguna (Mexico); Dolores Costoyas (Argentina-Switzerland).
The closing of the Festival, with the participation of more than 30 Argentine and international guitar players in a variety of styles and musical genres, will take place at Teatro Argentino de La Plata (Calle 51 entre 9 y 10), on October 18, 7.30 PM.
Click here to see the complete program.


The type of wheelchair, position of the person in the chair and propulsion technique also has a significant impact on shoulder demand.
Determining whether power, power assist or manual wheelchair will be most functional and appropriate for a patient is the first step in prescribing effective and efficient mobility. Considering cushion weight, stability and pressure relieving needs are critical as well.
The following are general guidelines and considerations when prescribing wheeled mobility for different clinical Spinal Cord Injury patients.
Complete Cervical SCI with poor scapular stability. (Manual propulsion may place patient's rotator cuff in a high impingement risk position and long thoracic nerve at risk for stretch injury).
History of Shoulder Injuries or progressing pain.
Inability to negotiate uneven surfaces, ramps or hills with power assist or manual, regardless of level of injury.
Power wheelchairs, with the exception of power add on units and a few power chairs that can break down, cannot be placed in a car or car trunk. The power add on units and power chairs that can break down are extremely heavy and difficult to lift into a car. The wheelchair user will need to utilize public or van transportation.
Wheels have instrumented handrims and motors within the wheel hub which assist the patient in manual propulsion.
Patients with strong C5, C6, C7, C8 and below, who are able to propel a manual chair, but have difficulty with carpet, ramps, hills, uneven surfaces; or fatigue over time in manual chairs.
Age and shoulder pain/injuries also are considerations. Protecting the shoulders in an aging or high shoulder injury risk patient, while still providing manual wheelchair benefits of low level exercise and transportability can be accomplished with a power assist chair.
Wheels weigh up to 25 pounds and can be difficult to lift into car for patient or potentially for family member. Will this impact patient's ability to travel in car? Do they use van/public transportation?
Can be appropriate as high as C6 and at most levels below that, with considerations of age, shoulder condition and pain.
Axle position adjustable, which allows for appropriate height of wheel axle, appropriate forward / back position and wheel camber to promote most effective biomechanical seat posture.
Axle Height Adjustment: Patient seated in chair with arm hanging at side. Fingertips should reach center of wheel axle.6 Caution: This forward / posterior adjustment in the prior picture must be made carefully, considering a patients sitting balance and safety. The farther forward the wheel is moved, the more "tippy" the wheelchair becomes. Progressing the wheel forward over time while allowing the patient to accommodate their sitting balance to that seat position will be more likely to produce an effective and safe wheelchair setup. Utilizing anti-tipper bars will also facilitate safety during the adjustment period after a wheelchair modification.
Studies have found that an axle position under or forward of the shoulder helps to maximize forward push force and reduces the forces transmitted superiorly or "up into" the subacromial space at the shoulder (5). The subacromial area is where classic rotator cuff impingement occurs.
Less of a tendency for the wheelchair to turn downward on a slanted road or sidewalk.
Having the person demonstrate a wheelie can be a general guide to how a wheelchair is setup. If the person can balance with the casters only a few inches off the ground, the chair is balanced well. If the balance point is with the casters several inches to a few feet off the ground, the chair is setup to be very stable, but not necessarily balanced for function.


text:
Classical music: Tonight brings an all-Bach organ recital at Overture Hall. At the UW-Madison, this week brings music for band, brass and strings
IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just "Like" it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
TONIGHT, Tuesday, Oct. 23
At 7:30 p.m. in Overture Hall, Paul Jacobs (below) will perform an all-Bach program. Jacobs, who is the only organist to have won a Grammy Award, is the chair of the organ department at the Juilliard school in New York City and was the teacher and mentor of Greg Zelek, who is the new organist for the Madison Symphony Orchestra.
Heralded as "one of the major musicians of our time" by Alex Ross of The New Yorker and as "America's leading organ performer" by The Economist, the internationally celebrated Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the 50 United States.
Jacobs made musical history at age 23 when he played Bach's complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer's death. (You can hear Jacobs play Bach in the YouTube video at the bottom.) Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, Christopher Theofanidis and Christopher Rouse, among others.
During the 2018-19 season, Jacobs will perform the world premiere of John Harbison's "What Do We Make of Bach?" for organ and orchestra with the Minnesota Orchestra under conductor Osmo Vanska; with the Cleveland Orchestra he will give the American premiere of Austrian composer Bernd Richard Deutsch's "Okeanos" for organ and orchestra.
For more details about Jacobs, his complete all-Bach program and tickets ($20), go to: https://madisonsymphony.org/event/paul-jacobs/
At 7:30 p.m. in Mills Hall, the UW Concert Band will perform a FREE concert of music by Leonard Bernstein (excerpts from "Candide"), Vincent Persichetti, Percy Grainger, Mark Markowski and Steven Bryant.
For more information about the performance and the program, go to: https://www.music.wisc.edu/event/uw-concert-band-fall-concert-2/
At 7:30 p.m. in Mills Hall, the Wisconsin Brass Quintet and special guest UW percussionist Anthony DiSanza (below, in a photo by Katherine Esposito) will perform a ticketed concert of genre-bending music by Michael Tilson Thomas, Pat Metheny, Modest Mussorgsky, Alan Ferber, James Parker and David Sanford.
Admission is $17 for adults, $7 for students and children.
For more information about the performers, the program and how to purchase tickets, go to:
https://www.music.wisc.edu/event/wisconsin-brass-quintet-with-anthony-disanza-professor-of-percussion-2/
Members of the Wisconsin Brass Quintet (below, from left, in a photo by Michael R. Anderson) are: Daniel Grabois, horn; Mark Hetzler, trombone; Matthew Onstad, trumpet; Tom Curry, tuba; and Alex Noppe, trumpet.
At 8 p.m. in Mills Hall, the Pro Arte Quartet will perform a FREE concert.
The program features: the String Quartet in C Major, D. 46 (1813), by the young Franz Schubert; Three Rags for String Quartet ("Poltergeist" from 1971, "Graceful Ghost" from 1970, and "Incinteratorag" from 1967) by William Bolcom; and the String Quartet in E minor, Op. 44, No. 2 (1837), by Felix Mendelssohn.
For more information about the Pro Arte Quartet and its long, historic and fascinating background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-3/
Members of the Pro Arte Quartet (below, from left, in a photo by Rick Langer, are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.)
Tags: #AlanFerber, #AlexNoppe, #AlexRoss, #All-Bach, #AnthonyDiSanza, #AustrianComposer, #BandMusic, #BaroqueMusic, #BerndRichardDeutsch, #CandideOpera, #ChamberMusic, #ChristopherRouse, #ChristopherTheofanidis, #ClevelandOrchestra, #ConcertBand, #DanielGrabois, #DavidPerry, #DavidSanford, #FelixMendelssohn, #FranzSchubert, #GracefulGhost, #GrammyAward, #GregZelek, #HornMusic, #JamesParker, #JohannSebastianBach, #JohnHarbison, #JuilliardSchool, #LeonardBernstein, #MadisonSymphonyOrchestra, #MarkHetzler, #MarkMarkowski, #MasonBates, #MatthewOnstad, #MichaelDaugherty, #MichaelTilsonThomas, #MinnesotaOrchestra, #ModestMussorgsky, #NewYorkCity, #OsmoVanska, #OvertureHall, #ParryKarp, #PatMetheny, #PaulJacobs, #PercyGrainger, #ProArteQuartet, #SallyChisholm, #SamuelAdler, #StephenPaulus, #StevenBryant, #StringQuartet, #SuzanneBeia, #TheNewYorker, #TheNewYorkerMagazine, #TomCurry, #TromboneMusic, #TrumpetMusic, #TubaMusic, #UnitedStates, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #UWConcertBand, #VincentPersichetti, #WayneOquin, #WilliamBolcom, #WisconsinBrassQuintet, #YouTubevideo, acclaim, adult, Alan Ferber, Alex Noppe, Alex Ross, American, anniversary, Anthony DiSanza, Arts, Austria, Bach, background, band music, Baroque, Baroque music, Bernd Richard Deutsch, Candide, Cello, Chamber music, children, Christopher Rouse, Christopher Theofanidis, Classical music, Cleveland Orchestra, complete, Concert Band, conductor, Daniel Grabois, David Perry, David Sanford, death, Early music, Felix Mendelssohn, Franz Schubert, free, Graceful Ghost, Grammy Award, Greg Zelek, History, Horn, Incineratorag, intellect, international, Jacob Stockinger, James Parker, Johann Sebastian Bach, John Harbison, Juilliard School, Leonard Bernstein, Madison, Madison Symphony Orchestra, magazine, marathon, Mark Hetzler, Mark Markowski, Mason Bates, mastery, Matthew Onstad, mentor, Michael Daugherty, Michael Tilson Thomas, Minnesota Orchestra, Modest Mussorgsky, Music, new, New York City, New Yorker, opera, Osmo Vanska, Overture Center, Overture Hall, Parry Karp, Pat Metheny, Paul Jacobs, percussion, percussionist, Percy Grainger, Poltergeist, premiere, Pro Arte Quartet, program, rag, Ragtime, Sally Chisholm, Samuel Adler, Stephen Paulus, Steven Bryant, String quartet, Student, Suzanne Beia, Teacher, technical, technique, Tom Curry, Trombone, Trumpet, Tuba, tuba music, U.S., United States, University of Wisconsin–Madison, UW Concert Band, Vincent Persichetti, Viola, Violin, Wayne Oquin, WILLIAM BOLCOM, Wisconsin, Wisconsin Brass Quintet, young, YouTube
Classical music: This Saturday's CAN'T MISS, MUST-HEAR Bach Around the Clock 5 is new and improved with something for everyone who loves the music of Johann Sebastian
How do you like your Bach?
No matter how you answer, it is just about certain that you will find it at this Saturday's marathon Bach Around the Clock 5, which is even more impressive this year than last year, which was plenty successful.
BATC 5 is a community birthday celebration of the life and music of Baroque master Johann Sebastian Bach (below) – for many, The Big Bang of classical music — who turns 333 this month.
BATC 5 will take place this Saturday from 10 a.m. to 10 p.m. in St. Andrew's Episcopal Church (below) at 1833 Regent Street, on Madison's near west side.
NOTE: If you can't make it in person, the entire event will be streamed live, as it was last year, from the church via a link on the BATC web page.
https://bacharoundtheclock.wordpress.com/live-stream/
But also – new this year – you can listen via streaming from the web site of Early Music America, which also awarded the event one of only five $500 grants in the entire U.S.
https://www.earlymusicamerica.org
For all 12 hours, BATC 5 is FREE and OPEN TO THE PUBLIC. Those who attend are also encouraged to be informal in dress and behavior – to come in and listen, then leave and came back again – in short, to wander in and out as they want to or need to.
To The Ear, the event has been improved in just about every way you can think of.
Do you like to hear professional performers? Amateurs? Students? You will find lots of all of them. (Below are the Sonora Suzuki Strings of Madison.)
Do you like your Bach on period instruments, such as the harpsichord and the recorder, using historically informed performance practices? BATC 5 has that.
Do you like your Bach on modern instruments like the piano? BATC has that too. (Below is Tim Adrianson of Madison who will play the Partita No. 5 in G Major this year.)
Do you like more familiar works? There will be the Harpsichord Concerto No. 1 in D minor, the Concerto for Two Violins and the Brandenburg Concerto No. 2. (Last year saw Brandenburg Concertos Nos. 3 and 5, and BATC director Marika Fischer Hoyt says her plans call for the one-day festival to work its way through all six Brandenburgs before repeating any.) You can hear the Brandenburg Concerto No. 2 in the YouTube video at the bottom.
Do you like less familiar works to expand your horizon? There will be lots of those too.
Do you prefer Bach's vocal and choral writing? BATC has lots of it, including the famous Cantata No. 140 ("Wachet auf") performed by UW baritone Paul Rowe (below, in a photo by Michael R. Anderson) and his students from the UW's Mead Witter School of Music, plus two solo cantatas. The Wisconsin Chamber Choir will also sing.
Do you prefer Bach's instrumental music? BATC has that in abundance, from solo pieces like a Cello Suite to chamber music such as an Organ Trio Sonata and larger ensembles.
Do you like the original versions? No problem. BATC has them.
Do you like novel or modern arrangements and transcriptions of Bach's universal music? BATC has them too.
Concerned about how long the event is?
You might want to bring along a cushion to soften a long sit on hard pews.
Plus, there is more food and more refreshments this year, thanks to donations from Classen's Bakery, HyVee, Trader Joe's and the Willy Street Co-op.
There are more performers, up from 80 last year to about 200. And they include a pianist who is the official Guest Artist Lawrence Quinnett (below) and is coming all the way from North Carolina, where he teaches at a college, to perform two half-hour segments of Preludes and Fugues from The Well-Tempered Clavier, Book II.
Here is a link to Quinnett's own web site:
http://www.lawrencequinnett.com
But familiar faces and voices from the UW-Madison and other groups in the Madison area will also be returning to perform.
Also new this year is a back-up group for concertos and accompaniment.
Some features have been carried over, including mini-interviews with performers conducted by hosts, including Stephanie Elkins (below top) of Wisconsin Public Radio and Marika Fischer Hoyt herself (below bottom, with flutist Casey Oelkers, on the left, who works for the Madison Symphony Orchestra)
But The Ear is also impressed by how little repetition in repertoire there is from last year. So far, each year feels pretty much new and different, and the newly designated non-profit organization, with its newly formed board of directors, is working hard to keep it that way.
What more is there to say?
Only that you and all lovers of classical music should be there are some point – or even more than one.
Here is a link to the BATC general web site, with lots of information including how to support this community event — which, for the sake of full disclosure, The Ear does:
https://bacharoundtheclock.wordpress.com
And here is a link to the full schedule that you can print out and use as a guide. It also has last year's schedule for performers and pieces that you can use for purposes of comparison:
https://bacharoundtheclock.wordpress.com/concert-schedule/
Let the music begin!
Tags: #BachAroundtheClock, #BigBang, #BrandenburgConcerto, #ChoralMusic, #EarlyMusicAmerica, #EpiscopalChurch, #HarpsichordConcerto, #HarpsichordMusic, #HistoricallyInformedPerformancePractices, #HyVee, #InstrumentalMusic, #JohannSebastianBach, #LawrenceQuinnett, #MadisonSymphonyOrchestra, #MeadWitterSchoolofMusic, #NorthCarolina, #OrganMusic, #PeriodInstruments, #RecorderMusic, #SuzukiMethod, #SuzukiStrings, #TheBigBang, #TheWellTemperedClavier, #TraderJoe's, #UnitedStates, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #ViolinConcerto, #ViolinMusic, #VocalMusic, #WillyStreetCo-op, #WillyStreetCoop, #WisconsinChamberChoir, #WisconsinChamberOrchestra, #WisconsinPublicRadio, amateur, answer, arrangement, Arts, Bach, Bach cantata, baritone, Baroque, birthday, Cantata, Cello, certain, Chamber music, choral music, church, Classen's Bakery, Classical music, college, comparison, composer, concerto, cushion, dress, Early music, familiar, flute, food, free, fugue, hard, harpsichord, historically informed performance practices, host, informal, instrumental, interview, Jacob Stockinger, Johann Sebastian Bach, last year, Lawrence Quinnett, listen, live-stream, Madison, Madison Symphony Orchestra, marathon, modern, Music, novel, old, open, Orchestra, organ, partita, Paul Rowe, period instruments, pew, Piano, Prelude, professional, public, recorder, refreshments, Saturday, schedule, sing, singer, Singing, soften, solo, Sonata, song, sponsor, stream, Student, success, Suite, this year, Trader Joe's, transcription, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, web page, web site, Website, wedding, weekend, Willy Street Co-op, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, young, Youth, YouTube
Classical music: This Sunday brings a preview of Bach Around the Clock 5. Plus, a FREE song recital is on Friday at noon.
CORRECTION: The two performances by the Madison Symphony Orchestra the were listed earlier in this post took place last Sunday, and are NOT scheduled for this coming Sunday. The Ear apologizes and regrets the error.
ALERT: This week's FREE Friday Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features mezzo-soprano Consuelo Sañudo (below) and pianist Jeff Gibbens performing music by Johann Sebastian Bach, Ludwig van Beethoven, Claude Debussy, Andre Caplet and Maurice Ravel. The concert runs from 12:15 to 1 p.m.
On this Sunday, March 4, you can hear a sample of the Bach Around the Clock marathon that will take place a week from Saturday, on March 10, from 10 a.m. to 10 p.m. in St. Andrew's Episcopalian Church, 1833 Regent St.
The preview of the event that celebrates the 333nd birthday of Johann Sebastian Bach (below) will be this month's Sunday Afternoon Live From the Chazen concert. It starts at 12:30 p.m. in Brittingham Gallery No. 3.
NOTE: It will also be live-streamed from the UW-Madison's Chazen Museum of Art via the following website:
https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-at-the-chazen-march-4-with-back-around-the-clock/
The program features the popular Brandenburg Concerto No. 2 in F Major (with flutist Dawn Lawler, below top, as soloist) and the familiar Harpsichord Concerto No. 1 in D minor (with Mark Brampton Smith, below bottom, as soloist). (You can hear the opening of the Harpsichord Concerto in the YouTube video below.)
There will also be selections by Bach from the books for the Suzuki method.
Information about the program and performers is on the website above.
For more information about the complete Bach Around the Clock, as well as the Chazen preview, including the full schedule of works and performers with times and information about live-streaming, go to:
Tags: #BachAroundtheClock, #BrandenburgConcerto, #CarolBarnett, #ChazenMuseumofArt, #ClaudeDebussy, #EpiscopalChurch, #FolkMusic, #GuitarMusic, #HarpsichordConcerto, #JohannSebastianBach, #KeyboardConcerto, #LudwigVanBeethoven, #MadisonSymphonyOrchestra, #MadisonSymphonyOrchestraChrous, #MauriceRavel, #OvertureCenter, #RootsMusic, #SuzukiMethod, #TheWorldBeloved, #TinPanAlley, #UnitarianSociety, #UniversityofWisconsin-Madison, afternoon, American, Andre Caplet, Art, Arts, Bach, Bach Around the Clock, banjo, Baroque, bass, Beethoven, beloved, birthday, bluegrass, Book, Brandenburg Concerto, Chamber music, choral music, church, Classical music, composer, concerto, Debussy, Early music, eclectic, Episcopal, fiddle, First Unitarian Society of Madison, flute, Folk music, free, Gloria, guitar, harpsichord, hymn, information, Jacob Stockinger, Johann Sebastian Bach, Keyboard, live, livestream, Love, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, mandolin, marathon, mass, Mezzo-soprano, Museum, Music, musicale, Orchestra, performers, Piano, preview, program, schedule, singer, Singing, soloist, song, spiritual, St. Andrew, streaming, Sunday, Sunday Afternoon Live From the Chazen, Suzuki, symphony, The World Beloved, time, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Website, Wisconsin, works, world, YouTube
Classical music: For you, what were the best, most memorable or most enjoyable concerts of 2017? Here are the highlights for critics John W. Barker and The Ear
The end of the calendar year is only the mid-point of the new season and the concert calendar.
Still, it is a good time to take stock of the past year and the various performers and performances that we heard.
John W. Barker (below), who writes frequently for this blog as well as for Isthmus, recently published his top picks of concerts in 2017 in Isthmus. Here is a link to his year-end assessment:
https://isthmus.com/music/best-2017-classical-music/
To be fair, The Ear doesn't always agree with Barker on the quality of some pieces and of certain performances. But by and large the two of us are in accord, and even when we aren't, the Ear respects and learns from Barker's expertise and experience.
The Ear would only add several things he found that Barker doesn't mention:
The all-Mozart concert in the fall by the Pro Arte Quartet (below) — with UW faculty clarinetist Alicia Lee and San Francisco cellist Jean-Michel Fonteneau filling in for Parry Karp, was a much-needed balm in these times of distress.
If you are a fan of amateur music-making and love the music of Bach, the revival of the Bach Around the Clock marathon in March proved enthralling. (Below are violist father Stan Weldy and mandolinist son Alex Weldy.)
You heard all kinds of musicians, from students and adult amateurs to professionals, in all genres of music, including arrangements and transcriptions that Johann Sebastian would no doubt have approved of.
Pianist Richard Goode (below), who played this fall at the Wisconsin Union Theater, showed the power of softness and quiet.
His subtle playing was full of nuance in preludes and fugues from The Well-Tempered Clavier, Book II, by Johann Sebastian Bach; in a late sonata by Ludwig van Beethoven; in the only sonata by Anton Webern; in a generous group for Chopin works; and in an unexpected encore by the English Renaissance composer William Byrd. All in all, Goode proved a wonderful reprieve from some of the heavier, louder and more dramatic keyboard playing we hear.
But if you wanted drama, you only had to attend the recital by UW-Madison virtuoso Christopher Taylor (below). He excelled in everything, especially the total-body playing of the solo piano arrangement by Franz Liszt of Beethoven's Symphony No. 7, which wowed the house. But he also showed great restraint, tone and subtlety in contemporary American composer John Corigliano "Ostinato" based on that symphony's famous second movement.
Then Taylor finished up with contrasting sets of six Musical Moments by Franz Schubert and Sergei Rachmaninoff.
BUT NOW IT IS YOUR TURN: YOU BE THE CRITIC!
Recognizing that the best concert is not necessary the most memorable concert, and that the best or most memorable concert is not necessarily the most enjoyable concert, please tell us:
What did you think was the best concert and best single performance you heard in 2017?
What was the most memorable classical music experience you had in 2017?
And what was the most enjoyable classical music performance you heard in 2017?
Tags: amateur, arrangement, Arts, Bach, Bach Around the Clock, balm, Baroque, Beethoven, Book, Byrd, calendar, Cello, Chamber music, Chopin, choral music, Christopher Taylor, clarinet, Clarinet Quintet, Classical music, Compact Disc, composer, concerto, critic, distress, drama, Early music, encore, end, English, experience, expertise, famous, Franz Schubert, fugue, genre, George Frideric Handel, Great Britain, Isthmus, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, John Corigliano, John DeMain, John W. Barker, Keyboard, Liszt, loud, Ludwig van Beethoven, Madison, Madison Opera, Madison Symphony Orchestra, mandolin, marathon, Moments Musicaux, movement, Mozart, Music, Musical Moments, nuance, opera, Orchestra, Overture Center, performance, performer, Piano, piece, playing, power, Prelude, Pro Arte Quartet, professional, quiet, quintet, Rachmaninoff, Rachmaninov, restraint, Richard Goode, San Francisco, Schubert, Season, soft, softness, Sonata, String quartet, Student, subtle, subtlety, symphony, Symphony No. 7, The Well-Tempered Clavier, time, times, tone, transcription, UK, United Kingdom, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Webern, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, Wolfgang Amadeus Mozart, year, you, YouTube
Classical music: Madison Symphony Orchestra names Greg Zelek as its new principal organist
The Ear has received the following important news:
The Madison Symphony Orchestra (MSO) has announced that Greg Zelek (below) will become Principal Organist and Curator of the Overture Concert Organ, beginning Sept. 1, 2017.
Zelek will succeed Samuel Hutchison, who retired after 16 years in the position. Hutchison will remain active in an advisory role during the transition to his successor.
MSO Music Director John DeMain said "Greg Zelek's decision to move to Madison and become our principal organist, is a testimony to the international reputation both the instrument and organ programs have gained in the past 12 years. Greg is simply a phenomenal virtuoso on the instrument and will be a wonderful addition to the symphony, the organ program, and the community."
Samuel Hutchison (below) said: "Greg comes to Madison as one of the brightest lights of a new generation of concert organists. His effortless facility at the organ console coupled with highly creative programming ideas will provide great excitement for our organ audiences. I anticipate his tenure with great enthusiasm as he launches the new season of organ concerts with his inaugural recital on August 26."
Greg Zelek is recognized as one of the most exciting young organists in the American organ scene. The South Florida Classical Review praised Zelek for his "effortless facility on the instrument." He has performed with orchestras as both a soloist and professional ensemble member throughout the US, including appearances with the Miami Symphony Orchestra and Metropolitan Opera Orchestra in Carnegie Hall.
He was the organist in the Metropolitan Opera's production of Faust, and performed twice with the New World Symphony, including a performance of Lukas Foss's Phorion, under Michael Tilson Thomas. Zelek was chosen by The Diapason magazine as one of the top "20 Under 30" organists in 2016, a feature which selects the most successful young artists in the field.
Zelek has appeared in multiple venues throughout the US, including a performance of Cochereau's Bolero for Organ and Percussion in Alice Tully Hall. He closed the WQXR Bach Marathon at St. Peter's Lutheran Church, which was streamed live on New York City's only classical music station.
A proponent of new music for the organ, Greg (below) has premiered and performed works by fellow Juilliard composers and faculty, including Wayne Oquin's Reverie and Samuel Adler's Partita for Organ in concerts. Awards he has received include First Prize in both the 2012 Rodgers North American Classical Organ Competition and the 2012 West Chester University Organ Competition, and selection as a 2010 NFAA Young Arts Silver Medal Winner.
He won First Prize, as well as the "Bach Prize," at the East Carolina University Organ Competition, and was a prizewinner in the Albert Schweitzer Organ Festival. Most recently, Greg was the Audience Prize winner and finalist in the 2016 Longwood Gardens International Organ Competition. (You can hear Greg Zelek perform Johann Sebastian Bach's famous Toccata and Fugue in D Minor in the YouTube video at the bottom.)
Greg's engagements have included serving as the Music Director and Organist at the Episcopal Church of St. Matthew and St. Timothy in New York City; Organ Scholar at Hitchcock Presbyterian Church in Scarsdale, New York; Music Director of Corpus Christi Catholic Church in Miami; and summer organist for San Pedro Apostol Church in Ramales de la Victoria, Spain.
He is completing an Artist Diploma as a student of Paul Jacobs at the Juilliard School. A recipient of the inaugural Kovner Fellowship, Greg also received his bachelor's and master's degrees from Juilliard.
Zelek is enthused about the opportunity and says. "I'm deeply honored to have received this unique opportunity with the Madison Symphony Orchestra. I look forward to building on Sam Hutchison's outstanding work of promoting and elevating the art of organ music in performance and the magnificent Klais organ (below) to new heights."
Tags: advisor, Albert Schweitzer, Alice Tully Hall, Arts, audience, Bach, Baroque, Carnegie Hall, church, Classical music, community, Competition, concerto, Early music, Florida, George Frideric Handel, Greg Zelek, instrument, international, Jacob Stockinger, Johann Sebastian Bach, John DeMain, Juilliard School, Klais, Lukas Foss, Madison, Madison Symphony Orchestra, marathon, medal, Met, Metropolitan Opera, Miami, Michael Tilson Thomas, Music, New Music, New World Symphony, New York City, news, Orchestra, organ, organist, Overture Center, Paul Jacobs, percussion, principal, prize, promoting, promotion, recital, Retirement, Samuel Adler, Samuel Hutchison, Season, Spain, stream, symphony, Toccata and Fugue in D minor, Toccata and Fugue in D minor BWV 565, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, virtuoso, Wayne Oquin, Wisconsin, WQXR, YouTube
Classical music: Is the Toronto Symphony censoring freedom of speech? Read about the Twitter Wars in Toronto that involve two pianists who have played in Madison.
Tweets — those messages that comes via Twitter — may be short, containing a maximum of only 140 characters.
But they can sure pack a wallop and get people riled up.
Consider what is happening in Toronto with the Toronto Symphony Orchestra (below top, in a photo by John Loper) that canceled an appearance – with full payment of a concert fee — by the Ukrainian-born pianist Valentina Lisitsa (below bottom).
Lisitsa tweeted about the political situation in her native Ukraine and that apparently caused quite the stir among symphony sponsors. So the symphony canceled her performances of the Piano Concerto No. 2 in C Minor by Sergei Rachmaninoff – and paid her concert fee anyway. (Rachmaninoff and this concerto are specialties of Lisitsa, as you can hear on the YouTube video at the bottom)
Locally, Lisitsa — known for her power, endurance and phenomenal technique as well as her savvy use of YouTube to establish a career — has played several times at the Wisconsin Union Theater and at Farley's House of Pianos.
Then the Toronto Symphony tried to engage pianist-composer Stewart Goodyear (below), who is famous for doing marathons in which he plays all 32 piano sonatas by Ludwig van Beethoven in one day. He has performed several times with the Wisconsin Chamber Orchestra.
Anyway, here is a terrific account of the story — with great reporting and writing from Anastasia Tsioulcas — that was posted on Deceptive Cadence, the outstanding classical music blog that is on NPR (National Public Radio).
http://www.npr.org/blogs/deceptivecadence/2015/04/09/398571112/twitter-outrage-takes-toronto-canceling-two-pianists
What do you think of this dust-up?
Was Lisitsa treated fairly?
Tags: Arts, Beethoven, Canada, Classical music, composer, concerto, Jacob Stockinger, Ludwig van Beethoven, Madison, marathon, Music, Orchestra, Pianist, Piano, Piano Concerto No. 2 (Rachmaninoff), Piano sonata, Sergei Rachmaninoff, Sergei Rachmaninov, Sonata, Stewart Goodyear, Toronto, Toronto Symphony Orchestra, Twitter, Ukraine, Ukrainians, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Valentina Lisitsa, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Union Theater, YouTube
Classical music: Will Madison help celebrate the 330th birthday of Johann Sebastian Bach on Saturday, March 21, 2015 when "Bach in the Subways" Day takes place nationwide and around the world?
The Ear recently came across this news item — reprinted below.
He remembers when Wisconsin Public Radio, under the direction of its former music program director Cheryl Dring, marked the annual birthday of Baroque master composer Johann Sebastian Bach (below). At bottom you can hear almost two hours of Bach's best and most popular music — from solo piano to orchestra — in YouTube video that has almost 10 million hits.
The noon-to-midnight event was called "Bach Around the Clock" (below) and was based on an event that Dring used to go to in New Orleans, Louisiana. It featured singers and choral music, instrumental music of all kinds and at all levels, and audiences who wandered in and out as well as a special birthday cake for The Birthday Boy.
The FREE and PUBLIC event took place in the Pres House, 731 State St., near the UW-Madison School of Music. It featured lots of classical amateur musicians – including The Ear who played solo piano works and also collaborated with a flutist – but also professional musicians, including members of the UW-Madison School of Music,UW-Whitewater, Edgewood College, the Madison Symphony Orchestra, the Wisconsin Chamber orchestra the Madison Bach Musicians and its keyboardist founder and director Trevor Stephenson, church organists and various choral groups. It was also webcast live by WPR.
I wrote about it every year, and was also surprised and pleased by the quality of the music-making I heard from young students through adult amateurs and of course professional musicians. I loved it, both as a participant and as an audience member.
Here are some links with lots of photos:
https://welltempered.wordpress.com/2011/03/21/classical-music-review-the-marathon-"bach-around-the-clock"-concert-is-now-officially-a-tradition-in-madison-wisconsin/
https://welltempered.wordpress.com/2012/03/23/classical-music-here-are-8-lessons-i-learned-from-my-day-of-berlitz-bach-at-wisconsin-public-radios-bach-around-the-clock-3-last-saturday/
https://welltempered.wordpress.com/?s=bach+around+the+clock
But Wisconsin Public Radio backed out of the celebration after four years, citing weekend staff time and expense. No one stepped in to pick it up, though I suppose you could make the case that the "Make Music Madison" citywide event of the past two summers took up the baton. But that event includes all kinds of music — not just classical and not mainly classical and not just Bach.
Now there is a similar populist movement nationwide and even worldwide, but based in New York City, to mark Bach's birthday. It is called "Bach in the Subways" and started several years ago. Since then it has been growing.
My question now is: Who, if anybody, will host the Madison event in this movement in 2015 and in coming years?
The UW-Madison has the School of Music, including Morphy Hall (below) and Music Hall as well as Mills Hall.
The centrally located Pres House, which also features an organ, a piano, a low-profile stage, many chairs and good acoustics as well as a dining room for snacks and socializing, is an excellent candidate.
Farley's House of Pianos seems the kind of customer-friendly and community-helping business that might be open to the event.
Maybe there are other churches or community centers or organizations that would be willing to set this up.
Anyway, your reactions and suggestions are welcome.
And here is the original announcement I found:
CALLING ALL MUSICIANS
Bach in the Subways Day
On J.S. Bach's 330th birthday, musicians around the world will unite to perform Bach for free in subways and public spaces, throughout the day and night, to celebrate our art and to sow the seeds for future generations of classical music lovers.
Musicians, organizers and everyone else who wish to spread the joy of Bach are invited to join us! Solos, ensembles, flash mobs and Bach marathons are all encouraged.
Join us as we fill the world with Bach!
For more information visit http://bachinthesubways.com, facebook.com/bachinthesubways, or twitter.com/bachinthesubway. (The list of participants on the main website says that Madison, Wisconsin, is taking part, along with many cities around the country and world. But I don't see any specifics. Does anyone know the details of the local celebration?)
For more information, write to info@bachinthesubways.com.
Need inspiration? Free Bach scores (in the public domain), as well as transcriptions for many solo instruments and a wide variety of ensembles, are available at www.imslp.org
Meanwhile, here are almost two hours of popular music by J.S. Bach to listen to:
Tags: Arts, Bach, Bach in the Subways, Baldwin-Wallace University, Baroque, Cello, Chamber music, choral music, Classical music, community centers, Concerto for Two Violins (Bach), ensemble, Facebook, Farley's House of Pianos, First Unitarian Society of Madison, Flash mob, Jacob Stockinger, Johann Sebastian Bach, Keyboard, Madison, Madison Bach Musicians, Madison Symphony Orchestra, marathon, New York City, Orchestra, organ, Overture Center, Piano, Pres House, Singing, solo, Trevor Stephenson, Twitter, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, YouTube


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text:
Clarion Reviews
Before He Wore Confederate Gray
David Maring
CreateSpace (Mar 8, 2014)
Softcover $14.95 (188pp)
Clarion Rating: 4 out of 5
Maring allows a candid glimpse of the human being before he rose to lead the Confederacy.
A famous gray ghost emerges from this realistic dramatization in a convincing portrayal of Jefferson Davis. David Maring focuses on the life of this controversial figure often perceived as an enemy of the United States. Jefferson Davis: Before He Wore Confederate Gray is a fictionalized account of the early years of an educated man who later became known as the president of the Confederacy.
Though few would award hero status to this outspoken politician, most will find his background fascinating. As expected, the stereotypical Southern gentleman shines through, yet with an unfavorable edge, due to preoccupation with his professional duty. His decision to remain faithful to Mississippi after the state's secession from the Union, and then to step forward as the head of an independent government, can only be comprehended within the context of the time in which he lived. Putting aside the immediate compulsion to attack his influential status on the wrong side of the American Civil War, the book may educate those willing to suspend condemnation long enough to learn about the events that preceded his rise to the presidency.
Illuminating Davis's formative years, romances, and subsequent marriage, Maring allows a candid glimpse of the human being as he struggled through setbacks and tragedies while simultaneously growing into the fallible yet loyal leader he became as the war commenced. A West Point graduate with a prominent political career in the House of Representatives and the United States Senate, Davis also served as secretary of war. His experience is promoted as a sterling quality, yet his knowledge made him perhaps all the more lethal to the Union.
This statement about Davis's character is perhaps more revealing than any other: "Although he was never seen as a friend of the common man because his time spent in schools away from the activities of everyday life had made him part of an elite, most who heard him speak were impressed with his sincerity."
In a commendable attempt to remain objective, this novel errs in its tendency to glorify Davis as a dedicated, battle-scarred hero who survived the Black Hawk War, as well as the Mexican War, rather than place him in an analytical light. Perhaps this technique is the fairest way to depict a demonized figure in history.
A black-and-white photograph of Davis graces the cover, and the blurb on the back cover extols his virtues as a public servant. Written in simple language, this title verges on suitability for young adults. The informative style is typical of nonfiction with its concise description and straightforward outlook.
A resident of South Carolina, David Maring is a former circuit judge and the author of several novels. His ancestors fought on opposing sides of the Civil War, giving him the perspective needed to understand what happens when a nation's people unleash violence on one another.
Jefferson Davis: Before He Wore Confederate Gray is the first in a two-part series. It will be followed by Jefferson Davis: The Conflict and Aftermath, scheduled for release in October 2015.
Reviewed by Julia Ann Charpentier
Disclosure: This article is not an endorsement, but a review. The author of this book provided free copies of the book and paid a small fee to have their book reviewed by a professional reviewer. Foreword Reviews and Clarion Reviews make no guarantee that the author will receive a positive review. Foreword Magazine, Inc. is disclosing this in accordance with the Federal Trade Commission's 16 CFR, Part 255.
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If you are a fan of Cricket and live in India, you must be a fan of IPL. Indian Premier League too. Indian Premier League, commonly termed as IPL, will begin its 11th edition tomorrow i.e., March 23. Now, the tournament is a long one and it is not possible for most of you to catch all the games live inside the stadium. Therefore, you must be relying on your television sets to see the game live. But there is always the case of work or some other things due to which you can not see the game on TVs.
But you will always carry a smartphone wherever you go. Thankfully, IPL 2019 is also available for live streaming and we can see it live on our smartphones as well. So, how are we going to watch the live streaming of IPL 2019 on our mobile phones? Well, it's simple and I bet you already know it.
If you are unaware that Star Media Group has the exclusive rights for streaming all the matches of IPL 2019. This is true for both the online platform as well as on your TVs. Star India runs an online platform named Hotstar which you must be aware of. Well, as it stands, this is the only place where you can watch IPL 2019 live from India, legally. So, go ahead and install the app if you don't have.
Also, remember that on a free account, you will be able to watch the IPL 2019 live streaming on Hotstar just for 5 minutes for the day. So, you should buy the Premium plan to watch the entire game live. The Hotstar Premium plans are quite flexible and you can buy them monthly at Rs. 199, or yearly at Rs. 999. So if you are planning to buy the Premium plan only for IPL 2019 then we suggest you purchase the new pack that they launched last year.
Last year, they launched 'All Sports' pack which would cost you about Rs. 299/year but now the subscribers who availed that offer would be migrated to Hotstar VIP which costs around Rs. 365/year. So, if you're a new user and planning to watch IPL 2019 on Hotstar, then you should subscribe to the VIP plan. This pack allows you to watch all the matches happening on Hotstar live and uninterrupted. But you will not be able to watch the International content. For that, you need to buy the yearly pack which will cost you Rs. 999 for the year.
However, there is still an option for you if not for watching the game live. This is by the way of following live cricket scores on your smartphone. There are great applications available on Android as well as websites which shows live ball-by-ball scores as well as give commentary on the live matches too.
One of the best options available for this purpose is Cricbuzz. Apart from Cricbuzz, you can also follow ESPN Cricinfo for following all the matches of IPL 2019 live from your smartphone.
Previous articleBefore Launcher – A Minimalist Launcher that will turn your Android Phone to Windows!


This funding for the survey should include funds to meet ongoing needs for data collection, quality assurance, and technical assistance for both CDC staff and states. During the workshop, presentations were made by survey methodology specialists and persons knowledgeable in emerging technologic challenges.
Because of the substantial amount of time involved in preparing this report, lists of new key references published after these cut-off dates are included in an Appendix.
The evidence is sufficient to infer a causal relationship between maternal exposure to secondhand smoke during pregnancy and a small reduction in birth weight. The mechanisms by which secondhand smoke causes lung cancer are probably similar to those observed in smokers.
The subgroup members recommended excluding these banks from the sample to decrease the efforts and cost of reaching a household because a limited number of households are located in the zero blocks.
Current heating, ventilating, and air conditioning systems alone cannot control exposure to secondhand smoke. Smoking by parents causes respiratory symptoms and slows lung growth in their children.
Inthe data quality reports for all 50 states, the District of Columbia, and the territories, demonstrate minimum bias when BRFSS data is compared with census data.
Questionnaires represent the only approach that can be used to assess exposures retrospectively over a life span, because available biomarkers only reflect exposures over recent days or, at most, weeks.
The last state restricting smoking on school campuses occurred in Their work has been funded by the National Institute of Justice, not the gun lobby.
Establishing policies to reduce exposure to secondhand smoke, increase the cost of tobacco, restrict tobacco advertising, and reduce illegal sales to minors. When I began my research on guns inlike most academics, I was a believer in the "anti-gun" thesis, i. This concerns medical experts because marijuana use during pregnancy is linked to lower birth weight 10 and increased risk of both brain and behavioral problems in babies.
An unparalleled increase in handgun ownership coincided not just with no increase in fatal firearms accidents, but with a steep decline. Early experimentation and use is nearly always undertaken in a social context, which emphasises the importance of interventions focused on denormalising smoking.
The consequences for epidemiologic studies of misclassification in general are well established Rothman and Greenland Questionnaires can be used to characterize sources of exposures, such as smoking by parents.
The evidence is suggestive but not sufficient to infer a causal relationship between secondhand smoke exposure and adult-onset asthma.
Unlike some recreational drugsnicotine does not measurably alter a smoker's motor skillsjudgementor language abilities while under the influence of the drug. Rossi, who hold endowed chairs in sociology at Tulane and the University of Massachusetts, respectively, are both liberal Democrats who neither own guns nor belong to the NRA.
The subgroup members recommended decomposing the CASRO response rate into resolution, screen completion, and interview completion rates to identify the different obstacles for the survey. No data were found on paternal exposure to secondhand smoke and male fertility or fecundability.
There are literally thousands of differences across cities that could account for violence rates, and these authors just arbitrarily seized on gun levels and gun control levels as being what caused the difference.
After all, guns are hateful things for which no decent purpose is imaginable, certainly not self-defense.
Conclusion Inclusion of waterpipe tobacco smoking in tobacco control activities may help reduce its spread. There was this same disconnect between the science and public policy. Marijuana use can lead to the development of a substance use disorder, a medical illness in which the person is unable to stop using even though it's causing health and social problems in their life.
Tanz chooses to rely on conclusions he likes based on data from just two cities in the United States and Canada, while having no interest in the contrary conclusions dictated by national data comparisons, speaks for itself. The evidence is inadequate to infer the presence or absence of a causal relationship between exposure to secondhand smoke during infancy and childhood cancer.
Their interest is in milking the highly emotive issue of dying children for all it is worth as an argument for reducing handgun availability to ordinary citizens. Methods A literature review was performed to compile information relating to waterpipe tobacco smoking.
Consequently, exposure is only one determinant of variation in cotinine levels among persons; there also are individual variations in metabolism and excretion rates.
This assessment remains fair, incidentally, whether one accepts the Kleck and Gertz findings of approximately two million defensive gun uses annually or the adverse Cook and Green evaluation of only some hundreds of thousands.
Moreover, with the growing use of the Internet, households are spending more time online, which leads to more busy signals. It is sagecraft literature in which academic "sages" prostitute scholarship, systematically inventing, misinterpreting, selecting, or otherwise manipulating data to validate preordained conclusions.
This distinction is important because as we emphasize later in this Article, no health p.Secondhand smoke can triple risk of lung cancer by ANDRÉ PICARD / PUBLIC HEALTH REPORTER Source: Globe and Mail, July 12, Region: CANADA People who are routinely exposed to a lot of secondhand smoke, such as workers in bars and restaurants, can.
INTRODUCTION Tobacco use, especially the practice of cigarette smoking, remains the largest preventable cause of death and disability in the United States, producing more than $50 billion in health care costs in (Bartlett et al.
The Board of Regents of the University System of Georgia is committed to providing a healthy environment on campuses.
We recognize the serious health implications of both the direct use of tobacco products and indirect exposure to the use of tobacco products and our responsibility to promote the health and well-being of our students, faculty, staff and visitors.
Five, variable power, e-cigarettes devices were evaluated for aerosol yield and formation of aldehydes in the aerosol. • The mass of aerosol produced, on a per puff basis, ranged from to 28 mg.
Research has focused primarily on cigarette tobacco smoking. Tobacco smoke contains more than fifty chemicals that cause cancer.
Tobacco also contains nicotine, which is a highly addictive psychoactive agronumericus.com tobacco is smoked, nicotine causes physical and.