text:
Q: How to upgrade Ruby 2.3.1 to 2.6.5 in Rails application with verifying the compatibility and deprecation checks using a tool or gem Current Ruby Version is 2.3.1 and want to upgrade it to 2.6.5;
Rails version 5.2.2, later some time want to upgrade it to 6.0.0
My first question is would it be good approach to directly upgrade to 2.6.5 or to upgrade by major versions ??
And second question, is there any tool or gem available to verify the Deprecation warnings or compatible methods of the new version.
So that it helps in verifying the deprecation and other incompatible methods before final check in to repository or a there's a script that can traverse my code searching for potential issues?
I know one of the best way is to ensure the smoother upgrade is to run the complete test coverage before and after upgrade.
Would like to know other means for upgrade like a tool/gem  or any script particularly.
Thanks in Advance

A: The recommended upgrade path is to do incremental minor version updates whenever possible. But in the case where you are several minor versions behind as in your case, you will likely be safe to go to later versions of 2.x without any breaking changes.  But to be sure, you will want to search the release notes of said version, i.e. Search Ruby 2.6 released which should yield results including the release notes for 2.6.0. To be safe, you may want to search that page for breaking changes then just changes. Which there seem to be no breaking changes between 2.3.x up to 2.7x.
Mostly there will be enhancements and performance improvements, but each version may contain deprecation warnings. You will want to address these before upgrading to next major version Ruby 3.0 or 3.1.
You can use the gem deprecation_toolkit to assist with fixing deprecated code before trying to update to a major version, 3.x for example.
Of course the hard part will be making sure all your gem dependencies are dated, normally by running bundle update but in some cases you will have to resolve individual dependencies with more hand work.

redpajama_set_name: RedPajamaStackExchange


My client is a renowned Retail brand who are looking to hire a HR Business Partner to join their friendly team in store on a 12 month contract basis, with scope to extend. This role will be working closely with the Store Manager, responsible for approx. 500 employees.
Due to the nature of working closely with the store, the successful HR BP will work various shift patterns to suit the business needs, including some weekends. If you are an energetic, driven and people focussed HR Advisor/ BP or a Store Manager with HR experience, please apply now!


text:
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Stationery Designs is a friendly and accommodating business card shop, based in London. We have a professional graphic designing team to help you create the most outstanding and stunning designs for your brand. Whether you are looking just for a sketch or willing to get a professional design for your brand identity, we can facilitate you with visual designs that will not only help you create brand awareness but surely produce active buyers for you.
It is generic and digitally designed and developed business card so we can not assign you the sole copy rights of this.
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redpajama_set_name: RedPajamaCommonCrawl


Palm Springs is covered by the small San Bernardino Mountains to the north, the Santa Rosa Mountains on the south, and the San Jacinto Mountains to the west. This geography gives Palm Springs its notable warm and dry climate. Known for 354 sunny days, winter temperatures average in the 70s with nights in the mid-40s. The dry desert heat of summer pushes daytime temperatures to the 100s.


G & S Association Services, LLC is a company formed for one reason, a desire to give community associations fair financial management pricing with exceptional service. For over ten years, founding members, Ghilda L. Fries and Sharon V. Ellis, were essential cogs in the property management accounting wheel. Both women have been fortunate enough to work for the best full service management company in the industry, and have also had their fair share of working with some of the worst management companies in the industry. After watching community after community suffer due to poor financial management, sloppy internal controls and inexcusable overcharging by the management companies hired to keep the records straight, these dynamic women decided to put their skills and innovative forward thinking to better use.
During their ten year career in property management, both founding members have had the opportunity to work very closely with some of the top property management software companies, banks, title companies, collection attorneys, and property managers in the industry. For over a decade they have watched management companies get it wrong. When it comes to effective financial management for community associations, there is no gray area. This is a firm ethical belief that all G & S team members live by. Armed with knowledge, experience and the know-how to get it right, G & S Association Services, LLC was formed solely to offer community associations a better choice in financial management services.
The G & S motto is simple. "We operate at all times for all clients with integrity, honesty and exceptional service."
We guarantee completely transparent accounting with no hidden or surprise charges. This is an important feature when dealing with today's slow economic rebound, and every G & S team member understands the value in that. We are here to help you manage your community association's day to day business of "keeping the books". We strive to keep costs down for every community association we manage by utilizing the most advanced technology and processes. Our goal, our mission, and our passion is to keep homeowners in their homes, and the association's funds in the community where it belongs.


text:
Days of Yore
as recounted by
Mr. Childrey In the early 1900's Mr. Childrey was the minister of the Baptist Church in Haddonfield. He was probably the most beloved and respected person in the town. At one time a petition was drawn up to prohibit the trolley cars from entering town on Sunday. Mr. Childrey was asked to be the first to sign his name to this petition since that would be a big boost to the proposal. He said an emphatic "NO!: He explained that every Sunday after preaching his sermon he really looked forward to his Sunday dinner and then settling down with a good cigar and his Sunday newspaper. The papers were brought to Haddonfield at that time by trolley car. With no further ado, the petition died!
One evening Mr. Childrey went to Camden to where the White Horse Pike ends or begins at Haddon Avenue near the Harleight Cemetery. He was to make arrangements for a wedding he was going to perform at a house near the then site of the Wetherill paint works. He was waylaid in a robbery attempt, shot and killed. Our town was shocked and grieved at his passing.
At the next Haddonfield Senior Class graduation exercises in June, the CHILDREY MEMORIAL MEDAL as awarded to the outstanding senior in the class that year. Since then each year the medal is the highest achievement a Haddonfield senior can earn.
DayHikes.info Homepage Contact Alan Day Days of Yore Homepage


You can find your way to us easily using the interactive map from Google-Maps. Also, you can use the Google route planner to create directions.
Should you have questions regarding the approach – we are happy to assist.


3D Personnel are currently working with a leading Civil Engineering Contractor.
Leading Civil Engineering company who specialise in a range of civil engineering, traffic management and environmental services.
You will be responsible for overseeing all hard landscapping works on a construction site consisting of a high quality permanent and temporary living and working accommodations.
If you are interested this position please call apply below or call 02380406322/0773030599 and ask for Anna.


From All Four Corners: Stories of Migration to Wagga Wagga celebrates, explores and captures the personal stories of migrants coming to Wagga – both past and present, individual and group – who have helped make the culturally diverse city of today.
From All Four Corners was exhibited at Museum of the Riverina in 2007, in partnership with the Migration Heritage Centre. An online exhibition was created and can be viewed at the Migration Heritage Centre's website.


text:
Q: QMenuBar is not displayed in form in Linux I can not understand what has caused this strange behavior of QMenuBar:
The menu-bar is not displayed when I declare in the header file (dialog.h):
#include <QMenuBar>
#include <QMenu>
...
private:
    QMenuBar* bar;
    QMenu* file;
...

And in the source file in the constructor:
...
    QVBoxLayout* mainLayout = new QVBoxLayout;
    bar = new QMenuBar(this);
    file = new QMenu("File");
    bar->addMenu(file);
    mainLayout->addWidget(bar);
    this->setLayout(mainLayout);
...

If I create a menu-bar directly in the constructor (not declaring it in the header file), everything works and the menu-bar appears on the form:
...
    QMenuBar * b = new QMenuBar(this);
    QMenu * m = new QMenu("File1");
    b->addMenu(m);
    mainLayout->addWidget(b);
    this->setLayout(mainLayout);
...

And on Windows I haven't got such problem. This behavior only on Linux.
What I am doing wrong? Is there anything that I misunderstand?
I have Qt 4.8.3 and gcc vesion 4.4.7 .
This is a form with correct behavior of Menu-bar:

A: Running your code I obtain:
QWidget::setLayout: Attempting to set QLayout "" on MainWindow "", which already has a layout

In facts, deleting the 2 lines
mainLayout->addWidget(bar);
    this->setLayout(mainLayout);

I've got the menu (in facts in the application and in Unity top bar, too).
However, if it's the main menu in your window, don't create a QMenuBar, but use
menuBar()->addMenu(file);

QMainWindow::menuBar () returns the menu bar for the main window. Moreover, this function creates and returns an empty menu bar if the menu bar does not exist.


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U.S. army soldiers have tested MQ-1C UAV with OSVRT One System Remote Video Terminal.
During an exercise at the National Training Center, or NTC, on Fort Irwin, California, U.S.soldiers have tested the MQ-1C Gray Eagle unmanned aircraft system, or UAS, with the One System Remote Video Terminal, or OSRVT, which allows Soldiers to take control of the Gray Eagle payload.
The testing was conducted by Soldiers of F Company, 227th Aviation based out of Fort Hood, Texas. It involved the UAS level of Interoperability 3, which means Soldiers can take control of the payload, Eschenbach said. None of the testing, however, involved manned-unmanned teaming, which often involves UASs and Apache helicopters.
Since OSRVT is a program of record, it needed to undergo what is known as an initial test and evaluation to show the system is robust and reliable, said Col. Courtney Cote, project manager, UAS. That testing was conducted during the training rotation.
The OSRVT itself is portable and consists of a radio transceiver, laptop, antennas and software, which allow it to communicate to the UAS, and in turn, receive video and other data, said said Col. Courtney Cote, project manager, UAS.
Another important aspect of the test and the training that took place, Cote said, was that Soldiers did the majority of the maintenance required for the OSRVT and for the Gray Eagle itself.
"The Gray Eagle is not just about material solutions, it's also about concepts, doctrine, training and how the Army is organized to integrate this capability," said Col. Thomas von Eschenbach, U.S. Army Training and Doctrine Command capability manager for UAS.. "We've made great strides in the last 10 years [when Gray Eagle was first developed], but we've got a lot more to go to make unmanned systems on par with manned aviation systems and to get the most out of their capability."


text:
package offset_test

import (
	"fmt"
	"math/rand"
	"os"
	"path/filepath"
	"reflect"
	"testing"
	"time"

	"github.com/compose/transporter/offset"
)

func init() {
	rand.Seed(time.Now().Unix())
}

var managerTests = []struct {
	name, path        string
	expectedOffsetMap map[string]uint64
	expectedErr       error // expected error
}{
	{
		"writer0",
		filepath.Join(os.TempDir(), fmt.Sprintf("managertest%d", rand.Int63())),
		make(map[string]uint64),
		nil,
	},
	{
		"no_perms",
		"testdata/no_perms_create",
		make(map[string]uint64),
		&os.PathError{Op: "mkdir", Path: "testdata/no_perms_create/__consumer_offsets-no_perms", Err: os.ErrPermission},
	},
	{
		"resume0",
		"testdata",
		map[string]uint64{"namespace0": 87, "namespace1": 47, "namespace2": 59},
		nil,
	},
}

func TestNewLogManager(t *testing.T) {
	os.Mkdir("testdata/no_perms_create", 0444)
	defer os.RemoveAll("testdata/no_perms_create")
	for _, mt := range managerTests {
		m, err := offset.NewLogManager(mt.path, mt.name)
		if mt.expectedErr != nil && err == nil {
			t.Fatalf("[%s] expected New error but didn't receive one", mt.name)
		}
		if mt.expectedErr != nil && !reflect.DeepEqual(err.Error(), mt.expectedErr.Error()) {
			t.Fatalf("[%s] unexpected New error, expected %+v, got %+v\n", mt.name, mt.expectedErr, err)
		}
		if mt.expectedErr == nil && !reflect.DeepEqual(m.OffsetMap(), mt.expectedOffsetMap) {
			t.Errorf("bad offsetMap, expected %+v, got %+v", mt.expectedOffsetMap, m.OffsetMap())
		}
	}
}

var (
	expectedMap = map[string]uint64{
		"namespace0": uint64(rand.Intn(100)),
		"namespace1": uint64(rand.Intn(100)),
		"namespace2": uint64(rand.Intn(100)),
	}
)

func TestCommitOffset(t *testing.T) {
	path := filepath.Join(os.TempDir(), fmt.Sprintf("managertest%d", rand.Int63()))
	defer cleanup(path, t)
	m, err := offset.NewLogManager(path, "writer0")
	if err != nil {
		t.Fatalf("unexpected New error, %s", err)
	}

	for ns, lastOffset := range expectedMap {
		for i := 0; i <= int(lastOffset); i++ {
			if err := m.CommitOffset(offset.Offset{
				Namespace: ns,
				LogOffset: uint64(i),
				Timestamp: time.Now().Unix(),
			}, false); err != nil {
				t.Fatalf("unexpected CommitOffset error, %s", err)
			}
		}
		if err := m.CommitOffset(offset.Offset{
			Namespace: ns,
			LogOffset: uint64(rand.Intn(int(lastOffset))),
			Timestamp: time.Now().Unix(),
		}, false); err != nil {
			t.Fatalf("unexpected CommitOffset error, %s", err)
		}
	}

	if !reflect.DeepEqual(m.OffsetMap(), expectedMap) {
		t.Errorf("bad OffsetMap, expected, %+v, got %+v", expectedMap, m.OffsetMap())
	}

	var expectedNewestOffset uint64
	for _, v := range expectedMap {
		if expectedNewestOffset < v {
			expectedNewestOffset = v
		}
	}
	if !reflect.DeepEqual(m.NewestOffset(), int64(expectedNewestOffset)) {
		t.Errorf("wrong NewestOffset, expected %d, got %d", expectedNewestOffset, m.NewestOffset())
	}
}

func TestEmptyMap(t *testing.T) {
	path := filepath.Join(os.TempDir(), fmt.Sprintf("managertest%d", rand.Int63()))
	defer cleanup(path, t)
	m, err := offset.NewLogManager(path, "empty0")
	if err != nil {
		t.Fatalf("unexpected New error, %s", err)
	}
	if !reflect.DeepEqual(m.NewestOffset(), int64(-1)) {
		t.Errorf("wrong NewestOffset, expected -1, got %d", m.NewestOffset())
	}
}

func cleanup(p string, t *testing.T) {
	os.RemoveAll(p)
}

redpajama_set_name: RedPajamaGithub


Let's assume you have an application that runs happily on its own and is stateless. No problem. You deploy it onto Kubernetes and it works fine. You kill the pod and it respins, happily continuing where it left off.
Let's add three replicas to the group. That also is fine, since its stateless.
Let's now change that so that the application is now stateful and requires storage of where it is in between runs. So you pre-provision a disk using EBS and hook that up into the pods, and convert the deployment to a stateful set. Great, it still works fine. All three will pick up where they left off.
Now, what if we wanted to share the same state between the replicas?
For example, what if these three replicas were frontend boxes to a website? Having three different disks is a bad idea unless you can guarantee they will all have the same content. Even if you can, there's guaranteed to be a case where one or more of the boxes will be either behind or ahead of the other boxes, and consequently have a case where one or more of the boxes will serve the wrong version of content.
Another alternative is EFS, which is Amazon's NFS storage, where you mount an NFS and only pay for the amount of storage you use. However, even when creating a filesystem in a public subnet, you get a private IP which is useless if you are not DirectConnected into the VPC.
Another option is S3, but how do you use that short of using "s3 sync" repeatedly?
We use s3fs to mount the bucket into a pod (or pods), then we can use those mounts via sshfs as an NFS-like configuration.
The downside to this setup is the fact it will be slower than locally mounted disks.
If you have external DNS enabled, the hostname will be added to Route 53.
Now, if you set up a pod that has three replicas and all three sshfs to the same service, you essentially have an NFS-like storage.


The store stalker. You're walking around the grocery store minding your own business shopping just as happy as can be. You spot someone as you pick up a bunch of bananas. Then you keep on going to the cereal aisle and there they are again. This time you smile just to be polite and then head to the frozen foods section. And…yup you guessed it – that same person is there. Do we literally have the same shopping list? Are you following me? Wait – am I following you? Alright I'm confused now guess I'd better just head to the register.
The long hallway. You know this one very well. You're at one end of a hallway and walking towards the other end. It's a pretty long stretch so along the way you spot someone coming from the opposite end. As you two keep walking towards each other you start to wonder…do I look straight ahead? Should I make eye contact? Do I wave or say hello?
Locked up. When the police were called because you got locked inside of Best Buy after they closed. No? Maybe that one was just me. Oh ok carry on then.
Declined. "I'm sorry, your card was declined do you have another method of payment?" How embarrassing is this?! Especially when you're holding up a line and you KNOW the money is in your account. Pride says try to swipe the card again. Declined again. The cashier physically types in your card information next and…DECLINED. Dear bank I appreciate that you're stopping my purchase because you think it could be fraud but I promise it's really me!
The stall next door. You don't like to poop in public but sometimes you gotta do what you gotta do. You get the toilet lined nice and neat – in the last stall might I add. Suddenly someone walks into the restroom and of allllllll the stalls this person chooses the one right next to you. Uncomfortable much? Fellas I imagine this is a small piece of what you feel when another man "goes" in the urinal right next to you…?
Whoever smelt it dealt it. You already know what that means! When someone walks up right after you cut the cheese, pass gas, break wind or whatever other fancy way you like to say fart (my preferred word even though grandma hates it). Just blame it on the dog or the salad you just had. But don't bring it up first because it's a dead giveaway that you dealt it duh!
Don't get it twisted we're all still super mature dignified adults. Don't worry I won't look at you any differently if you dealt it. Sometimes the best thing to do is laugh at yourself any carry on!
How many of these scenarios have you been in?
Haha, I laughed out loud at these. Every single one is true—I LOVE the long hallway one. Try not to make eye contact, but you're totally walking toward each other.


text:
Can plan to fly Concorde again get off the ground?
Karla Cripps, CNN • Updated 21st September 2015
(CNN) — The aviation world is abuzz with reports that a group of Concorde fans may have raised enough money to get the historic supersonic jet back in the skies once again.
According to the Telegraph newspaper, "Club Concorde" has raised £120 million ($186 million) for its "return to flight" plan and hopes to get one of the decommissioned aircraft back in the skies by 2019.
The group describes itself as "ex-captains, ex-charterers and people passionate about Concorde, working together to keep Concorde in people's hearts and minds."
Club Concorde says it has its sights on two Concordes -- both in France.
"The plan would be to purchase one of the Concorde and operate her as a private, heritage aircraft under neutral livery," says the club on its website.
"All restoration to flight costs would be borne by Club Concorde International who would also finance the construction of maintenance/display hangars at both the French and UK bases."
Is this even possible?
Even if the enthusiasts have the money, putting a decommissioned plane back in the skies takes more than just capital.
"The greatest obstacle is the refusal by the aircraft's manufacturer -- formerly British Aerospace-Aerospatiale, now Airbus -- to lend its support to a restoration," said aviation journalist David Kaminski-Morrow, air transport editor of Flightglobal.com.
"Concorde is an immensely complex supersonic aircraft and the Civil Aviation Authority in the UK will not entrust the safe upkeep of its airframe and systems to a group of enthusiasts, regardless of their passion, without this technical support in place.
"If it isn't there, the aircraft won't be allowed to fly. It's as simple as that."
Airbus told CNN it had not received any requests from the Concorde group about providing support.
"Therefore, we don't want to speculate on either the project or project feasibility," a spokesperson said.
Kaminski-Morrow points to issues faced by an initially successful effort to restore an Avro Vulcan to flight.
Though the aircraft, which shares some of Concorde's DNA but is nowhere near as complicated, was able to return to the skies, it suffered a withdrawal of technical backing and had to be grounded earlier this year, he said.
"British Airways looked into keeping a single Concorde operating, for heritage purposes, but could not justify the expense," he said.
"When you bear in mind that BA didn't have the problems of finding an operational aircraft and gathering engineering, maintenance, piloting and training resources, it puts the enthusiasts' workload in perspective."
Finding a suitable aircraft
Sourcing a suitable Concorde will also be extremely difficult, added Kaminski-Morrow.
"Some have been treated better than others, but even the best-condition aircraft will need extensive maintenance checks and possible modification to bring it into line with civil aircraft mandates introduced since the end of Concorde service.
"Concorde was a unique aircraft type that demanded tailored parts, systems, maintenance techniques, and so on, and so few aircraft were built that there isn't a vast pool of spares and engines to raid."
Even if a suitable aircraft is identified, there's the matter of obtaining it, said Kaminski-Morrow.
"British Airways has steadfastly refused to entertain the possibility because it's not on the side of the enthusiasts," said Kaminski-Morrow. "Concorde is part of its image and it doesn't want to hand over this iconic part of its history to well-meaning tinkerers, especially those whose desire to see the aircraft fly is clouding their judgment over the extent and nature of the associated problems -- of which money is arguably the least difficult to overcome."
Meanwhile, the Musee de l'Air et de l'Espace issued a statement Sunday saying its Concordes are as much a part of French heritage as the Mona Lisa or the Palace of Versailles, aren't for sale at any price and won't fly again.
No shortage of demand, says expert
Procurement and maintenance challenges aside, aviation expert Tom Ballantyne, chief correspondent for the magazine Orient Aviation, says that if the group is actually able to purchase a Concorde, the plane itself will likely be mechanically sound.
"British Airways once stripped one of their Concordes back to bare bones after years of service and found it was in perfect condition with no wear and tear at all," he said.
"Given it gets proper restoration there shouldn't be any issue getting it passed by the regulators. While the plane did have that dreadful crash with Air France that's not why it was taken out of service.
"Essentially it simply became uneconomic when the price of fuel skyrocketed to record levels. Concorde is a real gas guzzler."
In terms of flight restrictions, Ballantyne said the group would face the same issues as airlines did when the plane was in commercial service: noise.
"Because of the sonic boom it will only be able to fly at supersonic speed over the oceans, in other words unpopulated areas," he said.
"There will also be restrictions at many airports because a Concorde is very noisy."
Ballantyne says the Concorde could do well if it's used as part of a charter business.
"Both British Airways and Air France used it for charters when it was in service. There are plenty of rich Americans (and others) who'll pay good money for a round the world trip on a Concorde."
For a look back at the plane's captivating history, click through the above gallery.
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Benedict Andrews' production of La Boheme at Dutch National Opera.
English National Opera has announced a 2015/2016 season which is remarkably confident and shows that artistic director John Berry is intending to stick to his guns and develop the company's distinctive brand. There are new (to London) productions from Dmitri Tcherniakov, Benedict Andrews, Calixto Bieito, Christopher Alden, Phelim McDermott and Daniel Kramer with Tristan and Isolde, Lady Macbeth of Mtsensk, The Force of Destiny, and Akhnaten, four operas which have strong historical resonance for the company, all making a welcome return to the Coliseum stage and Norma coming to ENO for the first time.
It is possible detect hints of ENO simply going shopping for suitable productions in this selection of co-productions, which may be a result of ENO's current economics, and can be seen as a canny way of getting greater leverage. Tcherniakov's Lady Macbeth of Mtsensk for instance is much travelled, having been created for Deutsche Oper am Rhein, this outing is a co-production between ENO and Opera de Lyon. Norma is borrowed from Opera North for whom it was created (with Die Theater Chemnitz). Calizto Bieito's new Force of Destiny is a co-production with the Met in New York, and we wonder what that house will make of Bieito's particularly potent blend of Euro-trash?
All this has to be paid for, of course.
Listening to soprano Gillian Keith's recent disc of early Debussy songs, I was struck by the rather dramatic story behind them. This thought clearly occurred to Gillian Keith as well as she has developed Debussy and his muse: the story of Achille Debussy and Blanche Vasnier in words and music which Gillian Keith and pianist Simon Lepper premiered at Wilton's Music Hall last night (28 April 2015). Directed by Nina Brazier, the show consisted of Debussy's songs with a linking dramatic narrative which was written and performed by Gillian Keith.
She has mined letters and other writings by Debussy and his contemporaries to put the creation of the early songs into context. In order for it not to turn into a lecture, Gillian Keith created a dramatic context by performing the whole evening as Marie-Blanche Vasnier's daughter reminiscing to us. This could have been a rather arch concept, but Gillian Keith's performance was so beautifully direct and full of charm that instead she drew you into the story. And what a story it was!
Max Mausen is a young clarinettist, born in Luxembourg, he trained at the conservatoire there and at the Guildhall School of Music and Drama, and he is now principal clarinettist of the Malta Philharmonic Orchestra. Like many artists, he has moved into producing his own CD as a showcase for his considerable talents. The new disc, New Waves, has Max Mausen partnered by pianist Jason Anderson in Claude Debussy's Premiere rhapsodie, Igor Stravinsky's Three Pieces for Solo Clarinet, Tryptique by Ivan Boumans and Walthamstow Fall by Jason Anderson and Mausen himself.
Max Mausen and Jason Anderson open with Debussy's Premiere rhapsodie for clarinet and piano, which was written in 1910 as an examination piece for the Paris Conservatoire and it is Debussy's only major work for solo clarinet. Max Mausen creates a long lyrical line, to which he gives a lovely endless feel, playing with seductive yet clear tone. He and Jason Anderson capture the atmosphere of mystery about the piece and technically both are superb, in both the lyrical sections and the cascades of notes at the end. Jason Anderson's piano is captured rather over resonantly on the recording.
This year's Ferrier Awards had their final last week at the Wigmore Hall when soprano Gemma Lois Summerfield took the First Prize and the Song Prize, whilst soprano Soraya Mafi took the Second Prize. Gemma Lois Summerfield sang Sibelius, Mendelsson, Duparc, Copland and Nicolai, and was accompanied by Sebastian Wybrew. Soraya Mafi was accompanied by Ian Tindale who took the accompanist's prize.
Gemma Lois Summerfield is currently studying for a Master's in performance at the Royal College of Music under Rosa Mannion and Simon Lepper and will take up a place at the International Opera School there in September.
The Catalan choir Orfeo Catala, with its conductor Josep Vila i Casanas, made its Cadogan Hall debut at a lunchtime concert on Sunday 26 April 2015 as part of the Choral at Cadogan series. The choir brought a programme of music by Catalan composers, all but one of whom had links to the choir. The music included the recently rediscovered El cant de les estrelles (Song of the Stars) by Enrique Granados (with Albert Guinovart, piano, and David Malet, organ), plus music by Casals, Josep Reig, Eduard Toldra, Enric Morera, Xavier Montsalvatge, Josep Vila i Casanas and Bernat Vivancos.
Founded in 1891, Orfeo Catala is one of their country's top amateur choirs, performing major works from the Western classical canon alongside music by Catalan composers. The choir is based at the Palau de la Musica Catalana, the Art Nouveau music hall in Barcelona which was built between 1905 and 1908.
The choir opened with a work which it premiered in 1911, El cant de les estrelles by Enrique Granados (1867-1916). The manuscript for the work was thought lost and only recently surfaced, enabling them to give a second premiered in 2007. At the first performance in 1911, Granados himself played the piano part and work is more like a concerto with the piano accompanied by the choir, which is supported by the organ. The text (O, infinite vastness and stillness of space...) is based on Heine, but is not attributed and commentators have wondered whether it might be by Granados himself.
Trinity Laban Conservatoire of Music and Dance's Royal Greenwich String Quartet Festival seems to be becoming a triennial event. This year's festival is the third (previous ones were in 2009 and 2012), with artistic director David Kenedy (Head of String Chamber Music at Trinity Laban). Taking place this year on 24 and 25 April 2015, it packed Greenwich with string quartets and film music (proving the two not incompatible) with evening performances from the Wihan Quartet and the Carducci Quartet, the Quatuor Prima Visa accompanying a filming of the silent film Nosferatu, the Richard Carne Intercollegiate String Quartet Competition and a concert by the winners of the Wigmore Hall String Quartet Competition, Quatuor Van Kuijk.
I went along on Friday 24 April 2015 for a couple of daytime events; a joint concert by the Piatti Quartet (who were also finalists in the Wigmore Hall String Quartet Competition) and Benyounes Quartet in the Chapel of the Old Royal Naval College, where they performed Gershwin, Bernard Herrmann and Mendelssohn's Octet, and then a joint concert by pupils from the Purcell School and Trinity Laban String Ensemble conducted by Nic Pendlebury (Head of Strings and member of the Smith Quartet).
The chapel at the Old Royal Naval College is a remarkable interior. Amidst all the Wren baroque, here is a very elaborate Athenian Stuart 18th century interior, heavy with plasterwork in pastel colours. Now that Trinity Laban has moved in, it means that it is the only UK conservatoire with its own chapel, and you can hear sung Evensong on Mondays.
William Vann's London English Song Festival is returning on 3 June 2015 with eight concerts which really live up to the festival's name as during these concerts all of RVW's original songs are being performed. Thus giving us a chance to assess the lesser known works alongside the better known ones. The festival starts on Wednesday 3 June 2015 and runs until Thursday 11 June and all concerts are at St George's Church, Hanover Square with a number of early evening concerts too.
The opening concert is Vaughan Williams and Folk-Song with soprano Louise Kemeny, baritone Gareth John and William Vann. Then soprano Raphaela Papadakis and violinist Alessandro Ruisi explore the songs for voice and violin, with mezzo-soprano Katie Bray, baritone Johnny Herford and William Vann in RVW's Rossetti settings (both concerts 4 June). On 5 June baritone Roderick Williams joins mezzo-soprano Clare Presland and Iain Burnside for RVW's RL Stevenson settings Songs of Travel plus early songs and the wonderful Four Last Songs.
Soprano Eve Daniel, mezzo-soprano Marie Seidler, tenor John Porter, baritone Henry Neill and Frederick Brown give us songs from the operas, followed by mezzo-soprano Ciara Hendrick and baritone Jonathan McGovern with Vann in songs by RVW and his contemporaries (both concerts 9 June). Soprano Mary Bevan and tenor Alessandro Fisher are joined by Matthew Scott (clarinet) and James Turnbull (oboe) and Vann, for songs for voice and woodwind (10 June). The festival finale sees Vann, the Benyounes Quartet and tenor Nicky Spence in On Wenlock Edge (11 June).
Further information and booking from the Cadogan Hall website.
As part of Kings Place's ongoing series on minimalism the Labèque sisters and UBUNOIR performed a mixture of Philip Glass, David Chalmin, and works by the New York street artist Moondog.
Louis T. Hardin (1916-1999), better known as Moondog or 'the Viking of 6th Avenue', had been experimenting with the same minimalist techniques as Glass, Reich, Riley and Young – only he was doing it ten years earlier. He was quite a character. Opposed to capitalist exploitation he lived on the streets of Manhattan (despite owning property upstate and an apartment in Manhattan) and wrote all his music in Braille having been blinded as a teenager due to an accident with fireworks.
In 1974 he moved to Germany, leading many of his New York fans to believe that he had died. However while in Germany he continued to write music and many of his compositions were transcribed into sheet music by Ilona Sommer. His compositional style is characterised by his passion for Native American and world music and by his use of the ambient sounds around him such as cars, horns, and the subway, and by treating musical elements as though they were the repeated noises which fascinated him.
Minimalist composers like Philip Glass were strongly influenced by the work of Moondog. In 1989, during a rare visit to America, Glass asked Moondog to conduct the Brooklyn Philharmonic Chamber Orchestra returning him to the public eye.
Now in their third year, the Opera Awards looks set to be a fixture of operatic life, giving the opera world a chance to reward its own. This year the awards ceremony took place at the Savoy Theatre, which meant a rather better acoustic then previous years for the live performance element of the evening, though did necessitate climbing a remarkable number of stairs between the reception in the Savoy Hotel and the Savoy Theatre. The ceremony itself was hosted by the actor Richard E Grant, and we were treated to live performances from Carolyn Sampson, Justina Gringyte, Lawrence Brownlee and Aleksandra Kurzak. In a packed programme, the awards for Male Singer went to Christian Gerhaher, Female Singer to Anja Harteros and Conductor Semyon Bychkov (none alas able to receive in person) and Director to Richard Jones, with a Lifetime Achievement going to Speight Jenkins.
The ceremony was pre-fixed by a reception in the ballroom at the Savoy Hotel, which was a chance for people to meet and congratulate, and catch up with old friends. I was able to catch up with a number of singers whom I normally only see across the footlights, and to chat about roles old and new.
The potential recipients for the awards are selected and judged by a jury of those working in opera, which this year consisted of Per Boye Hansen, Artistic Director of Norwegian National Opera and Ballet, John Allison, Editor of Opera, Nicholas Payne, Director of Opera Europa, Erna Metdepennighen, formerly of De Standaard (Belgium), Hugh Canning, chief music critic of The Sunday Times, Kathryn Harries, Director of the National Opera Studio, Peter Alward, Intendant of the Salzburg Easter Festival, Hugo Shirley, Recordings Editor of Gramophone, Evans Mirageas Artistic Director of Cincinnati opera, and George Loomis, critic for International Herald Tribune.
I have long been looking for a recording of Rossini's Guillaume Tell to set beside the classic one from Lamberto Gardelli with Nicolai Gedda and Montserrat Caballe. I don't have huge requirements but it has to be in decent French, and be reasonably complete. The first requirement rules out a few and the second rules out the recent recording from Antonio Pappano with John Osborn and Malin Bystrom, because it uses the shortest and most unsatisfactory of Rossini's versions.
This new recording on Naxos, was made live at the Rossini in Wildbad Festival. It contains the first recording of the complete opera (quite what complete means I will come to later), in French with Andrew Foster-Williams in the title role, Michael Spyres as Arnold, Judith Howarth as Mathilde, Tara Stafford as Jemmy, Alessandra Volpe as Hedwige, plus Nahuel di Pierro, Raffaele Facciola, Giulio Pelligra, Artavazd Sargsyan, Marco Filippo Romano, with Camerata Bach Choir Poznan and Virtuosi Brunensis conducted by Antonino Fogliani.
When Rossini planned Guillaume Tell it was to prove rather expansive, so after he had written the skeleton score but before fleshing out he cut a few items. A few numbers were cut during rehearsals, and then after the premiere cuts were made and further cut were made after subsequent performances so that when Rossini left for Bologna we have the most compressed four-act version (the one recorded by Pappano). Rossini was a man of the theatre, he made the trimming because he wanted to be in charge of it and in the theatre this version (or one based on it with extra items) is understandable given the length of the piece and the stamina required. But on CD we need something closer to what Rossini intended.
On this new disc we get the work as close as possible to that originally conceived by Rossini, with items cut during rehearsals restored as well. There is also an appendix, with different versions of the items. The opera is spread out sensibly over four discs with one for each act (something which Naxos's pricing makes affordable).
Multi-layered Pagannini Caprices, playing in a volcano and writing modern baroque music, all this and Mozart with the Philharmonia Orchestra. My encounter with violinist Eric Silberger.
The young American violinist Eric Silberger has just made his debut with the Philharmonia Orchestra (18,19 April 2015) performing Mozart's Violin Concerto No. 5 with Vladimir Ashkenazy. Eric Silberger has been busy travelling recently; in Spain in March touring with the Berlin Konzerthausorchester and Dmitri Kitajenko in Brahms Violin Concerto, off to Denmark to play the Mozart again, with the Danish National Symphony Orchestra and Robin Ticciati, and Romania in June for the Beethoven Violin Concerto. I met up with him, en route for rehearsals, to chat about his career so far, and his plans.
In any performing career there are things that the performer does which they enjoy and others less so, but which might seem necessary. In Eric's case, he has managed to catch the imagination with a couple of events out of the way of regular performances. One is his recording playing inside a volcano, and the other is the layering of all 24 of Pagannini's Caprices on top of each other (you can see this on YouTube).
I am curious about the volcano stunt, and Eric says that he did it because it was on his bucket list. He has what he terms 'something of a history with volcanoes', the ash cloud prevented him from getting to Norway for a concert, but another ash cloud did not prevent him getting from New Zealand to Russia. So when the opportunity came to play in the volcano he took it. Eric is also interested in how you might reach more people by changing the context of the performance, so felt that this was a great idea of moving outside the regular concert hall.
Dina Duisen is a young pianist from Kazakhstan who has studied in her native country and America before coming to London and completing her studies at the Royal Academy of Music. On this disc, designed to showcase her talents, she has put together a rather imaginative programme which takes the Mazurka on a journey from Chopin to Thomas Ades, along the way we hear music by Liszt, Saint-Saens, Tchaikovsky, Lyadov, Albeniz, Arensky, Debussy, Delius, Sibelius, scriabin, Gliere, Szymanowski, Prokofief and Ades.
The mazurka was originally a Polish folk-dance in triple-time with the accent on the second or third beat. Whilst Chopin was inspired by November Uprising in Poland to use a traditional Polish form, in fact his mazurkas are his effectively his own, newly invented form. The fascinating thing about this disc is how we can watch different composers reacting differently to the genre. Some create a work which is clearly a study like Chopin's, others take a very rhythmic view clearly owing a lot to the work's folk origins and other simply write salon music. Not every composer's voice is recognisable in his work. some write generic salon pieces which charm or show off, whilst others bring their own distinctive voice directly to bear.
The choir Voxcetera and the Northern Lights Symphony Orchestra, with conductors Adam Johnson and Jane Hopkins, will be performing Vivaldi's perennial Gloria at St Martin in the Fields on 28 April 2015, but it is in the smaller work which are also in the programme that the concert's main interest lies.
The Northern Lights Symphony Orchestra specialises in the music of Northern composers and this concert is no different. There will be two Icelandic works, Jón Leifs' Consolation, Intermezzo Op.66 for orchestra, and Sigurbjörnsson's simple, beautiful setting of the ancient Icelandic text Heyr Himna Smiður for a cappella choir, plus the Magnificat by the Estonian composer Arvo Pärt (who is 80 this year). Also in the programme are Gabriel Jackson's Salve Regina, Francis Poulenc's Exultate Deo and music by Morten Lauridsen.
Tickets and further information from the St Martin in the Fields website.
Three Tales (1998-2002) is one of Steve Reich's video operas created with the video artist Beryl Korot (the two are married). In form Three Tales echoes their first essay in the genre The Cave (1990-93). Three Tales made a reappearance in London at the hands of Ensemble BPM at the Science Museum's IMAX Cinema on 22 April 2015. The venue and the date are significant. 22 April is the centenary of the first use of nerve gas in World War One, a date which marks the commencement of our fascination with weapons of mass destruction and the subject of a conference whose delegates attended the performance of Three Tales.
The piece was conducted by Nick Sutcliffe in a production directed by Matthew Eberhardt, designed by Gillean Denny with lighting by Stuart Webb.
Three Tales takes three episodes in 20th century history chosen as key moments, examining man's relationship to technology. The first, the Hindenberg Disaster, when the German passenger airship crashed in 1937 killing 36. The first disaster to be captured on cinema newsreels. The second, the bombing of Bikini atoll, as part of the USA's atomic tests in 1946-1958. The third, the successful cloning of Dolly the sheep which led to a greater consideration of man's relationship to technology.
Beryl Korot's video uses archive footage and interviews, intercut and re-purposed; though there is a documentary narrative element, this is combined with a thoroughgoing artistic viewpoint. The sound-track combines found sound, original sound-track and Steve Reich's music. Much of the music originated in Steve Reich's technique of shadowing the vocal inflections exactly, mimicking the person's intonations. All this combined with live musicians via a click track. Playing live Ensemble BPM consisted of two pianos, two vibraphones, two drum kits, the Ligeti String Quartet and Synergy Vocals. Laid out in front of us, they looked remarkably factory-like, a machine for creating music. All of course were miked.
Like the Royal Opera, the Royal Ballet's 2015/16 season is a balance between revivals of old warhorses and new work. There is an admirable support for continuing new three act ballets, and my only real grouse is that the revivals of core repertoire from Kenneth Macmillan and Frederick Ashton play it rather safe. So the notable news is the new Frankenstein from Liam Scarlett and the revival of Christopher Wheeldon's The Winter's Tale. The season will also be the first with Koen Kessels as the music director of the Royal Ballet.
A slightly more worrying feel, is the sense that the number of performances in the house is not keeping pace with the number of opera performances, partly this is because Kasper Holten and his team have been very adept at using the Linbury for smaller performances which complement the main house season, and there are many new operas being performed there in 2015/16 (see my preview of the 2015/16 opera season). Though the new Royal Ballet season does something similar, with performances from company's such as Québécois company Cas Public, and Martha Clark, the numbers are far smaller. Not for the first time, you feel that ballet just isn't quite as important as opera. Still, there is much to look forward to.
Time is not kind to the lyric soprano voice and most choose to either move into another fach, or to stop performing. Only a few decide to grow older disgracefully and continue, relying on strength of technique to replace to the natural flexibility of the voice. One such is the Romanian/British soprano, Nelly Miricioiu who, now in her 60's, continues to combine a performing career with extensive teaching. She made a rare recital appearance at St John's Smith Square, on Tuesday 21 April 2015 with David Gowland at the piano in a programme of songs by Ravel, Chausson, Chopin, Brediceanu and Respighi, and arias by Bellini, Rossini, Puccini and Verdi.
It wasn't an easy programme, and though in some ways the songs in the first half seemed to be more of a warming up for the main course of arias, even these required strong technique and sterling lungs. Nelly Miricioiu and David Gowland started with Ravel's Cinque melodies Populaire Grecques. Her voice seemed to take some time to warm up, but the plangent tones and slight edginess in the timbre suited the material very well and she finely matched tone and mood of the words to the colours in her voice.
The British conductor Stuart Stratford has been appointed the new music director of Scottish Opera. He joins the company in June this year and his first performances as music director will be announced as part of the 2015/16 season launch in May. Stuart Stratford recently conducted critically lauded performances of Jancek's Jenufa with Scottish Opera (you can read review by Christopher Lambton over on The Arts Desk). The search ends something of a hiatus for the company after the precipitate departure of Emmanuel Joel-Hornak in April 2013, and will hopefully bring an element of stability to standards in the company at a time when it is much needed.
Stuart Stratford was born in Preston, but his mother was from Clydebank. This will be his first music director post in an opera company, but he has been gaining plaudits for his thoughtful musical approach. We have seen him in the pit at Buxton with Gluck's Orfeo in 2014 (see my review) and the double bill in 2012 (see my review), at Opera Holland Park with La Fanciulla del West in 2014 (see my review), Cav and Pag in 2013 (see my review) and Lucia di Lammermoor at Opera Holland Park in 2012 (see my review) and he has worked regularly with Opera North.
The 2015 London Handel Festival came to an end on Monday with the 14th London Handel Singing Competition at St George's Church, Hanover Square. Five finalists competed, soprano Ingrida Gápová, soprano Sarah Hayashi, baritone Josep-Ramon Olivé, mezzo-soprano Maria Ostroukhova and soprano Alice Privett, before a distinguished jury consisting of (Ian Partridge, Edward Blakeman, Catherine Wyn-Rogers, Catherine Denley and Michael George). The singers were accompanied by members of the London Handel Orchestra, directed by Laurence Cummings.
The competition has a knack of choosing its winners well, past singers have included Andrew Kennedy, Elizabeth Atherton, Ruby Hughes, Sophie Junker and Nathan Vale. And winners have a welcome habit of returning in later festivals too. Rupert Charlesworth (who took first prize in 2013) sang Jove in this year's Semele alongside one of the 2014 winners.
The Handel repertoire does, of course, favour certain voice types though I remember the quality of Argentinian bass Lisandro Abadie who was a finalist in 2008. So it pleasing that this year Spanish baritone Josep-Ramon Olivé took first place, winning the Regina Etz Prize as well as winning the Michael Normington Audience Prize. Josep-Ramon Olivé is currently on the Opera Course at the Guildhall School of Music and Drama, currently studying under Professor Rudolf Piernay. At the final he sang a recitative and aria from Tamerlano, 'Vouchsafe, O Lord' from the Dettingen Te Deum and arias from Giulio Cesare in Egitto and Lotario. Russian mezzo-soprano Maria Ostroukhova took second place, with the Michael Oliver Prize, singing aria from Giulio Cesare in Egitto and Giove in Argo. Josep-Ramon Olivé and Maria Ostroukhova each receive a cash prize and a performance at the 2016 London Handel Festival, and the other two performers will be offered a lunchtime recital.
Covent Garden announced its 2015/2016 season last week and Kasper Holten's Royal Opera season has been eagerly picked over by everyone, itemising the amount of contemporary opera, the number of old war-horses making a reappearance and the paucity of Jonas Kaufmann showings. What is clear is that, whatever you think of Kasper Holten's extensions to the repertoire and introduction of more innovative productions, this is being paid for by a series of securely bankable revivals of core classics; a lesson which has not yet been quite learned over in St Martin's Lane.
So what is there to look forward to? Well, quite a lot actually; Kasper Holten and his team do seem to have a knack of identifying interesting areas for revival. Yes, there is a paucity of Britten, Janacek and such, but we do have Chabrier, Mussorgsky, Luigi Rossi, Enescu, Gluck and Georg Friedrich Haas.
Kasper Holten's own productions have so far, rather divided opinion and whilst his Yevgeny Onegin gets a revival, he is not at the helm of any of the new productions.
New productions include Gluck's Orphee et Eurydice (note the language) with Juan Diego Florez, Lucy Crowe and Amanda Forsythe. Choreographer Hofesh Schechter and John Fulljames jointly direct and John Eliot Gardiner conducts the Monteverdi Choir and English Baroque Soloists. Continuing the Orpheus theme, Luigi Rossi's Orpheus (the opera with which Cardinal Mazarin hoped to introduce Italian opera to France) is being directed at the Sam Wanamaker Playhouse by Keith Warner with Christian Curnyn and the orchestra of the Early Opera Company.
Christoph Loy's unlovely production of Lucia di Lammermoor is being replaced by a new one from Katie Mitchell. Daniel Oren conducts with Diana Damrau and Aleksandra Kurzak sharing the title role, Charles Castronovo and Stephen Costello sharing Edgardo and Ludovic Tezier and Artur Rucinski sharing Enrico. The combination of Katie Mitchell and Lucia is an interesting one and I can't wait to see what effect her detailed style of production will have on the work, though I do wish they had chosen a conductor more in the Charles Mackerras mould to bring the same new ears to the orchestral sound.
Three Tales, the video opera by Steve Reich and Beryl Korot was premiered at the Vienna Festival in 2002 and broadcast by the BBC that year. The piece, which is similar in construction to Steve Reich and Beryl Korot's The Cave (1990-1993), is written for two sopranos, three tenors, string quartet, percussion, keyboards, and pre-recorded audio, with visuals by Beryl Korot.
There is a chance to experience it in an IMAX Cinema as this week, on 22 and 24 April 2015, the Ensemble BPM will be performing the work at the Science Museum (a very appropriate location given the work's examination of technology in human history). The production will be presented in association with the Institute of Historical Research's conference: Being Modern: Science and Culture in the early Twentieth Century. The first performance will mark the centenary of the first use of chemical weapons in warfare 22 April 1915.
Ensemble BPM is only the second group to perform the work since its 2002 premiere. They will be joined in performance by Synergy Vocals, led by former Swingle Singer Micaela Haslam. The production is conducted by Ensemble BPM's artistic director Nick Sutcliffe and directed by Matthew Eberhardt. Further information and tickets from the Science Museum website.
The English Touring Opera's (ETO) current season includes the beautifully enacted 'La Boheme'. Performed at Hackney Empire, directed by James Conway, and conducted by Michael Rosewell, (13 March 2015) this Puccini classic kept a traditional feel with its classic costuming, yet was enhanced by its clever and quite modern multifunctional staging designed by Florence de Maré. The crowd scenes and the children added to atmosphere of 19th century Europe, and the main roles were sensitively performed – necessitating discreet use of hankies.
Giacomo Puccini (1858-1924), born in Tuscany to a musical family, was expected to continue the long tradition of becoming the maestro di cappella of the Cattedrale di San Martino in Lucca. However after studying at the conservatory in Milan he was persuaded to write his first opera 'Le Villi' in 1883. By 1893, with 'Manon Lescaut', his skill at opera was renowned worldwide. 'Manon' had its share of troubles including several false starts with different librettists. The final pair, Luigi Illica and Giuseppe Giacosa, became long term collaborators - working with Puccini on his next opera project 'La Boheme'.
The concert at Milton Court Concert Hall on Friday 17 April 2015 was a showcase for the chamber music of Howard Blake (born 1938). The group of musicians consisted of the young German cellist Benedict Kloeckner, who has developed something of a name for himself playing Howard Blake's music, with violinist Madeleine Mitchell, viola player Rivka Golani, and pianist Sasha Grynyuk. The pianist was supposed to be Howard Blake himself, but in the event a broken arm prevent his playing, and we were lucky enough to get Sasha Grynyuk, who learned the taxing programme specially. The musicians came together in various combinations, with the Prelude for solo viola, Diversions and The Enchantment of Venus both for cello and piano, Piano Trio No. 3 Elegia Stravagante and Piano Quartet.
The concert opened with Howard Blake's Piano Trio No. 3, Elegia Stravagante which was written in 2014 and premiered by Howard Blake and Benedict Kloeckner, with Linus Roth, in Koblenz. In seven movements, the work is based on a melody which is first stated in the opening Andante (rapsodico) movement. It is a wistful, elegant and rather thoughtful melody, by turns dramatic and elegiac, which Howard Blake subjected to a variety of treatments including elements of jazz/blues, and a big solo moment for the cello. Despite the romantic textures of the work there was a clarity and elegance to the performance.
Benedict Kloeckner won the 2010 European Broadcasting Union competition playing Howard Blake's Diversions for cello and piano, and he and the composer have played it on subsequent occasions and recorded it. The work was originally written in 1983 and Howard Blake developed the cello part in conjunction with the French cellist Maurice Gendron, so it is a bravura and challenging work. It is an eight-movement suite which starts with a Prelude with a long-breathed and elegant melody which was given an intense, sung performance from Benedict Kloeckner, who played the piece from memory. A jazz-like, skittering Scherzo followed, then a darkly dramatic March with a big tragic cello tune. The Waltz had jazz-like hints too, and despite the technical challenges it was clear that Benedict Kloeckner was enjoying himself. The slow moving, elegiac Aria was followed by a rhythmically catchy Serenade which circled round endlessly, followed by a Cadenza which was full of brilliant details, and thoughtful moments. The Finale was very up tempo with fast and furious passage-work. Benedict Kloeckner played with concentration, depth and intensity, and a remarkable maturity, giving a performance which was deeply felt. He was finely supported by pianist Sasha Grynuk, in a piano part which perhaps less bravura than the cello part, but no less challenging.
After the interval the distinguished viola player, Rivka Golani, played Prelude for Solo Viola, which was written by Howard Blake as a prelude to his oratorio Benedictus in 1980 and it was prepared as a solo concert piece in 1989 by the viola player Frederick Riddle. It was a rhapsodic, rather darkly lyrical work using lots of strenuous string crossing and double stopping. Not an easy piece by any means, and it got remarkably violent at times.
The Enchantment of Venus was originally written in 2006 for basset clarinet and piano, for Colin Lawson who gave the work's premiere. The version for cello and piano was premiered in 2014 by Benedict Klockner and Howard Blake in 2014. The work has a mythological narrative, which Howard Blake bases around a lyrical, melancholic melody which he subjects to some strenuous dramatic development and turmoil, before finishing with beautifully simple, elegant melody. As before Benedict Kloeckner played from memory and gave a deeply felt performance, singing the final melody with great beauty.
The last work in the programme was the earliest, the Piano Quartet (for piano, violin, viola, cello) which was written in 1974 and premiered in 1975. The opening Allegro con anima was a long, complex and highly structured movement which felt very impulsively romantic and based round an animated, long-breathed melody. The whole movement had the feeling of being inspired by Dvorak's piano-based chamber music, and this carried over into the second movement, Presto (Scherzo). This was fast and furious, with fragments of melody being passed around. There were a pair of trios, the first lyrical relaxed, the second quieter and darker and more off-beat. The third, slow movement, Lento espressivo had long intertwining lines for the strings over repeated piano chords, with a magical end. The finale, Allegro robusto started out robust and carefree, almost a country gardens feel, but then the composer moved us rapidly through a variety of moods by turns darkly dramatic and slow, before a conclusion which seemed to evoke the material from the opening.
The four performers, combing together in various combinations throughout the evening, all played with a strong commitment and feel for Howard Blake's music, often with some quite challenging writing. And throughout, there was a lovely feeling of chamber interaction and collegiality. In style the music was varied, but always complex and full of interest; Howard Blake's music might be tonal, but it is never simple. And as a treat at the end, the four performers came together to play and arrangement of the composer's best known tune.
Howard Blake and Benedict Kloekner's new disc is now available from Genuin and the disc was featured on Deutschlandfunk radio in Berlin last night.


text:
"""
Script that imports locally stored data as a new dataset for the user
Usage: import id outputfile
"""
import sys, os
from shutil import copyfile
#tempfile, shutil
BUFFER = 1048576

uids = sys.argv[1].split(",")
out_file1 = sys.argv[2]

#remove NONE from uids
have_none = True
while have_none:
    try:
        uids.remove('None')
    except:
        have_none = False

#create dictionary keyed by uid of tuples of (displayName,filePath,build) for all files
available_files = {}
try:
    for line in open( "/depot/data2/galaxy/microbes/microbial_data.loc" ):
        if not line or line[0:1] == "#" : continue
        fields = line.split('\t')
        try:
            info_type = fields.pop(0)

            if info_type.upper()=="DATA":
                uid = fields.pop(0)
                org_num = fields.pop(0)
                chr_acc = fields.pop(0)
                feature = fields.pop(0)
                filetype = fields.pop(0)
                path = fields.pop(0).replace("\r","").replace("\n","")

                file_type = filetype
                build = org_num
                description = uid
            else:
                continue
        except:
            continue

        available_files[uid]=(description,path,build,file_type,chr_acc)
except:
    print >>sys.stderr, "It appears that the configuration file for this tool is missing."

#create list of tuples of (displayName,FileName,build) for desired files
desired_files = []
for uid in uids:
    try:
        desired_files.append(available_files[uid])
    except:
        continue

#copy first file to contents of given output file
file1_copied = False
while not file1_copied:
    try:
        first_file = desired_files.pop(0)
    except:
        print >>sys.stderr, "There were no valid files requested."
        sys.exit()
    file1_desc, file1_path, file1_build, file1_type,file1_chr_acc = first_file
    try:
        copyfile(file1_path,out_file1)
        print "#File1\t"+file1_desc+"\t"+file1_chr_acc+"\t"+file1_build+"\t"+file1_type
        file1_copied = True
    except:
        print >>sys.stderr, "The file specified is missing."
        continue
        #print >>sys.stderr, "The file specified is missing."

#Tell post-process filter where remaining files reside
for extra_output in desired_files:
    file_desc, file_path, file_build, file_type,file_chr_acc = extra_output
    print "#NewFile\t"+file_desc+"\t"+file_chr_acc+"\t"+file_build+"\t"+file_path+"\t"+file_type


text:
VP pardons 606 prisoners ahead of National Day
His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai, on Monday granted amnesty to 606 prisoners on the occasion of the 46th UAE National Day.
"In his capacity as Ruler of Dubai, @HHShkMohd orders the release of 606 inmates of Dubai's punitive and corrective institutions on the occasion of the UAE's 46th National Day," the Dubai Media Office said.


To thank fans for buying tickets for last weekend's fixture against Leeds United in advance, all Season Ticket holders, Flexi-Ticket holders and regular match ticket purchasers were included into a draw to experience the morning/afternoon from 'behind the scenes'.
Nothing was off limits for Season Ticket holder, Simon, as he, his son, brother in law and nephew were granted 'total access' to enjoy the ultimate Barnsley FC day. All involved managed to meet the first team squad, Paul Heckingbottom and even survived a quick interview infront of the Sky Sports cameras.
Simon was over the moon to have received a phone call from the Club on Saturday morning.
The Club will be running more initatives like this throughout the remainder of the 2017/18 season. Announcements will be made across the Club website and social media channels.
Share your pictures and memories for a chance to win!


Multiplication Facts 0-7 Answer Key Item 4009 www.tlsbooks.com Multiplication Facts 0 - 7 Five minute timed drill with 100 problems. 6 x 2 12 7... Math Multiplication. Download32 is source for math multiplication shareware, freeware download - Math Multiplication and Division Flash Cards For 3rd Grade , Kids Math-Multiplication Worksheets(Grade 4) , Multiplication - Teachers App , Math Smack , Kids Math-Patterns Worksheets(Grade 1), etc.


Well, this video is really old now so the archival look is really appropriate. Nobody has ever seen it except for a few select Animax employees from the early days. Created for Sundance Channel it never saw the light of day and it might not live out there in the universe for too long so take a gander at it while you can. It's a Flash animated peek into the not so distant future.


Redeemer's Group offers expert concrete repair services, including concrete raising, concrete sealing & more throughout the Tri-State area of Tennessee, Mississippi and Arkansas.
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Conditions where outdoor concrete has already begun to sink is not uncommon in Arkansas and is often the result of shifting or a weak soil base or erosion. It causes driveways, sidewalks, walkways, concrete steps or patio areas to become tripping hazards and can effect property value.Arkansas, also known as The Natural State, hosts a variety of soil types, ranging in density and load-bearing capacities. From the Ozark mountains to the dense Timberlands forest to the lowlands along the Mississippi river, there is a variety of terrain.
Today, select contractors in Arkansas are trained and to provide a better alternative to mud jacking. PolyLevel is a less intrusive, lighter weight solution that doesn't add more weight to the problem.
If you are seeing signs of sinking concrete on your property, have a contractor to provide the PolyLevel alternative to mud jacking take a look at it. The following Arkansas contractors are trained and to provide a free estimate to solve your sinking concrete problem.
"I wish I could have had the floors leveled and supported sixty years ago..."
I wish I could have had the floors leveled and supported sixty years ago before the sinking occurred.
I have a section of sidewalk as well as a section of pool decking that I'm interested in having leveled.
This is for my mom's house in Hampton 1. Her enclosed sunroom slab seems To have "seesawed ", one corner has lifted up maybe 1 inch while the opposite corner has settled or at least it seems to me. Would this work to lift the sunken corner while the opposite goes down?
Comment: I have a section of sidewalk as well as a section of pool decking that I'm interested in having leveled.
Comment: This is for my mom's house in Hampton 1. Her enclosed sunroom slab seems To have "seesawed ", one corner has lifted up maybe 1 inch while the opposite corner has settled or at least it seems to me. Would this work to lift the sunken corner while the opposite goes down?


This source features two extracts from the 1948 film 'Oliver Twist'. Director David Lean was a firm believer in Labour's Welfare State plans and used this film as a way of showing his support.
This clip from the 1948 film Oliver Twist makes an important comment about the kind of Britain Labour was trying to create after the Second World War. The film's director, David Lean, was a passionate supporter of Labour's plans to create the Welfare State. He used this film as a way of supporting Labour's plans, associating the worst of the Victorian era with the years before Labour came to power.
1. How is Oliver treated in this extract?
2. What is this treatment trying to say about Britain in 1948?
3. Look carefully at how the workhouse boys are filmed. How has Lean used the lighting to associate a past dark period with an even darker period from the war?
4. Which groups in society do you think this film would have had the most impact on?
5. How could a Labour Party activist have used this film to promote support for Labour's plans for a welfare state?
Long tables full of children eating very fast. They finish and everyone becomes silent. They all watch as Oliver boy finishes the last of his food then he looks at his empty bowl and the others watch him. The boy next to him nudges him with his elbow; he looks at a man standing nearby holding a cane. He gets up with his empty bowl and walks slowly to the end of the long hall towards the man holding the wipe, while the others watch in silence. He stands in front of him holding his empty bowl up, the other children watch on, they look scared.
Oliver: "Please Sir, I want some more."
The man shouts in disbelief: "What?!"
Audio: Loud dramatic music plays in background.
Another younger man, who appears to be a guard, looks shocked.


text:
Norman Sisisky (June 9, 1927 – March 29, 2001) was a Democratic member of the United States House of Representatives from Virginia from 1983 until his death in 2001, representing the 4th District. He was a leader of the Blue Dog Coalition and one of the most conservative Democrats in Congress at the time.

Biography
Sisisky was a Jew born in Baltimore, Maryland but grew up in Richmond, Virginia. Upon graduating from high school, he served a two-year tour of duty in the U.S. Navy. In 1946, he entered Virginia Commonwealth University, earning a business degree in 1949. Sisisky became a successful businessman, founding an independent bottling company in Petersburg that later became a part of Pepsi's Virginia operations. In 1973, Sisisky was elected to the Virginia House of Delegates, serving for five terms.

In 1982, Sisisky was elected to Congress, defeating five-term incumbent Republican Robert Daniel. A fiscal disciplinarian, he aligned himself with the Democratic Party's Blue Dog coalition. He was a leading member of the Intelligence Committee and worked closely with the CIA.

Sisisky died of lung cancer while in office. A special election was held June 19, 2001 to fill his seat, and Republican State Senator Randy Forbes defeated Democratic State Senator Louise Lucas for the remainder of Sisisky's term.

Electoral history

1982; Sisisky was elected to the U.S. House of Representatives with 54.38% of the vote, defeating Republican Robert Daniel.
1984; Sisisky was re-elected unopposed.
1986; Sisisky was re-elected unopposed.
1988; Sisisky was re-elected unopposed.
1990; Sisisky was re-elected with 78.55% of the vote, defeating Independents Don L. Reynolds and Loretta F. Chandler.
1992; Sisisky was re-elected with 68.37% of the vote, defeating Republican Anthony J. Zevgolis.
1994; Sisisky was re-elected with 61.61% of the vote, defeating Republican A. George Sweet, III.
1996; Sisisky was re-elected with 78.61% of the vote, defeating Republican Zevgolis.
1998; Sisisky was re-elected unopposed.
2000; Sisisky was re-elected unopposed.

See also
 List of Jewish members of the United States Congress
 List of United States Congress members who died in office

References

External links

http://www.mackler.net/tree/sisisky/
https://www.jewishvirtuallibrary.org/jsource/biography/sisisky.html

1927 births
2001 deaths
20th-century American Jews
20th-century American politicians
21st-century American Jews
21st-century American politicians
Deaths from lung cancer in Virginia
Democratic Party members of the United States House of Representatives from Virginia
Jewish American military personnel
Jewish members of the United States House of Representatives
Democratic Party members of the Virginia House of Delegates
Politicians from Baltimore
Politicians from Richmond, Virginia
United States Navy sailors
Virginia Commonwealth University alumni

redpajama_set_name: RedPajamaWikipedia


text:
New Member Mentoring
Harvest Tournament Photos
Harvest Tournament 2022 Results
Playtime Scheduler Help
How to Play Pickleball
Pickleball Rules Simplified
Pickleball Rules - Complete
Skill Rating Levels
Lessons and Clinics
Newman Clinics
Newman Clinic Photos
3.5 + Afternoon Round Robin Ladder League
ow, that is a mouthful. This ladder league will be scheduled on Wednesday afternoons, from 1:00-3:00pm. It will run for 8 weeks, starting on Wednesday, October 12th. All matches will be at the Blackburn Pavilion in Mount Vernon. This league is open to female and male SVP club members with self-ratings of 3.5 or higher. Members may only play in one Round Robin Ladder League per season. The maximum number of players is 16 while the minimum is 8 and we have to end up with a number divisible by 4. If we receive more than 16 sign-ups, random numbers will be assigned to each player with the lowest 16 numbers being selected. Courts are not dedicated to the league as we have no priority in the afternoon, but I don't see that as a problem as the courts are usually pretty vacant in the afternoon. Sign-up will be via email to RecPlay.svpball@gmail.com and remember to include the name of the league you are signing up for, your name, and your self-rating. Sign-up emails must be received by 7pm on October 9th.
The format is individual round robin ladder. The initial ladder order will be randomized. If we have 16 people sign-up, then the first week ladder positions 1 thru 8 (Group A) will play a round robin consisting of one game to 15 (win by 1) each round. Similarly, ladder positions 9 thru 16 (Group B) will also play a round robin. Scores will be recorded on the paper forms that will be in the SVP storage box on the east side of the courts and then placed back in the box when play is completed. Weekly score will be based on number of games won with the tie-breaker being number of points won in losing games. Each group (A & B) will be ranked by the methodology previously listed, and the bottom two from Group A moving down into B, the top two from Group B moving up into Group A, and a playoff will occur between Group A positions 5 & 6 against Group B positions 11 & 12. This playoff will be one game to 15 win by 2, with the winners moving into Group A in the following week and the losers being in Group B.
Since this is a scheduled league, it is very important that you are able to play each scheduled day for the duration of the league. If you don't show up and the others in your group can't play, you owe them pizza and beer for life. We will allow subs with self-ratings at 3.5 and above, but subs will take a 2 game deduction on their overall game score and can never move a player up into a higher group. Subs can move a player down, however.
If you have questions, please email to RecPlay.svpball@gmail.com. Please remember 2 things – this league should be about having fun and secondly, this is the first attempt at a league by our new Recreational Play committee, so please bear with us as we learn how to put on a recreational league for our members.
©2022 by Skagit Valley Pickleball. Proudly created with Wix.com


text:
Tuesday October 8, 2019
Editorial Cartoon by Graeme MacKay, The Hamilton Spectator – Tuesday October 8, 2019
Ford government dodges CUPE strike but more education labour woes ahead
After narrowly averting a massive strike by 55,000 educational support workers, Premier Doug Ford's government will now turn full attention to teacher negotiations.
Talks between the province and several unions are ongoing.
The Elementary Teachers' Federation of Ontario (ETFO), Ontario Secondary School Teachers Federation (OSSTF), l'Association des enseignantes et des enseignants franco-ontariens (AEFO) and the Ontario English Catholic Teachers' Association (OECTA) represent over 160,000 teachers currently without a deal.
ETFO is currently in the process of gauging whether or not an appetite exists for job action. The union is taking strike votes with members across the province. If a majority approves, 78,000 teachers, occasional teachers and other education professionals could be in a legal potential strike position as early as November.
Laura Walton, who headed up CUPE talks with the province, said after their deal was brokered Sunday that the union stands in solidarity with ETFO and other labour groups.
Walton also indicated CUPE made few concessions in bargaining.
The deal still needs to be ratified by members, a process which could take a month. However Walton's message to Education Minister Stephen Lecce was clear Sunday.
"Thanks for opening the piggybank and allowing us to get the services that we needed for our students, they'll thank you too."
Lecce responded to Walton's statement Monday.
"I think what we have done is we've opened up classrooms in Ontario and I think that's the focus and I think we've done so within our mandate to be fair," he said on Global News Morning. "I think that all parties in the province of Ontario could leave this negotiation with a sense of incremental achievement on their priorities."
Sources with knowledge of the negations told Global News the government essentially "caved to political pressure."
The deal happened amid a federal election where Conservative Leader Andrew Scheer has been seen as distancing himself from Ford due to the premier's low approval ratings. (Global News)
Posted in: Canada, Ontario Tagged: #elxn2019, 2019-35, Andrew Scheer, Canada, CUPE, Doug Ford, labour, strike


text:
Q: Venn diagrams with heatmap I generated 40 different Venn diagrams that each represent a specific 'trial' of an experiment (they are actually different samples in a genetic study).
The Venn diagrams represent the overlap between 5 different sets (5-way Venns) and they are generated directly as SVGs from Python by replacing the labels in the example Venn from Wikipedia.
My question is: how would you proceed to create a heatmap of the density of every set intersection. In other words, I would like to add a 2D color heatmap over the Venn diagram which would represent the density of the different regions of the diagram over all the samples.
Alternatively, a 3D density map could be used, which would give me a new dimension for projecting the density. I thought of using the Gaussian probability density function for the z.


With a background of more than two decades in the business, Benchmark Heating & Air Conditioning, specializes in products ranging from basic home units, gas logs and fireplaces to standby generators to the latest in computerized energy management systems.
Benchmark boasts a list of residential, commercial, and industrial customers and includes a number of national store chains. The quality of service Benchmark has provided these customers over the years has earned the company local, regional, and national recognition in the industry, according to Tony..
"If you break down," Tony declares, "the only thing that's important is how quickly I can get you up and running again. Our goal, in every aspect of the business, is to be one step better than the competition. So when I tell folks that we specialize in quality service, I'm not just shooting my mouth off. I'm talking about a record we take great pride in."
"We're not perfect," Tony continues, "But I believe that being throrough, touching all the bases, is the best way to build the kind of reputation it takes to be truly successful. That's just good business."
We value and appreciate the trust placed in us by our customers! Whether your project is elementary or multifaceted, we are committed to getting the job done. We have a customer-centered staff that will meet the needs of our customers, who place their trust and confidence in our company. The trust placed in our staff does not stop at the completion of installation of an indoor comfort system, it continues far beyond it.
Benchmark Mechanical Services competitive rates and the desire to do the job right the first time sets them apart from other heating and A/C contractors.
2011 Benchmark Mechanical Service, LLC. All rights reserved.


Both sides cancel each other out, although Cenk Sahin came close for winning the game for the visitors late on.
The first Hamburg derby since 2011 failed to live up to the hype as Hamburger SV and FC St. Pauli played out a goalless draw in their first-ever 2. Bundesliga meeting.
Both goalkeepers were rarely tested, as HSV drew another blank following their draw at SpVgg Greuther Fürth on Thursday night.
After all the hype surrounding this fixture it was clear that the players were ready to do battle on a sunny late September afternoon in Hamburg for the first derby in seven-and-a-half years. Plenty of challenges were flying in, with a St. Pauli free-kick leading to the first chance of the game. Marvin Knoll put it into the box, with Johannes Flum heading at Julian Pollersbeck.
As has been their way this season, Hamburg looked to control the pace of the game with steady possession, but their first really chance on goal only came halfway through the first 45 minutes, as David Bates flicked on a corner. Around that time, St. Pauli began to push themselves on as well, but it remained a tetchy affair.
Fiete Arp, leading the line for the hosts, had been quiet but had a couple of chances before half-time, headed wide a Gotoku Sakai cross before forcing his way into the box, eventually losing the ball to Philipp Ziereis. St. Pauli had two decent opportunities too, with Mats Møller Dæhli blocked in the before Dimitrios Diamantakos half-volleyed wide.
The second half started slowly as well, with Orel Mangala going over after testing Robin Himmelmann with a free-kick. Around the hour mark the game began to fire up though. A poor header from Diamantakos was saved by Pollersbeck, before Hamburg broke away. Mangala found Hwang Hee-chan, whose first effort in the box was blocked, but the ball ricocheted back to him, and he went wide with the second attempt.
A number of substitutions broke up the game as it continued to be a battle. Arp was wrestled off the ball as he tried to run in the box, before being taken off, whilst St. Pauli had a couple of half chances as a Cenk Sahin effort was saved and Christopher Buchtmann went over.
There were big appeals for penalty from the hosts when Mangala fell over a grounded Ziereis, but the referee showed little interest. There was then light relief as Douglas Santos wasted a short corner, taking it before Tatsuya Ito was ready and hitting the corner flag as well.
St. Pauli would have been the happier of the two sides in the end, but they had chances to win it late on. A Knoll shot outside the box but went, but on the counter Sahin nearly caught out Pollersbeck, wrestling the ball off Santos before attempting to lob Pollersbeck from just outside the centre circle, but the goalkeeper just tipped the effort over the bar.
There had already some rather ugly scenes around Hamburg in the build-up to the game, and it was clear that the animosity between the clubs had rubbed off on the players, not least in a rather unwise Instagram post by Arp before the game.
On the pitch in the first half, Lewis Holtby was clearly pumped up, clashing early with Ziereis before celebrating winning a corner like he had scored. St. Pauli's players weren't afraid to get stuck in either, with two yellow cards in the first half and Knoll not letting many past him without going through them.
Titz shuffled his pack up front again here, with Arp and Hwang coming in for Lasogga and Khaled Narey, yet they failed to score for a third game in a row, despite scoring ten in their previous four, and like against Fürth there weren't many chances for them to either.
Whilst at the back he has settled his mind on his defensive line, Titz seems unsure of whether the likes of Aaron Hunt, Ito, Hwang and Narey should play out wide, or whether he can trust either of his strikers in Pierre-Michel Lasogga and Arp, who despite his best efforts couldn't make much happen on his first start of the season.
With 1. FC Köln starting to pull away at the top, Hamburg will need to find more consistency going forward, in selection and results, if they are likewise to assert themselves in the promotion race.
It was a day for the defenders, with Bates once again showing why he should be an automatic first choice for Hamburg as they kept another clean sheet with his presence on the field – he even had their better chances in front of goal in the first half. Ziereis and Christopher Avevor were rocks at the back for St. Pauli, the former making some vital interceptions. Dæhli and Sahin were lively on their wings, with the Turk almost winning it in stunning style.