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James A. Garfield, 20th President of the USA is assassinated four months after taking office; Vice-President Chester A. Arthur becomes the 21st President • Treaty of Pretoria; Transvaal's independence is recognised by Britain • Tunis becomes a French protectorate • Tsar Aleksandr II of Russia is assassinated; his son, Aleksandr III, succeeds him • Louis Pasteur (Fr) develops an anthrax vaccine • Construction of Canadian Pacific Railway is started • Louis Pasteur (Fr) develops anthrax vaccine • Claude Monet (Fr) paints Sunshine and Snow • Henrik Ibsen (Nor): play Ghosts • Anatole France (Fr): The Crime of Sylvestre Bonnard • Henry James (US): Portrait of a lady
Germany, Austria and Italy form Triple Alliance (ends 1914) • The USA issues the Chinese Exclusion Act, banning immigration of Chinese into the USA for an intended period of ten years; the ban lasts until 1943 • British forces occupy Cairo and Sudan after defeating rebel forces at Tel-el-Kebir • Italy makes Eritrea a colony • Jews suffer repressive regulations in Russia • Robert Koch (Ger) discovers the bacillus of tuberculosis • Edouard Manet (Fr) paints The Bar at the Folies-Bergeres • Edgar Degas (Fr) paints The Laudresses • Henrik Ibsen (Nor): play An Enemy of the People • Thomas Edison switches on the first commercial electrical power station, serving customers in Lower Manhattan
Germany founds settlements in south-west Africa • Paul Kruger becomes President of the Boer South African Republic • France begins to colonise west Africa and gains control of Tunisia in north Africa • In Egypt, Muhammad Ahmad al Mahdi organises the defeat of Egyptian troops at El Obeid and obtains control of most of Sudan • John Carbutt (US) introduces a coated celluloid film for photography • Edwin Klebs (Ger) identifies the diphtheria germ • Pierre Renoir (Fr) paints Children at the Beach at Guernsey • Ilya Repin (Russ) paints Easter Procession • Robert Louis Stevenson (Scot): Treasure Island • Friedrich Nietzsche (Ger): philosophical novel Thus Spake Zarathustra
European colonisation in Africa continues: the Berlin Conference establishes an independent State of the Congo • Germany establishes protectorates over Togoland and Cameroons • Britain sends General Gordon to direct Egyptian withdrawal from Sudan • Charles Parsons (Eng/lre) devises a practical steam-turbine engine • Boston and New York City are connected by telephone • Third Reform Act extends voting rights in UK; women and many working-class men still not allowed to vote • France presents the Statue of Liberty to the USA • In Chicago, the first skyscraper is built • Georges Seurat (Fr) paints Bathers at Asnieres • Mark Twain (US): The Adventures of Huckleberry Finn
General Gordon Killed at Khartoum; Muhammad Ahmad dies five months later but Dervishes maintain control of Sudan under khalifa Abdullah • Belgium establishes Congo colony • Germany makes a protectorate of north New Guinea, and annexes Tanganyika and Zanzibar • British establish protectorates in Nigeria, north Bechuanaland and south New Guinea • British at war with Burmese • Gottlieb Daimler (Ger) develops an internal-combustion gasoline engine; with Wilhelm Maybach he builds the first motorcycle: Daimler Reitwagen.* Karl Benz (Ger) produces a three-wheel automobile • Louis Pasteur (Fr) successfully vaccinates a child against rabies • Emile Zola (Fr): Germinal
Friedrich Wilhelm Nietzsche (15 October 1844 – 25 August 1900) was a German philosopher, cultural critic, composer, poet, philologist, and a Latin and Greek scholar whose work has exerted a profound influence on Western philosophy and modern intellectual history.
Alexander Borodin composes his String Quartet No. 2 in D major, famous above all for its infectiously melodic third movement 'Notturno'.
Alexander Borodin - Quartet No. 2 in D major
I. Allegro moderato
II. Scherzo
III. Notturno
IV. Finale
CLEVELAND QUARTET: Donald Weilerstein, Violin; Peter Salaff, Violin; James Dunham, Viola; Paul Katz, Violoncello.
Emmanuel Chabrier completes his 10 pieces pittoresques for piano.
Emmanuel Chabrier - Pièces Pittoresques
Paysage 00:00
Mélancolie 05:46
Tourbillon 07:59
Sous-Bois 09:23
Mauresque 14:00
Idylle 17:12
Danse villageoise 22:24
Improvisation 26:35
Menuet pompeux 31:07
Scherzo-Valse 37:51
Rena Kyriakou, piano
Jacques Offenbach's The Tales of Hoffmann is premiered four months after the composer's death, in Paris. Incorporating the figure of E. T. A. Hoffmann as a character within the writers own stories, the 'serious' opera fantastique is an immediate sensation, topping 100 performances at the Opera-Comique by the end of the year.
Offenbach - The Tales of Hoffmann
Composer Modest Mussorgsky, having battled with alcoholism for many years, dies in a St Petersburg hospital, aged 42.
Arthur Sullivan - Patience
Patience; or, Bunthorne's Bride, is a comic opera in two acts with music by Arthur Sullivan and libretto by W. S. Gilbert.
Gilbert & Sullivan -
"Patience (or, Bunthorne's Bride)"
Franz Liszt's orchestrated Second Mephisto Waltz premieres in Budapest. New works this year include his loosely tonal, impressionistic Triibe Wolken/Nuages gris (Gloomy Clouds) for piano.
The Mephisto Waltzes are four waltzes composed by Franz Liszt in 1859–62, 1880–81, 1883 and 1885. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas 3 and 4 were written for piano only.
LISZT - MEPHISTO Waltzes 2, 3, 4, Polka, Bagatelle without tonality
Tibor Szasz, USA, 1984
Composer George Enescu is born.
Richter conducts a hugely successful first performance of Anton Bruckner's Fourth Symphony (second version, 1880) in Vienna. It is the composer's first triumph. Later this year Bruckner completes his Sixth Symphony and immediately begins his Seventh.
Anton Bruckner - Symphony No 6 in A Major
(Nowak edition)
1. Maestoso
2. Adagio: Sehr feierlich
3. Scherzo: Nicht schnell
4. Finale: Bewegt, doch nicht zu schnell
Leonard Bernstein, conductor. 1976
Max Bruch draws on sacred Jewish chant in Kol Nidrei, Adagio on Hebrew Melodies for cello and orchestra, premiered in Leipzig. Bruch is currently the director of the Liverpool Philharmonic.
Max Bruch - Kol Nidrei, op. 47, Adagio on Hebrew Melodies
TRIO APOLLON:
Matthias Glander - Klarinette
Felix Schwartz - Viola
Wolfgang Kühnl - Piano
Bearbeitung - Uwe Hilprecht
Tchaikovsky's opera The Maid of Orleans is first performed in St Petersburg.
The Maid of Orleans (Orleanskaja deva) is an opera in 4 acts, 6 scenes, by Pyotr Ilyich Tchaikovsky. It was composed during 1878–1879 to a Russian libretto by the composer, based on several sources: Friedrich Schiller's The Maid of Orleans as translated by Vasily Zhukovsky; Jules Barbier's Jeanne d'Arc (Joan of Arc); Auguste Mermet's libretto for his own opera; and Henri Wallon's biography of Joan of Arc.
Tchaikovsky - Maid of Orleans
Gennady Rozhdestvensky Moscow Radio Symphony Orchestra and Chorus
Joan of Arc - Irina Arkhipova
King Charles VII - Vladimir Makhov
Agnes Sorel - Claudia Radchenko
Dunois - Vlasimir Valaitis
Lionel - Sergei Yavkovchenko
Archbishop - Lev Vernigora
Raymond - Andrei Sokolov
Bertrand - Viktor Selivanov
Soldier - Vartan Makelian
Thibaut - Evgeni Vladimirov
Johan Svendsen's Violin Romance, Op. 26, is introduced at Kristiania, Norway.
Johan Svendsen - Romance for Violin and Orchestra Op. 26
Stefan Milenkovich, violinist"Romance"
Belgrade Philharmonic and conductor Eiving Gulberg Jensen. Belgrade, Serbia.
Johannes Brahms gives the first performance of his symphonic four-movement Second Piano Concerto in Budapest.
Johannes Brahms - Piano Concerto No. 2 in B-flat major, Op. 83
Piano: Hélène Grimaud
Conductor: David Zinman
NHK Symphony Orchestra
Composer Bela Bartok is born in Nagyszentmiklos, southern Hungary (now Sinnicolau Mare, Romania).
Jules Massenet - Herodiade
Hérodiade is an opera in four acts by Jules Massenet to a French libretto by Paul Milliet and Henri Grémont, based on the novella Hérodias (1877) by Gustave Flaubert. It was first performed at the Théâtre de la Monnaie in Brussels on 19 December 1881.
Massenet - Herodiade
(b. Liveni-Virnav [now George Enescu], August 19, 1881; d. Paris, May 4, 1955)
Romanian violinist, pianist, conductor, and composer. A musical prodigy of the first magnitude, he was the preeminent Romanian composer of the 20th century. Pablo Casals called him "the most amazing musician since Mozart," and Yehudi Menuhin, who was his student and friend, held him in similarly high esteem. He began taking violin lessons when he was four, and continued his musical studies at the Gesellschaft der Musikfreunde in Vienna (1888-94), under the tutelage of Joseph Hellmesberger and Robert Fuchs, among others, and subsequently at the Paris Conservatoire (1895-99), where his teachers included Gabriel Faure and Jules Massenet. He launched his performing career with an unprecedented double demonstration of instrumental mastery, playing the violin at the first performance of his Violin Sonata No. 1 in 1898 (accompanied by Alfred Cortot), and the piano in the first performance of his Violin Sonata No. 2, in 1900 (accompanying Jacques Thibaud). Paris would remain his artistic base for the rest of his life, though he would spend long periods in Romania, holing up there for the duration of World War I and again during World War II, and seeking throughout his career to contribute to his native country's musical life as conductor, musicologist, and educator. He conducted frequently in Bucharest; among his many engagements was one in 1903 in which he led the premiere of what would become his most popular work, the uncharacteristically gaudy Romanian Rhapsody in A, Op. 11, No. 1 , composed two years earlier. He was also active in Iasi, where he served as an honorary chairman of the conservatory, and in 1917 inaugurated a series of symphony concerts bearing his name. Prior to 1915, and during the interwar years, he traveled and concertized widely in Europe and America as well, appearing as conductor and violinist with the Philadelphia Orchestra in 1923, and guest conducting the New York Philharmonic several times during the 1937-39 seasons. Following the Communist takeover of his homeland in 1946, he returned to Paris in self-imposed exile; his last years there were clouded by illness and financial duress.
Enescu was a formidable teacher whose students included the American prodigy Menuhin (from 1927), and later Arthur Grumiaux, Ida Haendel, Christian Ferras, and Ivry Gitlis. His list of works as a composer, necessarily short because of his career as a virtuoso and his obligations as a teacher and administrator, nonetheless includes contributions to a variety of vocal, instrumental, and orchestral genres. Just as he had a divided loyalty to two countries—his native Romania and his adopted France—he also had a dual personality as a composer—the one part nationalistic and folk-oriented (reflected in the two Romanian Rhapsodies, and, much later, in 1948, the Ouverture de concert sur des themes dans le caractere populaire roumain), the other cosmopolitan and progressive. His greatest work was the four-act opera Oedipe, based in part on the dramas of Sophocles. Sketched in 1910 and composed mainly between 1921 and 1931, it received its premiere at the Paris Opera on March 13, 1936. Other compositions that have found a place in the repertoire include the Violin Sonata No. 3 (1926), two string quartets, and three symphonies.
George Enescu - Complete Orchestral Works - Vol 1
Romain Natonal Radio Orchestra: Horia Andrescu, condutor
01.Ov on Popular Romanian Themes in A, Op.32 10:09
02.Study Sym (No.4) in E flat I. Molto vivace 8:32
03.Study Sym (No.4) in E flat II. Andante 9:10
04.Study Sym (No.4) in E flat III. Vivace-Meno mosso-Vivace. Prestissimo 18:34
05.Sym. No.1in E flat, Op.13 (To Alfred Casella): I. Assez vif et rythme 10:59
06.Sym. No.1in E flat, Op.13 (To Alfred Casella): II. Lent 12:41
07.Sym. No.1in E flat, Op.13 (To Alfred Casella): III. Vif et vigoureux 9:16
Horia Andreescu: Romanian National Radio Orchestra & Choir
01.Symphony #2 In A, Op. 17 - 1. Vivace, Ma Non Troppo 18:56
02.Symphony #2 In A, Op. 17 - 2. Andante Giusto 12:32
03.Symphony #2 In A, Op. 17 - 3. Un Poco Lento, Marziale, Allegro Vivace, Marziale 16:59
04.Romanian Rhapsody #1 In A, Op. 11/1 11:52
05.Romanian Rhapsody #2 In D, Op. 11/2 11:53
George Enescu: Oedipe
Monte Pederson (Oedipe)
Egils Siliņš (Tirésias)
Davide Damiani (Créon)
Michael Roider (Le berger)
Goran Simic (Le grand prêtre)
Peter Köves (Phorbas)
Walter Fink (Le veilleur)
Yu Chen (Thésée)
Josef Hopferwieser (Laïos)
Marjana Lipovšek (Jocaste/La Sphinge)
Ruxandra Donose (Antigone)
Mihaela Ungureanu (Mérope)
Wiener Sängerknaben, Chor und Orchester der Wiener Staatsoper - Dirigent: Michael Gielen- 1997
Edward MacDowell composes his First Piano Concerto. The 21-year-old American is currently a piano teacher at Darmstadt's Academy for Musical Arts.
Edward MacDowell - Piano Concerto No. 1 in A minor, Op. 15
1. Maestoso; Allegro con fuoco
2. Andante tranquillo
3. Presto
Stephen Prutsman, piano and the National Symphony Orchestra of Ireland conducted by Arthur Fagen
German composer Carl Reinecke conjures a female water-nymph in his limpid Flute Sonata in E minor
(Undine).
Carl Reinecke - Sonata in E minor, Op. 167 "Undine"
Intermezzo: Allegretto vivace
Andante tranquillo
Finale: Allegro molto agitato ed appassionato, quasi Presto
Xue Su, flute
Rhett Lei, piano
13 January Richard Wagner completes Parsifal, his final opera. It has been arranged that Hermann Levi, the son
of a Rabbi, will conduct the 'sacred festival drama'.
Wagner is unsuccessful in his attempt to persuade his friend to undergo Christian baptism before the premiere.
Wagner - Parsifal
Nikolai Rimsky-Korsakov's opera Snegurochka (The Snow Maiden), based on an old Russian folk tale, is first staged in St Petersburg.
The Snow Maiden (subtitle: A Spring Fairy Tale), (Snegúrochka–Vesennyaya Skazka) is an opera in four acts with a prologue by Nikolai Rimsky-Korsakov, composed during 1880–1881. The Russian libretto, by the composer, is based on the like-named play by Alexander Ostrovsky.
The first performance of Rimsky-Korsakov's opera took place at the Mariinsky Theatre, Saint Petersburg on 29 January 1882 (OS; 10 February NS) conducted by Eduard Nápravník.
Nikolai Rimsky-Korsakov - Snegurochka (The Snow Maiden) Part I
Nikolai Rimsky-Korsakov - Snegurochka (The Snow Maiden) Part II
The 16-year-old Alexander Glazunov has his First Symphony introduced with great success under Mily Balakirev in St Petersburg.
Glazunov - Symphony No. 1
Moscow Symphony Orchestra, Alexander Anissimov
Composer Igor Fyodorovich Stravinsky is born in Oranienbaum, near St Petersburg.
Charles Gounod conducts his commissioned 'sacred trilogy', La Redemption, at the Birmingham Festival, England.
Gounod - Unfold ye Portals from "The Redemption"
Hubert Parry's Symphony No. 1 is premiered at the Birmingham Festival.
Sir Hubert Parry - Symphony No.1 in G-major
Mov.I: Con fuoco 00:00
Mov.II: Andante 12:28
Mov.III: Presto - Meno mosso 23:24
Mov.IV: Allegretto molto vivace 32:58
The London Philharmonic - Matthias Bamert
Composer Emmerich Kalman, born.
Gilbert and Arthur Sullivan's lolanthe opens before an eager audience at the Savoy Theatre, London.
Gilbert & Sullivan - "Iolanthe"
Light Opera of Portland present Iolanthe at the Alpenrose Dairy Opera House. Recorded 2016.
Composer Zoltan Kodaly is born in Kecskemet, Hungary.
Emmerich Kalman
Emmerich Kálmán, Hungarian form Kálmán Imre, (born Oct. 24, 1882, Siófok, Hung.—died Oct. 30, 1953, Paris, France), Hungarian composer, one of the leading exponents of the last era of Viennese operetta.
Kálmán was born to a lower middle-class Jewish family. He studied composition at the Academy of Music in Budapest under János Koessler; for a time his fellow students included Béla Bartók and Zoltán Kodály. He worked as a music critic for the Pesti Napló ("Pest Journal") from 1904 to 1908 and as a lawyer's assistant to supplement the cost of his studies. In 1907 he was awarded several prizes for music, which enabled him to pursue trips to Bayreuth, Munich, and Berlin.
Kálmán's musical talent was obvious from his first orchestral works. Kálmán added variety and colour to the Viennese operetta form by incorporating Hungarian elements to his works. His musical inventions, brimming with joie de vivre, brought him international acclaim. (At the time, he was also writing licentious cabaret songs under a pseudonym.) His reputation as a composer of operettas was made by his first stage work, Tatárjárás (1908; The Gay Hussars). The strongly Hungarian tone of this piece succeeded in winning over Viennese audiences, and The Gay Hussars was performed throughout Europe and the United States.
A few years later, Kálmán moved to Vienna and began to compose German-language operettas for theatre companies there. His greatest success came from Csárdáskirálynõ (1915; "The Czardas Queen"); it was performed by almost every musical theatre in the world, often enjoying runs of thousands of performances. The productions of his works Bajadér (1921; "Bayadère"), Marica grófnõ (1924; "Countess Marica"), Cirkuszhercegnõ (1926; "Princess of the Circus"), and Montmartre-i ibolya (1930; "Montmartre Violet") rescued several theatres from bankruptcy.
In 1936 the premiere of his operetta Josephine császárnõ ("Empress Josephine") took place not in Vienna but in Zürich because of increasing political tension in Austria. With the Nazi occupation of Austria in 1938, Kálmán and his family fled to Paris and then, in 1940, to the United States. There he pursued a successful career as a conductor of his own works. In 1945 he returned to Europe, settling in Paris. He received the cross of the Legion of Honour from the French government. He was buried in Vienna.
1915 Kalman - The Csardas Princess
1921 Kalman - Die Bajadere
1924 Kalman - Countess Mariza
1926 Kalman - The Circus Princess
Kalman - La Duchessa di Chicago - 1928
Kalman - Das Veilchen vom Montmartre -1930
Zoltan Kodaly
Zoltán Kodály, Hungarian form Kodály Zoltán, (born December 16, 1882, Kecskemét, Austria-Hungary [now in Hungary]—died March 6, 1967, Budapest), prominent composer and authority on Hungarian folk music.
He was also important as an educator not only of composers but also of teachers, and, through his students, he contributed heavily to the spread of music education in Hungary. He was a chorister in his youth at Nagyszombat, Austria-Hungary (now Trnava, Slovakia), where he wrote his first compositions. In 1902 he studied composition in Budapest. He toured his country in his first quest for folk-song sources in the year before his graduation from Budapest University with a thesis (1906) on the structure of Hungarian folk song. After studying for a short time in Paris with the composer-organist Charles Widor, he became teacher of theory and composition at the Budapest Academy of Music (1907–41).
With Béla Bartók, whom he met in 1906, he published editions of folk songs (1906–21). Their folk-song collection formed the basis of Corpus Musicae Popularis Hungariae (established 1951).
Kodály created an individual style, Romantic in flavour and less percussive than that of Bartók, that was derived from Hungarian folk music, contemporary French music, and the religious music of the Italian Renaissance. His works, many of which are widely performed, include Psalmus Hungaricus (1923), written to celebrate the 50th anniversary of the union of Buda and Pest; Háry János (1926), a comic opera; two sets of Hungarian dances for orchestra, Marosszék Dances (1930) and Dances of Galánta (1933); a Te Deum (1936); a concerto for orchestra (1941); Missa Brevis (1942); an opera, Cinka Panna (1948); Symphony in C Major (1961); and chamber music, including two cello sonatas (1909–10; 1915), two string quartets (1908; 1916–17), and Serenade, for two violins and viola (1919–20).
Kodály's scholarly writings include Die ungarische Volksmusik (1956; Folk Music of Hungary), as well as numerous articles for ethnographic and musical journals. The Selected Writings of Zoltán Kodály, edited by Ferenc Bónis and translated from the Hungarian by Lili Halápy and Fred Macnicol, was published in 1974.
00:00 Viennese Musical Clock (Hary suite 1926)
02:20 Intermezzo (Hary suite 1926)
07:05 Entrance of the Emperor and His Court
10:10 Jesus and the Children 1934
12:30 Evening Song
15:05 Te Deum of Budavár (piece) 1936
22:17 Pictures of Mátra 1931
33:47 Gipsy eats Cottage Cheese 1925
36:07 Psalmus Hungaricus (piece) 1923
39:04 Advent Song
42:43 121. Psalm of Geneva
46:45 The Spinning Room (piece) 1924-1932
49:42 The Peacock (piece) 1939
01:01:54 Dances of Galánta (piece) 1933
Zoltán Kodály - Missa Brevis for solo voices, choir and organ
Kinga JASKOWSKA - soprano
Justyna JEDYNAK-OBŁOZA - soprano
Ewelina SIEDLECKA-KOSIŃSKA - soprano
Jadwiga BARTNIK - alto
Adam SŁAWIŃSKI - tenor
Krzysztof CHALIMONIUK - baritone
Jakub PANKOWIAK - organ
Bartosz MICHAŁOWSKI - conductor
CHÓR FILHARMONII NARODOWEJ - LAUREAT GRAMMY
WARSAW PHILHARMONIC CHOIR - GRAMMY WINNER
Zoltán Kodály : Symphony in C major
Edvard Grieg completes his Cello Sonata, (Op. 36) the Walzer-Capricen for piano duet (Op. 37) and a second book of Lyric Pieces for piano solo (Op. 38). A second piano concerto, begun this year, is never completed.
Edvard Grieg - Sonata for Cello and Piano in A Minor, Op. 36
Anastasia Injushina piano, Jian Wang cello
Grieg -"Waltz-caprice" Piano Duo: Marina Porchkhidze,Vladimir Shinov
Edvard Grieg - Lyric pieces - Book II, Op. 38
Hakon Austbo, piano
Berceuse (00:19)
Folk Melody (02:35)
Norwegian dane (05:48)
Spring dance (06:36)
Elegy (07:58)
Waltz (10:03)
Canon (11:06)
Gabriel Faure's oratorio La Naissance de Venus is first performed in Paris.
Gabriel Fauré - La Naissance de Vénus,
scène mythologique Op. 29
Brigitte Lafon, soprano (Vénus)
Bruno Ranc, tenor (Jupiter)
Anna Holroyd, alto solo
Jacques Bona, bass solo
Jean-Claude Pennetier, piano
Soliste de Lyon-Bernard Tétu
Direction Bernard Tétu
Leo Delibes exploits fashionable orientalism in Lakme, premiered at the Opera-Comique, Paris. Set in India and inspired by Pierre Loti's exotic tale Rarahu, the three-act tragic opera enjoys immediate success.
Delibes - Lakme
The 71-year-old Franz Liszt completes his solo piano pieces Valse de concert, Mephisto-Polka and the Mephisto Waltz No. 3.
LISZT - MEPHISTO Waltzes 2, 3, 4, Polka, Bagatelle without tonality,
Tibor Szasz, USA, Nov. 4, 1984
The second and third movements of Anton Bruckner's Sixth Symphony are introduced and well appreciated in Vienna.
New York Philharmonic - Leonard Bernstein, 1976
Symphonies by Anton Bruckner
Symphony in F minor completed in 1863.
Symphony No. 1 in C minor completed in 1866, but the original manuscript of this symphony was not reconstructed until 1998. Instead, it is commonly known in two versions, the so-called Linz Version – based mainly on rhythmical revisions made in Vienna in 1877 – and the completely revised Vienna Version of 1891.
Symphony in D minor of 1869, the so-called "Symphony No. 0" ("Die Nullte").
Symphony in B-flat major
Bruckner's next attempt was a sketch of the first movement to a Symphony in B-flat major, but he did no further work on it afterwards.
Symphony No. 2 in C minor of 1872 was revised in 1873, 1876, 1877 and 1892.
Symphony No. 3 in D minor composed in 1873.
Symphony No. 4 in E-flat major
Bruckner's Symphony No. 4 in E-flat major was his first great success. It is more commonly known as the Romantic Symphony, the only epithet applied to a symphony by the composer himself. The 1874 version has been seldom played; success came in 1878 but only after major revisions, including a completely new scherzo and finale, and again in 1880–1, once again with a completely rewritten finale. This version was premiered in 1881 (under the conductor Hans Richter). Bruckner made more minor revisions of this symphony in 1886–8.
Symphony No. 5 in B-flat major
Bruckner's Symphony No. 5 in B-flat major crowns his most productive era of symphony-writing, finished at the beginning of 1876. Until recently we knew only the thoroughly revised version of 1878.
Symphony No. 6 in A major written in 1879 to 1881
Symphony No. 7 in E major written 1881–1883 and revised in 1885.
Symphony No. 8 in C minor composition in 1884. In 1887 Bruckner sent the work to Hermann Levi, the conductor who had led his Seventh to great success.
Symphony No. 9 in D minor
The final accomplishment of Bruckner's life was to be his Symphony No. 9 in D minor, which he started in August 1887, and which he dedicated "To God the Beloved."
Anton Bruckner - Symphony No. 7 in E major
Karajan, Wiener Philharmoniker
Allegro moderato •
19:40 Adagio: Sehr feierlich und sehr langsam •
42:55 Scherzo: Sehr schnell - Trio: Etwas langsamer • 53:06 Finale: Bewegt, doch nicht schnell
In Venice the 69-year-old Richard Wagner has a blazing row with his wife, Cosima, who is suspicious about a pending visit from the singer Carrie Pringle. Wagner retreats to a study, where a few hours later he suffers a fatal heart attack. On discovering her husband, Cosima remains clenched to his corpse for 25 hours. The body is transported back to their home, Wahnfried in Bayreuth, and buried in a private ceremony.
Eine Nacht in Venedig (A Night in Venice) is an operetta in three acts by Johann Strauss II. Its libretto was by F. Zell and Richard Genée based on Le Château Trompette by Eugène Cormon and Richard Genée.
Johann Strauss - Eine Nacht in Venedig
Inszenierung von Helmuth Lohner, 1999
Marc Clear (Herzog von Urbino)
Gideon Singer (Delacqua)
Evelyn Schörkhuber (Barbara, seine Frau)
Anton Steingruber (Barbaruccio, Senator)
Mirjana Irosch (Agricola, seine Frau)
Wilhelm Gartner (Testaccio, Senator)
Ingrid Habermann (Annina, Fischerin)
Christian Baumgärtel (Caramello, Barbier)
Markus Heinrich (Pappacoda, Makkaronikoch)
Christine Bath (Ciboletta, Barbaras Zofe)
Polish composer Karol Szymanowski is born.
Emmanuel Chabrier's popular orchestral Rhapsody Espana, inspired by the composer's
recent trip to the country, premieres in Paris. His Trois Valses Romantiques for two pianos is first performed in the same city a month later.
Emmanuel Chabrier - España Rhapsody For Orchestra
The BBC Symphony Orchestra, conducted by Leonard Slatkin
Recorded live at the Royal Albert Hall, 2002
Emmanuel Chabrier - Trois Valses Romantiques for two pianos
Très vite et impétueusement 00:00
Mouvement modéré de Valse 02:20
Animé 07:28
Rena Kyriakou & Walter Klien, pianos
Johannes Brahms's Third Symphony is successfully introduced under Hans Richter in Vienna.
Johannes Brahms - Symphony No. 3 in F major, Op. 90
0:01 - Allegro con brio
13:50 - Andante
23:18 - Poco allegretto
29:43 - Allegro – Un poco sostenuto
Composer Anton Webern is born in Vienna.
Composer Edgard Varese is born in Paris.
Henry VIII is an opera in four acts by Camille Saint-Saëns, from a libretto by Léonce Détroyat and Armand Silvestre, based on El cisma en Inglaterra (The schism in England) by Pedro Calderón de la Barca.
Camille Saint Saëns - HENRY VIII
Karol Szymanowski, in full Karol Maciej Szymanowski, (born Oct. 6, 1883, Timoshovka, Ukraine, Russian Empire—died March 29, 1937, Lausanne, Switz.), the foremost Polish composer of the early 20th century.
Szymanowski began to compose and play the piano at an early age. In 1901 he went to Warsaw and studied harmony, counterpoint, and composition privately until 1904. Finding the musical life in Warsaw limiting, he went to Berlin, where he organized the Young Polish Composers' Publishing Co. (1905–12) to publish new works by his countrymen. His compositions from this period, which include the opera Hagith (1913), show the influence of Strauss, Wagner, and Scriabin.
The advent of World War I caused Szymanowski to return to his homeland. Isolated from the European musical community during the period from 1914 to 1917, he composed copiously and studied Islāmic culture and ancient Greek drama and philosophy. Szymanowski's works from this period, which include Mity (1914; "Myths"), Metopy (1915; "Metopes"), and Maski (1916; "Masques"), show great originality and diversity of style. He softened his dynamic extremes, employed coloristic orchestration, and used polytonal and atonal material while retaining the expressive melodic style of his earlier works.
With the establishment of an independent Polish state in 1918, Szymanowski became deeply interested in the Polish folk idiom and tried to create a Polish national style, a task unattempted since Chopin. He also became more conservative, abandoning his atonal vocabulary. Living in Zakopane, the regional centre of the Tatra mountain people, he adopted their tonal language, syncopated rhythms, and winding melodies in his new style. Notable works from this period include 20 Mazurkas (1924–25) for piano and the ballet-pantomime Harnasie (1923–31). Szymanowski also traveled widely, promoting his works in London, Paris, and the United States and receiving international acclaim for his operas Hagith and Król Roger (1918–24; "King Roger"). In 1927 he settled in Warsaw to assume the directorship of the Warsaw Conservatory for five years with the aim of improving musical education in Poland. During the 1930s Szymanowski retreated from the direct use of folk music in his compositions, and though he continued to use folk music material, his forms and orchestration recall those of his earlier works. Among the major works from this last period are the Symphony No. 4 (1932) and the choral works Veni Creator (1930) and Litania Do Marii Panny (1930–33; "Litany to the Virgin Mary").
Karol Szymanowski - Violin Concerto No. 1, Op. 35
Frank Peter Zimmermann, Wit,
Orkiestra Filharmonii Narodowej w Warszawie
Lydia Mordkovitch - BBC Philharmonic, conducted by Vassily Sinaisky.
Szymanowski - Symphony No. 3, Op. 27 "The Song of the Night"
Vladimir Jurowski
Karol SZYMANOWSKI - "Harnasie" op. 55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol Szymanowski - Król Roger Op. 46 - Opera in 3 acts
Roger II, King of Sicily - WOJCIECH DRABOWICZ (24.03.1966 - 27.03.2007)
Roxana, Roger's wife - Olga Pasiecznik
Edrisi, The arabian sage - Krzysztof Szmyt
Shepherd - Piotr Beczała
Archbishop - Romuald Tesarowicz
Deaconess - Stefania Toczyska
Tenor solo - Ryszard Wróblewski
Voice 1 - Justyna Kabała
Voice 2 - Maciej Dunin
"Alla Polacca" Youth Choir, Choir Director: Sabina Włodarska
Chorus and Orchestra of the Polish National Opera, Warsaw Chorus Master: Bogdan Gola
Conducted by JACEK KASPSZYK
Anton Webern, in full Anton Friedrich Wilhelm von Webern, (born Dec. 3, 1883, Vienna, Austria—died Sept. 15, 1945, Mittersill, near Salzburg), Austrian composer of the 12-tone Viennese school. He is known especially for his passacaglia for orchestra, his chamber music, and various songs (Lieder).
Webern's father, a mining engineer, rose to the highest rank of his profession, becoming chief of mining in the Habsburg government. Nobility had been conferred upon the family as early as 1574 by Emperor Maximilian II. Although the predicate von was outlawed in Austria after the 1918 revolution, and the composer's music had to be published under the name Anton Webern, he upheld his aristocratic heritage throughout his life.
Webern's father's career caused the family to move to two provincial capitals, Graz and Klagenfurt, and then back to Vienna. Webern received his first musical instruction from his mother, an amateur pianist. In Klagenfurt, Edwin Komauer instructed him in the rudiments of musical theory, as well as in piano. Webern also learned to play the cello and participated in the local orchestra.
His first compositions, Two Pieces for Cello and Piano (1899) and several songs, date from the Klagenfurt period. In 1902, after graduation from the Klagenfurt Humanistisches Gymnasium, he attended performances of Wagner operas at the Bayreuth Festival, and these left a deep impression on the young musician. That fall, he entered the University of Vienna, studying musicology and composition. He received a Ph.D. degree (1906) with a dissertation on the Choralis Constantinus II of the Dutch composer Heinrich Isaac. Meanwhile, in the autumn of 1904, Webern had become a private pupil of the composer Arnold Schoenberg. The association proved to be a decisive influence. With Schoenberg, and soon also his friend the young composer Alban Berg, Webern explored new dimensions of musical expression, leading to the breakthrough that established "atonality"—a revolutionary concept abnegating the necessity of a governing tonal centre. But from the start Webern created a style distinctly his own.
Schoenberg's direction of Webern's musical development ended in 1908. By then, Webern had already written many works, including the orchestral idyll Im Sommerwind (1904; antedating his study with Schoenberg), several string quartets, the songs based on poems of Richard Dehmel, the orchestral Passacaglia (1908), and the choral canon Entflieht auf leichten Kähnen (1908). These still adhere to traditional tonality, but, with the Stefan George songs (1908–09), Webern entered the realm of music no longer based on a fixed tonal centre.
In 1911 Webern married Wilhelmine Mörtl, the daughter of his mother's sister. Because of the Roman Catholic prohibition of the union of first cousins, the marriage was solemnized only in 1915, after three of the couple's four children had already been born. Webern, while deeply religious in a pantheistic sense, was averse to church dogma, rejecting the priest's role as intermediary between God and humanity. During the years 1908 to 1913 he held posts as coach and conductor in Vienna, Ischl, Innsbruck, Teplitz, Danzig, and Stettin. These engagements proved to be short-lived since he loathed theatre routine, choosing instead to focus on free creative work. His compositions of that period reveal a growing tendency to compress the highest intensity of expression within the greatest formal brevity, characteristics that mark his Five Movements for String Quartet (1909), Six Pieces for Orchestra (1909), Four Pieces for Violin and Piano (1910), Two Songs, Opus 8 (1910), Six Bagatelles for String Quartet (1911–13), Five Pieces for Orchestra (1911–13), and Three Small Pieces for Cello and Piano (1914). The Cello Sonata (1914) marks his first effort to return to more expanded forms following his "aphoristic" period. Webern's Four Songs, Opus 12 (1915–17) and Opus 13 (1914–18), Six Songs (1917–21), Five Sacred Songs (1917–22), Five Canons on Latin Texts (1923–24), Three Folktexts (1924), Three Songs (1925), and Two Songs (1926) are vocal compositions; except Four Songs, which employs piano accompaniment, these works are distinguished by highly original instrumental combinations.
In 1915, during World War I, Webern enlisted for army service but was discharged at the end of 1916 because of poor eyesight. After a last theatre season in Prague (1917–18), he settled in Mödling, near Vienna, teaching privately and acting as supervisor for the Schoenberg-founded Society for Private Musical Performances (1918–22). In 1924 Schoenberg formulated the 12-tone method of composition—the system in which a basic "row," formed from the 12 independent tones of the chromatic scale, is used melodically and harmonically through the devices of inversion, retrograde progression, and transposition, allowing for a total of 48 possibilities in which the chosen row may appear. Webern adopted this system first in his Kinderstück for piano (1924), employing the serial technique thereafter for all further compositions and developing it with severe consistency to its most extreme potential. The instrumental works during that period—String Trio (1927), Symphony (1928), Quartet for Violin, Clarinet, Tenor Saxophone, and Piano (1930), Concerto for 9 Instruments (1934), Piano Variations (1935–36), String Quartet (1937–38), and Variations (1940)—are governed by rigorous formal discipline. In the vocal realm, the lyrics of Hildegard Jone, a painter and poet, inspired all of Webern's later works, such as Three Songs, Opus 23 (1933–34) and Three Songs, Opus 25 (1934); Das Augenlicht (1935); Cantata No. 1 (1938–39); and Cantata No. 2 (1941–43). Always professing his ties with tradition, Webern was a foremost exponent of the genre of the German Lied. He also was a skillful arranger; notable among his orchestrations of classic works is the Ricercata (1935) from Johann Sebastian Bach's Musical Offering (1747).
After the Society for Private Musical Performances was dissolved, he conducted several choirs, notably the Singverein, a lay group especially organized to perform masterworks, such as Gustav Mahler's Symphony No. 8 (1907), in conjunction with the Workers' Symphony Concerts. Both organizations, sponsored by the Social Democratic Party, were dissolved after the "Dollfuss Revolution" (February 1934). As guest conductor, Webern occasionally appeared with the Austrian Radio Orchestra and was invited to conduct in Switzerland, Germany, Spain, and England.
Although an outstanding teacher, Webern never received an appointment at the University of Vienna or the music academy. He held a minor position at the Israelitic Institute for the Blind (1925–31) and from 1932 on gave private lecture courses. Public recognition at home remained limited to the Vienna Music Prize, awarded to him twice (1924, 1932) under the Socialist regime. Although Webern was not politically active, he nevertheless fell victim to the rising tide of right-wing nationalism. Schoenberg left Europe soon after Hitler came to power in 1933. The Nazis branded the music of the "New Vienna school" as "cultural Bolshevism" and "degenerate art" and banned performance of this type of music. Webern's artistic isolation grew complete with Berg's death in 1935, and his economic plight became desperate after the Nazi annexation of Austria in 1938. The political upheaval brought to a halt the publication of his works. With almost no private pupils left, Webern had to resort to accepting such tasks as piano arrangements of works by lesser composers. Always of a retiring disposition, he fell into total obscurity with the outbreak of World War II. Webern's disillusionment with the Hitler regime was deepened by increasing bombing raids. In February 1945 his only son, Peter, was killed in a strafing attack on a train. When the Russian Army neared Vienna, the composer and his wife fled to Mittersill near Salzburg, where their three daughters and grandchildren had sought refuge. Webern was accidentally shot and killed there by a soldier in the U.S. occupation forces.
Conductor: Pierre Boulez
Berliner Philharmoniker Date: 1995
0:00 Passacaglia for orchestra, Op. 1
10:13 Movements for string quartet, Op. 5: No. 1, Heftig bewegt
13:06 Movements for string quartet, Op. 5: No. 2, Sehr langsam
15:19 Movements for string quartet, Op. 5: No. 3, Sehr bewegt
17:30 Movements for string quartet, Op. 5: No. 5, In zarter Bewegung
20:59 Pieces for orchestra, Op. 6: No. 1, Etwas bewegte
22:03 Pieces for orchestra, Op. 6: No. 2, Bewegte
23:32 Pieces for orchestra, Op. 6: No. 3, Zart bewegte
24:22 Pieces for orchestra, Op. 6: No. 4, Langsam marcia funebre
28:42 Pieces for orchestra, Op. 6: No. 5, Sehr langsam
31:05 Pieces for orchestra, Op. 6: No. 6, Zart bewegt
32:56 Musikalisches Opfer (Musical Offering), BWV 1079: Fuga (Ricercata) A 6 Voci
40:14 German Dances for piano, D. 820
50:48 Im Sommerwind, for orchestra
Anton Webern - Sinfonia op.21 (1927/1928)
Orchestra del Teatro La Fenice di Venezia diretta da Paul Hindemith (Venezia 14 aprile 1961) --
I. Ruhig schreitend
II. Variationen: Sehr ruhig
Anton Webern - Passacaglia per orchestra op.1 (1908)
Boston Symphony Orchestra diretta da Carlo Maria Giulini 1974)
Anton Webern - The Orchestral Pieces
Five Pieces for Orch, Op. 10 00:01
Five Pieces for Orch, Op. post 04:27
Fuga (Ricercata) No. 2 from the 'Musical Offering' 10:25
Im Sommerwind 17:32
Passacaglia for Orch, Op. 1 30:57
Six Pieces for Orch, Op. 6 42:22
Edgard Varese
Edgard Varèse, original name Edgar Varèse, (born Dec. 22, 1883, Paris, France—died Nov. 8, 1965, New York, N.Y., U.S.), French-born American composer and innovator in 20th-century techniques of sound production.
Varèse spent his boyhood in Paris, Burgundy, and Turin, Italy. After composing without formal instruction as a youth, he later studied under Vincent d'Indy, Albert Roussel, and Charles Widor and was strongly encouraged by Romain Rolland and Claude Debussy. In 1907 he went to Berlin, where he was influenced by Richard Strauss and Ferruccio Busoni. In 1915 he immigrated to the United States.
Varèse's music is dissonant, nonthematic, and rhythmically asymmetric; he conceived of it as bodies of sound in space. After the early 1950s, when he finally gained access to the electronic sound equipment he desired, he concentrated on electronic music.
Varèse actively promoted performances of works by other 20th-century performers and founded the International Composers' Guild in 1921 and the Pan-American Association of Composers in 1926; these organizations were responsible for performances and premieres of works by Béla Bartók, Alban Berg, Carlos Chávez, Henry Cowell, Charles Ives, Maurice Ravel, Wallingford Riegger, Francis Poulenc, Anton von Webern, and others. Varèse also founded the Schola Cantorum of Santa Fe, N.M., in 1937, and the New Chorus (later, Greater New York Chorus) in 1941 to perform music of past eras, including works of Pérotin, Heinrich Schütz, Claudio Monteverdi, and Marc-Antoine Charpentier.
Varèse's works include Hyperprism for wind instruments and percussion (1923); Ionisation for percussion, piano, and two sirens (1931); and Density 21.5 for unaccompanied flute (1936). His Déserts (1954) employs tape-recorded sound. In the Poème électronique (1958), written for the Philips Pavilion at the Brussels World's Fair, the sound was intended to be distributed by 425 loudspeakers.
Edgard Varese - Ionisation
Performed by Amadinda Percussion Group, Mondo Quartet and students of Franz Liszt Academy of Music Budapest (2005)
Edgard Varèse - Déserts (1954)
Kent Nagano - Orchestre National de France, 1996
Edgard Varèse - Amériques
pour orchestre
Orchestre du Conservatoire de Paris
Ensemble intercontemporain
Matthias Pintscher, direction
Edgard Varèse - Ecuatorial (1934)
Basse du Choeur de Radio France
Ensemble intercontemporain - Susanna Mälkki, direction
Trompettes en Sib Antoine CURÉ, Jean-Jacques GAUDON, Johann NARDEAU, Jean-Philippe WOLMANN
Trombones Ténor-Basse Benoît COUTRIS, Olivier DEVAURE, Jérôme NAULAIS, Benny SLUCHIN
Percussions Hélène COLOMBOTTI, Gilles DUROT, Samuel FAVRE, Victor HANNA, Benoît MAURIN, Pierre-Olivier SCHMIT - Piano Hidéki NAGANO
Orgue électrique Vincent ADRAGNA, Sébastien VICHARD
Ondes Martenot Haruka OGAWA, Augustin VIARD
Arthur Sallivan - Princess Ida
Princess Ida; or, Castle Adamant is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert. It was their eighth operatic collaboration of fourteen. Princess Ida opened at the Savoy Theatre on 5 January 1884, for a run of 246 performances. The piece concerns a princess who founds a women's university and teaches that women are superior to men and should rule in their stead. The prince to whom she had been married in infancy sneaks into the university, together with two friends, with the aim of collecting his bride. They disguise themselves as women students, but are discovered, and all soon face a literal war between the sexes.
The opera Sigurd by the French composer Ernest Reyer premieres in Brussels.
Sigurd is an opera in four acts and nine scenes by the French composer Ernest Reyer on a libretto by Camille du Locle and Alfred Blau.
Reyer - Sigurd (part 1 of 4)
Hilda - Cécile Perrin
Uta - Viorica Cortez
Gunther - Jean-Philippe Lafont
Hagen - Antoine Garcin
the Barde - Jean-Jacques Cubaynes
Infrid - Jean-Luc Maurette
Rudiger - Patrick Vilet
Hawart - Antoine Normand
Ramunc - (name not determined)
Sigurd - Alberto Cupido
Orchestra and Chorus of the Opéra de Marseille
Conductor: Dietfried Bernet
High Priest - Jean-Marc Ivaldi
Brunehild - Françoise Pollet
Orchestra, Chorus and Ballet of the Opéra de Marseille
Jules Massenet's five-act Manon, based on Prevost's novel Uhistoire du chevalier dies Grieux et de Manon Lescaut (1731), opens at the Opera-Comique, Paris. The composers skilful portrayal of innocence corrupted launches the opera into the repertory.
Massenet - Manon
Tchaikovsky's nationalistic opera Mazeppa, based on Pushkin's historical poem Poltava, is respectfully received at the Bolshoi Theatre, Moscow.
Tchaikovsky - Mazeppa
From the Mariinsky Theatre in St. Petersburg, Russia (1996)
Kirov Orchestra, Opera, Chorus & Ballet
Valery Gergiev - conductor
Irina Molostova - stage producer
Soloists:
Nikolai Putilin - Mazeppa
Sergei Aleksashkin - Vasilij Kocubej
Larissa Diadkova - Ljubov
Irina Loskutova - Maria
Viktor Lutsiuk - Andrej
Vladimir Zhivopistsev - Iskra
Vlatcheskav Luhanin - Orlik
Nikolai Gassiev - a drunken Cossak
1:23 Overture
8:11 Act I, Scene 1
31:17 Act I, Scene 2
47:07 Act II, Scene 1
1:02:10 Act II, Scene 2
1:57:27 Act III
Zdenek Fibich's tragic opera The Bride of Messina is first performed in Prague.
Zdeněk Fibich - Die Braut von Messina
00:00 Erster Akt
46:07 Zweiter Akt
1:23:21 Dritter Akt
Libuše Márová – Donna Isabella
Václav Zítek – Don Manuel
Ivo Žídek – Don Cesar
Gabriela Beňačková – Beatrice
Karel Hanuš – Diego
Jaroslav Horáček – Cayetan
Miroslav Švejda – Bohemund
Naďa Šormová – Page des Cesars
Prager Rundfunkchor
Chor und Orchester Nationaltheater Prag,
Milan Malý – Choreinstudierung
František Jílek, 1975
Bedrich Smetana, having suffered rapidly deteriorating mental health, dies in an asylum in Prague, aged 59.
Giacomo Puccini's debut opera, the one-act Le Villi, is presented at the Teatro Dal Verme in Milan. Revised for a two-act production in Turin at the end of the year, it rewards the composer with an early taste of success.
Giacomo Puccini - "Le Villi"
Barry Morell (Roberto)
Adriana Maliponte (Anna)
Matteo Manuguerra (Guglielmo)
Gian-Carlo del Monaco (Narrator)
Vienna Volksoper Orchestra
Vienna Academy Chamber Chorus
Anton Guadagno, conductor, 1972


A putative class action alleging that a group of seven large financial institutions (including Credit Suisse, The Royal Bank of Scotland, UBS, Bluecrest Capital Management, and Deutche Bank) unlawfully manipulated the Swiss franc London Interbank Offered Rate ("CHF LIBOR"), a daily interest rate benchmark designed to reflect the cost at which large banks are able to borrow Swiss francs, has been dismissed by the federal district court in New York City. With respect to the plaintiffs' antitrust claim for manipulation of CHF LIBOR, the complaint failed to plausibly allege an antitrust conspiracy against any defendant except The Royal Bank of Scotland (RBS). Moreover, the plaintiffs' antitrust claim against RBS failed for lack of antitrust standing because the plaintiffs did not transact in CHF LIBOR-based derivatives with RBS and therefore are not "efficient enforcers" of the antitrust laws. The plaintiffs' Commodities Exchange Act (CEA) claims failed because they did not provide sufficient details about their transactions to plausibly allege that they were injured by the defendants' alleged manipulation of CHF LIBOR (Sonterra Capital Master Fund Ltd. V. Credit Suisse Group AG, September 25, 2017, Stein, S.).
In addition, the plaintiffs' RICO claims were dismissed as impermissibly extraterritorial. An eighth defendant, JPMorgan Chase, settled all claims against it on a class-wide basis while the defendants' motions to dismiss were pending, thus all motions to dismiss were deemed withdrawn as to JPMorgan, without prejudice to refiling, in the event the court does not approve the settlement with JPMorgan. Finally, the court declined to exercise its supplemental jurisdiction over the state law claims.
The alleged conspiracy. CHF LIBOR is a daily interest rate benchmark designed to reflect the cost at which large banks are able to borrow Swiss francs. According to the plaintiffs' complaint, changes in CHF LIBOR affect the prices of numerous Swiss franc currency derivatives, such as Swiss franc foreign exchange forwards ("CHF FX forwards") and Swiss franc futures contracts ("CHF futures contracts").The plaintiffs alleged that from at least January 1, 2001 through at least December 31, 2011 (the "Class Period") the defendants conspired to manipulate CHF LIBOR, and thereby the prices of those derivatives, to benefit their own trading positions in Swiss franc currency derivatives. The essence of the plaintiffs' claims was that they and others similarly situated were on the losing end of that manipulation, transacting in Swiss franc derivatives with defendants and third parties during the Class Period on terms made less favorable by (1) the defendants' fixing of CHF LIBOR and (2) certain defendants' collusion to increase the "bid-ask spread" on transactions in those derivatives.
The plaintiffs are investment funds, financial services companies, and one individual who alleged that during the Class Period they suffered injury by entering into U.S.-based transactions for two types of Swiss franc LIBOR-based derivatives. The plaintiffs alleged that the defendants abused their control over CHF LIBOR to move the price of these Swiss franc LIBOR-based derivatives in whatever direction benefited their own trading positions or those of their co-conspirators. The complaint alleged that defendants, in addition to manipulating CHF LIBOR, colluded during the Class Period to increase the "bid-ask spread" that they charged as market makers in the over-the-counter LIBOR-based derivatives market.
The defendants' alleged manipulation of CHF LIBOR and the bid-ask spreads for certain types of CHF LIBOR-based derivatives led to a number of enforcement actions and settlements between defendants and regulators in the United States and Europe, and the findings of those actions provided the core allegations to the complaint, according to the court. For example, on October 21, 2014, The EC found that two international banks—the Royal Bank of Scotland (RBS) and JP Morgan—participated in an illegal bilateral cartel aimed at influencing the Swiss franc Libor benchmark interest rate between March 2008 and July 2009 in violation of European Union antitrust rules.
The plaintiffs alleged that this misconduct violated the Sherman Antitrust Act, the CEA, and RICO, as well as state law claims for unjust enrichment and breach of the implied covenant of good faith and fair dealing. The defendants moved to dismiss for lack of subject matter jurisdiction, lack of personal jurisdiction, and failure to state a claim.
Article III Standing. With respect to the claims based on the alleged manipulation of bid-ask spreads (the "Bid-Ask Spread Claims"), the defendants contended that the plaintiffs failed to allege that the plaintiffs transacted in the types of derivatives they alleged were affected. With respect to claims based on the alleged manipulation of CHF LIBOR (the "CHF LIBOR Manipulation Claims"), the defendants argued that the plaintiffs did not plausibly allege that any manipulation of CHF LIBOR affects the price of the Swiss franc currency derivatives, and that the plaintiffs lacked standing to sue for manipulation of types of Swiss franc currency derivatives in which they did not themselves transact. The court concluded that the plaintiffs had standing to pursue their CHF LIBOR Manipulation Claims, with certain exceptions, but not their Bid-Ask Spread Claims.
Antitrust claim. To survive a motion to dismiss this claim, the plaintiffs were required to allege anticompetitive conduct by the defendants that violates Section One of the Sherman Act, and also demonstrate antitrust standing, which depends on a showing of antitrust injury and that the plaintiffs are "efficient enforcers" of the antitrust laws, the court noted. The claim was dismissed against all defendants because the complaint alleged a plausible antitrust conspiracy only as to RBS, yet the plaintiffs had antitrust standing to sue only UBS and the Credit Suisse, those defendants with whom they directly transacted, the court ruled.
In Gelboim v. Bank of America, 823 F.3d 759 (2d Cir. 2016), the Second Circuit held that benchmark manipulation constitutes anticompetitive conduct and a per se "illegal anticompetitive practice" of horizontal price fixing by distorting a "joint process . . . into collusion." 823 F.3d at 775. That holding applied here, and accordingly the court concluded that collusion to manipulate CHF LIBOR constitutes anticompetitive conduct that could give rise to a claim under Section One of the Sherman Act. However, because an overarching CHF LIBOR manipulation conspiracy involving all defendants was not plausibly alleged and specific instances of inter-bank collusion have been offered only as to RBS, a plausible antitrust conspiracy was alleged only against RBS, the court held.
Turning to the issue of antitrust standing, the court concluded that the Direct Transaction Plaintiffs (a group of three of the plaintiffs who alleged that they transacted in FX forwards "directly with Defendants UBS and Credit Suisse) are efficient enforcers but that the remaining plaintiffs are not. Conferring antitrust standing on those plaintiffs who did not transact directly with defendants would open the door to highly speculative and difficult to calculate damages that would far exceed the wrongful profit made or harm caused by the defendants, whereas the Direct Transaction Plaintiffs' damages would be more easily calculated and proportional to the misconduct. However, the Direct Transaction Plaintiffs claimed to have transacted only with the Credit Suisse Defendants and UBS, and the complaint alleged a plausible conspiracy only against RBS. Accordingly, the plaintiffs' antitrust claim failed to state a claim because the plaintiffs did not allege an antitrust violation by any defendant for which they had antitrust standing to sue.
Although the court had determined that the antitrust claim failed because the plaintiffs are not efficient enforcers to sue for the only antitrust violation that they adequately alleged because they did not transact directly with RBS, it was not strictly necessary to evaluate the defendants' arguments that the claim was also barred by the statute of limitations and the Foreign Trade Antitrust Improvements Act of 1982 ("FTAIA"). Nevertheless, the court concluded that: (1) the statute of limitations was tolled, and the antitrust claim was timely because it was brought within four years of the date on which that tolling ceased; and (2) the FTAIA did not bar the antitrust claim because the class was limited to U.S. based transactions.
CEA Claims. Count Three asserted that each defendant violated sections 6(c), 9, and 22 of the CEA, 7 U.S.C. §§ 9, 13, and 25, based on their "manipulation of Swiss franc LIBOR and the prices of Swiss franc LIBOR-based derivatives that were priced, benchmarked, and/or settled based on Swiss franc LIBOR." The plaintiffs also brought claims against each defendant in Count Four for principal-agent liability for these violations under section 2(a)(1)(B) of the CEA, 7 U.S.C. § 2(a)(1)(B), and in Count Five for aiding and abetting other defendants' violations under section 22(a)(1) of the CEA, 7 U.S.C. § 25(a)(1).
Plaintiff Frank Divitto lacked CEA standing because the complaint failed to plead facts that would support a reasonable inference that he suffered actual damages by transacting at times when the defendants manipulated CHF LIBOR, the court decided. Divitto's lack of standing was fatal to each of the plaintiffs' CEA claims as to all defendants because he was the only plaintiff who claimed to have transacted in a derivative covered by the CEA. Counts Three, Four, and Five were therefore dismissed on this ground alone, the court determined.
Nevertheless, given the parties' full briefing of the issues and the fact that the plaintiffs may well plead additional facts regarding Divitto's transactions in a second amended complaint, the court went on to further analyze the CEA claims and reasoned that while the plaintiffs lacked CEA standing, they plausibly alleged manipulation by the Deutsche Bank defendants, RBS, and UBS. In addition: the plaintiffs plausibly alleged principal-agent liability against the Deutsche Bank defendants, RBS, and UBS; they plausibly alleged aiding and abetting liability against RBS; and the CEA claims were timely against all of the defendants except UBS.
RICO claims. Here, the RICO claims were based solely on alleged violations of the wire fraud statute, the court noted. Specifically, the complaint alleged that the defendants formed an association-in-fact enterprise that engaged in a pattern of racketeering through predicate acts of wire fraud by making false CHF LIBOR submissions and sending confirmations into the United States for derivatives transactions incorporating manipulated CHF LIBOR.
The RICO claims were dismissed in full as impermissibly extraterritorial because the complaint did not allege a sufficient connection between the alleged acts of wire fraud and the United States, the court determined. Moreover, the RICO claims failed against each defendant except RBS because only RBS was plausibly alleged to have joined a RICO enterprise.
The case is No. 1:15-cv-00871 (SHS).
Attorneys: Vincent Briganti (Lowey Dannenberg Cohen & Hart, P.C.) for Sonterra Capital Master Fund Ltd., HG Holdings, Ltd. and FrontPoint Healthcare Flagship Enhanced Fund, L.P. Adam Shawn Mintz (Cahill Gordon & Reindel LLP) for Credit Suisse Group AG. Paul Christopher Gluckow (Simpson Thacher & Bartlett LLP) for JPMorgan Chase & Co. Alan Schoenfeld (Wilmer Cutler Pickering Hale & Dorr LLP) for The Royal Bank of Scotland PLC.
Companies: Sonterra Capital Master Fund Ltd.; The Royal Bank of Scotland PLC; HG Holdings, Ltd.; FrontPoint Healthcare Flagship Enhanced Fund, L.P.; Credit Suisse Group AG; JPMorgan Chase & Co.


text:
L'estació de Son Fuster és un baixador de tren de Serveis Ferroviaris de Mallorca. Fou inaugurada el maig de 2003. Ambdós accessos tenen un accés per a cada una de les andanes, laterals, interconnectades amb escales i un pont.

Referències

Son Fuster
Son Fuster

redpajama_set_name: RedPajamaWikipedia


Ron and Ruby Crawford with Dr Stuart Bennett.
A great-grandfather has been recognised for living with diabetes for nearly all of his life.
Ron Crawford, from Dudley, was presented with the John Macleod medal from Diabetes UK to make 70 years with Type 1 diabetes.
He was diagnosed with Type 1 diabetes in August 1947 when he was 11 years old.
At a special event at North Tyneside General Hospital, Ron was presented with the medal by Dr Stuart Bennett, consultant physician for endocrinology and diabetes at Northumbria Healthcare NHS Foundation Trust, and Michelle Stebbings, from Diabetes UK.
The John Macleod medal is awarded to people who have lived with diabetes for 70 years. John Macleod was awarded half of the Nobel Prize for the discovery of insulin.
Ron, 81, said: "Back then we didn't really know a lot about diabetes, we found out by accident really.
"My mam and dad noticed something was wrong, I was going to the toilet a lot and just wasn't right.
After spending three weeks in hospital, Ron had to begin learning how to manage the condition and testing his blood glucose levels was not so straight forward. He had to test his glucose levels by using a test tube and benedict solution over a flame – a far cry from the blood glucose monitors he uses today.
Ron said: "At school, my family asked the headmaster if I could leave for lunch a little earlier so I could get the bus home to get my insulin injections and he refused, so I had to run home each day.
He added: "After we retired my wife Ruby and I had more leisure time, we got to go out dancing more often at the local social club – we love to dance, and we went on as many holidays as we could. Diabetes hasn't got in the way of living life to the full.


text:
BGP In The News
BGP Live
The Baltimore City Green Party produces a series of educational videos on important issues in Baltimore and Maryland featuring knowledgeable guests such as activists and policy experts. Videos are streamed on Facebook Live at our page.
Israel-Palestine and the Boycott, Divestment, Sanctions Movement
Featuring Kim Jensen and Sammy Alqasem of Baltimore Palestine Solidarity, hosted by Margaret Flowers
Bail Reform
Featuring Dayvon Love, of Leaders Of A Beautiful Struggle and Andy Ellis, BGP Co-Chair
Historically Black Colleges and Universities - Ongoing Court Cases
Featuring Rashad Staton and DeJuan Patterson, moderated by Kevin Zeese
https://www.facebook.com/baltimoregreens/videos/1597485006932880/
Response to Healthcare Policy in Donald Trump's Congressional Address
Featuring Margaret Flowers
https://www.facebook.com/MargaretFlowersMD/videos/1953901011505106/
Baltimore City Education Funding Crisis
Featuring 2016 Green Party mayoral candidate Joshua Harris, Baltimore City Public Schools educator Jesse Schneiderman, and BGP Co-Chair Andy Ellis

redpajama_set_name: RedPajamaCommonCrawl


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Russian Theatre Film Series
Eisenstein & the Russian Avant-garde
Russian Avant-garde film series
Work and More Work
Worked late into the evening and night on the film"Stanislavsky and Russian Theatre" I've been trying to get the first section right. If I can do this then most of the film will follow. Concentrating on the music sound track and the opening chords to the film which are both visual and musical and give a feeling of the atmosphere of Moscow at night.
Metro very quiet - a definite absence of the usual bustle and crowds which is its main feature these days. Seems like many people avoiding travelling after the recent events, tense and subdued.
Today bright and sunny but very cold. I noticed last night on my way home that the sky was clear and the air super crisp which denoted fine weather for the following day. Its my favourite time of the year in Moscow, in winter that is.
Will work more today on the film. Also working on background material for the film which will widen out the scope of the subject and be useful additional information to go with the film. This is my intention. That is to offer a range of supporting material in association with the film - the full interviews, articles, sites where information about Stanislavsky and Russian theatre in general. This will be in conjunction with The Stanislavsky Centre in London at the Rose Bruford College of Performance and Actingand the London Theatre Blog. In this way the squidoo site is very useful with its lenses and stuff which I am getting to know how to use. It offers an additional hub to theCopernicus Films web site and at the same time links with the web and other social media platforms. I like the way its is set up. At first I wasn't sure about it but recent improvements have made it a useful instrument in collating and disseminating information about the work. I like the way it breaks down modules into specific subjects and groups them together.
on January 26, 2011 No comments:
Labels: Moscow Archives- Moscow film chronicle, Stanislavsky
Moscow in Mist
Moscow has been covered in a mantle of mist for the last few days. Yesterday I walked from my apartment down to he embankment of the Moscow river, past the Ukraine Hotel (Now the Raddisson), and the White House on up towards the curved bridge which carries the metro across the river like some fairground attraction every two minutes. I turned back to look at the new Moscow City complex, the peaks of the tallest buildings shrouded in a thick mist like something from a Chinese monochrome mountain landscape painting. Cars swished by in the slush left by the melting snow and as a result of the mild weather conditions. As I was near to the Museum of the East I called into a friend who works there and we talked for an hour or so, both glad that the long holiday is finally over and we can get back to work. I came home later grateful to get back into my work on a film about Stanislavsky - "Stanislavsky and Russian Theatre".
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Lovely changing mat cover with amazing Liberty of London print from Danish brand Super Carla. This cover is made to fit perfectly on the Danish chaning pillows such as the ones we sell from Super Carla, Liewood and CamCam Copenhagen. On other cushions the fit might not be so snug. We recommend you get one of these changing cushions.
This cover is made without zippers or buttons but fits perfectly around the cushion with a slight overlap. No zippers that can break or buttons that might fall off. The fabric is the Tana Lawn fabric from Liberty London that is very high quality and should stay with you and your family for many years (and babies) to come.


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Step 1: Trim; For desired eyebrow length just trim them! Use the small head and add the comb; Place the device over your eyebrow and move it against the direction of hair growth.
Step 2 : Shape; For perfect eyebrow contouring; remove the comb and use the high precision head. Touch skin lightly and push it across the eyebrow.
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Board index World Tours 2008-2010 & 2012-2013 The Summer Tour in Europe 2009
CONCERT REPORT: Granada, September 13
Europe and Israel (July 1 - September 24, 2009). Concert reports, set lists, photos, media coverage, multimedia links, recollections...
Location: Espoo, Finland
Contact jarkko
Postby jarkko » Tue Sep 15, 2009 10:54 am
Did we have any members in Granada?
While waiting for their reports, here is a link to a report by the newspaper El Mundo
http://www.elmundo.es/elmundo/2009/09/1 ... 14347.html
The following google translation comes from Marie's concert reports!
Kneeling before Leonard Cohen
Elmundo - September 14, 2009 by Olav Alexander (Photo: Jesús G. Hinchado)
Suddenly, waking from a dream, opening his eyes and lead them anywhere. And there, his eyes scan the horizon still glassy. In it, Leonard Cohen. In Atarfe (Granada), at the foot of the first mountain snowfall in months.
It happened last night. Seven thousand devotees of religion 'coheina' disheartened by the cause. Jumping, singing, crying. Awakening from a long sleep, as often desired. From the first piece, 'Dance Me to the End of Love', the Canadian artist imposed his doctrine, tall and proud as an emperor of the great lyrics.
The concert, scheduled at 21.30 in the Plaza de Toros de Atarfe, began at ... 2130. Not a second too late. There was no time to lose the classic that began with the illustrious Jewish Zen no loophole for doubt left. It seemed as though Cohen was aware that the arena was cold and distant and may therefore decide to take the bull by the horns and singing to each spectator, with his legendary voice of tergal, just in the ear directly to my heart.
However, despite the first three classics interpreted by the Cohen-seventies the aforementioned 'Dance Me to the End of Love', 'The Future' and 'Bird on the wire'-the icy atmosphere of the night and a acoustic sound awful awakening did not end the audience, perhaps skeptical that this tall gentleman, well dressed and with an exquisite white hair crowned hat, outside the old Buddhist poet.
It was not until the next string of songs for souls is definitely heat up. At the moment the broken voice of Cohen elegant pirouettes danced in the atmosphere of Granada, the musicians are marking-six in all-who handled organs, drums, saxophones, keyboards, electric guitars and cellos with the same skill with which dominate children's yo-yos.
Then rang 'Tower of Song', 'Who by fire' or 'In My Secret Life', all clothed with the priceless voices of the chorus of women, so high level that even dignify Cohen himself. These are the sisters Charlie and Hattie and the Web black soul voice Sharon Robinson, acclaimed throughout by the crowd.
Like Javier Mas, Barcelona musician who, perhaps, drawn by the ghost of Master Morente, ventured into the land of genius from Granada to a guitar solo, life and death, very flamenco, gypsy very, very Andalusian. Cohen applauded, took off his hat and then halfway through the concert, presented with names and likeness to his group. It seemed like the typical patriarch who only speaks well of her grandchildren. Then disappeared from the stage as always angelic jumps before hitting the popular clamor.
A return of the rest, the poet of a thousand lives was all costumes imaginable. I played 'Suzanne', 'Tower of Song' or 'Hallelujah', plus other classic songs, like 'So Long, Marianne "and Democracy, which by dint of innovation and new techniques that Cohen had seemed versions of their own original songs. They perceive a touch of Arabic music that reveled in the sweetness of the good spirits and, of course, improved parts.
Then came the hour. We could not miss. The crowd, mostly mature, looked forward to the moment. In the land of Federico García Lorca, Cohen, confessed admirer of the poet from Granada, sang 'Take this waltz', adaptation of Lorca's poem "Little Viennese Waltz '. Since then, the solemn recital moved, inevitably, in an emotional communion holiday. The public in the stands and pulled to albero Cohen donned the costume.
"Thank you guys, never forget this night. It is an honor to play for you, "Cohen said toward the end of the dream. As the audience relished the historic 'Flirts we take Manhattan' and 'Closing Time', the wise poet nose rested his knees on the floor.
The sight of the everlasting myth softly blurred, and his figure appeared to be drawn with pencil on a white background and black. As the curtain of a concert as before falling, the crowd kneeled to dismiss Leonard Cohen, and genius figure.
1988, 1993: Helsinki||2008: Manchester|Oslo|London O2|Berlin|Helsinki|London RAH|| 2009: New York Beacon|Berlin|Venice|Barcelona|Las Vegas|San José||2010: Salzburg|Helsinki|Gent|Bratislava|Las Vegas|| 2012: Gent|Helsinki|Verona|| 2013: New York|Pula|Oslo|||
LizzieM
Re: CONCERT REPORT: Granada, September 13
Postby LizzieM » Tue Sep 15, 2009 12:38 pm
Yes Jarkko, there were a few of us there!
I'm just back to work after the weekend in Granada so I'll write review later today.
I've posted the setlist, as I remember it, in the setlist thread.
2008: Bournemouth, RAH. 2009: Minneapolis, Wetbridge, Granada. 2012: Wembley (Hop Farm). 2013: Brighton.
JudasPriest
Postby JudasPriest » Tue Sep 15, 2009 2:37 pm
I was there. Primitive set up with sandy floor (it is a bullring after all), uncomfortable,loose,wooden chairs (reminded me of a school play in that regard), no screens and by far the most significant-SHOCKINGLY BAD SOUND. From row 13 on the main floor, the first half was pretty much a write off due to the sonic disaster that was unfolding. Real pity as Leonard looked fit and well and I suspect his singing was fine. My wife mentioned the sound to the sound desk man-"Do you see what I have to work with?" was the reply. We moved to the sound desk at the back for the second half and things did pick up (in relative terms). And then, the highlight....we (along with many other) marched up the front for the encores. No security, no rail and literally about three feet from the band. Amazing memories and I think we were listening to the stage speakers at that point because I could hear the lyrics and music pretty clearly. So overall, the night was rescued by the intoxicating visuals from Famous Blue Raincoat on. Made it all worth it in the end....
gibjoe
Postby gibjoe » Tue Sep 15, 2009 2:54 pm
The venue was a disaster. Atarfe is not Granada, it is a small commuter town with 12,000 people about six miles out from Granada. The tickets were very expensive and a real effort to purchase for many of the locals. I do not understand the reasoning why this venue was built, but it only seems to handle about four or five concerts a year, the rest being bullfighting and other activities. The sound is poor, the seating uncomfortable and the bathroom and bar facilities rudimentary, to say the least. What this concert would have been like at the Alhambra is just something to dream about!
The sound, as has already been said, was terrible and that made the first half of the concert flat. But then something happened towards the middle of the second part of the concert and there was a sudden flood of goodwill and a connection between performers and audience. From then on emotions ran high and after Hallelujah no-one sat down for the duration of the concert and the encores.
The press reviews have been uniformly fantastic. I have one from the local rag which I will scan and post.
It was my 11th Leonard concert (nine of them last year!!!) and I'am afraid the last one....until the next tour!!!
Postby LizzieM » Tue Sep 15, 2009 4:24 pm
The previous posts are correct I'm afraid, the sound was dreadful. I thought it was because I was to the side of the stage. But we were in Row 8 and it was difficult to make out the words, there was a consistant echo behind us about half a second after each word was sung. Luckily I've been to several concerts including the Albert Hall so I know that Leonard and the band are far better than they sounded in Atarfe. There was also a lot of talking during the songs and at one stage a very loud argument behind us during Lover Lover Lover that had to be sorted out by the bouncers.
Getting to and from the venue (by bus from Granada) certainly was an adventure but I just assumed that was because I attempted it without being able to speak Spanish. In our attempts to find out where the bus stopped in town, we were helped by a man called Carlos who lives in Atarfe and with some sign language and the details I had printed from the Atarfe website in Spanish and a bit of 'hope for the best' attitude we got there and back ok.
At least one Spanish TV company was there filming at the beginning and I also saw a front page photo of Leonard in the Granada paper on Monday.
As for the concert, we enjoyed it despite the sound quality and there was plenty of applause and enthusiasm from the crowd. Leonard's charisma shined through and all the band were smiling and engaged with the audience throughout.
Personally I was delighted to hear Lover Lover Lover but also, just to be in the same place as Leonard and all the other fantastic people on stage makes me happy and reminds me that we should all try to be as kind to everyone we meet as Leonard and his team are to every one of their audience.
sturgess66
Postby sturgess66 » Tue Sep 15, 2009 6:39 pm
Here is a blog from Kitty Sheppard, a new fan, who attended Leonard's show in Granada -
http://kittyshepherd.blogspot.com/
Granada.jpg (14.68 KiB) Viewed 11293 times
Yesterday we had some very bad storms here in Granada; they began in the afternoon and washed most of the loose soil and rock down the hill and into the village. Mop up today has been somewhat hampered by further rain and hail but still in true Spanish style the biggest digger in the world was driven out to scrape all the mud away.
Thankfully we did get to the show last night. And oh and what a show. There were shades of the local shop window about it, in so much as the gritted bull ring complete with cloven hoof stamped marks combined with the containment of so many Spaniards gave the event more than a hint of over excited chaos. Several times I saw a swarthy man impersonating a matador for his lady, like they just couldn't help it. Refreshments were served from the callejón which is the wooden structure that circles the arena and acts as the escape route, everybody seemed to love standing up on tip toes to reach a drink.
The evening was all very social to begin with particularly on the bullring floor and although there were allocated seats nobody seemed to be sitting in them. Groups stood around smoking (yes smoking, everybody smoked) and drinking and talking. Then suddenly without any warning the entire arena was sunk into darkness and complete pandemonium ensued. The band had started to come onto the stage, everyone is desperately trying to locate their seats which have moved, literally, they are none of them fastened down but with their numbers on the chairs themselves what is to stop you rearranging them! Remember this is Spain.
Well a sort of sitting down eventually happened. Then Leonard came on, a roar goes up and everyone is up, chars folding shut. The first ovation lasts forever. Your man wears a pin stripe suit and a rakish fedora, "it's been a long time" he says. The first number is Dance with me, it is long and brilliantly arranged and as the sound guys get the feel of this bullring with 3,000 people right the music emerges beautifully.
The entire band was nothing short of flawless, spellbinding, and the venue was extraordinarily intimate. Leonard Cohen held us all in the palm of his hands with his beauty and his disarming humility. This was a true legend doing his magic for each of us, imploringly sensual and deeply spiritual. Everyone was rapt.
Discovering Leonard Cohen for the first time was a life-defining experience, and seeing him for the first time made it all perfect.
Postby dar » Tue Sep 15, 2009 7:46 pm
LizzieM it was great to see your account of the Granada gig. Sounds like the kind of venue I would have enjoyed. Primal energy, primitive locale, and pandemonium. My cup of tea. hehe
Thanks for the post. Hope all is well with you and yours. I think of you often and wish you the best.
One advantage of the primitive setting was the lack of security and in fact, there wasn't even a rail at the top- I mean, if anyone had been foolish enough to do it, there would have been no problem mounting the stage mid gig and making a complete t** out of yourself. Luckily, noone did but it was fantastc to feel that there was nothing between audience and artist.
bkmccalla
Postby bkmccalla » Tue Sep 15, 2009 9:37 pm
"flirts we take manhattan" and "wise poet nose" and "angelic jumps before hitting the popular clamor"!
god, i love reading these translations!
all that aside, it is difficult for me to contemplate seeing leonard in a place where so much brutality takes and has taken place. i was supposed to be at this show and am glad i didn't make it. i didn't realize it was being held in a bullfighting ring even though i read the "de toros" and know spanish. am surprised frankly that leonard and robert would even consider performing in a place with such horrific karma. i would have been too upset to enjoy the show. i HATE bullfighting. the epitome of cruel and brutal. i shall now get down from the soapbox.
1970, 1983, 1988, 1993/Lyon July 9/Bruges July 10/Amsterdam July 12/Lisbon July 19/Nice July 22/Lucca July 27/Rome July 28/Athens July 30/Beacon February 19/Oakland April 13, 14, 15/Kingston May 22/London May 24/Ottawa May 25, 26/Red Rocks June 4/Las Vegas November 12/San Jose November 13/Las Vegas December 2011 x2/San Jose November 2012/Oakland March 2, 3 2013...i've obviously lost my mind...
Mabeanie1
Postby Mabeanie1 » Tue Sep 15, 2009 11:38 pm
bkmccalla wrote: am surprised frankly that leonard and robert would even consider performing in a place with such horrific karma. i would have been too upset to enjoy the show. i HATE bullfighting. the epitome of cruel and brutal.
I couldn't agree more Bonnie but, in fact, a surprising number of concerts have taken place in bull rings or in arenas used for bullfighting. I did go to the show in Les Arenes in Nimes. It's a beautiful Roman arena which happes to also be used for los toros. Fortunately, it was hard to remember the other uses of the arena on that beautiful hot August night.
goldstei
Postby goldstei » Wed Sep 16, 2009 1:22 am
continuing along this cheerful theme, they literally used to toss Christians to the lions in the Nimes arena. altho the whole bullfighting deal is a total turn-off to me also, at least in portugal they don't kill the bulls--i generally like spain a lot, but i think this reflects a somewhat gentler character of the portuguese people. listening to people speak portuguese is quite wonderful, because the language sounds so beautiful & poetic.
anyway, let's hope for the day when the lions lie down with the lambs, the humans with the bulls and--imagine!!--that even we humans can all live in peace with each other. dwight eisenhower once said, "sooner or later, people are going to get so fed up with wars that their governments are just going to have to give it to them." i like even better when george mcgovern once said: "i'm sick and tired of old men dreaming up wars that they then send young men off to die in."
Hi Bonnie!
ladydi
Postby ladydi » Wed Sep 16, 2009 2:58 am
I can't help but think of Ferdinad the bull, who didn't want to fight but only smell the flowers! Several years ago a friend tried to entice us to Pamplona for the running of the bulls. At first I thought "oh, how Hemingwayesque" but then realized that the bulls were squished together all night in holding pens and were terrified. When the gates opened in the morning, of course they ran...it was a momentary sense of freedom. Later, most were killed in the afternoon.
No bullfights for me, and I think I would have difficulty being in a bullring....but that's a personal thing. As awful as it sounds, the deaths of the Christians in the Nimes arena was so many centuries ago that it wouldn't hit me as much as the blood of the bull that was needlessly killed yesterday. However, in all this I know it is only MY feelings. There are so many layers of cultural differences between us all and what may seem abhorrent to me, is perfectly natural to someone else.
Bob...I think I like Portugal's system better....
Postby gibjoe » Wed Sep 16, 2009 2:01 pm
I'm afraid the bulls are killed in Portugal too, they just don't do it in the ring.
timinio
Postby timinio » Wed Sep 16, 2009 8:03 pm
i live in spain,i dont like bullfighting..this is their country,you can have issues with every country that field comander cohen plays..his music..unites us all.leonard once said "I Have a curious notion that the nazis were toppled by music"..there is a crack in everything..thats how the light gets in !
Anyhow we found the new stadium..no signs to direct us,ony the spanish would build a new arena and not tell you how to get there!.neverless..we were 20 metres from the 2 tour coaches..1 sequrity guard,2 hours before the show began.the back stage door opened..the band started to warm up...lover,lover.lover come back to me..goose bumps or what.The great man singing..just for Adele(my partner) and I.
There were about 95% spanish and the rest were Engish speaking,so it was going to be a curious mixure of cultures.yes ..from row 32 the sound was poor but Leonard could sing to me through 2 paper cups tied with string and i wouldnt complain!.The gig was simply awsome,a spiritual comradship engulfed the 2nd half of the show,where people stood..who had paid to sit down.A ghostly echo of people singing ..the words..as Leonard paused ,smiled and took off his tiny hat to acknoledge his friends participation.The locals did go crazy for take this waltz,but also for "the partizan"..maybe because of the franco years?
kind regards Timinio
bridger15
Location: Los Angeles - ex Toronto
Contact bridger15
Postby bridger15 » Wed Sep 16, 2009 8:29 pm
bkmccalla wrote: brutality takes and has taken place.
Entering the ring on this topic of brutality in a concert venue,
I suppose you haven't attended many NHL Hockey games in hockey arenas. Sometimes the benches empty, there are 30 brawling men on the ice and there can be blood shed.
2009-San Diego|Los Ang|Nashville|St Louis|Kansas City|LVegas|San Jose
2010-Gothenburg|Berlin|Ghentx2|Oaklandx2|Portland|LVegasx2
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Arlene's Leonard Cohen Scrapbook http://onboogiestreet.blogspot.com
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Song One è un film del 2014 scritto e diretto da Kate Barker-Froyland, con protagonisti Anne Hathaway e Johnny Flynn.

Trama
Franny è una giovane antropologa costretta a lasciare il suo scavo in Marocco per tornare frettolosamente negli Stati Uniti e accudire il fratello vittima di un incidente. Qui inizia una relazione amorosa con James, rock star preferita del fratello.

Produzione
Le riprese della pellicola sono iniziate nel giugno 2013 a New York.

Distribuzione
Il film è stato presentato in anteprima al Sundance Film Festival il 20 gennaio 2014, mentre è uscito nelle sale cinematografiche statunitensi il 23 gennaio dello stesso anno. In Italia non è stato distribuito nei cinema.

Accoglienza
La pellicola negli Stati Uniti ha incassato 32.2 mila dollari.

Critica
Sul sito Rotten Tomatoes il film ha ricevuto il 34% delle critiche positive, con un voto medio di 5,3 su 10, basato su 50 recensioni.

Note

Collegamenti esterni

Film drammatici
Film sentimentali


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