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Library of Congress streams UW pianist Christopher Taylor's online Liszt-Beethoven symphony recital for free this Thursday night
This Thursday night, Dec. 17, from 7 to 9 p.m. CST, University of Wisconsin-Madison virtuoso pianist Christopher Taylor (below) will close the celebration of the Beethoven Year, marking the 250th anniversary of the composer's birth, at the Library of Congress. After the concert's premiere, it will stay posted online.
For the past several years, Taylor has been performing the solo piano transcriptions by Franz Liszt of Ludwig van Beethoven's nine symphonies both in Russia and at the UW-Madison.
Here is more from the website of the UW-Madison's Mead Witter School of Music:
"It takes extraordinary skill as an orchestrator to condense an entire symphony by Beethoven (below top) into a version for a solo instrument, but that is just what Franz Liszt (below bottom) accomplished in his piano transcriptions. (You can hear a sample, along with a visual representation, of the Fifth Symphony transcription in the YouTube video at the bottom.)
"Hear virtuoso pianist Christopher Taylor perform three of these transcendent symphony transcriptions, works he describes as a "new perspective on something familiar." (The Ear, who has heard Taylor's impressive performances of almost all nine symphonies, finds that comparing the two versions is like looking at the same photograph in color and then black-and-white. Color emphasizes details while black-and-white emphasizes structure. You hear new things by comparing the two.)
The performance was pre-recorded in the Mead Witter Foundation Concert Hall of the Hamel Music Center.
BEETHOVEN/LISZT
Symphony No. 1 in C major, Op. 21
Symphony No. 2 in D major, Op. 36
Symphony No. 5 in C minor, Op. 67
You can find more details at: https://loc.gov/concerts/christopher-taylor.html
You can Register on Eventbrite
Hailed by critics as "frighteningly talented" (The New York Times) and "a great pianist" (The Los Angeles Times), Taylor has distinguished himself throughout his career as an innovative musician with a diverse array of talents and interests.
He is known for a passionate advocacy of music written in the past 100 years — Messiaen, Ligeti and Bolcom figure prominently in his performances — but his repertoire spans four centuries and includes the complete Beethoven sonatas, the Liszt Transcendental Etudes, Bach's Goldberg Variations, and a multitude of other familiar masterworks.
Whatever the genre or era of the composition, Taylor brings to it an active imagination and intellect coupled with heartfelt intensity and grace.
Taylor has concertized around the globe, with international tours taking him to Russia, Western Europe, East Asia and the Caribbean.
At home in the U.S. he has appeared with orchestras such as the New York Philharmonic, Los Angeles Philharmonic, Detroit Symphony, the Madison Symphony and the Milwaukee Symphony. As a soloist he has performed in New York's Carnegie and Alice Tully Halls, in Washington's Kennedy Center for the Performing Arts, the Ravinia and Aspen festivals, and dozens of other venues.
In chamber music settings, he has collaborated with many eminent musicians, including Robert McDuffie and the Borromeo, Shanghai, Pro Arte, and Ying Quartets.
His recordings have featured works by Liszt, Messiaen and present-day Americans William Bolcom and Derek Bermel.
Throughout his career, Taylor has become known for undertaking memorable and unusual projects. Examples include: an upcoming tour in which he will perform, from memory, the complete transcriptions of Beethoven symphonies by Liszt; performances and lectures on the complete etudes of Gyorgy Ligeti; and a series of performances of the Goldberg Variations on the unique double-manual Steinway piano (below) in the collection of the University of Wisconsin.
Numerous awards have confirmed Taylor's high standing in the musical world. He was named an American Pianists' Association Fellow for 2000, before which he received an Avery Fisher Career Grant in 1996 and the Bronze Medal in the 1993 Van Cliburn International Piano Competition. In 1990 he took first prize in the William Kapell International Piano Competition, and also became one of the first recipients of the Irving Gilmore Young Artists' Award.
Taylor lives in Middleton, Wis., with his wife and two daughters. He is a Steinway artist.
For more biographical information — including his piano teachers and his education as well as his interest in mathematics and engineering — go to: https://www.music.wisc.edu/event/christopher-taylor-concerts-from-the-library-of-congress/
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Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison
Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.
Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.
That is as it should be. If any musician deserved it, Fleisher did.
Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.
But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.
In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin's Pro Arte String Quartet (below bottom).
Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.
Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.
Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)
Here is a this blog's review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher
Fleisher liked performing with the Pro Arte, and therein lies another historical tale.
His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert's "Trout" Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.
Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography "My Nine Lives" (below).
Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky's "The Rite of Spring" in Paris — called Fleisher the "musical find of the century." Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.
Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.
Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. "I pounded ivory six or seven hours a day," Fleisher later said.
After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.
There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)
Here is an inspiring overview of Fleisher's life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/
And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher
Here are three especially noteworthy obituaries:
NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92
The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html
The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html
The Ear has always found Fleisher's playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.
Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.
The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.
Did you ever hear Leon Fleisher play live or in recordings? What did you think?
Do you have a comment to leave about the legacy of Fleisher?
Tags: #AndréWatts, #AnneMidgette, #ArturSchnabel, #BaltimoreMaryland, #BaroqueMusic, #BlogPost, #BlogPosting, #ChamberMusic, #ChamberMusician, #ChildProdigy, #CityofMadison, #Classicalera, #ClevelandOrchestra, #CriticalAcclaim, #CriticallyAcclaimed, #CriticalReview, #DeutscheGrammophon, #EmersonStringQuartet, #FacebookPost, #FacebookPosting, #FacultyMember, #FocalDystonia, #FranzSchubert, #FrenchConductor, #FrenchMusician, #GeorgeFridericHandel, #GeorgeSzell, #HandelVariations, #HighStandard, #IgorStravinsky, #InPerson, #JacobStockinger, #JohannesBrahms, #JohnsHopkinsUniversity, #JohnW.Barker, #JonathanBiss, #KatherineJacobson, #KennedyCenter, #LeonFleisher, #LiveMusic, #LudwigVanBeethoven, #MadisnSymphonyOrchestra, #MadisonWisconsin, #MusicalInterpretation, #Musicfaculty, #MyLi, #MyNineLives, #NationalPublicRadio, #NewYorkPhilharmonic, #ParisFrance, #PeabodyInstitute, #PianoConcerto, #PianoMusic, #PianoQuintet, #PianoVirtuoso, #PierreMonteux, #ProArteQuartet, #RiteofSpring, #RomanticMusic, #SanFrancisco, #StringQuartet, #TheEar, #ThemeAndVariations, #TheNewYorkTImes, #TheU.S., #TheUW, #TheWashingtonPost, #TroutQuintet, #UnitedStates, #UniversityofWisconsin-Madison, #Wikipediabiography, #WisconsinPublicRadio, #WisconsinUnionTheater, #WorldPremiere, #YefimBronfman, #YouTubevideo, acclaim, affable, air, Amazon, amazon.com, America, American, André Watts, Anne Midgette, appearance, Arts, Artur Schnabel, audience, autobiography, available, balance, Baltimore, Baroque, Beethoven, Biss, blog, Book, born, Brahms, Bronfman, California, cancer, career, catalogue, cause, century, Chamber music, channel, child prodigy, clarity, Classical, Classical music, Cleveland Orchestra, comment, concerto, conductor, critic, critical review, day, dead, death, debut, depression, deserve, determination, Deutsche Grammophon, devite, DG, diagnoses, diagnosis, die, early, Emerson String Quartet, engineering, entertaining, Europe, exacting, exceptional, exemplary, Facebook, faculty, famed, famous, favorite, finale, find, Finger, flexible, fluency, focal dystonia, forward, France, Franz Schubert, French conductor, frequent, George Frideric Handel, George Szell, Handel, Handel Variations, hands, hear, high standard, historical, History, Home, honor, hour, husband, Igor Stravinsky, in person, informative, innate, inspirational, inspire, inspired, interpretation, interpreter, ivory, Jacob Stockinger, Johannes Brahms, John W. Barker, Johns Hopkins University, joint, Jonathan Biss, Katherine Jacobson, Kennedy Center, Keyboard, landmarks, left hand, legacy, Leon Fleisher, life, like, link, live music, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, manage, masterpiece, media, member, memoir, modern, Music, musical, musicality, Musician, My Nine Lives, name, National Public Radio, natural, New York Philharmonic, New York Times, Newspaper, noteworthy, NPR, obituaries, obituary, obstacle, octave, Orchestra, outlet, overcome, overview]life, paralysis, paralyzed, Paris, Peabody Institute, perform, performer, personal, photo, Pianist, Piano, Piano concerto, piano music, Piano Quintet, Pierre Monteux, playing, pleasure, post, posting, pound, practice, Pro Arte Quartet, prodigy, Radio, receive, recital, recording, relationship, remarkable, remember, remembering, remembrance, review, rhythm, right hand, Rite of Spring, Romantic, San Francisco, Schubert, see, sense, serve, setback, share, soul, soul-searching, station, Stravinsky, String quartet, study, Sunday, symphony, tag, tale, Teacher, teaher, technical, technique, Television, The Ear, The Rite of Spring, The Washington Post, theme and variations, time, Titan, together, tribute, Trout Quintet, TV, U.S., uncurl, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Madison, various, virtuoso, virtuoso pianist, Waltz, Watts, wife, Wikipedia, Wisconsin, wisconsin public radio, Wisconsin Union Theater, work, world premiere, write, writing, years, Yefim Bronfman, young, YouTube
Classical music: Award-winning prodigy pianist Maxim Lando performs a recital at Farley's on Sunday afternoon and gives a free public master class on Saturday afternoon
ALERT: At noon this Saturday, Nov. 16, Grace Presents offers a FREE one-hour concert by Lawren Brianna Ware and friends. The concert is at Grace Episcopal Church, 116 West Washington Avenue, downtown on the Capitol Square.
Pianist and composer Ware, the 2017 Grand Prize Winner of the Overture Rising Stars Competition, will perform a program of original, contemporary and classical solo and chamber works entitled "These Are a Few of My Favorite Things." Featured are works by Aram Khachaturian, Fazil Say, Frederic Chopin, Ludwig van Beethoven, Robert W. Smith, Martin Ellerby and Eric Ewazen.
You have to hand it to Farley's House of Pianos and its Salon Piano Series: They sure know how to book young up-and-coming performers to stay ahead of the curve.
Last season, they presented Kenneth Broberg, a silver medalist at the last Van Cliburn International Piano Competition, before he was accepted into the International Tchaikovsky Competition in Moscow, where he won a bronze medal.
This weekend, the Salon Piano Series presents another timely choice.
This Sunday afternoon, Nov. 17, at 4 p.m., the 17-year-old American piano prodigy Maxim Lando (below, in a photo by Matt Dine) will perform a solo recital at Farley's showroom, 6522 Seybold Road, on Madison's far west side near West Towne Mall.
Once again, Lando was booked just before winning a big award and honor.
In addition, at his Salon Piano Series premiere, Lando will have grandparents in the audience, as well as an aunt, uncle and cousins, all from the Madison area.
The son of pianist Pippa Borisy, who grew up in Madison, and clarinetist Vadim Lando, Maxim was raised in Great Neck, Long Island, New York, and has a full-time career as a touring pianist while still finishing high school.
Lando first received national attention in 2017 when he performed with superstar Chinese pianist Lang Lang and jazz great Chick Corea with the Philadelphia Orchestra at Carnegie Hall's Gala Opening Night.
He won the 2018 Young Concert Artists auditions at the age of 16 and Susan Hall of Berkshire Fine Arts has described him as having "a very old musical soul."
This fall he received a Gilmore 2020 Young Artist Award, which recognizes the most promising of the new generation of U.S.-based pianists, age 22 or younger. He will perform a series of concerts this season at the Gilmore Keyboard Festival as part of the recognition.
For this Salon Piano Series concert, Lando will perform the same program he performed for recent sold-out performances at the Kennedy Center in Washington, D.C., and Carnegie Hall in New York City.
Lando's program includes: Nikolai Kapustin's Concert Etude "Toccatina"; Ludwig van Beethoven's Sonata No. 30 in E Major, Op. 109 (you can hear the opening movement in the YouTube video at the bottom); Alexander Scriabin's Prelude in B major and Etude in D-sharp minor; and Franz Liszt's "Transcendental Etudes."
Tickets are $45 in advance (full-time students are $10) or $50 at the door (if any remain). Service fees may apply. Student tickets can only be purchased online and are not available the day of the concert.
Tickets can be purchased at: https://www.brownpapertickets.com/event/4275212
An artist's reception will follow the concert.
For more information, go to: https://salonpianoseries.org/concerts.html
Also, on this Saturday, Nov. 16, at 4 p.m., Maxim Lando will teach a master class at Farley's House of Pianos, where he will instruct four local students.
This is a free event that the public is invited to observe.
For a complete list of the music by Beethoven, Prokofiev and Clementi to be performed as well as the names of the local students and their teachers, go to: https://salonpianoseries.org/concerts.html
The master classes for the 2019-20 season are supported by the law firm of Boardman and Clark LLP.
This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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Classical music: This Saturday the critically acclaimed new production of Francesco Cilea's "Adriana Lecouvreur" is featured in cinemas in "Live from The Met in HD" satellite broadcasts and on Wisconsin Public Radio. Read a rave review
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This Saturday afternoon, Jan. 12, brings the fifth production of this season's "Live From the Met in HD" series: Francesco Cilea's "Adriana Lecouvreur."
This 1902 opera – the only well-known one by this Italian composer (1866-1950) — seeks to capture the Baroque era's richness of Paris and the French court in 1730. It is based on a real-life French actress who captured the public with her on-stage and off-stage passion.
The Metropolitan Opera's new production, directed by Sir David McVicar, features superstar soprano Anna Netrebko as Adriana while the acclaimed tenor Piotr Beczala plays Maurizio, who is as smitten with Adriana as she is with him. (You can hear their duet from Act I in the YouTube video at the bottom.)
The conductor is the acclaimed and much in-demand Gianandrea Noseda (below), the music director of the National Symphony Orchestra at the Kennedy Center in Washington, D.C., and a frequent conductor at the Met.
Mezzo-soprano Anita Rachvelishvili (below) has also received critical acclaim for her powerful singing in the production.
The hi-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 4:15 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)
The encore HD showings are next Wednesday, Jan. 16, at 1 p.m. and 6:30 p.m.
The opera will be sung in Italian with supertitles in English, German, Spanish and Italian.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
https://www.movietickets.com/movies
Here is a link to the Metropolitan Opera's website where you can find the titles, dates, casts, production information and video clips of all 10 productions this season, which includes operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Verdi and Poulenc plus a new work, "Marnie," by Nico Muhly: https://www.metopera.org/season/in-cinemas/
Here is a rave review of "Adriana Lecouvreur" by senior classical music critic Anthony Tommasini for The New York Times: https://www.nytimes.com/2019/01/01/arts/music/review-adriana-lecouvreur-metropolitan-opera.html
Here is a link to a synopsis and cast list: https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/adriana_usglobal.pdf?performanceNumber=15136
Here is a link to other information about the production of "Adriana Lecouvreur," including photos and audiovisual clips: https://www.metopera.org/season/2018-19-season/Adriana-Lecouvreur/
And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD
Tags: #AdrianaLecouvreur, #AnitaRachvelishvili, #AnnaNetrebko, #AnthonyTommasini, #BaroqueEra, #BlogPost, #BlogPosting, #CamilleSaint-Saens, #CriticalAcclaim, #DavidMcVicar, #FacebookPost, #FacebookPosting, #FrancescoCilea, #FrancisPoulenc, #Frenchcourt, #GaetanoDonizetti, #GeorgesBizet, #GiacomoPuccini, #GianandreaNoseda, #GiuseppeVerdi, #KennedyCenter, #LiveFrom the MetinHD, #MarcusTheatres, #MetropolitanOpera, #MetropolitanOperaLiveinHD, #Mezzo-sopranoSinger, #MusicCritic, #MusicReview, #NationalSymhony, #NewYorkCity, #NewYorkTimes, #NicoMuhly, #PalaceCinema, #PiotrBeczala, #PointCinema, #PucciniOpera, #RichardWagner, #SunPrairieWisconsin, #TheMet, #UniversityofWisconsin, #VerdiOpera, #WashingtonD.C., #Wikipediaentry, #WisconsinPublicRadio, #YouTubevideo, actress, Adriana Lecouvreur, Anita Rachvelishvili, Anna Netrebko, Anthony Tommasini, Arts, audience, audiovisual, Baroque, Bizet, blog, Broadcast, cast, cast list, China, choral music, Classical music, composer, conductor, critic, critical acclaim, David McVicar, Donizetti, duet, encore, Facebook, France, Francesco Cilea, French, Gianandrea Noseda, hi def, High definition, Israel, Jacob Stockinger, Kennedy Center, life, like, link, Live From The Met in HD, Madison, Marcus Theatres, Met, Metropolitan Opera, Metropolitan Opera Live in HD, Mezzo-soprano, Music, music critic, music review, National Symphony Orchestra, New York City, New York Times, Nico Muhly, NPR, opera, Orchestra, Palace Cinema, Paris, Passion, performer, photo, Piotr Beczala, Point Cinema, post, posting, Poulenc, power, powerful, public, Puccini, real, Russia, Saint-Saens, Saturday, senior, share, soprano, Sun Prairie, superstar, synopsis, tag, tenor, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Verdi, video, vocal music, Wagner, Washington D.C., Website, Wikipedia, Wisconsin, wisconsin public radio, world, YouTube
Classical music: The Madison Symphony Orchestra concerts this weekend feature three local debuts — by a woman conductor, a Grammy-winning cellist and an immigrant composer
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Three local debuts will take place this weekend in the three "Epic Romance" concerts by the Madison Symphony Orchestra (below).
Renowned Canadian guest conductor Tania Miller will lead the MSO while music director John DeMain makes his debut at the Liceu Theater in Barcelona, conducting the opera Candide in celebration of the 100th anniversary of Leonard Bernstein's birth.
Grammy Award-winning American cellist Zuill Bailey will make his Madison Symphony Orchestra (MSO) solo debut in Edward Elgar's Cello Concerto.
And Canadian composer Michael Oesterle will be performed for the first time in Madison when his work "Home" opens each concert.
The second half of the program is Peter Ilyich Tchaikovsky's Symphony No. 5.
Performances will be held in Overture Hall of the Overture Center, 2912 State Street, on Friday, Oct. 19, at 7:30 p.m.; on Saturday, Oct. 20 at 8 p.m.; and on Sunday, Oct. 21, at 2:30 p.m.
Here are more details:
Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician and innovator, on the podium and off. She has been praised for "energy, grace, precision and restraint." She has appeared as a guest conductor in Canada, the United States and Europe with such orchestras as the Bern Symphony Orchestra, Seattle Symphony, Oregon Symphony and the Vancouver Symphony, among others.
Over a 14-year tenure as the Music Director of the Victoria Symphony in Canada, Miller (below) gained national acclaim for her passion and commitment to the orchestra and community. Recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers for her acclaimed commitment to contemporary music in Canada, Miller has been an example of the impact of commitment and dedication to an orchestra and to the future of orchestral music through creative innovation and vision.
You can hear Tania Miller discuss women conductors in the informative YouTube video at the bottom.(But please be forewarned: YouTube was having major technical issues and glitches last night that affected all their videos on this blog, not just this one. If it doesn't load when you try, wait and then try again.)
Zuill Bailey (below), described by Classical Net as "easily one of the finest cellists today," has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Toronto, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. Bailey has also appeared at Disney Hall, the Kennedy Center, the United Nations, Lincoln Center and Carnegie Hall.
In 2017, Bailey won a best solo performance Grammy Award for his live recording of "Tales of Hemingway," by composer Michael Daugherty. His celebrated "Bach Cello Suites" and recently released Britten Cello Symphony and Sonata CD with pianist Natasha Paremski immediately rose to the No. 1 spot on the Billboard magazine Classical Chart.
His Cello Concerto was the last notable work by Sir Edward Elgar (below), composed in 1919 in the aftermath of World Ear I. Upon regaining consciousness following a 1918 tonsillectomy, Elgar immediately asked for pencil and paper and wrote down the melody that would become the first theme in this concerto.
Despite today's renown as a crowd favorite, the piece did not achieve wide popularity until the 1960s, when a recording by Jacqueline du Pré caught the public's attention, and it became a classical favorite.
Michael Oesterle's "Home" had its world premiere in November 2017 with the Royal Conservatory Orchestra and conductor Tania Miller.
The piece is an homage to the great geographical ebb and flow of humanity, also known as the immigrant experience. Oesterle (below) notes, "I wrote it through the filter of my personal impressions as an immigrant, and with the realization that this subject is humbling in its breadth."
Composed between May and August 1888, Tchaikovsky's Symphony No. 5 was first performed in St. Petersburg at the Mariinsky Theatre with Tchaikovsky below) conducting.
Unlike its two predecessors, there is no known program for the Fifth Symphony, save for a recurring main theme heard throughout all four movements. Over the years this theme has become known as the "fate" motive; its original ominous character undergoes various metamorphoses, emerging triumphant in the score's concluding pages.
ABOUT ATTENDING
The lobby opens 90 minutes prior to each concert. One hour before each performance, Madison Symphony Chorus Director and UW-Madison director of choral activities Beverly Taylor (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers' understanding and listening experience. It is free to ticket holders.
The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center's security stations, and so they can experience the Prelude Discussion.
Program notes for the concerts are available online: http://bitly.com/oct2018programnotes
Tickets can be purchased in the following ways:
Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/ax through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
Discounted seats are subject to availability, and discounts may not be combined.
Find more information, go to madisonsymphony.org
Major funding for the October concert is provided by: Mirror 34 Productions and National Guardian Life Insurance Company. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Barbara J. Merz, Selma Van Eyck, and the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.
Tags: #AmericanImmigration, #AntonBruckner, #AsianImmigration, #BarcelonaSpain, #BenjaminBritten, #BillboardMagazine, #BlogPost, #BlogPosting, #BoxOffice, #CanadianComposer, #CanadianConductor, #CanadianLeagueofComposers, #CanadianMusic, #CandideOpera, #CapeTown, #CarnegieHall, #CelloConcerto, #ChoralMusic, #ClassicalChart, #ClassicalNet, #CompactDisc, #ContemporaryComposers, #ContemporaryMusic, #DisneyHall, #EbbandFlow, #EdwardElgar, #ErnestHemingway, #EuropeanImmigration, #FacebookPost, #FemaleConductor, #GrammyAward, #GuestConductor, #HomeWebsite, #InsuranceCompany, #JacquelineduPré, #JohannSebastianBach, #JohnDeMain, #KennedyCenter, #LeonardBernstein, #LincolnCenter, #LinzAustria, #LiveRecording, #MadisonCommunityFoundation, #MadisonSymphonyChorus, #MadisonSymphonyOrchestra, #MariinskyTheatre, #MeadWitterSchoolofMusic, #MichaelOesterle, #MusicalInterpretation, #MusicDirector, #NatashaParemski, #NationalEndowmentfortheArts, #NationalGuardianLife, #NewMusic, #OperaMusic, #OrchestralMusic, #OregonSymphony, #OvertureCenter, #OvertureHall, #PeterIlyichTchaikovsky, #PublicAttention, #RoyalConservatory, #RussianComposer, #SeattleSymphony, #SeattleWashington, #SoloCelloSuites, #SoloDebut, #SouthAfrica, #StateOfWisconsin, #TalesofHemingway, #TaniaMiller, #TechnicalGlitch, #TechnicalIssue, #The1960s, #The60s, #TorontoCanada, #UnitedNations, #UnitedStates, #UniversityofWisconsin-Madison, #VancouverCanada, #VancouverSymphony, #VictoriaSymphony, #WisconsinArtsBoard, #WomanConductor, #WorldPremiere, #WorldWarI, #YouTubevideo, #ZuillBailey, 1960s, acclaim, anniversary, Anton Bruckner, Arts, Austria, award, Bach, Barcelona, Benjamin Britten, Bern, BernSwitzerland, Billboard magazine, birth, Canadian, Candide, Cape Town, Carnegie Hall, cellist, Cello, centennial, character, Chicago, choral music, Classical chart, Classical music, Classical Net, commitment, community, Compact Disc, composer, concerto, conductor, debut, dedication, discount, discussion, Disney Hall, Edward Elgar, epic, Ernest Hemingway, Europe, example, Facebook, favorite, female, funding, geographical, geography, glitch, Grammy, Grammy Award, group, homage, Home, immigrant, immigration, impact, impression, innovation, innovator, insurance, interpretation, interpreter, Israel, issue, Jacob Stockinger, Jacqueline du Pré, Johann Sebastian Bach, John DeMain, Kennedy Center, Leonard Bernstein, Lincoln, LIncoln Center, Linz, Live Recording, Los Angeles, Madison, Madison Community Foundation, Madison Symphony Chorus, Madison Symphony Orchestra, Mariinsky Theatre, Mead Witter School of Music, melody, metamorphoses, Michael Oesterle, Music, Natasha Paremski, National Endowment for the Arts, NEA, New York City, ominous, online, opera, Oregon, Passion, personal, Peter Ilyich Tchaikovsky, Pianist, Piano, podium, popular, popularity, Prelude, public attention, Romance, Royal Conservatory, Russia, San Francisco, Seattle, security, senior, solo, Sonata, South Africa, Spain, St. Petersburg, State of Wisconsin, Student, subscriber, Switzerland, symphony, Tales of Hemingway, Tania Miller, technical, theme, ticket, Toronto, United Nations, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Victoria, Viola, Violin, vision, web site, Website, Wisconsin, Wisconsin Arts Board, women, YouTube, Zuill Bailey
Classical music: A FREE recital by the Del Sol string quartet on Monday night honors pioneering composer Ben Johnston
The Ear has been asked to post the following announcement:
The San Francisco-based ensemble the Del Sol Quartet will give a FREE public recital on Monday night, May 21, in Madison in honor of pioneer composer, teacher and mentor Ben Johnston (below).
For more information about the composer, go to: https://en.wikipedia.org/wiki/Ben_Johnston_(composer)
The recital is on the occasion of Johnston's upcoming induction into the American Academy of Arts and Letters: https://artsandletters.org/pressrelease/2018-newly-elected-members/
This FREE performance will be held in the new Atrium Auditorium (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive, on Monday night at 7 p.m.
The program will feature Johnston's two most popular string quartets: the Fourth Quartet (based on the beloved theme "Amazing Grace"); and the Tenth Quartet (also based on a popular folk melody). In addition there will be works by some of Johnston's contemporaries. (You can hear the Fourth Quartet of Ben Johnston in the YouTube video at the bottom.)
Johnston, 92, has made his home in the Madison area for the past 11 years, where he continues to advance the field of microtonal music composition and performance, most notably initiated in the U.S. by music legend Harry Partch, with whom Johnston studied for several years. Partch's seminal work, "Genesis of Music," was first published in Madison by the University of Wisconsin Press in 1949.
Winner of numerous awards and honors, including a Guggenheim Fellowship and the ASCAP Deems Taylor Award, Johnston spent most of his career at the University of Illinois at Champaign-Urbana. He had a significant role in some of the Contemporary Arts Festivals, which were annual events in the 1960s. His service, as composition teacher and mentor there, led to an honorary doctorate from that institution. He is also the author of "Maximum Clarity," published by the University of Illinois Press.
Hailed by New York Times critic Mark Swed as "probably [America's] most subversive composer …able to make both radical thinking and avant-garde techniques sound invariably gracious,"Johnston's diligent dedication recently resulted in the release of the third CD by the Milwaukee-based Kepler Quartet https://www.keplerquartet.com/ on the New World Music label https://www.newworldmusic.com/
The three CD series encompasses all of Johnston's string quartets and took 14 years of painstaking collaboration to bring to fruition, receiving high acclaim internationally. Johnston has been well-known in experimental music circles since his second quartet came out on Nonesuch Records in 1969.
Hailed by Gramophone as "masters of all musical things they survey" and two-time winner of the top Chamber Music America/ASCAP Award for Adventurous Programming, the Del Sol String Quartet shares living music with an ever-growing community of adventurous listeners.
Del Sol (below) was founded in 1992 at Banff Centre for the Arts in Canada and is recognized as a "vigorous champion of living composers," focusing on music that reflects the cultural diversity of the community, advocating works by both world-renowned and emerging composers, and collaborating across disciplines. Del Sol has commissioned and premiered over 100 works by a diverse range of composers.
The Quartet has performed on prominent concert series nationwide, including the Kennedy Center, Library of Congress, National Gallery of Art, Symphony Space, Cabrillo Festival, Other Minds Festival, and Santa Fe Opera.
The quartet conducts an active educational program in the San Francisco Bay Area, in addition to regular residencies at universities and music schools across the country."
For more information, go to: http://delsolquartet.com/
Tags: #AmazingGrace, #AmericanAcademyofArtsandLetters, #AmericanMusic, #ASCAPaward, #BanffCanada, #BanffCentrefortheArts, #BenJohnston, #CabrilloFestival, #CommissionedMusic, #ContemporaryArtsFestivals, #CulturalDiversity, #DeemsTaylorAward, #DelSolQuartet, #EmergingComposers, #ExperimentalMusic, #FirstUnitarianSocietyofMadison, #FolkMelody, #GuggenheimFellowship, #HarryPartch, #HymnMusic, #KennedyCenter, #KeplerQuartet, #LibraryofCongress, #LivingComposer, #LivingComposers, #MadisonWisconsin, #MicroTonalMusic, #MilwaukeeWisconsin, #MusicCommission, #NationalGalleryofArt, #NewMusic, #NewWorldMusic, #NonesuchRecords, #OtherMindsFestival, #RenownedComposers, #SanFrancisco, #SantaFeOpera, #SymphonySpace, #TheNewYorkTImes, #UniversityofIllinois-Champaign-Urbana, #UniversityofIllinoisPress, #UniversityofWisconsin, #UniversityofWisconsinPress, #WorldPremiere, adventurous, Amazing Grace, America, American, American Academy of Arts and Letters, annual, Art, Arts, ASCAP, Banff Center for the Arts, Ben Johnston, Canada, Cello, Chamber music, champion, Classical music, collaboration, commission, Compact Disc, composer, contemporaries, cultural, dedication, Deems Taylor, diligent, diversity, doctorate, event, experimental, festival, First Unitarian Society of Madison, folk melody, Folk music, free, Genesis, Guggenheim Fellowship, Harry Partch, honorary, hymn, induction, Jacob Stockinger, Kennedy Center, Kepler Quartet, Library of Congress, living, Madison, mentor, microtonal, Milwaukee, Monday night, Music, National Gallery of Art, New Music, New York Times, Nonesuch Records, pioneer, pioneering, popular, premiere, programming, recital, San Francisco, San Francisco Bay Area, seminal, service, subversive, Teacher, theme, U.S., United States, University of Illinois at Champaign-Urbana, University of Illinois Press, University of Wisconsin Press, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Wisconsin, YouTube
Classical music: Acclaimed a cappella vocal ensemble Cantus performs a world premiere in Edgerton this Saturday night
"Cantus: Inspiring Through Song" will perform in concert this coming Saturday night, March 17, at 7:30 p.m. at the Edgerton Performing Arts Center, 200 Elm High Drive in Edgerton, Wisconsin.
In its 2017-18 touring program "Discovery of Sight," the a cappella ensemble Cantus (below) explores the essence of light and vision, reveling in the mystery, science and poetry of what it means to truly "see" with music.
The program features works by Richard Strauss, Franz Schubert, Eric Whitacre (below top) and Einojuhani Rautavaara (below middle, in a photo by Getty Images) alongside a world premiere by Gabriel Kahane (below bottom).
Tickets are $25 each and can be purchased online at www.edgertonpac.com or by phone at (608) 561-6093.
Praised as "engaging" by the New Yorker magazine, the men's vocal ensemble Cantus is widely known for its trademark warmth and blending, and for its innovative programming and involving performances of music ranging from the Renaissance to the 21st century.
The Washington Post has hailed the Cantus sound as having both "exalting finesse" and "expressive power," and refers to the "spontaneous grace" of its music making.
As one of the nation's few full-time vocal ensembles, Cantus has grown in prominence with its distinctive approach to creating music. Working without a conductor, the members of Cantus rehearse and perform as chamber musicians, each contributing to the entirety of the artistic process.
Cantus performs more than 60 concerts each year both in national and international touring, and in its home of Minneapolis and St. Paul, Minnesota. Cantus has performed at Lincoln Center, Kennedy Center, UCLA, San Francisco Performances, Atlanta's Spivey Hall, and Bravo! Vail Valley Music Festival.
You can hear Cantus perform a Tiny Desk Concert for National Public Radio (NPR) in the YouTube video at the bottom. The Ear is especially fond of the way they sing "Wanting Memories."
For more information about Cantus, go to the ensemble's website: www.cantussings.org
The performance is funded by the William and Joyce Wartmann Endowment for the Performing Arts.
Tags: #21stCentury, #ACappellaMusic, #ChamberMusic, #ChoralMusic, #EdgertonPerformingArtsCenter, #EinojuhariRautavaara, #EricWhitacre, #FranzSchubert, #GabrielKahane, #KennedyCenter, #LincolnCenter, #NationalPublicRadio, #RichardStrauss, #TheNewYorker, #TheNewYorkerMagazine, #TheWashingtonPost, #TinyDeskConcert, #VocalMusic, #WorldPremiere, 21st century, a cappella, Arts, Atlanta, blending, Cantus, Chamber music, choral music, Classical music, composer, Concert, conductor, discovery, Edgerton, Einojuhani Rautavaara, endowment, ensemble, Eric Whitacre, essence, finesse, Franz Schubert, fund, Gabriel Kahane, Getty Images, grace, innovative, international, Jacob Stockinger, light, men, Minneapolis, Music, mystery, national, NPR, perform, performance, Poetry, power, program, Renaissance, Richard Strauss, San Francisco, science, see, sight, singer, Singing, song, Sound, St. Paul, ticket, tour, UCLA, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Vail, vision, vocal, vocal music, warmth, web site, Website, Wisconsin, worked premiere, world premiere, YouTube
Classical music: Prize-winning harpsichordist Joseph Gascho will perform J.S. Bach, C.P.E. Bach, Scarlatti and Rameau this Saturday night
Joseph Gascho will give the Fourth Annual Mark Rosa Harpsichord Recital at 7:30 p.m. this Saturday night, Feb. 24, in the Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.
Gascho (below), who won the Jurow International Harpsichord Competition in 2002, will perform works by Johann Sebastian Bach, Carl Philipp Emanuel Bach, Domenico Scarlatti and Jean-Philippe Rameau. (Except for the three-part "Ricercar" from J.S. Bach's "The Musical Offering" — heard in the YouTube video at the bottom — no specific works have been mentioned.)
The featured instrument is the elegant 18th-century style French double-manual harpsichord made by Mark Rosa in Madison in 1979.
Admission is at the door: $20 for the genera public, $10 for seniors and students.
In 2014, Gascho joined the University of Michigan School of Music, Theatre and Dance in 2014 as an assistant professor. Gascho enjoys a multi-faceted career as a solo and collaborative keyboardist, conductor, teacher and recording producer.
Featuring his own transcriptions of Bach, Handel, and Charpentier, his recent debut solo recording was praised in the American Record Guide for "bristling with sparking articulation, subtle but highly effective rubato, and other kinds of musical timing, and an enviable understanding of the various national styles of 17th and 18th century harpsichord music."
As a student of Webb Wiggins and Arthur Haas, he earned masters and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross.
Recent highlights include performing with the National Symphony at Carnegie Hall, the Mark Morris Dance Group and the Kennedy Center Opera Orchestra, and conducting Mozart's "Idomeneo" for the Maryland Opera Studio. He has also conducted numerous operas from Monteverdi to Mozart for Opera Vivente.
At the Oberlin Conservatory's Baroque Performance Institute, Gascho conducts the student orchestra, coaches chamber music, and teaches basso continuo. A strong proponent of technology in the arts, he has used computer-assisted techniques in opera productions, in a recent recording with the ensemble Harmonious Blacksmith and percussionist Glen Velez, and in his continuo classes.
Tags: #CarnegieHall, #ClassiclaMusic, #CPEBach, #DomenicoScarlatti, #GeorgeFridericHandel, #HarpsichordMusic, #JohannSebastianBach, #KennedyCenter, #MarkMorrisDanceGroup, #MusicEducation, #OberlinConservatory, #SchoolofMusic, #UnitarianSociety, #UniversityofMaryland, #UniversityOfMichigan, #WolfgangAmadeusMozart, American Record Guide, Arts, Bach, Baroque, basso continuo, Carl Philipp Emanuel Bach, Chamber music, Charpentier, Classical music, collaborative, Compact Disc, composer, computer, Conducting, conductor, continuo, dance, debut, degree, doctoral, doctorate, double, Early music, earlymusic, elegant, ensemble, First Unitarian Society of Madison, France, French, George Frideric Handel, group, HARMONIOUS BLACKSMITH, harpsichord, Idomeneo, Jacob Stockinger, Jurow, Jurow International Harpsichord Competition, Keyboard, Madison, manual, Mark Morris, Mark Rosa, Maryland Opera Studio, master's, Monteverdi, Mozart, Music, National Symphony, opera, Opera Vivente, Orchestra, Peabody Conservatory of Music, percussion, prize, producer, production, professor, Rameau, recital, recording, rubato, Scarlatti, School of Music, solo, Sonata, Teacher, technology, The Musical Offering, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wisconsin, Wolfgang Amadeus Mozart, YouTube


text:
WIP Diagnostic: Is This Working? A Closer Look at Finding the Right Opening Scene
Critique By Maria D'Marco
WIP Diagnostics is a weekly column that studies a snippet of a work in progress for specific issues. Readers are encouraged to send in work with questions, and we diagnose it on the site. It's part critique, part example, and designed to help the submitter as well as anyone else having a similar problem.
If you're interested in submitting to WIP Diagnostics, please check out these guidelines.
Submissions currently in the queue: Zero
Please Note: As of today, critique slots are open.
This week's questions:
1. Is there too much telling and not showing?
2. Am I'm forcing too much background into the opening?
3. Does the dialogue sound natural and believable? Is there too much dialogue?
4. is there anything you think I should improve on that I didn't notice?
5. Would you want to keep reading?
Market/Genre: Unspecified
Note: This is another story we've followed through multiple revision.
On to the diagnosis…
Summary of Previous Openings:
The 1st opening scene was a dream sequence, followed by Tom (later iterations name him Nick) meeting with a co-worker, Brian – the focus is a blue-eyed woman in the dream who seems to need Tom's help. There is no indication of chips or dead friends.
The 2nd iteration places us with Nick (formerly Tom) at an induction meeting with his new employer, where he finds out he has to have a new implant done. He must make a decision that involves having the old chip replaced with a new chip that is a suspect (for unknown reasons) in his friend, Chris's death. He signs an agreement but is extremely conflicted – wanting to find out more about his friend's demise, yet realizing the inherent risk involved.
This 3rd iteration of the opening places us at the funeral of Nick's friend, Chris, with Chris's fiancé, Megan, and Chris's parents – and a stranger representing Chris's former employer, who wants to extricate the chip from Chris's body before burial.
I stared at the dark wooden casket waiting for Chris to open his eyes, sit up, and climb out. "My best friend shouldn't be dead at age thirty two. It doesn't make sense. Unlike me he ran every day, at least since our undergrad, but he died of a heart attack and I'm fine."
"I know," Megan said. She hugged me. I felt her tears on my neck. All I could say was, "I'm sorry." I think she shook her head as I tried to comfort her. They were engaged to be married in six months. She was Chris's girlfriend since Chris and I were competing for grades as grad students.
We separated after a few minutes. I started to say something, and then stopped
"I understand Nick," she said.
Her dull blue, half-closed eyes said she wasn't getting enough sleep.
"I don't understand why his new company made him change his imbedded brain chip? He had the fastest enhancement chip in the market. Much more capable than mine"
"He said it was required for the job. I personally think it had something to do with his death."
"I suppose it's possible. Who's that guy over there that keeps staring this way?" He wore a light gray suit that allowed him to almost disappear into the gold walls and dark-patterned carpet.
"I assume he's a relative."
With only a few people left in the room, the man approached Chris's parents who were standing next to us.
"Mr. and Mrs. Norton? The funeral director pointed you out. I work at TransChip Corp where Chris worked."
"Are you a friend of Chris's?" Mr. Norton asked while reaching his hand out.
"No. I'm here on business. Chris signed an agreement to have the company chip implanted in his head, and when he left the company, he agreed to return that chip. He was on a classified project and the chip can't be buried with him. I'm sorry."
"We need to extract that chip before he can be buried."
Mr. Norton stared directly at him. "He will be buried tomorrow.
My Thoughts in Blue:
I stared at the dark wooden casket [this appears that he's staring at the casket, not Chris] waiting for Chris to open his eyes, sit up, and climb out.
"My best friend shouldn't be dead at age thirty-two. It doesn't make sense. Unlike me he ran every day, at least since our undergrad, but he died of a heart attack and I'm fine."
"I know," Megan said. She hugged me. I felt her tears on my neck. [this is a bit passive – I don't envision an embrace that would mean a tears/neck connection] All I could say was, "I'm sorry." I think she shook her head [why is this important? Doesn't seem a reaction to his words] as I tried to comfort her. [telling – what is he doing?] They [She and Chris] were engaged to be married in six months. She was [had been] Chris's girlfriend since Chris [he] and I were competeding for grades as grad students.
We separated after a few minutes. I started to say something, and then stopped.
"I understand, Nick," she said. Her dull [is this meant to also indicate lack of sleep or are her eyes always a 'dull' blue?] blue, half-closed eyes said she wasn't getting enough sleep.
"I don't understand why his new company made him change his imbedded brain chip? [this isn't a question] He had the fastest enhancement chip in the market. Much more capable than mine." [this dialogue would benefit from some gesture or body language]
"He said it was required for the job. I personally [unnecessary qualifier] think it had something to do with his death." [this made me wonder why she thought this – and why Nick's response-reaction was so mild.]
"I suppose it's possible…" [we need a break here, either he points, nods toward the man, etc., which explains why he doesn't pursue Megan's odd statement and also reestablishes the dialogue pattern of speakers] "Who's that guy over there that keeps staring this way?" He [The man/stranger] wore a light gray suit that allowed him [the suit color cannot allow anything, but it can make it difficult to see the man] to almost disappear [things disappear or they don't – deeply blend in with] into the gold walls and dark-patterned carpet. [cannot imagine light gray nearing invisibility with gold and a dark carpet—confusing]
With only a few people left in the room, [this made me wonder if the service had been completed or not started yet – 'left' infers it has been completed – if that's the case, you could have Nick gaze around the room, establishing that there were only a few people still left] the man approached Chris's parents, who were standing next to us.
"Mr. and Mrs. Norton? The funeral director pointed you out. I work at TransChip Corporation, where Chris worked."
"Are you a friend of Chris's?" Mr. Norton asked while reaching his hand out. [need to show the finish of this movement – do they shake or is his gesture of greeting ignored?]
"No. I'm here on business. Chris signed an agreement to have the company chip implanted in his head, and when he left the company, he agreed to return that chip. He was on a classified project and the chip can't be buried with him. I'm sorry." [a movement, such as pulling a document from his jacket pocket, could be used here to show the crassness of the man, that he's ready with proof of what he says]
"What are you saying?" [again, a small reference to Mr. Norton's reaction would deepen this exchange]
Mr. Norton stared directly [staring presumes that the gaze is direct] at him. "He will be buried tomorrow." [mild confusion – reorient my perceptions to this being the wake, not the funeral – is this correct?]
The Questions:
This is essentially all dialogue, so not much happening. However, dialogue can also be telling, if it becomes statements that feed information only, but not particularly from the proper person. This relates to my comment below regarding what I noticed that might be of help – showing used with each speaker allows the scene to be 'fleshed out', to grow awareness of the situation and the characters with each exchange.
Showing can also be presented in affirmation of the pacing of the scene, illustrating building emotions, shock, anger, etc. The line where Nick starts to speak, then stops is essentially fine, but could be so much more. He opens his mouth, then clamps it shut, grits his teeth and shakes his head. This is, perhaps, what he does in that sentence, yet we are just told Nick 'started to say something, and then stopped'. How can you show what he did? And then, what internal thought might be added to show his despair at not being able to find the right words?
(Here's more on Infodumps Through Dialogue: Your Words Are Dead to Me)
No, not to me. (readers chime in) You establish who Megan is and that she has suspicions, which is a switch from previous iterations, and which also presumes she will remain in the story as an 'action' character.
To me, this opening works as part of the setup to the 2nd iteration, where Nick has applied to Chris's former employer and must face the new chip implant decision. Things must happen, of course, prior to that induction scene, but you have a good beginning.
(Here's more on The Difference Between Good Setup and Bad Setup)
This first line is a chance to show Nick's emotions. Sometimes using short, clipped sentences with pauses can indicate that this is all the person's mind can handle at the time. Other people may rattle on, stream-of-consciousness, pressure of speech style, their emotions gushing out uncontrolled.
"It doesn't make sense. He was only thirty-two, like me [or …only thirty-two, a year younger than me]. He ran every day – for years now. I don't run. I don't even think about running. He has the heart attack. And I'm fine … just doesn't make sense."
Since this is our introduction to Nick, what do you want this first impression to achieve with readers? The presentation of his dialogue can set the tone for his emotions. Is he talking more to himself than anyone else? This is the impression I got…
You give information that shows Nick feelings of bewilderment over his friend's death, which will support any paranoia or suspicions he expresses later. You also establish that Nick is probably Chris's age or nearly so.
On too much dialogue, considering that the entire scene is essentially dialogue, with a couple minor character movements, this would make me lean toward it being too much. However, the idea isn't how much is too much, but rather is the existing dialogue doing the work you want it to or that it needs to do?
As a side note, I like the idea that Megan is suspicious before Nick is – this may have always been the case in your mind, but that wasn't clear before – which makes it even more probable that Iteration #2 was simply out of order.
(Here's more on Do You Have Too Much Dialogue?)
With all this dialogue, I would suggest using physical movements/gestures and internal thought to push that dialogue along. Such additions allow the reader little tidbits of imagery, which allow the scene to continually morph and gain depth. If we're riding on the nose of our protagonist, we want to see what he sees and relate to what he feels.
(Here's more on How to Subtly Boost Your Dialogue's Power With Body Language)
This is the iteration where I can wholeheartedly say "Yes!" I would read on. (readers chime in) I want to see the rest of this scene, what kind of confrontation the creepy guy's demand brings on, everyone's reaction (somebody punch him in the nose, eh?) and where that takes the story.
I can now imagine Nick and Megan sleuthing, plotting and deciding on strategies to dig out information. Nick going 'undercover' might be a bad idea that goes very wrong. The company might bring legal action to obtain Chris's brain chip – would they steal the body? Is it a simple process to remove?
(Here's more on 5 Ways to Write Stronger Opening Scenes)
You've triggered my speculation button, so I will read on. This is the strongest version you've done so far. Congratulations on your hard work and for believing in your story. Thank you for sharing!
Thanks to our brave volunteer for submitting this for me to play with. I hope they–and others–find it helpful. I don't do a full critique on these, (just as it pertains to the questions) and I encourage you to comment and make suggestions of your own. Just remember that these pieces are works in progress (many by new writers), not polished drafts, so be nice and offer constructive feedback.
About the Critiquer
Maria D'Marco is an editor with 20+ years experience. She specializes in developmental editing, and loves the process of wading through the raw, passionate words of a first draft. Currently based in Kansas City, she flirts with the idea of going mobile, pursuing her own writing and love of photography, while maintaining her fulfilling work with authors.
Website | Twitter
Labels: Maria D'Marco, WIP Diagnostics
To answer your 5th comment, after escalating exchanges between Chris's father and the company lawyer, I have: I got angrier by the second by the way he was bullying Mr. Norton. He was probably six foot two and two hundred and twenty pounds but it didn't matter. I couldn't help myself. I took three quick steps and hurled my hundred and sixty pound body at him when he wasn't looking at me. He fell sideways and then backwards when he couldn't catch his balance.
"Get the hell out of here," I yelled as I fell on all fours.
Everybody, including myself, was stunned. I looked back at Mr. Norton.
He said, "Yeah. Get to hell out of here," in a surprised voice, still looking at me.
Ken Hughes 9/19/2020 10:17 AM
For a scene like this, the first question is, it it the place you want to start the story? The last iteration focused on Nick starting a job and worrying about chips and Chris; here the spotlight is on Chris's death. This is a start that's more relatable and dramatic, at the cost of needing more work after this to convince us Nick might get a job with these "body-snatchers."
My main thought here is that you may not be convinced this is the concept you want. The background here seems, not exactly too much, but like you wrote it determined to get all these points in without having a firm sense of how the scene feels in its own right.
What the scene doesn't seem to have is emotion. Nick and Megan talk more about the facts behind their feelings than what it means to be here -- or the cliches and deflections that people might use that show they're trying to push through pain. There's definitely room for at least a few physical actions or bits of description: a lump in the throat, a weird sense that the day outside is too sunny for a death. How can you *pull* the reader into what it's like to be Nick right now?
I think this section has three goals. One is the basic fact of Chris's death, along with a passing mention of who Megan is (but any more about how long who's been who's friend or girlfriend is probably excess right now). The second is slipping in the fact that Chris got a new chip, and that one's tricky to make come up naturally. Nick might have a small, stubborn thought that the new chip was the only change in Chris's life, but not think it's enough to say out loud, or Megan could have a moment of ranting about it -- or one could hint at it and stop and then realize the other had the same thought. Then it all flows into the scene's third part, the corporation barging in and confirming the chip matters -- how should the previous suspicion have left us hanging before this is triggered? Or should nobody think of the chip at all until the company reminds them of it?
Those three (or two) points seem like the essentials of the scene. How do you want to pare down, spice up, and bring to life what happens here so you make the most of them?
Maria has a point about Nick's opening line: it's your chance to nail Nick's personality as well as the circumstances, and it doesn't feel right. Is Nick someone who'd babble at a funeral? Or would he say just one or two sentences, more or less complete thoughts, and leave the depths unsaid? Or a couple of words, or no words at all, or would he go into a complete half-random anecdote or idea as a distraction? Go to that specific moment, imagine being it, and find the EXACT angle that Nick would come at it from... and then time the moment so its message (both about Nick and the circumstances) comes through most clearly.
That's the kind of insight and precision I'd like to see here. This should be a deeply emotional moment with a sharp plot twist, and right now it looks like you haven't gone as deep as you could in using the idea's strengths.
This could be the perfect scene to start the story. If you do it justice.
Thanks. I was trying to get too much information into a certain number of words and I know I left a lot of the emotion out. I'm in the process of rewriting it again with more emotion.
I like this better as a starting point than the previous one but your input will help me definitely get there. Thanks.
Sasha Anderson 9/20/2020 8:13 AM
I'm not a fan of Nick's first line of dialogue. I think it's trying to tell us too much background info - would he really be saying that Chris was 32, that he ran, that he died of a heart attack? The person he's talking to already knows all that. And that brings me to my second issue with it - Nick is saying all this to Chris's fiancee, which makes him come across as tactless, at best. It reminds me of that circle diagram, don't remember exactly what it's called but it's something like support in, complain out. Nick can vent about losing his best friend to his own partner, or to another mutual friend, but not to Megan if he has any empathy.
The conversation about the brain chip also sounds way too much like trying to tell us things we 'need to know', to me. And I thought the transition to the guy over there, when they'd just been talking about the company, was a bit awkward, but that's a minor issue that can be smoothed out.
I'm intrigued by the conflict around the chip removal, though, and want to find out what's going on and what's so secret about it! (And I'm willing to suspend my disbelief that they wouldn't have already sorted this out before the funeral...)

redpajama_set_name: RedPajamaCommonCrawl


13th Moon is a band I have been very familiar with in the past year. I reviewed the debut demo "The Pale Spectre over the Worm" some time ago and it was an excellent introduction to a band I've never heard prior. With the first full length released to the masses, 13th Moon give us "Abhorrence of Light" to slowly digest.
The album was packaged in an excellent limited edition black box with printed sigil on it, housed in a black ceremonial bag and came with a patch, button, and dead snake skin consecrated in bone dust. Before even putting the cassette in, you instantly get the feeling of devoted ritualistic aesthetics to further heighten the senses to prepare yourself for what is to come.
Upon first listen, you are greeted by dark ambiance and cathedral bells. The wisps of winds meet with the band's sheer brutality as 13th Moon begin its journey. Being no stranger to 13th Moon, right away I am very satisfied with the first track of the song, " The Rite as Sinister as Old". Downtuned desecration and sinister chants by Shakh'ath married by the thunderous ritualistic rhythms from Thagirion provide the basis of this album and it is not disappointing.
As the necromantic magick takes it's course with blackened death psalms married with superb doom-laden passages, 13th Moon have truly crafted an excellent debut album. Sections of brooding dark ceremonial soundscapes weave within the music creating very cryptic and archaic vibrations. The ominous drones fade well into the music as the band continues its barbaric onslaught right as the ambiance dies and gives way to the song that follows.
The sound of the record is what really grabbed me at the beginning. Lo-fi, drenched in reverb, and the heavy low end provide the death metal aspect of this album, but it is very much a black metal album. They knit the two styles together so flawlessly, it doesn't even conflict of whether they are a black or death metal act, even though it is irrelevant to begin with. Production wise it is well made, very raw, grimy and cavernous and it gives incredible character to the album.
Overall, this is a release you do not want to miss out on. Released on both cassette and CD by Exitium Prods and Nigrum Serpentis respectively.


Feeding the goats is a fun time for brothers Altan-Ochir, 6, and Vanchinsurenduvchin, 3.
Today started with a shiver. Snowflakes wildly blown by the strong wind signaled the arrival of winter. Hardly anyone walked on foot outside. Cars stayed stuck in traffic longer than usual, all passengers looking grim, everybody rushing for something – something they take for granted.
It's true! Many people take things for granted. You know, the little things that make our lives so much better like electricity, hot running water in your apartment, or just that refreshing coffee that slaps you awake in the morning. I know I did, and to some degree I still think I do. But this ignorance of mine that was cut short thanks to my current job – a communicator at World Vision.
Since my first joining in 2009, I've met many people, children and families who have amazing stories to tell and share. I remember vividly one of my first assignments, where I interviewed a herder family in the countryside that had been badly affected by a severe snowstorm in early 2010. They used to have a herd of 300 goats, sheep, cows and horses combined. They lost more than a third of their livestock - the only source of income.
When I first stepped into their ger (a traditional round-shaped tent with a felt covering), the sharp smell of animal dung struck my nostrils. The family explained the weather had been so cold, dropping to minus 25 degrees Celsius combined with snowstorms, that they decided to keep the animals indoors at least until the storm was gone. The weather was simply too harsh for them to survive on their own.
But inside, though, there was a round-shaped stove in the middle of the ger, with a long chimney sticking out of the roof area. Herders burn wood and coal to heat the place. "The children love having [the animals] around," the man said while sipping a cup of hot milk tea, and wearing layer after layer of clothing to stay warm.
There was a deep sense of unsettlement in his face, because he would shake it off and try to joke about how he was grateful that he hadn't taken a loan with collateral on his livestock. "That would've sucked," he said, poking fun at the way his children talked and his three listening children burst into laughter.
After I said farewell to the family, I began questioning myself.
What would I do if I were in his shoes?
Would I be able to keep my cool even when more than a third of my property was simply wiped out with the winter wind?
Would I be able to live with animals in the same space and crack a joke with a stranger?
It would take a lot of patience and this herder was showing it. The family was stripped of their private space, having to share it with their animals so that they can survive the winter. What strength.
A couple days later I got a call from a friend who complained that he couldn't take a shower because there was no water in his flat for a few hours.
The family I had visited would barely get water for their own consumption in the cold. It did give me a sense of how we take the little pleasures of modern city life for granted.


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text:
Acadia students, faculty call for flexible learning options as in-person classes resume
By Callum Smith Global News
2:02 Acadia University students, faculty question in-person learning during COVID-19 Omicron wave
WATCH: Acadia University is returning to in-person classes this week, but not everyone is happy about that. The students' union and faculty association are calling for more flexibility and choice with how courses are taught. Callum Smith has that story – Jan 24, 2022
After starting the winter term online due to safety reasons, Acadia University returned to in-person classes Monday. But some students and faculty are raising safety concerns given the ongoing impacts of the COVID-19 pandemic.
"I think the university is thinking about these safety issues, I just don't know if they're being addressed," says Crewe Bailey, a second-year student. "Having the option for hybrid learning — and having that supported more so by the university because it's not really right now — would be great."
And the union representing says it has concerns, too.
"We did run a survey last week, we had over 2,000 responses from students in 72 hours," says Georgia Saleski, the vice-president of student of life of the Acadia Students' Union.
"And the overwhelming majority indicated that there was a need for flexibility and choice in the return to courses for the rest of the winter semester."
But like many debates, there are two sides. Tuition costs at Acadia range from just over $8,000 for Nova Scotians to almost $19,000 for international students pursuing an undergrad, and that's enough for second-year student Anmol Nijhawan to want in-person learning to continue.
Read more: N.S. university makes last-minute change, no longer having on-campus classes
Read next: U.S. is mulling shift to annual COVID-19 boosters. What about Canada?
"We are paying more than $17-or-18,000 per year, and still, if we have to do online courses, my teachers don't even know my name," he says. "That's not justified for me."
The university says hybrid learning is allowed for professors who can accommodate, but in-person learning is preferred.
"Public Health encourages that delivery method," says Sherri Turner, the university's director of communications. "Understandably, it will take time for everyone to adjust to the current provincial strategies around in-person learning, with omicron being in our communities.
"Fortunately, Acadia has strict health and safety measures in place, and our professors can add a hybrid option to their classes to accommodate students in need."
The faculty association says it has tried to sign another memorandum of understanding with Acadia, allowing faculty to teach remotely as needed.
Faculty's contract — which has expired with a possible strike mandate looming — says professors have to be in class.
But Jon Saklofske, an association spokesperson and an English and theatre professor, says that's not the case this time.
Read more: Dalhousie University, King's and NSCC to begin winter semester online as COVID-19 spreads in N.S.
"We are bound by the directive of our employer, at the same time concerned about the safety of AUFA's members and our faculty," he says.
Saklofske says faculty can ask for the university to accommodate, but those requests would be considered on an individual basis.
Logan Mahoney, a fourth-year student, doesn't think in-person learning should be top of mind at the moment.
"It's unfortunate for students, especially first and second years who have only had to deal with online classes," he says. "I think a large part of university is building connections and being in person, but I feel like right now with Omicron still going up, it's a bit of a risk right now."
The students' union says it will have a representative at an upcoming Acadia University Senate meeting to voice concerns.
1:57 Nova Scotia research shows throat and nasal swab produce more accurate rapid test results
COVID-19COVIDSafetyHealthonline learningIn Person LearningAcadia UniversityHybrid Learning
Canadians 'must not be complacent' as antisemitism, hatred rise: Trudeau
S&P/TSX composite down in late Friday morning trading, U.S. stock markets mixed
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I' ve been living on Gili Air island for a year now, its in Lombok Indonesia. I run around the island in 30min, which can give you an idea of the size of the island, sometimes I paddle board out at sea and look back at this tiny little island and wonder how I manage to live on such a small island… The reason used to be: Space Bar… Space Bar is a beach bar with a psychedelic atmosphere. This bar brings tribes from all over the planet to Lombok Indonesia. In my opinion, Space Bar is the heart of Gili Air, this place has a soul. It brings quality people together, it generates creativity and radiant positive energy. Here, we share something real for a change.
Aren't you sick of pretending?
In Space Bar authenticity of personality rules, freedom is prevalent and dancing can be done at every sunset.
10 years ago two undercover Swiss travelers arrived in Gili Air. The magical psychedelic island seduced them immediately. The locals were extremely laid back and lived in harmony with nature. There was no traffic, no police, no hassle, and magic mushrooms… At that time, tourism on the island was down. Tired of Thailand and Goa's commercial Full moon parties, they decided to start free Psy- trance parties on the beach. The main objective was to enjoy Gili Air's magical spirit and help the locals. Gili Air's "Beach Beats" were born, a combination of traditional locals and open minded Psy-trance travelers sharing the decks and the dance floor. This successful fusion between islanders and travelers has reached global recognition and continues growing to this day.
Today some of the locals have become Space bar's resident DJ's and we still share the same dance floor and decks. Dj Abstract "Purple Hexagon Records", a local Indonesian djs, has played his first international set in Home Club Singapore this March. Spacebar was evolving, from a secret location to a well- known international party location, which attracted international DJ's like Ital or Klopfgeister and off course party crowds from all over the world. Parties were organized monthly.
Fluorescent decorations, laser shows, fire spinning and circus workshops were all part of the every day's Space bar experience. This little hidden paradise had an extremely relaxed atmosphere and enough action to keep the party crowds happy. The locals on Gili Air are extremely friendly. Many of the local Gili islanders prefer living on Gili Air, which results in a permanent population around 1500 people. This tiny little paradise is one of the rare places on earth where you can still develop a true relationship with the locals. You can create your own island family.
Join us in paradise! The Space Bar Family is waiting for you!
← Can someone please explain to me why some people pay 1.7million$ for endangered Blue Fin Tuna?
We are here now and heard from nearby bar called "Legend" that is is closed 😦 will try walking over after dinner to see of it's really true. Friends back home in Singapore were recommending that place too.. Fingers crossed!
Great article! I'm currently in Seminyak, Bali and planned on coming to your island. I was really looking forward to the Black Moon parties at Space Bar. Do you know when the next one will happen or if there's a beach party every night?
Would love to visit you guys.
Anything happening around nov 16-20th 2013 ?
Hello Spacebar Family 🙂 !!!
Currently in Kuta Lombok, gonna ride my bike up to Gili Air for the full moon tonight, hopefully it is really tonight, hopefully u r still open and hopefully it's gonna be fat 🙂 !!!
Hello, are there any partys on 28th or 29th of September? And where is it located now?
is there any black moon/psydelic parties around 11th-17th october on gili air?


Western South America, bordering the South Pacific Ocean, between Chile and Ecuador.
Bolivia 900 km, Brazil 1,560 km, Chile 160 km, Colombia 1,496 km (est.), Ecuador 1,420 km.
Religions: Roman Catholic 81%, Seventh Day Adventist 1.4%, other Christian 0.7%, other 0.6%, unspecified or none 16.3% (2003 est.).
25 regions (regiones, singular - region) and 1 province* (provincia); Amazonas, Ancash, Apurimac, Arequipa, Ayacucho, Cajamarca, Callao, Cusco, Huancavelica, Huanuco, Ica, Junin, La Libertad, Lambayeque, Lima, Lima*, Loreto, Madre de Dios, Moquegua, Pasco, Piura, Puno, San Martin, Tacna, Tumbes, Ucayali.


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redpajama_set_name: RedPajamaGithub


text:
CM Sports Photography
Photographing Premier League football
March 09, 2020 • 1 Comment
At Premier League level, photography is highly competitive. There can be over 20+ photographers at each game producing thousands of photos. However, the interest is global so the demand for good images is high - particularly for games involving the top six teams in the country.
Including travelling time to and from the ground it can take between 8 - 9 hours to shoot a football game. You arrive at the ground three hours before kick-off. Not just to avoid match day traffic but also to reserve your pitchside position. Those three hours before kick-off seem to go very quickly. They usually involve taking pictures of the empty stadium, going outside to get pictures of fans & players arriving and then more pictures of the teams doing their warm-ups before the game. So before the match starts you will already have sent in up to 30 pictures.
Most photographers will leg it to the managers dug-out area to get pre-match pictures of the two managers shaking hands and also portrait shots of managers settling down for the game. Then its back to your pitchside position to send off your managers images and await the start of the match.
You have to keep alert for all areas of the pitch to see what is happening - in the crowd, the activity of managers on the sidelines and of course capturing the key action of the game as it progresses. Personally, I do not watch the game through the camera's viewfinder, I think it is better to watch what is happening and to do your best to anticipate where the action is moving to. Of course, there are no second chances so if you miss a critical piece of action then its gone forever.
Photographers from the big agencies can wire images straight from the camera to a remote picture desk where someone will edit, caption and send the finished product out- this is luxury ! For the rest of us we have to do all the work ourselves whilst the game is in play thus you have to balance your time between having your head in the laptop and actually taking pictures of the action in front of you. The big agency photographers have one hell of a speed advantage !
Around 30 top action images are sent in during the game with a further 30 (usually the more boring 'man with ball') pictures sent in after the match has ended. Thus, you are normally leaving the stadium an hour after the game has finished.
Camera equipment needs to be at the professional level with Canon 1DX - or Nikon D5 bodies (usually three of these) and a lens selection which would include a 400mm f2.8 , 70-200mm f2.8, and a 24-70mm f2.8. A Fisheye lens is good for stadium shots. I try to get as close to 1/2000th of a second as possible but in poor light this can go down to 1/1250th, usually always in the aperture range f2.8 and f4. Images are still very usable up to ISO 8000 if you really have to go that high, more usually it is between ISO 2000 - 4000.
The industry standard software for downloading and sending out images is Photomechanic. It is fast and reliable.
Photographing the big Premier League clubs can seem glamorous, and yes you do get privileged access and a great view of the game but it can be quite stressful when, for example, your wifi or ethernet connection will not work and you cannot send your images out. You can also be operating in all sorts of weathers, heavy rain where all your equipment needs to be covered up or extreme cold when your Laptop will refuse to work at such low temperatures. So, it is not for the faint hearted when you see the big agency photographers getting all their images sent out from the cameras at great speed and you cannot get your equipment to work. The times when everything goes smoothly and you have a trouble free night are about 30%, the other 70% of times will throw you a glitch that needs sorting at some point during the evening.
The photographers facilities within stadiums vary from club to club, some have a cramped room where you have little space to work, others have proper chairs and desks with a good area of space in which to operate. Some give you a meal before the game, others just chuck a bundle of pies in the corner and thats it. Pitchside areas can also be short on space and you have to be mindful not to get your gear in the way of other photographers.
Keywords: football, League, Premier, soccer
Ranvijay(non-registered)
Thanks for this amazing information
Night time Football under Floodlights Photographing fans protests Shooting high up in the Grandstands Football in the era of Coronavirus Photographing Premier League football Photographing Snooker Photographing Indoor Athletics Photographing International swimming Photographing International Cricket Photographing tennis at the Nottingham Open
photographing football boxing floodlights Night time under Coronavirus football during coronavirus League
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Together with steel racks, console shelves become very flexible aides for storing goods of varying sizes, especially if the selection and type of goods is constantly changing.
All steel components feature quality lacquer. The colour of the stand and console is blue RAL 5010 or green RAL 6020. Delivery includes all connecting parts, stretchers and anchor screws necessary for assembling the racks. Some components have a zinc coating to protect against corrosion.
We will custom design console racks to meet your wishes. Console racks will be sized based upon the materials you are planning to store.
To work up an offer, we need to know the dimensions and weight of the material to be stored on a single level. It's also good to indicate the required height of the rack or the height of the highest level.


Why Biotin benefits Hair Growth?
Those folks which are aware of their wellness will do everything merely to make a harmony relative their wellness problem.Every aspect of their life ought to be balanced typically. Their physique should be healthy in particular. Their hair wellness ought to show up as it is one component of the body where appeal is linked; therefore, the relevance of biotin ought to be given a concern considering that the majority of healthcare companies nowadays are utilizing it in their hair loss vitamins.
Biotin belongs to the family of B vitamins, either vitamin b7 or vitamin H. Scientifically talking, it is normally existing in the human body whereby among the most crucial features is towards proper physical metabolic rate.
A sufficient degree of it plays a role in eccrine sweat gland, bone bottom and nerve cells. Consequently, its deficiency could end up being a physical issue. When this occurs, biotin-based supplements ought to be taken into consideration in order to complete the gaps.
Among the institutions that had validated it is the College of Maryland Medical Facility (UMMC). Baseding on UMMC, biotin can battle against alopecia areata that influences folks of any ages.
The complexity of the know-how supplied on hair vitamins makes this aspect popular. Yes, the truths are undeniable. They are sustained by sensible descriptions out of thorough investigates and researches being carried out on it. And the researchers are rather prominent. They offer us enough and significant truths on why it is used nowadays. And these truths act as the major reason why it is taken as an active ingredient in the most effective hair development vitamins available available today.
And to be much more certain, their hair wellness ought to be apparent as it is one component of the body where appeal is linked; therefore, the relevance of biotin ought to be given a concern considering that the majority of healthcare companies nowadays are utilizing it in their vitamins for hair growth.
There are a great deal of scientific accounts with well-researched proofs claiming that biotin itself is truly great in taking care of hair problems like baldness. The complexity of the know-how supplied on hair vitamins makes this aspect extremely prominent. And these truths offer as the major reason why it is taken as an active ingredient in the ideal hair development vitamins available in the market today.