Football huh: don'tcha hate it? Bloody Bournemouth and Bloody Man United had both lost in the day's earlier games sending Saints back into the relegation zone. If that was not enough bad news, Liverpool turned up in their lurid orange strip in which they have never been beaten. FFS!
Sky covered this one. Studio pundits Henry & Souness and the commentary was by Tyler and Smith. Saints kicked off towards the Northam but Liverpool won the ball with Arnold finding Salah. Think it was Stephens who put the ball out for a corner which Saints cleared.
Liverpool continued to attack and Saints looked brittle at the back. Hoedt looked lucky to get away with upending Firmino. Then good pressing by Højbjerg caused Robertson to concede a corner. Bertie's cross was cleared and, when the ball was dinked back in, Virgil calmly headed it back to his keeper to a loud chorus of boos.
Saints won a free kick which Liverpool cleared and then Oxo drew a save from McCarthy. Saints were now seeing more of the ball without unnecessarily troubling the Scousers. They cleared another Bertie cross before catching Carrillo offside. Then some sterling work in midfield by Lamina enabled Saints to get forward but Stephens' put his shot wide. Moments later Tadić was flagged offside.
Karius rose to punch Lamina's cross and was thankful it dropped to a defender. The on 17m a perfect chip by Romeu eluded Robertson allowing PEH to force a save from Karius. More Saints pressure tested Liverpool's back line before they mounted another breakaway. Hoedt hacked the ball clear and, thankfully, it bounced off Firmino for a goal kick.
Saints were competing now and Liverpool were working hard to keep us at bay. On their next foray forward an outlandish dive by Firmino was ignored by the officials. Robertson recovered the ball, fed Mane but the Senegalese shot wide. On 27m Tadić got forward for Saints but the defenders cleared the danger.
Two minutes later, JWP sent in a beautiful cross. Carrillo rose above Arnold, but put his header right into Karius' gloves. Either side and we'd have been level. Then JWP was the beneficiary of another fine cross, this time from Tadić on the left. Sadly, he didn't head it down and Karius was able to tip the ball over. Nothing came from the resulting corner as Romeu had fouled a defender.
On 32m Lamina was clattered by Oxo and from that point onwards seemed to move more gingerly. Liverpool got forward with Winjaldum finding Mané. Under pressure from Cedric his shot again missed our goal. Liverpool's next attack saw Robertson cut in from the left and drive a low cross into our box. It avoided all-comers exiting the area on the other side and allowing Saints to clear.
Tadić and Bertie then got down our left but Matic cleared. Tadić tried again, this time winning a corner off Arnold. The cross was headed out as far as Lemina who lobbed the ball back into their box – catching 3 of ours offside! Tadić's persistence got Matip carded when the Cameroon international dragged the Serb down (egg-chasing style!) JWP's free kick sailed straight into the keeper's gloves.
Liverpool got forward but Robertson's cross was grabbed by McCarthy. At the other end, Tadić and sent Bertie down the left but his miscued cross sailed harmlessly into the Northam. On 41m, a sweet Saints move again got Bertie into a crossing position. This time his lovely ball reached JWP but, again, our #16 was unable to beat Karius.
A minute later Liverpool extended their lead. Saints sat too deep, allowing Matip to carry the ball well over the halfway line. With no-one closing down, he was able to find Salah with his forward pass. Salah played a sweet one-two with Firmino – whose outrageous backheel split Saints open. Salah collected the ball and slotted it beyond McCarthy's dive. Nearly half-time and 0-2: oh bugger!
My annoyance was slightly tempered by having both Salah and Firmino in my Fantasy Team but I was unable to think what MoPe might do to redress the balance. HT = 0-2 and my notes say "Great game – shame about the score!"
The half was moments old when Can was booked for a foul on Romeu. The free kick was wasted. Soon after, Lemina needed treatment and the commentary team suggested he was ill. He stayed on for the time being and did well to thwart Liverpool's next attack.
Firmino got a cross in from their left which Mané met with a flying volley. Lemina blocked his effort, the ball dropping to Salah. Fortunately, the Egyptian shot wide. Lemina was eventually withdrawn on 52m. PEH dropped back alongside Romeu, Tadić moved inside and substitute Boufal went wide left.
Saints attacked down that flank, winning a free kick for Arnold's foul on Tadić. JWP's cross was met at the near post by Hoedt, but his header went the wrong side of the post. On 60m Milner replaced Oxo and took the armband from Can. Arnold then sought Salah but Hoedt won the ball and brought it clear.
On 62m Romeu was carded for a foul on Milner. Liverpool worked the ball to Winjaldum but the Dutchman shot wide. Then, a promising Saints move was ended by Virgil's glorious interception before JWP could latch onto a through-ball. At the other end, Liverpool worked an opening for Can but he fired wide.
With Shane Long warming up, Mané played in Firmino. McCarthy blocked his shot, the rebound falling to Salah whose shot missed the target. Long was on for JWP on 71m with Saints going with two up top. Both broke into the box moments later, only for Cédric to put his cross into the crowd.
When their next attack broke down, Saints were back-peddling once more. Mané cut inside, but Stephens blocked his shot so Saints could clear. They quickly recovered the ball, but Stephens was again on hand – this time he calmly headed back to the gloves of McCarthy.
Liverpool were beginning to dominate possession and Firmino found Mané but, yet again, the once-lethal finisher scuffed his shot wide. On 75m Virgil carried the ball into our half. It looked, for all the world, like he fancied a long-range pot at goal. Fortunately, Cédric was on hand to see him off.
Lallana replaced Firmino on 79m and shortly afterwards Romeu came off for Steve Davis. Noticeably, Bertie didn't hand over the armband. Lallana's first significant involvement saw him cut out and clear a Tadić cross. Then, on 83m, the Saints fans began singing and drowned out the Scousers. It made a pleasant change from the tirade of boos that had followed Van Dijk's every move.
On 85m Salah played in Lallana but he too failed to work McCarthy. Although Liverpool had not added to their lead, Saints had failed to replicate both the possession and chances they'd created in the first half. As time ran down, the away side seemed content to keep the ball. Then, on 89m, they brought on Lovren for Salah.
During the 4 added minutes, our players looked tired out. Fortunately, Liverpool were not inclined to further damage our goal difference and time ran out with no change to the half-time score = 0-2.
It was good to see warm handshakes between both sets of players and especially the former Saints. Virgil gave Jack Stevens a long hug – Jack being the main beneficiary of his transfer to Liverpool. Virgil went off to compete in the Champions League: Jack to try and keep Saints in the top flight.
Others went for obvious choices: Firmino or Salah who combined to score both the goals. However, given the occasion, the hostility of our fans and his near faultless display, my choice for the game's best player is Virgil Van Dijk.


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text:
Comuna Trebujeni este o comună din raionul Orhei, Republica Moldova. Este formată din satele Trebujeni (sat-reședință), Butuceni și Morovaia.

Demografie
Conform datelor recensământului din 2014, comuna are o populație de 1.624 de locuitori. La recensământul din 2004 erau 1.912 locuitori.

Note

Comune din raionul Orhei
Toate comunele din Republica Moldova

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This course provides an introductory survey of the visual arts of Africa, including the African diaspora. The lecture series is diachronically and contextually oriented, focusing on art as an integral part of African cultures throughout history. We will be considering the role of African art and aesthetics in local religions, politics, and social structures, highlighting the diversity of forms and contexts of use of African visual arts.
Human art production started in Africa, some 100,000 years ago. We will start the series by analyzing the oldest known forms of art that have come to light on the continent during the last decade or so. Next, we consider the art of several major precolonial cultures, including the terracottas of Nok and the bronzes of Ife and Benin in West Africa. A substantial part of the lecture series is dedicated to analyzing African art in its sociocultural context by means of case-studies that are based on intense local research carried out by anthropologists and art historians in the last few decades. The course will conclude by addressing the art of the African diaspora, especially in the Caribbean, and by considering the contemporary art produced by Africans on the continent and elsewhere in the world.
Being familiar with the major forms and technical and physical aspects of visual art in Africa from prehistory to the present.
Being able to relate artistic expressions in African art to key concepts from the field of World Art Studies.
Being aware of the continuity of African artistic expression in the African diaspora.
Being able to identify and understand the sociocultural contexts of the production and use of African art.
Having elementary knowledge of why, how, when and where African art was collected and became available to various audiences.
Being able to identify and understand crucial historical and contemporary museum practices and debates related to African art.
Being sufficiently prepared to understand different scholarly perspectives on African art and criticize these with valid arguments.
Final exam (80%): written examination with essay questions.
Compensation: Both grades (midterm assignment and final exam) should be at least 5.5 (rounded at one decimal).
Re-sit: one re-sit per insufficient grade.
Blackboard will provide course materials. Both powerpoints with illustrations and reading materials will be made available.
To be announced; readings will be made available on Blackboard.


Topic: X-Pastor says he left the church because he can no longer teach a lie to black people!
X-Pastor says he left the church because he can no longer teach a lie to black people!
I didn't think so either, but I heard someone mention it.
That would be mine. Are we to believe ON Jesus Christ or IN Jesus Christ? Does it mean the same thing?
Topic: Andrew Farley: It's not our apologies that make us forgiven . . .
Re: Andrew Farley: It's not our apologies that make us forgiven . . .
I liked the part about being forgiven up to salvation and then thinking we have to stay forgiven. I used to think this even as a new(er) christian. Thanks for sharing.


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text:
Doris Bačić (Neum, 23. veljače 1995.), hrvatska je nogometna vratarka, igračica talijanskog prvoligaša Juventusa i hrvatske ženske nogometne reprezentacije. Branila je i za Rosengard, Anderlecht i Arsenal.

Karijeru je započela u dubrovačkom klubu Libertas i Ombli. S Osijekom osvaja 2013. dvostruku krunu, prvenstvo i kup Hrvatske. Isti uspjeh ponovila je i šest godina kasnije s Juventusom. Prethodno je osvajala prvenstva BiH-a, Švedske i Belgije.

Za hrvatsku nogometnu reprezentaciju upisala je 41 nastup.

Izvori
 Babić, Vedran. "Doris Bačić". Slobodna Dalmacija, 31. srpnja 2019., str. 36-7

Životopisi, Neum
Hrvatske nogometne reprezentativke


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If you have decided a guard is right for you, we will take an impression of your teeth, which will then be sent to a lab to make a custom fit guard. In most cases you can choose from a variety of colors and styles. On average, guards last between 3 and 10 years.


The Association of British Insurers has called on the Prudential Regulation Authority to tackle obstacles to insurers investing in greener assets, such as renewable energy.
Investors should trust China's efforts to reform its state-owned enterprises but still check progress, writes Håkan Hedström, head of Asian market strategy, investment management, at Zurich.
Applied Systems has secured a "nine figure" cash injection from a Google investment firm in a move that will further drive growth at the company.
As climate change becomes tangible, insurers are feeling the heat. Their understanding of the risks could inform not just their underwriting but also their investment strategies.
Credit has been underperforming equities and Puneet Sharma, managing director at Zurich, believes this warrants a rethink of portfolio positioning.
Mergers and acquisitions take many shapes in the UK retail broking market, writes Mike Bruce, CEO broking at Global Risk Partners, noting some deals can actually support an owner's entrepreneurial spirit.
Quarterly results don't always reflect a company's performance, notes Ageas CEO Bart De Smet, explaining why the focus must be on its consistency over time.
The volume of insurtech deals reached $724m in the first quarter of 2018, its highest ever level and 155% greater than the same period last year.
The insurance watchdog has opened a consultation into proposals which could see a surge in personal indemnity premiums and force some providers out of the market altogether.
A major insurtech investment fund will raise a $100m (£70m) fund to target insurance tech start-ups.
The Financial Conduct Authority has launched a review into whether Aviva broke market abuse regulations following plans to cancel its high yielding preference shares.
After the stock exchange jolts earlier this month, Thomas Liebi, head of US & UK market strategy at Zurich, analyses whether inflation fears are justified.
Lloyd's of London is under pressure from climate change groups to take action on insuring and investing in coal projects and change its rules for market members.
Italian insurer Generali is to divest from the coal industry as part of a new climate change strategy and has pledged to raise investments in environmentally friendly projects.
Swiss Re has completed its 2017 public share buy-back programme.
The European Commission and Insurance Europe have welcomed a report that suggests adapting Solvency II to facilitate sustainable investment.
European insurers are gearing their investment strategies towards sustainable ventures.
Some investment criteria into insurtech start-ups "don't make sense over time", said Neil Harrison, global head of claims at Aon Risk Solutions, warning against "innovation that is going to cause dissatisfaction".
Risk managers need to speak the same language as chief financial officers to demonstrate the value of insurance, explains Adrian Donald, partner at JLT Specialty.
Minority Venture Partners has made a strategic investment in Borehamwood-based broker Heath Crawford & Foster.


text:
Orthopedic Urgent CareServices
Total Shoulder
Reverse Total Shoulder
Hand & Upper Extremity
Trauma/Fractures
Osteopathic Manipulative Therapy
Dr. Timothy Carey
Doctor of Osteopathy
Dr. Carey attended medical school at Philadelphia College of Osteopathic Medicine (PCOM). He completed hisOrthopedic residency through the United States Army at Dwight D. Eisenhower Army Medical Center at Fort Gordon, GA. During that time Dr. Carey also studied pediatric surgery at Scottish Rite Hospital in Atlanta, Georgia and orthopedic trauma at University of South Carolina.
Jennifer Malcolm, DO
Board Certified Primary Care Sports Medicine Physician
Dr. Malcolm is double board certified in allopathic and osteopathic Family Medicine with a certificate of added qualification in Sports Medicine. Dr. Malcolm attended medical school at Philadelphia College of Osteopathic Medicine (PCOM) and in addition to her studies volunteered at a hospital in Mombasa, Kenya during that time. She completed her Family Medicine residency in Augusta, Georgia during which time she was awarded the prestigious American Medical Society of Sports Medicine Resident of the Year Award and Georgia Academy of Family Practice Resident of the Year Award among 6 additional awards.
Neal Everson, DO
Dr. Everson is excited to join McKinley Orthopedics and Sports Medicine in providing exceptional orthopedic care to the people of interior Alaska. He has an interest in Sports Medicine including ACL reconstruction, knee and shoulder arthroscopy, robotic total joint surgery, minimally invasive surgical techniques, cartilage restoration, and platelet and stem cell therapy for various injuries and ailments. He also enjoys treating patients of all ages from the young to the elderly. He firmly believes that surgery be reserved for those that fail other nonoperative care and enjoys seeing patients heal with and without surgery. He performs total joint replacements, surgery for orthopedic trauma, hand surgery and arthroscopic procedures of the shoulder, hip and knee. He operates at Fairbanks Memorial Hospital and The Surgery Center of Fairbanks.
Ambria "Tommie" Ptacek
Certified Physician Assistant
Tommie Ptacek is a board certified physician assistant under National Commission On Certification of Physician Assistants in orthopedic medicine.
Jennifer Holt
Jennifer Holt is a board-certified physician assistant by the National Commission of Physician Assistants. Jenn is Fairbanks born and raised, and after graduating from Lathrop High in 1997 she attended The Pennsylvania State University where she earned a Bachelor's of Science in Kinesiology-Athletic Training. She continued her education and earned a Master's Degree in Psychology before moving back to the west coast.
Samantha is a board-certified Physician Assistant and board-certified Athletic Trainer. She attended Towson University in Maryland where she earned a Master's degree in Physician Assistant studies. She completed her orthopedic training under the guidance of various physicians at Union Memorial Hospital and at Towson Orthopedic Associates in the greater Baltimore area. Prior to her acceptance into the Physician Assistant program, Samantha worked as a certified Athletic Trainer for Towson Sports Medicine. In this setting, she provided orthopedic care to the 600 athletes of Towson High School and served as the physician extender for an orthopedic surgeon at Towson Orthopedic Associates. She earned her bachelor's degree in 2015 in dual studies in Athletic Training and Biomedical Science at Lynchburg College in Lynchburg, Virginia. Samantha has been trained orthopedically to treat patients both in the office and to assist in the surgical setting. She enjoys treating patients of all ages and specializes in treating the athletic population.
Van Lamore
Van LaMore joins our team with 18 years of experience as a physician assistant in orthopedics. Originally from the Midwest, Van completed his undergraduate studies in 1990 from the University of Illinois. He earned a bachelor's of science degree in Kinesiology-Human Movement with a minor in Psychology. Van later went on to attend Butler University in Indianapolis, graduating with his Physician Assistant degree in 2001.
Cassandra Freeman
Office Manager & Surgical Planner
Cassandra is our office manager and surgical planner. She will work closely with you to set up your surgery date and other prerequisites you may have prior to surgery.
Name Email Address Phone (Optional) Message
Orthopedic Urgent Care
McKinley Orthopedics & Sports Medicine provides quality care for Orthopedic Injuries. Give us a call at 907-458-3338 and let us know you are on your way.
Our address: 3745 Geist Rd Fairbanks, AK 99709
If you have a medical emergency please call 911.
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text:
Symphony No.7 in A major, op.92
2015-08-21 — Original posting
A General Note on These Comparisons
Background, About the Composition
The Movements
I. Poco sostenuto, 4/4 — Vivace, 6/8
II. Allegretto, 2/4
III. Presto, 3/4 — Assai meno presto, 3/4
IV. Allegro con brio, 2/4
The Interpretations, Overview
The Interpretations, Detail
Leonard Bernstein, New York Philharmonic Orchestra (1964)
Leonard Bernstein, Vienna Philharmonic (1978)
Karl Böhm, Vienna Philharmonic (1972)
Thomas Dausgaard, Swedish Chamber Orchestra Örebro (2001)
Wilhelm Furtwängler, Vienna Philharmonic (1954)
Christopher Hogwood, The Academy of Ancient Music (1989)
Erich Kleiber, Royal Concertgebouw Orchestra (1950)
Otto Klemperer, Philharmonia Orchestra (1955)
Sir Roger Norrington, Radio-Sinfonieorchester Stuttgart (2002)
Arturo Toscanini, NBC Symphony Orchestra (1951)
Bruno Walter, New York Philharmonic Orchestra (1951)
Bruno Walter, Columbia Symphony Orchestra (1958)
David Zinman, Tonhalle Orchestra Zurich (1997)
Addendum 1
This posting is about Ludwig van Beethoven's Symphony No.7 in A major, op.92, of which I currently have 13 recordings. Most of the older ones — up to and including Bernstein with the Vienna Philharmonics — are also present in my LP collection. The last four were added more recently, in order also to have current interpretations for comparison. The recordings in chronological sequence:
In the discussion below, I deal with the recordings in alphabetic order. My listening sequence is neither alphabetic nor chronological.
Before starting, let me re-iterate on something that I stated in a posting on my digital music collection — I have what I have, and this is primarily driven by two things:
I try preserving the music that I had on LPs — and in the LP days, I strictly followed my curiosity rather than trying to collect "everything"
Since I started collecting CDs, I also tried selectively adding newer recordings that fit my current interests (i.e., typically historically informed performances, of recordings of current artists that caught my interest).
No Karajan??
One response to my review of Beethoven's Symphony No.3 ("Eroica") was "Not a single version of Karajan's recordings? You've got to be kidding…" — no, I kid you not! I never was a particular fan of Karajan, but I haven't completely ignored him (OK, I do, for the Beethoven symphonies): I know his qualities, such as his quest for the perfect sound, his ability to engage with the very best soloists available — but I also have come across some of his limitations, if not deficiencies, at least from today's perspective (I'll get to those once I discuss the relevant recordings). For sure, his recordings are not competitive in an environment (and a personal preference) that favors historically informed interpretations (for, say, classical music up to the early romantic period).
Unless I have special ties to a particular interpretation (e.g., from the LP days) or artist (e.g., from past concert experiences), I typically refuse to add recordings of which I know that they will fall off against my favorites: criticizing recordings that I don't like is not a purpose of my blog, and I can't even dream of covering "all" relevant artists. There are instances where I'm trying to be comprehensive, e.g., when I'm collecting all of Beethoven's piano sonatas played by a given (selected) artist, but never by trying to collect all recordings of a given piece (note also that the amount of work — time and effort — grows with the number of recordings involved in a comparison). Hence, my comparisons will always be fragmentary.
Background, About the Composition:
Ludwig van Beethoven (1770 – 1827) wrote his Symphony No.7 in A major, op.92, in 1811/12. The composition was published only in 1816, and Beethoven added the metronome numbers in 1817 (together with those for symphonies No.1 – 6 and No.8).
The Movements:
I. Poco sostenuto, 4/4 (1/4 = 69) — Vivace, 6/8 (3/8 = 104)
450 bars
The first movement starts with an introduction of 62 bars, annotated Poco sostenuto — traditionally, this was played substantially below Beethoven's metronome mark, and rather Maestoso, if not Pomposo:
The following Vivace part is a regular sonata form, with repeat signs around the exposition (114 bars) — most of the traditional recordings (Furtwängler, Walter, Toscanini, Erich Kleiber, Klemperer, Böhm) ignore the repeat signs; this may be mandated by the maximum duration on early recording media; more likely it is the tradition from the late 19th century — which again is likely a consequence of the slow tempo imposed by that tradition. The exposition does not directly start with the main theme, but with a lead-in in punctuated 6/8 rhythm, played by the wind section:
The first flute then introduces the main theme, which also uses that punctuated motif in the first bar:
The movement ends with a 50-bar Coda.
II. Allegretto, 2/4 (1/4 = 76)
From the annotations, this symphony doesn't feature a really slow movement — in absolute terms: the second movement is slower than the other ones, though; it is annotated Allegretto:
But in the tradition of the late 19th / early 20th century, this movement appears to have mutated into a slow piece, whereby the composer's metronome annotation was largely ignored. Sure, it is unusual to find an Allegretto in this place — but this annotation does not imply a "fast" movement, and newer recordings demonstrate that Beethoven's metronome mark does indeed make sense!
III. Presto, 3/4 (3/4 = 132) — Assai meno presto, 3/4 (3/4 = 84)
Even without explicit annotation, the next movement is a Scherzo, in 3/4, but Presto, very fast and virtuosic:
As in a typical Scherzo, there is a Trio-like segment — actually two of them in this symphony, annotated Assai meno presto (shown here: the beginning of the second instance):
The overall structure of the movement can be seen as follows (parentheses around bar counts indicate repeats):
Presto: (24) + (124) bars
Assai meno presto: 32 + (42) + 14 bars
Presto: 172 bars
Coda — Presto: 4 bars — Assai meno presto: 4 bars — Presto: 4 bars
The older, traditional recordings just perform the initial repeat (24 bars), Toscanini also did the repeat in the first Assai meno presto segment; Bernstein added the second repeat in the initial Presto to this; only newer recordings (Hogwood and later) perform all four repeats in the score. I have added some remarks about the importance of repeats at the end of this post, under Addendum 2.
IV. Allegro con brio, 2/4 (1/2 = 72)
The strongly rhythmic dance character in the last movement has received enthusiastic comments — it sure was the reason for Richard Wagner (1813 – 1883) calling this symphony an "apotheosis of the dance": fittingly, the movement is annotated Allegro con brio, with a metronome rate of 72 bars (2/4) per minute:
This has been described as a sonata form movement (parentheses around bar counts indicate repeats):
Exposition: ( 4 + (8) + (8) + 100 )
Development: 4 + 22 + (8) + (8) + 58
Recapitulation and Coda: 4 + (8) + 234 bars
At a first glance, the form seems unusual (formally, the evolution part appears to resemble a recap section, whereas the recap section doesn't follow the scheme of the exposition) — but that's just the "bookkeeper's aspect": the main theme consists of two repeated segments of 8 bars, except for the recap section, which just has one group of 8 repeated bars. the 8-bar repeats are observed by all conductors, everywhere in this comparison — the older / traditional recordings don't repeat the exposition.
In order to provide a rating overview, as well as an idea about tempo relations both within an interpretation, as well as between the two recordings, I have prepared the little table below. Note that the color coding for the tempo (blue = slower, green = faster) refers to the average between the recordings, not to the metronome markings in the score (as the latter would have made just about everybody look slow!). Note that the metronome rates were measured near the beginning of the movements and therefore are not representative for cases with a strongly accelerating tempo:
The ratings should be clear (1 = lowest/gray, 3 = yellow, 5 = highest/orange-red) — these are meant to be my personal opinion and relative, not absolute.
As mentioned above, I'm discussing the interpretations in alphabetic order (by the conductor's last name) — note, however, that this is not the order in which I did the comparison: in the listening order, I try grouping similar recordings together, also typically listening to slower performances prior to faster ones, as I feel that this is the best way to do justice to every recording. Keep in mind that even if I make lots of critical comments to a given recording, this does not imply that I didn't enjoy the music — even though I can't deny that I'm in favor of historically informed performances: many of the older recordings definitely retain their historic value, and most of them are still interesting to listen to!
Beethoven: Symphonies 1 – 9, Overtures, Violin Concerto
Leonard Bernstein, New York Philharmonic Orchestra
Sony Classical SB6K 87885 (6 CDs, stereo); ℗ 1959 – 1970 / © 2002
Booklet: track listing only
This is from the earlier cycle of stereo recordings of all Beethoven symphonies that Leonard Bernstein (1918 – 1990) made with the New York Philharmonic Orchestra. Bernstein recorded the Symphony No.7 in 1964.
Orchestra arrangement: Vl 1 — Vl 2 — Vla — Vc
Duration: 14'33"
Compared to the more recent recording below, the initial f (tutti) chords are rather hard, inelastic. The coordination in the semiquaver scales is not as good as with the Vienna Philharmonics, and overall, the introduction often sounds a bit loud — and overall, the sound (recording) is not very differentiated, sometimes a bit coarse, the woodwind sound not very favorable. On the bright(er) side, the tempo is a tad faster (closer to Beethoven's annotation) than in the later recording, feels more like a proper Vivace. But also in this earlier recording, Bernstein focused on rhythm and momentum, rather than details in the articulation / phrasing.
Slow, but consequent in the tempo; often fairly broad in the articulation, sometimes rather heavy.
Duration: 9'29", last repeat not done
In the Presto, Bernstein here is among the slowest — this is Allegro at most, but well-played otherwise, maybe a bit too much "big orchestra" overall. The Assai meno presto parts are substantially slower than annotated, but faster than most traditional interpretations. The articulation is often a bit coarse, if not even (sometimes) harsh, "military".
To me, the sound of a typical American orchestra — excellent discipline / coordination, often loud, the articulation rather hard (almost "military" at times), inelastic. In this earlier recording, Bernstein uses more rubato than later in Vienna. On the positive side: the exposition is repeated.
Overall Duration: 42'12"
Rating (see above for details): 3.0 — This has a hard time competing with today's HIP recordings.
Beethoven: Symphonies 1 – 9
Leonard Bernstein, Vienna Philharmonic
DG 474 924-2 (5 CDs, stereo); ℗ 1980/2004 / © 1981
Booklet: 24 pp. en/de/fr
This is the more recent complete recording of all Beethoven symphonies by Leonard Bernstein (1918 – 1990), this time with the Vienna Philharmonics. Bernstein made this second recording of the Symphony No.7 in 1978.
A solid, conventional interpretation — clearly with a big, (post-)romantic orchestra, the articulation not as light as is preferred today (sometimes a bit too legato). The tempo is OK, the second (main) part doesn't always feel Vivace, but has momentum, is internally consistent, fairly compelling as a traditional performance: vivid, rhythmic pieces are certainly Bernstein's strength. The articulation could sometimes be more detailed: with the focus on rhythm & drive, some motivic work / articulation is occasionally a bit superficial.
Same base tempo as the older recording (gradually, but consequently accelerating later) — but much, much better string sound (and orchestra sound in general), more differentiated in the articulation. It may be too slow, but Bernstein keeps pulling forward, across the movement, reaching around 1/4 = 72 (fairly close to Beethoven's tempo!), only slightly slowing down for the final part. One of the better conventional interpretations, even though the accelerando at times feels slightly "fabricated".
An interesting evolution between Bernstein's two recordings— here, the Presto is faster than Beethoven's annotation, as fast as the fastest HIP recordings! On the other hand, the Assai meno presto has become slower! In the fast parts, the tempo is at a point where details start to get lost (at least for the listener), and Bernstein (to me) focuses a bit too much on momentum and rhythm, at the expense of differentiation in phrasing and articulation.
Duration: 7'11", exposition not repeated
Good tempo, but often stomping, just loud & boisterous, lacking lightness in articulation, dynamic differentiation. Strangely, the exposition is not repeated — it was repeated in the earlier recording.
Rating (see above for details): 3.3 — I expected more.
Beethoven: Symphonies No.6 – 8; Overture to Fidelio, op.72; Overture No.3 to "Leonore", op.72a
Karl Böhm, Vienna Philharmonic
DG / iTunes download (CD, stereo, 256 kbps); ℗ 1993
Booklet: none with download
Karl Böhm (1894 – 1981) recorded the Symphony No.7 in 1972, as part of a complete cycle, with the Vienna Philharmonic Orchestra — for more information see the post "Beethoven: Symphony No.4 in B♭, op.60".
Orchestra arrangement: Vl 1 — Vl 2 — Vc — Vla
Duration: 12'19", exposition not repeated
The intro is slow, broad, too forceful in the sforzati; the coordination within the strings is OK, but less than perfect between strings and wind instruments. Strangely, most rising scales in the strings appear to accelerate — because they are taken as crescendo?? The Vivace part is in good tempo, but has a tendency to be loud, ff — too big an orchestra sound from today's perspective, lacking elasticity.
Too slow, definitely (see Bruno Walter's recordings), also lacking contours: just broad, largely very legato, streaming — boring.
Duration: 8'29", only the very first repeat is done
The Presto isn't all that slow, the playing OK, nothing exciting, though — sometimes losing momentum a bit. Unfortunately, the Assai meno presto is totally static and extremely slow: Beethoven's Metronome rates indicate a slow-down by around 1/3 — Böhm slows down almost two-thirds! Böhm's tempi are virtually identical to Furtwängler's.
A classic, tradition al interpretation, luckily not as heavy as the truly romantic ones!
Rating (see above for details): 2.0 — A traditional performance, in my view with some flaws; there are more interesting interpretations from that time, and in this tradition.
Beethoven: Symphony No.7 in A major, op.92; Music to "Egmont", op.84
Thomas Dausgaard, Swedish Chamber Orchestra Örebro
Henriette Bonde-Hansen, soprano
Simax classics/ iTunes download (CD, stereo, 256 kbps); ℗ 2001
Since 1997, Thomas Dausgaard (*1963) is the principal conductor of the Swedish Chamber Orchestra in Örebro. For more information see the post "Beethoven: Symphony No.4 in B♭, op.60". Dausgaard recorded the Symphony No.7 in 2001.
Orchestra arrangement Vl 1 — Vla — Vc — Vl 2
In terms of acoustics, quality of string sound, smoothness, etc., this recording can't compete with David Zinman's recording — but it sure brings a smaller orchestra (more realistic for the orchestra at Beethoven's time), more authenticity in terms of string sound, overall balance and lightness in the articulation. The goal is not a polished, perfect recording, but a more "realistic" sound experience — and the playing is definitely excellent.
Dausgaard closely follows Beethoven's tempo annotations (i.e., the metronome rates); compared to Zinman, the dynamic span is smaller (mainly due to the smaller orchestra), the sf / staccato chords are short and concise, but not exceedingly dry or hard. The tempo in the Vivace is a little faster than Beethoven's annotation, maybe at the upper limit — but still mastered very well, without feeling pushed / exceedingly driven. I love the horn sound, as well as that of the woodwinds! The music feels real lively and expressive — a joy to listen to.
Initially, Dausgaard is slightly below Hogwood's (and Beethoven's) tempo, but still reasonably close, the playing is relaxed, yet alert, transparent; over the course of the first part, Dausgaard reaches the annotated tempo, through a very subtle accelerando (less obvious than Bernstein, for sure): working with a small body of string instruments is so much better and easier on this piece. Really excellent, overall!
Duration: 8'40", with all repeats
In the Presto, the tempo follows Beethoven's annotation spot-on: virtuosic, transparent, playful, light — excellent interpretation, but not as polished as Zinman's. Compared to the annotation, the Assai meno presto is a little slow — but with wonderful tonal qualities, almost like chamber music in the p section, with wonderful woodwind and brass voices — marvelous!
With 1/2 = 80, Dausgaard has the fastest base tempo in this comparison — faster than the composer's annotation; the orchestra masters that extremely well, maintaining excellent coordination — the advantage of a small, but virtuosic orchestra! The articulation is light, the transparency excellent (better than Hogwood's recording, also in dynamic balance); the playing is not overly polished or sterile, nor exceedingly boisterous, but vivid, joyful, compelling, maintaining or even building up momentum (and some extra tempo!) up to a really enthralling ending!
Rating (see above for details): 5.0 — Clearly my favorite, along with Zinman's recording!
Wilhelm Furtwängler, Vienna Philharmonic
Berlin Philharmonic, Philharmonia Orchestra, SDR Symphony Orchestra
live recordings 1948 – 1954
IMD Music Distribution Ltd. ARPCD 0214 (5 CDs, mono); ℗ / © 2004
This is from a collection of live concert recordings that Wilhelm Furtwängler (1886 – 1954) made 1948 – 1954, with various orchestras; the Symphony No.7 was recorded with the Vienna Philharmonic in 1954 — this is a live recording with noises from the audience, and with occasional intonation issues (and with the occasional portamento in the violins, which now appears superfluous). The recording technique of course has limitations, especially in the transparency: it is an early stereo recording, but the spatial resolution / differentiation is severely limited (e.g., I can't tell for sure whether the second violins were placed on the right or not).
As one would expect, Furtwängler is far away from Beethoven's metronome marks, the melody presented by the woodwinds in the first bars is extremely slow, hardly perceived as a melody, particularly in a live situation (and this is a live recording). To me, this is not Poco sostenuto, but it feels Lento, also in the way in which ornaments are played, and the heavy accents / sforzati in the strings appear to proclaim "grandiose! heavy! solemn! etc."; I think this is far away from Beethoven's intent.
The transition to the Vivace is harmonic, Furtwängler (after considerable rubato) reaches a tempo (1/4 = ca. 46) at the end of the introduction, at which 1/8 corresponds to 3/8 in the Vivace. That second part can be called Vivace, though the articulation is fairly heavy and often massive, such that some of the sforzati are hardly felt as such. Some of the pp interjections (e.g., bar 156) are mf at least.
Not quite as slow as Walter / Böhm, but still heavy and too slow, not Allegretto; Furtwängler creates big arches, but the articulation is not very differentiated. The central A major part is slower (1/4 = 59), and also the last part is slowing down noticeably; it's hard to enjoy this recording, considering the recent changes towards Beethoven's metronome marks!
The tempo in the Presto is below the score, but still acceptable — however, the articulation in the strings is anything but clean, often superficial, with just moderate coordination (OK, this is a live recording — but then, it's the Vienna Philharmonics!). The Assai meno presto is clearly the slowest in this comparison — Beethoven specifies slowing down by approx. 1/3 — this is a slow-down to 1/3!! these slow parts are totally static, sometimes overblown (not from a romantic perspective, but certainly looking back from today's HIP practice!). Not Furtwängler's best recording, I'm afraid!
The beginning (first theme) sounds rather heavy, the articulation superficial, the coordination not perfect (but again, it's a live concert recording). The second theme (after the repeats) is noticeably faster, there is a fair amount of rubato throughout the movement, with a strong accelerando at the end. Not really competitive with more recent recordings in terms of orchestral qualities, but certainly a typical Furtwängler interpretation — one can picture him forming those big build-ups / waves — not sure the orchestra is able to realize all of his ideas, his overall plan!
Rating (see above for details): 1.8 — A romantic, historic landmark, maybe — but so far from what we now consider historically correct & appropriate…
Beethoven: Symphonies 1 – 9, Overtures to "Coriolan" and "Egmont"
Christopher Hogwood, The Academy of Ancient Music
Decca / L'Oiseau-Lyre 425 z696-2 (6 CDs, stereo); ℗ 1986 – 89 / © 1989
Booklet: 90 pp. en/fr/de/it
Christopher Hogwood (1941 – 2014) made this recording of all Beethoven symphonies with the Academy of Ancient Music between 1983 and 1989 — Symphony No.3 was recorded in 1989. For more information see the post "Beethoven: Symphony No.4 in B♭, op.60".
Orchestra arrangement: Vl 1 — Vla — Vc — Vl 2
Clearly a historically informed performance, very obvious in a comparison, be it only because of the lower pitch (a' = 430 rather than a' = 440 – 442) and the softer, warmer sound, e.g., in the oboes & flutes (it's also interesting to see that with period instruments, the sound balance is often more on the oboes than on the flutes when they play in parallel!).
Especially the sound is a very pleasant change (also in the overall balance) from the traditional recordings: this is supposed to be Poco sostenuto, not Maestoso! The tempo is fairly close to Beethoven's annotations, also in the Vivace. The only downside in my view is an occasional, slight lack of tempo control in short phrases, and maybe the overall coordination & rhythmic precision in the Vivace part (not quite matching up to that of other orchestras), maybe linked to a slight lack of transparency & clarity.
Ah — what a difference it makes if this movement starts close to Beethoven's annotated metronome number: no need to push or accelerate (like Kleiber, Toscanini, and Bernstein), the tempo is fluent, yet, the movement remains relatively calm. In the A major part, Hogwood takes a very slightly faster tempo, fitting the more forward-looking character of that section. The playing throughout the orchestra is light, transparent, never harsh — and the coordination is excellent: a very good recording!
In the Presto, Hogwood is considerably faster than Beethoven's annotation — yet, the orchestra manages this amazingly well; not with extroverted, polished / cold virtuosity, but with "natural" agility and avoiding harsh articulation, and the movement never feels rushed / pushed! The Assai meno presto comes without Norrington's refined dynamics, but instead, one gets to enjoy the natural balance between strings and woodwinds, and the warm, soft tone / articulation of the woodwind instruments.
I like the orchestra sound, i.e., the sound of period instruments — but sadly, this movement doesn't fully play out the strengths of a HIP performance — e.g., the movement lacks some dynamic differentiation: it sounds as if Hogwood aimed at exposing as many secondary voices as possible (indeed, there are voices — especially in the horn and other wind instruments — which are usually not heard by themselves, which are now — somewhat — highlighted, catching the listener's attention) — hereby losing the focus on the primary melody, and the distinction between melody voice and accompaniment. Also, some sforzati (especially in the main theme, in the strings) could be more pronounced. The tempo is very good, but the recording of this movement is not entirely convincing.
Rating (see above for details): 4.5 — A pioneering HIP recording, and a landmark as such; excellent, but not top in all movements.
Beethoven: Symphonies 6 & 7
Erich Kleiber, Royal Concertgebouw Orchestra
Decca 476 762-2 (CD, mono); ℗ 1951, 1954
Booklet: 20 pp. en/fr/de
Erich Kleiber (1890 – 1956) was mainly known as an opera conductor, but he did leave behind some fine orchestral recordings, too, such as this one with two Beethoven symphonies. Erich Kleiber recorded the Symphony No.7 in 1950.
In the intro, Kleiber is even a little faster than Beethoven's metronome mark! It's very well-played in general — in the semiquaver scales it sometimes appears a little fast / pushed, no longer sostenuto — even though the tempo in crotchets is OK: maybe it should be slightly lighter in the articulation? In the Vivace, the tempo is exactly as specified by the composer (sometimes even faster!), with lots of drive & momentum — though sometimes it appears a bit pushed, causing superficialities — maybe too fast for such a big orchestra? Still, a strong interpretation with a clear concept!
The beginning is quite remarkable in its dynamic differentiation (slight accents on the non-staccato crotchets) and one of the fastest tempi among the traditional / conventional interpretations. The starting tempo still is below Beethoven's annotation, but Kleiber is clearly pushing for faster tempo, adding accelerandi, and probably coming close to the annotated metronome number — unfortunately, this approach isn't very successful in this recording, as it leads to considerable unrest through major parts of the movement. Also, in the more vivid A major part and (particularly) in the last section (a minor), the coordination in the orchestra is quite poor.
Among the legacy recordings, this is one of the fastest interpretations: only Toscanini is faster in the Presto. Kleiber's Presto is joyful, sparkling, lively. The Assai meno presto is very slow, almost at Klemperer's tempo — a vast contrast to the fast parts — more than Beethoven could possibly have intended. These slow parts are very static, and the large tempo contrast causes coordination and superficial articulation in the second and third Presto segments. Too bad also about all the omitted repeats — would be nice to hear the movement in Beethoven's original proportions!
The first theme is maybe on the slow side (1/2 = 64), the articulation a bit harsh, "military" — but then, for the second theme, Kleiber accelerates to 1/2 = 77 — substantially faster, if not rather fast. This tempo change — consequent across the movement — is the most prominent sign of Zeitgeist in this movement; but the playing is clear, clean, fairly transparent
Rating (see above for details): 3.0 — An impressive historic recording, and one of the better traditional interpretations, with an excellent conductor, paying attention to clear articulation.
Beethoven: The Complete Symphonies and Piano Concertos; Choral Fantasia; Great Fugue op.133; Overtures Leonore 1-3, Coriolan, Prometheus
Otto Klemperer, Philharmonia Orchestra, Daniel Barenboim
EMI 5 73895 2 (9 CDs, stereo); ℗ / © 2000
This is part of the complete cycle of Beethoven symphonies (later also including the piano concertos, with Daniel Barenboim and the New Philharmonia Orchestra) that Otto Klemperer (1885 – 1973) realized in the late fifties, with the Philharmonia Orchestra; Klemperer recorded the Symphony No.7 in 1955. For more information see the post "Beethoven: Symphony No.4 in B♭, op.60".
Orchestra arrangement: Vl 1 — Vc — Vla — Vl 2
The intro has a better tempo than Furtwängler's, is less pomposo. The precision / coordination of the strings isn't very good (e.g., in those semiquaver scales with the two violins in unison or in parallels) — this exemplifies the downside of the arrangement with opposing violin groups. In quaver and crotchet passages that are not annotated staccato, the strings are too legato & soft from today's perspective. The Vivace has a tendency to be heavy, to exhibit the power of the big, romantic orchestra, and the tempo is on the slow side.
About as slow as Bruno Walter; maybe less detailed in the articulation (and the coordination in the orchestra is not always perfect), but forming impressive, long & dramatic phrases and build-ups. In contrast to Furtwängler, Klemperer takes the A major part noticeably faster, at around 1/4 = 65.
Klemperer delivers a solid, somewhat (too?) handsome interpretation — unfortunately at a tempo that is far from the composer's annotation: the Presto parts are Allegro at best (just barely joyful). The difference to Beethoven's tempo annotation is even bigger in the Assai meno presto: in line with the romantic tradition, this appears an almost complete standstill, in extreme contrast to the Presto parts. The playing in the orchestra is fine — but that tempo is not a challenge, of course.
Rather heavy, on the slower side, but nevertheless a strong, clear interpretation, without excessive romanticisms — what I miss most is a bit more brio.
Rating (see above for details): 2.3 — A bit handsome, often heavy, but still a strong, traditional interpretation.
Beethoven: Symphonies 1 – 9, Introductions by Sir Roger Norrington
Sir Roger Norrington, Radio-Sinfonieorchester Stuttgart
Hänssler Classics (5 CDs + Bonus CD, stereo); ℗ 2000 / © 2000
Booklet: 17 pp. de/en (this CD)
Sir Roger Norrington (*1934) recorded Symphony No.7 with the Radio-Sinfonieorchester Stuttgart in 2002, from live concerts. For more information see the post "Beethoven: Symphony No.4 in B♭, op.60".
Norrington is frequently quoting Beethoven's metronome numbers as important criteria for historically correct performances — and in this movement he is very close to Beethoven's annotations.
The orchestra plays with modern instrument, but orchestral arrangement, size and articulation all reflect the criteria for HIP playing. The orchestra is pretty good at that — the one hair in the soup in the introduction might be occasional, slight coordination issues between the two (opposed) violin groups, a potential drawback of this arrangement, especially with bigger orchestras — but then, this is a live recording, and so, perfection cannot be the most important criterion. In the Vivace part, there are some superficialities in the articulation that (I think) cannot just be attributed to the live recording situation — more likely to limitations in the orchestra.
In his introduction, Norrington point out the importance of Beethoven's tempo annotation, and the validity of the composer's metronome values. Well, here now (in a live concert, though), he clearly is above the composer's annotation — however, he manages to keep / maintain the character of the music, and the tempo, the playing in general still feels natural (more so than in Kleiber's interpretation!): in this movement, one gets the feeling that "too fast" is the lesser evil than "too slow". One of Norrington's "tricks" is that he focuses on the melody and on the initial basic rhythm, keeping the fast figures in the accompaniment in the second half of the movement as secondary voices. A compelling approach (but it should definitely not be any faster!).
Norrington is very close to Beethoven's metronome marks (a tad faster in the Presto, a tad slower otherwise); clearly, he is operating at the limits of the orchestra's abilities, where inaccuracies / inconsistencies in the articulation start creeping in, many passages in the Presto feel pushed, too "driven". On the other hand, I really like the dynamic differentiation in the Assai meno presto, e.g., those resting notes in the violins and in the woodwinds, which are all played with diligent dynamics: very good, albeit not in the score! Also, the Assai meno presto is so much faster than traditional interpretations — and yet, here it does not feel exceedingly fast, but really natural!
Duration: 8'40" without applause
Again, Norrington is almost perfectly on Beethoven's metronome mark — and the musicians master the tempo very well in this live recording. The music is vivid, the accents really refreshing, Norrington never loses the momentum, the brio in this movement; the balance between the voices is excellent. Sure, it isn't as perfect as Zinman's recording — but it is a live recording, and on rare occasions, one can see the challenge caused by having the two violin voices in the (correct) arrangement where the sit on either side of the stage, opposing each other (at the same time it is very obvious why this arrangement makes sense, particularly in this movement).
Overall Duration: 37'59" (including applause)
Rating (see above for details): 4.5 — A very good recording, HIP with modern instruments, with some limitations due to the live situation, some limitations in the orchestra probably.
Beethoven: Symphonies 1 – 9 (recorded 1951 – 53)
Arturo Toscanini, NBC Symphony Orchestra
RCA / BMG Classics 828786-55702-2 (5 CDs, mono); ℗ / © 2003
In 1949 – 1953, Arturo Toscanini (1867 – 1957) performed all Beethoven symphonies with the NBC Symphony Orchestra, at Carnegie Hall, mostly for direct radio broadcasts; it's his last performance of the complete cycle, a key part of Toscanini's legacy. The Symphony No.7 was recorded live on 1951-11-09 and broadcast the following day.
The Poco sostenuto starts slow, almost epic — but Toscanini accelerates throughout the introduction, such that this section almost ends Vivace! One prominent feature here are the fp accents, which Toscanini has played sffp. The Vivace section is the fastest in this comparison — it has lots of drive / momentum (Toscanini even adds accelerandi to the already fast tempo!), is sometimes maybe slightly forceful. But overall, it is very dramatic, relentlessly driving to the final climax (typical for Toscanini!). Sure, it is not perfect in the coordination, it's not transparent (a mono recording, after all) — but it's a live performance, and Toscanini's tempo would be demanding even for today's top orchestras!
Toscanini applies a slight accelerando across the initial (a minor) part, then suddenly switches to 1/4 = 75 (Beethoven's tempo!) for the central A major part. The second a minor part remains faster than the first one. Despite the limitations in the recording technique, one can feel Toscanini's strong, dramatic concept: interesting, to say the least!
Duration: 6'59", only the first repeat in the first Presto and the repeat in the first Assai meno presto are done
Amazing — Toscanini is spot-on with both tempi, which is unique within the legacy recordings! Sadly, the orchestra is facing a real challenge here, and one can hear occasional coordination issues and superficialities in the Presto parts, even though it is obvious how much Toscanini was paying attention to clear and accurate articulation. Sure, the slow parts don't have the intimacy of Walter's interpretation — but then, that's not in Beethoven's composition!
As expected, Toscanini's tempo is spot-on with Beethoven's annotation — with gradual accelerando to a slightly faster pace; very impulsive, with incredible momentum, without feeling pushed / overly driven. Limitations in the orchestra's abilities don't stop Toscanini from pursuing his vision — too bad the orchestra is often not able to articulate clearly at this tempo, even though the coordination and general discipline are excellent!
Rating (see above for details): 3.5 — A historic reference recording, clearly, ahead of most of the conductor's colleagues at the time.
Bruno Walter, New York Philharmonic Orchestra
(recorded 1941 – 53)
Music & Arts CD-1137 (6 CDs, mono); ℗ 2004
Booklet: 12 pp. English
This is part of Bruno Walter's (1876 – 1962) well-known mono recording cycle with the New York Philharmonic Orchestra, realized between 1946 and 1952 (Symphony No.8: 1942, the CD release also includes early recordings of the symphonies No.3 and 5, from 1941). The recording of Symphony No.7 was done in 1951.
The tempo in the introduction is a little below Beethoven's annotation; the articulation (especially in the strings) is careful and usually detailed. The Vivace is light in the articulation (despite the big orchestra), typically lively, but could be faster. Some superficialities in the articulation (in favor of drive / momentum).
Quite close to the more recent recording below — slightly faster, but less careful, detailed in the articulation, often with only moderate coordination in the orchestra. Some tempo instabilities (odd rubato?).
Walter's Presto is probably more of an Allegro, if not an Allegretto — could well be that the conductor chose a moderate tempo in order to keep the articulation clean; still, the orchestra sometimes lacks clarity and precision in the fast figurations. Also the Assai meno presto parts are slow, but at least light (almost like chamber music) in the p parts, and not too dramatic or overblown in the f / ff parts.
Walter starts relatively fast (1/2 = 75), but then takes the music through a steep acceleration, up to around 1/2 = 85 and above — to the detriment of clarity, accuracy, coordination, even causing superficial articulation. I can see where he wants to take that music — but really, the orchestra can't fully follow that path.
Rating (see above for details): 2.3 — Walter offers a lot of momentum — beyond the abilities of that renowned orchestra!
Bruno Walter, Columbia Symphony Orchestra
Sony Classical SMM5023122 (5 CDs, stereo); ℗ 1958 – 63, 1993 / © 2001
Booklet: none
With the availability of stereo recording technique, CBS wanted Bruno Walter (1876 – 1962) to re-record the Beethoven symphony cycle (realized 1958 – 1961) — and they even founded an orchestra for this purpose, the Columbia Symphony Orchestra. The Beethoven Symphony No.7 was recorded in 1958.
About the same tempo in the introduction as in the earlier recording; unfortunately, the sound is much too focused on the bass. The Vivace is not, I'm afraid: too slow, despite the drive and the momentum. On the bright side, the articulation typically remains elastic, is not forceful, despite the big orchestra.
Nicely, carefully played, solemn, tragic (except for the brighter episode in the middle) — unfortunately, it's not Beethoven! This is way too slow, very broad and legato, definitely not Allegretto, let alone close to the composer's metronome mark: rather a funeral march.
The tempo in the Presto is exactly the same as in Walter's earlier recording, but this one has more clarity, more careful articulation, more dynamic differentiation. The Assai meno presto (a tad slower than the older recording) to me is the nicest among the legacy recording, very emotional, warm, intimate & touching in the p parts, wonderfully detailed in articulation and phrasing: too slow, overall, but still very impressive!
In the newer recording, Walter takes a more moderate tempo, just a tad below Beethoven's metronome mark, and he avoids the excess accelerando from the earlier recording (he still takes the tempo up to around 1/2 = 78) — and the result is much better (even though maybe closer to the "ordinary"): the articulation is detailed, the sound transparent (for that time). It's not always perfect, but enthralling and expressive.
Rating (see above for details): 3.5 — An excellent interpretation in its class, and probably one of Walter's best Beethoven symphony recordings.
David Zinman, Tonhalle Orchestra Zurich
Arte Nova 74321 59214 2 (CD, stereo); ℗ / © 1998
Booklet: 20 pp. de/en/fr
Arte Nova 74321 65410 2 (5 CDs, stereo); ℗ / © 1997-1999
Booklet: de/en/fr
David Zinman (*1936) has directed the Tonhalle Orchestra Zurich between 1995 and 2014. For more information see the post "Beethoven: Symphony No.4 in B♭, op.60". Zinman recorded the Symphony No.7 in 1997.
Zinman takes the initial sf staccato chords rather short, but without making them sound harsh or abrupt. The transparency of the recording, the sound balance with the woodwinds, the sound overall are all really excellent, the strings perfectly coordinated (the non-historic arrangement with the violins next to each other helps, of course), their sound excellent as well, and the warm sound of the old Tonhalle-Saal supports the recording. The orchestra is of fair size, but Zinman avoids making it sound oversized.
The tempo introduction is slightly above Beethoven's annotation — but the playing is relaxed, never pushed, let alone rushed. In the Vivace, Zinman's tempo is exactly as specified in the score: it is lively, joyful, the articulation light, the playing near-perfect — but not exceedingly intellectual, and to me, it does not feel like "cold perfection", even though it is devoid of romantic rubato excesses; sure, one could imagine equally valid, more emotional interpretations… A typical "Zinman feature": the little oboe cadenza at the fermata in bar 300 — very nice!
Zinman starts right at Beethoven's metronome mark — and proves that this funeral march-like section also works at a faster pace. This also has the advantage that no accelerando is needed for the livelier second half (livelier in character, not in tempo annotation). Needless to say that the playing is technically near-perfect, flawless. Also in this movement: Zinman's "signature" — nice extra ornaments in the clarinets at the beginning of the second A major section in bars 225 – 232. Definitely a convincing HIP interpretation, even though it's not played on period instruments (e.g., gut strings, classic bows).
Zinman is spot-on with his tempi, exactly as specified in the score. Over the years of his partnership with the orchestra, the musicians reached an astounding degree of virtuosity and perfection — and here, Zinman can show this off! In a way, this is the "antithesis to Hogwood", perfect in the articulation, coordination and transparency, even though the orchestra is bigger, especially in the Presto. In the Assai meno presto, the articulation remains light, transparent, the sound perfectly balanced. Sure, it's not the "period sound" of a strict HIP performance — but to me, still a valid, even a reference interpretation, demonstrating that also modern instruments can deliver leading edge results in a HIP environment!
Compared to Hogwood, this is clearly faster (slightly faster than Beethoven's annotation), maybe lacking the "HIP sound", but with perfect dynamic balancing of the orchestra, perfect coordination, light articulation (discharging of long notes), excellent transparency, never losing momentum, never "just loud and noisy", but with a compelling, enthralling accelerando towards the final bars! The only criticism that I might accept here is that it is maybe to polished, too perfect?
Rating (see above for details): 5.0 — I don't mean to brag about "our local orchestra" here — but this simply is an excellent recording!
I use an Eulenburg pocket score to follow this music while listening; that exact score is not available as such, but the Dover Miniature Score should do just as well: —Find pocket score on amazon.com—
Basic Bar Counts
Repeats are relevant because their omission alters the proportions of a piece. We can easily illustrate that with the third movement — let's look at bar counts first:
If all repeats are performed as specified by the composer, the bar counts in the movement are as follows (bold = Presto):
296 — 130 — 172 — 130 — 144 — 12 Coda (620 bars Presto, 264 bars Assai meno presto)
if only the first repeat is performed, this alters the picture:
172 — 88 — 172 — 88 — 144 — 12 Coda (496 bars Presto, 180 bars Assai meno presto)
Durations, Beethoven's Metronome Rates
If we take into account Beethoven's metronome rates, the timing (in seconds) of the fast and slower sections is as follows:
If all repeats are performed as specified by the composer:
135″ — 93″ — 78″ — 93″ — 65″ — 7″ Coda
or, in percentage of time:
28% — 20% — 16% — 20% — 14% — 2% Coda (59% Presto)
on the other hand, if only the first repeat is performed:
78″ — 63″ — 93″ — 63″ — 65″ — 7″ Coda
Durations, Traditional Metronome Rates
If instead of Beethoven's tempo relation 132 : 84, a more traditional tempo relationship, such as 125 : 62.5 (2 : 1) is chosen, this also affects the proportions:
If all repeats are performed, but if the metronome rates are 125 and 62.5, respectively:
142″ — 125″ — 83″ — 125″ — 69″ — 8″ Coda
if only the first repeat is performed, and if the metronome rates are 125 and 62.5, respectively:
20% — 20.5% — 20% — 20.5% — 17% — 2% Coda (58% Presto)
The extremely slow Assai meno presto in Furtwängler's and Böhm's interpretations causes a further distortion of the time balance towards the slow parts of the movement, hence altering the overall character of the movement. One could claim that, in combination with leaving out most repeats, an excessively slow Assai meno presto may restore Beethoven's original fast/slower proportions overall — however, this not only ignores Beethoven's metronome marks, it also defeats Beethoven's original concept of starting with longer periods, then moving (accelerating) to shorter periods towards the end of the movement.
Categories Beethoven, CD Reviews Tags Böhm, Beethoven, Bernstein, Dausgaard, Furtwängler, Hogwood, Kleiber, Klemperer, Norrington, symphony, Toscanini, Walter, Zinman Post navigation
Harnoncourt — Monteverdi: Operas (Diary 2015-08-04)
Croisé / Shevchenko — Lucerne, 2015-08-27
6 thoughts on "Beethoven: Symphony No.7 in A, op.92"
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Furtwängler's 1954 recording is "in early stereo"? That's the first I've ever heard that. This appears to be an off-the-air recording, not one prepared by a specific company. Very few – if any – pirates were recording in stereo in 1954. I don't disagree with your findings, but perhaps the conductor deserves to be heard in another performance, say 1950 EMI or the incandescent 1943 performance, which could knock your socks off.
Hi Larry, thanks for your comment! First and foremost: I merely tried characterizing the recordings, and this one definitely does not feature pure mono. The violins are on the left, the winds in the center, whichever way this was done. I could well imagine funneling specific frequencies to the left channel doing this, and I do suspect it was pure post-processing. In fact, the bass frequencies are about as diffuse / centered as the wind instruments. At least, it's better than those poor attempts to create spatiality by phase-inverting one channel!! But there is definitely some (vague) spatiality about this recording. I can't be comprehensive in my comparisons — the one Furtwängler recording I have here may well be a coincidental / accidental choice, back in the days when I was collecting LPs. And I haven't checked back whether the LP features then same "pseudo stereo" … In any case, mono as such does not imply bad quality, except that it may severely hamper a recording's transparency. At this point, I have no plans for adding more historic recordings.


Blue Water Adventures is an eco-friendly, environmentally conscious business. Having re-powered our boat with ultra-low emission engines and recycling all trash on board, we strive to do our part in preserving our natural resources and environment. We strive to leave the dive site in better condition than we found it, including the removal of fishing line and trash that we find. If you are interested in taking part in reef clean-ups with Blue Water Adventures, contact Captain Dave Mucci for more information.


To the intervening variables, whatever they might be, that brought the film and the two museum-gallery art exhibits into such close space-time proximity, I can only offer my deepest appreciation.
Although the three works served to embellish each other, fitting together like tongue-in-groove woodwork as it were, their coming together formed a perfect storm. The film, a screening of Tom Ropelewski's "Child of Giants" at the Salt Lake City Main Library, served impeccably as the opening act to a couple of adjacent-gallery BYU Museum of Art shows down in Provo.
For us pilgrims who have spent many years immersed in the interwoven lives of Maynard Dixon, Dorothea Lange, Ansel Adams, Edward Weston, Charis Wilson, Everett Ruess, and other avatars of the western ethic, events such as these provide necessary nourishment. Without them, we figuratively starve.
So when word came down the grapevine concerning, first, the film, it was a no-brainer. Following the trials and tribulations of Daniel Dixon, who grew up as the eldest child of painter Maynard Dixon and photographer Dorothea Lange, "Child of Giants" focuses not only on the "genius" of the two as artists but also on their less-than-iconic parenting skills.
Chronicling the bohemian lifestyles of the aesthetically-modernist couple, the film's narrative thread, contributed mainly by Daniel but with sporadic input from younger brother John and others, provides primary-source insight into the family life, and lack thereof, that shaped them all — especially the children, who were often shipped off to foster-care environments while their artist-parents struggled to pursue careers during the Great Depression.
Daniel didn't take well to these shuffling home fronts and rebelled, even choosing, once Lange left Dixon for Berkeley economist and fellow photographer Paul Schuster, to live on the street. They would later discover their best relationship to be as friends and business colleagues rather than mother and son.
An example of this would be a trip Dorothea took to southern Utah in the late summer of 1953 where she hooked up with longtime friend Ansel Adams to shoot a photo-essay of Toquerville, Gunlock, and St. George for LIFE magazine. The resultant spread, featuring thirty-five images (culled from the 135 that they shot) with text by Daniel Dixon, appeared in the September 6, 1954, issue of LIFE under the title "Three Mormon Towns."
And that brings us to the first of the two exhibits currently at the BYU Museum of Art, one scheduled to run through April 30 and entitled "Dorothea Lange's Three Mormon Towns." Featuring 62 vintage prints and excerpts from Daniel Dixon's original text, the exhibition is nothing less than a high-art visual time capsule into the post-war life of these three quite unique-to-each-other southern Utah then-rural communities.
Lange first became smitten with southwestern Utah when, 20 years earlier during the summer of 1933, she and then-husband Maynard Dixon camped out in Zion National Park while working their respective sides of the aesthetic street he painted while she photographed.
And although she attempted to return often throughout the years, something always seemed to get in the way. So when the opportunity arose for the LIFE shoot, she wasted little time putting the pieces in place.
With Ansel Adams and her son Daniel on board, she selected Gunlock for its near-isolation from outside influences, Toquerville as a town evolving through population exodus, and St. George as a burgeoning commercial center around which the photographic-essay would play.
The other exhibition at BYU MOA that relates to the Dixon-Lange relationship is entitled "Wide-Open Spaces: Capturing the Grandeur of the American Southwest." Featuring a wide assortment of some of Maynard Dixon's most iconic original works, this quite breathtaking exhibit, which has been on view since mid-September, is scheduled to close tomorrow, Thursday, March 10.
Dixon's modernist interpretation of the southwestern landscape, more so than any other's save possibly Georgia O'Keefe's, is the hook that keeps me coming back for more. It's both confrontational and stunning, with a spiritual component that has few, if any, equals. This exhibit, along with Dorothea Lange's and the documentary film about their family years, has proven to be a quite satisfying moveable feast, even for the culture-gluttons in our midst.
Jay Meehan is a culture junkie and an observer, participant, and chronicler of the Park City and Wasatch County social scenes for the past 40 years.


After the tragic shooting at the Tree of Life Synagogue that killed eleven people, I wanted to find out students' feelings on the shooting. With the rise of antisemitism, I asked some students about their views on what happened in Pittsburgh. "I think that in safe places like the synagogue that people will bring guns into it. It's a tragedy," Josh Baker '24, a Jew, said. Another student, Joseph Braun '24 said that "the political environment [makes people] feel empowered to shoot people they don't agree with." The spread of hateful speech on social media may be a cause of some people deciding to do a terrible thing like this. As a Jew who goes to a synagogue, I want to feel like I am safe in my synagogue without having police at the door. Also, having a uncle who's a rabbi, I want to know that he is safe and not in any danger of having a person walk into his synagogue and start shooting at people. The Counseling and Human Development department is available to address questions. Additionally, talk with friends and family members if you would like to talk about anti-semitism and what it means to you.


The study of 351 Polish employees tested the relationship between work engagement (Schaufeli, Bakker, 2004) and organizational factors that play an important role in development of burnout. The author hypothesized that the same organizational factors would play the main role also in the motivational process and influence work engagement. On the basis of the person-job fit theory, the author predicted that the match between person and work in such areas as workload, control, rewards, community, fairness and values (The Six Areas of Worklife by Maslach and Leiter) with addition of new area: leadership (supervisor support, open communication) would be important organizational factors that influence employees' engagement at work. The purpose of the study was to investigate whether the positive relationship between the subjective set of fit and work engagement (vigor and dedication) will be mediated by the meaning assigned to work. To test the model, structural equation modeling was applied to the collected data. The direct relationship between sense of fitting and work engagement was found to be partially mediated by employees' perceptions of meaning in work.


Maryland domestic violence lawyers and others may be excited to hear that the Maryland General Assembly has approved legislation that will allow for the appointment of additional judges in several local courts around the state.
One practical challenge that presents Ann Arundel County domestic violence lawyers in getting protective orders is overcrowded court dockets. In at least one Maryland county courts are having to stay open past the usual closing time just to get through their daily schedules. It is a difficult balance for any court to strike when faced with both a scheduled docket along with the emergency nature of most domestic violence filings.
With the new judges, courts can assign one judge on a full time rotational basis to handle emergency matters only. This is good news for the courts because the other judges can attend to their ordinary matters within the business hours of the court; it is good for victims of domestic violence because there will be one judge with the time to devote to each domestic violence case. A real feeling of hopelessness can affect any litigant, especially a domestic violence victim, when he or she gets the impression that a judge simply does not have the time to listen.
Across the state, the measure will create nine new judges at the trial court level and two new appellate judges. While it will cost $3.1 million when all is said and done, that may be public money well spent.
There have been other positive developments in Maryland domestic violence law lately as well, some of which we have been following. One pending measure, if passed, will enhance penalties imposed on those who commit acts of domestic violence in front of children. Another measure will allow women and men to obtain domestic violence protective orders even if they are not married to their partners and have no children in common with them.
Source: Gazette.net, "Frederick County to get new circuit court judge," Ryan Marshall, April 19, 2013.


I want to take you back for a moment. Let's pretend its 2014 all over again but I want you to wipe the slate clean. Clear your memory of what occurred last year. Now let's go to Derek Jeter's retirement announcement. After the shock and rush of emotions settle into you I want you to make a prediction for me. What do you predict will happen in Derek Jeter's last season of baseball? Throughout his career he has had a flare for the dramatic. A homerun for his 3000th hit? You have got to be kidding me. It's as if it follows him everywhere. So what did you see happening during his farewell?
I very much felt convinced that some way, somehow, when we least expected it, Derek Jeter was going to get tossed from a game. As outrageous as that sounds, you couldn't convince me otherwise. We all know what Derek Jeter is about. All his close personal friends and teammates have all come out and said how classy and professional he is. That didn't matter to me because lately I have seen a trend in umpires that has surpassed all logic and understanding.
I used to think that the strongest force in this universe was the Major League Baseball player's union. The things they have been able to accomplish with protecting players, and epitomizing the very sense of the word union was powerful. I couldn't find a comparison. As time has passed us by though, I have learned that the MLBPA is one chain link below the top of this food chain. All hail the mighty umpires of major league baseball.
What we saw Sunday with CC Sabathia getting ejected was what I have come to expect as status quo. Throughout the past few years I've seen the most ridiculous actions come from umpires, leaving fans outraged. When these games are over and we are all lost in our confusion, the umpires retreat to their lair, never to be seen or heard from again. It's no surprise to me that as reporters were looking for home plate umpire Dan Bellino to get some answers, crew chief Tom Hallion stepped in and proclaimed that he was speaking for him. And oh by the way, where's that Calzone he ordered 3 minutes ago.
I strongly believe that baseball is the most difficult sport there is. The success to failure rate is overwhelmingly high on the failure side. This is why it bothers me that a game's outcome can be affected by the temperaments of an umpire. Their sensitivity level is at an all time high and it seems like there is no motivation to look into this issue. I am not trying to down play the importance of an umpire. I know that their job is equally as difficult. But just like in any aspect of life, in order to better yourself you need to learn how to accept criticism which they obviously cannot do.


Whip up a perfect chocolate pecan pie as an interesting change to traditional dessert. The rich chocolate mix pairs perfectly with toasty warm pecans for a decadent meal. Ingredients: 4 eggs; 1 cup of sugar; 1 cup of dark corn syrup; 3 squares of unsweetened chocolate; 2 cups of pecan halves; 1 pie shell. Method: 1. Preheat the oven to 350 F. 2. Add the eggs, sugar and dark corn syrup to a mixer bowl. 3. Attached with a flat beater, turn to speed 6 for 1 minute then stop and scrape the bowl. 4. Reduce the speed to 4. 5. Gradually add melted, unsweetened chocolate and beat for 1 minute until well blended. 6. Reduce the speed to stir and add pecan halves. 7. Now pour the mixture into an unbaked pie pastry shell in an ungreased pie plate. 8. Bake for 35-45 minutes or until slightly soft in the center.


text:
import Command from './Command.js';

export default class RemoveObjectCommand extends Command{
	constructor(object,signal){
		super('remove object');
		this.parent=object.parent;
		this.object=object;
		this.signal=signal;
	}
	execute(){
		this.parent.remove(this.object);
		if(this.signal)
		{
			this.signal.emit('refresh',[]);
		}
	}
}

redpajama_set_name: RedPajamaGithub


This plastic frame has a personality all its own, inside and out. A jet black front and outer temples combine with a translucent cream interior. Exterior temples feature silver metal studs and an engraved Bebe logo.
I love these frames! They fit perfectly and look great! Very comparable and stylish!
Looks great but are very poorly made.


text:
News archyve
Ceramic Art Pavilion
GALERIJOS PADALINIAI
Lietuvos meno
galerininkų asociacija
INFORMACINIAI RĖMĖJAI
LT | ENG
Olga Ravinskaya
Mise-en-scene. 2010
Born in 1970. She graduated from the Moscow State Stroganoff University of Design and Applied Arts in 1999 where she studied ceramics. Since 1996 the artist has participated in exhibitions and symposiums in Belarus, Germany, Moldova, Poland, Russia, and Ukraine. Since 2000 she has been a member of the Moscow Artists' Union, since 2008 - a member of the Russian Federation Artists' Union. In 2000 the artist was awarded the Diploma at the Symposium Land-Art in Mogritsza, Ukraine. Her works are included in the collections of some art museums of Belarus and Russia. Olga is a studio artist and also works as interior designer and decorator.
The artist was a participant of the symposium in 2010.


To many, Johnny Appleseed is nothing more than an American fairytale, of the ilk of John Henry or Babe the Blue Ox. The cartoon image of a barefoot guy wearing a pot on his head throwing apple seeds around is rather crazy. While historians agree that this image of Appleseed was an exaggeration, it actually wasn't too far from the truth. Johnny Appleseed, real name John Chapman, did wander the frontier with bags of apple seeds, planting hundreds of thousands trees along the way. But Appleseed's apples weren't for eating, they were for drinking... in an intoxicating glass of hard apple cider.
While much of Chapman's early past is lost to history—other than his birth in 1774 in Leominster, Massachusetts, about fifty miles east of Boston, little is known besides that he and his half-brother made their way west in pursuit of America's new frontier around 1792.
That same year, Congress donated 100,000 acres, known as the "Donation Tract," to the Ohio Company of Associates as a way to encourage trade and buffer the lands from "Indian intrusions." In response, the company offered a free hundred acres of land to anyone willing to settle in these lands with only one caveat: The settler had to plant 50 apple trees on the land. Since apple trees typically take ten years to grow, this proved the settlers commitment to the land.
When Chapman arrived out west, he came up with a simple, yet brilliant business plan: Claim as many homesteads as he could, deposit apple seeds and nurse them for growth. Then, he would turn around and sell the homesteads to settlers, after doing the dirty work - a sort of19th century house flipper. Contrary to the myth of that he indiscriminately planted seeds, Chapman was actually quite meticulous about it. He protected every orchard with a barbed fence to keep out deer and thieves. He also had incredible knack for anticipating where the settlers and frontier would go to next, always able to get to the unsettled land ahead of them to plant his trees and claim the land.
The apple seeds Chapman planted were also unusual in that they were never meant to produce edible fruit. Grafted apple trees had been around for thousands of years, the concept coming to the New World with European colonists. By "grafting" trees together, new varieties are grown - sort of like how combining primary colors creates whole new colors. Chapman didn't believe in grafting trees due to his membership in the Swedenborgian, or "New Jerusalem," Church. One of the founding tenets of this religion was that all animals and plants are living things and shouldn't suffer. Therefore, grafting and cutting trees to create apple varieties were, to them, considered "wicked" and "unnatural." So, Chapman planted all of his orchards straight from seed, which meant that his "wild apples" were often bitter and gnarled. There was only thing one could do with so-called "spitter" apples, mash them up to make hard apple cider.
For well over a century, cider was this nation's alcoholic beverage of choice. According to Slate, the average Massachusetts citizen in 1767 drank 35 gallons of cider. Additionally, in a time when water's cleanliness wasn't ensured, cider made from fermented apples was sure to be safe. "Hard cider," Appleseed biographer Howard Means wrote, "was as much a part of the dining table as meat or bread." As noted by Smithsonian, planting cider apple trees also made more economical sense, especially on the frontier, then grafting for tastier apples. Hard apple cider was in higher demand.
When John Chapman died in 1845, he immediately entered into American folklore. His obituary ran in newspapers across the country, calling him by the nickname that has continued to persist for decades. Today, many of the trees that Chapman planted a century and a half ago no longer exist - except one. On a farm in Nova, Ohio, lives the last surviving apple tree planted by Johnny Appleseed. It's believed that Appleseed sowed these seeds approximately 170 years ago during the presidency of Andrew Jackson.
So, next time you are in the unincorporated community of Nova, about 55 miles southwest of Cleveland, pay a visit to the real-life offspring of Johnny Appleseed's legend. And don't forget your hard apple cider.


On a cloudy day - Penny Frick of Bradenton wins the fourth week of The Islander's Top Notch photo contest with this image of an anhinga drying its wings near a small lake. Frick will receive an Islander "More than a mullet wrapper" T-shirt. She's also a finalist in the contest, which offers a grand prize of $100 from The Islander and an assortment of gift certificates from participating advertisers.


text:
Ladies, ladies, ladies
Read more: Girls, Women, and Ladies and Girls Girls Girls.
Impossible to find on Google, Lady is a soul sister duo (Nicole Wray and Terri Walker), that recently signed to Truth and Soul Records.…
truthandsoulrecords.com
I've previously mentioned Lady before, and again, I have to stress that it's impossible to look them up online! I tried looking them up on Amazon but all I get is Lady Phat in return. Something needs to be fixed, or perhaps a less common word in their name or album (which, of course, is self-titled). The only thing I can find is that they have a single called "Money" out now.
Lady's Lady album is coming out March 12th, 2013, via Truth & Soul Records.
The soulful sisters (Nicole Wray and Terri Walker) will head out on tour with Lee Fields & The Expressions:
Mar 22 Mobile, AL - Alabama Music Box
Mar 23 New Orleans, LA – Hogs For the Cause
Mar 24 Little Rock, AR - Juanitas Cantina
Mar 26 Springfield, MO - Gillioz Theater
Mar 27 St. Louis, MO - 2720 Cherokee
Mar 28 Chicago, IL - Lincoln Hall
Mar 30 Cincinnati, OH - 20th Century Theatre
Mar 31 Pittsburgh, PA - Rex Theater
Apr 06 Savannah, GA - Savannah Music Festival
LADY LAMB THE BEEKEEPER
ladylambthebeekeeper.com
I've previously mentioned Lady Lamb and the Beekeepers here, which I mentioned their debut album Ripely Pine will be out February 19th, 2013, on Ba Da Bing! Records.
Well the time is almost now, and look-it-here, Aly Spaltro, will be heading out on tour in support of the album:
Sat. Feb. 9 - Philadelphia, PA @ Johnny Brenda's
Tue. Feb. 12 - Washington, DC @ DC9
Fri. Feb. 22 - Cambridge, MA @ T.T. the Bear's
Sat. Feb. 23 - Brooklyn, NY @ Knitting Factory
Sat. March 2 - Portland, ME @ Space
LADY STARLIGHT
ladystarlightnyc.com
Lady Starlight (Colleen Martin) has toured and opened up for Lady Gaga three times - including this current Born This Way tour, happening in 2013.
Lady Starlight is currently on tour with Lady Gaga, but here are her side DJ gigs below… including a special Valentine gig at Berlin Nightclub with Big Dipper in Chicago.
Feb 08	Drake Hotel Toronto, Canada
Feb 14	Berlin Nightclub Chicago, IL
Feb 16	The Shelter Detroit, MI
Feb 17	Club Absinthe Hamilton, Canada
Feb 23	The Gramercy Theatre New York, NY
Feb 25	The Hamilton Washington, DC
Mar 02	Bryce Jordan Center	University Park, PA
Mar 10	12th & Porter Nashville, TN
Mar 11	Hard Rock Cafe Atlanta, GA
Mar 16	TBA Miami, FL
Speaking of Gaga, I got an announcement that Ariana & the Rose (the new indie pop project from singer/songwriter Ariana DiLorenzo) will be playing a series of Lady Gaga after parties in New York and Miami. The debut EP, Love Me, Love Me Not, will be out March 13th, 2013.
LADYTRON
ladytron.com
I love Ladytron, I felt that 604 and Light & Magic were the album of choice in the 2000… unfortunately I suppose my music taste changed or something because I was not that impressed with their later offerings (Witching Hour and Velocifero). Sadly, I lost touch and never bothered to pick up their 2011's Gravity the Seducer.
The Liverpool band is currently on hiatus, but meanwhile singer Helen Marnie had her solo album recently funded and recorded in Iceland (to be released in March 2013).
Excerpt from her note on PledgeMusic:
For the past year I've been writing more than ever, and I'm so pleased with the results thus far. The album, as yet untitled, is straight from the heart. I can't put it any other way. It means a lot. It is me, no one else. It is everything around me, my loves, my life, hopes and loss. I wanted to create an electronic album with more of a pop element and pristine vocals.
In other Ladytron news, Reuben Wu will be doing a residency DJing at the Beauty Bar in Chicago all Spring/Summer… including an upcoming special Valentine's Day event on February 14th.
Reuben Wu (DJ Set) @ Beauty Bar - February 14, 2013 at 9:00pm
Reuben Wu (DJ Set) @ Beauty Bar - April 11, 2013
Reuben Wu (DJ Set) @ Beauty Bar - May 9, 2013
Reuben Wu (DJ Set) @ Beauty Bar - June 13, 2013
Reuben Wu (DJ Set) @ Beauty Bar - July 11, 2013
vu ( ) ♥ weheartmusic.com ♥ podcast.weheartmusic.com ♥ twitter.com/weheartmusic ♥ +W♥M
Posted by W♥M on Friday, 08 February 2013 at 10:00 AM in Ariana and the Rose, Girls Girls Girls, Lady, Lady Lamb the Beekeeper, Lady Starlight, Ladytron | Permalink | Comments (0)
Girls, Women, and Ladies
Every day through Christmas, we're unveiling a new holiday song available to download free for a limited time…Dec. 1 - "Ave Maria" by Celtic Woman …
celticwoman.com
You know how these things works: Christmas albums will starting dropping from the sky from now until Black Friday (in November.) I suspect, like previous years, that I will be reporting and reviewing my fair share of xmas music.
The first one I have for you is Celtic Woman's Home for Christmas, released last week, October 9th. This is their second holiday album, their first was called A Christmas Celebration from 2006.
If you didn't know, this is an all-female Irish ensemble. As far as I know on Máiréad Nesbitt sings and plays the Celtic violin, everyone else are vocalists.
With Home for Christmas, they sing the standards: "I'll Be Home For Christmas", "Joy To The World", "We Three Kings", "Silent Night", "Winter Wonderland", "Hark the Herald Angels Sing", etc.
Many of these songs are traditional Christmas choirs, so it's really perfect for the angelic vocal harmonies of Celtic Woman.
Expect to catch Celtic Woman (Touring Members: Chloë Agnew, Lisa Lambe, Susan McFadden, Máiréad Nesbitt) on tour under their critically-acclaimed 2012 Christmas Celebration Symphony Tour this December in North America. I am in hibernation for the winter, but Celtic Woman would be the one act that I will brave the snow to see.
Christmas Celebration Symphony Tour dates are as follows:
12/01 Foxwoods, CT MGM Grand at Foxwoods
12/03 Pittsburgh, PA Heinz Hall
12/06 Detroit, MI The Fox Theatre
12/07 Minneapolis, MN Convention Center Aud
12/08 Naperville, IL Pfeiffer Hall
12/11 Costa Mesa, CA Segerstrom Center
12/13 Temecula, CA Pechanga Resort and Casino
12/15 Indio, CA Fantasy Springs
12/16 Tucson, AZ Centennial Hall
12/18 College Station, TX Rudder Auditorium
12/20 Atlanta, GA Symphony Hall
12/21 Anniston, AL Anniston PAC
12/22 Huntsville, AL Von Braun Center
GEM is the fourth album from singer/songwriter Meghan Remy aka U.S. Girls. The new glam rock-influenced album will be coming out October 23rd on FatCat Records.
U.S. Girls also unveiled a new music video for "North on 45", directed by Remy. The video stars Lulu Hazel Turnbull and was edited by Ross Turnbull.
It's kind of weird; a woman is running in the dark on a gravel road with headlines from the car. It looks like she's chasing the car, even at different angles. I didn't think it had anything to do with creating an "open narrative about a struggle for power", but it's up to you to decide.
Watch video:
Impossible to find on Google, Lady is a soul sister duo (Nicole Wray and Terri Walker), that recently signed to Truth and Soul Records. They are currently on tour in Europe with Lee Fields (who I previously wrote about).
What makes Lady unique is that they mix soul classics with modern hip-hop and R&B.
October 20th - Bruges, Belgium - Cactus Club
October 22nd - Amsterdam, Holland - MC Theatre
October 23rd - Dordrecht, Holland - Dorhuis
October 24th - Groningen, Holland - De Oosterpoot
October 25th - Nijmegen, Holland - Doornroosje
October 26th - Evreux, France - L'Abordage
October 27th - Paris, France - le Trabendo
Posted by W♥M on Friday, 19 October 2012 at 02:51 PM in Celtic Woman, Christmas, Girls Girls Girls, Lady, U.S. Girls, Vu | Permalink | Comments (0)


For an aquatic holiday in Périgord, discover Le Temps de Vivre, a campsite with swimming pool in Dordogne. This family-run 3-star hotel is located in Salignac Eyvigues between Sarlat and Montignac in the Périgord Noir.
In order to be able to swim in all temperatures, the outdoor pool is heated.
The Dordogne offers temperate temperatures to its holidaymakers, the Temps de Vivre offers baths in its heated outdoor pool. Covering an area of ??128 m² (16m x 8m), the heated swimming pool of the Dordogne campsite is accessible to all from 10h to 20h30 to allow you to enjoy the return of your walks.
Le Temps de Vivre is a family campsite in Dordogne, it has a paddling pool. Thus, the little ones can learn to swim or wade in a pool of their size. For added security, the heated outdoor pool and paddling pool are located next to each other in the aquatic area of ??the campsite in the Dordogne.
For more fun, a water-loving hippocampus and a colorful slide are integrated into the child's pool!
So do not hesitate any more, and book your family holidays at Le Temps de Vivre, a Dordogne campsite with swimming pool!


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It follows the decision of the Royal College of Art to turn regular venue Kensington Gore campus entirely over to academic use after a major refurbishment is completed in the summer.
Sister fair, the 20/21 International Art Fair, held in May for the ninth time, will also close.
Organiser Gay Hutson told ATG she would "look at alternative sites but, as we all know, venues for such events in central London are in very short supply".
The 20/21 fair has traditionally been a season opener, attracting both knowledgeable collectors and the art trade for whom it was a valuable buying ground before the autumn fairs season.
Keeping stand costs within the reach of smaller dealers in Modern British art has long been the event's priority.
A statement by Hutson and co-founder Bunny Wynn thanked all exhibitors "for their loyalty and support over the years. We should all be proud of what the fair has achieved in raising awareness of Modern British art."
Long-term 20/21 exhibitor Peter Osborne of Osborne Samuel, who sat on the fair's committee, said the event "managed to offer something to suit every pocket, which is a rare thing nowadays".
For months Hutson and Wynn have been negotiating with the RCA in a bid to keep the venue but it was decided the campus will no longer host commercial fairs.