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Posts Tagged ' Barroco '
Na passagem do trecentésimo vigésimo aniversário sobre o nascimento de Joseph-Hector Fiocco [1703 – 1741], compositor do barroco tardio nascido em Bruxelas numa família de músicos de origem italiana, activo como Mestre do Coro na Catedral de Antuérpia entre 1731 e 1737, período em que escreveu as Lamentações da Semana Santa.
Álbum: Fiocco: Lamentationes Hebdomadæ Sanctæ – Outhere, 2022
Ensemble Bonne Corde · Diana Vinagre · Ana Quintans · Ana Vieira Leite
Ana Quintans
Ana Vieira Leite
Diana Vinagre
Ensemble Bonne Corde
Joseph-Hector Fiocco
'Music for European Courts and Concerts', de Gottfried Finger
O multi-instrumentista e compositor Gottfried Finger [c.1655 – 31 Agosto 1730], nascido na Morávia, na actual República Checa, cruzou-se com alguns dos principais compositores da sua época, como Heinrich Ignaz Franz Biber [1644-1704], Henry Purcell [1659-1695], Georg Philipp Telemann [1681-1767] e Silvius Leopold Weiss [1687-1750]. Ao serviço da orquestra da corte do Rei James II desde 1685, Finger foi, na década e meia que se seguiu, uma das personalidades mais relevantes do panorama musical de Londres, onde ficou conhecido como Geoffrey Finger.
Álbum: Finger: Music for European Courts and Concerts · ℗ Outhere, 2019
The Harmonious Society of Tickle-Fiddle Gentlemen · Robert Rawson
Chaconne a 4 in G Major, anterior a 1697
Gottfried Finger
Robert Rawson
The Harmonious Society of Tickle-Fiddle Gentlemen
'Armonico Tributo', de Georg Muffat (II)
Georg Muffat [1 Junho 1653 – 23 Fevereiro 1704], compositor e organista do período barroco, nasceu em França, na região de Sabóia. Passou a adolescência em Paris, onde foi aluno da figura dominante na música francesa, Jean-Baptiste Lully. Após uma passagem por Praga em 1677, trabalhou como organista e músico de câmara do Arcebispado de Salsburgo até 1680, onde foi contemporâneo de Heinrich Ignaz Franz Biber.
Nos dois anos seguintes esteve em Itália, onde conheceu Arcangelo Corelli e foi precisamente em 1682 que publicou o seu conjunto de sonatas Armonico Tributo. Desde 1690 até à data da morte, Georg Muffat foi Kapellmeister na Diocese de Passau, Alemanha.
Álbum – Muffat: Armonico Tributo (2019) – Sonata No.3 em Lá maior
Ensemble Barroco 415 | Chiara Banchini
Breve Biografia
Arcangelo Corelli
Chiara Banchini
Concerto Grosso
Ensemble Barroco 415
Heinrich Ignaz Franz Biber
Cristiano Holtz – Suites de pièces pour le clavecin (II)
No ducentésimo sexagésimo segundo aniversário da morte de George Frideric Handel [1685-1759], o terceiro andamento Allemande da Suite nº 3 em Ré menor HWV 428, com Cristiano Holtz no cravo.
Álbum: Handel: Suites de pièces pour le clavecin, 2011 | ℗ Outhere
Cristiano Holtz
Peças de Cravo
'Penitente Madalena', de Georges de La Tour
La Madeleine é um dos temas favoritos de Georges de La Tour [14 Março 1593 – 30 Janeiro 1652]. Existem quatro pinturas originais com um esquema de composição idêntico: 'Madalena Arrependida'(1635-40) – National Gallery em Washington, 'Madalena à luz da noite' (1640-45) – Museu do Louvre, esta 'Penitente Madalena' (ca. 1640) – Museu Metropolitan em Nova York, e Madalena com chama fumegante (1635-37) – County Museum em Los Angeles.
County Museum
Georges de La Tour
Museu do Louvre
'Ombra mai fu', de Francesco Cavalli
Francesco Cavalli [14 Fevereiro 1602 – 14 Janeiro 1676], compositor do início do Barroco, maestro di cappella na Basílica de São Marcos em Veneza, onde começou como cantor em 1616 sob a tutela de Claudio Monteverdi [1567-1643], é recordado fundamentalmente pelas suas óperas.
A ária 'Ombra mai fu' da Xerse, ópera em três actos apresentada pela primeira vez em 1654, foi adaptada em 1738 por George Frideric Handel [1685-1759] para a sua ópera Serse, também sobre o libreto de Nicolò Minato.
Álbum: Ombra mai fu – Francesco Cavalli Opera Arias, 2019
Ensemble Artaserse – Philippe Jaroussky, contratenor
Claudio Monteverdi
Francesco Cavalli
Ombra mai fu
Serse
Xerse
Trio Sonata de Egidio Duni
Natural da cidade de Matera – Capital Europeia da Cultura em 2019, Egidio Romualdo Duni [11 Fevereiro 1708 – 11 Junho 1775], teve sucesso com as suas óperas em Roma, Milão, Londres e Paris.
Das 6 Trio Sonatas que publicou por volta de 1739, fica o primeiro andamento da Trio Sonata No. 4 in E Minor, Op. 1: I. Allegro
Álbum: Duni: Trio Sonatas, Op. 1, 2019 – DuniEnsemble
DuniEnsemble
Egidio Duni
'As Estações', de Gregor Werner
De Gregor Werner [28 Janeiro 1693 – 3 Março 1766], compositor austríaco do período barroco, predecessor de Joseph Haydn [1732-1809] como Kapellmeister da corte do príncipe Esterházy em Eisenstadt durante cerca de três décadas, a segunda composição dedicada ao mês de Janeiro – Januar: II. Gute Hoffnung eines glückseligen Jahrs -, extraída do álbum Die Jahreszeiten (2020).
Interpretação do Ensemble Concilium Musicum Wien, dirigido por Paul Angerer.
Concilium Musicum Wien
Gregor Werner
Paul Angerer
GIOVANNI BATTISTA PERGOLESI (4 Janeiro 1710 – 17 Março 1736)
"Stabat Mater" for soprano, alto, strings and basso continuo in F minor (original version)
1. Stabat Mater dolorosa – Grave [a due] 2. Cujus animam gementem – Andante amoroso [canto solo] 3. O quam tristis – Larghetto [a due]
Performed by Concerto Italiano Featuring Gemma Bertagnolli, soprano Sara Mingardo, contralto Conducted by Rinaldo Alessandrini
Giovanni Battista Pergolesi was perhaps the first musician who reached in a very short time an international success with all kind of public. Certainly he was the first one to interest the musical environment in such a wide way, and above all the first one whose personality had been isolated from his works and idealized by the public, that wanted to create through his music an abstract and symbolic image. The celebrity achieved in five-six years of feverish activity (from 1730 to 1736, when he died at the age of 26 years) was internationally sanctioned by the so-called ''Querelle des buffons", when the Encyclopaedists used his works, and in particular the Serva padrona, as a flag against the Ancien Regime official art. They underlined their spontaneity, clearness, and naturalness, that seemed to represent a demystifying return from conventions and fashion to nature. Modeste Gretry, a musician of the period, sentenced significantly: "Pergolesi was born and the truth was revealed". After this parenthesis, a forcing interpretation of Pergolesi's art, the combination of his pathetic intimism with preromantic and romantic attitudes, the myth, stimulated by exquisitely literary suggestions, of the "grand et malhereux" musician, pursued by fate and people because of his excellence in nature and talent, ended in removing Pergolesi from his real aesthetic dimension and transformed him in a pre-romantic symbol. As a consequence of it, aspects of his works, especially the sentimental ones, have been stressed, ignoring other but not least aspects. Considering that his works did not justify that sort of oleographic image created by the audience, an arbitrary attribution of other works related with that same fictitious image seemed natural and caused, with other reasons, the flourishing of hundreds of apocrypha, a curios phenomenon for that times. Works made by infamous musicians, speculators and even forgers, were uttered as Pergolesi's compositions. Only during the last years musicologists made him justice reconstructing Pergolesi's authentic corpus and rescuing his biography from the deformation of the myth.
4. Quae moerebat et dolebat – Allegro [alto solo] 5. Quis est homo – Largo, Allegro [a due] 6. Vidit suum dulcem natum – A tempo giusto [canto solo]
The years in Jesi
Giovanni Battista Pergolesi was born in Jesi on January 4th, 1710, third-born in a family from Pergola, a little village belonging to the Church, from where his ancestor Francesco, an humble shoemaker, departed in 1635 to try his fortune. The original family surname, Draghi, survived until the XVI century, when the adjective that used to follow it to indicate the place of origin – "Pergolesi" or "Della Pergola" – replaced it in a branch, to which the composer belonged. Giovanni Battista's childhood is quite a mystery for the scholars. The title of "Donna" that precedes in the wedding act the name of his mother, Anna Vittoria Giorgi, could prove but with some doubts, her rich or even noble origins. Very probably Pergolesi's family belonged to the humble and little provincial bourgeoisie: it is known that his father was a Sergeant in Jesi Territorial Army, administrator of Buon Gesù Confraternity properties and geometer for the town council and for the local nobility. All these occupations, however, were not enough for the family maintenance, and when Francesco Andrea died all his properties had been confiscated by creditors. Nevertheless, the opportunity of frequenting local aristocracy could offer precious support and possibilities for the future of his son.
Certainly, Pergolesi's family was undermined by tuberculosis. Among Francesco Andrea's four children, Giovanni Battista, that died at the age of 26 years, had been the only one to survive for such a long time: his sister Rosa died when she was two, in 1708; his brother Bartolomeo died few days after his birth, always in 1708, and the other brother, Antonio, died when he was two, in 1726. His parents died both in a very short period: his mother in 1727 and his father in 1732, after that his second wife, Donna Eleonora from Cagli, had died in childbirth, with the son Pietro, in 1730.
Some symptoms of the illness that will burn his existence should have appeared to Pergolesi since his birth, considered that he was confirmed not at six years old, as usual, but when he was one year and half old. Maybe a poliomyelitis caused his left leg ankylosis (this physical imperfection has been cruelly underlined by Pier Leoni Ghezzi in a caricature made few years before Pergolesi's death); it is true that phthisis inexorably sapped his physical constitution.
Without indulging in an abused sentimentalism, it is proved that the illness, the need, the incumbent sense of death, constitute the composer's adolescence background, and in this context it can be recognized the deep existential roots of his tendency to an affected and thoughtful meditation and to a soft introversion, that constitute aspects of Pergolesi's Art.
During the eighteenth Century Jesi was an active music centre. Even without a theatre, opera was represented every year in the Town Hall; sacred music, oratories and spiritual cantatas were performed in S. Giovanni Battista and in Confraternita della Morte churches, in the Augustinians and Dominicans' Fathers' ones, and in S. Anna and S. Chiara monasteries. Music education (and in particular violin practice) was widely diffused by all social classes, even the popular ones. Pergolesi started his musical studies in Jesi with local teachers: with Francesco Santi, Choirmaster in the Cathedral, he learned composition rudiments, and with Francesco Mondini he studied violin. He made fast progress in both subjects, especially violin, considered that his ability in this instrument emerged even from his lacking biographical information. Thanks to his father's relationships and to his ability in violin, Giovanni Battista started soon a close and familiar relation with different local nobles: Giovan Battista Franciolini (that was his godfather for the baptism), Gabriele Ripanti, a music amateur that loved hosting the young musician in his palace to play with him, Pier Simone Ghislieri, and Cardolo Maria Pianetti, an enlightened and munificent intellectual. Probably, thanks to him, that was in a good relationship with the Vienna's Court and the Austrian vice-reign in Naples, Pergolesi had been invited to improve his musical knowledge in one of the four Music Conservatories in Naples: the Conservatorio dei Poveri di Gesù Cristo. Pianetti's help is testified since 1779 by the erudite Giuseppe Santini from the Marche, but there are no documents to prove it. A Pianetti's epistolary systematic examination attested that the marquis helped Pergolesi's aunt, Cecilia Giorgi, after his death, with the sharing out of his modest inheritance and with the recovering of a credit from San Bartolomeo Theatre; however his patronage role does not appear from such letters. Here it emerges that he helped – from 1732 – another young from Ancona, Giuseppe Vantaggi, to move to Naples and study at the Conservatorio della Pietà dei Turchini, but in the related correspondence there is no mention of Pergolesi. It is possible that Pergolesi had been helped by another member of Pianetti family, Carlo Maria (1640-1725), Bishop of Larino and Governor at Santa Casa of Loreto, but this hypothesis is not supported at the moment. Documents attest that several local families took care of him. For example, Giovanni Battista Franciolini, his godfather, from whom he took the name, followed carefully his education in Jesi and his career in Naples . It had been in his house where, in 1736, the notarial act concerning the musician inheritance was signed. It is also meaningful that Pergolesi, after his parents' death, in October 1733 entrusted, another eminent local patrician, Piersimone Ghislieri, with the task of cashing his parents' death dowry and to bring it to him in Naples. In 1734 Marquees Francesca Albicini Ripanti organized in Jesi, at her own expenses, the Pergolesi's intermezzo Livietta e Tracollo representations to honour his memory. Her husband, Gabriele Ripanti, is supposed to have been one of Pergolesi's teachers of violin. It is probable that not only the Pianetti, but a group of local families, had been benefactors of the young Giovanni Battista.
7. Eia Mater – Andantino [alto solo] 8. Fac ut ardeat cor meum – Allegro [a due] 9. Sancta Mater – A tempo giusto [a due]
Naples' Musical Environment
When Pergolesi reached Naples, in 1723, the town was under the Austrian domination since about fifteen years; the Hapsburg domination would last until Borbon's reconquest of South Italy and Sicily in 1734, when Carlo III arrived at Naples proclaiming himself King of the Two Sicilies. Pergolesi's Neapolitan time is related with a transitional context, with a moment of deep political, social and cultural transformation of the local society. It was a period characterized by an extraordinary fervour in every fields of art and knowledge: in these years Metastasio made his debut on Neapolitan stages, Pietro Giannone wrote the Istoria civile del regno di Napoli, and Giovan Battista Vico finalized his La scienza nuova. Naples became the main Italian and European centre of music's production and exportation.
Not by chance Charles de Brosse, who visited Naples in 1739, affirmed emphatically that Naples was the real capital of music in the world. San Bartolomeo Theatre was the musical official centre, directly related with the court and seat of the most aristocratic and socially important genre: opera seria. Through the two annual seasons, one during Carnival time and the other at the end of Summer, creations of the most eminent contemporary composers appeared on the stage with sumptusous set and with the best soloists available on the very active (and even at that time too expensive) European market.
Public paid great attention to changes in taste and fashion, both in creative and interpretative sides: as soon as a voice or a score revealed a flaw, or sounded old, were immediately taken out of circulation. "Music taste changes at least every ten years", attested astonished President De Brosses, and certainly he was not exaggerating, considering that a real feverish need of novelty pervaded Neapolitan musicians.
On San Bartolomeo theatre's stage, eminent Neapolitan musicians, as Alessandro Scarlatti, Francesco Mancini, Domenico Sarro, Francesco Feo and Nicolò Porpora, presented their works at the beginning of the XVIII Century; composers with Venetian and Roman education, as Tommaso Albinoni and Francesco Gasparini, and even Handel, had been there hosted too. Their creations however could not bore comparison with the new generation's ones, the Vinci', Leo', Hasse's operas, that probably inspired directly Pergolesi. A composer who received a contract by San Bartolomeo Theatre represented for the Neapolitan public the best and above all the newest artist Italian musical context could offer: his works would had been interpreted by the best soloists on circulation and would had been represented with the most sumptuous sets. There are proofs that during the 1730/1740 decades it was in a difficult economical situation that neverthless could not reduce Neapolitan society competitiveness in representing the best operas on its stages. Considering that Pergolesi presented here his first melodrama, La Salustia , in 1732, when he was only 22, it is easy to imagine how much attention he attired and how much supports should have received once concluded his studies at the Conservatorio dei Poveri di Gesù Cristo.
In Naples, besides the San Bartolomeo Theatre (that would have been demolished after Pergolesi's death to be substituted with the San Carlo Theatre, inaugurated in 1737 as the new sovereign Carlo III of Borboni's symbol of splendour and magnificence), there were different minor theatres, patronized principally, but not exclusively, by the bourgeoisie and popular classes. In these theatres, since about twenty years, new expressions and stiles were shaped, stimulated by a sensibility no more tied to the official and pompous character of the court. The old Teatro dei Fiorentini – originally created for drama, and where since the beginning of the XVIII Century musical comedy in Neapolitan developed itself – and two others little new theatres, Teatro della Pace (quite modest) and the very beautiful Teatro Nuovo on Montecalvario, built for the new theatrical genre and both inaugurated in 1724, belonged to this category. Musical comedy, generated by a literary reform of libretto that forsook verbal formalisms and baroque music's solemn setting in favour of a closeness to themes, atmospheres, characters, of everyday life, ennobled itself little by little becoming the real "bourgeois" counterpart to melodrama. Parallely with this formal ennobling, advantaged by a group of genial librettists and musicians, as Alessandro Scarlatti, Leonardo Leo, Leonardo Vinci, Giuseppe de Majo, the ability of the soloists and the level and competence of the public were increasing. When Pergolesi appeared on Neapolitan musical scene, aristocracy willingly protected and funded musical comedy, in the same way the court did for the pompous musical drama represented in San Bartolomeo. Aristocracy and bourgeoisie supported also a series of private musical manifestations: musicians from Neapolitan Conservatoires played serenades, cantatas, original works, different instrumental and vocal compositions for academies, salons, parties and concerts. The circulation of music was favoured by a state of mind, diffuse in that time, artistically open to new ideals of naturalness, moderation, and to Arcadia's graceful sociality, and sensitive, with its intellectual aim and civic relationship, to a new Enlightened spirit, that postulated a new society with a modern and more efficient structure, no more based on privileges and authoritarianism. All Neapolitan Churches resounded with instruments and voices: the Real Chapel, directed by the same court and including the best composers and soloists of the town, had as own mission to prepare decorative and circumstantial sacred music that constituted the obligatory background for every official and solemn event. Close to the Real Chapel, there were the Cathedral Chapel, the Chapel of San Gennaro's Treasure and several musical institutions related with major religion orders' (Teatrini, Gesuiti, Oratoriani) parishes and convents: here genres as oratorio and sacred drama for music, characterized by a conjunction of devotional and traditional elements with popular aspects, were supported.
10. Fac ut portem Christi mortem – Largo [alto solo] 11. Inflammatus et accensus – Allegro [a due]
The Conservatory years
Once arrived at Naples Pergolesi found that plurality in the different levels was a characteristic of the musical Neapolitan culture: aspects of the folkloric Southern traditions introduced by the huge number of emigrants from the country, recent aspects derived from their cultivated translations made by musicians from the town, and so on to more erudite and solemn expressions created by professional musicians in a sacred or secular context, coexisted and intersected without efforts. The same variety can be found also inside the theatrical tradition, especially in comic opera, where a substratum related to popular festivities and to tumbler and comic's recitation can be still recognized in the intermezzo and musical comedy in Neapolitan dialect. Conservatories were a meeting point for these different cultural layers, and it is representative the fact that pupils were ''utilised'' in a big variety of social contexts: from church services to processions, from patronal festivities to civil celebrations, from street to churches, bourgeois houses, aristocratic salons, theatres. It is not surprising that Pergolesi soon assimilated that variety of languages (in the same way he learned Neapolitan dialect perfectly) and benefited of it in his works.
Pergolesi started studying at the Conservatorio dei Poveri di Gesù Cristo in 1723. It was the only institute (between the four Neapolitan Conservatories) under the ecclesiastic authority. Atmosphere there was extremely rich of stimulus and suggestions, but life should be really hard due to the rigid schedule and to the kind and quality of work students had to do to ensure their instruction and maintenance. Probably Pergolesi paid an admission tax, but not an annual fee, because registers proved his remarkable activity for the institution, at the beginning as cantor and then as violinist. In 1729 Pergolesi was called "capoparanza", that means director of a group of six, twelve or even more students, that used to sing in different hosting places. He studied violin with Domenico De Matteis, composition until 1728 with the old Gaetano Greco and from 1728 with the erudite and brilliant Francesco Durante. The few months spent with Leonardo Vinci, master in Neapolitan comic opera and very sensitive to the new Metastasian poetry, had been decisive for his future.
Pergolesi spent about seven years at the Conservatory, until 1731. In this year, a sacred drama in three acts, Li prodigi della Divina Grazia nella conversione e morte di S. Guglielmo duca d'Aquitania, was represented in S. Agnello Maggiore Monastery Cloister. It was a traditional opera, a sort of final composition text, to demonstrate students' acquired technical and stylistic maturity. From its structure, exemple of a genre that found his roots in Baroque tradition, a Neapolitan character emerges: Capitan Cuosemo, who expresses himself in a dense dialect, a lively gesticulation and a very comic repertoire, creating a background for the main serious and devotional action. This is the first Pergolesi's approach to comic opera. Pergolesi's style, that the composer will refine with a popular characters' delineation, appears here in an extremely dense and sanguine dimension, that reflects the picturesque and plebeian reality of Naples' alleys and squares that has deeply impressed his imagination. Probably it belongs to this period a circumstantial motet, found and titled In hac diem tam decora. A very different style characterizes another sacred composition that tradition erroneously attribute to Pergolesi's debut: La Fenice sul rogo, ovvero La morte di San Giuseppe oratorio, probably performed in Filippinis' oratory, a place close to Pergolesi since his Conservatory's years. Here, in an extremely refined context, enriched by the use of unusual instruments, as traversal flute, "English way" viola, and archlute, used in a concert version, Pergolesi reveals his idea of religion as an extreme humanization of the sacred, as a subtle psychological introspection of religious experience: that sort of behaviour, once refined and transfigured, can be recognized even in his last compositions Salve Regina and Stabat Mater. From a stylistic point of view, these compositions prove Pergolesi's close adherence to the most progressive Neapolitan music tendencies and his great interest for musical theatre: Pergolesi's models are Vinci's, Leo's, Hasse's, De Majo's drama and comic opera scores that were an hit on contemporary stages. All these demanding works marked the birth of a new and great composer.
12. Quando corpus morietur – Largo assai, Presto assai [a due]
The artistic career
Thanks to the success of these first works (in association with a strong protection in official circles), in 1731, the main Neapolitan theatre, the San Bartolomeo, commissioned from Pergolesi a new opera seria. An old Apostolo Zeno's work, theAlessandro Severo, represented in Venice in 1716, was chosen as libretto and rielaborated with the new title of Salustia. Pergolesi's debut on stage could not be more laborious: the old evirated Nicola Grimaldi, the star of the cast, died during the rehearsals and Pergolesi had to re-write all the protagonist's arias for a new interpreter, the Roman castrato Gioacchino Conti. Pergolesi's haste and anguish emerge from the fact that he had no time to set to music the comic intermezzo, that did not reach our time. The production had been represented only during the second half of January 1732, apparently with a meagre success. But Pergolesi's fame should be also solid considering that in September he staged at the "Teatro dei Fiorentini" his first opera buffa "Lo frate "nnamorato" based on a libretto by G. B. Federico, who would become his favourite librettist, in September he staged at the Teatro dei Fiorentini his first musical comedy, Lo frate 'nnamorato, based on a libretto by Gennarantonio Federico. The success of the opera is proved by its revival (in a new version, slightly modified) in 1748, twelve years after the composer's death. A contemporary document shows that during all these years its arias had been sung throughout all Neapolitan streets.
Pergolesi's artistic and social ascent is proved by other two facts, both happened in 1748: firstly he was employed by Prince Ferdinando Colonna of Stigliano, that owned a significant position at the vice-royal court; secondly Neapolitan Municipality assigned him a mass and vesper composition in S. Emidio's honour, under whose protection the town had been set after many disastrous earthquake. In only two years of activity, Pergolesi ventured on the main musical genres: drama, comic opera, and religious music. In November 1732 he entered as extra organist in the Royal Chapel: the note attesting his recommendation (recently found by Francesco Cotticelli and Paologiovanni Maione in Naples State Archive) referred to the Neapolitan musical environment "great expectation" concerning his career, to the "universal applause" that welcomed Lo frate 'nnamorato, and, above all, to the "Royal Chapel need of people composing according to modern taste". The great esteem enjoyed by Pergolesi is proved by the commission, for the following season, of a new opera seria: Il prigionier superbo (another revision of Francesco Silvani's libretto). The opera was staged on August 28th, 1733, and received a gratifying success thanks to its intermezzo La serva padrona, again on Gennarantonio Federico's libretto. Pergolesi's appointment, in February 1734, as Vice Chapel Master, made by the "Fedelissima Città di Napoli", with the right of succeeding the old and famous D. Sarro, represents the Neapolitan society's maximum approval toward the musician. Meanwhile great changes upset the Reign of Naples: on May 10th, 1734, Carlo of Borbone, after a very quick war, made his entrance in Naples and on May 16th was crowned as a King; Austrians had to retreat to Southern Italy and Sicily. Almost all Neapolitan nobility, especially the one closest to the Asburgo family, retreated to the neutral Rome, waiting the end of the war. Among the most reluctants to accept this new politic situation can be found the Prince of Stigliano, together with other Pergolesi's benefactors, as Duke Caracciolo of Avellino (who even retired to Vienna) and Duke Marzio IV Maddaloni Carafa, who invited, with his wife Anna Colonna, our composer in Rome in May 1734. On this occasion, the famous caricaturist Pierleone Ghezzi, very curious about the young Neapolitan Master of Chapel, sketched the only authentic Pergolesi's representation that reached our time: at first he painted from life only his face and then by heart (in a second drawing) he added the whole figure. These portraits show a stocky young man, with strong and vaguely negroid features; the figure shows a stiffed left leg typical of poliomyelitis victims: this is something very far from all the idealized images of Pergolesi accumulated since the XVIII Century.
Concerto a 4 in E-Flat Major – "Il Pianto d'Arianna":
I. Andante – Allegro – Adagio – Andante – Allegro – Largo
Akademie für Alte Musik Berlin
Pergolesi conducted in S. Lorenzo Church of Lucina (the seat of the Cappella Nazionale Boema) his Mass in F major (a rielaboration of the previous mass for S. Emidio) in a splendid performance for orchestra during S. Johann Nepomuk's (Boemis'a protector) celebrations: a declaration of faithfulness from the Maddaloni family towards the Austrian Empire. Although this successful Roman performance determined Pergolesi's first artistic affirmation outside Neapolitan borders, it also represented a fatal rift for his relationship with the new Bourbon government. His benefactors, the Duke of Maddaloni (who employed him) and the Prince of Stigliano, were both soon elected Chamber Lord by Carlo III, while Prince Caracciolo, after announcing from Vienna that he was "excited at the idea of coming back", arrived on January 4th 1735, on time to welcome in Avellino "in a very royal way" Carlo III moving to conquer Sicily. It was easy for these great nobles to get out of this difficult situation, but Pergolesi's performance in honour of the Habsburg was not excused and considered as a subversive action. Very probably the confused and obscure mentions dating back to the late XVIII and XIX Century about persecution against Pergolesi are to be considered as a disproportionate amplification of this event. On October 25th, 1734, a Pergolesi'sopera seria, Adriano in Siria, based on a Metastasian libretto, with Livietta e Tracollo as intermezzo, was represented for the first time at the "official" Theatre of Naples, the San Bartolomeo. The opera did not receive a great success in spite of the presence in the cast of a such eminent soloist as Gaetano Caffarelli; a suggestion of the court, for the following season, preferred a Spanish young composer, Davide Perez, rather than Pergolesi. New recent documents attest how much Pergolesi's relationship with philo-Austrian nobility had a negative influence on his career: San Bartolomeo Theatre's impresario, Angelo Casarale, refused to pay to Pergolesi the reward for Adriano in Siria's composition, saying as excuse that his benefactors, the Duke of Maddaloni and the Duke Caracciolo of Avellino, did not pay him the box rent during all their absence for the war; a real pretext that seems to hide a clear political motivation.
Therefore Pergolesi came back to Rome: at the beginning of January, 1735, the Olimpiade, his last opera seria, based again on a libretto by Metastasio, was staged at the Tordinova Theatre. Few contemporary reports attest an unfavourable reception of the opera, penalized by a poor setting and by the temporary closure of the theatres, as a consequence of Princess Maria Clementina Sobieski Stuart's death.
Returned to Naples, Pergolesi's health suffered a sudden worsening and probably already in summer 1735 the Duke of Maddaloni invited him to Pozzuoli to find relief from the tuberculosis that was mining his body. Nonetheless he continued composing and in fall 1735 the Flaminio, a new music comedy, again with a libretto by Gennarantonio Federico, was staged at the Teatro dei Fiorentini. The opera had a great success considering its several representations, even out of Naples. In those months Pergolesi started the composition of a serenade commissioned by the young Prince Raimondo of S. Severo for his wedding with Carlotta Gaetani Dell'Aquila D'Aragona, planned on December 1st 1735, in Torremaggiore, next to Foggia. From its libretto (music has been lost) it appears clear that Pergolesi, because of his illness, could set to music only the first part. The last months of Pergolesi's life are quite a mystery: he spent his time perhaps in Pozzuoli, at the Cappuccini Convent, a religious institution under Maddaloni's protection, where he probably composed his four chamber cantatas – edited immediately after his death, the Salve Regina in C minor and the Stabat Mater. This last work had been probably commissioned by the archi-confraternity of the Vergine dei Dolori, the seat of which was the Church of S. Luigi in the Palace of Padre Minimi, as substitution of Alessandro Scarlatti's analogous piece. He probably finished Stabat's composition in his lasts days of life and entrusted the manuscript to the friend Francesco Feo.
Pergolesi died on March 17th, 1736, of "tabe ettica", that is tuberculosis, and was buried in Pozzuoli's Cathedral common grave. The poor musician's possession were sold to pay the burial, funeral masses and other debts. His maternal aunt, Cecilia Giorgi, who had moved from Jesi to Naples few years before to nurse the young musician, inherited the rest of his goods, not without a dispute with another relative, the priest Giuseppe Maria Pergolesi, Giovanni Battista's fatherly uncle. The contest ended – as explained – thanks to the good offices of Cardolo Maria Pianetti, a noble from Jesi.
Concerto a 4 in E-Flat Major – "Il Pianto d'Arianna": II. Largo andante
Although Pergolesi, contrarily to what was affirmed by almost his biographers, received abundant acknowledgment of his genius from his contemporaries, his fame was basically restricted to Rome and Naples. After his death, the whole of Europe began to interest with increasing curiosity and enthusiasm in his compositions. In 1736 four Pergolesi's cantatas were edited in Naples (among these one was commissioned by Maria Barbara of Braganza, Domenico Scarlatti's patron); in 1738 a new edition was made, a singular thing considered that it was the only cantatas edition to be realized in Naples at the beginning of the XVIII Century. Lo frate 'nnamorato, Olimpiade and Flaminio had been represented many times, but but above all his intermezzos "La Serva Padrona" and "Livietta e Tracollo" obtained the greatest success with hundreds of representations in all secluded corners of Europe. Among his religious music the Salve Regina in C minor and the Stabat Mater imposed themselves to the general attention, thanks also to a conspicuous number of performances in all greatest European musical centres, both in the original edition and in adaptation to other texts ant to other kind of revisions. At the beginning of the decade 1740-50 Johann Sebastian Bach already edited a transcription of Stabat Mater suited for a German paraphrase of the Miserere. Also the rest of his religious music, the two masses and the psalms, were religiously copied in dozens of manuscripts, both to be performed and collected as precious specimens. At the half of the XVIII Century, Pergolesi was already considered a myth that would soon became a legend, also because the new emphasis given to his genial and creative personality, the passionate interest to his human vicissitudes, ran into an almost absolute lack of documents and direct testimonies. Pergolesi's life burned in five-six years of feverish activity, in a social context that looked at him with interest and respect, but that nonetheless considered him as related to a craft field. In this context an extraordinary creative activity was giving birth to great artistic personalities, that, beginning from Pergolesi's epoch, spread Italian music in all greatest European centres. Only a fragmentary remembrance of Pergolesi's life remained in all who could attend the meteor of his existence and his extraordinary artistic career; with such memories, often misunderstood and deformed by writers beyond the Alps, his first biographies had been distorted and romanticized during the XIX century. His works, principally committed to a manuscript tradition, lacked in definition, as lots of his compositions had been forgotten (only Stabat Mater and La serva padronaconstantly remained in repertoire) and a big amount of apocrypha had been uttered. Only recently an impressive international research restored the real Pergolesi's importance and his authentic image appears deeper and more fascinating than the one-dimensional and fossilized traditional one. His music does not testify only an extremely refined and complex creative personality, but restores a whole epoch and society observed and interpreted, as it were, from all points of view: the plebeian gestural expressiveness and the tumbler's grimace as well as the tender bourgeois sentimentality of the musical comedy; the magnificent and aristocratic melancholy of late baroque and Metastasian music drama, entrusted to famous evirates' brilliant technical ability and unbridled imagination; the intermezzo characters' wild vitality and subtle psychological skirmish; the sacred compositions' solemnity and impressiveness; the chamber sacred music's pathetic intimism where the sacred is regarded as source of emotional experience and the divinity reveals itself through the tension and fullness of feelings; the instrumental music's sharply rhythmic dynamism and the chamber cantatas' stylistic devices.
Concerto a 4 in E-Flat Major – "Il Pianto d'Arianna": III. Grave – Allegro – Largo
Pergolesi is all these things and even more: the investigation of his music still reveals the magic kaleidoscope of an extraordinary imagination and analysis and synthesis's ability.
As for his life, his human and psychological dimension, Pergolesi, elusive, still hides, behind his creations, as the mocking and melancholy Pulcinella in the genial ballet that Igor Stravinskij dedicated to the musician.
Por Francesco Degrada [23 Maio 1940 – 20 Maio 2005]
Concerto Italiano
Francesco Degrada
Gemma Bertagnolli
Rinaldo Alessandrini
Sara Mingardo
'Armonico Tributo', de Georg Muffat
Álbum – Muffat: Armonico Tributo (2019) – Sonata No.2 em Sol menor


Do you remember when Republicans used to be considered the party of local control? I don't think they can accurately be portrayed that way anymore, at least not when you look at the leadership within the party. There has been a bipartisan assault at the federal level by former President George W. Bush with No Child Left Behind and President Barack Obama with Race to the Top, the Common Core State Standards, dictating school lunch menus and portions and the No Child Left Behind waivers. Unfortunately Mitt Romney doesn't look like he's going to be much better especially since he's been getting his education policy advise from former Florida Governor Jeb Bush who has been a Republican cheerleader of the Common Core State Standards.
States have, by and large, allowed this to happen.
At the state level it isn't much better. Iowa Governor Terry Branstad's track record on local control has been abysmal, and this upcoming legislative session look for more of the same. He's going to keep trying to push through the changes that didn't get passed, and add teacher pay on top of that wish list.
Although everyone agrees that all education boils down to the teacher's ability to connect with and educate kids, we have reservations about a one-size-fits-all pay scale. We are concerned that it will further burden the state budget.We believe it further erodes local control because it allows for no variance or flexibility regardless of differences in cost of living between urban and rural settings. It also lacks evidence of efficacy. We cannot find compelling evidence that teacher pay, in and of itself, increases a single child's test scores or overall academic achievement. Simply taking more money from taxpayers to pay teachers more without knowing that other reforms and increased choice will follow is an irresponsible diversion of public funds.
This coming legislative session will be the beginning of a two year budget cycle and they'll have "all the chips to play with." Expect them to go all in for more centralization in education.


text:
Q: $(I-cP)A^TA$ positive-definite? I would like to know if $(I-cP)A^TA$ is positive-definite when $A^TA$ is a positive-definite matrix, $I$ is the identity matrix, $P$ is a transition probability matrix, and $c$ a positive scalar with $c<1$. Using the Gershgorin circle theorem, I know $I-cP$ is positive-definite. By setting $B=(I-cP)A^TA$ and $\overline{B}=A(I-cP)A^T$ we have $\overline{B}A=AB$. $\overline{B}$ is semi positive-definite since $A$ is full column-rank. With the Lyapunov theorem, I can just prove $B$ has positive eigenvalues. Experimentally, I did not find counterexamples yet.

A:
I would like to know if $(I-cP)A^TA$ is positive-definite when $A^TA$ is a positive-definite matrix.

No. Consider e.g. $A=I$ and
$$
I-cP=I-0.9\pmatrix{1&0\\ 1&0}=\pmatrix{0.1&0\\ -0.9&1}, \\
\quad S=\frac{(I-cP)+(I-cP)^T}{2}=\pmatrix{0.1&-0.45\\ -0.45&1}.
$$
The symmetric part $S$ of $I-cP$ is not positive definite, as it has a negative determinant.

Using the Gershgorin circle theorem, I know $I-cP$ is positive-definite.

No. The $I-cP$ above already offers a counterexample. Gershgorin only tells you that $I-cP$ is positive-stable (i.e. its eigenvalues has positive real parts), not that its symmetric part is positive definite. Note that the eigenvalues of the symmetric part of a matrix $M$ are in general not the real parts of the eigenvalues of $M$.

redpajama_set_name: RedPajamaStackExchange


This Thursday we shall be at Croyde Village Craft Market.
Held in the centre of the village between 10am and 4.30pm there are plenty of stalls to tempt you. Locally handmade crafts and international crafts from around the world are all on display.
Land Cuckoo will usually be found inside the village hall and I have a selection of hand painted signs, cards and fabric memo boards for sale.


More than any other region of France, Grand-Est has been shaped by continual waves of settlement, invasion and border changes. As the name suggests, this is a large region of eastern France, fronting the entire border with Germany and Luxembourg, and significant portions of the Belgian and Swiss borders, too. It is unsurprising then that everything of the region's culture, from the architecture and languages, to the food and wine, is a pleasing mix of Gallic and Germanic. Visitors come to explore the battlefields of the Ardennes and Verdun, to quaff glasses of champagne, gobble up quiche and sauerkraut, hike or bike the Vosges, or to glide lazily down the mighty Rhine.
The region was created in 2016 from Alsace, Champagne-Ardenne and Lorraine, as part of national territorial reform. The merger was strongly opposed by many, as each of the old regions has its own distinct identity. People in Alsace in particular took to the streets in protest, and an Alsatian independence movement has gained traction.
Throughout history, much of the area ping-ponged between Germany and France, and the last time parts of it were administered as part of Germany (by the Nazis) is still just about in living memory. The local culture is therefore a distinct blend of the two countries, though this is most pronounced in the east of the region. Paradoxically, you get a sense that the locals, particularly in Alsace and Lorraine, are more patriotically French than anywhere else in the country. Expect to see a lot of tricolores, even outside of national holidays.
The west of the region is largely flat or softly rolling - perfect for Champagne! - while the land becomes more rugged toward the north (the Ardennes hills) and east (the Vosges mountains). Beyond the Vosges is the Rhine Valley, and the Rhine itself forms the natural border between France and Germany.
Grand Est covers 57,433 square kilometres of land and is the sixth-largest of the regions of France. Grand Est borders four countries - Belgium (Wallonia region), Luxembourg (Cantons of Esch-sur-Alzette and Remich), Germany, and Switzerland along its northern and eastern sides. It is the only French region to border more than two countries. To the west and south, it borders the French regions Hauts-de-France, Île-de-France, and Bourgogne-Franche-Comté. Grand Est contains ten departments: Ardennes, Aube, Bas-Rhin, Marne, Haute-Marne, Haut-Rhin, Meurthe-et-Moselle, Meuse, Moselle, Vosges. The main ranges in the region include the Vosges to the east and the Ardennes to the north.
The region is bordered on the east by the Rhine, which forms about half of the border with Germany. Other major rivers which flow through the region include the Meuse, Moselle, Marne, and Saône. Lakes in the region include lac de Gérardmer, lac de Longemer, lac de Retournemer, lac des Corbeaux, Lac de Bouzey, lac de Madine, étang du Stock and lac de Pierre-Percée.
Colmar - small Alsatian city with many fine timber buildings and extensive pedestrianisation.
Strasbourg - the capital of the region is home of many European institutions - Parliament, Council and the Court of Human Rights - as well as a beautiful UNESCO-listed city centre and miles of cycle paths and canal walks to explore.
Metz - cathedral city with a strong military history and a regional branch of the Centre Pompidou.
Mulhouse - industrial city with an impressive array of museums, notably the Cité de l'Automobile and Cité du Train.
Nancy - medium-sized city of culture and learning. With a large student population, Nancy hosts vibrant ballet, opera, jazz and rock scenes.
Reims - site of the famous cathedral where the kings of France were once crowned, now heart of the Champagne region.
Troyes - timber-frame buildings surround a Gothic monster of a cathedral, noted for its exquisite stained glass.
Cathedrals: Grand-Est has some of the most beautiful in Europe; the most notable are at Reims, Metz, Troyes and Strasbourg.
Vineyards: Champagne, Alsace and Lorraine are the major wine regions of Grand-Est.
Charles de Gaulle Memorial (Colombey-les-Deux-Églises, 20 km from junction 23 of the A5), ☎ +33 3 25 30 90 80. Closed Jan; Feb–Apr: Open 6 days a week 10:00–17:30 (closed Tu); May–Sep: Open every day 9:30–19:00; Oct–Dec: Open 6 days a week 10:00–17:30 (closed Tu). France's national memorial to its great leader and statesman, situated at his former home and burial place. The memorial itself is a gigantic patriarchal cross which dominates the surrounding countryside. Also onsite is a museum which charts General de Gaulle's life, from his role in the Allied war effort and liberation of France, to leading his country into its economic golden era and the foundation of the Fifth Republic. Adults: €13.50; concessions: €11; children (6-12): €8; children (under 6): free.
Lalique Museum (Musée Lalique), Rue du Hochberg, Wingen-sur-Moder (About 2 km northwest of Wingen-sur-Moder (served by TER Alsace rail) on Rue du Hochberg (D919)). Daily 10:00-19:00 Apr-Sep & December; Tu-Sa 10:00-18:00 Feb, Mar, Oct, Nov; Closed in January. A very large collection of works by René Lalique, a renowned French glassmaker and jeweller active from the 1880s until his death in 1945. The museum is adjacent to the sole production facility operated by Lalique (the company he founded), opened in 1921 and is located on the site of a glass-making factory dating to the 18th century. €6 adults; €3 children 6-18; children under 6 are free.
The Vosges - an accessible and relatively low-lying range of mountains, with peaks not exceeding 1,500 metres, straddles Alsace and Lorraine. The landscape is lush and wooded, and surprisingly wild wildlife - wolves, lynx, chamois, capercaillie - make this region perfect for anyone interested in the preservation and restoration of western Europe's native biodiversity. The main long distance hiking trail is the GR 5, while a web of mountain bike (VTT) routes cover the countryside. While its slopes may not be as famous as the Alps, there are plenty of winter sports opportunities in the Vosges, centred on the resort of Markstein.
Grand Est climate depends of the proximity of the sea. In Champagne and Western Lorraine, the climate is oceanic, with mild winters and mild summers. But Moselle and Alsace climates are humid continental, characterized by cold winters with frequent days below the freezing point, and hot summers, with many days with temperatures up to 32 °C.
EuroAirport (Basel-Mulhouse-Freiburg) is the major international airport in the region, with connections to pretty much everywhere in Europe. There are also a couple of flights from North Africa, and a seasonal service from Montreal Trudeau, operated by Air Transat. For UK travellers, British Airways fly from London Heathrow, while easyJet fly from Bristol, Edinburgh, London Gatwick, London Luton and Manchester.
Strasbourg Airport (SXB IATA) receives a smaller range of flights from European and Maghrebi cities. Ryanair fly direct from London Stansted.
Lorraine Airport (ETZ IATA) serves the domestic market, with flights from Bordeaux, Lyon Saint-Exupéry, Marseille, Nantes, Nice Côte d'Azur and Toulouse Blagnac.
LGV Est is the high speed line that serves the region. The TGV from Paris (Gare de l'Est) serves all the major stations of the region in under two hours. In addition to city centre stations, two TGV stations serve the rural areas in the west of the region: 1 Champagne-Ardenne TGV (near Reims) and 2 Meuse TGV (close to Verdun). The line also offers connections from most other parts of France, including Bordeaux, Lille, Lyon, Marseille, Poitiers and Tours). At 320 km/h, you'll be on the fastest train in Europe!
EuroCity operates trains from Brussels (Midi / Zuid), Namur and Luxembourg to Strasbourg and Mulhouse. Meanwhile, the Luxembourg to Paris TGV stops at Metz, Meuse and Champagne-Ardenne en route. There are also a number of local cross-border services operating through the Ardennes.
A mixture of SNCF TGVs and Deutsche Bahn ICEs operate from Frankfurt (Hauptbahnhof), Karlsruhe, Munich and Stuttgart to Strasbourg. Additional ICEs operate from Frankfurt and Saarbrucken to 3 Lorraine TGV, situated more or less equidistant between Nancy and Metz (though not especially close to either - 35 km in fact, the classic local government compromise that ends up suiting nobody). There are a number of local cross-border services as well.
TGV and Intercités trains (both SNCF) operate from Zurich and Basel through Alsace, generally stopping at Mulhouse, Colmar and terminating at Strasbourg.
Eurostar offers combined tickets from London (St Pancras), Ebbsfleet and Ashford to many cities in Grand-Est, changing at Lille (Europe). While it may seem like a hassle changing trains, this service is both cheaper and quicker than you might think; for instance London to Strasbourg for as little as £50 return can be accomplished in around 5 hours. Generally, the time sails by as quickly as the countryside outside, and you get to travel city centre to city centre, without facing the questionable pleasures of a couple of airports in between.
If you already thought Grand-Est was pretty well-connected by rail, you ain't seen nothing yet! Russian Railways' Moscow to Paris service takes seeing Europe by train to another level. Passing by Minsk, Warsaw, Berlin, Hanover and Frankfurt, the train stops in Strasbourg before going on to Paris. Needless to say, it's a sleeper service, and from Moscow you'll spend two nights on board (to be precise, 32 hours), but presumably if you're in love with the romance of crossing a continent by train, this will appeal to you. Count on spending around €250 for a second class (4 person) berth, or €360 for a first class (2 person) berth. Departs every Wednesday from Moscow Belorussky station.
The region is well-connected by road. The A4 autoroute links Paris to Reims, Metz and Strasbourg, while the A5 links the capital to Troyes and the southern half of Grand-Est. The A26 links Calais and the north to Reims (270 km from Calais) and Troyes (400 km), and this route is used by so many British drivers, that the whole highway is called the Autoroute des Anglais. Motorists from Belgium will pass through Luxembourg and enter France north of Thionville on the E25, while those driving from Germany will generally take the Saarbrucken - Forbach route (E50). Pan-European roads use green route indicators alongside the French national routes' red indicators. There are any number of roads crossing all of Grand-Est's foreign borders, and the vast majority will be unmanned by any sort of frontier force. The Schengen Agreement permits open borders across much of Europe, but recent (2016) security concerns have caused some checks to be reinstated.
Apart from the TGV, which links the region's main cities, the rest of the network is slower, provided by TER Grand Est.
A4 (east-west): Île-de-France, from Paris, Reims (A26/A34), Champagne, Verdun, A31, Metz, the Vosges, A35, Strasbourg.
A5 (east-west): Île-de-France, from Paris, Troyes, A26, A31.
A26 (north-south): Hauts-de-France, from Calais, Reims (A4/A34), Champagne, Troyes, A5.
A31 (north-south): from Luxembourg, A4, Metz, Nancy, Vittel, A5, Bourgogne-Franche-Comté, to Dijon.
A34: Reims (A4/A26), Charleville-Mézières, the Ardennes, Belgium, towards Luxembourg Province.
A35: (Rhine Valley, north-south): Germany, from Karlsruhe, A4, Strasbourg, the Vosges, Colmar, Mulhouse, Switzerland, towards Basel.
The majority of the region's autoroutes are operated by two private companies, so toll charges apply.
The cuisine is highly regionalised, though portions tend to be hearty and you'll notice a strong reliance on pork products throughout. Vegetarians and Halal-conscious Muslims are best catered for in urban areas, while Strasbourg has a large Jewish quarter with good kosher restaurants and shops.
Alsatians share a culinary heritage with south-west Germany, so expect lots of pork and sausage sauerkraut (choucroutes), flammeküche (tarte flambée - like a very thin oblong pizza) and creamy, chocolatey, cherry-filled Black Forest gateau. What makes Alsace special is that these stereotypical 'German' dishes are cooked with the usual panache and savoir-faire that you'd expect from French chefs, and locals are quick to inform you, with a snort, that their sauerkraut is far superior to anything the well-meaning fools on the other side of the Rhine could come up with! One dish unique to the Alsace is baeckeoffe, a casserole with mountains of meat (pork, beef and lamb - all in one pot), potatoes and veg. Its inspiration, the hamin, can still be eaten (sans pork), in Strasbourg's Jewish restaurants during the Friday-Saturday sabbath.
Lorraine has one stand-out dish that has conquered the planet: quiche lorraine. The original and best recipe fills shortcrust pastry with eggs, cream and smoked bacon, and is not quite like any of the hundreds of variants and imitators you can buy anywhere in the world. Aside from this, the region's pâté, potato dishes and stews are celebrated, as are a local variety of plums - the mirabelle. The gastronomically-adventurous will dare to try some of the many saucissons and charcuteries, as well as andouille (tripe sausage) and tête de veau (calf's head). The latter two especially can seem like a gamble; if you have good reason to be confident in the chef's ability, give them a go and the scales may well fall from your eyes as you enjoy complex and subtle flavours.
The cuisine of Champagne is among the least well-known, as it is largely indistinguishable from the French mainstream. Nonetheless, you should make time for a potée champenoise - a wonderfully slow stew of ham, bacon, cabbage, beans, carrots and potatoes - and indeed anything with pieds de porc (pigs trotters) in it. Many dishes use the local bubbly as a key ingredient: hedonists will want to luxuriate with hot oysters in champagne! This area is particularly known for its sweets - biscuits roses, macarons and chocolate champagne corks.
This being France, we mustn't overlook the cheese. The highlights (all made with cows' milk) include creamy and slightly crumbly langres, the very soft and strong munster from the mountains and carré de l'est, with the appearance of a square brie but unmistakable flavour of smoky bacon.
In case you haven't been paying attention, around these parts wine is king! Touring the vineyards of the Champagne and Alsace are veritable rites of passage for any discerning wine buff, but even for those without the patience to go on tour, restaurants can be relied on to serve the best local vintages. Champagne is the world's best-loved (and potentially most bank-breaking) sparkling wine. Alsace is mainly known for its whites and the grape varieties are often - surprise surprise - akin to their German counterparts. Completely off the beaten track is Lorraine wine, whose notable crus include côtes de Moselle and the gris de Toul, a rosé wine that actually looks grey.
Here on the edges of northern and central Europe, the importance of beer can't be overstated. Lorraine and Alsace have the highest quality brewers: Champignolles, Kanterbräu and Grimbergen, as well as France's 'national beer' Kronenbourg. In pubs and bars, order pression (draft), while supermarkets are great for 'stocking up' on cans and bottles.
In Lorraine, there is also a tradition of making plum liqueurs and eaux de vie. Mirabelle and quetsch are the two plum varieties used to make these drinks, and production seems to be more of a cottage industry than being aimed at the mass market.
As with most of France, accommodation options are based around hotels in town and cities, and self-catering gîtes in the countryside. In the Vosges, there are many farmhouse inns which offer an authentic rural experience. Campers and caravaners are well-catered for all over France, and Grand-Est is no exception.
This is version 3. Last edited at 10:23 on Nov 29, 18 by Utrecht. 2 articles link to this page.


Who are the entrepreneurs you should be following?
As the business industry consistently becomes more and more saturated, professional paths can seem daunting.
Luckily, there are a number of entrepreneurs who have laid innovative groundwork through new technology and inspirational stories.
Today we're going to explore 20 of those people—professionals, like you, who are entrepreneurs and who have made their mark.
Credited with co-creating the framework for the Internet, Vint Cerf is a highly influential entrepreneur without whom, we might not have the web.
In addition to his many accolades, he is also Google's chief Internet evangelist and served as the founding president of the Internet Society for several years.
Not only is he one of the Internet's founders; Cerf has also served politicians and other global figures as an advisor and promoter of science. Cerf earned his PhD and taught at Stanford, and his dedication to knowledge and innovation makes him a great source for inspiration.
Most people are familiar with the Amazon founder and CEO, Jeff Bezos. While the Amazon we know today is a miniature world that offers server usage, movie-streaming, and free, two-day shipping, many remember its simpler days, as an online book retailer. Both Bezos and Amazon are now worth billions.
Bezos saw that technology was growing at a virtually unprecedented rate, and he saw an opportunity. He also recognized the universal need for books, which led him to create a company with universal appeal.
Bezos teaches us to open ourselves to new changes, and he also reminds us to consider the #1 aspect of economy: supply-and-demand.
Founder/Chairman of World Wide Technology, Inc.
As both the founder and chairman of World Wide Technology, Inc., David L. Steward has been making a splash throughout his life (sometimes even literally—according to the NY Times, he helped integrate the local swimming pool at only 16).
He's now comfortably at the top of a multi-billion dollar company that offers technical services and communications. World Wide Technology is also one of the nation's largest African-American-owned businesses.
Unlike many founders of high-revenue companies, Steward was not born wealthy. He experienced hardships and cites those experiences as the foundation for his success.
He also attributes his accomplishments to an unwavering vision and sense of positivity, some of which was instilled in him by his mother.
Elon Musk is the techie-meets-environmentalism darling who is reimagining life on Earth and elsewhere. Tesla was a cofounder of PayPal, which ultimately gave him the opportunity and money to pursue other ventures, like Tesla, SpaceX, and SolarCity.
While SpaceX is exploring opportunities for humans to live on planets other than Earth, Tesla and SolarCity are working to make our planet a cleaner place.
Through both the technology he's developed and his quest to make energy-efficient services available, Musk has garnered a huge following.
However, he isn't doing it for the money. Instead, he's pursuing his interests, and it's working out pretty well for him.
As a young woman, Pierson was hit by a drunk driver while walking her dog. Her body and sight were destroyed, and she (along with her sight) were rebuilt through years of surgery.
Looking at her now, Pierson seems like an ordinary person. As you learn about her mission and her story, however, you'll realize she's anything but.
Pierson not only survived a tragic accident, but she also healed and pursued service and knowledge. She is making a difference every day in the education field.
Anthony Casalena was an undergrad at the University of Maryland when he began Squarespace in his dorm room.
In fact, Casalena juggled multiple positions within the company during its first few years. The company now brings in hundreds of millions of dollars.
Anthony has a BS in computer science from a state university. His business didn't come from a charmed life or an Ivy League school. Casalena was an everyday person who did something he had a passion for. And that passion paid off in a big way.
After their Napster-style idea proved unstable, Janus Friis and his partner took to another project: Skype. Originally created as a way to make international calls online, Skype has now become a household name for travelers and long-distance families.
Friis' tale begins like many others. After dropping out of high school, he found a job in customer service.
However, there is something that sets Friis apart; he spent that time learning technological skills and generating ideas.
Eventually, he partnered up with a colleague to create Skype, a business that sold to Microsoft for $8.5 billion.
Not only did Niklas Zennström cofound Skype, but he also runs Atomico, an international investment firm. He has made a concentrated effort to succeed in business and inspire others to do the same.
In an interview with Wired, Zennström explained his constant desire to drive change. As a child of teachers, he knew early on he wanted to do something big and make money doing it.
He also participates in philanthropic efforts to support human rights and promote environmental awareness.
Janice Bryant Howroyd is the founder and CEO of ACT-1, a staffing and human resources firm that focuses on growth and empowerment, rather than just revenue.
For almost three decades, Howroyd has managed the company through its consistent expansion.
Not only does Howroyd run one of the biggest woman-owned and minority-owned companies in the United States, but she also began her business small.
According to Howroyd, she began with nothing more than a brain, a phone, and a phonebook. ACT-1 is now a billion dollar company.
Danielle Fong is not your ordinary 30 year old. After beginning college at 12 and pursuing a PhD at 17, Fong decided she could make a difference for her current and future world.
She cofounded LightSail, a company concentrating on the storage of renewable energy. Storing eco-friendly energy is one of the biggest challenges of preventing further climate change.
Fong has had difficulty fitting in throughout her life, both in public school and during university. According to Fong, she "thought [she] could make a difference." That belief has led her down a path of innovation and achievement.
As the CEO and cofounder of Netflix, Reed Hastings has experienced a great deal of success in the last decade. Prior to Netflix, Hastings studied math and artificial intelligence.
He co-funded and sold a software company, then began work on a DVD subscription service that changed the way people watch movies.
Hastings not only transformed the way audiences consume entertainment, but he has also used his success to support educational programs. Early in his life, he also served in the Peace Corps, where he taught math in Swaziland.
What started as an interest in fashion and the UN's World Food Program became Lauren Bush Lauren's quest to curb world hunger. With every FEED product, meals are provided for a child somewhere in the world.
Lauren saw something that didn't add up—extreme poverty amidst a world where food is plentiful. So, she pursued her passion for product as well as her desire to do humanitarian work.
Because of her work, she is not only successful, but children worldwide are eating meals they would not otherwise have.
Joe Gebbia is a designer, artist, and perhaps most impressively, a cofounder of Airbnb, as well as the Chief Product Officer.
When their rent increased 25% in one month, Joe and his roommates realized they could pay rent by hosting strangers for money. They used an air mattress and good people skills to survive the exorbitant costs of San Francisco.
It was through the collaboration of Gebbia, Brian Chesky, and Nathan Blecharczyk that Airbnb was born.
In order to make Airbnb a success, Gebbia and his team worked to get press by offering places to stay during the 2008 DNC. When they didn't get investors, Gebbia and his team self-funded through credit cards.
Despite their failures, the team continued to believe in what they were doing.
Lama Janah founded Samasource, a nonprofit with a vision. Samasource seeks to rescue people from poverty by providing them with tech work and living wages.
This has allowed people from historically poor countries to attain better quality of life through companies like Google and Microsoft.
After visiting Mumbai, Janah realized impoverished people did not have access to jobs that could greatly benefit their quality of life.
She attempted to resolve this issue by connecting with big-name companies—companies that eventually began outsourcing jobs to poor communities.
Janah notes that her parents were immigrants without connections, but she and her brother succeeded with public schooling and a fierce belief in The American Dream.
Rich Barton has been busy the last several years, founding Expedia, Zillow, and Glassdoor—all companies that simplify basic aspects of life: travel, finding a home, and pursuing a career.
Barton has made many successful businesses by asking how he can simplify life for the everyday person.
Angela Lee is the founder of 37 Angels, an angel investor group made up of women. Additionally, Angela is an associate dean and Chief Innovation Officer at Columbia Business School.
Lee correlates much of her success with her ability and willingness to fail.
According to her, she often refused to try in the past, but now realizes she was wasting potential. By constantly trying new things, she continues learning new lessons.
At only 24, Drew Houston cofounded Dropbox with his MIT classmate, Arash Ferdowsi.
What started as a personal resource for Houston easily became one of the biggest file-sharing platforms in the U.S.
Not only did Houston create an incredible product at 24, but he also does his research. Houston invited successful tech founders to the Dropbox office, so they could tell the team stories of success and failure.
According to Houston, this has helped the team become resilient to challenges.
Caterina Fake is the cofounder of Flickr, one of the world's largest photo-management and image-sharing platforms.
She is also the founder of Findery and the cofounder of Hunch, sites that focus on experiences.
As just a forty-something, Fake has already spearheaded several successful businesses. Flickr is a globally-utilized application, and Fake's work on Hunch helped land an $80 million dollar sale to eBay in 2011.
Gagan Biyani is the cofounder of Udemy, the online education platform that has swept the Internet. He is also a cofounder of the fresh-food delivery service, Sprig.
Biyani isn't necessarily a tech guy, but he has managed to prove to the world he understands how to succeed in the industry. Biyani has also been featured in Forbes' 30 Under 30.
After four years of saving, Scott Belsky created Behance, a portfolio platform for creatives. Behance sold to Adobe for $150 million in 2012.
Although Belsky knew finance wasn't for him, he stayed at Goldman-Sachs long enough to learn the ropes of running a successful business.
Additionally, instead of raising money from investors, Belsky decided to bootstrap his own startup. After taking a unique approach on his dream, his chances paid off.
While many of us know people who are entrepreneurs or have an idea of the typical business founder—there is no classic build, age, or background. Each entrepreneur in this list varies in their qualities and goals, but they each have one thing in common; each decided to take a risk or two.
Some of those risks were failures, but many of them paid off. Innovators take chances every day, simply because of their passion and desire for success. Now that you've read this list, what risk will you take today?


#cashfuck Archives - TLC Phonesex - Our ladies love hot, tantalizing roleplaying!
I love money. Who doesn't right? Well, the thing with money is that it usually comes with conditions. In the case of "old money", there are definite consequences. Sure, he can be rich and even decent looking but one thing is always true, his balls are old.


Items where Author is "Abdullah, Sahadah"
Hamzah, Nurul Hamiza and Abdullah, Sahadah (2018) Conceptual framework for service quality and adjustments towards international students' satisfaction in Malaysia universities. In: 4th Conference on Business Management, 29 - 30 Oktober 2017, The Gurney Resprt Hotel & Recidences Penang, Malaysia.
Zakaria, Norria and Ahmad, Mohamad Zaki and Abdullah, Sahadah (2017) Examining the Role of Social Network on Opportunity Recognition: A Propose Framework. In: 4th Conference on Business Management, 29 - 30 Oktober 2017, The Gurney Resprt Hotel & Recidences Penang, Malaysia..
Hashim, Norashidah and Salleh, A. Razak and Ali, Hassan and Subramaniam, Chandrakantan and Abdul Rahim, Fauziah and Abdullah, Sahadah and Mohamad, Armanurah (2015) School youth entrepreneur program in Kubang Pasu Kedah. In: International Conference on Knowledge Transfer (ICKT'15), 1 - 3 December 2015, Putrajaya, Malaysia.
Abdullah, Sahadah and Rahim, Mohd Syahrir and Zainol, Asif Zamri (2013) Entrepreneurial spirit and self-efficacy askey factors for technology entrepreneur new venture creation. In: Conference on Business Management Research 2013, December 11, 2013, EDC, Universiti Utara Malaysia, Sintok.
Abdullah, Sahadah and Rahim, Mohd Syahrir and Mohd Osman, Mohd Hassan (2013) Key influencing factors for technopreneur development and incubation program. In: Conference on Business Management Research 2013, December 11, 2013, EDC, Universiti Utara Malaysia, Sintok.
This list was generated on Mon Apr 22 00:05:15 2019 +08.


Tom & the cast were photographed this morning filming scenes for Spider-Man: Far From Home at the San Basilio Terminal on October 1, 2018 in Venice, Italy. We added high quality photos to the Gallery.
Since we live near Venice, we had to try to find Tom and get a few exclusive photos for the site! It was amazing! We had so much fun! Most of the photos we just added were taken by us so please credit ThomasHolland.net if you repost them! We added 100+ high quality photos of Tom spending his day off from filming Spider-Man: Far From Home around Venice on September 30!


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Inspekteur der Jagdflieger (em português: Inspector de Caças, mais tarde General der Jagdflieger (General de Caças)) foi uma posição, não uma patente, dentro do Alto Comando da Luftwaffe. O inspector era responsável pela prontidão, treino e tácticas dos caças do Reich.

Inspectores

Bibliografia
 Isby, David C. (1998). The Luftwaffe Fighter Force—The View from the Cockpit. Londres: Greenhill Books. ISBN 978-1-85367-327-6.

Cargos e posições na Luftwaffe

redpajama_set_name: RedPajamaWikipedia


Home > Archive by category "Geo.com Homepage Panel"
When it was time to redesign their website, St. Mary's in Evansville, Indiana got feedback from every direction, including employees, internal stakeholders and users. And when it was time to create the new design, navigation, content, and functionality, they turned to Geonetric.
My fellow Geonetric peeps know: I'm a die-hard fan of The Beatles. My Iowa license plate is PNYLANE. My desk is littered with the Fab Four.
These four young guys from Liverpool exploded onto the international stage in the early 60s and – armed with a unique sound and flair for fashion – changed the world in a mere decade.


Ear Booster tries to give your the hearing of a super hero. Which you can use to hear what is going on around you.
To use this application a headset is required. Not using a headset will result in a terrible feedback.
Now you are able to record the audio and save it as a .wav file. This new an awesome feature is FREE!!!
Start up the application and plug in a headset. Press the power on button, to start hearing the world around you. Use the equalizer for fine tuning, and use the options button to reduce noise and echo.
The main intent for this application is to function as a hearing aid.
This application can probably also be used for ghost hunting. You may be able to use it to hear conversations from the other side.
+ Super simple user interface.
+ Equalizer for fine tuning.
Please act responsibly when you are using this application.
Permissions for audio, is to allow the app to use the microphone of the device which is to improve the user's hearing.
This application does not store any information about the user. We a Zygne Apps respect the user's privacy.


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Campus News • Society & Culture
UGA Athletic Association giving $1 million for experiential learning
Athens, Ga. – The University of Georgia Athletic Association will establish a $1 million endowment to support the university's new experiential learning initiative. The association's board of directors approved the contribution during its spring meeting.
"The athletic association has a strong track record of supporting the university's most important academic initiatives," said President Jere W. Morehead, who also serves as chair of the board, "and none is more relevant to the institution right now than this initiative designed to further enhance student learning at UGA."
The $1 million gift to establish the endowment for experiential learning will bring the athletic association's total contribution to the university's academic enterprise to $5 million for this fiscal year.
"We are exceptionally pleased to provide these funds that will support the experiential learning initiative," said Greg McGarity, J. Reid Parker Director of Athletics. "It is one of the university's most important programs being developed and will be a cornerstone in the undergraduate curriculum for years to come. It's also another way we can integrate academics and athletics on our campus, continuing the strong partnership around programs that benefit the university."
The university has a strong history of providing experiential learning opportunities to its students-particularly through study abroad, service-learning, research and internships. Its new initiative builds on these strengths by making these experiences a graduation requirement starting in fall 2016 for incoming first-year students.
Each student will be able to select from a diverse slate of "learning by doing" opportunities tailored to reflect their individual interests and aspirations. The program is designed to increase students' academic performances while preparing them for graduate school and the workforce.
"Experiential learning enables students to make substantive, purposeful connections between their academic foundations and their future educational and professional aspirations," noted Linda Bachman, director of university experiential learning. "This extraordinary gift from the athletic association will have a tremendous impact on the initiative and sets a leadership example for other partners in this important effort."
UGA will become one of the largest public universities to provide experiential learning opportunities to all undergraduates. For more information on UGA's experiential learning initiative, see http://www.ugaexperience.com/.
Education News Release

redpajama_set_name: RedPajamaCommonCrawl


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text:
U.S.S. ROANOKE
DEDICATED TO SERVICE
USS ROANOKE (AOR-7) - a Wichita-class replenishment oiler
In Commission 1976 to 1995
APR 1965 - Shellback Initiation - 24 APR 1965 - Pacific Ocean
JAN 1974 - Keel Date: 19 JAN 1974
at National Steel and Shipbuilding Company San Diego
DEC 1974 - Launch Date: 7 DEC 1974
OCT 1976 - Commissioned: 30 OCT 1976
JAN 1978 - AUG 1978 West Pac
JUL 1978 - Shellback Initiation - 17 JUL 1978 - Pacific Ocean
JUL 1978 - Shellback Initiation - 17 JUL 1978 - Indian Ocean
NOV 1979 - JUN 1980 West Pac-Indian Ocean-Persian Gulf
FEB 1981 - OCT 1981 West Pac
MAR 1981 - Shellback Initiation - 6 MAR 1981 - Indian Ocean
APR 1981 - DEC 1981 West Pac-Indian Ocean
OCT 1981 - MAY 1982 West Pac-Indian Ocean
DEC 1981 - SEP 1982 West Pac-Indian Ocean
OCT 1982 - APR 1983 West Pac
JAN 1985 - Shellback Initiation - 8 JAN 1985 - Indian Ocean
JAN 1985 - Shellback Initiation - 8 JAN 1985 - Pacific Ocean
MAR 1985 - Shellback Initiation - 14 MAR 1985 - Indian Ocean
APR 1985 - OCT 1985 West Pac
AUG 1986 - APR 1987 Mediterranean-Indian Ocean-Persian Gulf
AUG 1986 - FEB 1987 West Pac-Indian Ocean
JUL 1988 - DEC 1988 West Pac-Indian Ocean
FEB 1990 - Shellback Initiation - 24 FEB 1990 - Pacific Ocean
FEB 1990 - APR 1990 Panama Canal
FEB 1990 - APR 1990 Cape Horn
JAN 1991 - JAN 1991 Desert Storm
JAN 1992 - AUG 1993 Desert Storm
JUN 1994 - DEC 1994 West Pac
OCT 1995 - Decommissioned: 6 OCT 1995
Final Disposition: Laid up in the National Defense Reserve Fleet Suisun Bay
USS ROANOKE (AOR-7)
USS Roanoke (AOR-7) was a Wichita-class replenishment oiler of the United States Navy. Built by the National Steel and Shipbuilding Company, of San Diego, California, she was launched on 7 December 1974, and commissioned on 30 October 1976.
[Note: The above USS ROANOKE (AOR-7) history may, or may not, contain text provided by crew members of the USS ROANOKE (AOR-7), or by other non-crew members, and text from the Dictionary of American Naval Fighting Ships]


Is One of Your Riskiest Assets Protected?
Over the last five years, SCTC Members have experienced tremendous growth. However, exports are now facing challenges due to a number of factors: a strengthening US dollar, ongoing drought, pricing/competitive pressures, localized crop production and unforeseen political risks.
How ready is your company in the case of stolen product due to organized crime? Are you doing all you can to protect your company? As California commodities continue to increase in value, more companies are faced with dealing with stolen goods and falsified information, which in turn results in a financial loss.
Marine Cargo Insurance is an integral part of transportation. We spoke to Kevin Ricciotti, Account Executive for Avalon Risk Management, about the benefits and common concerns SCTC Members may have. Avalon Risk Management is an independent, privately held insurance broker offering insurance services worldwide.


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House Majority Leader Race
2006-01-24T18:09:41-05:00https://images.c-span.org/Files/8fd/190864-m.jpgRepresentatives Bass and Flake spoke to reporters about their endorsement of Representative John Shadegg (R-AZ) for House majority leader. They spoke about his qualifications, integrity, and his willingness to push for reform when necessary. Following their remarks, the representatives responded to questions and comments from the reporters. After the news conference, Representative Bass talked with members of the media.
Representatives Bass and Flake spoke to reporters about their endorsement of Representative John Shadegg (R-AZ) for House majority leader.… read more
Representatives Bass and Flake spoke to reporters about their endorsement of Representative John Shadegg (R-AZ) for House majority leader. They spoke about his qualifications, integrity, and his willingness to push for reform when necessary. Following their remarks, the representatives responded to questions and comments from the reporters. After the news conference, Representative Bass talked with members of the media. close
Transcript type Federal News Service Transcript Closed Captioning Record People Graphical Timeline
Filter by Speaker All Speakers Charles Bass Jeff Flake
Charles Bass U.S. Representative [R] New Hampshire
Jeff Flake U.S. Representative [R] Arizona
U.S. Capitol | House Radio and Television GalleryU.S. Capitol | House Radio and Television Gallery
Congressional News Conference
Jan 24, 2006 | 6:09pm EST | C-SPAN 1
See all on Republican Party House of Representatives Republican Party Republican Party Republican Party
Republican House Whip Race
Representative Wamp talked about his candidacy in the House Majority Whip if Representative Roy Blunt (R-MO) wins the…
Republican Leadership Race
Members spoke to reporters about campaign and lobbying reform and the likely impact on House leadership elections of…
Republican Leadership Race Reaction
Telephone lines were open for comments on the election of Representative John Boehner (R-OH) as House majority leader.…
House Majority Leader News Conference
House Majority Leader John Boehner held a weekly legislative briefing. Among the topics he addressed were the budget…


Saint Charles school district 303!!! Best lot in Cornerstone. Be sure to Google aerial view. Home sits at the very end of cul-de-sac and backs to open easement area. Easement area can be accessed by gate from the 11,769 sq ft fenced yard. All major Mechanicals have been updated, roof 2016, furnace 2016 & C/A 2016. First floor office, can be used as 5th bedroom and has bath right next to office. Large eat in kitchen plus formal dining room. Reverse osmosis & water filtration. Water softener. City sewer & water. Large finished basement with rec room & full bathroom. Large walk-in kitchen pantry can be converted to first floor laundry room. Total of 3.5 bathrooms each with a skylight. Easy to show. Call owner direct using "Schedule a Showing". L.A. is an Illinois State Certified Appraiser.
North Ave to Smith Rd, to Camden Dr to Barnhart St.
West Chicago is located in Illinois. West Chicago, Illinois 60185 has a population of 27,447.
The median household income in West Chicago, Illinois 60185 is $69,252. The median household income for the surrounding county is $79,016 compared to the national median of $53,482. The median age of people living in West Chicago 60185 is 31.8 years.
I am interested in 2598 Barnhart Street, West Chicago, IL 60185.


Where else but Manhattan would stables be worth multiple millions of dollars?
The 10 two-story brick stables were built in 1863-64 by local builder John Sniffen. Now they are some of the most covetable and expensive residences in New York City.
The early Romanesque Revival style buildings face each other in a small close-end mews of of East 36th Street between Lexington and Third avenues in the Murray hill neighborhood of Manhattan.