On 8 May 1889 Edward Elgar married Alice Roberts at Brompton Oratory. Among the wedding presents he received was a copy of the poem, The Dream of Gerontius by John, Cardinal Newman (1801-1890), which was given to him by the parish priest of the Catholic church in Worcester where Elgar had been the organist. Newman's poem had been published in 1865 and Elgar was familiar with it already but now he had his own copy of the text. However, it was not until he received an invitation from the prestigious Birmingham Festival to compose a major choral work for the 1900 festival that Elgar turned in earnest to making a setting of the poem.
Newman's poem is a long one, consisting of some 900 lines, including a substantial prologue. Elgar set most of the prologue as Part One of his composition but for Part Two he pruned the main body of the poem drastically, setting only about 300 of its 730 lines. His imagination fired by Newman's verse, Elgar proceeded to compose what the critic Michael Steinberg has described as "a truly complete response to a poem of immense religious, intellectual, and literary complexity – complete both as an avowal of faith and as a work of human art."
In 1899 Elgar had scored a conspicuous triumph with the orchestral 'Enigma' Variations. That work marked a quantum leap forward in terms of his compositional technique, his imagination, and his mastery of the orchestra. In the same way Gerontius was a huge advance for him as a choral composer. He had already written several notable large-scale cantatas but though King Olaf (1896) and Caractacus (1898) in particular are fine works Gerontius is a work of genius. In the solo writing we find Elgar displaying the same ability to depict characters in music that he had shown in 'Enigma'. In addition, the writing for the chorus is quite superb and Elgar deploys the choir daringly. This is especially true of the build-up to 'Praise to the Holiest', where the multi-layered choral writing is amazingly assured and produces thrilling spatial effects. Later on in that same chorus, when the choir is divided into eight separate parts the complex individual lines fit together superbly. And the orchestration too represents a significant advance, even on 'Enigma', as the subtlety and power of the orchestral prelude alone demonstrates in abundance. As Michael Kennedy has observed, "Gerontius is the very pivot of his career: it sums up and glorifies all that he had been striving to say with lesser material and subjects, and at the same time looks forward, in its revolutionary ardour, to the symphonies and the later choral works."
However, what truly sets Gerontius apart from all Elgar's previous compositions is the sense of vision. Newman's mystical poem clearly held Elgar in thrall. We may wonder how much this complex man, often beset by self-doubt even when at the height of his powers and fame, identified with Gerontius himself. Certainly Elgar depicts Gerontius's trepidation, uncertainty and, finally, his sense of smallness beside the immense majesty of God, with remarkable prescience. The portrayal of Gerontius's Guardian Angel as a being of serenity, reassurance and protection, yet also of quiet authority, is also remarkably successful.
But the vision was nearly still-born; the première in Birmingham on 3 October 1900 was a near-disaster. The choir, faced with some of the most challenging music they can ever have encountered, was poorly prepared. Unfortunately, the chorus-master, who understood Elgar's music, died very suddenly just before rehearsals commenced. His seventy year-old predecessor was called back out of retirement and was manifestly not up to the task, not least because he was out of sympathy both with the music and, as a Non-Conformist, with the text. The orchestra was equally under-rehearsed and the great German conductor, Hans Richter, who had triumphantly led the first performance of 'Enigma' in June 1899, had not mastered in advance this new and much more complex score. Somehow they got through to the end and despite the manifest inadequacies of the performance Gerontius was warmly received by both the audience and the critics, though the reception did little to cheer the distraught composer. Despite his failure to give Gerontius a fitting première, Richter was clearly moved and impressed. After the first performance he wrote in Elgar's score in his idiosyncratic English: "Let drop the Chorus, let drop everybody – but let not drop the wings of your original Genius."
When Part Two opens Elgar transports us to another world through the device of a short, luminous prelude of ethereal beauty. The Soul of Gerontius has passed into this spiritual place and here he encounters his Guardian Angel ('My work is done'). The Angel's last service is be to guide him to Judgement, first leading him safely past the dreadful spectacle of the Demons ('Low-born clods of brute earth'). On the way the Angel explains to Gerontius that he will be granted but a glimpse of God before he is despatched to Purgatory ('Yes, for one moment thou shalt see thy Lord'). The last stages of the journey to Judgement see Gerontius led through the serried ranks of Angelicals, who are praising God, until it is as if great gold doors have been flung open and the hymn of praise erupts ('Praise to the Holiest').
After the tumult has subsided the Angel of the Agony stands close to the throne of God. He begs divine mercy for all those souls that come to judgement, culminating in a deeply moving phrase that is at once grand and supplicatory, ('Hasten, Lord, their hour and bid them come to Thee'). Gerontius stands, humble, insignificant and afraid, before his God ('I go before my judge'). In a masterstroke, Elgar depicts the brief moment when Gerontius sees God as the musical equivalent of a blinding flash of light. 'Take me away', cries Gerontius in a mixture of fear and ecstasy. As he begins his time in Purgatory, the Angel calmly reassures him that his time there will pass and that once he is purged his Angel will bring him safely to everlasting life.
Elgar sets his interpreters many challenges in this work. The bass soloist has least to do but one of the key issues is that his two solos are very different both in character and in tessitura. The Priest should be noble, dignified and consolatory without ever sounding sanctimonious. The role lies predominantly in the baritone range. The role of The Angel of The Agony ideally calls for a basso cantante with a commanding presence and the ability to inspire a degree of awe. Many times, both on record and in concert, I've felt that a soloist is better suited to one role or the other. The ideal solution is to have two singers but this is an expensive luxury. I've never seen it done in a professional performance and to date it's only been done once on record.
Is the role of The Angel better sung by a contralto or a mezzo-soprano? In truth I think the answer is that either type of voice can fulfil the role but it depends on who the singer is. Attitude is all-important. If the singer is too objective then there's a risk of coolness – that happens in at least one of the recordings under discussion here. But I'd rather have coolness than a fulsome approach – thankfully none of our singers falls into that trap. Arguably, nowadays there's a further challenge for singers of the role: the shadow cast by Dame Janet Baker. There can be few roles in music on which one singer has so firmly stamped his or her mark and I'm sure I'm not the only person who cannot hear certain phrases without hearing in my head the way Dame Janet inflects them. In fact, it's just as much of a challenge to listeners such as me to put those thoughts aside when listening as it is for singers to put their own stamp on the role.
The chorus too must play their part. It's often forgotten how little of Gerontius is actually choral music – only about one third, I'd say. The rest consists of solos and two orchestral preludes. However, the choral music is very challenging and it's easy to see why the ill-prepared chorus came to grief at the première. The long lead-up to 'Praise to the Holiest', with its many layers and luminous textures, is a major test. So too, in a very different way, is the Demon's Chorus, where, in Barbirolli's memorable phrase, the chorus should avoid sounding "like bank clerks on a Sunday outing".
But inevitably the greatest challenges are faced by the conductor, who must hold the whole thing together and inspire a performance of strength and feeling while eschewing any religiosity. He (or she) must also bring out the drama in the work. There are large forces to control and complex ensembles to direct. Yet much of the music, especially at the start of Part Two, is intimate and subtle. But Elgar helps his conductor. As in all his works, the score is littered with copious instructions as to tempo and dynamics. As a highly experienced Elgar conductor told me more than once, it's all in the score and "all" the conductor has to do is to follow Elgar's markings! Gerontius is difficult to define – and impossible to pigeonhole – but it is very far removed from "conventional" Victorian oratorio and often almost operatic in its intensity and sense, almost, of theatre. Elgar's achievement is particularly remarkable since he must have been exposed to – and found it hard to break free from – the influence of many a second-rate oratorio during his formative years in Worcester. For the conductor, finding the balance between religious sentiment and the essential drama of the piece is not easy but it's the key.
I know of eleven CD versions of this work, in addition to which there is a DVD of a live performance by Sir Andrew Davis. On CD the choice is between - in chronological order of recording - Sir Malcolm Sargent (HMV, 1945); Sargent again (EMI, 1954); Sir John Barbirolli (EMI, 1964); Benjamin Britten (Decca, 1972); Sir Adrian Boult (EMI, 1976), Sir Simon Rattle (EMI, 1986); Vernon Handley (EMI Eminence, 1993); Sir Colin Davis (LSO Live, 2005); and Sakari Oramo (CBSO, 2006), There are also versions by Sir Alexander Gibson (CRD) and Richard Hickox (Chandos) but I'm not making any comments about these two recordings, because I don't own copies from which to make detailed comparisons. As far as I know all of these recordings are currently available. It's interesting to note in passing the extent to which EMI or various divisions of that company have led the way in recording this work. The survey that follows consists of some personal reflections on most of the recordings.
Before dealing with the complete recordings mention should be made of some fascinating historical extracts. The first-ever recordings of parts of Gerontius were made – by HMV, which was eventually to become part of EMI – in 1927 with Elgar himself conducting. Over forty minutes of music, including the complete Part One Prelude, were captured in a live performance in London's Royal Albert Hall on 26 February 1927. Later that same year, on 6 September, HMV captured the composer in Hereford Cathedral during the Three Choirs Festival but only some 16 minutes of that performance have survived onto CD. So far as I know the only CD incarnation of those excerpts is contained in Volume One of EMI's utterly indispensable Elgar Edition (EMI Classics CDS 7 54560 2. 3 CDs). Though tantalisingly brief, these extracts are of great value and interest.
Just recently The Elgar Society has issued a three-disc set, Elgar's Interpreters on Record, Vol. 5 (EECD003-5). These CDs contain off-air recordings made by the late Kenneth Leech and include just over thirty minutes of extracts from a 1936 radio broadcast conducted by Boult. Even more fascinating is no less than seventy-one minutes of excerpts from another broadcast, this time from 1935, conducted by Sargent. In both cases the Gerontius is Heddle Nash. Opposite him are two highly contrasted Angels, Astra Desmond for Sargent and Muriel Brunskill for Boult. We also hear Keith Falkner in fine voice in both bass solos in 1935 but the bass in the Boult performance, Horace Stevens, offers a much less enjoyable listening experience. The sound quality is variable and surface noise is often intrusive, especially in the Sargent extracts. However, whilst the orchestra and chorus are rather dimly heard, meaning that it's unfair to judge their contributions, the soloists are all clearly recorded.
Nash had given his first performance in Gerontius in 1931, at the prompting of Elgar himself, who conducted Nash's first performance of the role. The Sargent's performance was noted in Nash's score as the fourth occasion on which he'd sung the work. He's captured in very good voice. He sings with a real feeling for the words and his identification with words and music is complete. Where it's called for his voice has an heroic ring, though what impresses me even more is the sense of inwardness that he conveys. We shall find all these qualities displayed again – and arguably to even greater effect - in his 1945 recording. There are occasions where Nash and Sargent linger over detail just a bit too much but the conviction of the performance carries the day. Nash brings a fine degree of intimacy and wonder to the dialogue with the Angel in Part Two. His Angel is Astra Desmond, who is described aptly by the late Alan Blyth in the booklet as "calm and serene." Keith Falkner is an elevated Priest and a fine Angel of the Agony.
The Boult extracts are in sound that is appreciably better. Nash delivers a superb "Sanctus fortis". Muriel Brunskill is a very different type of Angel in comparison with Desmond. Hers is a rounder, more full voice, a genuine contralto in fact. Horace Stevens was reputed to be a fine exponent of the bass roles but if what we hear in these extracts is representative then that reputation was grossly exaggerated. In fact he's almost a caricature; his emphatic, portentous delivery of "Proficiscere" gives me no pleasure whatsoever.
In all these instances the performing styles are very much of their time and not all modern listeners will react positively. Inevitably the sound calls for some tolerance, especially in the Sargent recording. But all these extracts are precious; one set conducted by the composer himself, and the others, both from performances within a couple of years of Elgar's death, are by leading interpreters of the work who indubitably imbibed their performing tradition from the composer himself. It should also be noted that all three singers of the title role in these recordings - Steuart Wilson and Tudor Davies sang for Elgar – are tenors of whose performances he is known to have approved.
These are recordings which all lovers of Elgar's music should try to hear; they are highly relevant to a wider audience than just specialist collectors.
The first complete recording of Gerontius was made in Huddersfield Town Hall between 8 and 12 April 1945 under the auspices of the British Council and was conducted by Sir Malcolm Sargent. Walter Legge was the producer. The distinguished cast included Heddle Nash in the title role, Gladys Ripley as the Angel and, uniquely on record, a baritone, Denis Noble, as The Priest and a bass, Norman Walker, as The Angel of the Agony. Also taking part were The Huddersfield Choral Society and Liverpool Philharmonic Orchestra. This recording has been issued on several labels in recent years, including Pearl (see review) and on Pristine Audio (see review). My experience of this recording is confined to the version issued in 1993 by Testament and my comments refer only to that transfer. However, my colleague, Jonathan Woolf, has heard all three transfers and it may help collectors to summarize his views of them. He is not enamoured of the Pristine Audio transfer for the reasons mentioned in his review. I'm grateful to him for providing the following comment on his view of the relative merits of the Testament and Pearl versions: "the Testament is smoother and has been more filtered; it gives an easier aural ride but the Pearl will appeal to those who can absorb shellac hiss and welcome the preserved higher frequencies. I'd go for the Pearl but I suspect the majority would prefer Testament."
By the time Heddle Nash came to make this recording he had noted twenty-two performances of Gerontius in his score so he was truly a seasoned interpreter. His performance here is, quite simply, wonderful. As in 1935, he and Sargent linger expressively on occasion – for example, in Nash's very first solo. However, "Sanctus fortis" burns with conviction and throughout Part One the ardour and urgency of Nash's interpretation is readily matched by Sargent. The cry at "In Thine own agony" sounds as if it has been wrenched from Nash's very being. The hushed inwardness that he achieves through the use of head voice at "Novissima hora est" makes for a very special moment indeed.
In Part Two, after Sargent has directed a compelling reading of the gently luminous Prelude, Nash sings his opening solo with a miraculously light airiness. Above all he conveys a sense of wonder in these pages that is deeply affecting and he sustains this mood throughout the dialogue with the Angel. Gladys Ripley sings that role quite beautifully. She has a lovely tone and sings sincerely and is most communicative. Hers is a distinguished performance throughout and her achievement is capped by a dignified and touching account of the Farewell.
Walter Legge had the discernment to engage different soloists for the two bass roles, a real piece of luxury casting. But his "extravagance" pays off. Denis Noble is well suited to the higher tessitura of the Priest's role while Norman Walker is a commanding presence as the Angel of the Agony. The Huddersfield Choral Society makes a stirring contribution. One wonders what impact the war must have had on their membership; presumably many younger members would have been away on active service at this time. There's no evidence of weakness, however, and all the big choruses come across very well. The Liverpool orchestra also plays extremely well. The sound has come up remarkably well in this Testament transfer.
Sargent was back in Huddersfield to re-record the work in November 1954, to mark his impending sixtieth birthday. Again he conducted the town's Choral Society and the by-now Royal Liverpool Philharmonic Orchestra. This time his soloists were Richard Lewis, Marjorie Thomas and John Cameron. Lewis is a very involving Gerontius. He's tremendous at the start of "Sanctus fortis" and indeed he sings the whole of that aria splendidly. Hear him, for instance, in the passage beginning "And crueller still", which is quite gripping. Showing, however, that he is responsive to the whole range of the part, he's rapt at "Novissima hora est". Throughout the whole set he displays marvellous clarity of tone and diction. His singing gives consistent pleasure and seems effortless.
Marjorie Thomas is a good angel, if not, perhaps, the most distinctive one has heard. She makes all the expressive points but, happily, never overstates them. The dialogue between the Soul of Gerontius and the Angel at the start of Part Two is very well sung by both soloists and it's fluently conducted by Sargent. In the closing section of the work "Take me away" sounds as if the music is being ripped from Lewis and he gives a very good performance of the aria. As for Marjorie Thomas's account of the Farewell it seems appropriate to borrow Alan Blyth's phase and describe it as "calm and serene".
EMI didn't repeat the extravagance of 1945 and contented themselves with one singer for the bass roles. The choice fell upon that fine singer John Cameron. He makes a noble, prayerful Priest. Perhaps he lacks the last ounce of vocal amplitude for the Angel of the Agony, a role that has a lower tessitura overall. However, he sings the part very well, not least those magnificent phrases at "Hasten, Lord, their hour."
The singing of the Huddersfield Choral Society has a bit more bite and presence than that of their 1945 counterparts. Perhaps the average age of the choir was a little lower in peacetime? I suspect, however, that it's more to do with the advances in recording technology over the intervening years. Suffice to say that, for the second time, the choral reputation of Huddersfield is well served although the outburst at "Praise to the Holiest" is heard more thrillingly on several other recordings and later in the same chorus the passage beginning at "O loving wisdom of our God" could and should sound more urgent. With another good showing from the Liverpool orchestra this is another very telling contribution by Sargent to the work's discography. I feel that his interpretation is heard to better advantage in its 1945 incarnation though, of course, the remake is in much better sound.
Richard Lewis was also involved in the third complete recording of the work (see review) but this time the venue was on the other side of the Pennines. The Free Trade Hall, Manchester was the place where, in December 1964, Sir John Barbirolli assembled the combined forces of the Hallé Choir and Orchestra, the Sheffield Philharmonic Chorus and the professional singers of the Ambrosian Singers, who, I think, formed the semi-chorus. Joining Lewis on the soloists' roster were the Finnish bass, Kim Borg and a young mezzo-soprano named Janet Baker.
I've heard that Lewis was suffering from a cold at the time of these sessions. There are one or two occasions when one wonders if he was in fresher voice for Sargent but the differences, if differences they be, are minor. Once again he gives a most convincing portrayal. Indeed, in his very first solo he seems to suggest the frailty of the dying Gerontius even more convincingly than he did for Sargent. He's right on top of "Sanctus fortis", of which he gives a splendid, ringing account. He's alive to every nuance of the role and attains a real spirituality at "Novissima hora est". When we encounter him in Part Two he conveys an inwardness and a sense of wonder to rival Heddle Nash. In "Take me away" his singing catches both the anguish and the hope that's inherent in both the words and the music. In summary, Lewis is a first rate Gerontius, one of the finest exponents of the role on disc.
But for me one of the key factors behind the success of this recording is the performance of Dame Janet Baker. When she sings for the first time what was already an exceptionally eloquent performance is taken to a new and higher level. Down the years much has been written about her assumption of this role and for many she is the Angel, though I'm sure Dame Janet herself would be the first to dismiss such talk. Nonetheless, the fact remains that for many people, myself included, it's almost impossible to hear certain phrases without hearing in the mind the unique tone quality and inflection that she brought to these passages. These key phrases include "You cannot now cherish a wish"; "It is because then thou didst fear"; "A presage falls upon thee"; and "There was a mortal". On these and many other parts of the work Dame Janet has left an enduring mark. With singers of the calibre and intelligence of Lewis and Dame Janet on hand it's no surprise that the dialogue between the Soul and the Angel is deeply satisfying in this recording. Both singers are audibly right inside their roles and, of course, they are guided and inspired by Barbirolli.
I mentioned Baker's participation as a key factor behind the success of this recording. The other is the direction of Sir John Barbirolli. Gerontius was a piece that he loved deeply and that comes through in every bar of this recording. True, there are one or two points when one wonders if he isn't loving the music just a little too much but he doesn't wallow in the emotion of the work and it's abundantly clear that he inspires his forces to give of their very best, individually and collectively, in the service of Elgar's music. The Hallé Orchestra plays marvellously. The Prelude to Part One sings with Barbirolli as for no one else and in the Prelude to Part Two he coaxes playing of great refinement from the string section. But it's on the choir that he works his strongest alchemy, inspiring them to sing with enormous commitment – there isn't a bank clerk in sight during the Demon's Chorus, which is sung – and played – with real bite. The long build up to "Praise to the Holiest" is superbly handled and Barbirolli and the engineers realise with great skill the many layers of choral texture. When we reach the great paean of praise itself it's a thrilling moment.
The performance is crowned by a deeply moving account by all concerned of the Angel's Farewell. Here we realise that Baker has saved her best singing of all for the end. She sounds consoling and encouraging but her singing is not just emotionally engaged it's also technically superb. The exquisite top E on the word "hold" in the bar before cue 129 is, for me, almost worth the price of the discs alone.
Sadly, there is a flaw in this set and it's not an inconsiderable one. The bass solos are allotted to the Finnish bass Kim Borg. I seem to recall reading somewhere that Borg was Barbirolli's own choice. Even if that's not the case Michael Kennedy remarks in his definitive biography of the conductor that JB had a penchant for bass voices such as Borg's in Gerontius and that it mattered not if they weren't English. Sadly, Borg is very badly miscast. His English pronunciation is idiosyncratic, to put it kindly. One might forgive him that were it not for the fact that, to my ears at least, the sound he makes is just ugly. I don't detect any great feeling for or understanding of what he's singing and "Proficiscere" is only rescued by the superb choir. His solo in Part Two is no more appealing and one's enthusiasm for this set must be qualified on account of his involvement. As I write this recording has just been reissued as one of EMI's Great Recordings of the Century.
Vickers is a powerful, ringing Gerontius, as one might expect. But he also encompasses the more sensitive passages well. Constance Shacklock has a rich contralto voice and she sings with feeling and understanding. Marian Nowkowski is not much better suited to the bass roles than was Borg. However, his voice falls more pleasingly on the ear. The English pronunciation of the Italian choir is definitely an acquired taste. In truth, this performance adds nothing to our view of Barbirolli's interpretation of Gerontius – though his trademark groans are much more in evidence than on the EMI recording. But if it's possible to track down a copy of the recording then lovers of the work will find the performances by Jon Vickers and Constance Shacklock of no little interest.
Having drawn something of an arbitrary line at the year 1970 I classify the remaining recordings as "non-historic". The first of these recordings is a bit special for me as it was the first I ever owned and therefore the one through which I really got to know the work. It also earns something of a unique place in the pantheon because it's conducted by another composer, Benjamin Britten, who brings some fascinating insights of his own to the work (see review). The recording was made in The Maltings, Snape in 1971, after an Aldeburgh Festival performance.
Britten had an interesting team of soloists. Perhaps predictably the Gerontius was Peter Pears. As the Angel, he had the Australian mezzo, Yvonne Minton while John Shirley-Quirk sang the bass roles. Britten scored a particular coup by using the choir of King's College, Cambridge, for his semi-chorus. The different timbre of this choir set against the London Symphony Chorus is telling – in a wholly positive way. On no other recording is the vital semi-chorus contribution so individually defined. The use of the King's choir in this way suggests to me that Britten had thought about Gerontius very deeply.
Early on in the performance there's another small detail that shows how Britten has thought about the score. In the Prelude to Part One there are two abrupt cut-offs just before cue 10. Britten, however, includes a drum roll at this point. It's completely unauthorised – and very exciting, though the drama of the abrupt cut-off of the entire orchestra is sacrificed. I wouldn't want to hear it done this way all the time but it's good to hear it this way once in a while. I've never heard this done before or since until the Colin Davis recording appeared.
Britten's conducting is very fine. Much of the Prelude has sweep and urgency and he obtains really red-blooded playing from the LSO and singing to match from the LSO Chorus. This is not to say that the performance lacks refinement for that is certainly not the case. Once or twice Britten rather overplays his hand, most notably in the animato section of "Praise to the Holiest", from cue 89. Frankly, between here and cue 95 Britten's urgent pacing becomes rushed and as a result the music has become gabbled before cue 95 is reached. I also wish he'd held back a little immediately before the choir's great outpouring at "Praise to the Holiest" itself. It's marked maestoso the first time and molto maestoso the second time but Britten rather ignores the markings and whilst the result has energy the grandeur goes for nothing. But such miscalculations are rare and what impresses above all in Britten's reading is the sense of drama. In this, albeit their interpretations are very different, he comes closest to Barbirolli and it's surely not without significance that of all the conductors under review here apart from Sir Colin Davis these two had the most extensive operatic experience.
Peter Pears' assumption of the title role won't be to all tastes. He was sixty-one when this recording was made and, arguably, the recording came a few years too late in his career. However, it's a while since I've listened to this performance and coming back to it now for this retrospect I was surprised at how good he actually is. He's ardent in "Sanctus fortis" although he does seem to need to take more breaths than many of his rivals. He floats "Novissima hora est" plangently and, indeed, it's in the quieter, more introspective sections of the role that he's at his most effective. Given his eminence as a singer of art-songs it's perhaps no surprise that he's in his element in the opening paragraphs of Part Two. Here he sings with no little eloquence and he combines very tellingly with the Angel of Yvonne Minton. I detected signs of strain and tiredness by the time we get to "Take me away" and this isn't the most convincing account of that aria on disc. One interesting small point is that Pears takes the lower alternative at "and go above" in the bar after cue 123, something I've not heard done by any other singer on disc – it's a choice which is rather at odds with the words.
Miss Minton is a very fine angel. She may not tug at the heart-strings in the way that Dame Janet does, but she's at all times tasteful and sensitive. She does the Farewell very nicely indeed, though it's noticeable that Britten is unsentimental here and makes the music flow more than anyone else, though not to its detriment. The third soloist also makes a very distinguished contribution. John Shirley-Quirk is in sovereign voice as the Priest. The Angel of the Agony is not entirely within his best compass but he sings the part well, and he's magnificent at "Hasten, Lord, their hour."
This Britten performance would not rank as a first choice but it's a most interesting and vital interpretation and one that anyone interested in the work ought to hear.
The next recording to be made was the one for which Elgar enthusiasts had been waiting with no little impatience for many years. At last, in 1976, Sir Adrian Boult was invited to record the work for EMI. He had a very noted exponent of the role of the Angel in Helen Watts and the bass soloist was Robert Lloyd. For the role of Gerontius the choice was a controversial one, the Swedish tenor, Nicolai Gedda. Gedda's performance drew mixed notices at the time, as I recall but, according to Michael Kennedy's authoritative biography of Boult, the conductor himself was pleased with the choice, describing Gedda as "Alpha plus". In a letter to the producer, Christopher Bishop, again quoted by Kennedy, Boult thanked Bishop for his "choice of and responsibility for the soloists, including the brilliant recruitment of an unlikely foreigner."
In listening to Gedda, I don't have the reservations about his English pronunciation that I do where Kim Borg is concerned. Sometimes the vowels sound a little unnaturally stressed but overall Gedda is good in this respect. He's eloquent in his first solo though I find him a touch mannered at "Rouse thee, my fainting soul." He's powerful, but also lyrical, in "Sanctus fortis" but, on the other hand, the aria doesn't quite seem to flow. When we get to "I can no more" Gedda displays a wide range of expression and dynamics but in the passage beginning at "O Jesu, help!" the music does seem to be pulled about too much. The employment of mezza voce at "Novissima hora est" is excellent.
In the opening solo of Part Two Gedda produces some lovely sounds but I do wonder if his approach doesn't sound just a little studied. The same comment applies to portions of his contribution to the dialogue with the Angel and though "Take me away" begins thrillingly the body of the solo seems a bit on the slow side, but whether this is down to Gedda, to Boult or to the two of them in alliance is open to question. Though Boult's direction of the whole score bespeaks wisdom and understanding there are a number of occasions, and not all of them involve Gedda, when I feel the pulse is a little too steady.
Helen Watts offers a warm and highly satisfying portrayal of the Angel. She's completely inside the role and I'd describe her interpretation as "central" in terms of its performing tradition – I mean that as a compliment. She displays intelligence and a reassuring presence during the Dialogue in Part Two though I feel that the interactions between Nash and Ripley and between Lewis and Baker offer more. Among felicitous moments she's gently radiant at "Thou shalt see thy Lord" and she gives a dedicated account of the Farewell.
The third soloist is Robert Lloyd. He's sonorous as the Priest, singing the solo with great nobility and expression. He's also quite magnificent as the Angel of the Agony and, for me, he's the pick of the singers that we've heard so far who essay both roles. Interestingly, in another letter to Christopher Bishop quoted by Michael Kennedy, Boult expressed regret, after the sessions, that two singers hadn't been used. He commented, "the characters are so different, they should sound different too." Boult is quite right but Robert Lloyd comes closer than any other bass soloist to proving him wrong.
Boult benefits from an excellent chorus (the London Philharmonic) and orchestra (New Philharmonia). The orchestral strings deliver a hushed, translucent rendition of the Prelude to Part Two and throughout the recording the orchestral playing in all departments offers warmth or bite, as called for, and great distinction. As for the chorus, well they are fiery Demons. In this chorus they sing with punch and clarity. Later, the build up to "Praise to the Holiest" is splendidly controlled and realised by the singers and, of course, by Boult himself, while the great paean of praise at the start of the chorus, majestically paced, is a tremendous moment. As the chorus unfolds, the second section, from cue 89, where the choir divides into two, is delivered with exemplary clarity and when the pace hots up, from cue 95 onwards, the pacing strikes me as near ideal. All of this is captured in a vintage 1970s EMI recording of great warmth and clarity for which that fine team of Christopher Bishop (producer) and Christopher Parker (engineer) must take full credit. The original CD set suffered from one criminal presentational flaw with Part One broken between the two discs immediately before "Proficiscere". I think I've read somewhere that this horrible blunder was eradicated on subsequent reissues: I do hope so.
I'd describe Boult's performance as "dedicated". It bears the stamp of all his accumulated experience and wisdom but for all that the drama is somewhat underplayed. The reading, while very satisfying on many levels, doesn't always set the pulse racing. For that reason I don't believe it can be counted as first choice but it's an essential chapter in the work's discography.
Ten years after the Boult performance and EMI recorded yet another performance of the work. This time it was led by Simon Rattle with his City of Birmingham Symphony Orchestra and the CBSO Chorus. Three soloists with distinguished pedigrees were lined up. Dame Janet Baker and John Shirley-Quirk each made their second recording of the work while the Gerontius, singing the role for the first time on record, was the erstwhile pupil of Heddle Nash, John Mitchinson. Here I must declare an interest for I have know John Mitchinson personally for some years, during which time I've heard and enjoyed him singing this role live on several occasions. I think it's interesting to note that Mitchinson essayed more of the heavy operatic tenor roles probably than any other tenor under consideration here. During the 1980s and 1990s he was Rattle's tenor of choice for such works as Das Lied von der Erde, Gurrelieder, and the Glagolitic Mass. Mitchinson is thus ideally equipped to be the most manly Gerontius on disc and he fulfils amply that expectation while at the same time being fully alive to the many sensitive nuances of the part.
His "Sanctus fortis" is powerful and commanding but the more reflective pages of that solo are equally well realised. He fines down his voice admirably for "Novissima hora est", floating the sound beautifully. All his experience as a character actor in opera comes to the fore in his singing in the opening paragraphs of Part Two and the cultivated nature of his singing brings a real distinction and many insights to his part in the Dialogue. Such passages as "But hark, a grand mysterious harmony" are here shown to benefit from the resources of an heroic tenor and, predictably, he makes the start of "Take me away" a thrilling yet anguished moment. At times on sustained notes the vibrato in his voice may distract some listeners though I don't find it a problem and certainly the vibrato doesn't affect the clarity of the notes in the way that, as we shall see, is a serious drawback in another recording.
Dame Janet had, by this time, over twenty years further experience as the Angel and this shows in a reading of great maturity. However, there are trade-offs with the Barbirolli set. To my ears her voice had darkened over the intervening years and I also find a greater degree of freshness in her traversal of the role for Barbirolli. Nonetheless her portrayal of the Angel remains deeply satisfying and she has a unique way of warming such phrases as "You cannot now cherish a wish" and "A presage falls upon thee." The Farewell is once again a deeply satisfying and consoling piece of singing. If, for me, her earlier rendition for Barbirolli remains preferable I still wouldn't wish to be without this marvellous example of her singing what was a signature role in the full maturity of her career.
John Shirley-Quirk sings the bass roles with the eloquence and dignity that one came to expect from this fine singer.
All Simon Rattle's famed attention to detail is in evidence on this set and, in fact, in terms of sheer beauty and refinement of orchestral sound this is probably the finest recording the work has received. The CBSO is on top form throughout, as is the CBSO chorus, and in consequence all the Big Moments make their full impact. However, Rattle is equally successful in realising the more intimate sections of the score, such as a gossamer light account of the Part Two Prelude. There are some moments when perhaps I'd disagree gently with his choice of tempo but overall he seems to me to convey the shape and sweep of the work. It's a little while since I've heard this performance right through. Returning to it and hearing it pitted against the competition, as it were, I was agreeably surprised to be reminded how good it is overall.
Another long-awaited recording appeared in 1993 when Vernon Handley's interpretation was set down. In a neat reversal of the Sargent recordings the Huddersfield Choral Society travelled to Liverpool to link up in Philharmonic Hall with the RLPO and its chorus. The soloists were Anthony Rolfe Johnson, Catherine Wyn-Rogers and Michael George. I commented in detail on that recording when it was reissued in 2003 (see review). In summary, Anthony Rolfe-Johnson offers an excellent portrayal of Gerontius, albeit one that emphasises the lyrical aspects of the role – without short changing the dramatic moments. Catherine Wyn-Rogers is, perhaps, a little understated as the Angel and certainly doesn't "do" as much with the words as some of her rivals – or, indeed, Rolfe-Johnson. However, her portrayal is unaffected and sincere. Perhaps her subsequent appearance in the Andrew Davis DVD (see below) does her greater justice.
Vernon Handley draws marvellous playing from the Royal Liverpool Philharmonic Orchestra and he's very well served by the combined Liverpool and Huddersfield choirs – he probably has the largest chorus on disc. And the performance benefits hugely from Handley's own attention to detail and his profound understanding of the work. I bought this recording when it first came out and I've always felt that it's been underrated. As the performance is captured in very good sound, adding to the attractions of the set, this makes an excellent bargain recommendation.
Sir Andrew Davis made a number of well-received recordings of music by Elgar, principally for Warner Classics, while he was Chief Conductor of the BBC Symphony Orchestra. Sadly, now that he has moved on to the Chicago Lyric Opera and Warner Classics have pulled out of new classical recordings, it must be unlikely that he'll add Gerontius to his Elgar discography on CD. For those who admire his work in Elgar that makes all the more valuable a DVD of a live performance given in St. Paul's Cathedral, London, in November 1997. The recording is welcome also in that it captures Philip Langridge's Gerontius, which is not otherwise represented on disc. The other two soloists, Catherine Wyn-Rogers and Alastair Miles have appeared in other recordings – for Handley and Sir Colin Davis respectively.
Again, this is a recording on which I commented in full when it was first released (see review). Sir Andrew conducts a very convincing account of the score and Philip Langridge makes an excellent Gerontius. Catherine Wyn-Rogers also has much to offer, though I was a little less enthralled by the contributions of Alastair Miles. I see that the editors of The Penguin Guide 2008 rate this as "the finest recorded Gerontius ever." I wouldn't go that far, but it's a considerable achievement – and a far safer all round bet than the only other available live recording (see below). As far as I'm aware this is the only DVD release of the work to date so it's good news that this is such a recommendable version.
In the last year or so we've seen two new recordings come onto the market, both on the own labels of the orchestras concerned. The first to appear, in 2006, was a live recording by Sir Colin Davis and the LSO, made in the previous December of one of the concerts (see review) from which this recording is taken. The soloists were David Rendall, a very late substitute for Ben Heppner, Anne Sofie von Otter and Alastair Miles. This reading need not detain us long, I'm afraid. It gives me no pleasure to say this as I admire Sir Colin greatly and his live recordings of the three symphonies for the same label confirm him to be a fine Elgarian.
On this recording the orchestra and chorus both perform superbly and, one or two points excepted, I find Sir Colin's interpretation convincing. What lets this performance down and rules it out of court is the soloists. Alastair Miles is a hectoring Priest, projecting his voice too forcefully and, in so doing, the dignity and prayerfulness essential to the role elude him completely. On the DVD discussed above, which I saw before this CD came along, I thought his stentorian projection of this role might be explained by his positioning on the platform. However, I doubt that this applies to his performance in the Barbican. The role of the Angel of the Agony suits him better.
Anne Sofie von Otter sings well enough but I find her approach cool and objective and I really do wonder how well she understands the role of the Angel. However, the set's real Achilles heel lies in the singing of David Rendall. Right from the start he sings with such a very wide and pronounced vibrato that, to be truthful, I often find it difficult to be sure of the precise pitch of the note he is singing. This applies at all levels of volume and it makes listening to him a real trial. Perhaps the microphone was too closely placed, but if so all that does is to exaggerate an unacceptable flaw in his singing. One must make allowance for the fact that he was a very late substitute – but that applies only to the first of the two concerts from which this recording is taken. I didn't see Jim Pritchard's concert review before I acquired this set. However, I note that he felt at the time that this performance of Gerontius should not be preserved on disc and I can only agree. In fairness I should add that Jim clearly enjoyed Miss von Otter's performance more than I did.
The most recent contender was the Birmingham recording, released to coincide with the Elgar 150th birthday weekend celebrations in 2007. Sakari Oramo led his CBSO forces in a studio recording taped in Symphony Hall, Birmingham in August and September 2006 (see review). Oramo's soloists were Justin Lavender, Jane Irwin and Peter Rose. On listening yet again for this survey I've come to the conclusion that I'm reluctant to recommend this set, though that's a pity given the excellence of much of the enterprise. The playing and choral singing are superb and the recorded sound, which positively blossoms in the spacious acoustic of Symphony Hall, is easily the finest in any of the versions considered here. I like much of Sakari Oramo's conducting too, though I do part company with him over the choice of tempi in "Praise to the Holiest". Among the soloists Peter Rose is satisfactory and my admiration for Jane Irwin's assumption of the Angel has, if anything, increased. But I'm afraid the Gerontius of Justin Lavender is a major stumbling block for me. Even more than when I first heard the set I miss any real sense that he truly understands the spirituality behind the role. His lack of sensitivity is highlighted by his inattentiveness to soft dynamic markings. I'm afraid he simply won't do. In the interests of balance, however, I ought to say that since I originally reviewed the set a very experienced critic, writing in another publication, has expressed the view that Lavender "offers nobility, variety, intelligence and understanding of his difficult part: he is always 'inside' it."
I concluded my review of the Oramo performance by saying that I felt the way was still open for a first class modern recording of Gerontius. Listening to all these versions yet again hasn't changed that view. I still cling to the hope that Mark Elder, who has so distinguished himself in Elgar recordings and performances in recent years, will set the work down with his Hallé forces before too long. I thought that his 2005 reading at the Henry Wood Proms was something special (see review). The recent repeat broadcast on Radio Three in mid-November simply confirmed that view. If he could replicate that in the studio then his would be a significant contender in the Gerontius stakes. Perhaps if Elder does make a recording he could be prevailed upon to engage Sarah Connolly as the Angel. I've heard her take the role in concert on a couple of occasions in recent years and I've no doubt that her portrayal of the Angel is urgently in need of preservation for posterity while she's at the height of her powers.
Does the ideal recording of The Dream of Gerontius exist? Is such a thing possible? The answer to both those questions must surely be in the negative for it's highly unlikely that a performance of any work of art can achieve perfection. And in any event one person's "ideal performance" will not strike another listener in the same way. But that's not to diminish the achievements, both individual and collective, that are enshrined in some of the recordings discussed above. Indeed, of them all there are only a couple that I'd decline to recommend.
All the rest have much to commend them. Britten's version has many penetrating insights, though Pears as Gerontius will not be to everyone's taste. Boult's performance exudes authority but, as with the Britten version, he has a controversial tenor in the title role. Vernon Handley's version is as authoritative as Boult's and I'm much more attracted to both his Gerontius and his Angel than some other commentators have been. Of the modern versions I think the Rattle set is the best all-round choice.
But in the end one comes back to Sargent and Barbirolli. In the case of Sargent it has to be the 1945 version, despite the many merits of his later traversal. In fact, I choose the Sargent version not so much for the conducting as for the performers, and Heddle Nash especially. No Elgar enthusiast's collection should be without this performance: Nash is simply hors concours. However, for vision and inspirational conducting I keep coming back to 'Glorious John'. It's true that Kim Borg is a grievous disappointment – a terrible piece of miscasting. But Lewis is still a very considerable Gerontius, even when slightly indisposed, and in the young Janet Baker Barbirolli has an incomparable Angel. When you add to that a choir and orchestra that perform as if their very lives depended on it then you have a Gerontius that is still unsurpassed. I confess that it was this version that moved me the most during my comparative listening and, surely, emotion as well as objective assessment is a major part of the evaluation of any musical performance.
Listening to all these recordings, each one of which has something to say to us about the work, has reminded me afresh how great a masterpiece is The Dream of Gerontius. On the manuscript full score of Gerontius Elgar inscribed some lines from a poem by John Ruskin. The quotation begins 'This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another." He also wrote to a friend that he had "written my own heart's blood into the score." Hearing music of such blazing conviction and originality, particularly in Barbirolli's warm-hearted, dramatic and totally committed performance, who could doubt him?


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Q: Strange shading behaviour with normal maps in UE4 I've been having some very strange lighting behaviour in Unreal 4. In short, here's what I mean:

Fig 1, First, without any normal mapping on the bricks.

Fig 2, Now with a normal map applied, generated based on the same black-and-white brick texture.

Fig 3, The base pixel normals of the objects in question.

Fig 4, The generated normals which get applied.

Fig 5, The material node setup which produces the issue, as shown in Fig 2
As you can see, the issue occurs when using the generated HeightToNormalSmooth node. As shown, this is not an issue relating to object normals (see Fig 3) or to a badly exported normal map (as there isn't one in the traditional sense), nor is it an issue with the HeightToNormalSmooth node itself (Fig 4 shows that it generates the correct bump normals).
To be clear, the issue here is the fact that using a normal texture at all (this issue occurs across all my materials) causes the positive Y facing faces of an object to turn completely black (or it seems, to become purely reflections-based, as increasing roughness on the material causes the black faces to become less 'shiny' looking).
This is really strange, I've tested with multiple different skylight setups, sun directions, and yet this always happens (even when lit directly), but only on +Y aligned faces.
If anyone can offer insight that would be greatly appreciated.

A: You're subtracting what looks like 1 from the input that then goes into multiply by 1, if I'm correct. This will, in most cases, make any image return black. This is because in UE4 and many other programs, colors in an image are determined by decimals of Red Green and Blue. These decimals fall in a range of 0 to 1. This means if I wanted to make red, I could use these values- R = 1 G = 0 B = 0. This matters because if R = 0 G = 0 B = 0, the result is black. When you use a multiply node in your example, what you are doing is having UE4 take each pixel of the image you fed into the node (if it was white, R = 1 G = 1 B = 1) and multiply its R, G, and B values by that number. Since zero multiplied by a number equals zero, all the pixels in the image are being set to have values of R = 0, G = 0, and B = 0. thus, all zeros, and you get black.
I also noticed you then multiplied it by one, which in most cases won't do a whole lot, since you're just multiplying the input by 1. If your input is 0, (black), multiplying it by one won't change it, cause 0 * 1 still equals 0.
To fix your issue, try changing the value you subtract from your input to be something smaller than one, say a decimal, such as 0.6 or 0.5

A: So I've discovered why this was an issue. Turns out there's a little option in the material settings called 'Tangent Space Normal'. This is on by default ('for convenience'), disabling this appears to completely fix the issue with the generated normal maps produced by HeightToNormalSmooth.

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18 karat white gold ring featuring a round Spessartite Garnet, 2.35ct, and Diamond melee 0.46ctw, along the split shank, in a finger size 6.


text:
Eugène Laurent est un homme politique français né le  à Jouet-sur-l'Aubois (Cher) et mort le  à Nevers (Nièvre).

Biographie
Entrepreneur en plomberie, il est conseiller municipal de Nevers et conseiller général. Il est député de la Nièvre de 1914 à 1919 et siège au groupe socialiste.

Il est inhumé au cimetière Jean-Gautherin à Nevers.

Notes et références

Voir aussi

Bibliographie

Liens externes

Député membre de la Section française de l'Internationale ouvrière
Naissance en mars 1863
Naissance dans le Cher
Décès en novembre 1933
Décès à Nevers
Député de la Nièvre (Troisième République)
Député de la onzième législature de la Troisième République
Conseiller général de la Nièvre
Décès à 70 ans

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Our Grassy Creek 4th Grade brought home the GOLD at Math Bowl this week.
THESE 4 HAD A PERFECT ROUND AND SCORED 8 POINTS!
Nice job Christopher, Mariah, Terrany and Alana!
GRASSY CREEK IS ALSO 4th PLACE IN THE STATE COMPETITION!
Way to go Grassy Creek 4th grade Math Bowl team!! We are so proud of you!
Thank you to Coach's Mr. Ecker and Mr. Phillips!
Please see the attachments below for helpful information about the flu and you.
Click on the topic and it will direct you to the link.
The flu can make you sick for a week or more. Find out how to get protected from the influenza virus.
Learn all about protecting your family from the flu and what to do if your child gets flu-like symptoms.
Spring picture day is approaching. Your students brought home order forms. We do have extra order forms in the school office if you need one.
4th GRADE BASKETBALL TOURNAMENT IS FRIDAY MARCH 1st 6PM CLICK BELOW FOR DETAILS, GO TEAM GRASSY CREEK!


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Hurricane Consequences Differ. Why?
Hurricane season means dangers for places like Florida and Puerto Rico, where hurricanes Ian and Fiona hit just a week apart. However, the responses to each one were strikingly different.
Louisiana Stahl, Staff Reporter|December 29, 2022
Denniz Futalan / Pexels
"I've seen much less media coverage from Hurricane Fiona and more about how little the government is doing about it," said Autumn Magar-Matsuoka '23.
On September 17th, 2022, a deadly hurricane struck Puerto Rico, an American territory located in the Caribbean. Not a week later, Florida was struck by another hurricane, equally as strong. However, the aftermath in the two places was completely different. The entire island of Puerto Rico is still recovering power, and where it is restored, is unreliable and irregular. Florida, on the other hand, had most of their power restored in the week following the storm.
At Bronx Science, only 35% of students interviewed were familiar with the storm that hit Puerto Rico, Hurricane Fiona. When asked about Hurricane Ian, which hit Florida, just 1% of those students reported knowing nothing about it. How could this be, when our school even has a relief drive for the Puerto Ricans who have lost so much from the storm?
Hurricane season typically lasts from June until November, making Ian and Fiona's presence not all that shocking. The difference, however, is that Hurricanes are now hitting more frequently, meaning that areas with fewer resources, such as Puerto Rico, can't recover as quickly (not even by the time the next storm tears through). It also means that for areas where resources are less of a concern, such as Florida, these deadly disasters are becoming normalized. In 2019, each hurricane had an average of three fatalities. In 2020, that rose to four deaths on average, and in 2021, a staggering ten deaths taken from each hurricane. Yet there have been over 170 lives lost in the direct aftermaths of hurricanes Fiona and Ian. Death tolls are understated and greater, in part due to the lack of urgency by locals who seem to be growing less wary of worsening threats.
Many of us have probably seen the Instagram stories and posts of shocking or new tragic statistics from Puerto Rico, adorned with links to donation-sites. However, they're paid little mind. Small informational tidbits tend to get lost amongst more viral posts, like Trump-tweets, the Queen's death, and more. After all, it is the hurricane season and it seems like Puerto Rico is millions of miles away. As something that seems to have no connection to them, Hurricane Fiona just isn't something Americans are seeing as a priority. The New York Times reported that nearly half of Americans don't even realize that Puerto Ricans are American citizens. Those that do care enough to spread the news gain little traction, leaving Puerto Rico with a need for executive aid.
Lucas Geerken '24 said, "I have family in Puerto Rico and they were hit pretty hard. They are all okay, but the lack of response and emergency funding/aid from the Government is both worrying and frustrating." And he's not alone in that sentiment.
A common criticism of the government is the neglect of territories such as Puerto Rico. In fact, Hurricane Fiona hitting Puerto Rico has brought up countless comparisons between President Biden's response and former President Trump's response to hurricane Maria, the deadly storm that wreaked havoc in 2021. Although both presidents visited the island less than a month after the storms hit in order to address the relief efforts provided by the federal government, the attitude from each leader was very different. Trump claimed during his visit that his efforts were a "tremendous success." Biden, on the other hand, focused on condolences and promised to commit to the island's recovery "for as long as it takes." The difference is that Trump treated the problem as if it had already been solved, while Biden seemed to understand that the destruction is a lasting issue that needs to be continuously addressed. In the six months following hurricane Maria, over 2,000 more lives were lost due to damages and storm-related complications. Hopefully, Biden's commitment to recovery will prevent another tragedy like Maria.
Trump's reaction to Puerto Rico is a large part of the spotlight being on the President. It makes sense that the government would be under criticism after Trump's precedent. However, it seems the former president's attitude towards Puerto Rico is similar to that of most people's attitude towards Florida and Hurricane Ian. It's easy for uninformed people to assume that they are getting all of the government support they need because of Florida's experience with high-caliber storms and, of course, their being a high-profile state that is often in the news for all sorts of reasons. However, Florida-officials have been receiving plenty of attacks on their decisions made around the preparations for hurricane Ian. Lee County, which had been described by the Governor of Florida, Ron DeSantis, as "ground zero" for the hurricane, was told to evacuate a mere day before disaster hit. Then, DeSantis was one of the officials to defend this decision later on. "Everyone wants to focus on a plan that might have been done differently," stated Carmine Marceno, the Sheriff who called for evacuation. " I wouldn't have changed anything." How could this have been a positive when Lee County alone has lost over 60 lives, which makes up over a third of the total deaths?
On the other hand, while nearly everyone has heard of Hurricane Ian, many don't realize that it killed over 140 Floridians. It may be that people feel the situation isn't too dire, because the state seems to be getting the resources they need. For instance, a photo went viral on discussion pages of nearly 2 million utility/electrical trucks, brought in from all over the country, lined up ready to make repairs caused by the storm. While Florida may have the support of the government, they seem to have little support from neighbors.
Some people argue that the lightheartedness surrounding Hurricane Ian was a positive, as it made a stressful situation a little less stressful for some. 22-year old Chloe Mayo, for instance, posted a log of her evacuation with audio that sounded like a goofy pep talk. "I just needed to lighten the mood… [memes] definitely help ease some anxiety – even if just for a second," she explained. After living through decades of hurricanes, Florida native, Preice Anderson, a full-time TikToker, said "I know a lot of people who have never been through one, and I see them panicking. I know it's a serious thing, but let me put a little fun in it." Some more experienced influencers even posted entertaining videos about storm-preparedness, trying to reach people who don't know the dangers and might not be well-equipped. So, although there may be some good intent with these reactions to Hurricane Ian, it's important for outsiders to remember the serious consequences of these storms.
media reaction
The Digital Age and the Two Futures We May Inherit
Women As the Force Behind Capitalism
Cuteness Overload: The Neurology and Psychology Behind 'Cute Things'
Family Vlogging: Blurring the Line Between Parent and Employer
A Guide to Cryptocurrency
The Increasingly Disposable Nature of Clothing, a Problem That Social Media is Only Exacerbating
The Fight Greater Than Just A Gem: The History of the Kohinoor Diamond
The Issue of Homelessness in New York City and the MTA Subway System

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text:
Slate: W.'s Greatest Hits. The top 25 Bushisms of all time.
"Our enemies are innovative and resourceful, and so are we. They never stop thinking about new ways to harm our country and our people, and neither do we."
Washington Post: Mars Vents Methane in What Could Be Sign of Life.
"Even if turns out that the Martian methane is from non-biological processes -- a far less dramatic prospect -- that would nonetheless reshape thinking about the planet, which scientists thought to be geologically dead and chemically unlikely to produce much of the gas."
Science News: Milky Way As Massive As 3 Trillion Suns.
"... the Milky Way is about 50 percent heavier than [previously] calculated, bringing it up to par with Andromeda" ...
"The radio observations yielded another surprise.... From these observations, the team deduced that the Milky Way must have four spiral arms: two dominant ones that include both new stars traced by the VLBA observations along with old stars seen by Spitzer; and two other arms that contain only newborn stars. "
BBC: Mars rovers roll on to five years.
"The first robot, named Spirit, landed on 3 January, 2004, followed by its twin, Opportunity, 21 days later. It was hoped the robots would work for at least three months; but their longevity in the freezing Martian conditions has surprised everyone."
Dave Barry, The Washington Post: The Year in Review.
"How weird a year was it? Here's how weird:
"O.J. actually got convicted of something.
"Gasoline hit $4 a gallon -- and those were the good times.
"On several occasions, 'Saturday Night Live' was funny."
Wikipedia: List of common misconceptions.
"It is sometimes claimed that half, or more than half, of all humans who were ever born are alive today.... [E]ven adopting conservative values regarding the origins of humanity, a significantly lower proportion of the human population is currently alive."
John Stump: Faeries Aire and Death Waltz.
"Release the penguins!"


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New releases: October 2016 – young adult
loesmk October 12, 2016 December 14, 2017 new release, young adult
It's the second Wednesday of the month, time to look at the top 5 of new releases in the YA genre according to Goodreads. The concept of number 1 sounds interesting and original, add to that a story about teenagers unravelling a human cloning mystery and that should make for an interesting read! Number 2 is about a girl and a boy, each with their own problems, who meet under not so ideal circumstances and band together to survive high school. Number 3 is a thriller about something in the sea that is luring people to their death, which must be stopped by a young girl with the help of a boy and a witch. Number 4 sounds to me like a teenage adaptation of the 2004 movie Eternal Sunshine of the Spotless Mind. And Number 5 sees two girls with magical powers in the early 20th century looking for answers.
Replica by Lauren Oliver (Replica #1)
Publication date: October 4th 2016
From Lauren Oliver, New York Times bestselling author of Before I Fall and the Delirium trilogy, comes an epic, masterful novel that explores issues of individuality, identity, and humanity. Lyra's story begins in the Haven Institute, a clandestine research facility where thousands of replicas, or human models, are born, raised, and observed. When a surprise attack is launched on Haven, two of its young experimental subjects—Lyra, or 24, and the boy known only as 72—manage to escape. Replica is a "flip book" that contains two narratives in one, and it is the first in a duology. After Gemma is nearly abducted by a stranger claiming to know her, she starts to investigate her family's past and discovers her father's mysterious connection to the secretive Haven research facility. Hungry for answers, she travels to Florida, only to stumble upon two replicas and a completely new set of questions. While the stories of Lyra and Gemma mirror each other, each contains breathtaking revelations critically important to the other story. Replica is an ambitious, thought-provoking masterwork.
Holding Up the Universe by Jennifer Niven
Everyone thinks they know Libby Strout, the girl once dubbed "America's Fattest Teen." But no one's taken the time to look past her weight to get to know who she really is. Everyone thinks they know Jack Masselin, too. He's mastered the impossible art of giving people what they want, of fitting in but he can't recognize faces. Until he meets Libby. When the two get tangled up in a cruel high school game—which lands them in group counseling and community service—Libby and Jack are both pissed, and then surprised. Because the more time they spend together, the less alone they feel.
Fear the Drowning Deep by Sarah Glenn Marsh
Witch's apprentice Bridey Corkill has hated the ocean ever since she watched her granddad dive in and drown with a smile on his face. So when a dead girl rolls in with the tide in the summer of 1913, sixteen-year-old Bridey suspects that whatever compelled her granddad to leap into the sea has made its return to the Isle of Man. Soon, villagers are vanishing in the night, but no one shares Bridey's suspicions about the sea. No one but the island's witch, who isn't as frightening as she first appears, and the handsome dark-haired lad Bridey rescues from a grim and watery fate. Now, Bridey must work with the Isle's eccentric witch and the boy she isn't sure she can trust — because if she can't uncover the truth about the ancient evil in the water, everyone she loves will walk into the sea, never to return.
Everyone We've Been by Sarah Everett
For fans of Jandy Nelson and Jenny Han comes a new novel that asks, can you possibly know the person you're becoming if you don't know the person you've been? Addison Sullivan has been in an accident. In its aftermath, she has memory lapses and starts talking to a boy who no one else can see. It gets so bad that she's worried she's going crazy. Addie takes drastic measures to fill in the blanks and visits a shadowy medical facility that promises to "help with your memory." But at the clinic, Addie unwittingly discovers it is not her first visit. And when she presses, she finds out that she had certain memories erased. She had a boy erased. But why? Who was that boy, and what happened that was too devastating to live with? And even if she gets the answers she's looking for, will she ever be able to feel like a whole person again?
Iron Cast by Destiny Soria
It's Boston, 1919, and the Cast Iron club is packed. On stage, hemopaths—whose "afflicted" blood gives them the ability to create illusions through art—captivate their audience. Corinne and Ada have been best friends ever since infamous gangster Johnny Dervish recruited them into his circle. By night they perform for Johnny's crowds, and by day they con Boston's elite. When a job goes wrong and Ada is imprisoned, they realise how precarious their position is. After she escapes, two of the Cast Iron's hires are shot, and Johnny disappears. With the law closing in, Corinne and Ada are forced to hunt for answers, even as betrayal faces them at every turn.
The first book in this list has ended up on my wish list, firstly because of the original concept and secondly because the story itself intrigues me as well. And last but not least, because it is part of a "duology" – I understand that this is like a trilogy, only with just two books in the series. I just didn't know this word yet, in my head a series of two books was called a "duet". I'm happy I learned a new word, though I do prefer duets over duologies.
And even though I intended to only add one book per top 5 list to my reading list, I also added number 5 because I think it will be an amazing read. How about you? Have you read any of these yet, or are you planning to? I'd love to hear about it in the comments!
Other new releases of November 2016 can be found by genre right here on Goodreads.
Destiny Soria, Jennifer Niven, Lauren Oliver, Sarah Everett, Sarah Glenn Marsh
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Next The Hobbit – J. R. R. Tolkien


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Comic-Con 2017: The Punisher Clip Revealed
The Punisher / July 23, 2017
Jon Bernthal's tortured Frank Castle returns.
By Scott Collura
Today's Marvel/Netflix panel at San Diego Comic-Con was mostly about The Defenders, with the surprise premiere of the first episode of that team-up show and the news that member Iron Fist is getting a second season of his own series. But Jon Bernthal also showed up just long enough to unveil a clip from his upcoming solo Punisher series.
The clip featured the tortured Frank Castle that made him so popular when this version of the character debuted in Daredevil Season 2. It started with images of Castle remembering teaching his daughter how to play the guitar, interspersed with shots of the modern-day Frank playing alone, but then suddenly yelling or slumped on the floor or rubbing his head -- just generally devastated.
Of course, it's those ghosts that drive him on his mission, which is what the remainder of the clip portrayed as we see him taking out various bad guys -- apparently different arms of the same drug-dealing ring. In one case, he's in rural Alabama pursuing a couple of bikers in his van. He takes them out with a few shots before running them over for good measure. Next we cut to Juarez, Mexico, where a dude is flashing money and cavorting with a hooker. Frank watches through his gun sights, and then we suddenly hear the POP of a single shot. But for a beat, nothing happens… and then suddenly the guy's head is splattered in blood. And the camera cuts to reveal that Castle took the shot from really, really far away.
The last victim of the Punisher's ministrations is a slimy guy in a suit, who has the unfortunate luck to run into Frank in an airport bathroom back at JFK in New York City. Castle kicks his way into the bathroom stall where the guy is, as the suit begs him and says that killing him isn't going to bring Frank's family back. Frank is unmoved, however, and he chokes the guy to death with his own tie. Meanwhile, some other men in the bathroom are grossed out by the noises coming from the stall and yell "get a room, you dirty bastards!"
All in all, this extended clip didn't tell us too much about the show's story other than to remind us that Frank Castle is still out there punishing in the Marvel Netflix world. If you're a Punisher fan, then that should make you pretty happen.
The Punisher Season 1 is expected to debut later this year.
Talk to Senior Editor Scott Collura on Twitter at @ScottCollura.
The Punisher Breaks Down THAT Epic Season 2 Fight
The Punisher Season 2 Will Include Jigsaw (With a Twist)
Guardians of the Galaxy's Chris Pratt wants Peter Quill to meet the Punisher


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Life of a Stylist
Mini Moodboards
Trend watch: How to decorate with blue
Trends / By Pippa Jameson
How to decorate with blue? It seems we can't get enough of this colour at the moment and there's no sign of it disappearing any time soon. I gave a trend talk at May Design Series last year and predicted that blue would run for at least 2-3 years and it looks like I was right. Probably one of the most adaptable colours, blue is appearing in many guises; one that it is having a particular renaissance at the moment are the beautifully blue Moroccan inspired prints, seen on textiles, chinaware and tiles. All the major high street stores, including House of Fraser, Marks and Spencer and George Home, are selling them. I am a huge fan of this style of tile (see below) and think they look stunning used as kitchen splashbacks, underneath the dining room table (as a replacement rug) on the bathroom floor to border the bath or even in the bedroom as a replacement headboard. For textiles such as towels, throws and cushions, mix and match the pattern with plain blues and white.
It's not quite a throw back to the rag rolling from the 80's, but it's not far off! The paint effect below has been applied in such a way that it adds depth and texture to the room. This subtle technique moves away from the feature wall and instead becomes something a little more creative.
Paneled walls look gorgeous in deep sea blue or blue/grey, perfect tones for a reading room or snug, for an injection of colour, add mustard or hot pink.
Below is a great example of how to layer up mid-tone blues. Teamed with colour of the moment 'copper blush', the minimal patterns and simple styling allows the varying blue hues to be the main focus of the room
The colour of this wardrobe leans more towards the blue/green spectrum than previous shots, but I wanted to include it as it's a fabulous example of how beautiful this colour looks with deep grey. The oversized bedroom mirror just completes the look for me, I love this room.
I think this has to be my favourite shot of all. Styled by the extremely talented Swedish stylist, Anna Marselius, this room takes on a more paired back look, with Anna combining her soft petrol blues with a distressed wooden floor and headboard, the look is soft, welcoming and very stylish.
Picture credits: House of Fraser / Marks and Spencer / B&Q / Eget Rom / Bloglovin / Anna Marselius
Meet Pippa
I am an experienced Interior Stylist, Art Director, Consultant and TV Designer and have worked in London and abroad for the past 20 years. This website was started as a way for me to share my industry knowledge of current interiors news and trends, whilst having a behind the scenes glimpse of a life in the day of a Stylist.
Spanish Tiles
© 2019 Pippa Jameson Interiors Ltd. All rights Reserved.
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After a successful exhibition in Antwerp and Paris, MoMu's exhibition "Margiela, the Hermès years" travels to Sweden to show at Artipelag, an art museum located in Stockholm's archipelago.
The exhibition tells one of the most remarkable collaborations in fashion. In October 1997, when Jean-Louis Dumas, Chairman and Artistic Director of Hermès at the time, asked Martin Margiela to design the women's ready-to-wear collections, Margiela had already been regarded as one of the most influential avant-garde figures in the field for nearly a decade.
His predilection for deconstruction, recycling, and recuperation of materials was unseen in the fashion world. The conceptual approach of presentation, sales, and communication of his collection has changed our way of thinking about fashion, the system behind this fashion, the craft, the commerce, authorship, and innovation.
To date, Margiela's work for Hermès continues to influence the work of many contemporary designers.
Martin Margiela remains one of contemporary fashion's most influential and enigmatic designers. It will be very exciting to reconfigure the show in the striking architecture of the Artipelag museum.
One of the thoughts behind Artipelag is to present groundbreaking exhibitions within the realms of both art and design. "Margiela, the Hermès years" fits that ambition perfectly.


text:
Listen to HIV/AIDS public service radio spot (in Shona language)
produced by SAFE featuring world famous singer/song writer Oliver
Mtukudzi from Zimbabwe, which was broadcast on Zimbabwe radio. Oliver
encourages all to get tested for HIV, be faithful and practice safe
Global Spotlight :
In Sub-Saharan Africa, ground zero the AIDS epidemic, an estimated
22.9 million adults and children are now living with HIV/AIDS. That's
over 2/3 of the people with HIV/AIDS worldwide. Last year over one
million men, women and children died of AIDS in Sub-Saharan Africa.
In Zimbabwe, 1.2 million people--14% of the population are infected
with HIV. Most are women and children. New infections have started to
decline and medicines are available for many, but access in rural
areas is still sporadic and deaths due to AIDS continue. Every day
brings more AIDS orphans.
WELCOME TO SAFE:
An IRS-Approved Public Charity
Saving African Families Enterprise (SAFE) is a US-based, non-profit organization, founded in 2001, to raise funds in order to buy and donate medicine and provide other assistance to African families living with HIV/AIDS. As a 501(c)(3) charity approved by the U.S. Internal Revenue Service, contributions to SAFE are tax deductible in accordance with US tax law. SAFE is an ultra-low overhead organization, led by volunteers, which strives to ensure that over 98% of all donations go directly to benefit people in need in Sub-Saharan Africa.
SAFE's Mission Statement: Saving African Families (SAFE), a very non-profit humanitarian organization, led by volunteers, provides medical and other assistance to mothers, fathers and children living with HIV/AIDS (as well as AIDS orphans) in Africa, and seeks to prevent through public education programs, the spread of HIV/AIDS.
HOME | HIV/AIDS Epidemic | Help Us | Projects | About Us | Contact
Copyright 2012: Saving African Families Enterprise. All Rights Reserved.


For two years now, Justin has been celebrating his birthday in school. He celebrated his 3rd and 4th birthdays with his classmates and teachers.
Looking at these pictures really makes me nostalgic. My innocent-looking 3-year-old boy is now a young man. Oh, how time flies!
He'll be celebrating his 5th birthday again in school this July, his last there because he'll be entering big school next year.
This entry was posted in Birthday Party, Mommy Moments. Bookmark the permalink.
Ang bilis ng panahon ano ate.. Link up mo to sa nostalgia meme sa Nostalgic Marveling ate hehehe. If you have time, you can join us every thursday.
Mommy Techa, is this at the Schoolroom? Looks like Teacher Kelvin. I enrolled my daughter there for the summer to see if she likes it.
my son had his first school birthday party too last January. it was fun! the kids had a great time. visiting your MM entry! hope you can drop by mine too!
getting bigger na. saya tlg pg sa school ang celebration.
It's really fun for the kids to celebrate in school and feel "bida" on their special day 🙂 Big boy na si Justin!
I'm a new follower. It's nice that kids get to celebrate their bdays at school nowadays, right? Happy MM! Please also check out my entry . Thanks!
hi sis!! thanks for the visit!
ang bilis lumaki ng mga bata, kung pwede lng sana they'll stay na lang as babies..
same here mommy. i miss my daughters' early years in life kaya i try to savor the moment with them. nice pics. the kids had a blast!
looks like its fun…beautiful cake! hmm…nung nasa pinas pa kami, cj's always have party din sa school, well, even on his last birthday dito! great pictures with great memories! happy weekend!
happy kid 🙂 loved his car cake My Mommy Moments Hope you can visit mine too.
time flies talaga..Cute little boy..
i know what you mean Tetcha, ang bilis ng panahon noh…? si jake ko rin mag 7 na sa July eh :-)!
Napakabilis talaga ng panahon. May munting binata ka na.
yes, time indeed flies! I like celebrating birthdays at school. It's less stressful that a having a part and the kids all have great time in their own comfort zone. Good luck on the big school!
Let me edit that, ahahaha. My five year is wrestling with me on the mouse.
–yes, time indeed flies! I like celebrating birthdays at school. It's less stressful than having a party elsewhere and the kids all have great time in their own comfort zone. Good luck on the big school!
Ayan, better. Happy week ahead, Tetcha!
Same age pala sila ni Joaqui, but Joaqui will be turning 5 sa December pa. Me too, I get nostalgic every time I look at his previous birthday photos. Thank you for the MM visit!
this is such a nostalgic theme din no? 🙂 happy mommy moments!
oh my! ang saya-saya naman nang celebration…with treats pa!
your little prince really enjoyed celebrating his birthday with his classmates!!
Advance happy birthday to your son…I bet you are one proud Mama.


The beautiful thing is, platinum does not tarnish like other white metals and one can undoubtedly have platinum jewellery for daily wear. Platinum are so versatile and occasion friendly that it goes with anything, anywhere and anytime, be it wedding or a Sunday brunch, an extravaganza party or corporate meet, platinum gets blended with any occasions. They are so perfect for every occasion that many of the jewellery lovers are switching to exclusive platinum jewels. 'Malabar' online store has all the charming and exquisite daily wear platinum pieces that meet all expectations and taste of different personalities. Buy daily wear platinum jewellery online and bring the transformation in your personal style quotient by picking up the right daily wear platinum piece with awesome designs that will enamor everyone. Create your own style statement with Malabar's daily wear platinum jewellery; these daily wear pieces go with even the most sober outfit. Your daily wear platinum jewellery can have gemstones and diamonds, which will add a touch of fun in your daily outfit. Platinum can be worn individually without combining with any other metals; platinum has the ability to stand out and thus can be worn as standalone bijouterie.
You can always stand out in your daily wear platinum jewellery, daily wear jewellery piece doesn't necessarily have to be very simple and boring, and with platinum we don't have to worry about it being boring as they are the most happening and value added glamorous metal, the modern age has. Platinum jewellery goes with any colors, and as and when we home or not the ones who have all the patience of switching or changing jewellery with dress, platinum is for you. They go with any pastels shade like lavender, baby pink and beige.
If you are on the lookout for simple yet durable jewellery for your day-to-day lifestyle, then you definitely need to buy daily wear platinum jewellery. You have to get right with the selection, so if you have decided the kind of jewellery you want, for a particular occasion or for daily wear, then you are all set, because the first step to buying jewellery knows the intended use of the piece. For daily wear, we can suggest a descent platinum ring or a platinum lustrous chain with a classic pendant especially for the ones who loves to play with style even in the most humble attire. The good news is you can pair your daily wear platinum jewellery with outstanding attire for any grand occasions, without having to worry about spending extra on jewellery. Do not ever get a heavy neckpiece for daily wear because that can never workout. Instead, get a pair of classic platinum earrings, that will go with every of your wardrobe piece, and will stay strong enchanting every one and every occasions.


Bermuda Premier David Burt has announced a $10-million partnership with blockchain network Shyft as he attended the cryptocurrency conference Consensus 2018 in New York.
The Bermuda's government has signed a memorandum of understanding with Shyft, a global blockchain-based network offering data protection for governments, industry and consumers. Under the agreement, Shyft will commit $10 million to create new jobs, help re-skill labour, and invest in businesses, education and infrastructure, as well as collaborate on creating a robust legal and regulatory framework.
"The government of Bermuda has decided to lead the way and build interoperability into legislation, in essence, approach regulatory frameworks with exportability in mind," said Burt, who lauded an additional joint venture announced between Shyft and Bermuda's Trunomi, adding both partnerships would bring robust levels of blockchain certainty to the island's know-your-customer and anti-money-laundering protocols and processes.
The Premier and Bermuda group, comprising members of industry, the Bermuda Monetary Authority (BMA), and Bermuda Business Development Agency (BDA) were also invited to the Manhattan offices of global law firm Norton Rose Fulbright to talk about Bermuda's economy and the island's innovative approach to business. The Premier addressed an audience of nearly 100 of the firm's lawyers from practice groups across all sectors who attended, as well as others connected via videoconference in Toronto, London, Munich, Frankfurt and the Middle East. Norton Rose Fulbright is ranked in the top five global law firms in the world, with more than 4,400 lawyers and 7,000 employees.


70-acre, suburban campus in Riverdale section of the Bronx (New York City population: 8,008,278). Served by major airport, bus, and train. School operates transportation to local subway. Public transportation serves campus.


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Q: Convert array of rings to geoJSON object I have an array of rings that I am working with and I am trying to convert it to geoJSON:
[
    [
        -13441425.32511117,
        4491520.711015136
    ],
    [
        -13440894.1920939,
        4491511.685098792
    ],
    [
        -13440922.71925878,
        4490494.010447212
    ],
    [
        -13441438.25014971,
        4490494.010447212
    ],
    [
        -13441425.32511117,
        4491520.711015136
    ]
]

It seems like I should be able to do this relatively simply using the ArcGIS Geometry class, but I haven't been able to get it to work. For example, I tried creating a new Geometry instance and then adding the rings to it but I don't understand how to then call the toJSON method on it after I add the ring data. Any help would be greatly appreciated. Thank you.

A: To put a bit more light on the subject feeling it could help other readers.
Don't confuse GeoJSON (1) with ESRI JSON. Although both are formats to encode geographic features, the first one is define by IETF and the second by ESRI so we are talking about different formats.
One important difference to highlight is that GeoJSON coordinates are expressed using a geographic coordinate system based on WGS84 datum (2), while in ESRI JSON coordinates could be expressed in any system.
ArcGIS JavaScript API methods toJSON and fromJSON uses ESRI JSON.
In ESRI JSON a Polygon is defined by, a spatial reference, and an array of rings (or curved rings) (3). A ring is defined by an array of points where, the first and last are equal, and has at least four elements (three point).
Any polygon (that is not the empty polygon) should have at least one ring, the exterior ring, where points are clockwise oriented. If a polygon has more than one ring, then it has holes, holes points are counter-clockwise oriented, that differ them from the exterior ring.
Finally as mention in the comments, to create a Polygon with an array of rings you just pass it to the constructor (4),
const rings = [
 [  // first ring
  [-97.06138,32.837],
  [-97.06133,32.836],
  [-97.06124,32.834],
  [-97.06138,32.837]  // same as first vertex
 ], [  // second ring
  [-97.06326,32.759],
  [-97.06298,32.755],
  [-97.06153,32.749],
  [-97.06326,32.759]  // same as first vertex
 ]
];

const polygon = new Polygon({
  rings: rings,
  spatialReference: { wkid: 4326 }
});

*

*https://geojson.org

*https://datatracker.ietf.org/doc/html/rfc7946#section-4

*https://developers.arcgis.com/documentation/common-data-types/geometry-objects.htm

*https://developers.arcgis.com/javascript/latest/api-reference/esri-geometry-Polygon.html#properties-summary