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Pamela Hickman's Concert Critique Blog
Soloists of the Meitar Opera Studio perform Rossini at the 47th Abu Gosh Vocal Music Festival
Gioachino Rossini
Soloists of the Meitar Opera Studio of the Israeli Opera performed solos, duets and ensembles from Rossini operas at a concert that took place in the Church of the Ark of the Covenant, Kiryat Ye'arim at the 47th Abu Gosh Vocal Music Festival on May 23rd 2015. The Meitar Opera Studio is under the musical direction of David Sebba; at the concert, he provided piano accompaniments for the eight singers chosen to take part in this year's Meitar Studio program. A stepping stone for young opera singers who have completed music academy degrees, the program offers extra music- and drama training and much practical experience to the singers in preparation of an opera career.
Occupying an unrivalled position in the Italian musical world of his time and enjoying success early in his career, Gioachino Rossini (1792-1868) saw his operas first performed in Italy, then leading to success in Paris opera houses, with his 39th and final opera "William Tell", staged in Paris in 1829. In his remaining 40 years, Rossini wrote no more operas (still writing some small piano pieces he referred to as "Sins of Old Age" and a few choral works); whether the cessation of opera output was due to grief over his mother's death, depression or his love of cooking and lavish style of entertaining is unclear.
Sebba and the Meitar Studio singers presented a colorful selection of Rossini's operas and some other examples of the composer's choral music. They performed several numbers from one of the greatest masterpieces of opera buffa "The Barber of Seville", opening with tenor Eitan Drori's songful and expressive rendition of an aria sung by Lindoro (the disguised Count Almaviva) "Should you want to know my name", then to mezzo-soprano Shahar Lavi's "A voice a while back", in which she uses the stage, her powerful creamy voice and agility to portray the coquettish Rosina. Picking up the humor of the situation, vivacious Tal Bergman as Berta brought the nuances of the text to life, using the resources of her large voice to tell of the "old man looking for a wife". From Scene 2 of Act 1, we heard baritone Yair Polishook, a familiar face on the early music scene, in a witty and amusing performance as the scheming Figaro, expounding his cunning plan for Rosina (Shahar Lavi) to meet her lover. In a more serious vein, "Resta Immobile" (Stay motionless) from "William Tell", the pivotal, sensitive moment William Tell sings to his son, Polishook brought out the piece's strong emotions, these heightened by dynamic changes and the dramatic color of his lower register.
A graduate of the Jerusalem Academy of Music and Dance and the Mendelssohn Hochschule für Musik und Theater (Leipzig), mezzo-soprano Nitzan Yogev-Alon possesses musical and artistic know-how and some wonderful ebony timbres in the alto register, contending well with Rossini's typically challenging mezzo-soprano demands, as she expressed both sorrow and courage in the cavatina "Cruda sorte" (Cruel destiny) sung by Isabella in "The Italian Girl in Algiers".
As the famous Roman poetess Corinna in "Il viaggio a Reims" (The Journey to Rheims), Rossini's last Italian opera, soprano Tali Ketzef's musicality, agility, fine vocal control and ease made her delivery of the challenging "Al ombra amena" (In a pleasant shadow) rewarding in its textual shaping, its melting runs and embellishments.
Duets included "La Serenata", from the composer's collection of "Soirées Musicales", small musical gems bristling with charm and gentle wit, from the repertoire performed in salon evenings held at Rossini's Paris home. Eitan Drori and soprano Goni Knaani engaged in some fine teamwork to evoke the piece's graceful and lyrical mood. Performing "Quis est homo" from the Rossini "Stabat Mater", Tali Ketzef and Nitzan Yogev-Alon collaborated and blended sympathetically, addressing the musical text's strange, chromatic twists.
As to Rossini's dramma giocoso "La Cenerentola" (Cinderella, or Goodness Triumphant), a work the composer wrote in three weeks when only 25, we heard three numbers from the brilliantly quirky piece sung to David Sebba's translation into Hebrew. From the moment Yair Polishook (the philosopher Alidoro) entered from the back of the church, disheveled and dragging his feet, all the plugs were pulled out for a good dose of hilarity. The stepsisters – Goni Knaani and Tal Bergman – fought out their jealousy to the amusement of the audience, baritone Anton Alexeev sang and played the role of Dandini, the prince's valet, and Shahar Lavi was an impressive operatic Cinderella. An altered version of the Cinderella story we were read as children, Rossini's sparkling and energy-packed score demands vocal agility and sets many demands for the young opera singer. Other ensemble pieces performed with pizzazz and richness were a quartet from "I Gondolieri" (Ketzef, Yogev-Alon, Drori, Polishook) and the finale from Act 1 of "The Barber of Seville".
Singer, conductor, composer of theatre music and arranger, Maestro David Sebba has translated more than ten operas into Hebrew; he also performs his own show "Mad about Opera", a parody on the history of voice and opera, accompanied by pianist Irit Rub. David Sebba's direction of this concert, his work with the students and his outstanding piano accompaniments were infused with vitality, inspiring his select group of singers to give of their all. Rossini was known to have said: "Eating, loving, singing and digesting are, in truth, the four acts of the comic opera known as life, and they pass like bubbles of a bottle of champagne. Whoever lets them break without having enjoyed them is a complete fool." The audience certainly enjoyed a good taste of Rossini's music and personality at this festival concert.
Posted by Pamela Hickman at 4:52 AM No comments:
Labels: Musical director: David Sebba
"Maestro Vivaldi's Mandolin" - choral and instrumental music at the 47th Abu Gosh Vocal Music Festival
Taking place from May 22nd to 24th 2015, the 47th Abu Gosh Vocal Music Festival offered some
different and unique events. One of them was "Maestro Vivaldi's Mandolin", a concert of Italian music, held on May 23rd at the Church of the Ark of the Covenant, Kiryat Ye'arim, featuring the Shahar Choir, Shmuel Elbaz, Jacob Reuven, Roi Dayan (mandolin), Amit Tifenbrunn (viola da gamba), Ma'ayan Beider-Jacobson (double bass), Yizhar Karshon (harpsichord), Daniel Portnoy (tenor), Eliran Kadussi (countertenor) and Gila Brill, the Shahar Choir's director, who conducted the concert.
The program opened with the Shahar Choir's a-cappella performance of LPigarelli's arrangement of alpinist Antonio "Toni" Ortelli's (1904-2000) archetypal alpine song "La Montanara" (Song of the Mountains), somewhat of a stranger among the works of Monteverdi and Vivaldi to follow, but offering a well-anchored and forthright choral starter to the concert. Then, to Venice for the rest of the program with "Lauda Jerusalem" (Praise Jerusalem, Psalm 147), one of the major choruses from Claudio Monteverdi's iconic "Vespers for the Virgin Mary". Accompanied by organ and viol, Brill's direction produced a gripping, high-energy performance, the interest of its individual lines emerging from within the dramatic framework.
The rest of the program consisted of works of Antonio Vivaldi, all the choral pieces sacred, opening with the joyful, responsorial setting of Psalm 113 (114, 115) "In exitu Israel" RV 604 for Easter of 1739, the mandolins (playing the violin roles) adding much variety to the homophonic choral style. A more varied and profound work, Vivaldi's "Credo" in E-minor was given an outstanding performance. Accompanied by all six instrumentalists, it opened with vivid block chords; the "Et incarnatus" was performed in a meditative, devout manner, its musical text offering some dissonance, followed by the grieving "Crucifixus" sung to sparse, detached chords (the sharps written into the score for altered notes actually in the shape of crosses!), this section to be contrasted by the frenetic energy poured into "Et resurrexit". The rarely performed and challenging oratorio "Dixit Dominus" RV 595, only rediscovered in the late 1960s in Prague, made a bold statement with its opening choral pointillism, accented by incisive rhythmic writing and word-painting, the performance colored with its mystery and tension and moments of lyricism. This superb setting of Psalm 110 offered the audience a fine opportunity to enjoy the Shahar Choir's stable, vivid choral sound, its well-coordinated female section, its palette of timbres, some exciting music-making and two of its soloists. Performing two movements, tenor Daniel Portnoy (also heard in the opening work of the concert) expressed the text's gestures in articulate, lively and unmannered singing. Young Eliran Kadussi, singing in the countertenor range for only three months, displayed a powerful voice and promise in the "Judicabit", its melismatic passages a demanding task for any singer!
The concert included two Vivaldi instrumental works. Trio Sonata opus 1 no.2 in E-minor for two violins and basso continuo RV 67 is the second of the 12 composed in 1705. The violin parts were performed here on mandolin players Shmuel Elbaz and Jacob Reuven, the acoustic resonance of the Kiryat Ye'arim Church most favorable to the timbril combination of mandolins, organ, viola da gamba and double bass. Vivaldi's trio sonata rang out in clear, transparent sounds, the opening Grave movement empathic, followed by Elbaz and Reuven in articulate interchange, enjoying the fiery concept of the Italian Corrente. This (enigmatically) was followed by a Giga, taken at a somewhat calmer pace, allowing for a vibrant and elegant playing. The sparkling viol solo (Amit Tiefenbrunn) in the final movement was yet another attractive aspect of the performance. Of the almost 600 concertos Vivaldi wrote, the Concerto in D-major RV 93 is one of four he composed in the 1730s with the lute in mind, these including the technical brilliance associated with lute players. Here, the soloist was Shmuel Elbaz, with Jacob Reuven and Roi Dayan taking on the violin roles. Certainly authentic in sound, Elbaz' reading of the solo was expressive and singing, his playing of the central Largo movement free, pensive, delicate and tastefully ornamented, set against a pizzicato accompaniment. The final movement, dancelike, lively and varied, was no less rewarding.
Under the keenly attentive direction of Gila Brill, here was a concert of excellent choral singing and well-coordinated and supportive instrumental playing on the part of the basso continuo. As to the Israeli tradition of mandolin-playing, originating in Beer Sheva, we should hear more of its exponents in our concert halls.
Labels: Amit Tiefenbrunn, Conductor:Gila Brill.Shahar Choir, Jacob Reuven, Ma'ayan Beider-Jacobson, Roy Dayan, Shmuel Elbaz, Yizhar Karshon
Yuri Medianik (bayan, conductor), Olga Scheps (piano) and Avi Avital (mandolin) perform "La Tempesta dei Solisti" at the Tel Aviv Museum of Art
Yuri Medianik photo:musicforaccordion.com
At a unique concert, held in the Recanati Auditorium of the Tel Aviv Museum of Art on May 19th 2015, the Israel Camerata Jerusalem hosted three soloists – conductor, violinist and bayan-player Yuri Medianik, pianist Olga Scheps and Israeli mandolin artist Avi Avital.
If this seems like an unconventional combination of artists and repertoire, it worked well when one considers the wide variety of musical taste each of the three artists displays. Yuri Medianik (b.1983, Ukraine), a graduate of the Tchaikovsky Moscow State University (violin) and the Gnessin Russian Academy of Music (bayan), also works closely with jazz musicians and with actors. His CD "A Recollection of Piazzolla" is among his most internationally acclaimed recordings. In a short film clip shown at the event, 29-year-old Moscow-born Olga Scheps, a soloist, recitalist and chamber musician today living in Germany, spoke of her love of vocal music and of lighter music genres. Born in Beer Sheva in 1978, Avi Avital, known for his exemplary performance of Baroque music - in particular of Vivaldi and Bach - performs music by such composers as Dvorak, Piazzolla, Bloch and Villa Lobos, as well as new works (of which has commissioned some 90), also engaging in klezmer- and much folk-oriented music from Bulgaria, Romania, Spain, Cuba, etc. Disturbed at playing so many works arranged for mandolin, one of his aims is to "redefine the mandolin and its repertoire". Avi Avital presently resides in Berlin.
The program opened with Yuri Medianik performing Felix Mendelssohn's "Spinning Song", arranged from Book 6 of the composer's "Songs without Words" (piano) for bayan, a type of chromatic button accordion developed in Russia in the early 20th century. The artist's playing of it was easeful and virtuosic, dynamic and bristling with vitality, its gossamer-featured details all present and sent to the audience with the wink of an eye. This was followed by the Bulgarian Suite (1975) for bayan by Russian bayan-player and composer Viacheslav Semionov (b.1946). Medianik gave shape, life and color to the folk-dance-based outer movements, to their inebriating rhythms and their innate melodiousness. His playing of the somewhat melancholy middle movement "Sevdana", mostly lighter-textured in scoring than the outer movements, was touching, personal and expressive.
In preparation for the performance of two Bach concertos, string players and the harpsichordist of the Israeli Camerata Jerusalem took their places on stage. Yuri Medianik returned, this time as the conductor and a very fastidious, elegant and expressive conductor he is, too. He conducted Avi Avital and the orchestra in J.S.Bach's Concerto for violin in A-minor BWV 1041, with Avital playing the solo violin part on mandolin, in a performance that had people in the audience sitting at the edges of their seats. With Avital involved in a recent recording of Vivaldi works, here was a concerto on the traditional Italian three-movement model, in which we heard soloist and orchestra collaborating to achieve a fine sense of balance; Avital's playing, whether highlighting a solo passage or integrating with the orchestra, was audible and meaningful at all times. The outer movements were loaded with young energy, their pizzazz and excitement gripping yet remaining noble, Avital's playing never resorting to rough showmanship. His performance of the Andante movement was fragile and moving, the delicate flexing of its melodies and pianississimo moments, supported by Medianik, indicative of his winning, human musical language. In Bach's Concerto for keyboard in G-minor BWV 1056, adapted for mandolin and orchestra by Avital himself, the mandolin artist's exquisite understanding and faultless reading of the work left me not missing the harpsichord's presence at all, with some nice spreads appearing, nevertheless reminding the listener of the work's origins. The Largo's meditative and finely chiseled filigree melodies found their way to the back of the Recanati Hall and into the listener's heart, to then be swept aside by an exhilarating and hearty rendering of the final Presto. In fresh and sparkling playing, Bach's musical language is at the forefront when in the hands of Avital and Medianik. A great virtuoso of our time, Avi Avital's infectious sense of joy and music-making has his audience with him all the way. For his encore, he chose a Bulgarian folk melody/dance, presented in performance that was peppered with spontaneity and vivacity in playing that was dynamic and high-powered.
Following a short intermission, the musical scene changed once again. The Camerata string players were joined by some of their fellow wind players for Pyotr Ilyich Tchaikovsky's Piano Concerto no.1 opus 23 in B-flat minor, a version arranged and reduced for small orchestra by Ilan Rechtman. Olga Scheps was piano soloist. Composed in 1874, the concerto was revised some four years later and then again in 1889. From the forthright opening chords, the work's puissant hallmark, Scheps' playing was gregarious, full-blooded and varied, utilizing a fine mix of her impressively competent and powerful technique and her taste for the delicate, the lyrical and the sensitive in music, her cadenza strategic, scintillating, rich and imaginative. Medianik's direction brought out the work's drama and "narrative"; naturally enough, both he and Scheps gave expression to Russian elements present in the work. Add to these some very pleasing wind-playing on the part of the Camerata instrumentalists. In the tender Andantino, sprinkled with delightful instrumental solos, Scheps attentively wove the piano role through and out of the orchestral fabric with eloquence and with superb agility, following it with the final "Allegro con fuoco" movement in playing that was of grandeur and depth. For her encore, Olga Scheps chose to play the third movement "Precipitato" of Sergei Prokofiev's Sonata no.7 (one of his three War Sonatas), a veritable feat of driving, unrelenting, percussive dissonances reflecting the tensions of war, its frenetic course colored by the occasional jazzy element and finally establishing the more positive message of the B-flat major harmony.
Avi Avital photo:Uwe Arens,Deutsche Grammophon
Olga Scheps photo: Felix Broede
Posted by Pamela Hickman at 10:53 AM No comments:
Labels: Bach, Mendelssohn, Semionov, Tchaikovsky
The Atar Trio and Eran Zur in a performance of S.Y.Agnon's "A Simple Story" at Beit Avi Chai, Jerusalem
 The Atar Trio's performance of "A Simple Story" is an event combining the reading of the S.Y. Agnon
story of the same name and music for piano trio. This writer attended the performance at Beit Avi Chai, Jerusalem, May 14th 2015. Taking part in the performance were composer and singer Eran Zur – narrator, Ofer Shelley – piano and musical arrangement, Tanya Beltser – violin and Haran Meltzer – guest 'cellist of the Atar Trio.
When, in 2009, founder and director of the Atar Trio Ofer Shelley expressed the idea of combining the reading of a literary work together with musical performance, an idea inspired by Stravinsky's "A Soldier's Tale", actor Jonathan Cherchi suggested taking a work of S.Y. Agnon (1888-1970) and "A Simple Story" (1935) was chosen; texts from the novel were arranged for this setting by Michal Akerman and a year of rehearsals got under way. Eran Zur is the third narrator to take part in this work, those preceding him being Cherchi himself and Benny Hendel.
Agnon's novel tells of a bitter-sweet romance taking place in Szybusz, a small town in Jewish Galicia at the beginning of the 20th century. With the writer's ever ironic, allegorical touch, he names the main characters of the story Blume Nacht (flower of the night), Hirshl (little deer), Mina Ziemlich (almost, not quite) and Dr. Langsam (Dr. Slowly). And, as has been pointed out by literary critic and novelist Hillel Halkin, the town name Szybusz rings close to "shibush", which in Hebrew means "muddle" or "error". And so, reading from Michal Akerman's selections from the novel, Eran Zur transports the audience into this domestic tale of the shtetl life of shopkeepers – of how Hirshl falls in love with Blume Nacht but is married off to Mina Ziemlich, his night foray to Blume's house, his nervous breakdown, his recovery and joy at the birth of his and Mina's second son.
In a conversation with Ofer Shelley, the pianist spoke of how natural it was to integrate music with this text, due to the innate musicality and poetic style of Agnon's language. Add to this the finely musical and narrative sense of Eran Zur and you end up with the sensitive, hand-in-glove coaction that characterizes this performance, the collaboration also working well with the more improvisational pieces of music. Threaded throughout the event were excerpts of works by Shostakovich, Messiaen, J.S.Bach, Schubert, Dvořák, Ligeti, Joseph Achron, Jan Freidlin (b.Russia 1944, today in Israel), Israeli composer Eran El-Bar (b.1967), Jewish American composer Paul Schoenfeld (b.1947) and a Klezmer-style wedding medley put together by Shelley himself. The works, scored for solo instruments, duets and trios and presented in sensitively shaped playing by the three outstanding and involved musicians, reflected each stage and mood of the plot, its tensions and joys as well as Agnon's sensuous descriptions of love and attraction. How better to evoke the atmosphere of these people's lives than with eastern European Jewish music and how better to depict Hirshl's parents' confusion at their son's depression than with atonal music? And how poignant a picture Zur and the musicians "painted" of a street musician in the snow! Another effect, albeit more subtle, was achieved by changes in stage lighting. One of the most powerful and confrontational strategies, however, was the total ceasing of music at points of highest tension, an effect taking the listener into the raw emotions of the story and of his own mind.
Ofer Shelley is interested in creating repertoire that is distinctive and exclusive to the Atar Trio. This does not exclude challenges of experimental ideas. One challenge for the artists has been how to strike a fine balance between two such powerful forces as verbal text and music, without detracting from the meaning of either. Interestingly, each performance of "A Simple Story" emerges as different and new, the spontaneous pace of narration or that of the music offering flexibility and setting the scene for variety. The performance at Beit Avi Chai was entertaining and engaging, offering polished performance, a good story and much for the senses.
The evening's program concluded with Eran Zur's emotional singing of "Evening in Kislev", a song to his own text (music: Yuval Mesner, arrangement: Ofer Shelley).
The next performance of "A Simple Story" will take place on June 19th at Beit Hayotzer, Tel Aviv.
Labels: Eran Zur, Haran Meltzer, Ofer Shelley, Tanya Beltser
The 47th Abu Gosh Vocal Music Festival to take place May 2015 in the Judean Hills
The 47th Abu Gosh Vocal Music Festival will open on May 22nd 2015. Existing in its present set-up since 1992, the festival, directed by Hanna Tzur, takes place twice a year – during the Succoth and Shavuot holidays. Concerts are held in the spacious Kiryat Ye'arim Church that graces the top of a hill and in the intimate crypt of the 12th century Benedictine Crusader Church, nestling in a peaceful, exotic garden. People from all over Israel attend the festival, taking time out from the bustle of everyday life to immerse themselves in good music, enjoy the views over the Judean Hills, to picnic and browse the craft stalls.
This year's Shavuot festival will take place May 22nd, 23rd and 24th, and will feature a good selection of Israeli artists in a wide variety of events. The festive opening event will be "Cherubini - Requiem, Mendelssohn - Psalm 115" (Kiryat Ye'arim Church, June 22nd, 11:30) in which Maestro Ronen Borshevsky will conduct the Israel Kibbutz Choir and the Israel Netanya Kibbutz Orchestra. A rare treat at this concert will be Israeli composer Yoni Rechter's "Adorned is Your Forehead" (lyrics: Avraham Khalfi) for choir oboe and piano (arr. Shaul Gilad). Soloists will be soprano Beata Lipska, tenor Boaz Ben-Sira and baritone Jacob Basch.
People wishing to indulge in the joys, roller-coaster emotions and vivid colors of Latin music will be drawn to "Misa Criolla, Misa a Buenos Aires" (Kiryat Ye'arim Church, May 22nd, 15:00) to hear works of Ramirez, Piazzolla, Palmeri and more, performed by the Kibbutz Artzi Choir, the Raanana Symphonette Orchestra and a Latino-America Ensemble, under the baton of Yuval Benozer; and, later that day, "Ramirez, Villa Lobos, Gilberto Gil, Caymmi", a rich variety of highlights from Brazil and Argentina, will be performed by soprano Daniela Skorka and guitarist Eyal Leber (the Crypt, May 22nd, 16:15).
This Abu Gosh Festival also offers an event for opera lovers. They will be able to enjoy arias, duets and ensembles from a number of operas in "Rossini – The Barber of Seville, the Italian in Algiers" (Kiryat Ye'arim Church, May 23rd, 15:00), performed by up-and-coming (and more veteran) singers from the Israeli Opera's Meitar Opera Studio, accompanied by pianist and musical director of the studio, David Sebba.
Those with a taste for American music are going to enjoy two special events: in "Homage to Joan Baez – Her Loved and Renowned Songs" (the Crypt, May 22nd, 14:00), soprano Revital Raviv with guitarist Eyal Leber and Shaul Gross (guitar, harmonica, mandolin) will bring back nostalgic memories to many of us with American, Scottish and Irish folk songs, songs of Bob Dylan, Don Dilworth and Dire Straits. From the finest of American musical theatre repertoire, soprano Sharon Dvorin, mezzo-soprano Karin Shifrin and pianist Yoni Farhi will present numbers from "Porgy and Bess", "West Side Story" and "The Sound of Music" , topped off with songs from Kurt Weill's tragicomic evocation of decadence and vice in Germany of the late 1920s in his "Threepenny Opera" and "Mahaggony" in the event titled "Gershwin, Bernstein, Hammerstein and Kurt Weill" (the Crypt, May 23rd, 16:15).
The mandolin will hold a unique place at this Shavuot's Abu Gosh Vocal Music Festival. In "Maestro Vivaldi's Mandolin" (Kiryat Ye'arim Church, May 23rd, 11:30) we will actually hear three mandolin artists – Shmuel Elbaz (soloist), Jacob Reuven and Roy Dayan. In a program of works by Vivaldi, Ortelli and Monteverdi, they will be joined by tenor Daniel Portnoy, countertenor Eliran Dadosi, Amit Tiefenbrunn (viola da gamba), Yizhar Karshon (harpsichord), Ma'ayan Beider-Jacobson (double bass) and the Shachar Choir under the direction of Gila Brill. Totally different concert fare will be the order of the day in "Shem Tov Levi – Singer, Composer, Musician" (the Crypt, May 23rd, 14:00), when Shem Tov Levi himself (b.1950), violinist Yael Barolsky, violist Yael Patish-Comforty and 'cellist Shira Mani-Sror will present Levi's songs alongside music of J.S.Bach and Piazzolla in a curiously motley selection of works.
In addition to the opening concert, sacred music, as always, will figure largely in this Shavuot's Abu Gosh Vocal Music Festival. In addition to the much-loved "Fauré – Requiem for soloists, choir and orchestra" (Kiryat Ye'arim Church, May 22nd, 18:00) the same concert will feature a lullaby by Veljo Tormis, pieces of Benjamin Britten, the "Pie Jesu" from Andrew Lloyd Webber's "Requiem", Yehezkel Braun's lush arrangement of Naomi Shemer's "Jerusalem of Gold" and some French chansons, with Anat Morahg conducting an instrumental ensemble and the Ma'ayan and Bat Kol Choirs; vocal soloists will be soprano Shira Patshornik, alto Noga Morahg and baritone Guy Pelc. Marina Ganshin will provide the poignant harp role so essential to the Fauré Requiem. "Händel – Ode for St. Cecilia's Day" (Kiryat Ye'arim Church, May 24th, 11:30) will be accompanied by an impressive line-up of instrumentalists and feature soprano Yeela Avital, tenor Assaf Kacholi and flautist Noam Buchman, with the Upper Galilee Choir, conducted by Ron Zarhi. This will be followed by "Works by Bach, Mozart and Liszt – Mass, Cantata, Vespers" (Kiryat Ye'arim Church, May 24th, 15:00) with soprano Shira Patshornik, organists Yizhar Karshon and Alexander Wolch, the Barrocade Ensemble and the Tel Aviv Chamber Choir conducted by Michael Shani. Not to be missed is the festival's closing event, in which the Abu Gosh Vocal Music Festival's musical director Hanna Tzur will be conducting the Ramat Gan Choir in "Rossini – Petite Messe Solenelle" (Kiryat Ye'arim Church, May 24th, 18:00), a convivial, colorful and somewhat enigmatic piece (declared by Napoleon III as "neither small, solemn, nor especially liturgical in spirit"). Soloists will be soprano Daniela Skorka, alto Sigal Haviv, tenor Eitan Drori and baritone Alexey Kanonikov. Performed here in the composer's original chamber setting, this optimistic work is sure to emerge as more personal and elegant, lending itself to live performance and constituting a fine adieu to the upcoming Abu Gosh Vocal Music Festival.
http://www.agfestival.co.il
Urban F.Walser and Alexander Koschel (Switzerland) perform music for corno da caccia and organ at the Redeemer Church (Jerusalem)
"Music from the Baroque Period for Corno da Caccia and Organ" was the subject of a concert at the Lutheran Church of the Redeemer in Jerusalem's Old City on May 9th 2015. The guest artists were organist Dr. Alexander Koschel and trumpeter Urban F. Walser, both from Switzerland. For this unique program, Mr. Walser played the corno da caccia. A transposing instrument, the corno da caccia, a valved horn of higher pitch than the orchestral French horn, was played from the Baroque right up to the beginning of the Romantic period. It was frequently played by trumpeters, due to its high register and without hand-stopping. In the late 20th century, horn literature of the 18th century was being rediscovered and, with it, the notion that the brighter-sounding instrument with its narrower bore was more in keeping with the character of Baroque and later repertoire. The virtuoso German trumpeter Ludwig Güttler, an expert on 18th century trumpet music, was largely responsible for the revival of the corno da caccia. All the works performed by Walser at the Redeemer Church were written originally for the corno da caccia, an instrument frequently often used by J.S.Bach.
The program opened with G.Ph.Telemann's (1681-1767) Concerto in D-major, played boldly in a reading sparkling with freshness, the organ's bell-like registrations and the horn sound forming a vibrant mix of timbres. Hearing the corno da caccia for the first time, I was surprised at how forthright and powerful a sound the instrument has, together with a certain amount of dynamic flexibility. Never belying the technical challenges of the instrument, its demands regarding breath control and intonation traps, Walser's playing was easeful, ornamented and entertaining.
J.S.Bach's small Fantasia in C-major BWV 573 appears as incomplete in the 1722 Little Notebook for Anna Magdalena Bach. Alexander Koschel's playing of the version completed by Arnold Strebel was majestic and jubilant, his solid choice of volume highlighting the piece's joyfulness. This was followed by an Aria with 6 Variations, an anonymous piece from an organ manuscript in the St. Katherinenthal Monastery in Switzerland. Choosing a more veiled timbre for the subject, Koschel then colored the variations with varied timbres and some ornamentation, his playing retaining the piece's directness.
Organist and court musician at the Court of Schwerin, Peter Joachim Fick (d.1743) was both a copyist and prolific composer. His Horn Concerto in E-flat major, found in the State Library of Mecklenburg-Vorpommern, highlights the influence of the Italian school on his writing. Following this work, an imaginative transition played by Koschel led into German organist and composer Georg Böhm's (1661-1730) chorale melody "Vater unser im Himmelreich" (Our Father in the kingdom of heaven). Böhm, who held the post of organist at St. John's Church Lüneburg for most of his professional life, was an important figure in the development of music in the Lutheran church. Boehm's works influenced J.S.Bach, his writing using the "stylus phantasticus" approach that involved playing as based on improvisation. Koschel allowed piece's the solemn, reverent beauty and humility to speak for itself, enlisting the rewarding palette of colors of the Redeemer Church's Karl Schuke organ for the task.
In a very different vein, Alexander Koschel then performed J.S.Bach's Toccata and Fugue in D-minor BWV 565. Whether an early work of the exuberant young Bach from his time in Arnstadt or the composition of some other composer, as has been suggested, (the manuscript no longer exists) Koschel gave expression to the work's grandeur, drama and excitement, indeed, to its outright flamboyancy, and to the spontaneous freedom the toccata form offers, its style connected to the North German "stylus phantasticus" mentioned above. The sonorities he chose added to the imaginative character of the piece. Koschel's seemingly effortless performance of the fugue was no less eventful, and his pacing strategic, as he presented its poly-layering in articulate fine "orchestration".
The concert concluded with the Concerto in D-major by tenor and opera composer Carl Heinrich Graun (1703-1759), a leading exponent of the pre-Classical Berlin school and musical director to Frederick the Great. Sending the audience at the Redeemer Church back out into the spring sunshine with a fill of enjoyment and a unique musical experience, Graun's user-friendly Italianate galant style offered the artists another opportunity to present articulate, virtuosic and vibrant performance.
Urban J. Walser studied the trumpet with Roger Delmotte (Paris) and taught at the Basel Music Academy. His trumpet performances of J.S.Bach works have led to collaborations with many leading ensembles and conductors. He is a leader in the reintroduction of the corno da caccia. His recording of Bach's Brandenburg Concerto No.2 on the instrument has won high acclaim. This was Mr. Waiser's first performance in Israel.
Alexander Koschel studied in Germany, Russia and Austria, completing his PhD at the Arts University in Graz (Austria). Involved with the preservation of the heritage of German organ builder Friedrich Ladegast, Koschel is the author of comprehensive academic papers and a publisher of organ music. As a performer and musicologist, his main interest lies in the organ music of Central Germany. Both artists have been performing together since 2002. In addition to playing repertoire designated to the corno da caccia and organ, they are interested in performing works of little-known composers of the Renaissance and Baroque.
Labels: C.H.Graun, G.Boehm, J.S.Bach, P.J.Fick, Telemann
Nine new works performed by Musica Nova at HaTeiva (Jaffa, Israel) in honor of Israeli composer Amnon Wolman's 60th birthday
On April 29th 2015, artists of Ensemble Musica Nova presented "60 - a Tribute to Amnon Wolman".The concert took place at the intimate HaTeiva Concert Hall in Old Jaffa. Putting together the program, Ensemble Musica Nova called on a number of composers - friends, colleagues and former students of Amnon Wolman - both from Israel and overseas, inviting them to write works for the event. The scoring of works required would be any combination to fit in with Musica Nova's ensemble of two pianists, 'cello, saxophone, percussion and electronics. Some composers submitted works for the complete ensemble, while others wrote for smaller combinations; there were also electronic works, works integrating video, electronic soundtracks and live performance. Some 50 works arrived from the USA, England, Germany, Singapore, Spain, Portugal, France and Israel, of which nine short pieces were selected for the event itself. All nine pieces, all of them composed in 2015, including one by Wolman himself, were premiered at the festive Jaffa concert to celebrate the composer's 60th birthday.
Currently on the faculty of the Jerusalem Academy of Music and Dance and artistic director of Ensemble Musica Nova (Tel Aviv), sound artist and composer Amnon Wolman focuses much interest and involvement on technology and on issues of time information, alongside questions regarding the creative process and those engaging in it. A highly respected teacher, Prof. Wolman has taught at Northwestern University, City University of New York-Brooklyn College and Tel Aviv University and has held master classes and summer courses in different locations. In 2012 he was guest professor of composition at Harvard University.
The evening opened with American composer David Grubbs' (b.1967) conceptual-performative untitled work for Amnon Wolman: a quotation projected onto a screen in front of which the Musica Nova artists stood in silence. This was followed by Israeli composer Chaya Czernowin's (b.1957) "Adiantum Capillus-Veneris" Etudes in fragility for voice and breath (1&2), performed by contralto Noa Frenkel – music consisting of delicately chiseled series of breathy effects, textures of tongue and lips, alternating with pitches sung in single syllables. Frenkel, a specialist in contemporary music performance, focused, communicative and convincing, drew the audience into the filigree-fine details of the two pieces.
"The Shirakawa Barrier" for four voices and electronics was Ido Govrin's contribution to the program and his tribute to Amnon Wolman. Born in 1976 in Jerusalem, the sound artist, curator, composer and writer was director of Musica Nova from 2008 to 2012. As to the work's title, Shirakawa, close to the Nasu Highland area (some 188 kilometers from Tokyo), once served as the entrance to the Tohoku region. Around the 5th century, a barrier was built to prevent potential attacks. The site has become a poetic landmark, to which many Japanese poets return, either physically or in their minds, becoming the inspiration for the "utamakura" i.e. a category of poetic words, many of which are place names or the names of features associated with them, creating an allusion and intertextuality between individual poems and within the tradition. In which case, the symbolic site of the Shirakawa Barrier does not distinguish between history and poetry. Govrin's intimate, evocative work took the audience into the theme of journeys, with different texts (in Hebrew) spoken softly but articulately, singly, in pairs and sometimes simultaneously by all four artists on stage. The work was backed by a tape of musical fragments recorded for and by members of Musica Nova. This connotative work is highly effective, indeed beguiling, demanding choices and active listening on the part of the audience. I felt that one hearing was not sufficient in order to grasp enough of the spoken texts.
A highly engaging listening experience was provided by "Attachment Unavailable" for live and pre-recorded tenor saxophone, a tribute by Neil Leonard (b.1959) to a "friend, mentor and collaborator", as he refers to Prof. Wolman, speaking of the "immense impact that knowing Amnon has had on many of us." An American composer, saxophonist, interdisciplinary artist and artistic director of the Berklee Interdisciplinary Arts Institute, Berklee College of Music (Boston), Leonard's work ranges from solo concerts for saxophone/live electronics, to works for orchestra, audio/video installation and sound for dance, theatre and performance. I had the pleasure of being in touch with Prof. Leonard and discussing the piece with him. As to the prerecorded material, he himself recorded it mostly in public spaces, playing lines that would resonate in those atriums and corridors, with the intention of later multi-tracking or layering fragments from it. In live improvisation, saxophonist Tom Soloveitchik used the prerecorded material as a basis on which to add new sound combinations, to partner, react and interact freely with it, to emote and express within the possibilities and language of the instrument. What emerged was an intense, dynamic, piece of vibrant timbres and one asking to sound differently with each new performance.
In the program notes, Oded Assaf (b.1947) speaks of his autobiographic piano miniatures "Postscriptum: 2 References" as forming a continuum, a kind of later, condensed appendix to his previous work "Pockets", the word "References" here shedding light on "works, composers, materials and principles forming my [compositional] basis", in the composer's words. Performing the two mood pierces, pianist/improviser and composer Assaf Shatil (b.1976) took time to spell out the meditative content of both pieces: the first - chordal, tonality-based and punctuated with many rests, the second, an eerie, ruminating and less tonal piece.
Guitarist and composer Reuven Seroussi (b. 1959, Uruguay) felt he could take up the challenge to write a work for the 60th birthday event only after he had found a text to inspire him and one fitting to be a homage to Amnon Wolman and Wolman's own particular poetic style. Seroussi chose the opening and closing lines of a poem written in 1912 by Spanish poet Juan Ramón Jiménez (1881-1958), a text powerful in its connections between the final and the everlasting. "Evening", as referred to in the poem, constitutes an experience of the senses, enlisting an atmosphere of acceptance, insight and wonder. Prior to the performance, the composer read out a Hebrew translation of the poem. The work was presented by 'cellist Dan Weinstein, a musician focusing much on contemporary and experimental music, and contralto Noa Frenkel. A compelling performance, Frenkel made use of a gamut of different vocal textures, the score calling for much leaping between high and low registers, for speech, the breathing of words and a play of syllables. With the 'cello part no less intensive, Weinstein's playing balanced, reflected and supported the vocal role.
Tel Aviv-born composer and sound artist Kiki Keren Huss, today working largely in the electro-acoustic medium, called the work she had written for the event "Birthday Soup". In a spirit of whimsy, the composer explained her "small musical theatrical piece for pianist and humming" thus: "not exactly soup, but for a birthday. One pianist, a few piano sounds and a little humming". The pianist was German-born Shira Legmann, who paced the minimalist, intimate work leisurely, pausing between phrases. The delicate, fragile piece is based on the motif of a rising second, with Legmann's pastel vocal sounds contributing to add a harmonic dimension. Following a nostalgic little waltz and the reminder of the rising second, the work concluded with a quotation from a children's nursery rhyme: "Flying man flying man, up in the sky. Where are you going to?"
Amnon Wolman referred to his work "To Nova" for alto, narrator, saxophone, 'cello, piano and two keyboards as a work of gratitude, to celebrate Musica Nova and show his appreciation to various ensembles which have constituted "Musica Nova", together with whom new ideas were tried and with whom he aspired to present music not represented on the Israeli music scene. Wolman's objective in this work was to suggest various kinds of musical partnerships taking place over tens of years, "but through my own personal glasses...My encounter with Musica Nova has been an abundant gift. This work aims to celebrate this." Indeed, this piece included the whole Musica Nova team in a collage of poignant delicacy. Bean boxes (evocative rain stick effects), and the sound of falling pebbles, forming the percussive element of a series of tranquil sound screens, complemented small solo fragments. Selecting from her distinctive and rich vocal palette, Noa Frenkel made use of some of her characteristically earthy low notes, also offering a few moments of suggestive nightclub chanteuse. Of the three short texts woven through the work and read by Avigail Arnheim, the first two were written by Wolman himself "in the language and place of performance": "Imagine a beautiful melody played on an oboe; it gets closer, then moves away and disappears slowly to…" and "and a call of a crow, which is repeated again and again and again." The third text was from Lewis Carroll's "Alice's Adventures in Wonderland": "Begin at the beginning and go on till you come to the end, and stop". Amnon Wolman is known for his long-standing interest in the creative process, the relationship between performer and artist and for his belief that music is an art form expressing many dissimilar ideas of beauty. This small work, taking the listener into a world of grace, naivety and fantasy, represented those values.
The event concluded with 'cellist, composer and interdisciplinary artist Anton Lukoszevieze's (UK) "Mapping Amnon" for video playback and piano. The film loop used was a tiny fragment of an old home movie, showing an Israeli beach scene and accompanied by recorded 'cello sounds. Also heard was a recording of American poet John Wieners (1934-2002) reading his "Poem for Painters" (1958).
'Drawing the face and its torture.
That is why no one dares tackle it.
Held as they are in the hands
of forces they cannot understand.
The despair is on my face and shall show
in the fine lines of any man…'
Here is a mood piece, the broader canvas powerful with the poet's mesmeric, melancholic reading, his strong images commented upon by the piano part – integrated, jazzy and American – at the hands of Assaf Shatil. So where does the "mapping" come in? Lukoszevieve explains that the simple 4-note repetitions on the soundtrack are a "musical rendition of me saying the 4 syllables of Amnon's name" and that Wieners' voice together with the rippling film tableaux "made me feel I was 'mapping' Amnon and his travels through life in my mind's eye." The work's various elements seemed to invite the listener to join its course, that of a piece both moving and thought-provoking.
Since its establishment in 1986, Ensemble Musica Nova, a Tel Aviv-based collective, has played a central role in the field of experimental music and in presenting new works of Israeli and overseas composers, having premiered over 180 Israeli compositions to date, and collaborating with renowned composers and artists. In its broad approach, Musica Nova often bridges the gap between concert hall music and that of other disciplines, such as dance, video art and theater. Currently the ensemble in residence of the Musrara School of the Arts, Musica Nova's artists, work and performances set a high standard in the field of contemporary music in Israel.
Labels: Amnon Wolman, Anton Lukoszevieze, Chaya Czernowin, David Grubbs, Ido Govrin, Kiki Keren Huss, Neil Leonard, Oded Assaf, Reuven Seroussi
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Nine new works performed by Musica Nova at HaTeiva...
Pamela Hickman
Born in Australia;in Israel since 1968.Studied at Melbourne University(BA Languages,Music,Education),the Jerusalem Academy of Music(Theory,Composition),New York University(Music education.)


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Monthly meeting locations in each community tend to vary. For up-to-date information on meeting locations, contact hshc@bjc.org.
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Everyday I see him. Here, in the heart of the county, in the center of the city. "He owns the place!" his partner exclaims smiling as they walk by.
I just smile and say, "That he does, that he does." Mr. Mcshagintosh is a good old Scottish dude. He stands about yay high, has bristley white shaggy hair and his bark is far worse than his bite.
He always seems to smile, for all I can see under those shaggy white brows. He always greets me with a smile, anyway.
Today I see him out walking alone enjoying the cool spring air. He's taking in all the springtime activities. Birds are singing. Crows are cawing. Bees are buzzing brand new blooms. Mr. Mcshagintosh looks so boisterous and happy.
I stop him and ask, "Where's your walking partner?" Of course he doesn't respond; he's too entranced in the simplicity of spring. But there's that infamous smile, and he flashes it at me just before he jaunts off down the street.
I follow at a more leisurely pace enjoying the warmth of the day. I think of how many times I've seen Mr. Mcshaggie walking with his partner and how odd it is that today he's solo. I see him far down the street slowing his pace to look over some items set out for Salvation pickup.
He's bending over the items to sniff them as eccentric old ones will do. He's really looking them over; this way, then that, then this.
I'm approaching closer now, watching him. Suddenly I see him do it. NO!!! I breathe; shocked and awed at Mr. Mcshaggie's actions.
He's parked himself over the pile of goods so nicely set out for pickup; cocked his leg, and proceeded to mark said items as his! My face flushes; embarrassed. I look quickly around to see if anyone saw.
Salvation pickup has no clue what awaits them. They have been misguided to think they are to pickup one Macintosh computer complete in box with top off so they may inspect contents.
As I follow Mr. Mcshagintosh back to where he started I see that his walking partner is waiting, wondering where Mr. McShaggie was. I nod to him as I pass; and I say, "Beautiful day, eh?"
He replies, smiling widely at Mr. McShaggie while brushing out his long shaggy white hair, "That it is missy, that it is; especially when you own the place!"
I keep walking to the place where I started. I look back and there's Mr. McShaggie sitting on his haunches on the sidewalk in the sun, smiling that infamous toothy smile as he gets his brows brushed and his tail trimmed.


What are a few of the advantages of online marketing?
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Review their associate advertising agreement, ensure that it fits you and also seems like something you can benefit from. Make certain to inspect the associated discussion forums and also to do some searches to examine that it has no grievances that have actually been submitted versus the program. After that subscribe. A great associate business will certainly supply an associated web link, advertising and marketing products, and also a detailed overview to obtaining you began with internet marketing company their item. The item you pick to associate with will certainly be your key item. You need to currently create an internet site that will certainly advertise this item while at the exact same time bring in targeted web traffic.
Bear in mind that you do not need to market the item entirely, yet simply obtain the clients to click the web link to the seller's sales web page. This is called "pre-selling" as well as is just one of one of the most reliable associate advertising strategies. If the vendor's sales web page is any type of great, after that you must generate plenty of sales to their website. All the best with your associate advertising and marketing experience and also bear in mind, success in associate advertising takes a job in addition to time. As soon as you've experienced all your alternatives to earn money online, and after that decided to end up being an associate marketing expert there's another point you have to do.
If you are fortunate adequate to place a backlink onto a domain name, you will certainly have the ability to boost your web site position. All web sites connected with websites are thoroughly checked prior to the web links are authorized. It is an excellent suggestion to include Edu backlinks to your internet site so you can boost your positions in the internet search engine and also subsequently obtain even more website traffic to your web site and also ideally this will certainly cause even more sales for your organization.
Worldwide of the World Wide Web, a backlink is a popular word. With some 150 million internet sites on the internet, it is hard to remain on top of all these websites. Website traffic for a site is available in several means and also the web traffic from internet search engine is one of the most preferred. Unless your website is a prominent one like Yahoo or MSN, you need to depend on the internet search engine for your purchase backlinks web traffic. Not just is online search engine web traffic crucial, yet it will certainly boost your earnings by bringing the best type of site visitors to your site. That is what we call targeted web traffic. For instance, if someone has an internet site pertaining to a software program, it does not do any type of great obtaining site visitors that are trying to find complimentary tracks. Each web site requires site visitors that are particularly out there for their item, whether for individual or company usage. The internet search engine will certainly aid you to obtain the targeted site visitors that are particularly thinking about your service or products.
It is difficult to be provided on the very first web page of the internet search engine for a certain search word or search phrase. While it is very easy to obtain indexed in the online search engine with no backlinks to your internet site, it is almost difficult for a website to obtain site visitors from online search engine without backlinks. The Internet search engine will certainly frequently offer higher significance to the websites that have even more backlinks, placing those internet sites on top of the checklist.
Entrepreneurship when I consider entrepreneurship the very first inquiry that involves my mind is … WHY? Think of it, why would certainly an individual that is making a five-figure wage transform their backs simply to go after the image having their very own organization? For several years I might not cover my head around the reality that an increasing number of males and females get on a goal to bid farewell to company America in the wish to end up being effective in the organisation by themselves.
Shocking! I assumed! The above factors are all the proof anybody would certainly require as a way for seeking entrepreneurship. For several budding business owners the desire of not having to deal with a manager is all the factor the quest of entrepreneurship is worth the trip. According to current records, the number of university grads and service experts that are coming to be interested in the concept of entrepreneurship has actually expanded greatly. Females that are selecting the area of entrepreneurship are doing so for a number of factors.
Entrepreneurship In the Limelight as an outcome, entrepreneurship has actually been the subject of conversation in numerous social media systems and information records. What makes entrepreneurship such a fascinating subject of conversation is how numerous business owners began out from humbling starts such as being homeless, while others stem from the experiences of functioning within the numerous facets of company America. For the majority of females they are passionate. Uddokota offers them the possibility to invest even more time with family members and gain revenue at the exact same time.
Your Entrepreneurship Chance after investigating the company field I discovered myself asking yourself how numerous people are out in the globe looking for the following large entrepreneurship chance. I think currently is the ideal time for people to go into the world of entrepreneurship and take the organization market by pressure. According to current records, the number of university grads and company experts that are ending up being captivated by the concept of entrepreneurship has actually expanded enormously. Females that are selecting the area of entrepreneurship are doing so for a number of factors.
With the current financial decline that is ending up being a worldwide sensation, specifically in the UNITED STATE or Canada, much more and a lot more grads are looking for a job abroad. When taking into consideration where to function, truly the skies is the limitation. Any person that desires to function in Japan requires to use for a functioning visa. The typical hrs for the job are in between 8-5 in the early morning. Those functioning in the friendliness market commonly have to place in a lot of overtime hrs.
Being goal, it's not the heck you review neither is it wind, at the very least for lots of people. Those that function for huge chain colleges like Goes, Nova or ECC can anticipate about 20-23 real training hrs with an extra 10 to 15 hrs doing preparation for lessons or doing points to advertise the college – check out handing out fliers, providing test lessons to brand-new pupils and participating in personal conferences. All in all you'll be functioning about 40 hrs a week.
Pretty a lot the exact same as if you stayed in your residence nation. ALT's job rather a lot what one may call "typical" functioning hrs. Exists a distinction? Wage sensible they are quite a lot the exact same. ALT's are utilized by a B.O.E or board of education and learning whereas those functioning for chain institutions Empregos no Japão are straight utilized by the institution that employs you.
One distinction is that if you are instructing in a big chain college you will greater than most likely be educating both youngsters and grownups whereas ALT's only instruct junior high trainees. Despite the course one selects, a mentor in Japan is a relatively simple means to obtain your occupation in education and learning or mentor began. Those that function for big chain colleges like Geos, Nova or ECC can anticipate approximately 20-23 real training hrs with an added 10 to 15 hrs doing preparation for lessons or doing points to advertise the college – check out handing out fliers, providing test lessons to brand-new pupils and participating in team conferences.
Lots of e-mail customers were making use of customers that had actually made complex treatments for including trademark documents. The online e-mails had actually an established up for trademarks that were simpler, yet these utilized to be looked down on as low-cost techniques to make use of for service. Prior to long, Google developed Gmail to make internet e-mail much more tech-friendly, classy and stylish.
This method is being utilized by a chosen quantity of people and is extremely profitable if you can learn the tricks from these "masters" There are many individuals around marketing items for this strategy yet many are $97-$ 150 and they have actually restricted quantities of people that can acquire it at once. There were also substantial adjustments presented by Sedgwick that was functioning together with Gmail. They essentially change the face of leading internet search engine and internet browsers to supply something that appropriated both for service and individual usage.
Among the most effective aspects of utilizing these trademarks would certainly be that every mail that is published brings brand-new website visitors. With this technique, you can obtain assistance in providing after picking one from the 3 trademark designs. You can get in touch with the trademark developer to authorize up in order to obtain access to all the functions given by Sedgwick. The benefit is that when you open your gmail aanmaken for any type of account the trademark will be placed instantaneously.
You can also make use of Gmail trademark e-mails to advertise your brand name once the firm logo design is included. The majority of people are selecting to make use of e-mail trademarks nowadays due to the fact that they can bring a lot of details. Sedgwick is thought about the best these days, plus it is using benefits to any person that desires to make use of totally free e-mail trademarks. These are standard specs that one must conform to while selecting the trademarks for e-mail messages. Gmail applied some adjustments to their webmail atmosphere a couple of weeks ago that influence how photos are shown in Firefox, IE 8, Chrome, Safari and some smartphones. You can make certain that photos in your e-mails remain to make appropriately in your receivers' inboxes.
Why is an apostille required?
You might require an apostille certification when an abroad firm or federal government body has actually asked for that you have a record legalized as evidence of its credibility. Typical instances when you might require to legalize your record consist of Certification files when relating to function abroad. Signing up a birth in an additional nation. Birth certifications and also certifications of no obstacle for marital relationship abroad. Education and learning records for global pupils going back to their residence nation.
Agreements, sworn statements as well as powers of a lawyer for UK locals desiring acquisition home abroad or become part of lawful contracts. Business files when trading globally Opening up an individual or organization checking account overseas. This checklist is simply an instance of when the Apostille services in Bangalore might be needed as well as is not a clear-cut checklist. They are connected to your initial papers in order to make your files lawfully appropriate in your location nation.
In order to identify if a paper needs an Apostille or Certification, all of the Assistant of State workplaces need that you inform them the nation the file will certainly be utilized in. That is a generally attractive, easy need as well as it ought to take 3-5 organization days on a standard to obtain your records refined (not consisting of mailing time).
Do the initial records require to be notarized? Do you require consisting of a pre-paid return envelope with your records and also which carrier business do they function with? As soon as you obtain every one of the solutions, get and also prepare the papers for the Assistant of State, you prepare to obtain the Apostille or Certification. You will certainly duplicate this treatment for every state required. Simply put, if your marital relationship certification originates from The golden state; however birth certifications originate from Nevada, you will certainly require to get in touch with both states and also fulfill each state's demands.
Just How Vital is Website Design For a Realty Company?
Simply exactly how crucial is the internet style for a real estate company? For such a company a high course site is definitely important from day one. The real estate company is not simply marketing homes; it is marketing itself. Not a real estate company. It is the vendor that is going to be paying for the items to be marketed and also the real estate company that accumulates; the functions are turned around. For this factor, it is definitely required that the real estate company does an excellent task marketing itself.
Nowadays it is so very easy to locate residential or commercial properties offer for sale online that it is most likely that many people are mosting likely to carry out first solutions on the web, from job or house. The majority of the outcomes will certainly show up with the big debt consolidation directory sites revealing numerous representatives' profiles, yet when the customer is interested, they will certainly after that go to the representative's site wishing for even more details.
This is info such as complete summaries, lots of pictures, layout, information concerning the town and also perhaps even video clips of the home Butler Holding New Orleans. A genuine collection of info saved on the representative's web site prepared to check out and to make that choice regarding whether to check out. Details that need to delight the prospective client to make sure that they get to the home eager to acquire, as opposed to birth them and also perhaps make them not also intend to go to.
This is a great deal of info for a web site to have, and it needs to be well ordered, very easy to discover and simple to lots. The realty company requires being able to keep this info to get possible purchasers to secure the bargain. If the internet site layout is unsatisfactory and the website looks substandard or can not lug the needed functions, after that this is mosting likely to hurt business, perhaps even making the realty company layer.
The following ideal one appears to be something likes "globes Greatest NBA Betting System ever before, 98% strike price". This obviously appears excellent and also really appealing, yet to be truthful I really did not such as the sales web page in any way. It tossed me straight off as well as looking rather shoddy, like it was made by a one decade old. There's an excellent quantity of reviews on there as well as a lot of numbers too.
When I was investigating it, all over I looked there was plenty of favorable comments concerning that system, however the sales web page truly reached me. The Sports Betting daftar sbobet Champ 97% has actually been the one for me; I'm in fact utilizing it with wonderful success today. I believed the Sports Betting Champ websites looked extremely specialist and also clean, well composed as well as formatted to.
An extremely intriguing component of the Sports Betting Champ website is the reviews area, You can invest hrs checking out every one of them as well as viewing them, I enjoyed the hand created ones. This is most likely what tipped it for me. The quantity of video clip endorsements too actually boggled the mind; there were some truly happy individuals there from around the globe it appears. The choices I have actually been getting from John Morrison have actually additionally been excellent as well as the convenience with which you can enter call with him has actually been really helpful and also precise thus far.
One more concern you need to handle is your carpeting. Rug cleaning is such a time consuming job and also property owners that do not have adequate time to do the job can simply employ a firm to do it for them. The specialist firm can provide varied cleaning approaches when it concerns cleaning your carpeting. These approaches will certainly make sure that your carpeting can return to its initial as well as the problem. There is no demand for you to try to find one more firm to take care of both the house cleaning company as well as your carpeting cleaning company.
It is sensible if you will certainly seek a firm which can deal with both the cleaning company. This is to make certain that the job will certainly be done as rapid and also effective as feasible. Expert cleaning business made up of qualified as well as professional personnel when it involves residence cleaning. You can conserve even more loan if you will certainly employ to cleanse your residence as well as your rug due to the fact that a lot of them are paving the way price cuts if you will certainly make use of greater than one solution.
Mess inside your house is not a good sight particularly if you have site visitors around your house. Keep in mind individuals can evaluate you simply by considering your residence. If you prepare to have some site visitors over the maid patrol weekend break, it is far better to work with the services of an expert cleaning company, to cleanse your house as quick and also effective as feasible.
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Every established country has its share of uncommon and also at some time wild customer trends. Right here we have experienced wave upon wave of them, consisting of such things as the hula hoop, the slinky and the family pet rock. In spite of generation after generation of independent thinkers and also rebels, we still have those durations when all of us act even more like a group of lamb than loners. Sometimes these uncommon things come to be trends in greater than one nation, and the attraction with uncommon Japanese Pokemon cards is a fantastic instance.
These cards are simply one gear of a significant imaginative advertising and marketing maker revealing what brilliant can do to broaden the appeal of a solitary craze right into a huge realm. This huge venture comes from the imaginative suggestion of solitary Japanese male that, as a youngster, take pleasure in catching insects. His desire was to develop some kind of home entertainment to pass the pleasure he experienced on others.
The device he made use of was the hugely prominent video game referred to as video game young boy. When he saw it for the very first time and saw the wire connected to it, he pictured bugs creeping along the cable television and figured out to make it right into a video game. What Experts Are Saying About Pokemon Games? Regrettably as thrilled as he will obtain he was not successful in encouraging Nintendo that it was a beneficial job. Luckily a close friend of his had better success in the business at some point chose to money the advancement of his desire, and also Pokemon was birthed.
However the video game had its followers, and also it spread out by word of mouth, which merely and inexplicably removed. As its appeal took off, the spin-offs were every little thing an advertising and marketing business can imagine and hope would take place. Among the animals in the video game was called Pikachu, it was produced out of plastic and also ended up being common; virtually every person had one, although it had little or no performance.


Geodes are a type of natural rock formation that contains a cavity lined with crystals or another type of mineral matter. They are formed as a hollow bubble inside of a layer of rock which was created by volcanic forces or chemical precipitation.
Geodes are interesting geological phenomenons that from the outside look like any other rock in the dirt. But on the inside they are full of crystals---either colorful, clear, grey or hazy.
Amethyst geodes are rock cavities or vugs with internal crystal formations in colors ranging from pale lilac to deep reddish purple and ranging from transparent to translucent. Amethyst geodes can be small nodules cut in half or pieces of larger geodes sold as crystal clusters.


text:
Q: replace regex string with parameter / token I have this code snippet of a code base I am supposed to maintain.
String number = "1";
String value = "test";
String output = "";

output = value.replaceAll("\\Q{#}", number);

The value of output stays as "test" and I can only guess what this code is supposed to do: the value of numbershould be appended to whatever is in value. Maybe something like this: test1 or replace the value with the number entirely.
I found out that \\Q is the regex option to quote everything until \\E but there is no \\E. Anyway it is not doing anything at all and I am wondering if I oversee something?

A: Your regex just matches a literal {#}. It is true that after \Q the pattern is considered to have literal symbols (all the symbols after \Q get "quoted" or "escaped"), and \E stops this escaping/quoting, and if it is missing, the whole pattern will get quoted/escaped.
If your value variable holds test{#} value, the {#} will get replaced with the number.
See this demo:
String number = "1";
String value = "test{#}";
String output = "";
output = value.replaceAll("\\Q{#}", number);
System.out.println(output); // => test1

Note that without \Q, your regex ({#}) would throw a java.util.regex.PatternSyntaxException: Illegal repetition error because Java regex engine is not "smart" enough to disambiguate the braces (PCRE, JS, .NET can easily guess that since there is no number inside, it is not a limiting/bound quantifier).

redpajama_set_name: RedPajamaStackExchange


Not much to say about this series, it's the sequel for Nagazaki Haruka no Himitsu, a show that I ultimately felt indifferent about due to its generic nature, but also enjoyed the quick watch through.
The story picks up where the last season ended, with both parties obviously in love with each other, but still not able to publicize it to each other well. It seems obvious that Shina (the love rival) will play a larger role this season, and if the season 2 pilot is any indication, we'll be in for more frustrating episodes where misunderstanding leads to much dorama. Who knows, maybe Yuuto really will cheat on Haruka this time (doubt it though).
Pros: More of the same.
Cons: More of the same.
Recommendation: Only for shoujo lovers.


@Hresearcher, It depends on which hosting company you have chosen.
I have a great deal of areas through Dreamhost since I likewise get facilitating through them. They have great approaches on space exchanges and better than average evaluating. I can likewise set up any spaces I traverse them to point at another facilitating supplier, yet that isn't their essential aim of their area enrollment administration. Nonetheless, they have an exceptionally restricted subset of Top Level Domains(.com, .net, etcetera) that they give.
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What your money is getting you in stores.
And what Saatva can offer, exclusively online, for so much less.
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text:
Durbin Meets With Venezuelan First Lady
WASHINGTON – In light of the ongoing violence, deteriorating security situation, and humanitarian crisis in Venezuela caused by the illegitimate regime of Nicolás Maduro, U.S. Senate Democratic Whip Dick Durbin (D-IL) today met with Fabiana Rosales, Venezuelan First Lady and wife to interim Venezuelan President Juan Guaidó. She is in Washington, D.C. advocating for support for a peaceful transition of power in Venezuela.
"Ms. Rosales deeply understands how much the Venezuelan people have suffered, how the Maduro regime bankrupted the nation and destroyed its democracy and its economy, and how desperate the people of her country are to rejoin the community of democracies because she is living it every day. I am in awe of her bravery, the bravery of her family and the Venezuelan people," Durbin said. "I told her that I will continue doing everything I can in the United States Senate to help the Venezuelan people rebuild their country's democracy and economy, and to help the millions of Venezuelan refugees safely return home."
A photo from today's meeting is available here.
Last week, Durbin and Senators Marco Rubio (R-FL), Ben Cardin (D-MD), and Tim Kaine (D-VA) called for the immediate and unconditional release of Roberto Marrero, President Guaidó's chief of staff.
Earlier this month, Durbin led 24 Senators in a letter to President Donald Trump requesting that his Administration promptly designate Venezuela for Temporary Protected Status (TPS) to ensure that Venezuelan nationals currently present in the United States are not forced to return to Venezuela at this time.
In February, Durbin, and Senators Bob Menendez (D-NJ), Marco Rubio (R-FL), Patrick Leahy (D-VT), and Cory Booker (D-NJ) introduced the Venezuela Temporary Protected Status Act of 2019, a bill to immediately grant TPS for eligible Venezuelans fleeing the dire conditions in their home country and to strengthen migration systems in the countries surrounding Venezuela.
Last year, Durbin traveled to Venezuela where he met with then-President Nicolas Maduro, members of the opposition included Juan Guaidó, the President of the National Assembly, the Ministers of Health and Nutrition, business leaders, civil society groups, doctors, and humanitarian organizations. He has also spoken with Guaidó by phone to offer his support for his transitional government.

redpajama_set_name: RedPajamaCommonCrawl


New! INIKA Certified Organic Vegan Lipsticks are the world's first certified organic vegan lipstick range! Made with Certified Organic ingredients for indulgent colours that hydrate and define. INIKA lipsticks challenge the notion of conventional lipstick by providing effortless nourishment without compromising on performance or colour. Certified Organic Avocado and Jojoba Seed Oils create a creamy, flawless application that feels as luxurious as it looks. Naked Kiss is a soft shimmering mauve pink.
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God has chosen me to bring good news to the poor.
God has chosen me to bring new sight to those searching for light.
yes, God's time is near, God's time is near, God's time is near.
God has chosen me to set alight a new fire.
God has chosen me to bring to birth a new kingdom on earth.
God is calling me in all whose cry is unheard.
God is calling me to raise up the voice with no power or choice.


What's going on at Delaware Blvd. and Indiantown Road in Jupiter?
That construction on the southwest corner of Delaware Boulevard and Indiantown Road is going to be a new FPL building adjacent to the current service center.
The new two-story building will be four times as large as the current center. The new 25,000-square-ft building is designed to withstand a Category 5 hurricane.
Opening is planned for the fall of 2017.
A driveway for trucks and other service vehicles is planned on Delaware Boulevard.
There will be no gas stored at the new building. After a storm, company fuel trucks will provide gasoline to the trucks staged there.
Up to about 100 "storm riders" will be able to stay at the new building. They will be immediately dispatched to needed areas to make repairs following a storm, according to FPL.
The project is part of FPL's overall plan to improve service center buildings and equipment to improve response time for repairs in it's 35-county service area.
Similar improvements are being made to FPL's service center near Old Boynton Beach Road west of Interstate 95 in Boynton Beach.
When is Pizza Girls opening in Palm Beach Gardens?


text:
describe :basic_object_id, :shared => true do
  it "returns an integer" do
    o1 = @object.new
    o1.__send__(@method).should be_kind_of(Integer)
  end

  it "returns the same value on all calls to id for a given object" do
    o1 = @object.new
    o1.__send__(@method).should == o1.__send__(@method)
  end

  it "returns different values for different objects" do
    o1 = @object.new
    o2 = @object.new
    o1.__send__(@method).should_not == o2.__send__(@method)
  end
end

# These examples hold for Object#object_id, or for specific subclasses.
describe :object_id, :shared => true do
  it "returns the same value for two Fixnums with the same value" do
    o1 = 1
    o2 = 1
    o1.send(@method).should == o2.send(@method)
  end

  it "returns the same value for two Symbol literals" do
    o1 = :hello
    o2 = :hello
    o1.send(@method).should == o2.send(@method)
  end

  it "returns the same value for two true literals" do
    o1 = true
    o2 = true
    o1.send(@method).should == o2.send(@method)
  end

  it "returns the same value for two false literals" do
    o1 = false
    o2 = false
    o1.send(@method).should == o2.send(@method)
  end

  it "returns the same value for two nil literals" do
    o1 = nil
    o2 = nil
    o1.send(@method).should == o2.send(@method)
  end

  it "returns a different value for two Bignum literals" do
    o1 = 2e100.to_i
    o2 = 2e100.to_i
    o1.send(@method).should_not == o2.send(@method)
  end

  not_compliant_on :macruby do
    it "returns a different value for two Float literals" do
      o1 = 1.0
      o2 = 1.0
      o1.send(@method).should_not == o2.send(@method)
    end
  end

  it "returns a different value for two String literals" do
    o1 = "hello"
    o2 = "hello"
    o1.send(@method).should_not == o2.send(@method)
  end

  it "returns a different value for an object and its dup" do
    o1 = mock("object")
    o2 = o1.dup
    o1.send(@method).should_not == o2.send(@method)
  end

  it "returns a different value for two numbers near the 32 bit Fixnum limit" do
    o1 = -1
    o2 = 2 ** 30 - 1

    o1.send(@method).should_not == o2.send(@method)
  end

  it "returns a different value for two numbers near the 64 bit Fixnum limit" do
    o1 = -1
    o2 = 2 ** 62 - 1

    o1.send(@method).should_not == o2.send(@method)
  end
end

redpajama_set_name: RedPajamaGithub


Researchers at MIT's Department of Electrical Engineering and Computer Science have developed a new system to quickly and systematically sort cells based on how individual components of the cell respond to fluorescent markers.
Present methods allow cells to be sorted based on whether or not they emit fluorescent light when mixed with a marker that responds to a particular protein or other compound. The new system allows more precise sorting, separating out cells based not just on the overall average fluorescent response of the whole cell but on responses that occur in specific parts of the cell, such as the nucleus. The system can also pick up responses that vary in how fast they begin or how long they last.
For example, if cells differ in how quickly they respond to a particular compound used in the fluorescent labeling, the new system would make it possible to "select out the ones that are faster or slower, and see what's different," said Voldman, who also has appointments in MIT's Research Laboratory of Electronics and the Microsystems Technology Laboratories.
"It seems like that should be easy, but it isn't," he said. There are other ways of accomplishing the same kind of cell separation, but they require complex and expensive equipment, or are limited in the number of cells they can process.
The new system uses a simple transparent silicone layer bonded to a conventional glass microscope slide. Fabricated in the layer are a series of tiny cavities, or traps, in which cells settle out after being added to the slide in a solution. Up to 10,000 cells could be sorted on a single slide.
Looking through the microscope, either a technician or a computerized system can check each cell to determine whether it has fluorescence in the right area or at the right time to meet the selection criteria. If so, its position is noted by the computer. At the end of the selection process, all of the cells whose positions were recorded are then levitated out of their traps using the pressure of a beam of targeted light from a low-cost laser. A flowing fluid then sweeps the selected cells off to a separate reservoir.
The laser levitation of the cells acts like "a fire hose pushing up a beach ball," Voldman said. But the laser method is gentle enough that the living cells remain viable after the process is complete, allowing further biological testing.


text:
Le phare de Punta Albir est un phare situé dans le Parc naturel de la Sierra Helada, au bord de la falaise sur l'extrémité oriental du massif montagneux, dans la province d'Alicante (Communauté valencienne) en Espagne.

Il est géré par l'autorité portuaire d'Alicante.

Histoire
C'est une tour cylindrique en maçonnerie de 8 m de haut, avec galerie et lanterne, en front d'une maison de gardiennage d'un étage. L'édifice est peint en blanc et la lanterne est grise.
Il a été construit en 1863, proche de la Torre Bombarda une ancienne tour de vigilance côtière qui est maintenant déclarée Bien de l'Intérêt Touristique en 1985.

Identifiant : ARLHS : SPA221 ; ES-24900 - Amirauté : E0173.6 - NGA : 4724 .

Notes et références

Voir aussi

Lien connexe
 Liste des phares d'Espagne

Liens externes
  Lighthouses of Spain: Valencia and Murcia
  Libro de Faros y Senales de Niebla (Espagne-côte sud-est)
  - Site de l'autorité portuaire en Espagne
  Faro de Punta Albir - Site Agence publique de ports d'Espagne
  Faros de la provincia de Alicante
  Faro de Punta del Albir - Site wiki.lamarencalma

Phare dans la Communauté valencienne
Phare du XIXe siècle
Province d'Alicante
Phare de la mer Méditerranée

redpajama_set_name: RedPajamaWikipedia


text:
Arcy-sur-Cure (France): Stone Age man wasn't necessarily more advanced than the Neanderthals
Discovery of bone tool reduces the presumed gap between the 2 species
Source - http://phys.org/news/2015-01-stone-age-wasnt-necessarily-advanced.html
This news release is available in French.
The tool in question was uncovered in June 2014 during the annual digs at the Grotte du Bison at Arcy-sur-Cure in Burgundy, France. Extremely well preserved, the tool comes from the left femur of an adult reindeer and its age is estimated between 55,000 and 60,000 years ago. Marks observed on it allow us to trace its history. Obtaining bones for the manufacture of tools was not the primary motivation for Neanderthals hunting -- above all, they hunted to obtain the rich energy provided by meat and marrow. Evidence of meat butchering and bone fracturing to extract marrow are evident on the tool. Percussion marks suggest the use of the bone fragment for carved sharpening the cutting edges of stone tools. Finally, chipping and a significant polish show the use of the bone as a scraper. Credit: University of Montreal / Luc Doyon
A multi-purpose bone tool dating from the Neanderthal era has been discovered by University of Montreal researchers, throwing into question our current understanding of the evolution of human behaviour. It was found at an archaeological site in France. "This is the first time a multi-purpose bone tool from this period has been discovered. It proves that Neanderthals were able to understand the mechanical properties of bone and knew how to use it to make tools, abilities usually attributed to our species, Homo sapiens," said Luc Doyon of the university's Department of Anthropology, who participated in the digs. Neanderthals lived in Europe and western Asia in the Middle Paleolithic between around 250,000 to 28,000 years ago. Homo sapiens is the scientific term for modern man.
The production of bone tools by Neanderthals is open to debate. For much of the twentieth century, prehistoric experts were reluctant to recognize the ability of this species to incorporate materials like bone into their technological know-how and likewise their ability to master the techniques needed to work bone. However, over the past two decades, many clues indicate the use of hard materials from animals by Neanderthals. "Our discovery is an additional indicator of bone work by Neanderthals and helps put into question the linear view of the evolution of human behaviour," Doyon said.
The tool in question was uncovered in June 2014 during the annual digs at the Grotte du Bison at Arcy-sur-Cure in Burgundy, France. Extremely well preserved, the tool comes from the left femur of an adult reindeer and its age is estimated between 55,000 and 60,000 years ago. Marks observed on it allow us to trace its history. Obtaining bones for the manufacture of tools was not the primary motivation for Neanderthals hunting - above all, they hunted to obtain the rich energy provided by meat and marrow. Evidence of meat butchering and bone fracturing to extract marrow are evident on the tool. Percussion marks suggest the use of the bone fragment for carved sharpening the cutting edges of stone tools. Finally, chipping and a significant polish show the use of the bone as a scraper.
"The presence of this tool at a context where stone tools are abundant suggests an opportunistic choice of the bone fragment and its intentional modification into a tool by Neanderthals," Doyon said. "It was long thought that before Homo sapiens, other species did not have the cognitive ability to produce this type of artefact. This discovery reduces the presumed gap between the two species and prevents us from saying that one was technically superior to the other."
More information: Luc Doyon, Geneviève Pothier Bouchard, and Maurice Hardy published the article "Un outil en os à usages multiples dans un contexte moustérien," on December 15, 2014 in the Bulletin de la Société préhistorique française.


Stalking is the intentional conduct in which a person repetitively harasses another through various means, against their will and causes the victim to be in fear. Stalking will apply to more than one incident and is typically viewed as a behavioral pattern. Have you or someone you know been arrested for stalking or harassment in Michigan? If so, a Michigan criminal defense attorney at Freedman Law Group may be able to help. Since 1994, our firm has been representing clients in all types of criminal cases. We are dedicated to providing principled but tenacious criminal defense representation to each and every one of our clients by way of personalized attention and aggressive legal counsel.
Most Michigan stalking offenses are charged as misdemeanors, with maximum penalties of up to 1 year in prison and fines of up to $1,000. However, in certain circumstances a defendant may face felony charges and increased penalties. Stalking a victim under the age of 18, for example, is a felony punishable by up to 5 years in prison and fines of up to $10,000. The court may also impose counseling and anger management, as well as a restraining order that will prohibit any further contact with the victim. A restraining order may also prohibit the alleged stalker from coming within a certain distance of the victim, the victim's home and the victim's place of employment.
Talk to a Michigan criminal defense attorney if you were arrested!
All the penalties mentioned above may have lasting consequences on a person's reputation, ability to obtain and keep employment, and personal relationships. A defendant's life may never be the same after being convicted of stalking. The right attorney can protect your rights. You deserve competent legal counsel, no matter what offense you have been accused of committing. In working with an attorney at Freedman Law Group, you can feel confident that your case is in good hands. Contact a Michigan criminal defense lawyer today to get started!


These highly concentrated flavourings are considered some of the best in the baking world. Use 1/4 to 1/2 tsp when substituting for 1 tsp of regular extract. For use in hard candy, chocolate, candy centers, fondant, buttercream, fudge, cake, cookies, brownies, and sweet breads. These flavourings are gluten free, kosher, sugar free, and contains no vegetable oil.
Powdered flavour is a great substitute for liquid extract. Tastes great in fondant, icing, candy and more.
-1/4tsp per lb of buttercream, fondant, chocolate and hard candy.
Flavour gets stronger as it rests.


Last weekend's first ever Astoria StitchFest was a delight. It was a small event, but very nice. The weekend began with a delightful Stitch Feast at the Baked Alaska, right on the river. We had a little show-and-tell fashion show after dinner.
The classes were held in the light and bright rooms above the Liberty Theater, across from the historic Hotel Elliott. Mary Scott Huff and I taught knitting, and Laurinda Reddig taught crochet. I taught Cast On Bind Off, Slip Stitch Cowl Design, and Blocking: It's Magic. I think everyone went home with new skills.
I had a free afternoon, so I sat in on Mary Scott Huff's Sassy Selbuvotter class. She is a fabulous teacher, and also fun to hang out with! Here's the beginning of my mitten.
Classic Selbuvotter (mittens in the traditional style of the town of Selbu, Norway) have a gusset thumb, but these sassy mitts will only have a slot thumb. I was curious about Norwegian mittens, because I had knit these many years ago.
These are the Selbu Mittens from Folk Mittens by Marcia Lewandowski. The have a fake gusset (no increases, just patterning to look like a gusset) and a slot thumb. They're kind of a mix of thumb techniques. My next Selbuvotter will have a traditional, real thumb gusset, because I like the way they fit!
Astoria sits at the confluence of the Columbia River and the Pacific Ocean. It's a fun mix of the old and the new. I didn't have a lot of time to explore, but I popped on down to Coffee Girl for lunch on Saturday because my singing buddy Claudia loves it, and used to sing there.
I didn't realize that Coffee Girl is right on a pier that houses the West's oldest cannery building.
I worked at a salmon cannery on Kodiak Island for five summers to pay for college. We even canned for Bumble Bee. This brought back all sorts of memories.
We didn't look quite like this, but aprons, hair nets, and steel toed rubber boots were the uniform!
Canneries were a big part of Astoria's history. Even the waste baskets on the streets downtown acknowledge this.
which was a great place to relax.
The sitting room had a view of the Columbia River, and the bridge that crosses to Washington.
Many thanks to Bonnie Lively and LeAnn Meyer, the organizers of Astoria StitchFest. I had a fabulous time, and hope that all the participants did, too. I'd love to do this again next year, and you should come, too!
This entry was posted in events, Knit, travel and tagged Astoria, Astoria StitchFest, classes, Knit, Laurinda Reddig, Mary Scott Huff, mittens, selbuvotter, teaching. Bookmark the permalink.
Sounds like a fabulous event! Coffee Girl seems to have changed a lot since we were there a month or so ago! We'll have to check it out on our next visit!
Not sure it's different; I just walked around outside to the front of it (facing the river). But you tell me; it was my first visit!