text:
Top flight deals to Palermo (PMO)*
Fly to Palermo with KLM
Together with our global network, we as KLM Royal Dutch Airlines offer flights to Palermo, serving Falcone-Borsellino Airport (PMO). Fancy taking a break and heading to the beautiful streets of Sicily? We offer many convenient flights to the city of Palermo. Book your flight today to get your holiday underway.
Top Palermo attractions
- Cappella Palatina: a church famous for its beautiful mosaic works.
- Palazzo dei Normanni: an ornate 9th-century palace.
- Catacombe dei Cappuccini: dating from the 16th century to the 1920s, this burial chamber is home to 8.000 corpses.
- Teatro Massimo: Italy's largest opera house.
- Quattro Canti: a grand octagonal plaza with four statue-adorned fountains.
What's the best way to get around Palermo?
You're better off exploring Palermo on foot or by bicycle, as the streets are easily navigated and the main attractions are close by. If you do want a quicker mode of transport, there are a few buses you can catch. The City Sightseeing bus is recommended for those wanting to move around the attractions.
What's the weather in Palermo?
Bask in the sunshine between the months of June and October, when temperatures are above 20°C (68°F). Palermo can be a great winter getaway too, with the coldest average temperature being a pleasant 13°C (55°F) in January. If you want to stay dry on your trip, you may want to stay clear of Palermo in November – it rains almost every day at that time of year!
Weather in Palermo
Powered by: OpenWeatherMap.org
30 °CTuesday11/08/2020
31 °CWednesday12/08/2020
32 °CThursday13/08/2020
35 °CFriday14/08/2020
33 °CSaturday15/08/2020
34 °CSunday16/08/2020
33 °CMonday17/08/2020
*All amounts are in INR. Taxes and carrier surcharges included. No booking fee applicable.


text:
B.J. Hoeptner Evans
Manager, Media Relations and Publications
Phone: (719) 228-6800
E-Mail: email@example.com
For the U.S. Men's 2010 World Championships Media Guide, click here.
COLORADO SPRINGS, Colo. (Oct. 2, 2010) – The U.S. Men's National Volleyball Team is one of the final 12 team still playing at the FIVB World Championship and will travel to Rome on Sunday to play in a three-team pool with France and host Italy.
After the U.S. Men finished 1-1 in Pool L, they had to wait for the results of Saturday's match between Czech Republic and Cameroon to find out for sure if they would advance. Czech Republic swept the Africans, 25-17, 25-18, 25-17 on Saturday to win the pool with a 2-0 record. Cameroon was eliminated from the tournament as the third-place team in pool.
However, there will be no more eliminations as the final 12 teams, which have been broken into four pools of three, will play to the end of the tournament. The United States will open in Pool O on Monday (Oct. 4) against France at 8 a.m. Pacific Time (5 p.m. in Italy). It will face host Italy on Tuesday (Oct. 5) at noon PT. Italy and France will play each other on Wednesday at noon PT.
The team that wins the pool will stay in Rome and play in the World Championship semifinals with the other three pool-winning teams. The second-place team will travel to Modena to play against the other second-place teams for fifth-eighth place. The third-place team till go to Florence to play for ninth-12th place against the other third-place teams.
The U.S. Men are being led in scoring by opposite Clay Stanley (Honolulu, Hawaii), who has 93 points on 72 kills, seven blocks and 14 aces. He is fifth among all scorers and his 14 aces put him second among all servers. U.S. libero Rich Lambourne (Tustin, Calif.) is eighth among all diggers with 43 for an average of 2.15 per set. Lambourne is fourth among all liberos with 116 "excellents" and 24 faults on 186 attempts.
France has a 4-1 record at the World Championship and advanced as the second-place team out of Pool M where it beat Japan (25-19, 25-22, 25-23), but fell to Argentina, 3-1 (25-22, 16-25, 25-14, 25-19). France went undefeated in its opening pool, defeating Czech Republic (25-19, 22-25, 25-21, 24-26, 15-10), China (25-17, 25-20, 25-19) and Bulgaria (25-22 23-25 25-17 28-30 19-17).
France's leading scorer at the World Championship has been outside hitter Antonin Rouzier (6 feet, 7 inches), who is eighth among all scorers overall. Rouzier has 88 points on 75 kills, eight blocks and five aces. Following Rouzier are outside hitter Earvin Ngapeth (6-3) and opposite Nicolas Marechal (6-6) who each have 47 points.
Philippe Blain has coached France since 2001.
The last time the United States faced Poland was in the 2007 World League. The U.S. Men went 2-2 against France in pool play and then swept it in the first match of the Final Round. Team USA has a 36-16 record against France since 1981.
Italy has a 5-0 record at Worlds and advanced as the first-place team out of Pool G where it defeated Germany (21-25, 25-18, 25-21, 25-18) and Puerto Rico (25-22, 25-16, 18-25, 25-21).
In its opening pool, Italy topped Japan (25-2, 25-16, 25-14), Egypt (25-20, 25-17, 25-23) and Iran (25-21, 25-10, 21-25, 26-28, 15-13).
Italy has been led in scoring at Worlds by opposite Alessandro Fei (6-8), who has 61 points on 49 kills, 10 blocks and two aces. Outside hitter Simone Paradi (6-5) has 58 points on 47 kills, 9 blocks and two aces. Parodi is 10th among all spikers with a success percentage of 54.65.
Italian middle blocker Luigi Mastrangelo (6-7) is third among all World Championship blockers with 17 for an average of 0.89.
The last time the United States faced Italy, which is coached by Andrea Anastasi , was in the 2009 World League where the U.S. Men went 3-1 against Italy in pool play. However Italy leads the overall series with the United States with a record of 23-38 since 1981.
To reach the 2010 FIVB Men's World Championship page, click here.
2010 FIVB World Championship
Sept. 25-Oct. 10 in Italy
U.S. Roster
(Each team can bring up to 14 players. Prior to each match, 12 players are chosen to play)
No. Name (Position, Height, Hometown, College)
1 Matt Anderson (OH, 6-10, West Seneca, N.Y., Penn State)
2 Sean Rooney (OH, 6-9, Wheaton, Ill., Pepperdine)
4 David Lee (MB, 6-8, Alpine, Calif., Long Beach State)
5 Rich Lambourne (L, 6-3, Tustin, Calif., BYU)
6 Paul Lotman (OH, 6-7, Lakewood, Calif., Long Beach State)
7 Jonathan Winder (S, 6-8, Irvine, Calif., Pepperdine)
8 Reid Priddy (OH, 6-5, Richmond, Va., Loyola Marymount)
10 Riley Salmon (OH, 6-6, League City, Texas, Pierce College)
13 Clay Stanley (OPP, 6-9, Honolulu, Hawai'i, Hawai'i)
14 Kevin Hansen (S, 6-5, Newport Beach, Calif., Stanford)
15 Russell Holmes (MB, 6-8, Fountain Valley, Calif., BYU)
16 Carson Clark (Opp, 6-5, Santa Barbara, Calif., UC Irvine)
17 Max Holt (MB, 6-9, Cincinnati, Ohio, Penn State)
19 Alfee Reft (L, 5-10, Oxnard, Calif., Hawai'i)
Head Coach: Alan Knipe (Huntington Beach, Calif.)
Team Leader: Greg Vernovage (Susquehanna, Pa.)
Assistant Coach: Gary Sato (Los Angeles, Calif.)
Trainer: Tom Hoff (Park Ridge, Ill.)
Technical Coordinator: Chris Jackson (Phoenix, Ariz.)
Team Doctors: Andrew Gregory (Nashville, Tenn.) and Keith Feder (Manhattan Beach, Calif.)
Medical Support: Aaron Brock (Storm Lake, Iowa)
Pool O Schedule (in Rome; all times PT)
Oct. 4: USA vs. France, 8 a.m.
Oct. 5: USA vs. Italy, noon
Oct. 6: France vs. Italy, noon
Pool L Results (Ancona)
Sept. 30: Czech Republic def. USA, 25-19, 25-22, 25-22
Oct. 1: USA def. Cameroon, 23-25, 25-14, 25-27, 25-20, 15-7
Oct. 2: Czech Republic def. Cameroon, 25-17, 25-18, 25-17
Pool L Final Standings
Rank Team (Matches Won-Lost) Points; Point Ratio
1. Czech Republic (2-0) 4; 1.304
3. Cameroon (0-2) 1; 0.771
Pool D First Round Results (Reggio Calabria)
Sept. 25: Argentina def. Venezuela, 25-23, 25-17, 25-18
Sept: 25: USA def. Mexico, 22-25, 19-25, 25-18, 25-22, 15-11
Sept. 26: Argentina def. Mexico, 25-12, 25-19, 17-25, 25-15
Sept. 26: USA def. Venezuela, 25-19, 25-23, 25-19
Sept. 27: Mexico def. Venezuela, 25-22, 25-20, 25-20
Sept. 27: USA def. Argentina, 22-25, 27-25, 25-22, 25-20
Pool D Final Standings
Rank Team (Matches Won-Lost) Points; Point Ratio
2. Argentina (2-1) 5; 1.136
3. Mexico (1-2) 4; 0.950
4. Venezuela (0-3) 3; 0.804

subset: commoncrawl


text:
OAK CREEK, WI — As speculation over whom Mitt Romney might choose as a running mate reaches a fever pitch, one of the Republicans rumored to be on the short list — Wisconsin Rep. Paul Ryan — is going on vacation.
Ryan told reporters here that he is taking his family to Colorado, beginning Saturday, for a weeklong trip during the summer congressional recess.
"I'm just doing my August schedule as I planned my August," Ryan said, adding that he will first spend the next two days campaigning in Northwest Wisconsin for local candidates.
Friday, Ryan said he will spend the day in his native Janesville preparing for his trip by getting his tent and backpack ready.
Meanwhile, speculation has grown surrounding just when Romney will name his No. 2 has grown; some believe it could come as early as this week. That, presumably, would take Ryan out of the equation if he maintains his current schedule and heads to Colorado.
Ohio Sen. Rob Portman and former Minnesota Gov. Tim Pawlenty, who are seen as the other top VP contenders, are campaigning for Romney this week. Portman has five events Wednesday in Colorado while Pawlenty has scheduled events in Michigan and New Hampshire through the end of the week. Romney kicks off a four day, four state bus tour on Saturday.
While Ryan's name has been mentioned more and more in the past few days, the congressman brushed that off.
"I think that's just because of the convention. Its volume," he said while greeting folks at Oak Creek's National Night Out event.
Ryan commonly refuses to discuss his VP chances — as he did tonight when a constituent asked him about it — but said Tuesday night he will definitely attend the GOP convention in Tampa.
"Scott [Walker], our governor, we're doing a beer and brats thing," the congressman said, adding that he wasn't sure whether he would have a speaking position at the convention.
"My staff has talked to Reince [Priebus]. I haven't talked to Reince," Ryan said of the Republican National Committee chairman and fellow Wisconsinite."I haven't talked to Reince in awhile."
Ryan was scheduled to speak at a vigil later Tuesday night to honor the victims of the shooting at the Sikh Temple Sunday in his district.


text:
Correcting an earlier misconception we reported: NBA 2K12 will offer codes for two classic teams, the 1990-91 Golden State Warriors and the 2001-2002 Sacramento Kings. These codes will be printed and inserted into all retail copies of the game, and will be available through all retail outlets, but there will be a limited supply of them. Once the codes run out, the game will ship copies without them.
Kotaku had erroneously reported this was a preorder bonus through a specific retailer. It is, of course, meant to give incentive to buy the game on the day of release or close to it. The exact number of codes to be distributed was not specified.
Including these two, there are 34 classic teams that are unlockable and playable in NBA 2K12; while there are 15 "Greatest Ever" matchups comprising 30 teams, two of them are additional Jordan-era Chicago Bulls teams that are unlocked for defeating the 1993 Charlotte Hornets with the 1993 Bulls. The extra Bulls teams were seen in last year's NBA 2K11.


text:
China's parliament opened its annual meeting here on Tuesday amid high hopes that the new government it will choose will tackle long-awaited economic reforms and rampant official corruption.
But Xi Jinping, the ruling Communist Party leader who is due to be elected as China's president next week, and Li Keqiang, who will become prime minister, will face daunting obstacles as they seek to launch a new economic era at home and meet their citizens' increasingly vocal demands for improved livelihoods.
"Expectations are high that the new leaders are for real when they talk about clean government and reforms," says Wang Zhengxu, an analyst at Nottingham University's China Policy Institute, in Britain. "But resistance from those who want to block reform will be very serious."
The 2,987 delegates to the National People's Congress will play a largely ceremonial role as they listen to speeches, reports, and deliberations over the next 12 days at the flag-bedecked Great Hall of the People on Tiananmen Square.
No National People's Congress vote has ever gone against a government proposal, and no candidate for high office put forward by the Communist Party has ever been turned down.
Though Mr. Xi and Mr. Li are shoo-ins for their new jobs, their elevation is not without significance. It marks the smooth culmination of a once-in-a-decade transfer of power – only the second time in modern Chinese history that such an institutional transition has been achieved.
Reorienting the economy
Xi and Li will take the helm of a country that has enjoyed average annual gross domestic product growth of 10.5 percent for a decade, which has transformed the Chinese economy into the second largest in the world. But "raw growth is not enough anymore and is anyway bound to slow down," says Kerry Brown, head of China Studies at Sydney University.
As the economy cools (in his opening speech to the People's Congress Tuesday, outgoing Prime Minister Wen Jiabao predicted 7.5 percent growth this year,) the new government will have to reorient it away from dependence on heavy state investment and exports and toward the more sustainable foundation of domestic consumption.
At the same time, Chinese economic reformers have been insisting for some time that for the sake of efficiency the government has to stop coddling the giant state-owned enterprises that enjoy monopolies over the "commanding heights" of the economy, and start giving private companies a greater chance to compete.
"The rise of state capitalism has been strangling private enterprise, which is the real source of long-term economic growth," says Zhang Jian, who teaches politics at Peking University.
Cutting state-owned firms down to size, though, would be more than an economic challenge. The development in recent years of a "crony capitalist" system, in which senior Communist officials have used their political power to channel control over economic resources – and great wealth – to their relatives, means that reforming the state sector would directly challenge the interests of powerful political figures.
"The major difficulty that the government faces if it wants to do something is the establishment, the entrenched interests in government and in the political-business alliance," says Professor Zhang.
'Smashing vested interests'
"The difficulty of effecting reform and the difficulty of fighting corruption are two aspects of the same problem," adds Nottingham's Professor Wang. Since being made head of the Communist Party last November, Xi has spoken often of his determination to root out corruption, which he has warned threatens to destroy the party. In recent months there has been a rash of officially sanctioned citizen reports on social media that have brought down some dishonest and womanizing local officials.
Xi's words "have raised expectations, so there must be a policy response," says Dr. Brown. It is still unclear, however, whether the incoming president plans a traditional "strike hard" campaign targeting individual officials, such as previous governments have waged, or whether he intends to launch "a broader effort to rein in vested interests within the party," Brown adds.
"Smashing vested interests … will be a critical battle for the next government," he adds. "The question is whether they have the political capital to fight their own party" which harbors so much corruption.
High ambitions, hard goals
"The new government has high ambitions but its goals will be hard to fulfill because the crony group is such a big obstacle," argues Hu Xingdou, a well-known political and social commentator. "I am not optimistic."
Key political decisions in China are made not by the government, but by the seven-man Standing Committee of the Communist Party's Politburo, of which Xi and Li are the two most senior leaders.
The Standing Committee "may be better educated and closer to the people" than its predecessors, suggests Jiang Wenran, a China-watcher at the University of Alberta in Edmonton. "But its members were chosen for continuity rather than radical change."
At the same time, Xi finds himself in the unprecedented position of having not one but two of his predecessors in presidential office still alive. Both outgoing President Hu Jintao and Jiang Zemin will be seeking to wield influence behind the scenes, predicts Zhang, meaning that Xi will have to win understanding for his policies from them.
"Neither of them is Pope Benedict XVI," who has pledged that in retirement he will stay out of Vatican business, Zhang jokes.
No major policy decisions are expected at this parliamentary session; instead, analysts are waiting for the next plenary session of the Communist Party's Central Committee next autumn, giving the new government several months to draw up its key policies.
"They have seen the problems … and they are quite serious about reforms," says Wang. "The key is how skillful they will be in pushing them through."


text:
We like them boyz with them rubber band bands.
He move weight keep a couple gram grams
So (so so so) where your money put it in your hand hands
Now (now now now) make it flip make it do a handstand. (twice)
Do a handstand can you do a hand stand flip that
Money make it do a handstand. I can make him
Scream like a stomach? where are my bands
Where my rubber band mans
[Verse 1: Nicki Minaj]
It's offical bang your pistols play your money it's funny
I mean it tickles. I need a D-boy I need a president and
If your spending them stacks I need some evidence.
Then you can bring out all them cars that they rap bout.
Then I'm a let you eat it like I put the snacks out. don't say
You can't say you can say you can can flip that money
Flip it like a handstand.
Do a handstand can you do a handstand flip that money
Make it do a handstand. I can make him scream like a
Stomach? where are my bands where my rubber band mans
[Verse 2: Shannell]
He's a banker by nature he'll call and slick of the debt that
You owe and thank ya. he'll switch the toys out never the
Same route. but niggas acting like they ain't about to pay out.
Taking me out just to ask how my day went. tryna show me I'm his
Number one investment. he kno what I like. stay on your job type.
I'll pop if you can pop like? rubber bands
[Verse 3: Nicki Minaj & Shannell]
Cause we like them bad boys and bad cars
Them hood rich dope boyz and trap stars. [x2]
[Verse 4: Shannell]
See I'm a rubber lover so wrap it and I'll hug ya.
Then we can stick together like them dollars
Out the printer. bad boys I catch call me
Undercover. street grindin cold cut motherfucker.
[Verse 5: Nicki Minaj]
Yo yo yo he flip like handstand he cookin them 10 grams.
Give him the grand slam in back of the phan dam,
I mean the phantom. I can't stand bums. somethin bout
His money make a nigga handsme. cuff cuff throw ya badge on me.
Guaranteed you can't puff puff pass on me. we can crush crush
You can set your stach on me. cause I kno you want to smach it
Like a crash dummy


text:
VANCOUVER — Religious believers distrust atheists more than members of other religious groups, gays and feminists, according to a new study by University of B.C. researchers.
The only group the study's participants distrusted as much as atheists was rapists, said doctoral student Will Gervais, lead author of the study published online in the Journal of Personality and Social Psychology.
That prejudice had a significant impact on what kinds of jobs people said they would hire atheists to do.
"People are willing to hire an atheist for a job that is perceived as low-trust, for instance as a waitress," said Gervais. "But when hiring for a high-trust job like daycare worker, they were like, nope, not going to hire an atheist for that job."
The antipathy does not seem to run both ways, though. Atheists are indifferent to religious belief when it comes to deciding who is trustworthy.
"Atheists don't necessarily favour other atheists over Christians or anyone else," he said. "They seem to think that religion is not an important signal for who you can trust."
The researchers found that religious believers thought that descriptions of untrustworthy people — people who steal or cheat — were more likely to be atheists than Christians, Muslims, Jews, gays or feminists.
Gervais was surprised that people harbour such strong feelings about a group that is hard to see or identify. He opines that religious believers are just more comfortable with other people who believe a deity with the power to reward and punish is watching them.
"If you believe your behaviour is being watched (by God) you are going to be on your best behaviour," said Gervais. "But that wouldn't apply for an atheist. That would allow people to use religious belief as a signal for how trustworthy a person is."
Religious belief is known to have a variety of social functions. Past research has found that common religious beliefs can promote co-operation within groups.
Gervais started his line of inquiry about the exclusion of atheists after seeing a Gallup poll that suggested the majority of Americans would not vote for an atheist presidential candidate. Gervais and his colleagues conducted a series of six studies on a group of 350 American adults and a group 420 UBC students.
But even in more secular Canada, distrust of atheists ran high.
"We see consistently strong effects," he said. "Even here in Vancouver, our student participants still say atheists are really untrustworthy."


text:
Watch CBSN Live
Most artists only dream of having a
year as big as Pharrell Williams has had. He
sang and co-wrote Daft Punk's summer smash, "Get Lucky"; produced and co-wrote Robin Thicke's
mega-hit "Blurred Lines"; and had his first solo hit, the Oscar-nominated "Happy."
"Does it feel different having a
huge hit with your name on it?" asked correspondent Anthony Mason.
"It's super weird," he
replied. "Because I'm used to being the guy standing next to the guy. I
was happy being that guy!"
Credit: Kevork Djansezian/Getty Images
Born in 1973, Pharrell Williams grew up in Virginia Beach, Va., the son of a handyman and a teacher. His grandmother urged him to get serious about music, so he went to summer band camp and joined the school band.
"And that's where I met my first music teacher, Mrs. Warren," Pharrell told CBS News' Anthony Mason. "And then I met my other band teacher, Mr. Warren. And then there was Mr. Edwards and there was Mr. Sharps."
"You remember them all?"
"Yes, I do. And Ralph Copley had taught me how to play the drum set. My story is the average story, you know. It's just filled with special people."
"You're giving everybody else credit."
"Well, what am I without them?"
Credit: Courtesy of Pharrell WIlliams
Credit: Scott Gries/ImageDirect
Credit: Scott Gries/Getty Images
Credit: Frank Micelotta/ImageDirect
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Credit: Frank Micelotta/Getty Images
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Credit: Rosie Greenway/Getty Images
Credit: Christopher Polk/Getty Images for Motorola
Credit: Victor Boyko/Getty Images
Credit: Dimitrios Kambouris/Getty Images for Made With Elastic
Credit: Mark Davis/Getty Images
Credit: Mark Davis/Getty Images for BET
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Credit: Larry Busacca/Getty Images for NARAS
Credit: Kevin Winter/Getty Images for NARAS
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Credit: Mark Metcalfe/Getty Images
Credit: Dimitrios Kambouris/Getty Images for Nickelodeon
For more info:
"Girl" by Pharrell Williams (Columbia); Available
at Amazon and iTunes
24 Hours of "Happy"
Follow Pharrell Williams on Twitter, Facebook and YouTube
Credit: Bradley Kanaris/Getty Images


text:
Thank you for your interest in this seminar. Registration is optional, however, you can let us know you're coming by completing the form below.
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text:
Deep Throat: When the client puts his entire erect penis deep into the escort's mouth, past the epiglottis, and down the throat. This is a form of fellatio or oral sex. For deep-throating, the penis has to be long enough so that it can reach the back of the escorts's throat.
It is difficult for most escorts to perform deep-throating, due to the natural gag reflex. Different people have different sensitivities to the reflex and with practice some people learn to suppress it. Some escorts may use cough spray or suck on sore throat pills to help deaden their throats before attempting this.


text: < MultimediaRevision as of 18:00, 31 January 2010 by Laidig (talk | contribs)(diff) ← Older revision | Latest revision (diff) | Newer revision → (diff) Contents 1 General Organisation 1.1 Dates 1.2 Location 1.2.1 How to get there 220.127.116.11 Important Notice 1.2.2 Accomodation 18.104.22.168 Hiking 1.3 Attendees List 2 Topics 2.1 Multimedia 2.2 Edu 3 Links General Organisation Dates The Sprint will be held from May 20th to May 25th 2010, with the following basic schedule: 20.5. arrival, starting from 16:00 local time (Thursday) 21.5. sprint (Friday) 22.5. sprint (Saturday) 23.5. sprint (Sunday) 24.5. sprint (Monday) 25.5. departure, before 11:00 local time (Tuesday) Location The village of Randa, Switzerland How to get there Randa and Switzerland is in the middle of Europe and as this reachable from several directions. There are three possible airports: Zurich, Switzerland By train via Zurich and Visp (change the train there). Duration: slightly more than 3 hours Geneva, Switzerland By train via Visp (change the train there). Duration: 3 and a half hours. Milano Malpensa, Italy By train via Visp (change the train there). Duration: atm unknown. Still investigating. The track from Visp to Randa is frequented by a very famous train: the Glacier Express which is known as slowest fast train of the world ;-). From these airports you'll take the trains to reach Randa (which takes approx. 3 hours). Information about the train schedules can be found on the webpage of the Swiss federal railways SFR. Important Notice If you take the train from either the Swiss border or one of the Airports to Randa, you can get a reduced price ticket, called the "Swiss Transfer Ticket 2nd Class". The validity is one month. It has to be ordered on this website: http://www.swisstravelsystem.com/produkttexte.php?passid=3 The return ticket fare is Fr. 127.- for both ways (a normal price return ticket 2nd class form Geneva Airport would be Fr. 170.-, one form ZH Airport Fr. 218.-). Accomodation The house Floorplan The floorplan indicates that we can use: Basement: 1 large dining room (14 x 5 m) 1 meeting room (6 x 5 m) Parterre: 1 large dining room (14 x 5 m) 1st floor: 1 meeting room (3 x 4 m) 6 single rooms 1 triple room 1 dormitory for 8 (bunk beds) 1 dormitory for 14 (bunk beds) 2nd floor: 1 meeting room (5 x 6 m) 5 single rooms 2 family rooms (2 beds + 2 bunk beds) 1 dormitory for 8 (bunk beds) 1 dormitory for 14 (bunk beds) 3rd floor: 1 meeting room (5 x 6 m) 4 single rooms 1 double room 2 family rooms (2 beds + 2 bunk beds) 1 dormitory for 8 (bunk beds) 1 dormitory for 14 (bunk beds) 4th floor (Attic) : 1 meeting room (13 x 12 m) 1 meeting room (5 x 5 m) There is no elevator! The pricing is as follows (all prices -20% since it is in the low season): Prices are always /bed/night children aged 2 - 6 in parents room aged 2-20 over 20 Dormitory / Bunk Beds Fr. 6.50 Fr. 13.00 Fr. 15.10 Rooms Fr. 6.50 Fr. 21.50 Fr. 21.50 Additional mandatory costs per person/night (local tax): age 2 - 16 -> Fr. 0.55 over 16 -> Fr. 1.10 Additional one time costs per person (doesn't apply if you come with a sleeping bag): Bed linen -> Fr. 30.00 Additional cost flat rates (for the whole group, of course): Heating per day -> Fr. 75.00 Kitchen use per week -> Fr. 200.00 Please do not add those prices to your travel cost estimation in the list below. Hiking Don't forget your walking shoes! Attendees List The column "Sponsoring needed?" is to know if you need sponsoring or if you pay the travel/stay by yourself. Please keep in mind that food and drinks are not sponsored. Switzerland is rather expensive in that regard but we have already found a way to lower the costs. A cooking plan will follow, so please be precise on your food habits (especially important for vegans/vegetarians or people with food allergies). Name email Project Arrival Departure Airport Flight Food preferences Room preferences Estimated travel costs Sponsoring needed? Work Special Myriam Schweingruber myriam AT kde DOT org Amarok 20.5. 25.5. none by car no Brazil nuts or Kiwi room 12 (I need my sleep) 20 € yes Organization, bug triaging for Amarok and Phonon will use my car for transportation (food shopping, etc.) Mark Kretschmann kretschmann AT kde DOT org Amarok 20.5. 25.5. none by car eats everything room 14 (I snore) 20 € yes Organization, Amarok developer none Mario Fux mario AT unormal DOT org KDE 20.5. 25.5. none by train eats everything at least once Chalet yes Organization Martin Sandsmark sandsmark at samfundet dot no Phonon 20.5. (tentatively) 25.5 (tentatively) Zurich TBA No mushrooms no 330 € yes maintainer, code monkey yes Fathi Boudra fabo at kde dot org Phonon VLC 20.5 25.5 no pork no ? yes Phonon VLC backend maintainer, developer Téo Mrnjavac +1 teo ( a t ) getamarok ( d o t ) com Amarok 20/5 25/5 none by car 2 vegans 33 190€ yes Amarok developer jb VLC Beat Wolf Franklin Zura Dan Leinir admin AD leinir DOT dk Amarok, Gluon 20.5 25.5 Zurich SAS/train Just about anything None EUR 260 (flights) + train from Zurich (help?) Yes Usability guy on Amarok, part of Gluon (game engine) development team Bart Cerneels Amarok Christian Esken esken aT kde dot org KMix Room 17 no Main developer of KMix Nikolaj Hald Nielsen nhn AT kde DOT org Amarok 20.5 25.5 Zurich Preferably a single room ~ 190 Eur + train from/to zurich Yes Amarok developer Harald Sitter apachelogger AT ubuntu DOT com Kubuntu ? ? ? ? None room 25 ? yes Downstream (implemenation) ? Sven Krohlas Amarok 20.5. 25.5. none by train none no 100-150€ yes Amarok promo/development, Free Music Charts - Sabine Emmy Eller s.eller at voxhumanitatis dot org Vox Humanitatis, KDE Edu 20.05 25.05 Milano Malpensa Easyjet - 36 to date (27.01) 180 EUR variation upwards possible depending from booking date yes Bèrto 'd Sèra berto.d.sera at gmail dot com Vox Humanitatis, KDE Edu 20.05 25.05 Torino Alitalia - 37 500 EUR (some exact prices are missing - estimated) yes Casey Link unnamedrambler a-t gmail dot(.) com Amarok 20.5 25.5 GVA TBA Gluten allergy - meat preferred cheapest 1050 EUR = 800 flight, 170 other transport, 80 accomodation Yes! Please! Amarok Developer Student, can only come if funded Kevin Funk krf at gmx dot de Amarok 20.5 25.5 none by car eats everything (at least twice) room 22 100€ yes Amarok development Journey goes from Saarbrücken (DE) to Randa (so if someone needs a pickup, just ask) Anne-Marie Mahfouf annma AT kde DOT org KDE Edu 20.05 25.05 Geneva Easy Jet eats everything 11 €150 yes KDE-Edu overall, GHNS, organization, work with Vox Humanitatis people Patrick Spendrin ps_ml AT gmx DOT de KDE Edu, KDE on Windows 20.05. 25.05. eats everything any 200€ yes *.* apol [email protected] KDE Edu eats anything any 150-200€ yes KAlgebra, Kamoso Jeremy Whiting jpwhiting AT kde DOT org KDE Edu 20.05 25.05 Geneva British Airways eats anything any $950 USD yes GHNS, Edu Daniel Laidig d.laidig AT gmx DOT de Parley ? ? ? ? none none ~ 250 € Yes Parley developer Alessandro Diaferia Jens-Michael Hoffmann 150 EUR + accommodation yes Vladimir Kuznetsov Christoph Pfister christophpfister gmail com Kaffeine 20.05. 25.05. none by train none don't care Fr. 66.- no maintainer Michał Małek michalm AT jabster DOT pl K3b 20.05 25.05 Zurich Lufthansa none none ~330€ yes K3b developer Thorsten Rahn Marble Helio Castro Ian Monroe Alex Fiestas Kamoso Glen Kaukola Sebastian Trüeg Nepomuk No Andrew Lake Lydia Pintscher lydia kde org Amarok/KDE edu/... ? ? ? ? none room 27 ~ 250 Euro yes ? ? Frederik Gladhorn gladhorn kde org edu, friends of Amarok, Nepomuk interested 20.5. 25.5. eats everything room 26 200 Euros yes KDE, Edu, GHNS, stuff Alexandre Freitas admin AT alexandref DOT com Amarok / KDE EDU ? ? ? ? No preferences around US$ 1000 yes Graphic Designer / KDE Promo Team Brazil Tomaz Canabrava [email protected] KDE EDU ? ? ? ? No preferences around US$ 1000 yes Developer / KDE Promo Team Brazil Martin Aumüller aumuell AT reserv DOT at Amarok 20.05 or 21.05 25.05 none by train room 10 (with Mxcl and Muesli) Amarok developer Jean-Baptiste Mardelle jb AT kdenlive DOT org Kdenlive 20.05 or 21.05 25.05 none by train vergetarian Kdenlive developer Simon Eugster simon DOT eu AT gmail DOT com kdenlive 2010 2010 — — Kind of vegetarian 0 no uh … kdenlive? cooking? ;) Not 100 % sure yet. (perhaps exams) Jonas vejlin jonas.vejlin AT gmail DOT com Junior jobs where need most 20.05 25.05 food a noise free room (I also need my sleep) 200 EUR if you can spare Junior jobs Daniel Dewald + 1 Daniel.Dewald at time-shift dot de Amarok 20.5 25.5 by car No Fish 21 (for both of us) 100 EUR yes (if possible) Amarok developer Not 100% due to Thesis and exams George Kiagiadakis kiagiadakis.george AT gmail.com KCall 20.5 25.5 Geneva TBA Eats everything No preferences Around 600 € yes, if possible KCall / QtGstreamer developer Colin Guthrie cguthrie AT mandriva.org Phonon/KMix 20.5 25.5 Geneva TBA Vegetarian No preferences Flight €60-€170 (depends on times) + Train €110/162CHF (I think) Yes PulseAudio integration Arjen Hiemstra aw DOT hiemstra AT gmail DOT com Gluon 20/05 25/05 Basel Swiss or KLM Vegetarian No preferences Flight 100 Euro + Train 80 Euro Yes Gluon Integration, Phonon integration in Gluon, various bugfixing Nicolas Réau thelwyn @T gmail HOT com Parley ? ? Geneva Easyjet Whatever Whatever 150-200€ Yes Parley, or any junior job around :) Topics Multimedia Edu The Edu team will plan and manage this page: KDEEdu/Sprint2010. Links Link to the Mailinglist thread Doodle link Retrieved from "https://community.kde.org/index.php?title=Multimedia/Sprint2010&oldid=1537" Content is available under Creative Commons License SA 4.0 unless otherwise noted.


text:
Just a passing remark from the border. It sounds pretty good to me. How about it? Im fine.
Poem printed on the front of postcard
We joined the militia in the old home town
For the fun to be had each year at the camping ground;
Little thinking as we took the oath in the armory hall,
That quite so soon would we hear the call
To pitch our tents and take our stand
Way down in Texas on the Rio Grande,
There to guard the line with a watchful eye
To see that no Villa bandits pass us by.
And so Texas we're here we'll say
To do our duty and draw our pay
We're here from almost every state—
From Maine to where the sun sets at the Golden Gate,
From up in Washington on the sound,
Down to where the Florida alligators abound.
Some of us came willingly, others not,
But each and all must accept our lot
And do the drilling and standing guard
Although some times we find it hard
To be content with the army chow
Of bacon and beans and some canned cow.
But there are times when it's not so bad
For there are days when there is fun to be had
And then some evenings down town we stray
And have a good feed at some café,
While some who enjoy their cigars and wine
Find other ways to spend their time
Then back to camp we go feeling fine
Not so sorry to be guarding the line.
Now cheer up boys there'll come a day
When these Mexican troubles will have cleared away
Then back to our homes and loved ones dear
We'll march with good will and many a cheer
And in after years as time goes by
We'll often laugh and wonder why
We didn't take things more as a joke
Instead of cursing when we were broke
We would of had more fun along with the rest
When the militia encamped in the great Southwest.
—A.R.H., El Paso, Texas
(Copyright Applied For)
Dear Lena,
We are going out this morning to be gone all day. It is now six thirty and the only time I will probably get to write today. As far as I can make out we are to particapate in Brigade battle practice with blank amunition. I see by the papers that El Paso is going to see one of the largest parades since the review of the Union troops at Washington at the close of the war. We are to be in the parade I think. All we do here is think, we don't know any thing. Hope to see you soon but Im not sure when.
© Copyright 2008 by Richard Landers, All Rights Reserved. No reproduction without permission.


text:
Come Sunday our evenings will be a little brighter with the advent of daylight-saving time. Here are 15 places in — or very near — downtown Orlando that are great for alfresco meals. Each has its own personality and pluses.
Citrus, 821 N. Orange Ave., Orlando; 407-373-0622; citrusorlando.com: Comfortable outdoor furniture makes this location great for lingering long after dinner.
Cityfish, 617 E. Central Blvd., Orlando; 407-849-9779; cityfishorlando.com: The wraparound patio offers lots of shade when temperatures rise. Free oyster Wednesdays are a must.
Ember, 42 W. Central Blvd., Orlando; 407-849-5200; emberorlando.com: Ember opened in 2008 as a bar with food. But don't think the menu gets little attention here. And the setting — especially the courtyard — is marvelous for meals and cocktails.
Gargi's Lakeside, 1414 N. Orange Ave., Orlando; 407-894-7907; gargislakeside.com: Great Italian food on Lake Ivanhoe.
Hue, 629 E. Central Blvd., Orlando; 407-849-1800; huerestaurant.com: The outside dining area is a mix of high-tops and regular tables with a comfy banquette that wraps around the curved space.
Julie's Waterfront, 4201 S. Orange Ave., Orlando; 407-240-2557; julieswaterfront.biz: A hidden gem on Lake Jennie Jewel that locals like to keep to themselves.
K Restaurant Wine Bar, 1710 Edgewater Drive, Orlando; 407-872-2332; kwinebar.com: James Beard-nominated chef Kevin Fonzo's place is great for lunch or dinner. In the spring, the porch is a prime spot to dine.
Relax Grill, 211 Eola Parkway, Orlando; 407-425-8440; relaxgrill.com: This is the place on Lake Eola to enjoy when you are not in a rush. The ambience lives up to its name.
Shari Sushi, 621 E. Central Blvd., Orlando; 407 420-9420; sharisushilounge.com: Sophisticated and sleek inside and out.
Tap Room at Dubsdread, 549 W. Par St., Orlando; 407-650-0100; taproomatdubsdread.com: A consistent reader favorite for outdoor dining with nice views of the golf course.
Terrace 390, 390 N. Orange Ave., Orlando; 407-425-2445; terrace390.com: The outdoor bar is an oasis this time of year. Oh, and the food is good, too.
310 Lakeside: 301 E. Pine St., Orlando; 407-373-0310; 310lakeside.net: Management has created a lush tropical setting with a nice view of Lake Eola.
Urban Flats, 183 S. Orange Ave., Orlando; 321-332-6889; urbanflats.net: Happy hour is packed with the downtown crowd sipping wine and munching on the signature flatbreads.
White Wolf Cafe, 1829 N. Orange Ave., Orlando; 407-895-9911; whitewolfcafe.com: Bohemian locale in the heart of the theater and antiques district.
Wildside BBQ Bar & Grill, 700 E. Washington St., Orlando; 407-872-8665; wildsidebarandgrill.com: This place could be called the Thornton Park welcome center. Good food and drink, too.
This is just a sampling of restaurants with outdoor seating. I want to know your favorite places in Lake, Orange, Osceola, Seminole and Volusia counties. Email your suggestions to the address below.
firstname.lastname@example.com or 407-420-5498
Le Cirque comes to the Citrus Club
The Citrus Club of Orlando (255 S. Orange Ave., Suite 1800) is hosting "An Evening With Le Cirque" at 6 p.m. on March 16 for members and nonmembers. Le Cirque, ranked consistently among the best restaurants in the world, is doing this road show of sorts in nine ClubCorp venues. (ClubCorp is the Citrus Club's parent company.)
Le Cirque's executive chef Olivier Reginensi will be on hand, as will a member of the Maccioni family, which opened the original Le Cirque in New York and now owns nine restaurants throughout the world.
Seating is limited to about 70 people. Tickets are $150 per person. For reservations, call 1-888-402-3933 or email firstname.lastname@example.com.
Pop-up restaurant coming in May
Producer Mark Baratelli, who has put together many successful food-truck gatherings, is creating a pop-up restaurant event called ClandesDine from 7-9 p.m. on May 1. For two hours a non-restaurant location will feature a menu prepared by chefs Bryce Balluff and Bruno Fonseca. The site will not be revealed until the day of the event. Fifty tickets will go on sale soon. For details, check out TheDailyCity.com.
Time out for a little Twitter and shout
Follow my local dining and foodie updates on Twitter @OS_thedish
Come Sunday our evenings will be a little brighter with the advent of daylight-saving time. Here are 15 places in — or very near — downtown Orlando that are great for alfresco meals. Each has its own personality and pluses.


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Mountain Law: A burst water pipe and a condominium conundrum
Mountain Law
When a water pipe bursts in a condominium project who is responsible for any damage? It's not always easy to determine.
Is the pipe part of a unit or the common elements? A useful first step will be to identify who owns the pipe in the location where it burst. Each part of a condominium project is either a "unit" owned by an individual owner or a "common element" owned by all the unit owners collectively. The specific parts of the project constituting units or common elements are not necessarily the same for every project and are defined by statute and the recorded declaration (which includes the plat or map). As a general rule, a unit is a designated airspace "from the studs in" and common elements are everything "from the studs out," including the studs themselves. The water system in any wall outside a unit is generally a common element.
It is not well-defined under Colorado law, nor in many declarations, where exactly the water system ceases being a common element and becomes part of the unit. For instance, is it at the point where a pipe passes into the unit or the point where the pipe connects to a plumbing fixture such as a sink? This could make a big difference in determining responsibility if a pipe bursts in an area of uncertain ownership. If the declaration is unclear, it's a good idea for associations to address this issue before a problem occurs.
What caused the pipe to burst? Once it is determined whether the pipe at issue is part of a unit or common element, it is next necessary to determine what caused the pipe to burst. If a person intentionally or negligently caused the damage, that person can be liable. But, just because a person (including an association) owns or controls the pipe at issue doesn't necessarily mean that person is responsible for damage caused by the pipe bursting if the person did nothing wrong. Not every unfortunate event leads to liability. In some cases, the cause may be obvious such as a nail driven into the pipe by an owner. In other cases, the cause may be less obvious such as the owner not adequately heating the unit and thereby causing the pipes to freeze, the owner or association not performing necessary maintenance, or a contractor doing a poor job. Liability is often disputed and, absent another resolution, may need to be resolved in court.
Who is responsible for maintenance of the pipe? To the extent that a pipe bursts because it was not adequately maintained, it will be necessary to determine who was responsible for the maintenance and is therefore liable for the damage. Generally, owners are responsible for maintaining their units and the association is responsible for maintaining the common elements, but this arrangement can be changed by the declaration. In the absence of a determination that anyone else was at fault, the maintenance responsibility for any affected area of the project will dictate who must repair any damage to the area.
It is noteworthy that for those projects created after July 1, 1992, the association and unit owners are afforded a statutory right to enter each unit as necessary to carry out their respective maintenance obligations. For earlier projects, these rights might exist under the declaration or by implication. Many associations create a "maintenance chart" so there are no misunderstandings about who is responsible for each part of the project.
In sum, when a pipe bursts, a person shown to be the cause will be responsible for the damage. If no particular cause is determined, the standard maintenance obligations will determine responsibility.
Noah Klug is owner of The Klug Law Firm, LLC, in Summit County, emphasizing real estate, business and litigation. He may be reached at (970) 468-4953 or email@example.com.
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text:
please vote:
thank you.
my posts and threads are disappearing
I was wondering if you can see this thread?
Why do you ignore my PMs? I've known you a long time going all the way back to the AOL borads
if you don't mind, please vote: http://www.justplainpolitics.com/sho...roans-Vote-Now
please pm me when you get a chance, or else you may be banned. We are thinking you are a bot now because I don't think I have ever in 3 years seen you directly respond to anybody in any thread.
If you are not a bot please don't take offense to this. I know people have various posting styles... I am just trying to make sure we aren't letting bots on the site.
are you a bot? I am not being facetious. Please reply "I am not a bot" if you are a human being. Thank you.
yo sig, please go vote when you get a chance.
As you should be aware, we recently implemented a feature on JPP that allows thread creators to ban those that they feel would be disruptive from their threads.
This has allowed users that typically are harassed, or have had their threads trolled, to have a wider degree of latitude with regards to guiding the conversation in their own threads.
We've been doing a month trial, and now we are polling the community to find out what they think of the feature so far. We really would like to get your opinion on whether or not we should keep it.
Please go to this thread: http://www.justplainpolitics.com/sho...n-quot-feature
And cast your vote.
Thank you.
Thanks for the signals.
Liberal Agitator
New and Improved!
Diversity Makes Greatness
Radical Moderate Populist


text:
Here's the year's line-up at the Hagley Research Seminar Series at the Hagley Museum and Library. The seminar meets Thursday evenings at 6 p.m. in the Copeland Room of the Library, which is located off Route 100 and Buck Road in Greenville, Delaware, approximately four miles from downtown Wilmington. Papers are all unpublished works in progress and circulated in advance to seminar participants. To join the seminar email list and obtain copies of the papers, contact Carol Lockman at firstname.lastname@example.com or (302) 658-2400, ext 243.
Oct. 1. Jennifer Armiger (University of Delaware)
"Gender, Beauty & Fraternity: The Western Electric Kearny Works and the Industrial Family"
Nov. 12 Janneken Smucker (University of Delaware)
"The Amish Brand: Cottage Industries Making and Selling Quilts"
Dec. 3 Victoria Saker Woeste (American Bar Foundation)
"Henry Ford: Unmasking the Self-Made Myth"
Feb. 11 Melanie Gustafson (University of Vermont)
"Beautiful Faces, Strong Bodies: Harriet Hubbard Ayer and the Business of Beauty Culture in Gilded Age America"
March 11 Thomas Zeller (University of Maryland)
"Consuming Landscapes: The View from the Road in the United States and Germany, 1920-70"
April 15 Jonathan Rees (University of Southern Colorado)
"Inventing the Cold Chain: Technology and Marketing in the Nineteenth Century American Natural Ice Industry"
Image credit.


text:
The Colorado Bureau of Investigation (CBI) Identity Theft and Fraud Unit issued a warning today about a scam targeting Colorado cell phone users.
According to the CBI warning, a robo-call (automated voice) claims to be with your cell phone carrier or a financial institution and indicates your account has been compromised. The caller prompts potential victims to verify credit card information by having the customer press "1"to initiate the process. The caller will ask for your full credit card number, expiration date and security code as well as billing phone number and four-digit PIN.
What's different in this scam is that an actual phone number displays on the caller ID; not one that has been blocked or is not listed. The origin of the phone number used for the robo call is an actual phone number that was hijacked as a part of the scam and links back to a business in Palo Alto, Calif.
The Palo Alto PD has received more than 400 calls from Colorado residents about the scam in recent day, the CBI said.
"If you receive a call as part of the scam and hang up, you've done the right thing," said CBI Agent In Charge, Ralph Gagliardi. "Police are aware of this scam and are tracking the information, so the only calls to police should be if you've been a victim of this scam by providing your credit card information."
CBI offers these tips for keeping your accounts and identity safe:
- Never give out your credit card, financial information or personal information over the phone, especially to someone you do not know.
- If you have concerns about your credit card account or your cell phone account, call the company using the phone number on your credit card, your phone bill or your carrier's customer service line.
- If you receive one of these calls, don't provide any information. HANG UP!
- If you've inadvertently provided your credit card information to a scammer, report it to your LOCAL police department.


text:
The new CD opens with the composer's Symphony No. 1 (1988) (21:10). JoAnn Falletta leads the Virginia Symphony in a bright and lively rendition of the work. Next is Three Spirituals (2005) (8:17), an instrumental piece encompassing Everytime I Feel The Spirit; Kum Ba Yah; and Oh Freedom. The title work of the recording follows: An American Port of Call (1985) (8:33). Fanfare on Amazing Grace (2003) (3:32) is next. The program concludes with the choral work, Whitman's Journey: Launch Out on Endless Seas (2005) (17:37). The texts are by Walt Whitman. Vocal performers are Kevin Deas, baritone; and the Virginia Symphony Chorus, whose Director is Robert Shoup.
Saturday, June 30, 2012
'Adolphus Hailstork: An American Port of Call' on Naxos is an exciting yet cerebral disc
[Adolphus Hailstork: An American Port of Call; Naxos 8.559722 (2012)]
Adolphus C. Hailstork is a prolific African American composer whose vocal and instrumental works are performed with great frequency. He was born on April 17, 1941 and is featured at AfriClassical.com, which lists 28 recordings on which his works appear. The Virginia Symphony, under the direction of JoAnn Falletta, has just released its first CD on the Naxos label, An American Port of Call, Naxos 8.559722 (2012).
The new CD opens with the composer's Symphony No. 1 (1988) (21:10). JoAnn Falletta leads the Virginia Symphony in a bright and lively rendition of the work. Next is Three Spirituals (2005) (8:17), an instrumental piece encompassing Everytime I Feel The Spirit; Kum Ba Yah; and Oh Freedom. The title work of the recording follows: An American Port of Call (1985) (8:33). Fanfare on Amazing Grace (2003) (3:32) is next. The program concludes with the choral work, Whitman's Journey: Launch Out on Endless Seas (2005) (17:37). The texts are by Walt Whitman. Vocal performers are Kevin Deas, baritone; and the Virginia Symphony Chorus, whose Director is Robert Shoup.
The new CD opens with the composer's Symphony No. 1 (1988) (21:10). JoAnn Falletta leads the Virginia Symphony in a bright and lively rendition of the work. Next is Three Spirituals (2005) (8:17), an instrumental piece encompassing Everytime I Feel The Spirit; Kum Ba Yah; and Oh Freedom. The title work of the recording follows: An American Port of Call (1985) (8:33). Fanfare on Amazing Grace (2003) (3:32) is next. The program concludes with the choral work, Whitman's Journey: Launch Out on Endless Seas (2005) (17:37). The texts are by Walt Whitman. Vocal performers are Kevin Deas, baritone; and the Virginia Symphony Chorus, whose Director is Robert Shoup.
Composer's Notes
"In 1987 I was asked to write a piece for a summer music festival in Ocean Grove, New Jersey. Since the piece was to be twenty minutes long and for a Haydn-sized orchestra I decided that a simple first symphony would fit the bill. It is written in the standard four movements: Allegro, Adagio, Scherzo and Rondo. The final rondo brings back themes from the previous three movements.
"The Three Spirituals are orchestral settings of three spirituals I set for pipe organ: Everytime I Feel The Spirit, Kum Ba Yah, and Oh Freedom. I made the arrangements in 2005 to help celebrate the reopening of the Crispus Attucks Theater in Norfolk, Virginia.
"An American Port of Call was written in 1985 for the Virginia Symphony Orchestra. The concert overture, in sonata-allegro form captures the strident (and occasionally tender and even mysterious) energy of a busy American port city. The great port of Norfolk, Virginia, where I live, was the direct inspiration.
"Whitman's Journey, Launch Out on Endless Seas was commissioned by Donald J. McCullough for the Master Chorale of Washington, DC. The première took place in April 2006 at the Kennedy Center for the Performing Arts. Though this movement was originally conceived as the first of a set of three, it stands alone as a tribute to the adventurous spirit of all people setting out on the seas of life. The texts used in this piece are among the early, youthful poems in Whitman's Leaves of Grass. They depict Whitman's vigorous optimism and his call to all women and men to join with him as he launches out on life's great journey."
Adolphus Hailstork
Adolphus Hailstork, JoAnn Falletta and the Virginia Symphony have worked their magic once again, this time with an international release on the world's leading classical music label, Naxos. This is an exciting yet cerebral disc we expect to make a regular part of our music listening.
Disclosure: A review copy of this CD was provided by the record label.
'IHLOMBE South African Choral Ensemble' July 5-15, 2012
Fred Onovwerosuoke, composer, brings this festival to our attention.
Eric Conway: Morgan State University Choir Performs in Jamaica
Dr. Eric Conway, Director of the Morgan State University Choir, www.msuchoir.org, writes:
Hello everyone,
This is our first communication from Jamaica. Many of you already know that our plane had to depart from Ronald Reagan Airport in DC at 6:05 AM on Thursday, June 28, which meant that we needed to leave from Murphy at Morgan absolutely no later than 3AM, which was actually too late a departure time. Of course my biggest concern was leaving someone behind that early in the morning. Well, my worst fear was realized, and one choir member did not make the flight with us to Jamaica. Thank you God for stand-by flights. The one student did manage to get to Jamaica by himself through Miami airport. We were made whole again.
We are staying at a very fine hotel, paid for by the United States Embassy in Jamaica. Fortunately, the schedule was not too rigorous the first day and everyone is well rested.
Our first concert was at the Institute of Jamaica, almost as old as Morgan, founded in 1879. Before we began, we experienced some of the almost third-world conditions that exist here in Jamaica, in when we arrived at the school, the electricity just went down. Just about everyone in Jamaica has a generator, except for this school. We planned to use our electric keyboard, but fortunately, there was a relatively in-tune piano on the premises. Just before the concert began, the electricity cut back on and we were ready to go! We had a very good concert and Ambassador Bridgewater, herself was in attendance. She wanted to hear our full concert despite the fact that we are invited to sing for her at her residence during her 4th of July bash, where only the most important VIP's on the island will attend, given on this Monday, July 2, 2012, hours before we depart on Tuesday, July 3, at 6:40AM.
After the concert, we were graciously invited to her residence for a meal cooked by her executive chef. Simply scrumptious. He prepared for us perhaps Jamaica's most popular food - jerk chicken. In attendance were several Morgan alums - notably Minister Anthony Hylton, Minister of Industry and Commerce in Jamaica. He is a very proud Morgan graduate who in addition to meeting with us at the ambassador's residence, provided tickets for us to attend the Jamaican Olympic trials. Many of you already know the great competition between Jamaica and the United States in the track and field events. For many of us, this may be the closest we physically get to an Olympic related event. The trials were very exciting. As a matter of coincidence, one of the best track and field participants was a cousin to our own choir member, Tristan Morris. He won his best event - 200 meters event.
Some how, we happen to always be in good favor. We were glad that we had the opportunity to attend. Please see photos attached. More to come. . . .
Eric Conway, D.M.A.
Fine and Performing Arts Department, Chairperson
Morgan State University
Naira Underwood, violinist, on Coleridge-Taylor work: 'it was a quite enlightening experience to be able to play such a work'
[Samuel Coleridge-Taylor (1875-1912)]
documentary promo for a March 2013 film, Samuel
Coleridge-Taylor in America, has been posted on YouTube:
Coleridge-Taylor in America, Documentary Promo (7:32)
hundred years ago, African-British composer Samuel Coleridge-Taylor
(1875-1912) was not only one of the world's major musical figures, he
also exerted an important influence on the post-Reconstruction social
politics of America as represented by such prominent
African-Americans as WEB Du Bois, Booker T. Washington, Paul Lawrence
Dunbar, numerous critics in black American newspapers, and composers
and musicians writing and performing ragtime to classical."
Those who speak on the video include Charles Kaufmann, Artistic Director, The Longfellow Chorus; Rodrick Dixon, tenor; and Naira Underwood, violinist. Ms. Underwood says "This is my first time hearing and performing any work by Coleridge-Taylor, and it was a quite enlightening experience to be able to play such a work that integrates so many different cultural elements in a classical work..."
Coleridge-Taylor (1875-1912) is profiled at AfriClassical.com
which features a comprehensive Works List and a Bibliography by Prof.
Dominique-René de Lerma, www.CasaMusicaledeLerma.com
are collaborating with the Samuel Coleridge-Taylor Foundation of the
U.K., www.SCTF.org.uk]
Friday, June 29, 2012
American Tenor Noah Stewart Releases Debut Album 'Noah' July 3 on Decca Records
Noah Stewart
From Harlem to the Royal Opera, Singer Looks to Lanza with a Program of Opera, Spiritual and Popular Favorites
"White hot talent" The Washington Post
June 29, 2012 (New York, NY) On July 3, 2012 Decca Records presents Noah the debut album from American tenor Noah Stewart. Born and raised in Harlem, Stewart was mentored by the great soprano Leontyne Price and the legendary Bill Cosby, the latter having sponsored the young singer during his musical training at Juilliard. The album, Noah, includes renditions of enduringly popular arias - Bach/Gounod's Ave Maria as well as Puccini's Recondita Armoria - but also casts a wider net with inspirational input from producers and arrangers Steven Baker and Christian Seitz. The album presents Noah's rich, resonant voice in the spiritual classics Deep River and Shenandoah, This Land Is Mine and Nearer My God To Thee, the hymn played during the sinking of the Titanic. Exclusive to the American edition is ABBA's I Have a Dream, as well as Noah's soaring rendition of The Star Spangled Banner, which he memorably sang at the televised Chicago Bears/Tampa Bay Bucaneers NFL game at Wembly Stadium. When he was a student at New York's renowned La Guardia High School, Noah Stewart gained some experience in the pop music industry when he sang backup for Mariah Carey at Madison Square Garden and appeared on the Late Show with David Letterman with rapper Coolio. This experience gave Noah a feel for how to tackle the pop standards that appear on this debut album, like Nights In White Satin (Notte di Luce) and Leonard Cohen's Hallelujah. There's also a visit to the movies with a stirring new arrangement of the theme from Exodus.
Upon the album's UK release in April Noah debuted at #1 on the British Classical Charts (making Noah Stewart the first African American to reach that milestone). Listeners in the US were captivated by Noah when he appeared on NPR's Weekend Edition on June 3, and the album jumped straight to #1 on the Amazon Classical Chart the day the piece ran.
It is hard to believe that only a few years ago Noah was a receptionist at New York's Carnegie Hall and a clerk at the Metropolitan Opera Gift Shop, working to pay for his music education. He has since performed on stage at Carnegie Hall and is building a fine reputation as a fast-rising operatic tenor, equally accomplished in interpreting such core roles as Don José in Carmen or Rodolfo in La Bohème or pioneering new roles in contemporary opera. Noah Stewart was raised in Harlem by his mother Patricia, a single parent from New Orleans, who instilled a strong work ethic in her son. It became obvious from an early age that Noah had an extraordinary voice; while still in junior high he was chosen to sing for Audrey Hepburn and recorded voice-overs for Sesame Street. His mother's self-sacrifice and strong belief in the value of education led to Noah enrolling in the world-famous LaGuardia High School. Noah's mentor, the great soprano Leontyne Price, encouraged Noah to attend The Juilliard School, where he was awarded a full scholarship. Stewart participated in the prestigious Adler Fellowship at the San Francisco Opera in 2008, and has since performed with the Metropolitan Opera, Chicago Opera Theater and Michigan Opera Theater.
Noah Stewart knows that there was a time when being an operatic tenor didn't just mean performing at the opera house, but could encompass all kinds of popular and traditional songs as well. From Enrico Caruso to Luciano Pavarotti, history's classic tenors all had the popular touch. "Mario Lanza was a huge idol of mine!" declares Noah, referring to the tenor who also became a Hollywood movie star and reached global audiences with a mix of music that included operatic arias, operetta, Neapolitan songs and popular standards. "Lanza was really important because he was a legitimate singer who sang songs but also sang opera. He had tremendous vocal gifts, and he showed that in all kinds of music it's all about feeling and it's all about emotion." How appropriate, then, that Noah recently won the Mario Lanza Competition for Tenors. And Lanza himself would surely have approved of the breadth of material that Noah has chosen to sing for his debut album for Decca, not least I'll Walk With God, which Lanza sang in the movie The Student Prince.
For more information about Noah Stewart and the new album, visit www.noahofficial.com and www.facebook.com/noahstewartmusic.
Noah Tracklisting:
1) Cara Mia (Philharmonia Orchestra / Nicholas Dodd)
2) Deep River (Apollo Voices / Philharmonia Orchestra / Nicholas Dodd)
3) Puccini: Recondita armonia (The Vienna Session Orchestra / Johnny Bert)
4) Justin Hayward: Notte di luce, Nights In White Satin (Philharmonia Orchestra / Nicholas Dodd)
5) Youmans: Without A Song (Philharmonia Orchestra / Nicholas Dodd)
6) Leonard Cohen: Hallelujah (The Vienna Session Orchestra / Johnny Bertl)
7) Shenandoah (The City Of Prague Philharmonic Orchestra / Richard Hein)
8) J.S. Bach / Gounod: Ave Maria (The Vienna Session Orchestra / Johnny Bertl)
9) I Have A Dream (Benny Andersson / Bjorn Ulvaeus)
10) Brodszky: I'll Walk With God, The Student Prince(The Vienna Session Orchestra / Johnny Bertl)
11) Amazing Grace (The City Of Prague Philharmonic Orchestra / Richard Hein)
12) This Land Is Mine (Ernest Gold / Charles Boone)
13) The Star Spangled Banner (John Stafford Smith / Francis Scott Key)
'As his youngest son I can say unequivocally that Composer Hale Smith was without equal as an Artist, husband, and father.'
[Hale Smith (1925-2009)]
Today AfriClassical posted: "Innovative Composer Hale Smith (1925-2009) Was Born June 29."
As his youngest son I can say unequivocally that Composer Hale Smith was without equal as an Artist, husband, and father. He was the most brilliant and most decent man I have ever met or ever hope to meet. America and the Arts rightly mourns the passing of this magnificent man; he was to put it simply quite irreplaceable. Yet to me he was in the end just my Pop, my Old Geezer. He was my confidant and my best friend. He will be forever missed and forever cherished in my heart.
As his youngest son I can say unequivocally that Composer Hale Smith was without equal as an Artist, husband, and father. He was the most brilliant and most decent man I have ever met or ever hope to meet. America and the Arts rightly mourns the passing of this magnificent man; he was to put it simply quite irreplaceable. Yet to me he was in the end just my Pop, my Old Geezer. He was my confidant and my best friend. He will be forever missed and forever cherished in my heart.
Eric Smith
June 29, 2012 2:14 PM
Comments by email:
Thank you for the posting.
Juanita Smith
Baiocchi Regina
June 29, 2012 2:14 PM
Comments by email:
Thank you for the posting.
Juanita Smith
Dear Bill: Thanks for keeping Hale Smith alive to so many young people who can trace the Truth through Hale Smith's life, music and other gifts he shared with this world. I spoke with Juanita early this morning. So I'm confident this tribute brightened her days and her memories. To know that my mentor and teacher lives on make my life worth living. All the best…
Innovative Composer Hale Smith (1925-2009) Was Born June 29
The AfriClassical.com page on the late Hale Smith, who was born June 29, 1925, was made possible by research generously provided by Dr. Dominique-René de Lerma, http://www.CasaMusicaledeLerma.com. He also compiled the complete Works List featured at AfriClassical.com.
Regarding the role Hale Smith played in American music, The New York Times put it well when it titled his obituary of November 27, 2009: "Hale Smith, Who Broke Borders of Classical and Jazz, Is Dead at 84."
The American Composers Alliance posted:
"Hale Smith (1925-2009), a classical composer who also worked as a performer and arranger with jazz greats like Dizzy Gillespie and Chico Hamilton, died Tuesday at his home in Freeport, L.I. The noted composer and longtime friend of Smith, T.J. Anderson, reflects on the life of Hale Smith in New Music Box. Hale Smith was a member of the American Composers Alliance from 1958 to 1995. He served on its Board of Governors from 1966 to 1972." T.J. Anderson began his memorial of November 30, 2009 with these words: "On November 24, 2009, America lost Hale Smith, one of its most important composers. His works musically intertwined the dialectic between African American identity and European traditions."
The Schomburg Center for Research in Black Culture presented "An Evening of Music by Hale Smith" on May 17, 2010. Laura Rivera wrote in Newsday that day: "Smith's wife, Juanita, 82, selected music for the program and invited Smith's former students and colleagues to perform. Violinist Sanford Allen, 71, a friend and collaborator of Smith's since the 1950s and the first African-American member of the New York Philharmonic, said that while Smith was outspoken about his theories on music and life, 'he was a man who was open to other points of view.' Smith even acknowledged preferring Allen's approach to one of Smith's own compositions, 'Epicedial Variations.'"
National Symposium on American Choral Music, Washington, DC
The American Choral Directors will host the National Symposium on American Choral Music beginning this morning, Friday June 29 in Washington, D. C. Of special note, The R. Nathaniel Dett Chorale under the conductor Brainerd Blyden-Taylor will perform on Saturday, 2 p.m. at the Library of Congress and in two performances Sunday at The Hamilton Hotel Gospel Brunch, being sponsored by the Canadian Embassy. For specifics, visit acda.org.Patrick D. McCoy"The African-American Voice in Classical Music" http://www.blogtalkradio.com/patrickdmccoy
Thursday, June 28, 2012
Marcus Eley Discusses CD, 'But Not Forgotten: Music by African-American Composers for Clarinet & Piano'
[But Not Forgotten: Music by African-American Composers for Clarinet & Piano; Marcus Eley, clarinet; Lucerne DeSa, piano; Sono Luminus DSL-92156 (U.S. release date July 31, 2012)]
William J. Zick interviewed Marcus Eley by phone on June 21, 2012:
Good morning!
Hello, this is Bill Zick calling for Marcus Eley.
This is he speaking. Good morning and thank you so much for your time!
Oh, it's my pleasure! This is the first opportunity I've had to write about a clarinet and piano CD. It's not an instrument combination that has come up very often.
Well, based on the repertoire and on the reviews for this recording, we hope that that will change!
I do too. A contact in the U.K. sent an email that it was coming out there a little bit earlier than it is in the U.S.?
Yes, I found that interesting myself, because, surfing the web I saw that the recording will be released July 2 in the U.K. It won't be released here until July 31. Whenever it hits this world, that's good!
Right, I certainly agree with that! I understand you grew up in Indianapolis?
That's correct, yes. I was born in Indianapolis and attended Indianapolis Public Schools and Indiana University. From there I studied at the Hochschule fuer Musik und darstellende Kunst in Vienna, Austria. I did some postgraduate work with Robert Marcellus at Northwestern University.
I read that you and your sister took part in a radio contest for school children to identify music?
That's correct. There was a competition in the Indianapolis school system. It gave students a chance to become oriented in classical music. We would hear excerpts from records. After a perfect score of identifying ten excerpts, we would progress to the radio stage. After you got a "10" on that you would hear a live orchestra performing. In this case the Indianapolis Symphony Orchestra would perform snatches from the Brahms Third, or it could have been the Grieg Piano Concerto.
You got to hear them in person, right?
Yes, you would go there as the winner of this competition, hear the concert live and have a chance to guess which movement it was and the composer. I missed one, and my sister got a perfect score and she won the prize, a recording of Fritz Reiner and the Chicago Symphony Orchestra performing the Tragic Overture, and on the same side the Brahms Third or Fourth. I was very upset with that at the age of 8 or 9!
Did it help stimulate your interest?
Yes, it did!
Doesn't the program on this recording reflect the concept of the performance that you and Lucerne DeSa gave a few years ago?
That's correct! One of the things that I wanted to do when I received the invitation to perform at the National Arts Center Festival in Grahamstown, South Africa was to present a program that would be unique, reflecting the reason that I was invited. For the first time at the festival they wanted to focus on the diaspora. Because of the uniqueness of my program, it was something that allowed me to feature women composers, African-American women and African-American composers that had never been highlighted before at the previous festivals. I thought well, since I am going to be here, and we had rehearsed the program, and we had performed it, let's record it. Before leaving I was able to find a very fine concert hall in Stellenbosch that had the time available and allowed us to give our concert there and at the same time we were performing we would be able to record the music on the concert hall stage.
Did you bring something back?
Yes, I did! In fact it was recorded there, I then brought it back to the United States, and I had it mastered. The biggest challenge was to start trying to find a record home for this. It took quite some time. And then I was very, very conscious about trying to find the right vehicle for this. I went, and I had written and spoken with all of the major classical record companies in this country. Can I mention the names?
Yes, certainly.
From BMG to Sony Classical to Decca, Universal, Harmonia Mundi, etc. Unfortunately, after several weeks passed, I would get a phone call or a message or email saying thank you very much, but we can't find a home for it; we don't know how to place this. Nothing critical of the performances, but in fact in all cases, very fine performances, well presented and so on but the next step was going on because, even in my previous recording, I believe that because of the nature of the recording at this point it is almost incumbent to the artist to make sure that everything has been placed...
You say the previous recording; would that be the Arabesque CD called Welcome Home?
That's correct!
Would you like to comment briefly on that one?
Again, I wanted the recording to be a potpourri of music by American composers for clarinet and piano. It included Sonata for clarinet and piano by Alec Wilder.
David Baker?
David Baker, of course!
H.T. Burleigh?
Yes! And another good friend of mine, Thom Ritter George, I met at the Sun Valley Arts Festival years ago. These were the composers I wanted, to say that this is a panorama of American composers.
Oliver Nelson and John Price?
Yes, exactly! John Price I had met some years previous and I had the pleasure of performing a recital at Auburn University and at the time, we met and talked. I had already performed his Blues and Dance I and I said if I ever get a possibility I will record your work. The mission became possible, and then I recorded it. It's angular in its compositional technique.
I haven't heard your current recording, but someone wrote a glowing review for the American Composers Alliance...
Dorothy Rudd Moore said the performance of Night Fantasy was stunning!
Well, thank you very much!
I'm just passing on what she said!
Oh, it was very kind of Dorothy Rudd Moore! I had performed her work at the conference in South Africa. All the works in this compilation were of African-American composers. I wanted to give an overview of what it is like, because there is nothing, to my knowledge, that has a recording of this type for this instrument and these composers. I wanted to have Undine Smith Moore's work and I wanted to make sure that women composers were represented.
The program goes on to Alvin Batiste, Episodes?
Alvin Batiste was a very good friend. We had the pleasure of working with Alvin on different occasions. This music Episodes is a part of a larger piece for clarinet, string quartet and jazz trio, which Alvin and I will perform on the next recording, which will be the music by Black composers or African American composers for chamber music setting. First you have the clarinet and piano, then you have the larger chamber music.
Then you have Clarence Cameron White, The Basque Folk Song?
Yes, that has not been recorded. That is something I think is from the middle part of his compositional life. All these pieces on the recording reflect the composer's passion for the instrument and the setting, particularly The Basque Folk Song. The same thing is true with the Romance composed by William Grant Still which I had found out was originally a dynamic piece for alto saxophone. As I listened to it as I was reading the score, I thought this would work really well with the clarinet. As I mentioned in the program notes, it is a song without words, and it has a very nice melody which is typical of William Grant Still.
I see the program goes on with another woman, Undine Smith Moore?
Undine Smith Moore has been, throughout her compositional life, someone who wanted to show her love for the spiritual, and also her work for choral writing. I remember when I first got the work from her she said this is one of my earliest pieces for clarinet, and it was Introduction, Allegro and Fugue, so one other piece if I'm not mistaken. I remember the discussion very briefly. This piece, again, is one of the pieces which work well for the instrument. It allows one to see what Undine Smith Moore has done outside of her area. Her instrumental writing is very interesting, and challenging!
A fascinating choice I haven't seen before, Samuel Akpabot?
This is from a larger piece.
Scenes from Nigeria?
Exactly! This particular excerpt from the piece features the clarinet. He rewrote this for clarinet and piano. I think I found this piece at Indiana University School of Music. It's a piece that's very melodic. Its titled Pastorale; it's a lullaby type of song which puts it in a very tranquil and relaxed mood. This is one of his pieces that I wanted to include. For an African composer, you don't see that many pieces for traditional wind instruments in Western compositional technique.
I see you go on then to Quincy Hilliard?
You chose his work Coty?
Yes, I did. A friend of mine knew Coty. He said Quincy is a very fine composer; this is a piece for clarinet you should look at. This is a friend of mine from the Indianapolis Public Schools who knew Quincy Hilliard. When I got the piece from him, I thought it was quite interesting. It is something that could definitely work well in any recital setting for clarinet. The second movement is something that I think is very interesting and yet passionate. The last movement, which is something that I remember from playing it in South Africa, reminds one of the Mission Impossible theme.
Is that right!
In the ostinato; when you listen to it you'll hear it. What makes it very interesting is what Mr. Hilliard does in the clarinet part. It's the movement that is the most virtuosic for the instrument. There are things that require a lot of technique and use of different types of control of the instrument. It's a fun piece; I think you'll enjoy it! It reminds me of that period, and it works well!
You have Scott Joplin represented here?
With Weeping Wilow, A Ragtime Two-Step?
Exactly! This piece is something that I have done many times as an encore. Not many people know this piece! It's one of the pieces that are arranged to give the clarinet a prominent voice but then still goes back to what Mr, Joplin said, that a rag should be played not very fast, and that it's much more dignified than what people frequently think of when they think of the rag. This one I wanted to have a very stately approach to a genre that many people feel should be played very quickly. The Weeping Willow was something that I felt works well on the instrument.
The piece that follows is Todd Cochran's Soul Bird?
Exactly! This was commissioned from Mr. Cochran. Todd, a good friend, lives here in the Los Angeles area, and has done much work as a jazz pianist and also as a film composer. When I approached him I said I'm going to South Africa, I really want to feature a world premiere. Would you have anything, or would you have the time to compose a piece? He graciously accepted and Soul Bird is one piece that, as I wrote in the program notes, gives one an impression of how a bird will land, a soul bird metaphorically speaking, will land and become a part of life and then flourishes and then the bird encounters the rest of his life. There are things that happen, and then he flies away before he dies.
You close the program with Amazing Grace?
Yes! This piece I have given several years ago, and and it's a great arrangement!
The arrangement by H. Stevenson?
Yes! Mr. Stevenson lives here in the Southern California area. I was able to get the piece. My friend said "Marcus, I know you can play this quite well!" I've used it as an encore. It's a composition everyone knows, but to have it performed on the clarinet gives it a different type of feeling. My hat goes off to the arrangement by Mr. Stevenson! With all these other composers, and all the works that have been played and not played, the amazing grace is that we are able to realize that there by the grace of God with all these works that the composer's art has contributed, we are able to say, that we have come, and we will survive and we will not be forgotten!
You end with a very thoughtful and pleasant perspective!
Yes, in fact that's what I want! This is a celebration of works by composers whose voices need to be heard! They have to be heard! And they will be heard! I want in this recording to do what I can do as a performing artist to show what there is in this repertoire. Hopefully this will stir other composers, other musicians, other clarinetists to aggressively challenge the view of work. When you look at the programming of orchestral, chamber and solo recitals or concerts, you don't see this type of thing.
You have chosen a fine record label, Sono Luminus!
Oh, thank you very much! It was a challenge trying to find a home, and I am so happy that Sono Luminus has given me this opportunity and I am sure that this will add significantly to the discography of works by African-American composers!
This is the second Sono Luminus recording that I've dealt with. The first one was the Russian Viola Sonatas of Eliesha Nelson and Glen Inanga.
Is there any concluding remark you'd like to make?
Just listen, enjoy and listen again!
Thank you very much, Marcus!
Thank you so much for allowing me to have the forum!
John Malveaux on 'Young Artists Competition Finale Concert'
John Malveaux of www.MusicUNTOLD.com writes: http://musicuntold.com/index.php/young-artists-competition-finale-concert/
With free bus transportation provided by County Supervisor Don Knabe, the Los Angeles Philharmonic education program provided free admission to 42 inner city youth and 8 chaperones collected in the Central Area of Long Beach to attend the Young Artists Competition Finale Concert at the landmark Walt Disney Concert Hall on June 26, 2012. Two (2) competition winners of extraordinary achievement performed with the Hollywood Bowl Orchestra. A picture of diversity was achieved through the evening's host and conductor Thomas Wilkins, Music Director of the Omana Symphony and Principal Guest Conductor of the Hollywood Bowl Orchestra. Hooray for the Los Angeles Philharmonic's education programs.
David E. Robinson, III: 'Urban Strings of Columbus, Ohio Performs Friday, June 29, 2012'
June 25th-29th, 2012
King Arts Complex 867 Mt. Vernon Avenue
Columbus, OH
Conducted by:
David Robinson, Founder and Director of Sinfo-Nia Youth Orchestra of Atlanta, GA
David Robinson, Founder and Director of Sinfo-Nia Youth Orchestra of Atlanta, GA
Beginners (Elementary): 10:00 a.m.-11:00 a.m.
Intermediate/Advanced (Middle, High school): 11:30 a.m.-3:00 p.m.
Registration Fee: $75.00
Sponsored by:
Friends of Art for Community Enrichment (F.A.C.E.)
The King Arts Complex
The Urban Strings Youth Orchestra of Columbus, OH Summer Camp Grand Finale Concert, will take place Friday, June 29, 2012, 7:00 PM at the King Arts Complex (Black History Museum and Performing Arts Center) located at 867 Mount Vernon Ave., Columbus, OH 43203. The concert is free and open to the public. David E. Robinson III who resides in Decatur, GA is the guest conductor for their first annual one-week summer camp. Urban Strings also operates a school-year program. Students come from private and public schools throughout the metropolitan area. Urban Strings is sponsored by Friends of Art for Community Enrichment (FACE) is the Program Chair.
Mr. Robinson, the founder and artistic director of the Still Waters Youth Sinfo-Nia of Metropolitan Atlanta, Inc. has done workshops for Urban Strings including one in which Sinfo-Nia came and performed in a joint workshop/concert. Mr. Robinson has a unique teaching style, which makes learning to play a stringed instrument a lot of fun and easy to pick up especially with his soulful variety of orchestra arrangements.
For more information, please contact Mrs. Catherine Willis at (614) 282-7222.
David E. Robinson, III
Founder and Artistic Director
Still Waters Youth Sinfo-Nia of Metropolitan Atlanta, Inc.
Wednesday, June 27, 2012
Composer and Pianist George Walker, Winner of Pulitzer Prize and Aaron Copland Award, is 90
[George Walker: Great American Orchestral Works, Vol. 3; Albany Records 1334 (2012) (Cover Photo: Frank Schramm) (56:13) ]
George Walker was born 90 years ago, June 27, 1922. He is a prolific composer and pianist whose website is http://georgetwalker.com/; he is featured at AfriClassical.com. His latest recording, reviewed on AfriClassical February 26, 2012, is George Walker: Great American Orchestral Works, Vol. 3; Albany Records TROY1334 (2012).
George Walker was the first composer of African descent to win the Pulitzer prize for music, for his work Lilacs, which was inspired by a poem of Walt Whitman on the death of President Abraham Lincoln.
Upon the release of Albany TROY117 (1994), Albany Records, http://www.albanyrecords.com, remarked:
"George Walker was born in Washington, DC on June 27, 1922 of West Indian-American parentage. He graduated from high school at the age of 14, attended Oberlin College and the Curtis Institute of Music where he studied piano with Rudolf Serkin and composition with Rosario Scalero. His auspicious debut at Town Hall in 1945 was described in the New York Times as "notable...an authentic talent of marked individuality and fine musical insight...a rare combination of elegance and sincerity...an understanding, a technical competence and a sensitiveness rarely heard at debut recitals." Walker obtained his Doctor of Musical Arts Degree from Eastman and went on to study in France with Nadia Boulanger on Fulbright and John Hay Whitney Fellowships. His compositions have been played by virtually every major orchestra and chamber orchestra in the United States. This recording uniquely showcases the pianist as composer-composer as pianist as Walker performs his Sonata No. 1."
The American Society of Composers, Authors and Publishers (ASCAP) recently named its 2012 Concert Music Awards Honorees: "ASCAP Honors its distinguished member, George Walker, with the Aaron Copland Award in celebration of his 90th year and for his contribution to American music as composer, pianist, educator and exemplary musical citizen."
Comment by email:Hello Bill, Thanks so much for posting this. It was most thoughtful of you and it is greatly appreciated. Best regards. George [George Walker]
Comment by email:Hello Bill, Thanks so much for posting this. It was most thoughtful of you and it is greatly appreciated. Best regards. George [George Walker]
Tuesday, June 26, 2012
Miami University: Undine Smith Moore's 'Daniel, Daniel Servant of the Lord' & Adolphus Hailstork's 'Ye Shall Have A Song'
[Undine Smith Moore; Adolphus C. Hailstork]
Yesterday AfriClassical posted: "Oxford Press.com: Miami University Chamber Chorale Sing Undine Moore & Adolphus Hailstork 2 PM July 6, Cincinnati."
Jeremy D. Jones, DMA, Assistant Professor of Music at Miami University, promptly replied: "Hi Bill, Thanks for your message and link to the blogspot! "We will be singing 'Daniel, Daniel Servant of the Lord' by Undine Moore and 'Ye Shall Have A Song' by Adolphus Hailstork. Also singing 'A Jubilant Song' by Norman Dello Joio. Thanks again! Jeremy" Jeremy D. Jones, DMA Assistant Professor of Music Miami University
Jeffrey Green: Samuel Coleridge-Taylor And The Handel Society
Coleridge-Taylor Violin Concerto
Lorraine McAslan, violin; London Philharmonic Orchestra; Nicholas
Braithwaite, conductor; Lyrita SRCD.317 (2007)]
English historian Jeffrey Green is author of
Coleridge-Taylor, a Musical Life
published by Pickering & Chatto Publishers (2011). He is also a
Guest Blogger at AfriClassical. This is his fifth contribution.
Samuel Coleridge-Taylor And The Handel Society
by Jeffrey Green
A love of music has brought together many individuals whose paths would other wise have never crossed. So it was in 1904 when London's Handel Society appointed Samuel Coleridge-Taylor to be their conductor. He was the illegitimate son of an African doctor; the members of the Handel Society were from London's upper crust.
A major influence in the Handel Society from the moment it was founded in 1882 was Arthur Balfour – nephew of Lord Salisbury, he became Prime Minister in 1902. Balfour's entry in the Dictionary of National Biography notes his love of Handel's oratorios, and his comment that Handel had possessed 'a more copious, fluent and delightful gift of melody' than any other composer.
Coleridge-Taylor, born in London in 1875, had studied the violin and then composition at the Royal College of Music 1890-1897, and had written Hiawatha's Wedding Feast in 1898. This cantata for tenor, chorus, and orchestra included 'Onaway! Awake Beloved!'— a melodic masterpiece. By 1900 the now three-part Song of Hiawatha began its decades-long position as a firm favourite of choirs all over the English-speaking world.
Members of the Handel Society were wealthy, amateur, and enthusiastic. Balfour had hosted early rehearsals, but the long-serving secretary Philip Webb (a player of the violin and the viola, not the famed architect) managed the society. The social status of the instrumentalists and singers caused difficulties for conductors. August Manns, whose Crystal Palace orchestra had long been a fixture in London's concert world, conducted the Handel Society from 1892, is recorded as commenting
'If I hear your first clarinet playing a wrong note, am I to call out, 'Lieutenant-General Lord Chelmsford, G.C.B., you are playing A sharp instead of A natural'?'
After three years Manns was replaced by J. Samuel Liddle, who was replaced in 1904 by Coleridge-Taylor, who held the position until his death in 1912.
A scan of the musical press of Edwardian England reveals that the music of Handel was far from rare. There was a Handel Festival at the Crystal Palace every three years, where there were occasions when the choir for Messiah numbered four thousand – and the audience twenty thousand. The Handel Society's programmes were quite different, and had been from the beginning.
In April 1888 the society presented Samson to eight hundred residents of the Homes for Working Girls. In February 1889 they performed in Bow, a concert witnessed by George Bernard Shaw who had made 'a hazardous voyage to the east end [of London]'. He noted that all of the second violins were 'beautiful young ladies' and that the choir seemed to believe 'that choral singing is merely a habit caught in church'. His review noted Webb's request for tenors, horns, and a second bassoon.
A year later the society's two hundred singers and one hundred instrumentalists presented Handel's Incidental Music to Alceste, Mozart's Haffner, and the Bach magnificat. At Liddle's last concert in May 1904 they performed Jeptha. Coleridge-Taylor conducted Max Bruch's Scenes from the Odyssey at the Queen's Hall in May 1905. The Musical Times noted that it 'lacked intensity of expression, the common fault of London choirs'. Shaw's verdict was still valid.
The society's Queen's Hall concert on 23 May 1906 was under Coleridge-Taylor's baton, and he conducted Dvorak's Spectre's Bride and the premier of his own Kubla Khan.
The Handel Society performed for fashionable London at the Queen's Hall and St. James's Hall, and in the semi-slum land of Bow (at the People's Palace). Coleridge-Taylor continued the policy of reviving Handel's works and presenting music by others. Mozart's Requiem and Handel's Triumph of Time and Truth were presented in early 1907 'with much testimony of good intention' (Musical Times). In May the concert was 'before a large and fashionable audience' who listened to works by Schumann, Saint-Saens, and Dvorak. In February 1908 Handel's Hercules was performed at the People's Palace; in May Coleridge-Taylor conducted Dvorak's Stabat Mater and Elgar's From the Bavarian Highlands at the Queen's Hall. The Musical Times critic observed
The choir of the society seems to be suffering from the usual choral difficulty in London, that of obtaining a sufficient number of male voices to secure perfect balance of parts, but under Mr. Coleridge-Taylor's direction an effective interpretation was secured.
The February 1909 People's Palace concert was Acis and Galatea with 'full band and chorus'. Tickets cost three pence. The annual Queen's Hall concert, however, had nothing Handelian: 'indeed, nothing nearer his period was heard than Brahms' noted the Musical News. Conducting 'with strength and alertness' Coleridge-Taylor directed an enlarged choir, for the New Philharmonic Society of Richmond had joined with the Handel Society to present works by Parry, Stanford, Bizet, Glinka: and Sibelius's Finlandia.
Coleridge-Taylor conducted the Finnish masterpiece at a performance by the Croydon String-Players' Club, augmented by seventy professional instrumentalists, in Croydon in May 1909. His conducting skills had been honed with his friends in the String-Players' Club. He had known many of them a long time, for he had been raised by his mother and blacksmith grandfather in Croydon, within feet of a railway line, downwind of a slaughterhouse. His features proclaimed his African father's legacy, but Dr Daniel Taylor had returned to Sierra Leone before his birth, and had died in the colonial backwater of the Gambia in 1904, having never seen his composer son. Coleridge-Taylor's world was quite different to that of typical Handel Society members. He told his first biographer that many of the members spent their holidays in the south of France and his were taken at Westcliff-on-Sea (Southend). He mentioned that once and thereafter 'I always avoided mention of my holidays'.
Such social distinctions, so powerful in Edwardian England, were cast aside when Coleridge-Taylor rehearsed and conducted the society.
The February 1911 concert at the Queen's Hall included the conductor's Bon-Bon Suite and Handel's Spring and Summer. Fourteen months later the society's 'reputation for independence of choice' was noted by the Musical Times when reviewing the May 1912 Queen's Hall concert. Works by Beethoven, Bizet, and Schumann were included. The audience 'as is usual at these concerts, was very numerous'. The singers showed 'the benefits of their training at the hands of Mr. Coleridge-Taylor'. His hard work and professional skills were deeply respected.
Philip Webb, when he heard that Coleridge-Taylor had died (aged thirty-seven) in September 1912, wrote to his widow
I cannot tell you how much grieved I am at this sad and unexpected news, and how deeply I sympathise with you in your irreparable loss. It is a great loss to our Society, for your husband was an almost ideal Conductor for us, containing as he did with his great musical talent so much personal sympathy and tact. His simple and [2 words illegible] sweet disposition made him a delightful colleague to work with. I have already received several letters from members of the Society, expressing their great sorrow, and I know that relations between him and the Society generally were of a quite unusual cordiality, and that one and all will be mourning for his loss. I am sending a wreath on behalf of the Society. Believe me, yours sincerely, Philip Webb
The Handel Society continued. Its April 1913 concert had Handel's Ode on St. Cecilia's Day, Coleridge-Taylor's Solemn Prelude, and the new conductor Georg (sic) Henschel's Requiem: the choice reflecting the impact of Coleridge-Taylor's death.
Vaughan Williams conducted from 1919 to 1921, then Eugene Goossens until 1925. Venues included the Royal College of Music, and in 1928 the London Palladium where Douglas Hopkins conducted Hercules in aid of the National Sunday League. In June 1931 the society gave a concert at University College when the Musical Times noted it existed to maintain 'the healthy practice of performing music by amateurs' and praised its choice of non-familiar works. Its last conductor was Reginald Goodall, whose biographer John Lucas noted disliked Handel's music: but it paid well. One of the members remarked 'We are gentry, not working class. It is a choir for our friends and relations'. Lucas added – 'A large number of them lived in Eaton Square'[Belgravia].
The wealthy, high-born Britons who played and sung in the Handel Society, from those initial rehearsals at Balfour's London home in 1882 to performances under Goodall – in Handel's Semele in December 1938, the Chandos Te Deum and Beethoven's seventh symphony in March 1939, and finally the May 1939 performance of Handel's Joshua – were all having fun. They gave pleasure to London audiences. Their largesse was appreciated by Goodall and other conductors; their willingness to perform from a wide range of concert music, and to revive rare Handel, was all very praiseworthy.
Consider the changes in British society since this era: when a cabinet minister could slip out of parliament to go to a concert of Handel's music – and a black man could direct the sons and daughters of high society in music-making of a high order.
This article is based on materials gathered for a talk, presented to the London Handel Society, St. George's church, Hanover Square, London, on 6 May 2003. Philip Webb's letter is in the archives of the Royal College of Music. My thanks to Oliver Davies.
Coleridge-Taylor (1875-1912) is profiled at AfriClassical.com
which features a comprehensive Works List and a Bibliography by Prof.
Dominique-René de Lerma, www.CasaMusicaledeLerma.com
are collaborating with the Samuel Coleridge-Taylor Foundation of the
U.K., www.SCTF.org.uk]
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