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Hear Our Voices: Program notes for Saturday, May 4, Oak Ridge Chorus concert (7:30 p.m., First Baptist Church)
By Mike Cates
The ancient Greeks used a chorus of voices as an important character in their comedies and tragedies. The medieval Church Fathers used groups of monks to chant the traditional Latin of the Mass. Tens of thousands of modern people scream at the tops of their lungs at rock concerts and football games. We are creatures of the pack; we work and play together; and together we have built cities, roads, parks, orchestras, and – today, more than ever before – choruses. The human voice can articulate words, convey emotions, and couple the world of flesh to that of the spirit like no other musical instrument. Beethoven, in the creation of his titanic masterpiece, the Ninth Symphony, as he approached the climax of the work, put these words on the Baritone's lips: "O Freunde, nicht diese Toene! Sondern lasst uns angenehmere anstimmen und freundenvollere! [O friends! Not these sounds! But let us strike up more pleasant sounds and more joyful!] Thus, the human voice became part of the symphonic template, and grand choral sounds joined with the orchestra to produce a musical treasure that continues, year after year, to be opened anew.
In this final concert of the ORCMA year, we hear the human voice in many guises and are reminded once more of the wealth of vocal music that is part of the soul of our culture, brought to us by fellow travelers in this East Tennessee pack of humanity.
Charles Faulkner Bryan (1911-1955) Singin' Billy (Choral selections), Charlottown
Bryan was a Tennessean who taught at both Peabody College in Nashville and Tennessee Tech in Cookeville. In his relatively short life he wrote more than 100 works and was our area's first major composer of art music. We heard his Bell Witch cantata earlier in the season. Today we hear choral selections from his opera Singin' Billy and Charlottown. Singin' Billy is a folk opera, completed in 1952; this work uses tunes and styles of music from our Appalachian Mountains. Charlottown arises from the same roots.
Johannes Brahms (1833-1897) Four Gipsy Songs, Opus 103
Usually Brahms is not thought of as a lighthearted character. His greatest works are very serious in content and relatively complex in musical design. But the master had another side to his nature. As a young man he played piano in the brothels and other seedy establishments in Hamburg, later took an eye-opening tour of gypsy country in Hungary and Czechoslovakia, and worked actively with the Hungarian violinist Eduard Remenyi. He never lost the gypsy soul he acquired and it has marked his music. (In the finale of his Double Concerto, to be heard in the opening concert of ORCMA's next season, you will hear more of this rhythmic influence.) These cheerful songs, whose words come from Hungarian folksong texts, give a happy glimpse of this less-celebrated side of the third of the "Three Bs."
Franz Schubert (1797-1828) To Music
What better selection to include in the concert than a song celebrating music, brought into being by one of music's greatest song writers. Schubert's gift of melody has rarely been approached by any of the other greatest names in music. And no more wonderful tune for such a celebration has ever been created. To Music (An die Musik) is pure Schubert, and its words seem to summarize the composer's all-too-brief life:
Oh lovely Art, in how many grey hours,
When life's fierce orbit ensnared me,
Have you kindled my heart to warm love,
Carried me away into a better world!
Paul Simon (b. 1942) and Art Garfunkel (b. 1942) Scarborough Fair/Canticle (1966)
Close friends from childhood, Paul Simon and Art Garfunkel grew up in Kew Gardens Hills, Queens, New York, a predominantly Jewish neighborhood. They met in 1953 in elementary school, and both appeared in the school play that year, Alice in Wonderland, with Paul as the White Rabbit, and Art as the Cheshire Cat. The duo began writing their own songs in 1955. They rose to international fame in 1964 with The Sound of Silence. Simon and Garfunkel are well known for their harmonies and were among the most popular musical groups of the 1960s. Scarborough Fair is a traditional ballad from Yorkshire in Great Britain. Simon learned the song in London in 1965. Garfunkel then set it in counterpoint with Canticle, a reworking of Simon's 1963 Song, The Side of a Hill. The result of their joint effort has become a part of the musical inheritance of many in the audience, and perhaps their children and grandchildren.
Linda Spevacek (b. 1945), arranger, Shenandoah
With over 700 published compositions and arrangements, Linda Spevacek has also produced seven choral collections, five piano books, and six vocal collections. She lives in Arizona and works out of her home. Spevacek is a sought-after musical judge and workshop clinician. Shenandoah is a traditional American folksong, dating at least to the early 19th century. There are many sets of lyrics for the song, but modern arrangements of the tune have generally used the lyrics that most people now are familiar with. These words speak of a man leaving the Shenandoah Valley of Virginia to seek his fortune "across the wide Missouri." The song is also associated with escaped slaves, who crossed the rivers to cover their scent from pursuers. Another suggestion was that Shenandoah was a sea chantey (work song for sailors), possibly by French-Canadian voyagers. Whatever its provenance, Shenandoah is a song of unusual beauty, arranged wonderfully for chorus.
Morten Lauridsen (b. 1943) Sure on This Shining Night
Lauridsen is a native of the state of Washington and has been a professor of composition at the Thornton School of Music at the University of Southern California for more than 40 years. He received the National Medal of Arts in 2007 for his "radiant choral works combining musical power, beauty and spiritual depth that have thrilled audiences worldwide." Sure on This Shining Night is taken from the composer's choral cycle called Nocturnes, and like Samuel Barber's art song, is set to the words of Knoxville poet James Agee (1909-1955). Once again we hear that words, when set to music, take on a transcendence that moves us to a higher realm.
Sure on this shining night
Of star-made shadows round,
Kindness must watch for me
This side the ground.
The late year lies down the north.
All is healed, all is health.
High summer holds the earth,
Hearts all whole.
Sure on this shining night
I weep for wonder,
Wandr'ing far alone
Of shadows on the stars.
Program notes for last Oak Ridge Symphony Orchestra concert of 2012-13 season
Featured artist: Sabrina Laney Warren, soprano soloist
7:30 p.m., Saturday, April 27, 2013, Oak Ridge High School, Oak Ridge Turnpike at North Tulane Avenue
Tribute to Tennessee
by Mike Cates
Tennessee is many things. Its very name speaks of the native peoples who lived on these hills and in these valleys before the coming of European and African groups who would thereafter mold the culture that developed here. It is a land of verdant beauty, full of living creatures, blessed by Mother Nature as few other places on our planet have been. And Tennessee is a land of music, a cultural crossroads of traditional songs and hymns, country and pop music, jazz, and art music. All flourish here, for this land easily provides life. In this final symphony concert of the season, we pay tribute to Tennessee, and hear the music of a Native Daughter of our state, along with music inspired by one of Tennessee's great writers. And the final work of the season will be the most famous symphony from Scandinavia's greatest composer. This work, while not literally Tennessean in source or inspiration, is one of music's most memorable expressions of nature, from the heart of a man who spent most of his life in a country setting, in a cottage on a lakeside, a life very much in our traditional spirit.
Rachel DeVore Fogarty (b. 1980) Spoon River(selections)
A native of Kingston, Tennessee, Rachel DeVore Fogarty is an award-winning composer, who has written for many instrumental arrangements. She is especially interested in vocal music, and she has won a number of international and American composition competitions. She studied at Belmont University and lives in Nashville with her husband Kevin Fogarty, who is a musical theater composer, and (as she puts it on her website) "Haydn, a manically depressed gray housecat."
Ms Fogarty, whose father works at Oak Ridge National Laboratory, was kind enough to send a description of her work for this concert. It is a great treasure to have the composer's words to go with her music, which are as follows.
While Edgar Lee Masters' Spoon River Anthology was required reading at some point during my education growing up, I can't recall exactly when I was first acquainted with it. The poetry collection is an intriguing series of epitaphs relating the triumphs and tragedies of small-town America. Each character relates a different perspective on life and living, a compendium of personalities interacting and relating to each other and the world around them over generations. I spent two years writing and revising this work, carefully picking each text and creating the music to convey what I saw as their message. I set ten of these poems for each voice part (soprano, mezzo-soprano, tenor and bass).
Tonight we will hear six of them, specifically adapted for soprano Sabrina Laney Warren. They are performed in the order found in Masters' original manuscript. I wrote them with the intention of creating an opera ballet, in which each of the characters would be portrayed by singers while their lives would be seen in dance. I decided that a concert work was a bit more practical.
In the first piece, Emily Sparks portrays the love of a teacher for her student and seeks to remind one student in particular of the importance of her lessons. It starts with anticipation, created through tremolos in the strings, and gradually builds in emotion and intensity as Emily tries to convince her student of the great potential he has to be used by God despite his sin wrecked life. If only he will embrace Christ and the gospel, related to him by Emily, he will become the man he was created to be.
In Hare Drummer, the poem speaks to the happiness of childhood by a life that was ended too soon. I have created a lyrical melody propelled by continuous motion throughout the orchestra in order to portray the flow of thought from a child. I wanted to write a haunting melody that would be bittersweet and yet joyous.
Flossie Cabanis is a character chasing after a dream with the promise of help from a friend, but falls short and loses herself in the process. Using pizzicato strings with the woodwinds, I wanted to convey a plodding, melancholy emotion as Flossie describes how her dream began. As she vividly illustrates how her dream and love for a young actor "enthralled her soul," the orchestra builds in intensity, creating a sense of the elation she felt as she leaves Spoon River to chase the desires of her heart. However, as the harmony changes, Flossie takes stock of the pain found in failure and the loss of her hope.
Julia Miller is one of the darkest poems in the work. It portrays the power of regret and the devastating consequences found in unchecked bitterness. The piece shows her desperation through the driving rhythms, propelling the motion of the piece forward in anguish and despair. As Julia is overcome with sorrow, she takes her own life. In order to bring the audience into her grief, the mood and tempo of the piece change by augmenting the harmonic rhythm and gradually thinning the orchestration to single chords and vocal recitative.
Dora Williams has a story that is tied to Emily Sparks through the character of Reuben Pantier. Unrequited love leads to a glamorous life of scandal and wealth that ends tragically in murder. I deliberately set this text in sections to reflect the way Dora tells her story, using various dance rhythms as she describes her life and explains her exotic existence first in New York and then in Europe.
Lucinda Matlock is, I think, my favorite piece of the entire set. Lucinda shows the beauty of a life lived to its fullest, despite suffering and hardship. To communicate this musically, the piece keeps a steady, repeating melodic motif that represents Lucinda's strong and even journey through life. The rhythmic motive winds down as she relates and reflects on her suffering, but then quickly resumes as she mentions the day to day tasks of her life, culminating in the echoes of her joy by "shouting to the wooded hills" and "singing to the green valleys."
Samuel Barber (1910-1981) Knoxville: Summer of 1915 (1948)
Samuel Barber, born to a well-off Pennsylvania family, was raised in a cultural atmosphere and knew as a child that he wanted to be a composer. When he was nine he wrote to his mother: "Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I'm sure." And indeed he was, becoming one of the leading American composers of the 20th century. Many of his works are in the standard repertory of symphonies and string ensembles around the world.
An avid reader Barber kept an eye out for texts to be set to music. In 1947 he came across Knoxville: Summer of 1915, James Agee's (1909-1955) description of his childhood. The composer wrote, "We both had back yards where our families used to lie in the long summer evenings. We each had an aunt who was a musician. I remember well my parents sitting on the porch, talking quietly as they rocked." Barber and Agee were born within a year of each other and the resonances in their lives were palpable. Barber said, "Agee's poem was vivid and moved me deeply … I think I must have composed Knoxville within a few days."
The composition was a commission from the well known soprano Eleanor Steber (1914-1990), so it was written for lyric soprano and orchestra. It has become one of the most performed masterworks of this type and thereby has put the name of Knoxville, Tennessee, on the musical map of the world. Agee's text is written in prose, but the imagery is poetic. And, because of the importance of the words, Barber crafted the vocal part to follow the rhythms of American speech. He scored the orchestra lightly enough to allow words to be heard, and through the instruments established a small-town atmosphere, giving description contrived to take the listener into the setting.
After the introduction, there is a lyrical melody fitting of childhood, the theme that is remembered as the signature of the whole work. Indeed, it is Agee as a child who is the narrator. This tune is repeated again in the middle and near the end of the composition. After the first statement, listen as the orchestra portrays a passing trolley, with woodwinds and violins imitating its clanging bell. After the refrain melody's second appearance, we are introduced to the other members of the narrator's family. Then, beginning with the words "By some chance, here they are all on this earth," the music suddenly rises in strength and passion. When he was writing Knoxville, Barber's father and his aunt were in the last stages of their lives. Both died within a few months of the score's completion. Listen for this very adult expression of the awareness of mortality that makes this passage so moving, leading to "May God bless my people." And there is a final poignant moment after the last return of the child's melody, when the narrator expresses her realization that her family, loving as they are, can never truly understand her. She sings, "But will not ever tell me who I am."
Jean Sibelius (1865-1957) Symphony No. 2 (Opus 43)
Johan (Jean) Julius Christian Sibelius was born on December 8, 1865, in Hämeenlinna, a small town about 60 miles north of Helsinki, Finland. He wrote his first composition, a short work for violin and cello, when he was 10 years old. Thus began a musical life that rose to the pinnacle of achievement in the early decades of the 20th century, followed by decades of quiet retirement, and death in very old age. As a young man, Sibelius was a member of a group in Helsinki called "The Symposium." This circle of intellectuals (apparently of a "Bohemian" character) proudly held forth Finnish and Swedish "solidarity" against Eastern influences, primarily, of course, Russian. They debated the problems of the age (and all ages), namely, political freedom, the individual versus the mass, the place of the artist in society, and the like. From this very romantic time in his life, Sibelius wrote his first two symphonies in 1899 and 1901 respectively. They are certainly the most "Romantic" of his seven symphonies, and along with his Symphony No. 5, the most commonly performed.
The Second Symphony finds Sibelius at the zenith of his vigor and musical passion, and like all his works, is deeply immersed in the natural world of lakes, forests, cold, and extended daylight and darkness of his homeland. As you will sense from the beginning, measures of music, there is no voice like his. Part of this uniqueness comes from his culture and time, certainly, and part from his remarkable musical ideas. Symphony No. 2, seems to follow the traditional formula (established by Haydn, Mozart, and Beethoven) of allegro, andante, scherzo, and finale, but with notable internal differences. Sibelius, instead of introducing melodies in full exposition, then taking them apart and working with them in the development section, does essentially the opposite. He introduces fragments of melodies in the exposition, building them into organic structures in the development section, then dissolves the thematic material back into those primary fragments once again. In a sense, he follows the path of nature and life itself, birth, growth, and death, turning his music into a kind of living organism.
The first movement is marked allegretto, and begins with pulsating strings. Listen for the fragmentary introductions of motifs, none of which seem to claim the right as most important. These fragments are "assembled" throughout the entire movement. The second movement, andante ma rubato, begins with rumbling kettledrums and string pizzicatos, leading to a melody in the bassoons. Tension builds and peace is temporarily restored in an andante sotenuto, with further agitation before a kind of reverie is reached. The third movement, a Scherzo marked vivacissimo, presents various instrumental combinations with melodic fragments. In the central trio of this movement, listen for the oboe repeating the same note nine times before the line shapes into a lyrical theme. There follows a kind of repeat of the opening section, then the trio again, and then some other material begins to creep into the score, evolving it without pause into the finale, marked allegretto moderato. The principal theme is heroic, one of the grandest in all symphonic literature and the guiding force of the movement-- indeed one could say the entire symphony. There are two other subsidiary themes that form, but the triumphant principal theme represents the ultimate coming together of all these wonderful ideas into a victorious conclusion that makes us all proud to be part of the human race.
Program notes for fourth ORCMA concert of 2012-13 season featuring the Oak Ridge Symphony Orchestra and Chorus
Featured artist: Stephen Seifert, mountain dulcimerist
7:30 p.m., Saturday, March 9, 2013, Oak Ridge High School, Oak Ridge Turnpike at North Tulane Avenue
Spring in the Mountains
By Mike Cates
Lo! where the rosy-bosom'd Hours,
Fair Venus' train appear,
Disclose the long-expecting flowers,
And wake the purple year!
The Attic warbler pours her throat,
Responsive to the cuckoo's note,
The untaught harmony of spring:
While whisp'ring pleasure as they fly,
Cool zephyrs thro' the clear blue sky
Their gather'd fragrance fling.
Thomas Gray (1716-1771)
Charles Faulkner Bryan (1911-1955) The Bell Witch (1947)
Charles Faulkner Bryan was a Tennessee native son, born in McMinnville, and one who spent much of his career teaching within his home state. In 1946 he received a Guggenheim Fellowship and studied with Paul Hindemith (1895-1963) at Yale University, during which time he composed The Bell Witch. Dr. Carolyn Livingston, a professor emeritus at the University of Rhode Island, Tennessee Tech graduate, and author of an important biography of Bryan, tells us about his compositions: "Recognized as Tennessee's first composer of art music, Charles Faulkner Bryan blazed many trails. He was the first Tennessee composer to have a work performed by a large symphony orchestra, the first Tennessee musician to be awarded a Guggenheim Fellowship, and the first composer anywhere to write a symphony based on white spirituals. Further, he reached a large audience with works performed at Carnegie Hall and on national radio. Although he died in 1955 at the tragically early age of forty-three, he left a rich legacy."
The Bell Witch is a secular folk cantata, premiered in 1947 by Robert Shaw (1916-1999) at Carnegie Hall, and based on a 19th century legend of a witch who haunted the Bell family as they moved from Tennessee to North Carolina, Mississippi, and Alabama. The composer also wrote the cantata's text. Beginning at the 5th measure, we find where the musical story is set: "In North Carolina there did dwell a family by the name of John Bell." The music carries a distinctively sad mood, and, in keeping with the mountain folk music he used as a model, Bryan uses varying modes in the music (beginning, for example, in the Aeolian mode). For the most part, the work is "through-composed," meaning that the music is rather continuous, and non-repetitive. Carolyn Livingston summed up the work in this way: "Bryan's treatment of the legend is entirely true to the story's nature. Like the best novels of the supernatural, his music effectively invites listeners to enter a world in which such a horrible story might possibly be true."
Conni Ellisor (b. ~1959) Blackberry Winter
Conni Ellisor is a marvelous example of a very successful 21st century professional musician. She is a composer, arranger, and performer (violin) who lives in Nashville and seems at home with many forms of music. She's written for many combinations of instruments and in various styles. (She also wrote a piece called The Bell Witch, based on the same legend, but in the form of a ballet commissioned by the Nashville Ballet.) One of her best known compositions is Blackberry Winter, a concerto for dulcimer and strings. And we are fortunate to have her own words to describe the piece.
"When first asked if I would be interested in writing a concerto for dulcimer and strings, I happily agreed because the challenge of juxtaposing and blending musical styles and idioms has always been of interest to me. In this case the peculiar beauty and eccentricities of the mountain dulcimer, with its diatonic tuning and drone strings, and the rich heritage of the classical concerto with string orchestra seemed particularly compelling.
"[Upon hearing the dulcimer tune Blackberry Blossom] one of many handed down in the Appalachian folk tradition, I could hear immediately how the harmonies underneath could be shifted and changed and that it was a perfect melody to adapt to the 'classical' tradition I wanted to bring to the concerto. The title reminded me of a book that had a profound influence on me years earlier [Blackberry Winter, autobiography of Margaret Mead (1901-1978)] [The commission grant] was secured on a spring morning a few months earlier, when a late frost had come without warning, coating all new buds with a thin coat of ice – a blackberry winter. And so the piece was named.
"I felt compelled to work within the folk idiom, utilizing folk and folk-like melodies that are true to the nature and heritage of the dulcimer, yet I wanted the piece to have the basic infrastructure of the classical concerto. So I borrowed from a number of idioms: the Baroque tradition of introducing a theme slowly before moving into an allegro tempo (first movement), a rough interpretation of sonata-allegro form (first and third movements), and the time-tested use of theme and variation (second movement)."
Franz Schubert (1797-1828) Symphony No. 5 (1816)
Franz Peter Schubert lived a short life (less than 32 years), was poor most of it, and was only highly regarded during his lifetime by a few close friends. [Nor was he able to marry the love of his life, Teresa Grob (1798-1875), because of the harsh Austrian marriage law of 1815, which required the ability to show the means to support a family.] Yet now Schubert is universally considered among the greatest composers of the 19th century, with numerous works – especially in his last few years – that rank at the pinnacle of musical creativity. Had he lived into his fifties, like Beethoven, we could have expected other symphonic masterpieces from his pen similar to, and perhaps surpassing, his great C-Major Symphony No. 9, the only "grand symphony" he completed. Indeed, the history of the symphony would likely have been written very differently except for his tragic early death.
Schubert's Symphony No. 5 was written in 1816, when the composer was not yet 19 and already writing music at an astonishing rate, perhaps unmatched by any other famous composer. During 1815, for example, he composed more than 20,000 bars of music, more than half of which was for orchestra. Symphony No. 5 was scored similarly to Mozart's symphonies, and of course influenced by Mozart's compositional style. The work is not conceived on a grand scale, with no trumpets, clarinets, or timpani in the scoring, and was typical of a time when Schubert's symphonic output could be expected to be performed by only amateur orchestras (if at all). It is a truly beguiling work created in the spirit of chamber music, and is dominated throughout by Schubert's incomparable gift of melody. Those melodies mold and energize the whole score. The mood is light, and the sense hearers and performers get is the amazing naturalness of music, almost as if – in the spirit of Michelangelo – it was simply the uncovering of a musical image that was intrinsically there.
The symphony begins with a four-bar introduction that leads into an unforgettable theme. The composer uses the introductory material to put the movement together, adding cohesion to the flow of the music. The second (andante con moto) movement is graceful like Mozart and lyrical like (naturally) Schubert. In the minuet third movement there is a kind of serious beginning, but the composer doesn't let it go long, choosing instead to put in more of his wonderful melodies. The finale (allegro moderato) seems to add in a touch of Haydn's playfulness, but again sweetened by melody. It is music you simply cannot fail to enjoy. Happily, it has been around for nearly 200 years, with no end in sight.
Program notes for third ORCMA concert of 2012-13 season featuring the Oak Ridge Symphony Orchestra
Featured artist: Malcolm Matthews, organist
(7:30 p.m., Saturday, Feb. 21, 2013, First United Methodist Church, North Tulane Avenue
Warming the Night
By Mike Cates
For hundreds of generations, since our ancestors migrated away from the continuous warmth of our tropical African genesis, winter has been a time to hunker down, to keep the fires burning, to sit and wonder at the mysteries of the darkness, to tell stories, to huddle together, and to make music. Expressing ourselves in ways that go beyond words has seemed more and more important as we have evolved to unwrap more and more of Mother Nature's gifts to us, always finding further packages with their own intricate challenges. In that spirit, smile at your neighbor and let your night be warmed.
Claudio Monteverdi (1567-1643) Incidental music to Orfeo
Claudio Monteverdi was one of the greatest European musicians of his era, a time of ruling families and stratified classes, a time well before the explosion of technology that has transformed Europe and the rest of the world altogether. Orfeo, Monteverdi's opera subtitled "a fable in music" was one of the first musical dramas written since the Greeks had set the ancient standard two millennia earlier. It remains the earliest work of its genre still being performed in musical venues on occasion. The music is simple, perhaps even primitive to our ears, but it was brand new and exciting for those early audiences, and still has a special appeal. It was composed to be performed for the private audience of a wealthy patron in Mantua, Italy (well before Italy was a nation). Its tale of Orpheus and his beloved Euridice is from Greek mythology, common to operas of the era. As you listen to the sounds envisioned four centuries ago, think of yourselves transported into the time of myth and the realm of the gods.
Elliot Carter (1908-2010) Elegy
Between the age of 90 and 100, Elliot Carter published more than 40 works. After his centennial he published 14 more! Surely he is the grand old music master of our time, or any other, and a serious force to be reckoned with when assessing the nature and value of American music. Much of his composition late in life was multi-layered, complex, and demanding for performers and listeners alike. Earlier in his career – which indeed covered most of the 20th century – his sound was more recognizable and shared attributes in common with his contemporaries Aaron Copland (1900-1990), Roy Harris (1898-1979), and Igor Stravinsky (1882-1971).
Carter's Elegy was written originally in 1939 for cello and piano, arranged later for string quartet, and in 1952 for string orchestra. It is a brief, pensive work that features weaving interplay of instruments, creating a distinctive elegiac mood. The main theme can be distinguished from Carter's use of raised fourths. It builds to a climax and fades to a quiet, introspective ending. In following the Monteverdi work, Elegy effectively carries us through 400 years of human creativity and plants us securely in a time unimagined by our musical fathers and mothers.
George Gershwin (1898-1937) Lullaby for Strings
During his tragically short life, George Gershwin wrote some of America's most recognizable, memorable music. He was truly our nation's first internationally famous composer. His work was strongly influenced by American culture, especially the rhythms and harmonies of jazz and blues. Gershwin's Lullaby for Strings was written in 1919 when he was a student, and the same year his first Broadway musical La La Lucille was produced. The piece was used to fashion an aria for his one-act opera Blue Monday in 1922 -- which was a complete flop (one performance) – and lay in obscurity in his archives until transcribed by Larry Adler (1914-2001) for harmonica and string quartet in 1963. It was not heard in its original string quartet version until 1967. Use of a string orchestra seems to have become the optimized expression of the composition.
Lullaby for Strings has two interesting themes that light up the work. You can hear undercurrents of harmonies and counterpoint that illustrate the special character of Gershwin's music of all types. This work continues its life today and also had a great early impact. Paul Whiteman (1890-1967), a famous bandleader of the time, was taken by the young composer's talent, so he commissioned him to write a new piece, which turned out to be Rhapsody in Blue.
Francis Poulenc (1899-1963) Concerto for Organ, Timpani, and Strings
Francis Jean Marcel Poulenc was born into a well-off family – his father ran a chemical company – and was taught piano by his mother. He remained a mostly self-taught musician although he took lessons from Charles Koechin (1867-1950) for a few years in the early 1920s. He is known for his quirky, sometimes irreverent style, and he achieved success in a wide variety of compositional types. In 1938 he wrote Concerto for Organ, Strings, and Timpani. He said this about the work: "This is not the happy-go-lucky Poulenc who wrote the Concerto for Two Pianos, but a Poulenc en route to the cloister -- a 15th century Poulenc if you like."
The concerto, which has a religious tone, was written after Poulenc began what he called a time of "new dimensions and greater depth." The composer consulted with Maurice Duruflé (1901-1986), soloist in the early performances, and studied the organ literature of history's greatest master of the instrument, Johann Sebastian Bach (1685-1950). In structure, the work is a continuous movement that could be called a fantasia, in that it is willing to take "flights of fancy" in its structure, not sticking with formal tradition. It starts with a dense chord in the organ, and goes into dotted rhythms, a duet with organ and timpani, lush string harmonies, low rumbles to powerful hall-filling organ outbursts, and lots of percussive exclamations. Built-up tension is released in the allegro section where strings and organ move in and out of dominance. The andante section features an organ solo responded to lyrically by the strings. There follows somber moods, marching pulses, thickening harmonies, and more tension. There is another allegro passage, a return of the organ introduction, a beautiful viola solo with plucked string accompaniment, then a dramatic ending with a final chord from the organ. You will be altogether charmed, impressed, and deeply touched by this masterpiece.
Second ORCMA concert of 2012-13 season featuring the Oak Ridge Symphony Orchestra and Chorus
John Becker, WBIR news anchor, will narrate "The Greatest Generation" by Greg Danner, composer from Cookeville, Tennessee.
(3 p.m., Sunday, November 11, 2012, Clayton Center for the Arts, Maryville College, Maryville, Tennessee)
American Celebration
By Mike Cates
When the Constitution of the United States of America was established in the waning years of the 18th century, history saw its first secular democracy come into existence. The U.S.A. was born as a nation where Church and State were separate and where the "self-evident" truth that all men are created equal was codified into law. There have been many bumps and potholes in the path democracy has taken since those days; yet we can take pride as Americans that we created a model that has been used as a guide (or perceived as a threat) for many other nations over the more than two centuries that have passed. We can justly celebrate our role in history, yet at the same time we soberly recognize that democracy must be reborn anew for each generation. So, come now, let us lift up voices and instruments in celebration of our heritage!
Francis Scott Key (1779-1843) [lyrics] John Stafford Smith (1750-1836) [melody] The Star Spangled Banner
Our national anthem began life as a poem by a Revolutionary War–era lawyer, 35-year-old Francis Scott Key, who in 1814 watched – from aboard a British vessel – the naval bombardment of Fort McHenry, overlooking the harbor of Baltimore. The British failed to dislodge the Americans, and the poorly conceived War of 1812 ended with the new nation still intact and its mother nation wearied from attempting such foolishness among folk with stubbornness equal to that of their own, and thousands of miles from home. Key called his poem Defence of Fort McHenry, and soon after its creation it was set to the tune of a popular song written by John Stafford Smith for a London men's club called the Anacreonic Society. How interesting that in those days things British were popular within the American culture, because indeed Smith's tune (To Anacreon in Heaven) was well known.
Despite its British roots and octave and a half vocal range, The Star Spangled Banner with Key's words began to be used officially by the U.S. Navy in 1889, was adopted for use in the Executive Department by President Woodrow Wilson in 1916, and finally, by act of Congress, became our nation's official anthem on March 3, 1931. And it has served us well. Remember to stand with hand over your heart when you hear it played.
Randall Thompson (1899-1984) Frostiana (1965)
Randall Thompson spent most of his life in New England which, arguably, since the time of William Billings (1746-1800), has been the most important center of American art music. Thompson went to Harvard, beginning in 1916, tried out for but was rejected by the glee club, then got very interested in choral music, eventually being mentored by the glee club's conductor, Archibald Davidson (1883-1961). He earned his doctorate in music from the University of Rochester in 1933. His works include chamber and orchestral music, but he is known primarily as a composer of choral music. But we owe him credit, too, for being a music education reformer. In 1935 he organized a survey sent to many university choral music programs, the results of which revolutionized training in choral singing. If you have been fortunate enough to hear wonderful college choirs in performance, some of that wonder owes its origins to the work of Randall Thompson.
Frostiana is Thompson's choral setting of seven poems by Robert Frost (1874-1963), originally with piano accompaniment, and later with chamber orchestra. This was a commissioned piece to celebrate the 200th anniversary of the city of Amherst, Massachusetts (1959). Robert Frost had lived in Amherst for a number of years. The poet was at the premier performance and, despite his reluctance to allow his poetry to be set to music, seemed very impressed by Thompson's interpretation, standing and saying, after the conclusion, "Sing it again!"
The seven poems, which take a nostalgic look at New England country life, are musically structured in a kind of symmetry, with the first and last movements for full chorus, second and sixth for men, third and fifth for women, and the central fourth movement a kind of dialog between the sexes. Listen for tone painting. For example, you can hear treading steps in The Road Not Taken, birds chirping in Come In, snow falling in Stopping By Woods, and a sense of starlight in the soprano line of Choose Something Like a Star. Notice, too, that the composer played particular attention to having the words understandable, writing in a style (homophonic) in which a melody line is dominant. Now, lean back and transport yourselves to rural New England at a time when your parents and grandparents were growing up.
John Williams (b. 1932) Hymn to the Fallen (from the movie Saving Private Ryan)
John Williams is among the most financially successful musicians in history. His film scores are firmly locked into American (and international) culture. His music undoubtedly has been heard by more people than the music of Beethoven, Mozart, or any other famous composer of the past. Analogously to opera, movie music transforms images and dialog into an altogether transcendent experience, where the whole is vastly greater than the sum of its parts. The movie Saving Private Ryan (1998) was a huge success, and its musical score is equally famous. Hymn to the Fallen is a moving tribute to those many who have been killed or wounded in the line of battle. The choral sound uses no words; words could never say what is needed at such moments.
Morton Gould (1913-1996) American Salute
Another in the Mozart line of child prodigies, Morton Gould published his first composition when he was six years old. He was a gifted pianist and prolific composer. He composed more than a thousand works during his lifetime, including movie and ballet, scores, Broadway musicals, and orchestral and band works. Among many honors he received was a Pulitzer Prize in 1995. His music is considered distinctly "American" in its feel and spirit.
In American Salute Gould builds the work entirely from one melodic line, a well-known song, often sung in time of war. The tune has been traced to an Irish anti-war song called Johnny I Hardly Knew Ye. It was transformed into a spirited celebration of fighting men through the years by the words penned by the Irish-American bandleader Patrick Gilmore (1829-1892), who called his song, published in 1863, When Johnny Comes Marching Home. Gilmore wrote the song for his sister, who was hoping for the safe return of her husband from the Civil War. Listen to the wonderful things Morton Gould does with this toe-tapping tune.
Greg Danner (b. 1958) The Greatest Generation
Greg Danner, a Missouri native, is a Professor of Music at Tennessee Tech. He studied at Southeast Missouri State, the Eastman School of Music, and Washington University, where he earned a Ph.D. degree. He is thought of primarily as a band music composer and advocates strongly for the importance of American wind ensembles in classical music. The following is extracted from the notes written by Maestro Dan Alcott for the premier performance of The Greatest Generation.
"Americans of the 1930s and '40s – many the sons and daughters of recent immigrants – were no strangers to economic ruin. If they had not personally suffered it by the time of the Depression, their parents almost certainly had – in the slums of Russia's cities, the agriculturally deprived countryside of Ireland, the industrial serfdoms of England. The stories of how you "make do" were as familiar as the books of the Old Testament.
"And when Franklin Roosevelt declared that 'day of infamy' in 1941, Americans rose to the occasion with pluck, determination, and something resembling the 'national pep' George Gershwin (1898-1937) attributed to the American persona. Composer Greg Danner's father, Fred Lee Danner, served as a gunner's mate onboard the destroyer USS Cowell during World War II and was highly decorated. Danner grew up with stories of heroism in a time of war and stoicism on the home front, as families waited for word of their loved ones in combat. While television began bringing us moving images of the European and Pacific theaters, some of the most poignant descriptions of life during World War II are captured in the letters between husbands and wives, siblings and friends, parents and children. Some of these letters informed mothers that their sons have died. They chronicled the pain of separation between lovers. They made jokes about how you couldn't find a decent pair of stockings any longer, and they tried to give comfort where none was truly possible.
"The phrase 'the greatest generation' is one of utmost respect for the Americans who grew up during the Depression and went on to serve in World War II or build and sustain a support system for the troops here at home. Journalist Tom Brokaw (b. 1940) coined the phrase first in his news broadcasts and later, in 1998, in his book of the same name. Danner, like a historian or journalist, tells his story of the greatest generation using primary material – the letters of the people with the most at stake – in this case, the soldiers and families of World War II. The setting begins during the Depression, a time of 'lost opportunities for many Americans.' The work is informed by both the writers of the letters themselves and the descendents of those writers, who unanimously embraced the composer's intent of setting their families' stories to music. Commissioned for concert band by the American School Band Directors Association and premiered at its 57th annual convention, The Greatest Generation won the 2010 Composers' Guild Grand Prize. The Bryan Symphony Orchestra commissioned, in collaboration with the Oak Ridge Symphony, an orchestrated version of The Greatest Generation as part of our 50th anniversary celebration. Its narration quotes four letters written by a soldier trying to console his parents, a soldier whose daughter was born while he was overseas, a soldier who survived D-Day, and an infantry soldier interviewed years later, who tried to put the experience of his generation into perspective for those of us who follow."
Robert Lowden (1920-1998) Armed Forces Salute
A native of New Jersey, Robert Lowden was a prolific arranger and composer. Interestingly, he also was in the advertising business and wrote more than 400 commercial jingles. He is most well known to orchestras and bands for arrangements of show tunes and popular songs. During World War II he played in the U. S. Army Band.
The concluding work of the concert is his lively arrangement of a medley of the official songs of the various branches of the United States armed forces: Army [The Caisson Song, words and music by Edmond L. Gruber, 1908]; Coast Guard [Semper Paratus (Always Ready), Frances F. van Boskerck, 1938], Marines [The Marines' Hymn, music by Jacques Offenbach, 1859, words by Henry C. Davis, 1929], Air Force [The U. S. Air Force, words and music by Robert Crawford, 1951], and Navy [Anchors Aweigh, music by Charles A. Zimmerman, words by George D. Lottman, Alfred Hart Miles, and Royal Lovell, 1907]. All these tunes are familiar and stir pride in our hearts. Nearly every American has either served in or been close to someone (or many) who served in the military. Listening to these tunes is another reminder that freedom is always a work in progress, and that sacrifice has been demanded, generation after generation, to keep that freedom secure.
First concert of 2012-13 season by the Oak Ridge Symphony Orchestra, with Josh Davis as piano soloist
(7:30 p.m., Saturday, October 13, 2012, Oak Ridge High School Performing Arts Center)
New World Talent,
Old World Masterpieces
By Mike Cates
Tonight's concert features what is arguably the most famous orchestral composition in the literature, paired with a remarkable piano concerto that is a favorite of many and a great pride of 20th-century composition. These Old World masterpieces exist for us only as stacks of printed scores until created again by the talent of living artists, such as the Tennesseans who grace us on the concert stage tonight. Once more we will be reminded of the unspoken contract between composer and artist. Each reaches greatness only with the greatness of the other. And we in the audience are perhaps the most blessed of all.
Ludwig Van Beethoven (1770-1827) Symphony No. 5 (Opus 67, 1808)
If any musical work written down from the mind of man could be said to be "perfect," Beethoven's great Symphony No. 5 is a likely candidate for that title. Compact, emotionally fine-tuned, powerful, and awe-inspiring, the "Fifth Symphony" rests at the top of classical music's Hit Parade and is unlikely to be supplanted anytime soon. It is the second of his "Romantic" symphonies, coming a few years after Symphony No. 3 (Eroica), which shattered the bonds of classicism and opened the floodgates of musical creativity in 19th-century Europe.
The work opens with one of the most famous motifs in Western music. And what an astounding creation was produced from just four notes! So much has been written about this symphony, so many analyses of the details of its construction have been provided, so many accolades of so many kinds have been given, that choosing anything further to say in the technical sense seems redundant and, in a certain way, irreverent. Let me simply say that Beethoven worked a long time on his Fifth Symphony (from 1804 to 1808), and that it was finally premiered on Dec. 22, 1808, as a part of a famous (disastrously long, terribly cold, and poorly performed) all-Beethoven concert. When the symphony was finally given a "proper" performance, a year and a half later, E. T. A. Hoffmann in the Allgemeine musikalische Zeitung, wrote, "Radiant beams shoot through the deep night of this region, and we become aware of gigantic shadows which, rocking back and forth, close in on us and destroy all within us except the pain of endless longing – a longing in which every pleasure that rose up amid jubilant tones sinks and succumbs. Only through this pain, which, while consuming but not destroying love, hope, and joy, tries to burst our breasts with a full-voiced general cry from all the passions, do we live on and are captivated beholders of the spirits." I believe he liked it.
Symphony No. 5 is divided into four movements. The last two are played without pause. Trombones are introduced into symphonic literature in the opening chords of the finale. To my mind, no more wonderful debut could have been accorded any orchestral instrument. Martin Bookspan (b. 1926), musicologist and well-known commentator on music, described this masterpiece very appropriately, when he wrote: "In its triumphant struggle to ultimate victory, its absolute logic at once massive and compact, its confident swagger and heroism, this symphony has served as a clarion call to victory over tyranny through the years."
One of Beethoven's most outspoken antagonists in the early 19th century was a certain Professor Lesueur of the Paris Conservatory. When he was finally persuaded by young Hector Berlioz (1803-1869), one of his students, to listen to the Beethoven Fifth, the French professor was overcome. "Oh, let me out!" he cried. "I must have air. It is unbelievable! Marvelous! It has so upset and bewildered me that when I wanted to put on my hat, I could not find my head!" Beethoven's Symphony No. 5 has been spinning heads for more than 200 years now, and will certainly do so as long as we dwellers on this lovely blue planet continue to respond to artistic beauty and imagination.
Sergei Rachmaninoff (1873-1943) Piano Concerto No. 3 (Opus 30, 1909)
Rachmaninoff was a great pianist of his day and a composer that some considered a throwback to 19th-century Romanticism. No less a great composer, Felix Mendelssohn (1809-1847) was also pegged as a throwback to Classicism when his mature works featured lyricism and simplicity of expression. But both men seemed to have presaged the wisdom of Duke Ellington (1899-1974), who famously said, "If it sounds good, it is good."
Rachmaninoff practiced his new concerto on the boat, traveling to America for a concert tour in the fall of 1909, and his method of practice was a "silent piano," a dummy keyboard that was full-sized for finger exercise. This was eight years before the Russian Revolution, and the young composer would likely never have guessed he would someday become an American, and indeed would die in the New World. (In fact, Knoxville, Tennessee, was the locale of his last public performance, which was in 1943, the year when he died.)
Popular culture, abetted by the movie Shine, has dubbed the "Rach Three" the most difficult of piano concertos, but Rachmaninoff himself claimed it was "more comfortable" to play than his similarly famous Piano Concerto No. 2. And today many pianists play this work in concert. It is clearly technically challenging and requires endurance from the soloists during its approximately 40 minutes of performance; but its wonder is perhaps less in its difficulty than in its musical expression, which covers the full range, including high drama, wit, and lyricism.
Illustrative of this diversity of expression, the work begins simply with a line that is heard over and over, in many expressions of itself. This very Russian chant-like motive is later given to horns and violas while the soloist becomes the sparkling accompaniment. We hear the second theme introduced and, after the improvisation-rich development, comes the soloist's cadenza. Rachmaninoff wrote two for the piece; the first – usually the one performed – is longer and flashier. The composer actually preferred the second, which is shorter and more understated.
The second movement is melancholy, with ebbing and flowing of passion, accented with a light dancing central section. The finale opens with the sound of Russian church bells. Again there are two themes, and the usual development section is, in a sense, replaced by a long series of highly difficult keyboard fantasies. The closing begins with a dramatic march, with building tension and power both by soloist and orchestra. This grand work ends triumphantly, and has now been captivating audiences for more than a hundred years.


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Two Jonesboro women face multiple drug charges after police say they found an active meth lab in their home along with meth hidden inside a child's Halloween costume.
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Papi's back, fools. Too bad our other nicknamed cult hero isn't as media friendly.
Youkilis Is Sick Of The Media - The Joy of Sox
Who isn't? Oh, wait, can't say that, or else he might hurt him MVP chances (/troll baiting). Correction:
Youkilis on Boston: 'I love playing here' - The Providence Journal
But you think the media is a bunch of greedy, story-creating hounds, right?
Youk: We're all human - Full Count
C'mon, Youk, either work with me or get a PR guy so that this doesn't become a lead story again.
After the jump: The List is immoral, but our star players are still going to get tested when they perform really well (Get some fluids in ya, Papi).Court Says Agents Violated Players' Rights in Seizing 'The List' - NESN.com
Nah, really?
Bay and Ellsbury got rewarded for their nights with drug tests. #redsox
SoxProspects.com News: Players of the Week, August 17-23: Wilfred Pichardo & Adam Mills
Martinez accepts challenge of knuckler - redsox.com: News
"Obviously, that's not a normal pitch. It's a big difference. When it moves so much and you don't know where it's going to go, it can be tough. It's not typical to catch guys like him."
There's Been No Shortage of Baseball Oddities This Year - WSJ.com
This season has been full of some of baseball's rarest feats, including a perfect game, an immaculate inning, and an unassisted triple-play. But what HAVEN'T we seen?
Feel free to suggest baseball oddities you'd like to see in the comments - preferably with a link if it's happened before. Other links are cool too.


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News & Events
Find links to publicity at
Boston Globe: http://www.bostonglobe.com/news/science/2014/08/07/origami-robot-folds-i...
Washington Post: http://www.washingtonpost.com/news/speaking-of-science/wp/2014/08/07/eng...
Phys.org: http://phys.org/news/2014-08-origami-materials.html
Physics Department Office Manager Ann Cairl has been awarded the 2014 College of Natural Science (CNS) Outstanding Staff Award.
Congratulations, Ann!
Professor Ben Brau has received tenure and was promoted to Associate Professor. His research focuses on searches of physics beyond the Standard Model in high energy proton collisions. He is a member of the ATLAS experiment at the LHC accelerator at CERN, Switzerland.
Congratulations, Ben!
Dr. Nikhil Malvankar, UMass Physics PhD 2010, has been awarded a Burroughs Wellcome Fund Award.
Congratulations, Nikhil!
Professor Benny Davidovitch has been named one of seventeen 2014 Simons Fellows in theoretical physics. The prestigious fellowship enables Benny to extend his sabbatical leave at the Hebrew University of Jerusalem.
… more …
Congratulations, Benny!
More News & Events
The Physics Department will hold a reunion for alumni and friends on Saturday, June 7 in the Lederle Grad Research Tower, Room 1033. Join us to hear the latest news from the department and to network with fellow alumni during Alumni Weekend.
2:00 p.m. Welcome with Department Head Rory Miskimen
2:15 p.m. "Latest News on the HIGGS Boson from the Large Hadron Collider at CERN" with Professor Carlo Dallapiccola
2:45 p.m. "Stories of Startups" with alumnus Paul Silva '00, founder and executive director of Valley Venture Mentors
3:15 p.m. Poster session on undergraduate research and faculty/alumni get-together
ACFI faculty Laura Cadonati has been elected Vice Chair of the APS Topical Group in Gravitation (GRR). The group serves as a focus for research in all areas of gravitational physics. … more …
Congratulations, Laura!
The Simons Collaboration on the Many Electron Problem held its kickoff meeting on March 17. It brings together 23 physicists from around the world (including UMass' Nikolay Prokof'ev and Boris Svistunov) to new ways to solve the quantum mechanical behavior of systems comprised of many interacting electrons, with the goal of revolutionizing our ability to calculate and understand the properties of molecules and solids important in chemistry, physics and everyday life. ...more…
The book "Topics in Advanced Quantum Mechanics" by Professor Emeritus Barry Holstein has recently been reprinted by Dover, two decades after it's first release by Addison-Wesley in 1992.
Good books never expire: well done Barry!
Nikolay Prokof'ev and Boris Svistunov have been awarded a prestigious award (1.67 M$ over 10 years) from the Simons Foundation.
The Simons Collaboration on the Many Electron Problem brings together a group of scientists focused on developing new ways to solve the quantum mechanical behavior of systems comprised of many interacting electrons, with the goal of revolutionizing our ability to calculate and understand the properties of molecules and solids important in chemistry, physics and everyday life. ...more…
The EXO-200 experiment has measured the 2-neutrino double-beta decay of Xe-136 with 3% precision. The measurement provides useful information for modeling the Xe-136 nucleus, and places Xe-136 on the front stage in the search for the lepton number-violating neutrino-less double beta decay. The EXO-200 collaboration includes professors Andrea Pocar and Krishna Kumar, postdoc Tim Daniels, and graduate student Sereres Johnston. The result is highlighted on Physical Review C. ( ...more… )
Senior Morgan Opie, a physics/math double major, was awarded one of 14 scholarship offered by the Winston Churchill Foundation for outstanding american students to pursue graduate studies at Cambridge University in the UK (...more...).
Opie was also one of four Fall '13 recipients of the UMass Rising Researcher awards (...more...), and she was runner-up for the Alice T. Schafer Prize, a national prize for excellence in mathematics by an undergraduate woman.
Well done, Morgan!
David Kastor has been named Fellow of the American Physical Society in November 2013. This is an honor conferred on less than one half of one percent of the APS membership. Congratulations, David!
For his influential work on a broad span of topics in gravitational physics, ranging from the formal definition of conserved quantities in General Relativity through new exact black hole solutions all the way to brane architectures relevant for string theory.
With the arrival of Prof. Michael Ramsey-Musolf, UMass Amherst has established the Amherst Center for Fundamental Interactions (ACFI) in the Physics Department. The ACFI seeks to advance research in theoretical and experimental physics at the interface of the Energy, Intensity, and Cosmic frontiers. ACFI activities include international topical workshops, a visiting researcher program, and enhanced in-house research involving the theoretical and experimental high energy, nuclear, and astroparticle groups. Read more about the ACFI at http://www.physics.umass.edu/acfi/ .


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Triumph of Death - Camposanto Pisa
By walwyn - October 17th, 2012
Painted by Buonamico Buffalmacco between 1336 - 1341 this fresco in the Camposanto, Pisa, depicts the Triumph of Death. This fresco is a variation on the Three Living and the Three Dead. On the right hand side of the painting rich men and women converse in a spring garden, one is playing music, another holds a hawk, and a small dog sits on the lap of another.
At the top of the right hand side of the painting, one monk sits study a book, whilst others are tending animals and trees.
In the bottom left of the fresco the three riders confront their corpses, whilst a monk with a scroll points telling them that this is their fate as Death triumphs over all.


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HUNTINGTON, W.VA. – The U.S. Small Business Administration and its network of small business resource partners will be conducting a "Borrower – Lender Matchmaking Event" on Friday, May 20 at the Holiday Inn Express located at 3551 Rt. 60 East in Barboursville. Cost for the event is $20, seating is limited, and pre-registration is required. To register, call Laura at (304) 253-3145 or (800) 766-4556 or via email at email@example.com or visit www.westvirginiawbc.org.
This unique "One-Stop Business Financing Marketplace" event is designed specifically for small businesses looking for funding to grow a business, capital to start a business venture, or funds to help make ends meet. People with questions on business-related topics or issues will also have the opportunity to meet with small business experts from the West Virginia Small Business Development Center, the West Virginia Women's Business Center, SCORE - Counselors to America's Small Business, West Virginia Secretary of State, West Virginia State Tax Department and other small business resource organizations.
"Small business owners are generally busy individuals and don't always have time to travel from bank to bank to look for a lender willing to provide them a loan," said SBA West Virginia District Director Judy K. McCauley. "To help make their search a bit easier, we are bringing lenders and small business resources to one location to meet with them one-on-one and specifically discuss their financing and small business needs."
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text: So hurry up and make those picks. When team Business As Usual takes first place again, I don't want people bitching that they had two people not make picks hurt their score. I want a legitimate victory when we come for your soul. We've had a lot of people skip on picks lately. I hope nobody is forgetting about the awesome card this weekend, because as the staff pointed out earlier UFC on Fox may have overshadowed this card a little bit. Get those picks in, animals.


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Ben Affleck, Bradley Cooper, and Tom Hanks: Dashing 2014 DGA Arrivals
Adding a great deal of handsomeness to the event, Bradley Cooper, Ben Affleck, and Tom Hanks stepped out at the Directors Guild of America Awards in Century City, California on Saturday (January 25).
Ben Affleck took the stage in a classic black suit with matching tie as he presented "Gravity" director Alfonso Cuarón with the night's top award.
Also in attendance, Bradley Cooper helped honor his "American Hustle" helmsman in a sleek black tuxedo while Tom Hanks opted for a double breasted black-on-black ensemble.
Hosted by Jane Lynch, the evening included presenters Sandra Bullock, Don Cheadle, and Kerry Washington.
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A wide ranging series of six policy steps
which aim to raise the status of technical, practical and
vocational learning in the UK
Edge wants an education
and training system which:
With these aims in mind, we want politicians, practitioners and
the public to:
Download the full Six Steps for Change
Watch the House of Lords event video
Ros Lucas
Sounds fantastic, but without a consistent programme of planning based on research, knowledge and understanding of the variety of options and job roles available in the various sectors of industry, informed future choices will not be possible.
Listening to Alison Wolf at a recent Education and Employers Taskforce presentation, I agree with her that it is from the age of 14 and Edge, that we should try to ensure that all youngsters are given access to a variety of work places, whether this is as part of a work experience, work shadowing or voluntary work.
For many students in schools, especially if we do not carry on with the same format of 7 - 11 subject exams, it will be possible to allow a day to undertake research, which can be accredited as work-related learning so that they are able to gain the knowledge and understanding, from which they are likely to make much better and more informed choices for their future.
More can be said but sufficident for now.....
Ros Lucas BEd MA Voc Ed & Training, now Careers/Education Consultant
John Willis
These are great principles, - shouldn't there be another one though about all young people receiving independent and comprehensive careers advice?
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Pupils take part in disability cricket scheme (From Harrow Times)
Get involved: send your pictures, video & news by texting Harrow Times to 80360, or upload here
Harrow schoolchildren take part in disability cricket scheme
Updated 1:32pm Monday 23rd June 2014 in News By Bruce Thain
Schoolchildren have been putting bat to ball as part of a county-wide disability cricket programme.
Pupils from Woodlands School met trainers from the Middlesex Cricket Board (MCB) today at Lohana Cricket Club, in Bridleway, Harrow Weald.
The MCB runs the scheme in schools across Harrow and the rest of the county, giving children with disabilities the chance to play the sport throughout the year.
MCB coach Khushali Patel said: "I think for the children we deal with there are two main benefits to playing cricket.
"First it's a great way to get them active. For a lot of the children there isn't a chance to play much sport in their daily routine, so its a good way to keep them fit.
"Secondly it's also a chance for them to learn to play as team and meet with kids from other schools."
Teacher Rachael Soysa from Woodlands School said: "All the children really enjoy themselves and what's important is that it's a chance for them to be active outside their normal school day.
"It's a great opportunity for them to do something completely outside their normal routine."
Other schools from Harrow which have taken part in the scheme include Alexandra School, in South Harrow and Whitmore Secondary school.
More than 35 schools across Middlesex have been taking part in the Chance To Shine programme to get more children introduced into playing cricket.
Lohana Cricket Club also has its own disability cricket scheme which has been running since 2010, offering coaching for people of all ages.
Comments are closed on this article.


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Richard Hanna
|This is a profile of a U.S. Representative. (See the New York portal for all incumbents, candidates and blogs.)
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Richard Hanna, a Republican, is the U.S. Representative for the 24th Congressional district of New York since January 2011.[1]
- 1 Positions, record and controversies
- 2 Bio
- 3 Money in politics
- 4 Committees and affiliations
- 5 Contact
- 6 Articles and resources
Positions, record and controversies
In addition to serving as Owner and President of Hanna Construction, Hanna is a partner in the Gabriel Group, LLC, which has owned and operated Forge Hill Estates in Ilion, NY, one of the premier apartment complexes in the Mohawk Valley, since 1992. [2]
2008 elections
Hanna was the Republican nominee that unsuccessfully challenged incumbent Rep. Michael Arcuri (D-N.Y.) in the 2008 congressional elections.[3][4]
2010 elections
In 2010, Hanna, in his second attempt, defeated Democrat Rep. Michael Arcuri.[1]
Money in politics
This section contains links to – and feeds from – money in politics databases.
Campaign contributions
The following is drawn from government records of campaign contributions to Richard Hanna. Campaign contributions are one of the most direct conduits for influencing members of Congress. How to use this information. <crpcontribdata>cid=N00030197&cycle=2008</crpcontribdata>
Committees and affiliations
Campaign Contact Information
Richard Hanna for Congress Committee
PO Box 118
Utica, NY 13503
Don Leonard
webmail link
Articles and resources
Related SourceWatch articles
- 2008 U.S. congressional elections
- Portal:New York and the U.S. Congress
- ↑ 1.0 1.1 Richard Hanna profile, The Washington Post, accessed January 2011.
- ↑ Richard Hanna for Congress campaign website
- ↑ Green Papers: New York Congressional Candidates
- ↑ Official Hanna for Congress campaign website


text: There are so many different opinions as to if the Bengals will actually choose a WR with their first round pick. The consensus is that the Bengals should pick AJ Green, because he's a "once-in-a-lifetime" talent. Others are huge Julio Jones fans because of his great combine and great productivity. Who really knows what the Bengals will actually do come draft day, but I was just curious ... What do you all think? Could be a very interesting draft..


text: So I'm back! Every time this year I attend the Food and Nutrition Conference organized by the Academy of Nutrition and Dietetics (former American Dietetic Association). As I am the President of the International Affiliate (American Overseas Dietetic Association), I attend the conference and participate in several of the activities there. I'll be sharing my experiences in the next post, but for now I need talk about one of my favorite Greek meat recipes: Kotopoulo Kokkinisto. While I look forward to visiting the U.S., after a few days I do miss the tastes of Greece, and one of them is the kokkinista dishes. Kokkinisto, refers to the method of cooking in tomato sauce. Read more »


text:
Can we have a steampunk Dark Seer too?
(Source: liger69.deviantart.com, via ligerdraws)
whY DID NOBODY TELL ME XIAOLIN SHOWDOWN GOT A SEQUEL
(Source: ligerdraws)
Be polite people.
It's just so beautiful ;_;
A while ago I had this idea of creating one fan troll for each greek letter there is…
Suggested by this cutie :3


text:
- EMA Modified Release
- EMA and FDA bioanalytical method validation
- EMA Bioequivalence Concept Paper
- Pharmacokinetic modelling
Including, their:
- Use
- Applications
- Limitations
- The EMA Modified Release Guidance
- Pharmacokinetic simulator use
- Industry practices in dissolution testing
3 new interactive sessions and 7+ hours of formal and informal networking
Europe's only event focussed on bringing together dissolution and clinical trial specialists to link the gap between in vitro and in vivo techniques
Join the Pharmaceutical CMC group on LinkedIn for your chance to discuss this topic with experts in the field, and also keep updated with the latest news on the conference.
Click Here and request to joing the group!
Don't miss this exceptional opportunity to share experience and benchmark against leading originator and generics companies working in BE and dissolution testing
Focus Day: Tuesday 13 May 2014
The Biowaivers Master Class
Led by:
Jean-Michel Cardot, Professor, Department of Biopharmaceutics and Pharmaceutical Technology, University of Auvergne, France
Pablo Martín-Sáiz, Head of Pharmaceutical Development, Corporate Product Development, Ferrer HealthTech, Spain
Roger Verbeeck, Professor, Louvain Drug Research Institute, Université Catholique de Louvain, Belgium
Evening Seminar: Wednesday 14 May 2014
Successfully conducting and using in vitro in vivo correlation (IVIVC) modelling
Led by:
Jean-Michel Cardot, Professor, Department of Biopharmaceutics and Pharmaceutical Technology, University of Auvergne, France
"A very good combination of regulatory and generic industry input."
"A very enlightening event and a wonderful chance to meet regulators and experts in the field."


text:
Paris…Yves Saint Laurent
In a palette of black, white and grey, Stefano Pilati said, "I have to reflect the times, and this really is my mood." Starting off with the motorcycle jacket, he looked back at many of the pinnacle moments in the French house's history including elements of leather and flannel, crisp white shirts, and tuxedo looks. Elongated leather jackets featured motocross details like asymmetrical zippers, buckles and slit pockets. A satin lapel was a key detail on a Le Smoking jacket as well as on an elongated version worn as a dress. Black pinstripe suiting pieces were separated from head to toe looks, with a pencil skirt worn with a deep-V woven shirt and a "boyfriend" style blazer worn on its own over opaque hosiery.


text: As a photographer I am interested in the often-fragile relationship between people and the places they live, in how individuals, environment, and history combine to create a region with its own culture. In my project 'So Close, So Far: Daily Life and Cartel Violence in Ciudad Juarez', I am exploring these ideas through images of daily life in a place where the drug war calls the very concept of "daily life" into question. Combining environmental portraits and documentary reportage, I hope to document this tragic and historic time in the life of this city, when cartel violence forges an uncertain new reality.


text: jay arr is a Wiltshire poet and founder member of Swindon Writers' Cafe. This is his first published collection of poetry. He has been writing poetry for over two decades. This collection of over a hundred poems reflect his eclectic interests in: love, food, relationships, the Orient, places, mathematics and science, light and colour, California, wine, beer, cheese, R&B, family, history and philosophy.


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Magnus BaneTalk0
this wiki
|Magnus Bane
|Portrayed by Godfrey Gao
|Biographical Information
|Full name:
|Magnus Bane
|Over 300 years old[1][2][3]
|High Warlock of Brooklyn
|New York
|The Clave
| Asmodeus (father)
Unnamed woman (mother)
|Physical Description
|Hair color:
|Eye color:
|Green and Yellow
|Distinct feature/s:
| Cat-like eyes
No belly button
|You could give me the past, but Alec is my future.
–Magnus to Camille Belcourt, City of Fallen Angels
Magnus Bane is the High Warlock of Brooklyn. Being over three centuries old, his life has since intertwined with several Shadowhunters and Downworlders over the centuries.
Early life
Magnus was born to a half-Dutch and half-Indonesian woman and the Prince of Hell Asmodeus in the 16th century in Jakarta, Indonesia, back then known as Batavia of the Dutch East Indies. He was born seemingly normal, only with unusual amber eyes.
Magnus was raised on a farm with his mother and her husband, both of whom raised him lovingly. However, when Magnus' warlock's mark developed and they realized that he was the son of a demon, they both feared him and Magnus despised himself, and his mother soon hung herself in their barn.[4] When he was ten, his stepfather attempted to drown him but was instead burned when Magnus lashed out with his powers at him. He was then brought up by churchmen and raised by the Silent Brothers of Madrid, Spain in the 17th century. He received the name "Magnus Bane" from them.
Somehow, Magnus has acquainted himself with his father, Asmodeus. Aware of his father's influence, Magnus occasionally brought up his power and notoriety and used this in his favor. Being a very skilled and powerful warlock, Magnus began charging for his services fairly young, even before he was a full-grown warlock. Though he was only less than twenty years old, he had already began lying about his age, claiming to be hundreds of years old, old enough to know historic figures such as Julius Caesar and certain oracles, to increase his clients' confidence in him.[5]
At one point, Magnus fell in love with someone and had, for the first time in his long life, stayed with his lover for the duration of the girl's mundane life. Even for thirty years after that, Magnus still has not moved on from the pain, though it had become tolerable, and was still on an extended vacation, seeking adventure in places like Peru, unable to settle somewhere with the thought of his late lover still stinging.[5] Magnus once cited this heartbreak about a century after to another warlock friend who had lost her first loved one, saying that the first one was always the hardest.[6]
Adventures in Peru
work in progress
Stay in London
Clockwork Angel
In 1878, Magnus is the lover of Lady Camille Belcourt, a vampire. Tessa Gray uses her shapeshifting ability to take the form of Camille and attends a party at the home of London head vampire Alexei de Quincey along with Will Herondale, who is pretending to be her human pet. Magnus acts as their guide through the house, helping the Nephilim determine that de Quincey has violated the Law. During this, he admires Will's blue eyes and black hair, calling it his favorite combination. This does, of course, match Alec's appearance over a century later.
Clockwork Prince
Magnus is living in Camille's house and constantly thinking about her since she disappeared and went into hiding. Archer stays and acts like Magnus's doorman, while Camille took Walker with her. Will visits Magnus, who is helping Will look for a specific demon that placed a curse on him. Due to their failures, he is a frequent visitor.
After the ball at Benedict Lightwood's estate, Magnus appears and interrupts Will and Tessa kissing on the balcony (under the influence of a warlock drug). He whisks them, by magic, off of the balcony and outside. Will then recognizes the demon who cursed him and chases after it.
Later that night, Will made an appearance at Camille's house. He was bit on the forearm by the demon and kept one of its teeth. Thinking that it could be used to summon it, he brought it back to Magnus. He then collapses on the carpet and Magnus carries him to the couch to heal him. Camille returns that night, as well, saying she was in Paris on vacation. Magnus reveals that he tracked Walker to Saint Petersburg where his informants wrote him that she was with a human lover. He realizes that Camille does not want to commit so he says that he is dating Will. Enraged that Magnus would date a Shadowhunter, Camille throws them out. Magnus wakes Will up and kisses him to emphasize his point to Camille. Outside, Will asks if Magnus kissed him, unable to tell reality from fantasy because of the painkilling spells, to which Magnus replies 'no' and explains that the spells can cause hallucinations.
Travel respite
Move to New York
Vampire period
work in progress
In 1929, Magnus was running a speakeasy, Mr. Dry's, during the Prohibition era.[7]
In 1953, Magnus decided to try his hand at being a detective. His first client was Guadalupe Santiago, who asked him to find and save her son, Raphael.[8]
City of Bones
He is first introduced as the warlock who signed the mind of Clary Fray. He had been hired by her mother, Jocelyn Fray, to erase her memories of seeing anything related to the Shadowhunter World. She initially wished to remove Clary's inner eye, which was providing her sight of Shadowhunter world, however Magnus warned that this would likely kill Clary or in the least drive her to pure insanity. Instead, he casted a spell on her that would cause her to forget anything she saw that was related to the Shadowhunter world. But this spell would fade as time passed, needing to be re-casted every two years.
Clary and the others found him at his New York apartment hosting a party in which Isabelle Lightwood received an invitation from a kelpie in Pandemonium. Magnus, assuming that he was the one who gave them the invitation, said that he "must have been drunk" because he doesn't give invitations to Shadowhunters.
At first, he says nothing about recognizing Clary, but eventually must acknowledge the fact he has known her since she was little, even commenting that he's watched her grow up. At the party, he talks about his tragic past, and Alec Lightwood sympathizes with him and tries to remove the morbid atmosphere, but Magnus brushes it off, claiming that it happened a long time ago. He openly flirts with Alec by asking him to call him and winking at him. Alec however, who has yet to 'come out of the closet', thinks he is in love with Jace Wayland, his adopted brother. In bonus content from Cassandra Clare, known as "Kissed", Alec confronts his and Magnus' growing attraction to each other and asks him out. Upon learning that Alec has never kissed anyone, Magnus kisses him (resulting in the couple's first kiss with each other) before arranging for a date with him within the week.
At the end of the book, Magnus is called upon by the Lightwoods to heal Alec, who had been fatally wounded while fighting the Greater Demon Abbadon. Isabelle says that when Magnus showed up he was quite in a rushed hurry to get Alec to a private room in order to heal him.
City of Ashes
Magnus and Alec have been secretly dating, even though Alec still thinks he is in love with Jace. Alec refuses to tell others about the relationship due to how homosexuality isn't approved among Shadowhunters, often resulting in them being kicked out. Magnus takes Jace in to his apartment when he is injured. Magnus is upset by this and nearly tells Jace of his relationship with Alec, but ends up deciding against it knowing that Alec isn't ready for that kind of step yet. In a chapter of the novel, Clary creates a "fearless" rune, which Alec volunteers to have applied to his arm in order to test it to see if it works. In result of applying the rune, he nearly openly tells his parents about his relationship with Magnus as well as his homosexuality, shocking those who are aware of it. However, before he can directly reveal who he is seeing and the importance of it, Magnus quickly uses a spell to momentarily knock Alec unconscious and from revealing their relationship, knowing Alec isn't ready for anyone to know about them yet.
The last scene with them together is on a floating truck, where just after being rescued from drowning. Alec offers Magnus what is left of his strength, who is severely exhausted from using his warlock abilities, so he can continue to use his magic to help the Shadowhunters, who are still on board a ship on the East River. Alec then gives Magnus his strength.
City of Glass
Magnus opens a portal for the Lightwoods so that they can get to Idris, the ancestral home of the Shadowhunters. They are attacked by Forsaken, and Magnus is forced to rush everyone through, including Simon, who has been badly injured, even though Downworlders are not welcomed in Idris without permission. Eventually, Magnus ends up in Idris himself (pretending to being the warlock Ragnor Fell, who had been recently killed by Sebastian, though Clary obviously knows it is him).
While he is there, the city is attacked by demons controlled by Valentine, who is bent on wiping out all Downworlders and those associated with them. Magnus is fighting off a horde of Iblis demons when Alec shows up and saves his life. After this, Alec confronts Magnus about ignoring him. Magnus is angry with Alec because he still hasn't told his parents about their relationship and while he loves him, Alec assumes he is in love with Jace (this is the first time either of them confess love to each other) and won't be with someone who loves him "the way [he] does." Shocked that Magnus has directly told him that he loves him, Alec makes a deal with him; if they survive the battle, Alec will introduce Magnus to his whole family (including his parents) to which Magnus, while grinning in happiness, agrees.
A bit later, Alec passionately kisses Magnus (to the latter's shock) in front of a huge crowd of Downworlders and Shadowhunters, including his parents and friends, finally revealing his sexuality and relationship with Magnus. At the end of the book, Magnus is seen off to the side, speaking with Clary. Afterwards, true to his promise, Alec finally introduces Magnus to his parents. In the epilogue of this book, Magnus can be seen talking to Tessa Gray of The Infernal Devices series; she is the girl in the white dress by the tree that Clary somehow recognizes but isn't sure how.
City of Fallen Angels
At the beginning of City of Fallen Angels, Magnus and Alec are touring the world, with Alec occasionally texting Jace with pictures of them together. It seems that they are having a reasonable time, as the photographs depict Alec wearing his usual jeans, while Magnus wears themed outfits for the occasion. At one point, Jace asks Simon if he would like to see a picture of Magnus in Lederhosen, Berlin.
Their trip, however, is cut short when Camille Belcourt is being questioned, refusing to answer to anyone with the exception of Magnus, thus forcing him and Alec to return to New York.
Despite what can be assumed to be an excellent holiday, sparks begin to fly when Alec soon finds out that Magnus had, indeed, dated Camille centuries before he was born. At this knowledge, Alec listens through the door while Camille and Magnus speak, hearing her compare him to a man named Will. This further upsets Alec, causing several outbursts between the two later on, causing great tension between the couple.
Alec finds himself finally confronting the fact about his mortality in his relationship with Magnus, and how he wants to live with Magnus forever. When he overhears Camille comment that "pretty boys" are always Magnus's undoing, he tells the warlock that he feels trivial to him while also bringing up how he never did anything to be with his previous lovers forever in the past and that he feels that he's just another boyfriend in a long line to him, who will eventually die, as he goes on living. He further states that it is especially unfair, since Magnus is anything but trivial to him. Magnus tries to comfort Alec as he is dragged off to find Camille, who had escaped, saying that Alec is not trivial to him, but Alec is still left unconvinced.
Another issue among the couple is of Magnus not sharing his past with the Shadowhunter. In one scene, it is depicted that Alec angrily asks Magnus if there is "anything that he isn't into" and questions if he slept with a specific werewolf. Magnus inquires if Alec will ask every person he has met such questions, if he's had a relationship with them, to which Alec only answers while still clearly upset, "Maybe."
After the final battle, and everyone is reunited, Magnus finds Alec and they begin to speak. Alec finally confides in Magnus of his fear of eventually aging, and not being with Magnus who will go on to live forever in his youth. He is particularly distressed that they may not even have a chance, and that Magnus has already seemed to have accepted his fate as a mortal. Magnus consoles his boyfriend, telling him that he won't be any more ready to lose him in the future than he is "right now," which he firmly says is "not at all." Revealing he has truly fallen in love with Alec and wants him forever.
The final scene of Magnus and Alec is of them passionately kissing in a corner, wrapped up in each other.
City of Lost Souls
Magnus is seen studying the design that was on the rooftop from which Jace had disappeared when Alec visits him. Clary and her mother, Jocelyn, decided to stay over at Magnus' apartment when Jace and Sebastian appeared at their house and soon, Alec, Simon and Isabelle were staying at the apartment too. Magnus confronts Isabelle about Alec, directly telling her that he loves Alec, telling her that he's noticed and is worried since Alec wasn't "happy."
During their stay, Magnus assists them in finding a weapon that would be able to sever the bond between Sebastian and Jace or hurt one without harming the other. He opens a portal to the Adamant Citadel for Isabelle, Jocelyn, Alec and himself so that the women could meet the Iron Sisters and request said weapon. Later, Magnus summons a Greater Demon, Azazel (Lieutenant of Hell and Forger of Weapons) to ask for the weapon again. He takes a memory from each person and gives them to Azazel in exchange for his idea. Magnus later also tells Simon that if it weren't for Alec, he'd be long gone from the scene by then and would go into hiding until the battle and everything blew over.
Finally, when all else failed, Magnus summons Angel Raziel at the wide, empty space near Luke's farmhouse and Simon manages to get Glorious (Archangel Michael's sword). When Team Good knows of Sebastian's intentions, Magnus creates a portal to transport a large group of fighters (Shadowhunters and Werewolves) to the Seventh Sacred Site where they engaged in a war with the Dark Nephilim. Magnus gets hurt while protecting Simon from Amatis, who had turned into a Dark Shadowhunter, receiving a severe wound on his chest. Alec lets Magnus take his strength (like on the night of the battle on Valentine's ship in City of Ashes) to heal himself.
In the epilogue, Magnus finds out about Alec's private meetings with Camille. Alec ends up finding him in an abandoned subway where he was supposed to be meeting Camille, obviously waiting for him, much to his shock. Magnus is upset that Alec would consider taking his immortality away at all and kept it a secret, not bothering to tell him about Camille's offer. Here he also reveals how he had, in fact, been considering taking away his immortality, revealing how that was part of the reason he wanted the spell book in City of Glass. He says how since he has seen everything and been everywhere in the world, all he ever wanted was to simply live the rest of his life and grow old with someone he genuinely loved and wanted and hoped for it to be with Alec. Though Alec emotionally pleads for another chance, Magnus refuses, asking him to take his things from his apartment and to leave his key to it on the table, also saying he wished to never see him or his friends and family (being tired of being their "pet warlock") ever again. The two share one last passionate embrace and final kiss before Magnus reluctantly walks away, leaving a heartbroken and tearful Alec behind.[9]
City of Heavenly Fire
It is revealed in a teaser that Alec keeps calling Magnus, but keeps hanging up whenever Magnus picks up. This, eventually, results in Jace breaking Alec's phone in order to get him to stop. It is also implied that Magnus is just as miserable over his break up with Alec when Jace goes to confront Magnus. Jace bluntly points out that he is obviously unhappy, since his apartment is a mess and he has takeout containers everywhere, clearly gorging himself on take out food.
Physical description
Having stopped aging when he was around 19, Magnus has brown skin, is very tall, long and lean, but not skinny, with lightly muscled arms. His warlock marks are his yellow-green "cat-like eyes" with vertical pupils and his lack of a belly button. He is also noted to have a somewhat Asian appearance, due to the curve of his eyes. He is stated to have, when not spiked, shoulder length, straight black hair.
He wears all kinds of make-up, such as glitter around his eyes and lipstick. He likes to flaunt his beauty by often dressing in flamboyant and glitzy ensembles, which is seen by some as strange, or unique.
|Alexander, I've been alive for hundreds of years. I've been with men, been with women—with faeries and warlocks and vampires, and even a djinn or two.
–Magnus to Alec
Alec Lightwood
Over a century later in The Mortal Instruments, he becomes romantically involved with Alec Lightwood, being the boy's first kiss and relationship. Magnus says in The Infernal Devices that black hair and blue eyes are his favorite combination, which only Alec and Will Herondale are shown to have.
The issue of his immortality versus Alec's mortality is brought up several times in City of Fallen Angels, when Camille, Magnus's ex-girlfriend/lover, says that in sixty or seventy years, Alec will eventually age and die while Magnus will continue to live on forever. This in which, causes heavy complications in the two's relationship. However, it is revealed in City of Lost Souls that Magnus had been seriously considering taking away his immortality, confessing that while he is immortal, all he has wanted was to find someone he loved to live the rest of his life and to grow old with and had hoped and wanted for it to be with Alec. In The Bane Chronicles, Magnus expresses fear of having his heart broken by Alec, quoting that though he had been through a hundred heartbreaks, he was terrified by the thought of Alec committing the act.
Camille Belcourt
In The Infernal Devices, he is the lover of Lady Camille Belcourt. However, they break up after Magnus discovers that Camille has gone to St. Petersburg to be with a human lover.
Woolsey Scott
After leaving Camille, Magnus stays with Woolsey for rest of Clockwork Prince through to the end of Clockwork Princess. Magnus and Woolsey are not so much a romantic relationship but one of circumstance and housing as well as physical satisfaction.
Warlock Abilities
- Immortality: As a warlock, Magnus was granted immortality. Physically, Magnus does not age and has maintained the appearance of a 19-year-old since the 16th century.
- Magic: Magnus has access to magical powers that often manifest themselves as blue flames or sparks at his fingertips. Magnus is capable of casting spells and performing summoning rituals.
The name Magnus means 'great' in Latin and was one of the first names used among Romans. His surname, Bane, would mean 'glorious defender' in Slavic, however, the more appropriate translation of Bane is 'destruction'. If his whole name is translated, Magnus Bane would mean 'great destruction'.
- The Bane Chronicles
- The Infernal Devices
- The Mortal Instruments
Godfrey Gao portrays Magnus Bane in the The Mortal Instruments: City of Bones, beating over 100 people who auditioned for the role. Gao's voice was dubbed over in the film.
- Magnus' true age is known only by a few people, like Catarina Loss and Ragnor Fell. He has lied about his age since he was young, often to impress clients and feign experience, by making himself seem older and ancient, sometimes younger, as he see fits.[5]
- Magnus is known for his parties, which he loves throwing for both Downworlders and Shadowhunters alike.
- Magnus has owned pet cats in New York over the years, namely Great Catsby and Chairman Meow, whom Magnus throws birthday parties for, a decision Magnus made in 1953.[8]
- Having moved to Spain from his hometown, Spanish was the first language he learned after his native language. Aside from Indonesian and Spanish, Magnus has also become fluent in several other mundane languages, after years of traveling the world, as well as demonic languages, such as Purgatic, Gehennic, and Tartarian.
- Because his father, Asmodeus, was once an angel, witchlight, which normally only lights up under a Nephilim's touch, responds to his. It responds differently, giving off a dark red glow. Between him and Alec, the witchlight's glow changed colors.[9]
- He and Alec are set to get married and possibly adopt a child.[10][11][12]
- While Magnus was not meant to have such a big role in the series,[13] Magnus is so far the only character to appear in every installment of the series.
- ↑ The Midnight Heir
- ↑ The Course of True Love
- ↑ City of Ashes
- ↑ City of Bones
- ↑ 5.0 5.1 5.2 What Really Happened in Peru
- ↑ Clockwork Princess
- ↑ The Rise of the Hotel Dumort
- ↑ 8.0 8.1 Saving Raphael Santiago
- ↑ 9.0 9.1 City of Lost Souls
- ↑ One day, Cassandra Clare on Twitter.
- ↑ Plan, Cassandra on Twitter.
- ↑ Stranger poetry, Cassandra on Tumblr.
- ↑ Transcript of Mundie Moms Live Chat with CC, Fuck Yeah! Mortal Instruments


text:
By Barbie Bassett - bio | email | twitter
JACKSON, MS (WLBT) - Clouds will thicken across the area this evening in advance of a cold front making waves across the Great Plains. Severe weather has been confined to those areas this afternoon.
The cold front will push through Mississippi Wednesday but will be dry once it reaches us. We'll still see a mixture of sunshine and clouds with temperatures in the 80s.
Another cold front with plenty of moisture will arrive Saturday afternoon and evening.
Strong storms could break out across the area over the weekend so stay tuned to WLBT for the latest changes in your forecast.
Copyright 2011 WLBT. All rights reserved.