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This twenty-fourth issue in The Hyperion Schubert Edition brings together twenty-seven of the numerous Goethe-settings made by Schubert in his short life. Poems by the German master—poet, playwright, artist, scientist, philosopher, politician—flooded into the creative conscience of the young composer. Included is the completion by Eugene Asti of an unfinished masterpiece, Gesang der Geister über den Wassern D705, never before recorded. Christine Schäfer (in her debut recording), John Mark Ainsley, Simon Keenlyside, Michael George and the London Schubert Chorale join the accompanist and director of this series, Graham Johnson.
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'Stunning recording and utterly convincing performances' (BBC Music Magazine Top 1000 CDs Guide)
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|Schubert: The Hyperion Schubert Edition, Vol. 3 – Ann Murray
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|Schubert: The Hyperion Schubert Edition, Vol. 16 – Thomas Allen
'This series is a long process of discovery, and there is plenty to discover here' (BBC Music Magazine)
'Thomas Alen is in commanding form, singing with unforced beauty of tone and intelligent, unobtrusive attention to the words' (Classic CD)» More
'I was born at Frankfurt on the 28th August 1749, at midday, on the stroke of twelve. The position of the stars was favourable; the sun was in the sign of Virgo … Jupiter and Venus were friendly, Mercury not in opposition." Thus begins Goethe's autobiography Dichtung und Wahrheit ('Poetry and Truth'), although it would be dangerous for our limited purposes to allow him to continue his own tale, so embroidered and revised is truth with inevitable poetry. The grandfather was a tailor who had done well enough to enable his son, Goethe's father, to buy a civic title and a comfortable house. From his father the poet inherited a tendency to formulate and theorise, and a passion for collecting – a love of order. From his mother's side he had practical good sense and humour, and above all her sense of fantasy. Her fairy stories were part of a haphazard education which was luckily attuned to his unique gifts. Painting and drawing, experiments with a puppet theatre and the study of various languages were all to bear fruit, but cello and piano lessons were never to give him a real understanding of music. Nevertheless Goethe was proud to have seen the child prodigy Mozart perform in Frankfurt in 1763; Mozart was seven, Goethe fourteen.
At the age of sixteen Goethe was sent to Leipzig University to study law. His first poems were published anonymously in the same issue of a Leipzig newspaper which announced Telemann's death and his replacement in Hamburg by C P E Bach. It was also in Leipzig that Goethe's words were first set to music by his friend Bernhard Breitkopf. An innkeeper's daughter called Annette Schönkopf was the first of the many love affairs which were to divide his life into chapters. As Richard Capell writes, 'Goethe's career is rather like Henry VIII's, in that it is chronicled according to the brief reign of a succession of queens'. Nicholas Boyle has pointed out that for Goethe in his early life 'the fixity of a commitment was incompatible with the only poetry he could write, a poetry of continuing desire'.
In 1768 Goethe returned seriously ill to Frankfurt. During his recuperation, drawings of nudes by Boucher were removed from his room on doctor's orders. He took up alchemy and theology instead. Father Goethe was losing patience with these dilettante attitudes – little could he know that it was all these various interests which were turning his son into a visionary polymath. From this period dates the poem Am Flusse.
In 1770, the year of Beethoven's birth, Goethe was packed off to the University of Strasbourg. It was there that he met Johann Gottfried Herder who introduced him to the works of Homer, Shakespeare and Ossian – and above all to folk poetry. Herder, who was the first writer of comparable intelligence that Goethe had befriended, taunted the young poet into thinking more deeply. The famed relationship with the country pastor's daughter Friederike Brion who lived in Sesenheim some thirty miles from Frankfurt dates from this time. This gave rise to the poems Mailied and Mit einem gemalten Band set by Beethoven, as well as Heidenröslein and Wilkommen und Abschied.
The Strasbourg idyll lasted only ten months and, with what would be something of a pattern in his emotional life, the poet took flight before he became too deeply involved, leaving Friederike heart-broken. In 1772, after a short period studying at Wetzlar where he met Charlotte Buff (who was to inspire Die Leiden des jungen Werthers), Goethe returned to Frankfurt where he established his reputation as a young firebrand in the Sturm und Drang manner. From this time dates his play Götz von Berlichingen. Plays and novels about medieval knights and ladies became all the rage, but the young poet aspired to even bigger canvases; Mohammed, Socrates, Caesar, Christ were all grist to his imaginative mill. Mahomets Gesang is surprisingly contemporary with the much shyer poem Das Veilchen set by Mozart. Ganymed, Prometheus, An Schwager Kronos, Bundeslied and Wonne der Wehmuth were all written in these four Frankfurt years. Geistes-Gruss was written during a holiday journey down the Rhine in 1774 during which Goethe met the poet Jacobi, seven of whose poems were to be set by Schubert. It was also during this Frankfurt period that Goethe began to get to grips with turning the Faust legend into verse-drama. In their Ur-Faust versions the poems for Gretchen am Spinnrade, Gretchens Bitte, Der König in Thule and Szene aus Faust all date from this time – slightly less than forty years before Schubert was to set them. The love affair of this period was with Lili Schönemann to whom Goethe even became engaged. She was of high birth and her parents thought the match unsuitable; in any case he had his habitual fear of commitment. A visit to Switzerland was a temporary escape (Auf dem See was written there in 1775) but the poet knew that he had to be on the move once more. He was at the height of his creative powers, but pirated editions of his works cheated him of money and he felt the need for financial security. Princes from all over Germany were on the look-out for advisers and gifted, interesting men who would be a credit to their employers. A way out of his problems, both personal and financial, was an invitation to the court of Karl August, Duke of Weimar. Goethe arrived in Weimar in November 1775. One of the first poems he wrote there, remembering Lili Schönemann, was Jägers Abendlied.
Weimar was to be the poet's home for the rest of his life. It was not a rich state, nor a big one, but thanks to the Duke's mother, Duchess Anna Amalia (who was, among other things, a composer), foundations had been laid for a remarkably cultural court of which Goethe himself was to be the star attraction. Within six months of coming to Weimar Goethe was a privy councillor. Although he wrote poetry continually, he published nothing for the next ten years; his energies were given over to a list of administrative tasks which no ivory-tower artist could ever have contemplated and which led to his well-deserved reputation as both artist and scientist. Goethe's work on behalf of the state's mining industry, for example, was to lead to his passionate interest in geological and mineralogical studies. Charlotte von Stein, wife of the Duke's Master of Horse, was among the few at the court who almost immediately perceived Goethe's greatness. She was half Scottish by birth and was already a mature, married woman by the time she met the young poet. She was a serious woman of great decorum who deplored the rowdy side of his nature. 'Make something worthy of me', he wrote to her, and she educated, groomed and governed him. She taught him how to dance, and equipped him with the social graces needed for a life of mixing with princes. In return he put her on a pedestal; he courted her as a knight might have wooed a paragon of medieval virtue. Goethe wrote over 1700 letters to Charlotte which were as likely to be accompanied by the latest produce from his garden as by an immortal lyric written for her alone. Protected and guided by her love the fiery young poet grew up and found, for a number of years at least, a core of inner tranquillity. He became much occupied with the court theatre (a number of lyrics we know as songs are actually taken from small plays) and began work on his novel Wilhelm Meisters Lehrjahre which was also to be a rich mine of song lyrics for Schubert and others. Here is a chronological list of the poems written in those eleven Weimar years which were later to be set by Schubert: Hoffnung, Wandrers Nachtlied I, Rastlose Liebe, An den Mond, An die Entfernte, Der Fischer, Grenzen der Menscheit, Gesang der Geister über den Wassern, Liebhaber in allen Gestalten, Wandrers Nachtlied II, Wer sich der Einsamkeit ergibt, Erlkönig, Der Sänger, Wer nie sein Brot mit Tränen ass, Kennst du das Land, Erster Verlust, Nur wer die Sehnsucht kennt.
After more than a decade in Weimar Goethe experienced what would now be termed a mid-life crisis. He had been ennobled in 1782 and was famous and respected, but he felt that his life in Germany was stultifying. Once again he needed to escape. The idealism and refinement of Charlotte von Stein had to be replaced by something more vital and earthy. Like his character Mignon he looked to the south, and there he sought rejuvenation and artistic rebirth. On 3 September 1786 he slipped away from Karlsbad where he had visited Charlotte; without telling her he left with only a knapsack and an assumed name.
Whilst in Italy (1786-1788) Goethe 'discovered himself'; some scholars even believe that he lost his virginity there and that his former exploits with women had been cerebral at the expense of physical release (judging from the Römische Elegien it would be more accurate to say that his poetry lost its virginity). This turning point in Goethe's creative and emotional life was rich in poetry inspired by classical metre, and largely unsuitable for musical setting. He was particularly busy as a playwright during this period. Egmont – from which the text 'Freudvoll und leidvoll' (Die Liebe) is taken – was completed in Italy, also the final version of his 'Schauspiel mit Gesang', Claudine von Villa Bella which Schubert and a number of other composers were to turn into opera.
The return to Weimar in 1788 (very much on the poet's terms with a much lightened work load at court) marked the end of Goethe's relationship with Charlotte who was not unnaturally mortified that the Italian adventure was planned without her knowledge. This intellectual relationship was replaced by something utterly different: the poet set up house with a 23-year-old girl (he was nearly sixteen years older) named Christiane Vulpius. She was scarcely literate, but her simple joyful earthiness provided Goethe with the background he needed to work calmly and productively. The after-effects of the French Revolution meant that the poet was forced to visit the battlefield in the Duke's entourage from time to time (Der Rattenfänger and Die Spinnerin were written during this period) but this did not really interrupt Goethe's re-awakened interest in scientific research. Indeed most of this phase of his life (1788-1793) was given over to it. He took particular issue with Newton's laws and had his own very different (and misguided) theories about the nature of light. At more or less the same time he met the poet Schiller who had moved to Jena some time before. What might have been a relationship of deadly rivalry turned into the most fruitful collaborative friendship in Goethe's life; it was just what he needed to return his energies to poetry. Schiller galvanised Goethe into finishing such works as Wilhelm Meister, and it was also thanks to Schiller that work on Faust was resumed. In return Goethe encouraged Schiller in his writing of Wallenstein and Wilhelm Tell. They soon saw each other as ideal colleagues, fighting for the same lofty ideals of classicism in art. After the tell-it-all style of the Venetian Epigrams a new mood of Arcadian euphemism can be found in Goethe's writing. The two poets collaborated together on various collections (notably the Musenalmanach – Almanac of the Muses – of 1797 and 1798) where new poems, ballads and epigrams regularly appeared, some of them ideally suited for musical setting. Dramatic or barnstorming poems now appear less often than lyrics of antique poise and pastoral delight. The following is a chronological list of poems (later set by Schubert) which were written in the 'Schiller years' between 1794 and 1805: Meeresstille, Heiss mich nicht reden, An die Türen will ich schleichen, Nähe des Geliebten, Wer kauft Liebesgötter?, So lasst mich scheinen, Der Schatzgräber, An Mignon, Der Gott und die Bajadere, Der Musensohn, Tischlied, Schäfers Klagelied, Nachtgesang, Sehnsucht, Trost in Thränen.
The sudden death of Schiller in 1895 robbed Goethe of his greatest colleague, the only man whom the poet regarded as an equal. In 1806 the Napoleonic wars made themselves felt in Weimar. After the defeat of Prussian troops at Jena, marauding French troops broke into Goethe's house and threatened him. Christiane bravely repelled them, and in gratitude Goethe married her after sixteen years of life together. By this time the poet was a celebrity and visitors came from all over the world to pay him court: he met Napoleon twice, as befitted a man of his renown. He was pursued by the pushy Bettina von Arnim who wished to have his child. Christiane was determined to be the only mother of the poet's children, but Bettina, summarily put in her place by Frau Goethe, managed to engineer a famous, if not entirely successful, meeting between Goethe and Beethoven in Teplitz. Song texts from this period are: Die Liebende schreibt, Der Goldschmiedsgesell, Johanna Sebus and Schweizerlied.
Goethe was now to turn his gaze towards the east. Soldiers from Weimar had been stationed in Spain and brought back exquisite examples of Arabic calligraphy. A Russian regiment of Bashkirs was stationed in Weimar and the hall of the Protestant grammar school resounded with the Koran. The newly translated works of Hafiz inspired the poet to enter into the spirit of oriental love poetry. He invented a new persona for himself – the sage and potentate, Hatem. In this game of oriental symbolism Goethe cast Marianne von Willemer, a young woman who lived outside Frankfurt with an older husband, as his Suleika. Marianne was probably the most gifted of the poet's lovers (it is very possible that their relationship was purely literary) and she wrote poetry in reply to his which was so skilful, so much like Goethe's own, that he absorbed it unacknowledged into his own writings. Schubert was never to know of the part that Marianne had played in the poetry of the West-östlicher Divan as it was only revealed after the composer's death. The poems written in 1814 and 1815 in the eastern manner were the last of Goethe's poems, in terms of the chronology of the poet's life, that Schubert was to set. They were: Versunken, Im Gegenwärtigen Vergangenes, Geheimes and the two Suleika songs.
Franz Schubert was never to set any Goethe lyrics which date from after 1815. Paradoxically, just as the ageing poet had finished writing the last works that Schubert was destined to set, the composer, a seventeen-year-old boy in Vienna, was only beginning to make his contribution to the immortalisation of Goethe as a poet of rare humanity and wisdom. Goethe was to live seventeen more years. Indeed, he was to outlive Schubert by four years although he was nearly half a century older. For the purposes of this essay the Goethe story is over. The poet's friendship with Mendelssohn (the pupil of the poet's beloved friend, the composer Karl Friedrich Zelter) the conversations with Eckermann (Goethe's Boswell), the Marienbader Elegie (commemorating the last of the poet's loves, Ulrike von Levetzow), the composition of the second part of Faust and so on are not part of the Schubertian story. The late Goethe poems and writings influenced other composers of other times. Had Schubert lived longer there is every chance that he would have returned to his old mentor's work and set some of the poems of Goethe's remarkable old age.
The poet spent his last birthday, his eighty-second, in August 1831, with his grandchildren in Ilmenau. In the fir-woods of that mountainous region there was a lonely wooden hut. On the wall of the hut fifty-one years before (in September 1780) he had written the following poem:
Über allen Gipfeln ist Ruh, (Over all the peaks there is peace;)
In allen Wipfeln spürest du (in all the tree-tops you feel)
Kaum einen Hauch; (Scarcely a breath of air;)
Die Vögelein schweigen im Walde. (The little birds in the forest are silent.)
Warte nur, balde ruhest du auch. (Wait! Soon you too will be at rest.)
We are told that Goethe read these few lines and tears ran down his cheeks. He slowly drew his snow-white handkerchief from the pocket of his coat, dried his eyes and said in a sad and gentle voice: 'Yes: wait, you too shall rest before long.' How could he have been expected to know that the man whose name would be bracketed with his for the rest of time had died four years earlier, having made those words immortal in a way undreamed of by Goethe or anyone else in his circle? There was a tantalising flicker of recognition from the old poet (too late, alas, for Schubert) when Wilhelmine Schröder-Devrient sang Erlkönig to him in 1830 and he acknowledged the song's power. The miracle is that although the relationship was nurtured only by one-sided admiration and understanding, there is a link between Schubert and Goethe that lies too deep for words. This collaboration is a continuing source of wonder, admiration and gratitude for all music lovers.
Following the list of Schubert's Goethe settings in the context of the poet's life, the catalogue of songs printed below gives an outline of this important and productive relationship from Schubert's point of view. Lieder had already been written by countless composers, Mozart as well as Goethe's friends Zelter and Reichardt among them, but it was the collaboration between Schubert and Goethe (as unlikely a social and generational mix as could be imagined) which allowed song with piano to become an enduring and valid means of musical expression on a large emotional scale. An eager young composer came across the poems of a famous writer who for many years had sent his work into the world like bread cast on the waters, the literary nourishment of a nation. These poems landed on Schubert's desk and floated – or rather flooded – into his creative consciousness. This new and beguiling poetic voice in his life set the young composer ablaze with enthusiasm and love. Fire and water are usually inimical but fortunately Schubert did not realise that his eager attempts to establish a personal contact with the poet were to be extinguished by the great man's indifference. He embarked on his Goethe phase inflamed of course by the work rather than the man, although in October 1814 the meeting of minds seemed to have something of a personal chemistry and took on the character of a wild new passion. There was a great deal of contemporary German literature that was unavailable to the composer's countrymen; it so happened that the publication of Goethe's poetry in Austria was permitted only a few years before the composer set it. Instead of regarding the ageing poet as a well-established classic (which was his status in Germany by 1814) the young Austrian composer's discovery of the poet had all the intensity of a meeting of contemporaries – like two ardent young men who had just been introduced and fell to setting the world to rights. Far from being 'old hat', the poet was seized upon by the young composer and treated as a great modern – as indeed he deserved to be. This meeting, if so one-sided a thing might be so called, came at just the right time for the composer and must rank as one of the happiest accidents in musical history. The intensity of the fusion of music and word has probably never been equalled, let alone surpassed, although the Schumann/Heine and Wolf/Mörike partnerships show the same type of exalted ability of a composer to tune into a poet's wavelength with unerring understanding.
The last months of 1814 show the relationship exploding into life with Gretchen am Spinnrade. This was followed by various experiments – quiet strophic songs (Nachtgesang and Trost in Tränen), a modified strophic song (Schäfers Klagelied), a through-composed song of various disparate sections (Sehnsucht), and the operatic scena with chorus, Szene aus Faust. None of the later songs from this year, however, capture the raw energy and drama of Gretchen am Spinnrade.
It is 1815 of course which was the annus mirabilis – not only for song in general (for Schubert set many poets in this year) but particularly for the composer's relationship with his new-found poetic mentor. Some of the most famous songs of the period are through-composed (Rastlose Liebe, Erster Verlust, Erlkönig) but most of them are strophic, and, contrary to the modern concept of the strophic song as boring, the majority of these are highly successful creations. It is as if the composer relishes the idea of allowing each of the poet's strophes to emerge uncluttered by unnecessary musical complication for the innocent ear. In certain cases such as Nähe des Geliebten, Die Spinnerin and Heidenröslein the strophic nature of the setting immeasurably enhances the culminative effect of the music and the power of the narrative. One should also mention here Schubert's unmatched ability to take some of Goethe's single strophes and make of them brief and magical musical utterances (Wandrers Nachtlied I, Meeresstille, Wonne der Wehmuth). In terms of variety of material and the enthusiasm with which it was set, there is no doubt that 1815 was the great Goethe/Schubert year. As if composing all these songs was not enough, Schubert wrote a three-act Singspiel to the Goethe play Claudine von Villa Bella; sadly only one of the three acts originally composed has survived, but what we have of it is elegant, charming and tuneful without immediately suggesting the same natural affinity with the poet as is shown in the Lieder.
In 1816, the year in which the composer first attempted to contact the poet and make him aware of the existence of his music, the Goethe list is much smaller. There are two marvellously intense and compact strophic songs (Der König in Thule and Jägers Abendlied) as well as a thundering masterpiece (An Schwager Kronos) in the Erlkönig manner, but it is the lyrics from Goethe's novel Wilhelm Meister which seem to have fascinated the composer most, and most tested him. Two of the three celebrated Gesänge des Harfners were composed, but not without earlier attempts (recorded on this disc) to find exactly the right tone for the Harper's lyric Wer nur sein Brot. For the first time Schubert applied himself to Goethe's Gesang der Geister über den Wassern, and came to the conclusion that this philosophical poem needed a choral rather than solo setting.
It is then that something changes in the composer's relationship with the poet. Schubert's desire to conquer the world with Goethe at his side (or so we feel with the 1815 output) seems to die for lack of nourishment. After having taken the trouble to write out a book of songs for the poet (with a covering letter from Schubert's friend Josef von Spaun outlining an ambitious scheme of song publication with the Goethe songs as the high point of the projected series), it must have been hurtful in the extreme to have it returned without a word of acknowledgement. We can imagine the brave rationalisations ('He must be very busy') but Schubert's idol had feet of clay – or so it must have seemed to a young man with a sense of the worth of his own creations. A second volume of twelve Goethe settings had been assiduously prepared by the composer but this was never sent. The poet's silence may not have killed Schubert's enthusiasm but it certainly must have modified it. It is no surprise therefore that 1817 is very much more selective as far as Goethe is concerned. This was the year when the composer warmed to the classically-inspired work of his Viennese friend Mayrhofer – perhaps the most important Goethe setting of the year tackles a mythological subject (Ganymed) which Mayrhofer may have brought to the composer's attention. There are also tiny humorous songs, a setting of a remarkable autobiographical poem from one of the poet's Swiss holiday when he was on the run from emotional commitment (Auf dem See) and two substantial fragments relating to larger-than-life characters – Mohammed and Gretchen, the latter no longer at the spinning-wheel but on her knees before a statue of the Madonna. Perhaps significantly, both of these songs on the broadest of emotional and poetic canvases were left unfinished.
The year 1818 (much less productive of songs in any case than other years) is Goethe-free. By 1819 it is clear that the composer no longer regards the poet as 'his' Goethe, his own passionate discovery, but simply as a great writer whose work claims his attention alongside the work of other writers such as Friedrich von Schlegel and Novalis. There are five Goethe settings from this year including a poem revisited with miraculous and moving success (An den Mond), a choral setting of the famous Nur wer die Sehnsucht kennt, a blockbuster on a classical theme (Prometheus), and a delightfully feminine setting of Die Liebende schreibt. The only Goethe setting of 1820 comes right at the end of the year – another attempt at the Gesang der Geister über den Wassern, this time for chorus with piano accompaniment, left as a fragment which is completed for performance for the first time on this disc.
Schubert's enthusiasm was given a new lease of life by access to a new series of Goethe poems published in 1815, poems which were being written more or less at the same time that Gretchen am Spinnrade was composed. The new volume opened the whole exotic world of the West-östlicher Divan to the composer – Geheimes, Versunken, the Suleika poems. He grappled with a text which he probably had known for a long time and made of it a musical masterpiece – Grenzen der Menscheit. Dating from this year there is also a second version of Mahomets Gesang (left incomplete, as was the ballad Johanna Sebus) as well as further inconclusive attempts to solve the problem of the Mignon lyrics. Despite a number of songs not brought to fruition, the years 1821 and 1822 find Schubert back to the best Goethian form since 1815. Two of the Gesänge des Harfners were slightly revised from 1816 and brought together for publication with a newly composed middle song in the set of three. Some of the best-loved masterpieces date from this period, including Der Musensohn and Wilkommen und Abschied, not to mention the sublime Wandrers Nachtlied II. An important setting from early 1821 lies outside the scope of this series – Gesang der Geister über den Wassern for men's chorus and low strings. This Goethe renaissance was not to last. 1823 is the year of Die schöne Müllerin (Wilhelm Müller was to be the favoured poetic companion of Schubert's later life) and, unless Suleika II was written to order and dates from 1824 as John Reed conjectures, there were no new Goethe works written for three years.
Schubert made one more attempt at personal contact with Goethe. He had been nineteen when Spaun wrote to the poet on his behalf, but in 1825 at the age of twenty-eight he was not unknown; indeed he stood on the threshold of the renown which he would have lived to see if he had only been given another decade. Schubert's note to the great man (he no longer needs his friend Spaun as an intermediary) consists of one long, ornate sentence where formality of language scarcely masks the depth of feeling: 'If I should succeed in giving evidence of my unbounded veneration of Your Excellency by the dedication of these compositions of your poems, and possibly in gaining some recognition of my insignificant self ['meine Unbedeutenheit'], I should regard the favourable fulfilment of this wish as the fairest event of my life.' But this was no longer a schoolboy writing, and it was no longer a schoolboy musical crush which prompted his enthusiasm. Instead of a hand-written volume, Schubert was able to send Goethe printed songs in June 1825 which were dedicated to the poet and published as Op 19. Two special presentation copies with gold lettering on satined paper were specially ordered from the printer, and almost certainly at the composer's expense. The songs were An Schwager Kronos, An Mignon and Ganymed. Despite the fact that he had every reason to hope that such a handsome parcel would receive some acknowledgement, we can somehow feel that the composer fully expected to be ignored again, and he was right. This time Goethe kept the volume in his library and noted its receipt in his diary but did not bother to send even an acknowledgment. Schubert's songs had the misfortune to arrive in the same post as a consignment of quartets from the young Felix Mendelssohn by whom the old poet was greatly charmed. In any case Schubert was on holiday in Upper Austria with Vogl and was taken up with setting Walter Scott.
The last Goethe settings are a result of unfinished business brought triumphantly to a close. Once Schubert had embarked on the texts from Wilhelm Meister he worried at them until they were right. He had definitively set the Harper's songs and published them in 1822 (it had taken him from 1815 to get them to his satisfaction) but he was still not happy with the three great lyrics of Mignon. In 1826 Schubert no longer had the burning enthusiasm of the youth who had first discovered Goethe; instead there was the mature understanding of a human being who, in his own way, had been through as much pain as Goethe's waif. The Op 62 songs published in 1827 begin and end with settings of Nur wer die Sehnsucht (the first for tenor and soprano duet) which are summits of Schubert's achievement with this poet. The man who composed the final version of Heiss mich nicht reden and So lasst mich scheinen was a sadder and more experienced individual than the boy who had written Erlkönig. At the beginning of the story of two artists, one young and passionate, the other well-established and venerable, we feel that the composer is in the poet's debt, that he has been raised to a higher musical power by the words. (Schubert admitted as much himself: on 14 June 1816 he noted in his diary, 'I sang Goethe's Rastlose Liebe and Schiller's Amalia. Unanimous applause for the former, less for the latter. Although I myself think that my Rastlose Liebe is better than Amalia, I cannot deny that Goethe's musical poet's genius ['musikalisches Dichter-Genie'] contributed much to the success.') By the time the last Mignon songs were written the composer's debt to the poet is fully repaid. Schubert, we feel, should now be thanked for the reverence in which Goethe's name is held in a million musical hearts. Of all the many types of fame which Goethe received, this would have been for him the most surprising. Whatever his formidable (and sometimes marmoreal) reputation in the non-German-speaking world as a sage, philosopher and man of great culture, in whatever high respect he is held by English-speaking writers and dramatists, it is we musicians who, despite the fact that German is not our mother tongue, are lucky enough to be able to love Goethe. Thanks to Schubert.
Graham Johnson © 1995
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|Schubert: The Hyperion Schubert Edition, Vol. 6 – Anthony Rolfe Johnson
'As exemplary as … other discs in this series, which is proving a many-splendored thing … this new offering seems packed with even more attr ...
'Rolfe Johnson's voice has never sounded more beautiful on disc' (The Penguin Guide to Compact Discs)» More
|Schubert: The Hyperion Schubert Edition, Vol. 7 – Elly Ameling
'An extraordinarily rewarding sequence of 24 songs' (The Penguin Guide to Compact Discs)
'An exciting voyage of discovery' (The Guardian)» More
|Schubert: The Hyperion Schubert Edition, Vol. 8 – Sarah Walker
'Walker, in probing, glowing form throughout, closes this long and profoundly satisfying recital with a hair-raising account of Erlkönig' (The ...
'This is distinguished singing indeed … Graham Johnson's unimpeachable choice of mood and the impeccable musicality and technique of his creative ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 9 – Arleen Auger
'If you've been collecting the discs in the Hyperion series you'll know what to expect here; a really classy production and treasures waiting to be di ...
'The most delicious thus far in the series' (Fanfare, USA)» More
|Schubert: The Hyperion Schubert Edition, Vol. 10 – Martyn Hill
'Hill's work here is inspired enough to place him in a line of tenor-interpreters of Schubert that leads from Erb and Patzak through Schreier to Rolfe ...
'This is quite the equal of its predecessors in this marvellous series' (Hi-Fi News)» More
|Schubert: The Hyperion Schubert Edition, Vol. 11 – Brigitte Fassbaender
'Magnificent. Collectors of this series need not hesitate, and newcomers who try this volume are in serious danger of addiction' (American Record Guide)
'19 tracks devoted to some of the greatest songs ever written' (Classic CD)» More
|Schubert: The Hyperion Schubert Edition, Vol. 12 – Adrian Thompson
'An established and thoughtful interpreter of Schubert, one who sings German like a native' (Gramophone)
'His keen insight and regard for the words illuminate these fascinating songs. Hard as it now is to find fresh words of praise for Graham Johnson's pe ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 13 – Marie McLaughlin
'Word painting and nuances are stunning and the singing mischievously delicious. The personality of the singer simply leaps from the disc' (CDReview)
'Yet another splendid instalment … She sings these varied poems with rapt intensity, beauty of tone and deep insight into the predicament of Scot ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 14 – Thomas Hampson
'The readings, with Johnson's piano at its probing best, are constantly enlightening and carry the absorbed listener into a rarefied world of word and ...
'Many of the songs here, as on all the discs, are masterpieces, and wonder and gratitude are unabated' (CDReview)» More
|Schubert: The Hyperion Schubert Edition, Vol. 15 – Margaret Price
'Margaret Price has one of the most distinctive and attractive voices of any soprano before the public today and her contribution to the Hyperion Schu ...
'Exquisite' (Daily Mail)» More
|Schubert: The Hyperion Schubert Edition, Vol. 16 – Thomas Allen
'This series is a long process of discovery, and there is plenty to discover here' (BBC Music Magazine)
'Thomas Alen is in commanding form, singing with unforced beauty of tone and intelligent, unobtrusive attention to the words' (Classic CD)» More
|Schubert: The Hyperion Schubert Edition, Vol. 17 – Lucia Popp
'Piano-playing, notes and recording all enhance the virtues of this rewarding disc, which will surely be a thing of joy for many years to come' (Gramo ...
'A moving and fitting memorial to one of the loveliest and most beloved singers' (The Sunday Times)» More
|Schubert: The Hyperion Schubert Edition, Vol. 18 – Peter Schreier
'Superlative' (Gramophone)
'An outstanding disc in a distinguished series' (BBC Music Magazine)» More
|Schubert: The Hyperion Schubert Edition, Vol. 19 – Felicity Lott
'Rarely can one find a recording where every single aspect—repertoire, performance and production—is perfect. This is. Highest imaginable recommendati ...
'On ne peut que s'incliner devant l'art vocal propre, parfait de Felicity Lott, une prononciation impeccable, une grande finesse dens l'interprétation ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 20
'Un superbe panorame des lieder de l'année 1815' (Créscendo, France)» More
|Schubert: The Hyperion Schubert Edition, Vol. 21 – Edith Mathis
'What riches are to be found here in a recital that is, by any yardstick, a profoundly satisfying one … the musical marriage of the performers se ...
'A delectable group of 24 songs written in 1817/18, including a high proportion of charmers' (The Penguin Guide to Compact Discs)» More
|Schubert: The Hyperion Schubert Edition, Vol. 22
'Le niveau vocal et l'accompagnement de Graham Johnson sont toujours excellents' (Répertoire, France)» More
|Schubert: The Hyperion Schubert Edition, Vol. 23 – Christoph Prégardien
'When the Hyperion Schubert Edition is finally completed I am certain that this wondrous offering will rank among its most precious jewels … Prég ...
'Prégardien is an artist of the first rank' (Fanfare, USA)» More
|Schubert: The Hyperion Schubert Edition, Vol. 26 – Christine Schäfer, John Mark Ainsley & Richard Jackson
'A wondrous addition to this unique venture, it is hard to know where to begin in its praise' (Gramophone)
'Superb. Schubert at his finest. An indispensable disc. An exciting and varied programme of wonderful music' (Classic CD)» More
|Schubert: The Hyperion Schubert Edition, Vol. 27 – Matthias Goerne
'Another jewel in the Schubert Edition crown' (BBC Music Magazine)
'A most valuable addition to the series, one of the most important achievements in the history of recording' (Classic CD)» More
|Schubert: The Hyperion Schubert Edition, Vol. 28 – Maarten Koningsberger & John Mark Ainsley
'There are unknown treasures here. Anyone who hasn't invested in this vast enterprise might well begin with this volume' (Classic CD)
'Irresistible listening' (Financial Times)» More
|Schubert: The Hyperion Schubert Edition, Vol. 29 – Marjana Lipovšek
'One of the most rewarding CDs to date in this whole, comprehensive Lieder Edition. Utterly absorbing' (Gramophone)
'Lipovsek provides a feast of marvellous singing. She has one of the most beautiful mezzo voices around at the moment. A great addition to the series' ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 31 – Christine Brewer
'Some fascinating discoveries' (Classic CD)
'An amazing disc in this matchless series – Unmissable' (Classical Express)» More
|Schubert: The Hyperion Schubert Edition, Vol. 32
'As ever, illuminating words complement revelatory music-making' (BBC Music Magazine)
'Another triumph' (The Scotsman)» More
|Schubert: The Hyperion Schubert Edition, Vol. 33
'Intriguing views of a young genius' (Classic CD)» More
|Schubert: The Hyperion Schubert Edition, Vol. 34
'A feast of finely wrought, intelligent interpretations … the readings make an indelible impression.' (Gramophone)
'This disc is a must for any serious Schubert collector, its pleasures enhanced by Graham Johnson's observant accompaniments and his copious notes, da ...» More
|Schubert: The Hyperion Schubert Edition, Vol. 35
'Throughout the disc, Graham Johnson's accompaniments are typically illuminating with numerous touches of detail glossed over by many pianists. And, a ...
'Revelatory' (The Guardian)» More
|Schubert: The Hyperion Schubert Edition, Vol. 36 – Juliane Banse, Lynne Dawson, Michael Schade & Gerald Finley
'Superb … Wonderfully fluent, confident singing from Finley, soft-grained intimacy from Banse … a delight' (Gramophone)
'Elegant performances' (BBC Music Magazine)» More
|Schubert: The Hyperion Schubert Edition, Vol. 37 – John Mark Ainsley, Anthony Rolfe Johnson & Michael Schade
'Ainsley interprets his songs with the tonal beauty, fine-grained phrasing and care for words that are the hallmarks of his appreciable art … All ...
'A glorious conclusion to this magisterial edition … a magnificent project … one of the great achievements of recording history' (BBC Music ...» More


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My wife and I recently stayed at the Spinnaker Inn for one night. The room was spacious, clean, quiet and comfortable. Our room overlooked the waterfront. It is located near many restaurants within walking distance. Parking is available on the street. A minor problem with this location is that it is located on the second floor which is only accessible... More
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Home > jobs > writing / editing > College Student Writers Wanted
College Student Writers Wanted
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Date listed: 1 year ago
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We spent ages trying to find accommodation in Umhlanga for the New Year period, and we left it late to look....... the Hotel Gods must have been smiling down on us because after hours and hours of searching and phoning, we found availability at the Berkeley Court Boutique B&B...... if I had to sum up out stay there in one... More
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Hotel Class:3 star — Berkeley Court B&B 3*
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The Thrifty Bunny is a new cute little thrift store in Modesto, we are located inside the thrift store Born Again Thrift at 115 Drake Ave. The Thrifty Bunny has affordable vintage furniture, pictures, frames, mirrors, lamps, vanity item`s, jewelry, suitcases and trunks, old windows, house mailbox, drapes, vintage child`s doll crib, vintage clothing for men… → Read More
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Farming on the island of Bardsey has entered a new era with the island's wildlife firmly at the forefront.
In a new development that ensures the island is farmed effectively for its wildlife, RSPB Cymru has become the farming tenant and will work with the Bardsey Island Trust in a new working relationship to provide support and advice on the best way to maintain habitats for birds and other resident wildlife.
The island - just off the Llyn Peninsula - is owned by the Bardsey Island Trust and has been farmed by a series of tenant farmers in recent years, trying to make their living from this beautiful but isolated farm.
RSPB Cymru is now working with local farmer Gareth Roberts who will farm the island and carry out practical land management. Gareth said: ' I'm looking forward to the opportunity to make a difference on the island'.
The Countryside Council for Wales, which works closely with RSPB Cymru, has designated the island as a National Nature Reserve. It provides vital habitat for a range of wildlife including key Welsh bird species such as chough – the rarest member of the crow family. Wales is particularly important for chough, with around three quarters of the UK's population living here.
Manx shearwaters are also important nesting birds on the island. More than half the World's population of Manx shearwaters can be found in Wales, with up to 16,000 pairs on Bardsey Island at the height of the breeding season.
Richard Farmer, RSPB Cymru Senior Reserves Manager said: 'The island is a special place for many people, and wildlife is a crucial part of its identity, history and culture. It's wonderful that the Bardsey Island Trust and RSPB Cymru can work together to maintain the island as a vital habitat for wildlife.'
Michael Francis, Vice-Chairman of the Bardsey Island Trust said: 'Over the last year an excellent understanding and working relationship has been established with RSPB Cymru and we are looking forward to this continuing'.
Bardsey Island is open for visitors during the summer months and accommodation is available on the island. For more information, please visit www.bardsey.org
The RSPB speaks out for birds and wildlife, tackling the problems that threaten our environment. We rely upon memberships and donations to fund our work. Nature is amazing - help us keep it that way. More...
Visit our Contact us section for telephone numbers, office addresses and more.
21 November 2014
Conservationists are thrilled that lapwings, birds which have been disappearing from the UK, have had a successful 2014 breeding season in grassland habitats managed by the RSPB.
13 November 2014
The RSPB is today urging Defra to publish the workable elements of the Hen Harrier Action Plan, which the Society believes could bring about the recovery of one of England's most beleaguered birds of prey.
10 November 2014
The Conference of the Parties of the Convention on Migratory Species (CMS) has agreed a set of guidelines to tackle causes of poisoning and ratified a groundbreaking Action Plan to save more than 400 bird species.
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|Kelly Olynyk Showing Improvement in Second Year
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The Boston Red Sox on Tuesday acquired minor league pitcher Fabian Williamson from the Seattle Mariners for righthander David Aardsma.
Aardsma was 4-2 with a 5.55 ERA in a career-high 47 appearances out of the Red Sox bullpen last season. Theo Epstein had hoped for much more from Aardsma, but every time he seemed to be on a roll, he'd hit a rough stretch or find himself on the disabled list.
Williamson, 20, was 4-3 with a 4.10 ERA and 67 strikeouts for Seattle's Single-A affiliate. He has never played in the major leagues.
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Grant unto thy Church, we beseech Thee, O merciful God, that She, being gathered together by the Holy Ghost, may be in no wise troubled by attack from her foes. O God, who by sin art offended and by penance pacified, mercifully regard the prayers of Thy people making supplication unto Thee,and turn away the scourges of Thine anger which we deserve for our sins. Almighty and Everlasting God, in whose Hand are the power and the government of every realm: look down upon and help the Christian people that the heathen nations who trust in the fierceness of their own might may be crushed by the power of thine Arm. Through our Lord Jesus Christ, Thy Son, who liveth and reigneth with Thee in the unity of the Holy Ghost, God, world without end. R. Amen.
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- St. John Paul II
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- Thomas Jefferson to Henry Lee, 1824. ME 16:73
Tag Archives: liturgical reform
Card. Brandmüller on the liturgical reform of Vatican II
Our friends at Rorate noticed a piece at Vatican Insider in which His Eminence Walter Card. Brandmüller expressed himself about the Novus Ordo, aka "the Mass of Paul VI" and "the Ordinary Form". He says what we know is true … Continue reading
Card. Burke on Summorum Pontificum and worship as the key to reform. Fr. Z rants and agrees.
His Eminence Raymond Card. Burke, in this video interview with Raymond Arroyo of EWTN, in commenting on Benedict XVI's Summorum Pontificum speaks to something that I have been harping on incessantly for years.
I have been saying that we must revitalize … Continue reading
Bp. Sample on Liturgical Reform – audio of interview
His Excellency Most Reverend Alex Sample, Bishop of Marquette, has something to say about liturgical reform. This is an interview from Catholic Answers.
Bp. Sample Liturgical Reform [ 54:00 ] Play Now | Play in Popup | Download (1113)
Bp. Sample stresses a "hermeneutic of continuity".
I am not entirely on board with His Excellency (an old friend … Continue reading
The intent of the liturgical reform?
A reader sent this.
Would that this Pope were heeded — and would that he heeded his own advice!
Paul VI on Liturgical Reform
The proper implementation of the Constitution on the Liturgy [Sacrosanctum Concilium] requires of you that the "new" and the … Continue reading
Posted in SESSIUNCULA Tagged liturgical reform, Paul VI, Sacrosanctum Concilium 36 Comments
Filipino Archbishop really seems to understand Pope Benedict
Our friends at Rorate found an extended piece from UCANews (you might remember the liturgical opinions of its editor). You will want to read this whole thing, but here it is with my emphases and comments:
The liturgical renewal I would … Continue reading
"using the victims of clerical child abuse to fight internal political battles"
Some analysis from the UK by Damian Thompson with my emphases and comments:
Some liberal Catholics are thinking: It's payback time, Ratzinger!
By Damian Thompson
There is still no good evidence that Pope Benedict XVI is seriously implicated in the atrocious child … Continue reading
Posted in The Drill Tagged Damian Thompson, liturgical reform, Marshall Plan 54 Comments
A "Crunchy Con" liturgical essay… rereading that baptist minister's remarks on worship
Some hours back I posted an interesting piece by a baptist minister which has been getting some play in the blogosphere.
On a site called Crunchy Con there is a reaction to the experience this baptist minister had.
A "crunchy con" … Continue reading
Posted in Linking Back, SESSIUNCULA, SUMMORUM PONTIFICUM, The Drill Tagged Crunchy Con, liturgical reform, liturgy, reform, Vatican II 51 Comments


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Tropical Storm Douglas is on a weakening trend, according to the National Hurricane Center, and satellite imagery showed that the storm appeared more elongated on July 3.
NOAA's Geostationary Operational Environmental Satellite or GOES-West satellite captured visible data on Douglas just after sunrise on July 3 at 13:15 UTC (9:15 a.m. EDT).
The data from GOES-West was made into an image at NASA/NOAA's GOES Project at the NASA Goddard Space Flight Center in Greenbelt, Md.
Forecaster Stewart at the National Hurricane Center cited that Douglas' thunderstorm activity had been gradually waning during the early morning hours on July 3 and infrared data, such as that from the Atmospheric Infrared Sounder instrument aboard NASA's Aqua satellite showed that cloud tops were warming, which indicates cloud heights were falling and the uplift of air in the storm was weakening.
Despite that, microwave satellite data from NOAA's AMSU instrument and NASA's Tropical Rainfall Measuring Mission satellite indicated that Douglas had maintained a tight low-level circulation including a shallow eye-like feature.
On July 3 at 5 a.m. EDT (9:00 UTC), Douglas' maximum sustained winds were near 40 mph (65 kph) and the storm was weakening.
The center of Douglas was located near latitude 20.4 north and longitude 116.5 west, about 455 miles (735 km) west-southwest of the southern tip of Baja California, Mexico. Douglas is moving toward the northwest near 3 mph (6 kph).
The NHC expects Douglas to become a tropical depression late on July 3 and degenerate into a remnant low pressure area by the fourth of July.
Text credit: Rob Gutro
NASA's Goddard Space Flight Center
Rob Gutro | Eurek Alert!
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Hofstra's Joe Mihalich brings entire coaching staff with him from Niagara
May 28, 2013, 12:02 PM EST
Hofstra's new men's basketball coach Joe Mihalich announced his coaching staff, and it will look an awful lot like the coaching staff that he had when he was at Niagara.
Mike Farrelly, Kyle Neptune and Shane Nichols, who were all assistants for Mihalich at Niagara, will remain on his staff at Hofstra. Mihalich's Director of Basketball Operations at Niagara, Colin Curtin, will be headed to Hempstead to take over that same role for the Pride.
In fact, the only difference is that Mihalich will have a Hofstra legend on his staff. Speedy Claxton scored 2,000 points for the Pride before heading to the NBA, where he won a title with the Spurs in 2003. He spent the past two seasons as a college scout for the Golden State Warriors.
"I am thrilled about the staff we will have here at Hofstra," Mihalich said in a statement. "Having worked with most of them at Niagara, there is a certain comfort level and I know how skilled each of them is. I look forward to the Hofstra community getting to know them and seeing what kind of rising stars in the coaching profession we have on staff. To be able to have Speedy join the staff is an absolute home run. His extensive playing experience at both the collegiate and professional level, combined with his ability to connect us with one of the greatest eras in Hofstra Basketball history, will prove to be a winning formula as we grow the program moving forward."
Mihalich not only brought his coaching staff with him, he also had two players from Niagara transfer with him in Juan'Ya Green and Ameen Tanksley.
You can find Rob on twitter @RobDauster.
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FRC Shooter Used Southern Poverty Law Center Website To Choose Targets
Unsurprisingly most media outlets and lefty websites are ignoring this information
(Washington Examiner) The Family Research Council shooter, who pleaded guilty today to a terrorism charge, picked his target off a "hate map" on the website of the ultra-liberal Southern Poverty Law Center which is upset with the conservative group's opposition to gay rights.
Floyd Lee Corkins II pleaded guilty to three charges including a charge of committing an act of terrorism related to the August 15, 2012 injuring of FRC's guard. He told the FBI that he wanted to kill anti-gay targets and went to the law center's website for ideas.
At a court hearing where his comments to the FBI were revealed, he said that he intended to "kill as many as possible and smear the Chick-Fil-A sandwiches in victims' faces, and kill the guard." The shooting occurred after an executive with Chick-Fil-A announced his support for traditional marriage, angering same-sex marriage proponents.
This brings up an interesting question: do we put a burden on the SPLC for the shooting? Whenever a supposed conservative is involved in some sort of violence (of course, we usually find out that the supposed conservative is actually on the political left) some group or person on the Left is mostly blamed.
On one hand, the SLPC did not put Corkins up to the actions, and Corkins is apparently bat-guano insane. On the other hand, the SPLC isn't just opposing people and groups that have different viewpoints on issues: they are intentionally targeting those people and groups and labeling them as "hate groups", demonizing them, giving crazy people like Corkins the go ahead to get violent. Yet, on the other hand, Corkins is the person responsible for his own action.
What do you think? Does the SLPC play a role in the shooting?
Crossed at Pirate's Cove. Follow me on Twitter @WilliamTeach.
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Tragedy struck the family of a two year old in eastern China's Jiangsu Province when their toddler was mauled and then eaten by a pig. It is suspected that the...Read More
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Would highly recommend this very cosy guest house. On arrival was greeted very warmly by Debbie the manageress, Our room was very comfortable and very clean and had everything we needed in it We decided to have dinner there, and thoroughly enjoyed it .nice home made dishes Breakfast was just as enjoyable ,and a lot of choice . Staff were... More
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YESTERDAY marked the final day of November and wives, girlfriends and partners rejoiced.
With - often questionable - facial hair grown to raise funds and awareness for men's health issue being removed after a month of cultivation, going in for a smooch no longer involved a mouth full of hair.
After working on their moustaches for the past month teachers at Warwick State High School went under the razor as part of the push to bring prostate cancer and men's mental health into the spotlight.
WSHS teacher Andy King was one of the men to have a shave and he had grown his mo for much longer than a month.
After maintaining his moustache ever since he was able to grow facial hair he was unsure what he'd look like without it.
"My wife and daughter won't recognise me," he said.
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Homily - Fr Peter: Mary, our Teacher and Mother
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Fr. Peter reflects on how Mary teaches us to love Jesus. However, She doesn't teach us as a college professor would, but as only a Mother can. That is, as His Mother and as Our Mother. Ave Maria! Form: Ordinary Form Ā To Download Audio go to http://airmaria.com?p=24633
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We currently have two types of fantasy games for NFL, MLB, NBA and NHL - PickTheWinner and PickTheSeries (Playoffs).
They are both Pickem style games where you compete against your friends by trying to predict the winner of each week's match ups. You can also double down on games, earn achievements, limit the number of games that participants need to predict, and more.
Create a league now and invite your friends!
2012 was a big disappointment for the Chicago Bears and in the end, their failure cost head coach Lovie Smith his job. Collectively, the Bears are over the hill: Their once-great defense fell off sharply last year and the offense isn't intimidating anyone. That said, the Bears are only a few pieces away from returning to contention. As it stands right now, before free agency has fully played out; these are the Bears' 2013 draft needs. Keep in mind that these needs can and will change, based on free agency and trades, as we get closer to April.
Offensive Line
This is kind of a no-brainer. In 2012, the Bears' offensive line allowed 44 sacks; good for eighth worst in the league. Outside of Gabe Carimi at right tackle, Chicago could upgrade every position along the offensive line. If the Bears hope to make it back to the playoffs in 2013, they will have to do a better job of protecting Jay Cutler.
Middle Linebacker
When Brian Urlacher went down with an injury last season, the Bears defense was noticeably worse in his absence. Even with Urlacher returning this season, he's on the wrong side of 30 and definitely isn't the player he was a few years ago. Outside of Urlacher, Chicago has no depth at middle linebacker and can benefit from bringing a player in to learn from him and prepare to take over the starting role in a year or two.
Tight End and Wide Receiver
Quick, name one pass catcher on the Bears' roster not named Brandon Marshall. It's hard, isn't it? Chicago desperately needs to add a legitimate No. 2 receiving target for Cutler, whether it ends up being a tight end or wide receiver. This year's draft class is stacked with pass-catching tight ends that could make an impact from day one for the Bears.
Defensive Line
Henry Melton, Israel Idonije, Amobi Okoye and Nate Collins are all set to become free agents. regardless of who the Bears are able to retain, they need to add depth and get younger along the defensive front if they hope to continue their recent dominance.
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Julianne Hough's Beauty Look at the People's Choice Awards
People's Choice Awards: Julianne Hough Goes For High Contrast
by Maria Del Russo 2 Reactions 145 Shares Print
Julianne Hough kicked off the People's Choice Awards on a bold note. Her cropped, golden hair was contrasted by bold, dark eyebrows. She kept the rest of her look polished, with inky black liner and a pop of pink on her lips. While penciled-in, look-at-me brows are a big trend for Spring, a contrast this daring is quite a beauty statement. Julianne pulls it off, but would you test-drive this trend?
Source: Getty
award season
People's Choice Awards
julianne hough
Link Love
- Reese Witherspoon has some of the best fringe of all time — Allure
- Why you need to have a nude eye pencil in your kit — The Cut
- A hilarious and important PSA about Hollywood's scruff epidemic — InStyle
- You won't need moisturizer after trying these nourishing cleansers — Real Simple
- Beauty mistakes everyone made in middle school — The Gloss
- 4 hair tricks to hide your roots — Byrdie
- Do beauty products with heavy metals have extra skin benefits? — XoVain
- Lip balms to protect your delicate pout from chapping — The Fashion Spot
- Your nails need more TLC than a monthly manicure — Teen Vogue


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User talk:Platypus
From Create Your Own Story
Since this page has become rather cluttered, I've moved old discussions to the archive pages below. Feel free to leave new messages here. I'll get back to you ASAP!
- User talk:Platypus/Archive1
- User talk:Platypus/Archive2
- User talk:Platypus/Archive3
- User talk:Platypus/Archive4
>Add new comments below by clicking on the 'edit' button above. Do not add new comments to the archives.
You can sign your messages for convenience by using four ~ (tilde) symbols like so: ~~~~. Your name and the date will show up like this: BakaG 16:30, 16 November 2014 (UTC)
I wpuld like toapologize for the actions that led to the deletion of the page if it were mear grammer problem please repost the page (if possible) and allow me to make corrections. If there was a problem with how I handled the story please tell me so I can make corrections and better furture work. In any case please type back as to know that you received this message
My apologies, Greg222James
Platypus...this is Bustyalix. You recently messaged me about including the STATUS BAR, but I have no idea how to go about doing so. Is there any way you and I may converse privately? I'd be more than happy to include my personal email address if necessary. Please get back to me on this matter. Thanks!
I'm still new at this, so I don't appreciate the attitude. Yes, it'll take me some time getting used to this HTML like format, yes I'll make some errors now and again, but no that does not mean you have the right to strike an attitude with me. I haven't really worked with a status bar before, and I honestly didn't even realize I had to do anything with it. I'm still learning, rather teaching myself this strange format, so don't come to me in a hard and demeaning tone because I didn't do something the way you wanted it, because I am fairly new at this.
Platypus, this is eatenbypie. I appreciate that you pay attention to things like categorization of pages, but deleting work two hours after being warned and threatening to ban a new user because I missed categorization on 6-8 pages is excessive, especially given that the site doesn't notify you about warnings. Simple oversight on my part, and obviously an oversight given that the rest of the story has proper categorization. -Edit Not bothering to recreate my work on this site.
Apologies for the tense problems. I've been proofreading my stuff since I'm used to writing in past tense, but some things slip through the cracks it seems. As for quirky titles... do you mean the link/page title thing? The first was due to a page collision. I suppose I could have changed the action prompt to something else, but I consider that a part of the story itself, and didn't want to change it due to a collision. Those are rare, I guess. The second was due to a plan where two mini-storylines would converge to the same page... but the actions to get there would be different. In this case I would prefer to use a third page title rather than favor one of the two storylines. The third time I did it... yeah, that was just for my amusement, and it would be a simple matter to limit usage of alternate titles and use them only when needed. So... yeah. Ironwill 02:46, 24 November 2014 (UTC)