text:
Report of the Bouquet
Welcome to PKF - Prague Philharmonia's new webpages!
PKF – Prague Philharmonia is launching a new web and celebrates the Christmas with a premiere of Macedonian grand piano concert
Photos from A Southern Christmas concerto
Merry Christmas and joyful step into the new year 2014!
Artistic trio Clarinet Factory, Alan Vitouš and Petr Nikl will change the face of the Czech Museum of Music with their new light and sound show
Pictures of Talent of Prague 5 - laureates concert posted!
Change of the date of The Beauty of Today concert
Clarinet Factory at the Museum of Music
The quartet likes working with Nikl for his ability to improvise.
"Sometimes he will surprise us during a concert by starting to play on one of his objects, which takes us to a completely new plane of improvisation," Pavliš says.
"By tapping on a Plexiglas bowl I can turn it into a percussion instrument and, very softly, join in the music," Nikl explains. "I never rehearse anything. I try to live in the moment, and every time I do it a little differently."
The orchestra's style has come a long way since they formed the band 20 years ago. Back then the students of the Musical Arts Academy called themselves the Czech Clarinet Quartet and played primarily classical music. But working with jazz singer Jana Koubková changed that.
"She told us, 'Boys, throw away those notes and try to improvise with me right here onstage.' It seemed pretty wild to us at first, but we tried it and found out that we're pretty good at it and that we like it," Pavliš says. After experimenting with many different genres: jazz, chansons, swing compositions, they finally decided to write their own music.
"Often somebody has an idea and we improvise on it, like rock bands do. Other times someone comes up with his own composition and there's just nothing to improve. Sometimes it takes years to ripen. We don't like it so we put it away in a drawer and then someone has a genial idea to liven it up and suddenly it works," he says.
Over time, their listeners have changed along with their music.
"We used to have a clearly defined audience. Nowadays it's mixed: a lot of young people looking for different genres, people who like classical music looking for something more, or people who don't like classical music looking for something more. Basically, we appeal to people who aren't satisfied with the playlists of commercial radio."
The concert, organized by the PKF - Prague Philharmonia comes a few weeks after the lunch of the Clarinet Factory's new album "Worx and Reworx," a medley of the quartet's original songs plus reinterpretations by musicians from the USA, France, Germany, Great Britain, Japan and Greece.
The Clarinet Factory is no stranger to international cooperation.
"We have worked with artists from the US, Germany, Japan and France. Our most prestigious cooperation was with Bobby McFerrin at his Prague concert and our most exotic tours were in Algeria and Senegal." Pavliš recalls.
"We went there with Jana Koubková and held workshops for the local kids. They ended up really liking the music although they had never heard it before. We played them a few Renaissance polyphonies and, once we explained what was going on, they took to it quite well."
Expats.cz, 10. 2. 2014
Written by: Eva Munk
Look at photos from special concerts
Report from concerts for schools in English
Photos from Sunday's concert at Rudolfinum
Pictures from weekend concerts published
Anniversaries in Year of the Czech Music 2014 had changed the program
PKF – Prague Philharmonia conducted by Jiří Bělohlávek commemorates Anniversaries in Year of Czech Music at April concert in the Spanish Hall
Current Honorary Art Director of PKF - Prague Philharmonia, Jiří Bělohlávek, is opening a festive evening with a familiar composition - The Prague Nocturne by Petr Eben. This piece, composed as a tribute to Wolfgang Amadeus Mozart (as indicated in its subheading - Hommage à W. A. Mozart), was performed by Bělohlávek, PKF and Dagmar Pecková, mezzo-soprano, at the Prague Spring Festival in 2009.
"Through my music, I wanted to put myself more into Mozart's grief and sadness, than into much admired joyful brightness of his style. After all, his usual smile was appearing rather scarcely during his last visit of Prague," comments the author of the piece, Petr Eben, on the composing work. It will be followed by popular Slovak Suite, op. 32 by Vítězslav Novák, released on CD by PKF – Prague Philharmonia led by Jiří Bělohlávek as its Chief Conductor in 1998.
After paying homage to Anniversaries, the ensemble will play a very arduous piece by Richard Strauss, orchestral suite Le Bourgeois gentilhomme, inspired by well-known Molliére's play. Listeners will have a chance to hear arrangement of the piece, originally conducted by Richard Strauss himself at its premiere at Vienna in 1920.
Concert is held by PKF – Prague Philharmonia in Spanish Hall of the Prague Castle from 7 P.M. The tickets are available in three categories – for 800,- , 680,- and 510,- CZK. Buy or book the tickets online on www.pkf.cz in Concerts section, in PKF – Prague Philharmonia office, Husova 7, Prague 1 (telephone number 224 267 644, e-mail: email@example.com), in information office at Prague Castle, or at the place of the venue, one hour before the beginning of the concert.
Illustrative music samples
Petr Eben – here
Vítězslav Novák – here
Richard Strauss – here
Concert will be broadcasted live at ČRo Vltava (Czech Radio Vltava).
PARTNERS OF THE CONCERT – Prague Castle Administration, Year of Czech music 2014, ČEZ Group, p.f.You
Pictures from 1. 4. 2014 Karlheinz Stockhausen themed concert posted!
Look at the pictures from Prague Castle!
Photos of the final concert of the 20th season are published
The PKF – Prague Philharmonia celebrates its 20th anniversary this season
On the occasion of the twentieth century of their founding, which may have occurred in fall but will full the entire season with celebratory spirit, the group will reward its audience with
- exquisite and original dramaturgy,
- attract resounding names for soloists and conductors from the far corners of the world and from right here at home,
- and keep with tradition by presenting the premiere of one of the freshest works of music, this time from a Czech composer.
The 2014-2015 season will begin between 28 September and 5 October with a specially conceived project, "20 Years in Style", in which it will offer three pivotal concerts of the season under the batons of chief conductors who helped create its history and contributed to its artistic profile.
The celebratory spirit will grow ever more with its firm foundation of accompanying programs and media events.
The quality of the prepared program will be ensured by top soloists and conductors who have accepted our invitations for our celebratory season:
- the star soprano Kate Royal,
- the virtuoso violinist Isabelle Faust,
- the world-famous cellist Mischa Maisky,
- the leading French conductor Emmanuel Villaume,
- first flautist of the Berlin Philharmonic Emmanuel Pahud,
- first-class Russian conductor Evgeny Bushkov,
- the talented young pianist Denis Kozhukhin,
- the brilliant trumpetist Gábor Boldoczki,
- the versatile German conductor Philipp von Steinaecker,
- the excellent clarinettist and conductor Paul Meyer,
- the prized soprano Simona Houda Šaturová,
- the leading domestic mezzo-soprano Jana Wallingerová,
- the internationally renowned tenor Richard Samek,
- and one of the most interesting contemporary Czech bassists, Jan Martiník.
This not to mention the performances of the excellent soloists from the ranks of the PKF – Prague Philharmonia itself, such as:
- violinist Jan Fišer,
- cellist Lukáš Pospíšil,
- oboist Jan Souček,
- and bassoonist Tomáš Františ.
"While a true recap would yet be premature given the age of the PKF – Prague Philharmonia, we can certainly say that in the 20 years of its existence it has brought the Czech cultural environment a series of valuable new programs and introduced its domestic audience to many of the gems of world renowned yet still fresh artistic faces. It often thrived in the classics but never hesitated to experiment.
The concept of the upcoming season is to continue in this spirit and use these prepared projects to enhance and reinforce who PKF has become in the past 20 years, how far it has come.As I just mentioned, in addition to the musical program we will invite listeners from the wider and non-musical public as well to participate in a series of additional activities, such as the documentary film about PKF produced by Czech Television, a broadcast of the introductory concert of Jakub Hrůša and the entrancing Kate Royal, special radio programs, projections, media activities in social media networks, and more," states the director of the PKF – Prague Philharmonia Radim Otépka about the celebratory season, which will be linked and differentiated from other seasons with the special logo and tagline "20 Years in Style".
"We consider the '20 Years in Style' project particularly appealing, as in addition to current and former chief composers Jakub Hrůša, Kaspar Zehnder and Jiří Bělohlávek and other wonderful personalities it will offer other concert selections long favoured by PKF:
- Concerts for Children and Schools,
- Contemporary Concert Cycle,
- Chamber Cycle,
- Special Concert,
- Special Concert for Children
In addition to the musical events and other accompanying program, the PKF – Prague Philharmonia will have another important occasion in the upcoming season – after seven years the current chief conductor and music director Jakub Hrůša by bringing audiences the opportunity to see him in the concert hall throughout the season.
"If I remember well, I first conducted PKF (like many of my young colleagues) at a children's concert in 2002. At the moment of the closing concert of the 2014-2015 that will make a beautiful thirteen years of life together. From 2005 I was honoured with the position of permanent guest conductor, and from 2008 I was the chief conductor. I strongly desire to continue my association with the orchestra in the future. Right now I am feeling above all the need to express my great thanks. I am going on my own conviction that it is time to take a step onward, and now I know that I will always remember the serial PKF concerts with nostalgia," Hrůša states.
The project "20 Years in Style" will immediately set the season's bar high: "We built a dramaturgy that symbolically shows all the various faces of PKF activity – Czech and international classical music (Voříšek and Beethoven with Jiří Bělohlávek), energetic and vocal performance ("Romany" operetta program with the Kalandos Ensemble, soprano Julia Kamenik, and Kaspar Zehnder in the Smetana Hall of Obecní Dům) and an ambitious and extensive concert experience with me (we will perform Mahler's Symphony No. 4 for the first time in Prague; it is a composition that stands at the conceptual peak of the creative aspirations of an orchestra of our type; it is amazing that we have won the first class international vocalist Kate Royal for this collaboration)," says Jakub Hrůša of the program of three introductory concerts, who will direct the commencement concert in the Rudolfinum, with tape delay broadcast immediately following thanks to Czech Television through the ČT Art channel. During the break viewers will also see the premiere of the documentary film about PKF – Prague Philharmonia produced by Czech Television.
The program will not be wanting for representatives of the Czech musical elite as well – in the last concert of the "20 Years in Style" project, the Thálie 2001 recipients for best female vocal performance, the soprano with the brilliant full voice Simona Houda Šaturová will perform under the baton of conductor Jiří Bělohlávek, the leading local mezzo-soprano Jana Wallingerová, permanent guest of the Staatsoperette Dresden, tenor Richard Samek, and one of the most significant Czech musicians of his generation, the bassist Jan Martiník. The second and third concert will also be accompanied by choirs – the Prague Philharmonic Choir and the Czech Philharmonic Choir of Brno. The concerts of the "20 Years in Style" project will take place 28 September, 1 October and 5 October.
A total of nine concerts of the Orchestral Cycle will offer work from all creative periods from older classicism to the contemporary Czech premiere of a composition by Miroslav Srnka.
Certain concerts will be specially focussed on key composers, in whose interpretation the PKF has excelled from the beginning – leader of the classical period Joseph Haydn and the great German romantic Robert Schumann.
With the Haydn program one of the most promising representatives of the middle composing generation and a great Russian artist Evgeny Bushkov will be featured with the orchestra, whose baton will direct his countryman, the young and talented pianist Denis Kozhukhin, who will perform in the concert together with the renowned Hungarian trumpetist Gábor Boldoczki.
Chief Conductor Jakub Hrůša will himself become a representative of Schumann's repertoire when in the charismatic company of the international cellist Mischa Maisky, who will subsequently tour Japan, he presents the composer's prelude to the dramatic poem Manfred.
In addition to Schumann the evening will also be dominated by the contemporary Czech composer Miroslav Srnka, whose composition entitled No Night No Land No Sky, a commissioned composition for the PKF – Prague Philharmonia and the Kölner Philharmonie, will soon enjoy its Czech premiere.
Other ambassadors of Schumann's works will include the German conductor and cellist Philipp von Steinaecker, who this time will allow his conductor's role to take the fore, and the unmistakeable and highly sought after German violinist, renowned for the contours of her performance and the purity of her tone, Isabelle Faust. Both compositional subjects will then meet in a March concert in the noble Spanish Hall of Prague Castle, where the PKF – Prague Philharmonia recently performed two exceptional concerts. Its protagonist shall be a French solo clarinettist and composer who during one evening will carry out both his artistic roles, Paul Meyer. While Meyer is a very active representative of contemporary music and many contemporary concerts have been organized for him specifically, this time he will prepare for listeners a classically oriented program.
The penultimate orchestral concert welcomes two of the same name – Emmanuels Villaume and Pahud. The renowned French composer, currently the visiting chief conductor of The Slovak Philharmonic, will meet for the first time with the Berlin Philharmonic flautist in a performance of works by O. Messiaen, W. A. Mozart, and G. Bizet. The final stroke of the season will be the last of the set of three concerts of works by Joseph Haydn. With the participation of soloists from the PKF orchestra – concert masters Jan Fišer and Lukáš Pospíšil, as well as oboist Jan Souček and bassoonist Tomáš Františ – Jakub Hrůša will wave his conductor's baton for the last time and lead a joyful journey of "nature, life, and love" (Antonín Dvořák — "Nature, Life, and Love", a cycle of three concert symphonies for grand orchestra).
For free delivery of printed brochure contact us via email@example.com.
GALA CONCERT - A VISIT TO LA SCALA / 5th JULY 2014
You can look on the gallery in Multimedia section.
Recording with Bryan Hymel for Bryan's debut album
Photos of the recording with Bryan Hymel for Bryan's debut album are published.
Photos of the concert with the amazing Kate Royal
You can look on the gallery in Multimedia section.
Colours of Wednesday's concert flooded the Municipal House.
You can look on the gallery in Multimedia section.
"Ode to Joy" completed the week of celebrations
You can look on the gallery in Multimedia section.
The PKF – Prague Philharmonia is pleased to announce the appointment of internationally renowned conductor Emmanuel Villaume to the position of Music Director and Chief Conductor of the PKF – Prague Philharmonia for a three-year term, effective September 1, 2015.
The announcement was made by the orchestra's Managing Director Radim Otépka, who praised Villaume's musical leadership and creative vision together with his command of varying musical styles, bringing a perfect balance of orchestral colors and musical drama.
The agreement marks an important new chapter for the PKF – Prague Philharmonia and was signed just minutes after Maestro Villaume took his final bow at this year's glittering Richard Tucker Music Foundation Gala Concert at New York's Avery Fisher Hall. The signing took place amid the historic scores and manuscripts (including conductor Anton Seidl's score from the premiere of Dvořák's "New World" Symphony) that line the walls in the Maestro Room at the iconic venue.
"It is a wonderful joy and a privilege to be offered the artistic leadership of such a prestigious musical institution," Emmanuel Villaume remarked. "I have always been inspired by the professionalism, commitment, and elegance of its musicians, who strike a perfect balance in performance between musical precision and passion. I am very much looking forward to building the relationship further, and sharing our love for music with every listener."
The French-born conductor, who has successfully performed and recorded with the orchestra, has already been engaged to lead the PKF – Prague Philharmonia in two New Year's Concerts at the Royal Opera House in Oman at the end of this year. Previous collaborations between Maestro Villaume and the orchestra include a Deutsche Grammophon recording with Anna Netrebko, a Warner Classics release with Bryan Hymel, seasonal concerts and several European tours. Through Maestro Villaume's leadership and deep connections within an international musical community, the PKF – Prague Philharmonia has embarked upon an ambitious long-term plan for global touring, multiple recordings with leading artists, and special projects around the world to increase the orchestra's profile and to expand its reputation as a world-class ensemble.
"Emmanuel's appointment continues our tradition of musical excellence and strong leadership. It additionally opens new opportunities for the orchestra in Prague, as well as internationally," explains PKF Chairman Martin Klimpl. "These are going to be very exciting years for all of us and we are so thrilled to have him as our next music director and chief conductor."
The PKF – Prague Philharmonia, celebrating its 20th anniversary this year, was founded by acclaimed Czech Maestro Jiri Bělohlávek. The centerpiece of PKF's activities in Prague is its orchestral series at the Rudolfinum Concert Hall. The orchestra has also been the first Czech orchestra to successfully pioneer innovative educational activities after the "Velvet Revolution." It has been described by The Washington Post as "fully competitive with world-renowned names such as the English Chamber Orchestra, Orpheus or the St. Paul Chamber Orchestra."
Emmanuel Villaume was born in Strasbourg, France in 1964. His musical education commenced at the Strasbourg Conservatory and continued in Paris, where he received multiple degrees in literature, philosophy and musicology. Appointed Music Director of the Dallas Opera in 2013, Maestro Villaume also serves as Chief Conductor of the Slovak Philharmonic Orchestra in Bratislava (since 2009). Previously, Villaume served as Chief Conductor of the Slovenian Philharmonic Orchestra (2008-2013) and as Music Director of the Spoleto Festival USA from 2001 until 2010.
Mr. Villaume's recent engagements include critically acclaimed performances of Massenet's Manon with London's Royal Opera-Covent Garden, Meyerbeer's rarity L'Africaine with Venice's Teatro La Fenice, and a dazzling Cendrillon at The Juilliard School that prompted Martin Bernheimer of The Financial Times (U.K.) to observe: "Emmanuel Villaume, the seasoned specialist on the podium, conveyed equal parts savoir-faire and inspiration…and reinforced a delicate balance between lyrical restraint and dramatic exuberance." He will return to New York's Metropolitan Opera to conduct Manon next March.
His international obligations will bring Villaume to Dallas this season for productions of Le nozze di Figaro – and Tchaikovsky's Iolanta, before conducting the opera rarity on tour with Anna Netrebko in Monaco, London, Copenhagen and Lucerne.
Mr. Villaume has both thrilled and charmed audiences around the world, from Covent Garden to the Met, inspiring The Chicago Sun-Times to praise his "almost unique ability to give undervalued works their musical due and move them up several notches in a listener's estimation".
Diana Damrau & Nicolas Testé
You can look on the gallery in Multimedia section.
THE BOX OFFICE IS OPEN only from 9.30 am till 1.00 pm FOR TECHNICAL REASONS.
THE BOX OFFICE IS OPEN only from 9.30 am till 1.00 pm FOR TECHNICAL REASONS.
Eva Sopková
telephone: +420 224 267 644
Photos of the Concert Series for Children: TASTE OF SMETANA are published here.
Twenty years of PKF
Look at the reports on our Youtube channel here and here.
Tonight you can also meet with PKF on Czech TV during broadcast of recording of the open air concert "Tribute to Jarmila Novotná" which we have taken part under the guidance of our founder Jiří Bělohlávek and with the support of great singers Martina Janková, Dagmar Pecková, Adam Plachetka and Štefan Margita on August 30 on the crowded courtyard of the Castle Liteň. The record will be broadcast from 20.20 on ČT art channel.
The box office is recovered
Tue - Thu 9:30 - 12:00 and 13:00 - 17:00
The twentieth concert in behalf of the Committee of Good Will – Olga Havel Foundation
You can look on the gallery in Multimedia section.
German communism
You can look on the gallery in Multimedia section.
PKF - Prague Philharmonia announces new Chief Conductor: Emmanuel Villaume
You can look on the gallery in Multimedia section.


text:
Paul D.
Tw: @ShinkmanWTOP
SOLOMONS ISLAND, Md. - Bay captain Pete Ide signals to the oncoming crab boat he'd like to parley.
It's a sunny day on the Chesapeake Bay and boaters of all sorts are out conducting their business. Ide had been steering his charter boat with his feet while instinctively scanning for fish and eyeing the sonar.
Aboard the crabber are three watermen who look as comfortable on the water as the crabs they haul onboard. The boat slows down along the route of their trap buoys.
"This guy here's a reporter from Washington, D.C." Ide calls out, and admits to them he's about to ask a "stupid" question. "You seen any sharks?"
If similar conversations with other watermen that day were any indicator, these young men would deliver blank stares, then talk about the rare shark they heard someone else talk about that one time in '87. Or was it 2010?
"Oh yeah! We just got bites out of the crab pots, man. No bull****," said Kelly Sullivan, based out of Middle River just east of Baltimore.
Sullivan went on to describe how his crew and he had been pulling pots up all month with massive, foot-wide bite marks that caved in the metal cages' corners. Sullivan, wearing loose-fitting waterproof coveralls, surmised the perpetrator was a bull shark scavenging for either the fish bait, or the crabs they lured.
"We definitely thought about going shark fishing tomorrow," he says.
Check out the gallery at right for a full tour of sharks in the Chesapeake.
Unlike the nearby ocean coasts, the bay is not a hotbed for shark sport fishing, largely due to the low numbers of sharks that can exist in the water. Bull sharks are among the only species that can withstand salinity levels that low.
Ide, who runs Captain Pete's Charter Fishing out of Solomons Island, says that during hot summers, like in 2012, fishermen observing large schools of fish will see "something big dashing through them."
He recounts the 8.5-foot bull shark caught near the Bay Bridge in 1987, when he was a young man starting his commercial fishing career at Scheible's Motel & Restaurant, a nearby Southern Maryland seafood stalwart.
That year witnessed a hotter summer than the five years before or after, according to the National Oceanic and Atmospheric Administration.
Biologist David Lowensteiner, from the University of Maryland Center for Environmental Science, says scientists anticipate the warm winter and summer will have some effect on the behavior of marine species, but have no way of predicting specific changes.
Given the general prevalence of sharks in the bay, it's unusual that there has never been a shark attack here or anywhere else in Maryland, he says.
"In some ways, I think it's surprising it happens that infrequently," says Lowensteiner, based on Solomons Island. "Bull sharks are a common visitor to the Chesapeake Bay."
But unlike hotspots for shark attacks, such as Florida or California, Maryland has a short coastline and very few varieties of sharks, he says. The jellyfish that swarm the bay's tidal waters during the summer also keep would-be swimmers out of the water, says Ide.
Lowensteiner says a bite mark like the ones Sullivan described on his crab pots are likely from a bull shark, which would be upward of 8 feet long.
"That's a large shark," he says, adding there aren't other species he could think of that would be able to inflict similar damage.
Most watermen catch sharks by accident in their commonly employed "pound nets." Ide says this is how area local Willy Dean came across his 8-foot specimen in 2010.
Pound nets cash in on the instinct of fish to swim away from the shore when they come across an obstruction. Watermen set poles in the river bottom to feed a fence of net out from the coast. Fish that run into that wall will swim away toward open water, where they come across a second net shaped like a heart. This funnels fish into a trap, called the pound, and prevents them from escaping.
These nets are unregulated, says Lowensteiner, and are rarely documented or have warning lights. This creates a hazard for unwitting boaters and often becomes a snare for sharks.
"Every big shark I've known to have been caught on this part of the Chesapeake Bay has come out of the pound net," says Ide. "It's very unlikely you would catch one with a hook and line."
Part of the interest of sharks in the Chesapeake Bay extends well beyond the current age, or even the beginning of recorded history. The nearby Calvert Cliffs are a veritable mine of fossilized bones and teeth for sharks from the Miocene Epoch - roughly 23 million to 5 million years ago - and the other marine animals they encountered.
The Calvert Marine Museum on Solomons Island serves as an entrée for those who would like to peer into the past, as well as a research facility where scientists analyze specimens found locally to determine more about their life.
One whale skull from more than 15 million years ago still bears the signs of its deadly neighbors.
"If you look closely, there are shark teeth down in here," says Jim Langley, curator of exhibitions, pointing to fossilized teeth embedded in the skull. "Either the shark killed it, or the shark came along after and scavenged it."
"Everything here is from Calvert Cliffs," says Langley, whose father, LeRoy "Pepper" Langley, was one of the museum's founders. "When we find these things, we try to figure out how it died."
The museum also has a mock-up of a 37-foot megalodon - the massive predecessor to today's great white. The model is based on proportions garnered from teeth found on Maryland shores.
Christa Conant works in one of the museum's laboratories, accessible to visitors through a window on one of the walkways. She's currently analyzing a whale specimen that is roughly 10 million years old. Massive rips in the vertebrae could have been caused by a shark, she says.
The region's fossil-rich cliffs are a bittersweet resource. Erosion from rain and storms washes away huge swaths of the cliffs - exposing massive skeletons and other fossils - and also encroaches on the property of homes perched on top. It already has claimed some small decks that used to abut the edge.
Learn more about the region and its rich marine history at the Calvert Marine Museum or from Capt. Pete himself.
Related Shark Week Stories:
- Shark Week 2012: Sharks in action (VIDEO)
- How regional
sharks feed
- Sharks: Perceived menace actually vulnerable, essential
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(Copyright 2012 by WTOP. All Rights Reserved.)

subset: commoncrawl


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Name That Dish!
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Link Love
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- What does a perfectly portioned Thanksgiving plate look like? — POPSUGAR Fitness
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text:
Genealogical Relations with Libraries
Most libraries have genealogical materials in their collections. The questions are: Should there be a separate genealogical collection? How large should it be? What should it contain? What should a genealogical society's role be in its development, growth, preservation, and the reference service for it?
Answers to these questions and additional ideas are presented in this paper.
Libraries set their own service objectives or collection development policies.
A society's objective should be to see that there are genealogical materials available in a local library to assist the genealogists of the local community, surrounding communities or service areas. The society should also ensure public access to additional genealogical materials that may be provided by other libraries through interlibrary loan.
Types of Libraries
City, county, and regional public libraries are not the only libraries that may be interested in expanding their genealogical holdings. There are also historical societies and college and university libraries (tax supported, private, denominational and secular) to consider.
Local history, local biography and local genealogy are inseparable. Many public libraries have fine collections in regard to these three subjects. Some county histories, biographies and genealogies may need to be selected and acquired through a correlated effort by the libraries of a county or a region. If permitted, societies could help with this correlation. Members could prepare a union catalog of genealogical holdings for libraries without online catalogs.
No library can collect all these same types of materials that relate to their patrons' ancestors from other communities throughout the world. Therefore, interlibrary loans and referrals are very necessary. Fortunately, the Internet and Web sites for family genealogists can help, as long as the researcher obtains documentation for information thus acquired.
Physical needs
Space: If a society requests a separate section, area, or a room for the genealogical collection in a library, then it may be necessary for them to raise the funds for its construction, furnishings, and maintenance. Under such an agreement the library could also ask the society for funds for staffing such a facility, as well as requesting an endowment. 0f course, very few societies could afford any such requirements.
Security: Special sections, areas, rooms, locked cases, and other security devices are the jurisdiction of the library and should not be suggested or demanded by societies.
Library Volunteers
Reference Service: Assisting genealogists with their research in a library is part reference, part referral, and part tutorial.[1]
Reference: Librarians are trained to interview patrons to determine their needs and then refer them to the appropriate tools. In many cases they help patrons find answers, as well as teaching them how to use the library and the reference materials recommended. In libraries where the librarians are also trained or experienced in genealogical research, librarians may not wish to relinquish all of the interviewing, teaching, and advising to genealogist volunteers.
When the library requests or allows a society to have genealogist volunteers provide all or some of the reference services concerning genealogy, the society's volunteers have an obligation to learn as much as possible of the reference skills that are required of a librarian to serve the genealogy patrons.
Referrals: For recommending additional libraries, archives, agencies and services, volunteers need to know where these places are and what they have and can do for genealogists. For example, know the reference tools that contain addresses, know what the services and holdings are of the nearest Family History Center, and be able to identify other libraries and archives of the area with materials of use to genealogists.
Tutorials: Tutoring for genealogical research generally includes helping patrons to fill out pedigree charts and family group records, and to learn how to use various research tools and equipment. It may also include assisting a patron with the reading of difficult parts of a record and interpreting contents of records.
Library Policy for Volunteers: Society volunteers must adhere to the library policies concerning library volunteers and must know the emergency procedures of the library.
Library Liability Policy: Many libraries have a standard liability policy for volunteers, and genealogical societies should make sure that all of their volunteers are protected by it.
Training: Some libraries offer and require a general volunteer training program. A few libraries may also have a special training program for genealogical volunteers. Nevertheless, the society should have its own program to augment any library training.
Badges: Society volunteers should wear a badge stating that they are volunteers.
Library Projects
All society projects planned and intended for the library should meet with the approval of the librarian in charge of the genealogical collection and its services.
The following are project examples:
- Survey society members and library genealogical patrons concerning their research interests and needs.
- Determine what the prominent national and ethnic groups of the library's community are and offer suggestions to the collection development librarian as to the genealogical reference materials that may assist these groups.
- If permitted, assist the librarian with (free, or for the cost of postage and photoduplication), the library's genealogical correspondence.
- Index the obituaries of the area newspapers.
- Create every–name indexes to city and county histories and federal censuses (and state censuses, if they exist).
- Abstract and create every–name indexes of vital records, probates, and land records.
- Compile tax lists and/or voter records for dates of genealogical value that are not covered by other records such as census schedules.
- Maintain a genealogical page(s) that is part of the library's Web site. Note: the library Web site should be in compliance with the Americans with Disabilities Act[2] making the Web site easy to navigate, containing large print and few graphics.
The demands of the library Web site and general genealogical correspondence can be lightened with a society page and participation in the online GenWeb program available at USGenWeb. A society page or Web site should be linked to as many quality area sites as possible.
Fund Raising: The society may wish to conduct fund-raising projects to augment funds contributed from membership dues.[3] These funds could be contributed for the acquisition of genealogical materials.
Library Negotiations
All negotiations should be made with the library director or appropriate staff persons. Only at an impasse should a society approach the governing board, and not before informing the library director of such a plan.
Library Contracts
A formal contract, not just a "handshake" agreement, is advisable if a portion of a society's contributed funds will be expended for genealogical materials or other support of the library's genealogical collection. For an example of a contract, see footnote[4].
Possibility of Eviction
Occasionally, and usually because of the lack of space, some libraries have reduced, or asked societies to accept and remove the library's genealogical collection. A society may, through negotiation with the library director, convince a director to move a collection to a branch library, if it has any.
Retention Justification: One helpful evidence to defend keeping the genealogical collection may be statistics of the genealogical collection's use, including use by visiting genealogists and how they beneficially impact the economy of the community in which the library is located.
Another statistic that may help is to illustrate the number of genealogical volunteers who have aided the library, the hours served, and the longevity of some volunteers' service.
If negotiations with the library director are not successful, inform the director that the society will ask for negotiations with the library's governing board. In some cases, it may be useful to try to obtain the services of an independent arbitrator.
Another option is to ask other libraries if they would accept transfer of the genealogical collection. Possibilities are historical societies, college or university libraries, church libraries, adjacent counties' libraries, their genealogical societies or historical societies.
The final solution may be to create a society library. Be sure to consider the disadvantages, problems, and expenses related to this solution.[5]
- ↑ The Federation of Genealogical Societies, Society Strategies Series, Set 1:14. "Strategies for Societies, Volunteers: Finding Them & Keeping Them." by Karen Clifford, Austin, Texas: FGS, 1998. This paper has many recommendations that should be applied to society volunteers serving in libraries.
- ↑ Minow, Mary. "Does Your Library's Web Page Violate the Americans with Disabilities Act?" California Libraries 9 (April 1999): 8–9.
- ↑ The following publications offer useful fund raising ideas: the Federation of Genealogical Societies, Society Strategies Series, Set 1:4, Strategies for Societies, Projects for Fundraising by Luebking, Austin, Texas: FGS, 1992; and Fundraising for the Small Public Library: A How To–Do–It Manual for Librarians, by James Swan, New York: Neal-Schuman, 1990.
- ↑ The Federation of Genealogical Societies, Society Strategies Series, Set 3:3, Moving Your Collection to a Public Library, by Steele. Austin, Texas: FGS, 2000.
- ↑ Ibid.
About the Author
J. Carlyle Parker, Librarian and University Archivist, Emeritus, California State University, Stanislaus; author of several genealogical reference tools; and founder and director (volunteer), Modesto California Family History Center, 1968–1990, and Turlock California Family History Center, 1990–1997.


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Beethoven: Alessio Bax plays Beethoven
SIGCD397 Download only Studio Master FLAC & ALAC downloads available
Beethoven: Piano Sonatas
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Movement 1: Adagio sostenuto
viola obbligato; 57 bars survive; remaining 20-odd completed and edited by Lawrence Power
Track 6 on CDA67651/2 CD1 [5'40] 2CDs
Movement 2: Allegretto
Movement 3: Presto agitato
The Op 27 sonatas were issued in 1801, both of them with the sub-heading of 'quasi una Fantasia'—a qualification indicating the freedom with which Beethoven was treating the traditional sonata design. The 'Moonlight' Sonata's famous opening movement bears the direction: Si deve suonare tutto questo pezzo delicatissimamente e senza sordino ('This entire piece must be played with the utmost delicacy, and without dampers'). 'Senza sordino' was Beethoven's habitual marking at this stage of his career for the use of the sustaining pedal, and although on a modern piano his instruction needs to be treated with some caution, a certain degree of harmonic blurring is implied in order to convey the music's unbroken atmosphere of plaintive mystery. Beethoven was to exploit similar overlapping pedal effects in the rondo theme of the 'Waldstein' Sonata.
As he was to do the following year in his 'Tempest' Sonata Op 31 No 2, Beethoven maintains the darkness of the minor mode throughout the two outer movements, while writing the middle movement entirely in the major. ('A flower between two abysses' was Liszt's evocative description of the minuet-like second movement of Op 27 No 2.) The finale is an unrelentingly agitated piece whose coda, with its 'strummed' diminished-seventh chords sweeping up the keyboard, reaches new heights of turbulence. Not until the 'Appassionata' Op 57 did Beethoven write another finale for piano of comparable dramatic intensity.
from notes by Misha Donat © 2010


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Typically, however, Boughton had caused offence by advertising his concerts as being 'not for high-brows, but for the general musical public who still believe in the common-chord and an occasional tune', and offered an even greater hostage to fortune by adding that there were to be 'no free tickets even for "the profession"'. At the third concert (26 October) he repeated the quartet (the 'Greek') which the critics had most disliked.
Though a medium as complex as the string quartet is scarcely calculated to appeal to the 'working men and women' whom Boughton sought to address, it seems that the actual performances were not as immaculate as they might have been. The critics, therefore, could only make of them what they heard. And certainly both quartets test to the utmost the skill and agility of even the most dedicated performer. Their movements follow traditional Classical formulae with a degree of rhapsodic freedom that makes them difficult to grasp at a first hearing. The subtitles Boughton gave to each movement may also have been more of a hindrance than a help, though each was intended only as an indication of 'the preponderant emotion'. Nor can the fact that he insisted that the audience listen in a darkened auditorium, with the players behind a screen, have added to the success of the occasion.
A question hangs over the thematic material of the 'Greek' quartet, though in this instance Boughton admitted the incorporation of folk song. Unfortunately he did not specify particular tunes, their source or vintage. All that he did allow was that the material had been derived from incidental music (now lost) that he had composed for the Glastonbury Festival's 1922 production of The Trachiniae of Sophocles, and to a lesser extent from modal studies he had undertaken before setting to music Gilbert Murray's translation of the Alkestis of Euripides (Glastonbury, 26 August 1922). Again, the quartet's movements, though proceeding almost without a break in pairs, are given subtitles as 'clues' to their emotional content, but these are also declared to have 'no further meaning or value'. The third movement, however, is by way of being a memorial to Sheerman Hand, whose untimely death (suicide?) in September 1922 had deprived Boughton of a friend and trusted administrator.
from notes by Michael Hurd © 1997
|Boughton: String Quartets & Oboe Quartet No 1
'Performances throughout are shapely and sensitive, the production is refined and the balance truthful. Fans of this colourful figure should acquire f ...
'There is some gorgeous music here. All these works contain a fund of attractive melody. Music as directly appealing as this warrants a place in any c ...» More


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Sunday, 17 November 2013
26 comments:
Hello,this is really good!My photo is of the moon too!It was a good subject to try and grab wasnt it :-)ReplyDelete
- Rachel tryingforsighs17 November 2013 08:48
A lovely capture. It looks so atmospheric. :-)ReplyDelete
- Sarah Wood17 November 2013 08:49
Wow - that's amazing, just beautiful to look at.ReplyDelete
Glad my camera took the details!ReplyDelete
Was perfect night to do itReplyDelete
Beautiful capture. The moon looks amazing.ReplyDelete
- Kim Carberry17 November 2013 17:01
Wow! Such a clear shot! Beautiful xReplyDelete
- Hodge Podge Blog17 November 2013 17:37
Oh my, what a brilliant picture, well done you!ReplyDelete
Wow! Great capture xReplyDelete
- Lisa and Stella17 November 2013 18:30
nice clear shot :)ReplyDelete
it was gorgeousReplyDelete
thanks took a few goes!ReplyDelete
perfect conditions for it!ReplyDelete
- Colette Burgess17 November 2013 19:48
Wow! It almost doesn't look real! xReplyDelete
- Glitzy Gleam17 November 2013 20:36
wow amazing xxReplyDelete
worth a trip!ReplyDelete
it was Honest!ReplyDelete
- Coombe Mill (Fiona)17 November 2013 22:31
Brilliant clear capture.ReplyDelete
looks like you had a fab time xReplyDelete
- Carolynne18 November 2013 09:42
Wow that IS amazing and so clear. Such a black sky.ReplyDelete
- Katie Bailey21 November 2013 20:25
Looks like a perfect place to take the kids!ReplyDelete
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[5 of 11 customers found this review helpful]
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64 bit
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Posted: Mon Feb 28, 2005 12:19 pm
Post subject: 64 bit
I wouldn't mind helping in a blag 64bit. I would very much enjoy a 64bit blag.
Posted: Wed Mar 02, 2005 2:21 am
Post subject:
I second to that opinion...and that response was too harsh imo...
In a nice way of words....we don't have enough 64-bit boxes to really test it on...and I will talk to stevo on that remark...as it stands right now that post will be deleted...because I feel that was too offending.
BLAG 30000 user,it runs great...BLAG owns all distros, hands down. formally demitri_88
Posted: Wed Mar 02, 2005 2:27 am
Post subject:
Curse: sorry i was a bit harsh, but none of us have any 64-bit boxes to test it on. I was attempting to get the point across.
E-mail me at s.clement@localhost (replace localhost with sympatico.ca) or stevo32@localhost (replace localhost with blagblagblag.org).
Posted: Wed Mar 02, 2005 2:29 am
Post subject:
roger that, i was tryin to say that i wouldnt mind offering mine.
Posted: Wed Mar 02, 2005 2:33 am
Post subject:
Ya, 64bit blag would be very nice. FWIW, the current blag devel box /is/ 64bit, but just running 32bit right now. I got 64bit for possible futures.
But as it stands right now, I"m just trying to get 30k out the door. ;) It looks pretty decent, but there's still plenty in bugzilla....
One thing about 64bit is that it's mostly for really high-end stuff, when blag is targeted more at working with current and older machines. The advantages of 64bit are huge amounts of RAM & for some types of processing. As cool as it would be, I'd think a 64bit blag would have a pretty small userbase. I also get occassionally asked for PPCBLAG, and I did an alpha of it forever ago, but I doubt it will happen.
BTW, following fedora-devel, it's looking like FC4 may be a bit FC2-like. In other words, it's doing all sorts of new funky things and may not be so stable. /Lots/ of packages are being dropped and pushed to Fedora Extras and it will also (most likely) be built using GCC4, which isn't released yet. So in other words, it may not be the most stable. FYIFWIW. :)
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