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The Chicago Symphony Orchestra has recorded each of Brahms's four symphonies multiple times and also has recorded the complete cycle on three different occasions. A complete listing is below.
During his tenure as Ravinia Festival music director, James Levine recorded the symphonies with the Orchestra for RCA at Medinah Temple. The recordings were produced by Thomas Z. Shepard and Paul Goodman was the recording engineer. Jay David Saks also co-produced the First Symphony, which was recorded in July 1975. The remaining three were recorded in July 1976.
Eighth music director Sir Georg Solti also led the Orchestra in sessions at Medinah Temple. For London, the four symphonies (along with the Academic Festival and Tragic overtures) were produced by James Mallinson; Kenneth Wilkinson, Colin Moorfoot, and Michael Mailes were the engineers. The Third and Fourth symphonies were recorded in May 1978, and the First and Second were recorded in January 1979. The set won 1979 Grammy awards for Best Classical Album and Best Classical Orchestral Recording from the National Academy of Recording Arts and Sciences.
Daniel Barenboim, the Orchestra's ninth music director, recorded the four symphonies (along with the Academic Festival and Tragic overtures and the Variations on a Theme by Haydn) live at Orchestra Hall for Erato. Vic Muenzer was producer, Lawrence Rock was the sound engineer, assisted by Christopher Willis; and Konrad Strauss was the mastering engineer. All four symphonies were recorded live in 1993: the First and Third in May, the Fourth in September, and the Second in October.
Recordings of the individual symphonies by other conductors are listed below.
Symphony No. 1 in C Minor, Op. 68
Rafael Kubelík, conductor
Recorded by Mercury in Orchestra Hall in April 1952
David Hall, recording director
C. Robert Fine and George Piros engineers
Günter Wand, conductor
Recorded live for RCA in Orchestra Hall in January 1989
Norman Pellegrini and David Frost, producers
Mitchell Heller, recording engineer
John Purcell, post-production engineer
Symphony No. 3 in F Major, Op. 90
Frederick Stock, conductor
Recorded by Columbia in New York's Liederkranz Hall in November 1940
Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall in December 1957
Richard Mohr, producer
Symphony No. 4 in E Minor, Op. 98
Carlo Maria Giulini, conductor
Recorded by Angel in Medinah Temple in October 1969
Peter Andry, producer
Carson Taylor, balance engineer
Riccardo Muti and the Chicago Symphony Orchestra perform Brahms's four symphonies at Orchestra Hall in May. Details here and here.
Theodore Thomas, the Chicago Orchestra's first music director, died on January 4, 1905. For many years after, the Orchestra would dedicate the first concerts of the new year to his memory, frequently performing works closely associated with their founder. We continue that tradition on this week's radio broadcast, as Frank Villella, director of the CSO's Rosenthal Archives, co-hosts a retrospective of works that Thomas introduced to audiences in the United States, both with the Chicago Orchestra and other ensembles.
BRAHMS Academic Festival Overture, Op. 80
Daniel Barenboim, conductor
Recorded by Erato in Orchestra Hall, September 1993
In 1879, the University of Breslau in Poland bestowed upon Johannes Brahms an honorary doctorate, and to show his appreciation, he composed the Academic Festival Overture the following summer. The composer himself led the first public performance at the university in January 1881, and later that year on November 29, Thomas led the U.S. premiere in New York.
Daniel Barenboim, early in his tenure as the Chicago Symphony Orchestra's ninth music director, recorded Brahms's complete symphonies, along with the Tragic Overture, Variations on a Theme by Haydn, and the Academic Festival Overture, all for Erato Records.
WAGNER Prelude and Liebestod from Tristan and Isolde
Artur Rodzinski, conductor
Recorded by RCA in Orchestra Hall, December 1947
In the nineteenth century, Thomas was Richard Wagner's greatest advocate in the United States, both before and after he founded the Chicago Orchestra. During his fourteen seasons as music director, he programmed Wagner's music on nearly half of his concerts, both in Chicago and with the Orchestra on tour. Thomas gave the U.S. premiere of the Prelude from Tristan and Isolde in New York on February 10, 1866, less than a year after the opera's first complete performances in Munich; and he also gave the first U.S. performance of the Prelude paired with the Liebestod in Boston on December 6, 1871. Thomas programmed these two works together fifteen times on subscription concerts during his tenure as music director.
Artur Rodzinski was the Orchestra's fourth music director for only one season (1947–48). One of his great successes was a concert performance of Wagner's Tristan and Isolde in November 1947, featuring soprano Kirsten Flagstad in her first operatic appearance in the United States since the end of World War II. The legendary Chicago Tribune critic Claudia Cassidy called the performance "the dawn of a new operatic day in Chicago." A month later, Rodzinski and the Orchestra recorded the Prelude and Liebestod for RCA.
ELGAR Variations on an Original Theme, Op. 36 (Enigma)
Sir Georg Solti, conductor
Recorded by London in Medinah Temple, May 1974
Thomas gave the U.S. premiere of Sir Edward Elgar's Enigma Variations with the Chicago Orchestra on January 3, 1902, and it was such a crowd-pleaser that he programmed it a second time later that season. A few years later in April 1907, second music director Frederick Stock invited the composer himself to lead several of his works, including In the South, the first Pomp and Circumstance March, and the Enigma Variations. The Chicago Tribune reported that, "The men of the Orchestra gave him their closest attention and heartiest sympathy yesterday, and the result was a performance of the three compositions which was technically and tonally of highest worth. Sir Edward himself seemed genuinely pleased and his assertion after the concert that the 'work of the Orchestra surpassed all his fondest expectations' evidently was the expression of his true feeling."
Sir Georg Solti, the Chicago Symphony Orchestra's eighth music director, recorded the Enigma Variations on May 15, 1974, at Medinah Temple for London Records.
STRAUSS Ein Heldenleben, Op. 40
Fritz Reiner, conductor
Recorded by RCA in Orchestra Hall, March 1954
During the summer of 1883, Thomas visited Europe and according to his Memoirs—edited by his widow, Rose Fay Thomas—the conductor, "had met, in Munich, a young and almost unknown composer, one Richard Strauss, who has recently finished writing a symphony. Thomas secured the first movement of the work, and was so much impressed with it that he requested young Strauss to let him have the other movements, promising to bring out the whole work in a concert of the Philharmonic Society." Thomas kept that promise and in New York in December 1884, he led the world premiere of the Second Symphony in F minor—the first music of Richard Strauss to be performed in the United States. Strauss would later send new scores, and Thomas introduced several works to the United States with the Orchestra, including Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, along with Ein Heldenleben, first performed in Chicago on March 9, 1900.
Near the end of his first season as sixth music director, Fritz Reiner made his first recordings with the Orchestra for RCA. In Orchestra Hall on March 6, 1954, they recorded Strauss's Dance of the Seven Veils from Salome and Ein Heldenleben, with violin solos performed by then-concertmaster John Weicher. Reiner's CSO recordings of music by Strauss have never been out of print, and in 2013, Sony re-issued Reiner's complete CSO catalog on RCA, a boxed set of sixty-three CDs.
TCHAIKOVSKY Final Waltz and Apotheosis from The Nutcracker, Op. 71
Morton Gould, conductor
Recorded by RCA in Orchestra Hall, January 1966
Thomas gave the U.S. premiere of a suite from Pyotr Ilyich Tchaikovsky's Nutcracker on October 22, 1892, on the first concert of the Orchestra's second season. The program note described Tchaikovsky as the "composer, who, in his fifth symphony, has led us into the highest realms of art and stirred our very soul," and the note described the selections from the ballet as "miniature pictures painted with infinite grace and care," showing the composer, "in one of his playful and trifling moods."
Morton Gould, a frequent guest conductor on Popular concerts in the 1960s, recorded selections from Tchaikovsky's Nutcracker at Orchestra Hall on January 31, 1966, for RCA. A six-disc set of Gould's complete recordings with the Orchestra was released by Sony in February 2016.
In May 2016, the Chicago Symphony Orchestra celebrated 100 years of recording.
In January 1970, the Chicago Symphony Orchestra and its new music director traveled to New York for their first concerts together in Carnegie Hall. The concert on January 8 included Georg Solti leading Haydn's Symphony no. 102, Bartók's Dance Suite, and Brahms's First Symphony; and the following evening, the program was Mahler's Kindertotenlieder with contralto Helen Watts and the Fifth Symphony.
Solti and the Orchestra were hardly prepared for the reception following the January 9 concert. Multiple accounts reported the thunderous cheers and applause—calling Solti to the stage for twelve curtain calls—that continued even after the performers had left the stage.
"Is the Chicago Symphony the greatest orchestra in America? Stravinsky has said so, and it was impossible not to agree with him when this orchestra appeared in Carnegie Hall last Friday night in an all-Mahler program under the baton of Georg Solti," wrote Winthrop Sargeant in The New Yorker. "Its brass section is unique in its power and beauty of tone, and its first horn player [Dale Clevenger] is a virtuoso who has a huge tone or a delicate tone—whichever you prefer—and who can hit his upper notes with exemplary accuracy. The woodwinds and strings are not far behind. There is a solid craftsmanship about the whole ensemble, which leaves the conductor nothing to do except exert his leadership and artistic ideas. The Orchestra itself is already trained in everything that pertains to technique, intonation, beauty of tone, and accuracy of attack. Add to all this a conductor of Mr. Solti's stature (there is none greater at this moment in history), and you have an unusual treat. . . .
"Mahler's Fifth Symphony was something of a sensation," Sargeant continued. "There is a special brilliance and drive about Mr. Solti's conducting that illuminate and emphasize not only large lines but details that escape one in most performances of this symphony. . . . The conclusion of the final Allegro was the occasion for the largest ovation I have seen any conductor receive since the time of Toscanini."
In March and April 1970 at Medinah Temple for London Records, Solti and the Orchestra—collaborating in recording sessions for the first time—recorded Mahler's Fifth and Sixth symphonies along with the Songs of a Wayfarer and selections from Des Knaben Wunderhorn with mezzo-soprano Yvonne Minton.
This article also appears here and portions previously appeared here.
The Chicago Symphony Orchestra family mourns the loss of Deborah Guscott, who was a member of the Chicago Symphony Chorus's alto section for twenty-eight seasons. Having most recently performed in Berlioz's Romeo and Juliet and Verdi's Falstaff this past April under Riccardo Muti, she died on August 10, 2016, following a long illness.
A graduate of Oak Park and River Forest High School and the University of Illinois Urbana-Champaign, Guscott joined the Chicago Symphony Chorus at the invitation of founder and longtime director Margaret Hillis in 1987. For nearly thirty years, she regularly performed with the Chicago Symphony Orchestra under three music directors—Sir Georg Solti, Daniel Barenboim, and Muti—as well as Pierre Boulez, Bernard Haitink, James Levine, Christoph Eschenbach, and James Conlon, among many others. Guscott appeared on numerous recordings—several of them Grammy Award winners—and performed in Orchestra Hall, Medinah Temple, and Carnegie Hall; at the Ravinia Festival; and on tour with the Orchestra and Chorus to London, Salzburg, and Berlin.
Guscott was a fixture on the Chicago vocal scene, performing with countless ensembles, including the Grant Park Chorus, Light Opera Works, Music of the Baroque, Lyric Opera of Chicago, the Ravinia Festival Orchestra, Bach Week Festival, Oriana Singers, and Chicago a cappella, among many others. She was a soloist on several occasions for the Do-it-Yourself Messiah under Hillis and with the Symphony of Oak Park and River Forest under its music director Jay Friedman. An active liturgical musician, Guscott worked at many churches and temples in the Chicagoland area, most recently as music director and cantor at both Saint Domitilla Parish in Hillside and Divine Providence Parish in Westchester.
Duain Wolfe, director of the Chicago Symphony Chorus since 1994, described his longtime colleague: "An alto with a particularly rich, luscious sound, Deb contributed significantly to the highly lauded sound of the Chicago Symphony Chorus. We are all very grateful for her gifts, both as an important musician in our ranks and as a strong, positive force who always found the silver lining in every cloud. Deb's indomitable spirit has been an inspiration to all of us, and we will miss her greatly."
Music director of the Symphony of Oak Park and River Forest—and CSO principal trombone—Jay Friedman added, "Deb Guscott was my go-to contralto for the past twenty years in many solo roles from opera to oratorio. She possessed a true contralto voice, something rare and perfect for Mahler, Wagner, and many other great masters. Deb was a fun person and a joy to work with—always upbeat and willing to rehearse at a moment's notice—and she will be greatly missed."
Christopher Bell, director of the Grant Park Chorus since 2002, shared his thoughts with the musicians of his chorus: "I was privileged to have Deb—a well known and beloved singer in Chicago—in the Grant Park Chorus and honored to be able to call her a friend. My abiding memory of my last visit with her will be of much laughter and hilarity, as we shared many memories and reminiscences. The Chicago singing community is a strong and closely knit one, and I know that you, like me, are saddened and shocked by this loss of one of our own. Today, I am thinking of you all and sharing your sorrow."
There will be a service in her memory given at Our Lady of Sorrows Basilica (3121 West Jackson Boulevard, Chicago 60612) on Saturday, September 3, 2016, beginning at 11:00 a.m. The upcoming Chicago Symphony Orchestra and Chorus performances of Brahms's A German Requiem on November 10, 11, and 12, 2016—a work that Guscott performed on many occasions with the Chorus—will be dedicated to her memory.
One of Guscott's many solo performances with the Symphony of Oak Park and River Forest under Friedman was of Mahler's Resurrection Symphony on November 16, 2003. A live recording of her singing the fourth movement—Urlicht—is available in the link below.
Carlo Maria Giulini made his debut with the Chicago Symphony Orchestra in November 1955, leading two weeks of subscription concerts. In the subsequent years, he was a regular and popular visitor to Chicago, and it was no surprise when he was invited to be the Orchestra's first principal guest conductor beginning with the 1969–70 season (also Georg Solti's first as music director). Giulini would serve in that capacity through the 1971–72 season, and he frequently returned to Chicago until beginning his tenure as music director of the Los Angeles Philharmonic in 1978.
On March 18 and 19, 1971, Giulini led the Orchestra in Mahler's First Symphony, which, according to Bernard Jacobson in the Chicago Daily News, was his first time leading a symphony by the composer. "And the performance of the First Symphony that burst on us Thursday night showed us, in one dazzling stroke, what the waiting was for." His interpretation "was of a stature, an integrity, an electrifying grandeur that relegated even those landmark performances to the shadows. It seemed to take all the virtues of every interpretation, heard or merely conceived, and fuse them in a new, flawlessly projected and proportioned unity. . . . And the Orchestra, playing with the sort of devotion their principal guest conductor always arouses in them, responded with perhaps their finest playing of the season. The strings combined polish and delicacy with an irresistible rhythmic zest. The woodwinds produced some of the most tellingly accurate chording we have heard from them. The percussion covered the dynamic gamut—from magical soft cymbal and tam-tam effects in the funeral march to bloodcurdling timpani rolls in the finale—with minute precision, and at the end the brass choir proclaimed a glorious triumph."
"It was Carlo Maria Giulini's finest hour to date in Orchestra Hall last night, bringing the Chicago Symphony audience cheering to its feet for a prolonged standing ovation," wrote Thomas Willis in the Chicago Tribune, describing the concert as an "impassioned, marvelously balanced performance . . . of monumental stature."
On March 30, Giulini and the Orchestra recorded the symphony at Medinah Temple for Angel Records. The recording won the 1971 Grammy Award for Best Classical Performance—Orchestra.
This article also appears here.
Between 1993 and 1996, James Levine conducted the Chicago Symphony Orchestra and Chorus in recording sessions at Medinah Temple for Fantasia 2000, the long-awaited sequel to Disney's classic Fantasia from 1940. Levine led extended excerpts from Beethoven's Symphony no. 5, Respighi's Pines of Rome, Shostakovich's Piano Concerto no. 2 with Yefim Bronfman, Saint-Saëns's Carnival of the Animals with pianists Gail Niwa and Philip Sabransky (both children of CSO members), Elgar's Pomp and Circumstance marches with soprano Kathleen Battle and the Chicago Symphony Chorus, and Stravinsky's The Firebird.
The movie was released on New Year's Day 2000, and Chicago Sun-Times film critic Roger Ebert described the IMAX version "not just as a film, but as an event." He continued, "Movies like this renew my faith that the future of the cinema lies not in the compromises of digital projection, but by leaping over the limitations of digital into the next generation of film technology."
This article also appears here.
The commercial recording legacy of the Chicago Symphony Orchestra—under second music director Frederick Stock—began on May 1, 1916. For the Columbia Graphophone Company (at an undocumented location in Chicago), they recorded Mendelssohn's Wedding March from A Midsummer Night's Dream; Wagner's Ride of the Valkyries from Die Walküre; and Grieg's Two Elegiac Melodies, Heart Wounds and The Last Spring.
Mendelssohn's Wedding March and Grieg's The Last Spring were each on the first 80-rpm disc issued in October 1916, and a Columbia Records sales brochure raved, "The deepest glories vibrant in such a familiar composition as Mendelssohn's Wedding March are unguessed until interpreted by such an orchestra as this. From the first trumpet fanfare to the great central crescendo is very joy and glory articulate! . . . There can be no pleasure beyond enjoying such music as the Chicago Symphony here brings to every music-loving home."
To commemorate this legacy, this collage of record and CD labels is on display in the first floor of Symphony Center's Rotunda through the end of the Orchestra's current—the 125th—season. Details of all of the recordings included are below (all recordings were made at Orchestra Hall unless otherwise noted).
Austrian pianist Artur Schnabel made his debut with the Orchestra at the Ravinia Festival on July 11, 1942, performing Beethoven's Fourth Piano Concerto with George Szell conducting. On July 22 and 24, Schnabel and the Orchestra recorded the Fourth along with Beethoven's Fifth Piano Concerto at Orchestra Hall for Victor Records. Frederick Stock conducted these, his last, recording sessions with the Orchestra; he died a few short months later on October 20.
The Chicago Symphony Orchestra gave the U.S. premiere of Prokofiev's Scythian Suite under the baton of the composer on December 6, 1918. On March 16, 1945, third music director Désiré Defauw recorded the work for RCA.
Fourth music director Artur Rodzinski led the Orchestra in a complete performance of Wagner's Tristan and Isolde—with Set Svanholm and Kirsten Flagstad in the title roles—at the Civic Opera House on November 16, 1947. A month later on December 14, he led the Orchestra in recording sessions for the Prelude and Liebestod at Orchestra Hall.
For Mercury Records, fifth music director Rafael Kubelík led the Orchestra's first recording of Ravel's orchestration of Mussorgsky's Pictures at an Exhibition on April 23 and 24, 1951. Principal trumpet Adolph Herseth performed the opening fanfare.
On March 6, 1954, sixth music director Fritz Reiner and the Orchestra recorded together for the first time: Strauss's Dance of the Seven Veils from Salome and Ein Heldenleben for RCA. (Reiner's complete CSO catalog recently was re-released by RCA.)
At the third annual Grammy awards ceremony on April 12, 1961, the Orchestra's recording of Bartók's Music for Strings, Percussion, and Celesta received the award for Best Classical Performance–Orchestra. Reiner had conducted the RCA release. That same evening, the Orchestra's recording of Brahms's Second Piano Concerto—also on RCA and with Erich Leinsdorf conducting—earned the award for Best Classical Performance–Concerto or Instrumental Soloist for Sviatoslav Richter. These were the first two Grammy awards earned for recordings by the Chicago Symphony Orchestra.
Reiner led the Orchestra, Chicago Symphony Chorus (prepared by its founder Margaret Hillis), and mezzo-soprano Rosalind Elias in Prokofiev's Alexander Nevsky for RCA—the first recording collaboration with the Orchestra and the Chorus—on March 7, 1959, at Orchestra Hall.
Two years after winning the prestigious 1958 Tchaikovsky Competition in Moscow, Van Cliburn made his first recording with the Orchestra on April 16, 1960: Schumann's Piano Concerto with Reiner conducting for RCA. (A complete list of Cliburn's appearances and recordings with the Chicago Symphony Orchestra can be found here.)
On March 19, 1966, seventh music director Jean Martinon led the Orchestra in recording sessions for Martin's Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra for RCA. Featured soloists were CSO principals Clark Brody (clarinet), Willard Elliot (bassoon), Donald Peck (flute), Dale Clevenger (horn, in his first week on the job), Ray Still (oboe), Adolph Herseth (trumpet), Donald Koss (timpani), and Jay Friedman (trombone). (Martinon's complete CSO catalog recently was re-released by RCA.)
Benny Goodman recorded Nielsen's Clarinet Concerto with the Orchestra on June 18, 1966, for RCA. Morton Gould conducted. (Gould's complete CSO catalog recently was re-released by RCA.)
At Medinah Temple on February 20 and 21, 1968, Leopold Stokowski and the Orchestra recorded Shostakovich's Symphony no. 6 for RCA.
Carlo Maria Giulini—the Chicago Symphony Orchestra's first principal guest conductor—recorded selections from Berlioz's Romeo and Juliet for Angel on October 13 and 14, 1969, at Medinah Temple.
The Orchestra made its second recording of Rimsky-Korsakov's Sheherazade on June 30 and July 1, 1969, at Medinah Temple for Angel. Seiji Ozawa, the Ravinia Festival's first music director, conducted and concertmaster Victor Aitay was violin soloist.
During eighth music director Georg Solti's first season as music director, the Orchestra performed Mahler's Fifth Symphony at Carnegie Hall on January 9, 1970, and were called back for twelve curtain calls. Beginning on March 26 at Medinah Temple, Solti and the Orchestra committed their performance to disc—their first recording together—for London Records.
Daniel Barenboim, who would later become ninth music director, made his first recording with the Orchestra on November 11, 1970, at Medinah Temple. For Angel, he led sessions for Dvořák's Cello Concerto with his wife Jacqueline du Pré as soloist. (A summary of du Pré's association with the Orchestra is here.)
Before the Chicago Symphony Orchestra performed the first concert of its first tour to Europe in 1971, Solti led recording sessions for Mahler's Eighth Symphony at the Sofiensaal in Vienna on August 30, 31, and September 1. Soloists included Heather Harper, Lucia Popp (more about Popp's performances with the Orchestra is here), Arleen Augér, Yvonne Minton, Helen Watts, René Kollo, John Shirley-Quirk, and Martti Talvela. The recording won three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera) (for the Chorus of the Vienna State Opera, Singverein Chorus, and Vienna Boys' Choir), and Best Engineered Recording–Classical.
On December 13, 1977, Barenboim and the Orchestra recorded Bruckner's Sixth Symphony for Deutsche Grammophon, part of a complete cycle of the composer's symphonies that also included the Te Deum, Helgoland, and Psalm 150.
Following concerts in Orchestra Hall and Carnegie Hall, Solti led the Orchestra, Chorus, and soloists (including Hildegard Behrens as Leonore and Peter Hofmann as Florestan) and in recording sessions for Beethoven's Fidelio—"the first digitally recorded opera to be released," according to Gramophone—at Medinah Temple on May 21, 22, 23, and 24, 1979.
Second music director of the Ravinia Festival, James Levine led the Orchestra, Chorus, Glen Ellyn Children's Chorus, and soloists (June Anderson, Phillip Creech, and Bernd Weikl) in sessions for Orff's Carmina burana on July 9 and 10, 1984, for Deutsche Grammophon. The recording was awarded the 1986 Grammy Award for Best Choral Performance (other than opera).
At the end of a subscription concert at Orchestra Hall on January 23, 1986, Solti led the Orchestra and Chorus in a spirited encore of the Chicago Bears' fight song "Bear Down, Chicago Bears" in anticipation of the team's Super Bowl victory. The day after the game, the work was recorded by London Records.
Solti led recording sessions at Medinah Temple for Beethoven's Ninth Symphony—the second time he and the Orchestra and Chorus had recorded the work—on September 28, 30, and October 7, 1986, for London. Soloists were Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. The release was awarded the 1987 Grammy Award for Best Orchestral Performance.
Claudio Abbado, second principal guest conductor, led the Orchestra in Brahms's Double Concerto with Isaac Stern and Yo-Yo Ma (future Judson and Joyce Green Creative Consultant) as soloists on November 7 and 8, 1986, for CBS Records.
Closing the 97th season in June 1988, Leonard Bernstein led the Orchestra in performances of Shostakovich's First and Seventh symphonies. Recorded live by Deutsche Grammophon, the release received the 1990 Grammy Award for Best Orchestral Performance.
On March 15, 16, and 17, 1990, Barenboim led the world premiere performances of composer-in-residence John Corigliano's Symphony no. 1, commissioned for the Orchestra. The live recording—Barenboim and the Orchestra's first on the Erato label—was awarded two 1991 Grammy awards for Best Orchestral Performance and Best Contemporary Composition.
The recording of Bartók's The Wooden Prince and Cantata profana led by Pierre Boulez for Deutsche Grammophon—recorded on December 19, 20, and 21, 1991—was awarded four 1993 Grammy awards: Best Classical Album, Best Orchestral Performance, Best Performance of a Choral Work, and Best Engineered Recording–Classical. (A complete list of Boulez's recordings with the Orchestra is here and his complete Grammy awards are here.)
Between 1993 and 1996, Levine led the Orchestra and Chorus in recording sessions at Medinah Temple for Disney's feature film Fantasia 2000. The movie was released on January 1, 2000.
Shortly after being named the Orchestra's third principal guest conductor, Boulez led sessions for Varèse's Amériques, Arcana, Déserts, and Ionisation in December 1995 and 1996. The Deutsche Grammophon release was awarded the 2001 Grammy Award for Best Orchestral Performance.
In May 1997 at Medinah Temple, the Orchestra recorded Falla's Nights in the Gardens of Spain and The Three-Cornered Hat for Teldec. For Nights in the Gardens of Spain, Barenboim was piano soloist and Plácido Domingo conducted; for The Three-Cornered Hat, Jennifer Larmore was mezzo-soprano soloist and Barenboim conducted.
A former Youth Auditions winner and member of the Civic Orchestra of Chicago, Rachel Barton recorded Brahms's and Joachim's violin concertos for Cedille Records on July 2 and 3, 2002. Carlos Kalmar conducted.
In his first concerts as principal conductor on October 19, 20, and 21, 2006, Bernard Haitink led the Orchestra, women of the Chorus (prepared by Duain Wolfe), the Chicago Children's Choir, and mezzo-soprano Michelle DeYoung in Mahler's Third Symphony. The work is recorded as the inaugural release on CSO Resound.
In May 2008, Haitink and the Orchestra recorded Shostakovich's Fourth Symphony for CSO Resound. The release was awarded the 2008 Grammy Award for Best Orchestral Performance.
Boulez led the Orchestra in Stravinsky's Pulcinella, Symphony in Three Movements, and Four Studies in February and March 2009 for CSO Resound. Soloists in the Pulcinella were Roxana Constantinescu, Nicholas Phan, and Kyle Ketelsen.
On January 15, 16, and 17, 2009, Riccardo Muti—in his first concerts as music director designate—led the Orchestra, Chorus, and soloists (Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov) in Verdi's Requiem. The subsequent CSO Resound recording was awarded 2010 Grammy awards for Best Classical Album and Best Choral Performance.
Following his first concert as the Chicago Symphony Orchestra's tenth music director (for more than 25,000 people in Millennium Park) in September 2010, Muti led the Orchestra, Chorus, and soloists (Gérard Depardieu, Mario Zeffiri, and Kyle Ketelsen) in Berlioz's Symphonie fantastique and Lélio. The two-disc set was released on CSO Resound in September 2015.
On April 7, 9, and 12, 2011, Muti led concert performances—recorded by CSO Resound—of Verdi's Otello at Orchestra Hall. Along with the Orchestra, Chorus, and Chicago Children's Chorus, soloists included Aleksandrs Antonenko in the title role, Krassimira Stoyanova as Desdemona, and Carlo Guelfi as Iago.
In February 2012, Muti led world premieres by the Orchestra's Mead Composers-in-Residence: Anna Clyne's Night Ferry and Mason Bates's Alternative Energy. Both works were recorded for CSO Resound and released as digital downloads.
For Sony Classical, composer John Williams led the Orchestra and Chorus in recording sessions at Orchestra Hall for his soundtrack for the motion picture Lincoln. Director Steven Spielberg was on hand to supervise.
Cheers to the next 100!
On August 28, 1989, in London's Royal Albert Hall, Sir Georg Solti led the Orchestra and the Chicago Symphony Chorus—in its European debut—in Berlioz's The Damnation of Faust. Soloists included mezzo-soprano Anne Sofie von Otter, tenor Keith Lewis, bass-baritone José van Dam, and bass Peter Rose.
"I doubt that there will be a better Prom this year," wrote Tom Sutcliffe in The Independent. "The sheer accuracy of the playing is astounding. . . . The crispness of the rhythms, the ability to switch mood in a phrase, ran throughout the ensemble— and of course when excitement or shock was needed, it sprang out instantly at Solti's slightest indication, providing marvelous evidence of a long and deep relationship between instruments and conductor in which little needed to be said or shown for everything meant to be instantly understood. . . . And what a chorus the Chicago Symphony has, to comply with Solti's needs, youthful, beautiful in tone and robust in attack, every word totally clear, understood and stylishly enunciated. Well, Solti's chorus master is Margaret Hillis—simply the best."
The Orchestra and Chorus also performed Berlioz's Faust on August 30 in Salzburg's Grosses Festspielhaus, and Solti and the Orchestra continued on through Switzerland, Germany, Denmark, Sweden, France, and the Netherlands before returning to London's Royal Albert Hall* for the final concert of the tour on September 18.
The August 28 concert was recorded for television broadcast and later released by London Records on video.
Also for London, Solti conducted the Orchestra, Chorus, and soloists (including mezzo-soprano Frederica von Stade, tenor Kenneth Riegel, bass-baritone José van Dam, and bass Malcolm King) in recording sessions of The Damnation of Faust in May 1981 at Medinah Temple. The recording was awarded the 1982 Grammy Award for Best Classical Performance–Choral.
*The September 18 concert originally had been scheduled for London's Royal Festival Hall. As a result of a pay dispute earlier that month, there was the prospect of a strike between the unions representing the technicians and box office staff and management at South Bank Centre. The concert was moved to Royal Albert Hall to avoid the possibility of Orchestra musicians crossing picket lines.
This article also appears here.
As a last-minute replacement conductor for the opening concert of the Ravinia Festival's thirty-sixth season on June 24, 1971, James Levine led the Orchestra, Chorus, and soloists in Mahler's Second Symphony. Having just made his debut at the Metropolitan Opera leading Puccini's Tosca on June 5, he conducted both the rehearsals and the performance of the Mahler without a score.
In the Chicago Daily News, Bernard Jacobson reported that the reverberations of Mahler's symphony "were matched at the end of the performance by the ovation that greeted conductor James Levine. And indeed, this gifted twenty-eight-year-old musician earned every last resounding cheer. He had taken the concert over at a week's notice from István Kertész (who was himself a replacement for the originally scheduled Eugene Ormandy), and everything he did was proof of thorough preparation, fine artistic judgment, and the ability to communicate ideas to an orchestra and, through it, to the audience."
By February 1972, the Metropolitan announced that Levine would become its first principal conductor, and that October, Ravinia announced that he would be the festival's second music director, succeeding Kertész, who had served as principal conductor from 1970 through the 1972 season.
Levine launched the first of his twenty years at the Ravinia Festival on June 27, 1973, leading the Orchestra, Chorus, and soloists in Beethoven's Missa solemnis. His tenure was marked with an astonishing range of repertoire: cycles of symphonies by Brahms and Mahler; Bach's Brandenburg Concertos and Beethoven's piano concertos; choral masterworks by Berlioz, Haydn, Mendelssohn, Orff, Schoenberg, and Stravinsky; and concert performances of operas by Bellini, Donizetti, Mozart, Puccini, Saint-Saëns, Strauss, Tchaikovsky, Verdi, and Wagner, all with the leading singers of the day.
Levine amassed an extensive discography with the Orchestra and Chorus (including several Grammy winners) on Deutsche Grammophon, Philips, and RCA, recorded at Orchestra Hall and in Medinah Temple, including Beethoven's five piano concertos with Alfred Brendel; Berg's Violin Concerto and Rihm's Time Chant with Anne-Sophie Mutter; Brahms's four symphonies and A German Requiem with Kathleen Battle and Håkan Hagegård; Gershwin's Rhapsody in Blue (conducting from the keyboard); Holst's The Planets; Mahler's symphonies no. 3 with Marilyn Horne, no. 4 with Judith Blegen, and no. 7; and Schubert's Ninth Symphony.
Twenty years to the day of his first concert as music director, Levine capped his tenure on June 27, 1993, leading the Orchestra and Chorus in Stravinsky's Symphony of Psalms, Strauss's Death and Transfiguration, and Beethoven's Seventh Symphony.
This article also appears here.
Using a single Telefunken condenser microphone—hung twenty-five feet directly above the conductor's podium—Mercury recorded Ravel's orchestration of Mussorgsky's Pictures at an Exhibition on April 23, 1951, at Orchestra Hall. Rafael Kubelík, in his first season as the Chicago Symphony Orchestra's fifth music director, conducted, and Adolph Herseth, principal trumpet since 1948, performed the opening fanfare. The recording was the inaugural release on Mercury's Living Presence series.
In 1996, the original masters were used to transfer the recording to compact disc. In the liner notes for the Mercury rerelease, Robert C. Marsh commented that the original discs "represented the highest state of the art in monophonic recording technique. Hearing them again, some forty-five years later, one is still astonished by the degree to which they project the performers into the presence of the listener, a phenomenon noted in the early reviews by New York Times critic Howard Taubman [who originally coined the phrase 'living presence']. . . . Indeed, heard over multiple speaker systems there have always been passages in these recordings in which one is easily convinced that he is, in fact, listening to stereo. The balance, clarity, and texture of the music is so beautifully preserved, the dynamic range is so wide and so free of the compression often associated with monophonic records, that it is difficult to accept that all this sound comes from a monophonic source."
The Orchestra also recorded Pictures in 1957 for RCA with Fritz Reiner conducting, in 1967 for RCA with Seiji Ozawa, in 1976 for Deutsche Grammophon with Carlo Maria Giulini, in 1980 for London Records with Sir Georg Solti, and in 1989 for Chandos with Neeme Järvi. The Reiner and Järvi versions were recorded at Orchestra Hall; Ozawa, Giulini, and Solti recorded at Medinah Temple. A performance video recorded at Suntory Hall in Tokyo on April 15, 1990—which also included an introduction with Solti performing examples at the piano and in rehearsal with the Orchestra—was released by London. On all recordings, Herseth performed the opening fanfare.
This article also appears here.


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False AlarmsSecurity World is the only security company that pays false alarm fines for the first year
False alarms are a major problem for police departments across the country. It costs the police gas and wasteful labor and may make a police officer slower to a real burglary! The police department have responded by fining locations that have two to three false alarms in a year and often the police refuse to go to that location for a year.
Security World is committed to solving the false alarm problem with quality installations, customer education, and quick repair service.
Security World is the only company that promises to pay any false alarm fines the first year due to equipment malfunction as long as customer calls Security world on the first false alarm so we can work to avoid a second false alarm.
How Can You Help Prevent False Alarms?
Many false alarms, commercial and residential are caused by user error.
What Should Someone Do After A Burglary False Alarm?
After a false alarm, don't leave your home or business until you've spoken with your Security World Monitoring Station. You should bypass the problem zone or put it in no police dispatch.
Almost all security systems require that it be reset after a false alarm. The security system alarm memory usually must be checked before the security system will rearm.
Call your service department to avoid another false alarms!
Can You have a Fire False Alarm? YES!
Yes: Bug spray or spray paint can look like smoke! And trigger a smoke detector!
Yes: Steam. A Cloud of steam from a shower can look like smoke and cause a false alarm!
Yes: Dust. The device that detects smoke can be falsely tripped if dust accumulates in the sensing lens.
Smoke detectors should be cleaned every year to avoid dust false alarms.
Is there a smoke detector that you can test to see if too much dust if accumulating? Yes: There is the ESL 449CTE that you can replace your old smoke detector with for $95.00. Other smoke detectors may have that feature.
Will the monitoring station call me before dispatching the fire department? NO! You must call monitoring to cancel fire department. The state fire marshal instructed monitoring stations that speed is too important to lose time calling the home or business on fire alarms.

subset: commoncrawl


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Zebra Motorola Corded Barcode Scanner
Rugged reliable Black USB 1D linear imager Barcode Scanner with stand.
The Motorola LI2208 general purpose corded linear imager delivers the same reliability and ergonomics of their most popular scanner, the LS2208, with enhanced features that let you scan more types of barcodes, faster and at a greater distance. Whether your workers are scanning barcodes printed on paper labels or electronic barcodes displayed on the screen of a mobile phone, tablet or computer, they can count on unparalleled performance, every time.
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- Connectivity Technology: Cable
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Carry All, Bandana
$ 47.00
Product details
This 1940s vintage bandana print pairs perfectly with dark indigo for our new carryalls. Lined with Denim and taped seams, these durable bags come in Large and Small. Or buy the set! Made by hand at our manufacturing facilities in Bedford, New York!
Small: 7"x 5"
Large: 12"x 8 1/2"
100% Cotton with Leather Zip
Made in the USA


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Olympus 1050 SW announced
Just when I was all ready to go and get myself an Olympus 1030 SW, they go and announce the 1050 SW. Better than the other way around I suppose.
Waterproof, crushproof, freezeproof and now with tap control for taking pictures with gloves on. I like the idea of that for skiing and snowboarding.
Teaser links: Permanent Link to Olympus Stylus 1050 SW, Olympus 1050 SW Official Site
The wait until October begins.


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THE BURLINGTON FREE PRESS / SEARCH: 638 Vt Rt 109 Belvidere, VT 05442
- 2 beds
- 1 baths
- $100,000 price
- 4633170 mls id
- Square Feet: 1,100 sqft
- Year Built: 1989
- Lot Size: 1.04 acres
- Status: Active
Recently renovated 2 bedroom home situated on a private 1.04+/- acre, centrally located between Smugglers' Notch Resort and Jay Peak Resort. The home offers an open floor plan in the kitchen, dining, and living room area. In the living room there is an efficient pellet stove that is outlined with magnificent stone/tile work. The master bedroom has a very large walk-in closet, and has great views looking out to your perennial garden. Very large lawn with numerous perennials. Come get your slice of Vermont!
- Site Link
- Property SubType Mobile Home
Listing Agent: Bateman Group
Courtesy of: Pall Spera Company Realtors-Stowe Village
Updated: 23rd August, 2017 11:46 AM.
638 Vt Rt 109 Belvidere, VT
Real Estate | The Burlington Free Press Powered by Placester


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St. Roche
Bluebell Dress
$222.00 $395.00
- Relaxed fit, slips on
- 48" from shoulder to front hem
- Modeled in size Small
- Model Measurements: Height 5'10", Waist 25", Bust 32", Hips 33.5"
- X-Small: 0-2, Small: 4, Medium: 6-8, Large: 8-10
The Bluebell Dress is made from a beautiful and unique hand block printed organic cotton, inspired by an antique design from Gujarat. This breezy midi-length dress has soft ruffle details on the shoulder straps. Wear lightly cinched at the waist with the separate tie belt, or loose and flowing, with flat sandals.
- Side seam pockets
- Separate tie belt
- Two shell buttons at back opening
- 100% GOTS certified organically grown cotton voile
- Lined in 100% cotton
- Care: Delicate hand wash cold and hang dry or dry clean
This item ships from our warehouse in Maryland via USPS or UPS, depending on the shipping method selected at checkout.
We will gladly accept returns of unworn, unwashed, undamaged or defective merchandise for a full refund within 30 days of original purchase. Return details.


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Online textbook
Click here to access the online textbook. Your browser must have "accept cookies" enabled.
Need extra help? Have you been absent?
Science comes easily to some students but can be more challenging for others - and of course, many students will be absent at least a couple of times in the school year. In short, most students need to come in for some help at least a few times.
If you missed class or need extra help with a particular concept or unit, you are encouraged to see Mr. Welman for extra help:
- From 7:00 - 7:15 in the mornings with quick questions
- During our Wednesday, Thursday, and Friday PASS periods
- After school until about 2:30 most days except Wednesday.
- (Note: MTHS has an "Activity Bus" that will provide free transportation home to any student who stays after school on most days).
Students who come in for help routinely see improvements in their understanding of course content and their grades.
Extra Credit
Extra credit is available. Simply find a current event about a science-related topic and write a summary of the article as described in the extra credit form available in the documents section of my website. Honors can complete one extra credit summary per semester, and general biology can complete three per semester.


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Omars Express Restaurant
206 East 5th Street
Greenville, NC 27858
View more Greenville restaurants
(252) 830-0588
Is this your restaurant?
Claim Your Listing For Free
Do you own a business and need a way to monitor your reviews across all sites, not just Foodio54? ReviewSnoop is offering a free trial to monitor your reviews and photos across dozens of review sites.
Omars Express Restaurant Reviews
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Nearby Restaurants
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214 East 5th Street
Buffalo Wild Wings
114 East 5th Street
Sup Dogs
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Starlight Cafe
104 Martin Luther King J
Dale's Indian Cuisine
419 Evans
Winslow's Tavern, Market and Deli
120 West 5th Street
Marathon Restaurant
706 Evans Street
East Coast Wings & Grill
401 W 5th St
Christy's Euro Pub
301 South Jarvis Street


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Management meetings are necessary for many companies, especially companies with a lot of employees. Management meetings are primarily used for communication of operational, strategic and results-oriented information. However, management meetings don't have to be dry to be effective. By including a few games in your management meetings, you can improve relationships between your managers, lighten the overall tenor of the meetings and turn them into something managers enjoy attending.
Colors Exercise
The colors exercise is a quick game that you can use with small or large groups of managers at your next meeting. The exercise shows managers that people view the same event or receive the same information in different ways. Explain that emotions are triggered by different things for different people. Suggest that being an effective manager requires the ability to understand an employee's viewpoint. Use the following illustration to help managers see how mental associations can influence, or "color," opinions. Ask everyone present to close their eyes and imagine the days of the week. Ask them to assign a color to each day and write those colors down. Split people into groups of four or five and ask them to discuss their responses as well as the reason for each chosen color.
Jar of Gumballs
Place a large jar of marbles on a table outside the entrance to your next management meeting along with slips of paper and pens. Ask managers to write down their guesses for the number of gumballs in the jar on the slips of paper (one guess per manager). Tell managers to keep their slips with them. Once all attendees are seated, split managers into groups and ask them to share their guesses with each other and reach a consensus as a group as to which guess is closest to the actual number of gumballs. Give the jar of gumballs to the group with the closest guess. Use the exercise to show how peoples' brains estimate units differently and how using each other as resources by working in groups can reduce the likelihood of error.
Company Bingo
Split managers into groups of five to eight people (you may alter your group size based on the overall number of managers at your meeting or just have one group if your management numbers are less than 15). Create "Bingo" cards with numbered squares filled with trivia questions about your company. Vary questions from easy, such as: "Name our first President," to hard, such as: "How many countries (or states) do our employees hail from?" In order to place an "X" in the square, managers must agree within their groups as to what the right answer is. Give groups 10 minutes to complete as many questions as possible. Choose numbers from a hat and read answers to those numbers. Teams must have the right answer to place an "X" in squares. The first team with a row of "X's" wins.
Monthly Quiz
Start off meetings with a short, five-question quiz about company figures. Ask all attendees to write down their answers on a piece of paper. Prepare three tie-breaker questions but don't ask them unless necessary. After giving managers a few seconds to answer the final question, ask all attendees to stand. Start with the first question, reveal the answer and ask all who got the answer wrong to sit down. Continue on through questions until there is only one manager left standing. If necessary, use harder tie-breaker questions to get to one winner. Give the winner a gag gift or funny "trophy" that can be passed from winner to winner each time the quiz is taken.
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- Photo Credit Ciaran Griffin/Lifesize/Getty Images
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This week I am exhibiting at the Baltimore Fine Craft Show. It is biggest show of all that I exhibit in each year. It is kind of the Superbowl of shows. It has a great buying public and has consistently been a lucrative show. As I stated yesterday traveling and exhibiting at shows has been very taxing on my physical, mental and emotional self each show season. I am separated from my routine, family and all that is familiar. I have made decisions while on the road that has hurt my family, my marriage and my relationship with Christ. I can honestly say that it is only by the grace of God that I am still married, doing a job that I love and able to serve others with a love and grace that was given to me by Christ.
I mentioned earlier that this show season was going to be different. I felt as though God has something more for me reaching beyond just selling furniture. He has been increasing my awareness to my feelings of inadequacy and worthlessness. They seem to peak at the beginning of each show. I see all the competition and immediately put myself in a category that is inferior. In my mind I hear things such as "you don't belong here", "your pieces are crap", "you won't sell anything". My eyes have been opened to see these as blatant attacks of the enemy. He knows that if I would allow those thoughts to consume me then the hook is set for me to walk a path to ways of medicating those feelings of worthlessness.
What has changed now? I have worked hard to learn about these feelings, understand when they happen and how to combat them with truth. It has only been by counseling, thoughtful friends, a loving wife and a gracious heavenly Father that my awareness has been increased and my ability to transparent to others and especially myself.
As I thought about this yesterday, I realized the parallel between how being open and honest in my life and exhibiting my work can be drawn together. As I put a part of me into each piece and put it out for all to see it opens myself up to both praise and criticism. I can either allow both the praise and criticism to define me or I can allow God's truth to define me.
In the past I would allow what others thought and said, along with the lies of the enemy to define who I was or could be. On the outside I was trying to be ok, but on the inside I was dying to thoughts of worthlessness and self deprecation. Once I realized how damaging this was to myself and others I learned that true transparency was the only way for me. I am a work in progress, but my furniture is an extension of who I am as a furniture maker, but not a definition of who I am.
I am:
- A child of the King
- redeemed by the Blood of Christ
- a father
- a son
- A husband
- A friend
- A leader
- An encourager
- loved no matter what I have done
- given Grace not for I have done, but because of what He has done for me
And the list could go on. I am working on sharing my story with whoever asks whenever they ask. I know that if I can share my sins and shortcomings, it only gives more praise to God because what He is doing in my life. So as people praise the furniture, it flows through me to HIM. He gave me the ability and the stage to proclaim Him from.
What about you? How are you defined? By the world or by Christ?


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Our room was fine but the shower was frightening --- I honestly don't know how a large person would fit in it. Also I had to ask for toilet paper as the roll was never replenished. The pool was great but I ended up cleaning...More
Getting you more information on this room
Getting you more information on this room
"Upstairs is best if you don't mind stairs. Our neighbors thumped around like elephants into the wee hours."
"Pick a different motel unless you are just going for a night and just want some sleep"
"Walls are thin, if given the option try to pick a room on the upper floors. A lot less noise from foot and..."


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Miami Renaissance
It's almost the weekend and it's time to party. Put on a disc from a disco diva and pour yourself a drink. I love this Miami apartment by L.A. based design firm Studio Hus. Offbeat and upbeat, vintage and high end, retro and right now. It's the rebirth of 80's cool.


text: This is where all the qustions for Best Attachment Polls (BAP) are answered FAQ None yet Back to BAP HUB Back to Weapons Back to Main Retrieved from "http://strikeforceheroes2.wikia.com/wiki/User_blog:Shamouse/BAP_Blog?oldid=16558" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Category: Blog posts


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Santa Fe Dressing
READY IN: 10mins
Recipe by Cooking with KB
We love to use this dressing when we make wraps and salads. It's limy with a subtle kick. Enjoy.
Ingredients Nutrition
- 2 tablespoons fresh lime juice (you may use the bottle)
- 2 tablespoons olive oil
- 1⁄2 teaspoon ground cumin
- 1 1⁄2 teaspoons chopped fresh thyme leaves (or 1/2 tsp. dried)
- to taste fresh ground black pepper
- 1⁄4 teaspoon Worcestershire sauce
- 1 garlic clove, minced
- 1 scallion, chopped
- 1 pinch cayenne pepper
Directions See How It's Made
- Whisk together and serve.


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Israelis mourn victims
Sat., July 21, 2012
Terrorist attack in Bulgaria killed five
JERUSALEM – Devastated mourners grasped at dirt atop fresh graves and screamed in agony Friday as they buried the five Israeli victims of a bombing in Bulgaria – an attack that Israel has blamed on Iran and its proxy group Hezbollah.
Two days after the deadly blast in a popular vacation spot, investigators in Bulgaria and in several other countries were still struggling to confirm the attacker's identity.
Bulgarian prosecutors said the attacker had short hair, not the long hair seen in the security video footage captured of him at the airport. A witness said he appeared to be wearing a wig.
The victims' coffins were received early Friday in a military ceremony at Israel's international airport. Seventeen Israelis remain in hospitals.
Childhood friends Itzik Kolengi, 28, and Amir Menashe, 27, were buried in the central Israeli town of Petah Tikva.
Kolengi's wife, Gilat, was wounded in the attack and remains hospitalized. The couple has an infant daughter.
"I promise you that the family and I will watch forever over your wife, Gilat, and your amazing daughter, Noya, who looks exactly like you, and we'll raise her just as you would have wanted," Kolengi's brother David said during his eulogy.
Menashe's wife, who was also wounded in the attack, attended the funeral in a wheelchair. They too have an infant son.
Nearby, in Rishon Lezion, hundreds of mourners joined the family of Cochava Shriki, a 42-year-old woman who had recently become pregnant after years of fertility treatments.
In the northern Israeli town of Acre, Maor Harush, 26, and his close friend Elior Price, 24, were laid to rest. A third friend remains hospitalized in serious condition.
Israeli and American officials have blamed the Iran-backed Lebanese militant group Hezbollah for Wednesday's bombing, which killed five vacationing Israelis, along with a Bulgarian bus driver and the attacker, in the Black Sea resort town of Burgas.
In TV interviews Friday, Defense Minister Ehud Barak said he was certain who carried it out.
"Hezbollah is behind the attack, it was part of a series of attacks," he told Israel's Channel 2 TV. "We know that Iran is behind it all. What we don't know is who the actual man is."
Iran denied responsibility for the attack, which threatened to further escalate a shadow war between the two countries over allegations that Tehran is trying to build nuclear weapons. Iran says its atomic program is for peaceful purposes only.
Interior Minister Tsvetan Tsvetanov told reporters the bomb was in the backpack and detonated in the luggage compartment of the bus. The bomber was believed to have been about 36 years old and had been in the country between four to seven days, he said.
The Islamic militant group has not commented on the attack.
Iranian Foreign Ministry spokesman Ramin Mehmanparast called the accusation "baseless."
The U.S. intelligence community has a "high degree of confidence that this was carried out by Hezbollah," presumably by a cell located in Bulgaria, said an official who spoke on condition of anonymity to discuss intelligence matters. "This was researched and target was prepped," the official said, hallmarks of the discipline and expertise of the group.
However, Pentagon press secretary George Little said Friday the U.S. government has not established with certainty who was behind the attack.
"The attack does bear some of the hallmarks of Hezbollah, but we are not in a position to make any final determination," Little said. He declined to say what aspect of the attack resembled the methods or other features of Hezbollah.


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Increase your sales coaching strategy
Increase your sales development 24 month development strategy
On top of websites performance you have to include in your plan off-site search engine optimisation factors. The main purpose of off-site SEO is to create as many links in the web pointing to your website. It is beneficial because users can click in to view your website and also search engines realise that you have interesting content as many other pages are linked to it. There are many ways of increasing your traffic:


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My first in-person language exchange was superb, if you can find a native speaker in your area to work with I can't recommend it enough.
That's my partner, Azucena, who took me on a tour around my area of Zaragoza for several hours. We stopped at a couple of different bars for first coffee and then later beer. I would say we probably spent something like four hours together, I was very lucky not only in that she was kind enough to spend that much time with me and take me around the city but also that she actually had that much time to spend with me.
A couple quick observations that may help you should you decide to do a face-to-face language exchange like this:
- I'm used to setting a specific amount of time to talk in each language before the exchange gets started that way both parties know where they stand and we have an agreed-upon deal, e.g. we'll do 20 minutes in English and then 20 minutes in Spanish. This didn't happen and wasn't necessary. It was really interesting, honestly fascinating looking back on it, how this dynamic worked: we just kind of naturally went back and forth, like "ok we've been speaking English a while now, we should switch to Spanish for a bit", and it just worked out in the end. We ended up doing roughly equal amounts of both. This is something that I think is highly dependent on the people involved and therefore it may not work out that way for you with whoever you end up doing one of these with, but it's nice when it does because you don't have to watch the clock.
- My Spanish improved as the time went on, and I would say the same thing happened to her English. There's definitely some sort of "I need to warm up" phenomenon with speaking a second language. I think the brain definitely gets into a particular "mode" for each language that takes it a while to get into and out of not only because of what I just said but also because I noticed that I had trouble thinking of English that I knew after I'd been speaking Spanish for a while and the same thing happened to her with Spanish after she'd been speaking English for a while.
- You need to note the corrections and new aspects of the language that you learn. Of course, the less distracting and disruptive the way you do this is, the better. Writing them on a laptop or notepad is…okay, but not the best method in my opinion. I recommend you get one of these little digital voice recorders and use that instead – as soon as you hear something new you can hit the record button and speak it into the recorder then immediately go back to the conversation. Additionally, another benefit is that you can have your partner, a native speaker remember, say the word or phrase into the recorder for you that way you've got an audio record of the native speaker saying it. This would ensure you're not accidentally introducing any errors (that you'll later learn as the correct way to say it) by misspeaking or because you misheard them.
- If you have any questions about something specific in the language that you've read or heard recently that you can't sort out on your own with the resources you have (internet, dictionary, etc.), note it down somewhere and bring that with you to the language exchange so you can ask them about it. I didn't do this but it's something I've done before with online language exchanges and tutoring sessions and is just generally a good idea.
Ok, that's all for now, I'll continue to keep you guys updated and I hope you're enjoying my posts.
Was the above useful to you?
If so, then I'd like to offer you a lot more of the same, and even better content.
"Lemme guess: you have a newsletter?"
Of course! Doesn't everybody now? Let's avoid wasting your time by laying out precisely who it's for (teachers? students? what level?) and what it contains (free stuff? product offers?) so you can determine if it's worth crowding your inbox with even more crap than is already in it.
It's targeted at beginning and intermediate students of Spanish and those who teach them. You'll get lots of free, useful content (outlined below) as well as the occasional offer for language-learning products I think are good (e.g. I have a book I've written, I mention it occasionally). Emails are rarely just about a product and when they are they're usually because I have some sort of exclusive discount I've negotiated for my subscribers. Several times a year I usually manage to get exclusive discounts I can offer for products like Glossika, Yabla, Mimic Method, GoSpanish online group classes, Learning Spanish Like Crazy, and many more. I can do this because people in the industry are familiar with me and my blog and know I can reach a lot of people so in exchange for that they'll give us exclusive discounts on their products.
"Ok, what sort of free stuff do I get?"
If you'll be so kind as to give me a chance by subscribing to my newsletter using the form below, you'll immediately get my 5-part "Getting Started Learning Spanish" series which is loaded with useful advice and resources for anyone learning or teaching Spanish. With the very first of these will be included my Top 10 Most Useful Online Spanish-Learning Resources. Thereafter things like my "Learn Spanish for Real" series will come, where I teach idioms and slang like "dolor en las muelas" (literally "pain in the molars", it's how they say "pain in the neck") and "estar en el quinto pino" (literally "to be at the 5th pine [tree]", a common expression in Spain meaning that something is far away). In these series I explain the expression, what it means, how to use it, and any history/etymology I can find on it. Other series I'm running that you'll receive include "Learn Spanish on YouTube" and "Learn Spanish from the News".


text:
Lean Six Sigma Consultant 6 to 9 years Bangalore
Short Description
Lean Six Sigma Consultant 6 to 9 years Bangalore
We are looking to hire Lean Six Sigma Consultant with 6 – 9 years of exp in Bangalore location
Roles & Responsibilities:
• The candidate should lead the Lean Six Sigma improvement process.
• She/he need to have the leadership ability to implement the Six Sigma project directed by Master Black Belts (MBB).
• Black Belts should be comfortable with managing and driving process changes .
• Managing Multiple level of stakeholder and delivering benefit on time
• Communicate regularly to report to both LSS and Project / Engagement level
Location: Bangalore
Experience: 6 - 9 year
Primary Skills (Must have)
• She/he should have a valid LSS GB (Lean Six Sigma Green Belt) and LSS BB both (Lean Six Sigma Black Belt) certificates
• Good exposure in LSS DMAIC Project implementation.
• A person with business insight well versed with all key Business requirements
• She/he should have a clear and effective communication skill to succeed in their roles as Six Sigma leaders, mentors, coaches and trainers.
• Must be able to speak the language of the C-suite and the project floor equally well.
• Good problem solving and presentation skills
• Understanding of basic and advanced statistical techniques (in Minitab tools)
Varadaraj P Ashrit
Job Responsibilities


text:
|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"Hiram Chirino" <hi...@hiramchirino.com>
|Re: Nested MapMessage
|Thu, 15 Jun 2006 05:05:11 GMT
On 6/15/06, jhakim <firstname.lastname@example.com> wrote: > > There are a lot of real-world applications that need the ability to send > structured data via JMS. > > For example, take an application that wants to publish a portfolio of bonds > (or stocks - take your pick). The logical way to do it would be to have a > portfolio container message with zero or more (nested) bond messages. The > alternative, breaking a portfolio into a series of bond messages, is VERY > cumbersome and requires that the consumer reconstruct the portfolio. > > This is but one instance of a real-world need to publish arbitrary message > structures. Nested MapMessage addresses this need directly and elegantly. Yes.. but nested Maps also addresses the same issue it seem to me. What does nesting MapMessages buy you that nested Maps do not? > > > -- > View this message in context: http://www.nabble.com/Nested-MapMessage-t1788442.html#a4877171 > Sent from the ActiveMQ - Dev forum at Nabble.com. > > -- Regards, Hiram Blog: http://hiramchirino.com
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Located on the Leven River, Spotted Salmon Cottage is a 3-bedroom cottage with a fully equipped kitchen. The cottage is just a 5-minute walk from Ulverstone's beaches. Spotted Salmon is a 7-minute drive from Ulverstone Golf Course and a 20-minute drive from Devonport. It is a 30-minute drive from Gunns Plains Caves and a 45-minute drive from Leven Canyon. Cradle Mountain is a 60-minute drive away. The air-conditioned cottage features 3 living areas with a 2 flat-screen TVs and a DVD player. It offers a dining area, a laundry and a bathroom. The cottage has an enclosed backyard, and is pet friendly.
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text: Justin Chatwin (born 31 October 1982) played Grant Gordon, alias the Ghost, in the Doctor Who television story The Return of Doctor Mysterio. Retrieved from "http://tardis-fanon.wikia.com/wiki/Justin_Chatwin?oldid=4900" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Actor Add category Cancel Save


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We have so many loyal nail queens and we wanted to take the opportunity to show you how much we love you! On May 14th, […]read more
We have so many loyal nail queens and we wanted to take the opportunity to show you how much we love you! On May 14th, […]read more
Tis' the Season of traditionally slow sales… So to spice things up we are having a Flash Pop-Up Gift Card Sale! The site will only […]read more
There are so many new and exciting things happening at Shawn Paul Salon right now so Monday's Product Feature had to be pushed a few […]read more
Hello Friends and Neighbors of the Shawn Paul Salon. Lately, A lot of us are feeling saddened by the world we live in. However, we […]read more
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The Shawn Paul Salon has been serving Cleveland Heights for over two years now! In these first two years we have endured many challenges, yet […]read more


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Product Description
This stunning exquisite dress in satin and organza is set off with the most beautiful diamante sash and a tie bow back concealed with zip..
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Blog Posts by itsmeunzzu
Page# 1 Blog Entries
Dec 10 2014 (12:05)
itsmeunzzu 9 blog posts
will my waiting list 1 in 2nd ac in drbg exp get confirm for 13th dec journey?plz anyone giv me advise..coz if i hav to cancel by today evening i sud cancel to get minimun cancellation charges.
11 posts - Wed Dec 10, 2014
Dec 10 2014 (14:09)
Paurav Shah~ 13516 blog posts 26 correct pred (72% accurate)
Your ticket is from NJP - SBC or from DBRG - SBC with BP at NJP?
Dec 10 2014 (14:10)
itsmeunzzu 9 blog posts
frm njp to sbc..m travelling alone...so m confused to tk risk or not...
Dec 10 2014 (14:14)
Paurav Shah~ 13516 blog posts 26 correct pred (72% accurate)
So I am correct that 72 hrs remaining for your journey to start and still 70 hrs remaining for chart preparation. So hold on till chart preparation. Surely it will be in RAC even if it doesn't get confirmed.
Dec 10 2014 (14:17)
itsmeunzzu 9 blog posts
friday 6 pm train departs...thn thursday 6pm 24 hrs..n wednesday 6pm 48hrs....but anyway cancellation is ok...tension is to tk risk or not.....in second ac waiting list..will i be allowed to travel?..if yes thn whr i am supposed to sit.i mean stand or sit wtever..in second ac only or in sleeper????i am no idea..if u hav plzz share
Dec 10 2014 (14:22)
Paurav Shah~ 13516 blog posts 26 correct pred (72% accurate)
As far as I know WL passengers are not allowed in the reserved coaches. So after the chart is prepared still it remains in waitlist then you have to travel in the general coach with that ticket if it is taken from the counter else the ticket will get cancelled automatically if it is online ticket and you will have to purchase a general ticket and travel in the general coach. Also I think there is no RAC for 2AC passengers. So the WL ticket is confirmed directly.
Page# 1 Blog Entries
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NATO Foreign Ministers meeting in Turkey
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Buy Legal Steroids in Sendai Japan
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For a long time, it was not challenging for anyone in Sendai Japan to buy anabolic steroids. All you needed to do was get a prescribed, which was not tough to locate either.
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// Top News // News Photos // President Obama, Paul Ryan speak at 2016 National Prayer Breakfast
For 63 years, the National Prayer Breakfast has given presidents the opportunity to gather with members of Congress and Christians to pray and talk about the role of prayer in their own lives.
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Tag: Business
Virtual reality and the music industry
How might virtual reality and the music industry evolve together?
Early access: A step in the right direction for gaming?
Early access, also known as paid-alpha or early funding, allows the developers of a game to get feedback and to fix bugs that the players find along the way.
Breath-taking Zelda DLC on the horizon
The first set of Zelda DLC items arrives for Breath of the Wild this week on Nintendo Switch and Wii U.
3-D or not 3-D? The future of Nintendo's handheld gaming systems is both fun and fuzzy
Support is planned for the Nintendo 3DS through at least 2018, but there may not be much of an actual 3-D component involved going forward.
Arizona cyber experts warn that WannaCry outbreak just tip of iceberg
Arizona cybersecurity experts called the WannaCry ransomware attacks among the worst they have seen, and said it's a warning about a U.S. of cybersecurity.
Drama at Phoenix Comicon over prop weapons ban after security breach
It took just over a day for drama to erupt over Phoenix Comicon's ban on prop weapons after a major threat was averted.
As cosplay industry grows rapidly, Arizona benefits from pop culture phenomenon
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How will robots change the agricultural industry in Arizona?
Studies show that whether the traditional agricultural sector is ready or not, farmers are implementing automation and robots at an exponential rate.
Google this: Court rejects businessman's claim against Google trademark
A federal court rejected a man's claim that Google can no longer trademark its name because "google" is now synonymous with internet searching.
Paid reserved panel seating comes to Phoenix Comicon
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A biodiversity hotspot is a biogeographic region with a significant reservoir of biodiversity that is under threat from humans. To qualify as a biodiversity hotspot, a region must meet two strict criteria: it must contain at least 0.5% or 1,500 species of vascular plants as endemics, and it has to have lost at least 70% of its primary vegetation. Around the world, 25 areas qualify under this definition. These sites support nearly 60% of the world's plant, bird, mammal, reptile, and amphibian species, with a very high share of endemic species. The Pacific Equatorial Forest is part of the "Tumbes-Chocó-Magdalena" Biodiversity Hotspot.
Biodiversity Hotspot
From the Panama Canal, the Tumbes-Chocó-Magdalena Hotspot extends south and east into the wet and moist forests of Panama's Darién Province, through the Chocó region of western Colombia and the moist forests along the west coast of Ecuador, and into the dry forests of eastern Ecuador and northwestern Peru. The hotspot is bounded on the west by the Pacific Ocean and on the east by the 1,000-meter elevation contour of the western slope of the Andes Mountains, where the Tropical Andes Hotspot begins.
The Tumbes-Chocó-Magdalena Hotspot includes a wide variety of habitats, ranging from mangrove, beach, rocky shoreline, and coastal wilderness to some of the world's wettest rain forests in the Colombian Chocó. In addition, South America's only remaining coastal dry forests occur in this hotspot. Scattered throughout the relatively flat coastal plain are a number of small mountain systems that have fostered the evolution of "islands" of endemism within the region. In general, the hotspot can be divided into two major phytogeographic regions, the Chocó/Darién wet and moist forests in the north and the Ecuadorian/Peruvian Tumbesian dry forests in the south. The Pacific Equatorial Forest is located at the transition point between the wet Chocó forests in the north and the dry Tumbesian forests in the south; oftentimes both of these major phytogeographic regions are represented within the same square kilometer, which accounts for the extraordinary diversity of vegetation found within this ecosystem.
- Endemic Plant Species: 2,750
- Endemic Threatened Birds: 21
- Endemic Threatened Mammals: 7
- Endemic Threatened Amphibians: 8
- Human Population Density (people/km²): 51
Source: Conservation International, Hotspots: "Tumbes-Chocó-Magdalena" Accessed May 4, 2013.


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Client support: Phone: (+357) 22314160
FX & CFD trading involves significant risk
The euro is on a six-week high against the dollar due to the reduced likelihood of tighter monetary policy. Even if Fed officials decide to start reducing asset repurchase at a meeting in December , it will probably be a small change , in order to avoid the sale of the bond market , which could increase the long-term interest rates and to strike at the U.S. housing market .
At the same time , rising expectations create a " banking union " in the euro area in 2014 , with the possibility to close the banks are going bankrupt , support the euro. The decision to create a " banking union " can be taken before the end of the year.
At a meeting of EU finance ministers in Brussels will likely be made steps towards establishing a " banking union ." It is considered as a key factor in strengthening the eurozone ahead of a possible future debt or financial crisis.
Factors are reducing the dollar falls in expectations for the reduction of "quantitative easing" this month and reduced Treasury yields , which makes the dollar less attractive asset .
The euro exchange rate fell slightly earlier against the dollar , on what influenced weak report on industrial production in France. Data from the National Bureau of Statistics Insee showed that industrial production in France unexpectedly fell in October , registering with the second monthly decline in a row, which is another sign of a weak start to the last quarter of 2013 in the euro area .
According to the report , industrial production in the second largest economy in the eurozone fell in October by 0.3 % on a monthly basis , which followed after a similar drop in September. Analysts had expected growth in October by 0.2%. Reduction in October confirms steady downtrend issue in the industrial sector . Falling for the three months to October was 0.6 % compared with the previous three-month period .
The yen rose against the U.S. dollar , which was associated with the publication of data on Japan. Despite today's pullback , the couple grows 7th consecutive week against the backdrop of risk appetite , which activates sell yen . As for the reports , orders for machinery and equipment in Japan increased by 15.4 % y / y in November , nearly doubling the October value of 8.4%.
Meanwhile, it became known that the level of consumer confidence in Japan improved in November , but less than economists had forecast .
The unadjusted consumer confidence index , which excludes households with one person was in the last month of 41.9 points, compared with 41.2 in October. Economists expected the index to rise to the level of 44 points .
Sub- index of overall confidence rose to 39.1 in November from 37.7 a month earlier. At the same time , the sub- index , which assesses the expectations regarding the growth of household income rose to 39.1 from 38.1 . We also add that consumers' willingness to buy durable goods was less positive in November - the corresponding indicator fell to 42.4 from 42.9 in October. Employment sub-index rose to 47.1 from 46.1 .
Pound traded mixed against the dollar , which is primarily due to the release of data on Britain. The Office for National Statistics reported that industrial production in the UK rose in October , while the figures for international trade continued to disappoint , highlighting the challenges facing policy-makers who are eager to see the rebalancing of the UK economy on the export of consumer spending.
The report showed that production in the manufacturing sector rose by 0.4 % between September and October , which helped increase the total volume of industrial production by 0.4%. I also add that the production in the manufacturing sector turned in October by 2.7 % higher than the same period a year earlier , which allowed to fix the largest annual growth rate since May 2011.
Led growth activity was the production of cars, airplanes and other vehicles , which in October reached its highest level since the beginning of research in 1968 , said the Office for National Statistics .
But the rise in industrial production in October was not reflected in the UK trade figures . Although the UK deficit in trade in goods with the rest of the world fell in October to 9.7 billion pounds, he was bigger than analysts had expected - at 9.2 billion pounds .
In addition , we add that the deficit in trade in goods for September was revised up to 10.1 billion pounds from 9.8 billion pounds . We also learned that the UK deficit in trade in goods with the European Union set a new record in October - at 6.5 billion pounds .
Dow 15,988.03 -37.50 -0.23%, Nasdaq 4,063.08 -5.67 -0.14%, S&P 500 1,803.96 -4.41 -0.24%
|remaining time till the new event being published
Market Focus
All posted material is a marketing communication solely for informational purposes and reliance on this may lead to loss. Past performance is not a reliable indicator of future results. Please read our full disclaimer.


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It's the Battle of the Century. No, not Good versus Evil. It's not the Yankees vs. the Red Sox either. This rivalry is bigger. ETFs vs. Mutual Funds, that's the heavyweight bout on this card.

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What Are ETFs and Mutual Funds?

Since, it's important to understand how an ETF and a mutual fund work before you can decide which is a better fit for your portfolio, both Lee and I wanted to get you started with the basics.

What is an ETF?

What is a Mutual Fund?

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Once you have a better understanding of the two investments and how they function, it's time to decide which asset is right for you. These articles will be beneficial for your decision process since they give you a perspective from both sides of the investment coin. (Notice the subtle title swap)

ETFs Vs. Mutual Funds by Mark Kennedy

Mutual Funds Vs. ETFs by Lee McGowan

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As you can see, both investments have pros and cons, as do all investments. But sometimes it's beneficial to focus on the advantages of each type of fund and see what can really work for your particular investment strategy.

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Five Reasons an ETF May Not Be Right for You

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- Game categorySlot
- Reels5
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You can relive the delights of ancient Egypt through this highly popular slot game. As you sail down the Nile, take in all the sights and sounds of the bustling country and grab your chances to win big. The game is based on the classic video slot which has entertained gamers for years. With bright colours and a fast paced game, it's no wonder that it's still one of the most popular games around. Cleopatra is played across 20 paylines and 5 reels and even features the voice of the famous Cleopatra herself.
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text: Battle for the Punchbowl: The U. S. 1st Marine Division 1951 Fall Offensive of the Korean War Montandon, Joshua W. Lewis, Adrian R. Lowe, Richard Campbell, Randolph B., 1940- University of North Texas 2007-08 English This study is an operational and tactical study of a battle fought by the U. S. 1st Marine Division near "the Punchbowl," an extinct volcano of military value in the Taebaek Mountains of Korea, from late August through mid September 1951. That engagement was to be the last 1st Marine Division offensive of the Korean War. This battle, for Yoke and Kanmubong Ridges, has received little coverage from historians. That it is all but forgotten is surprising, since it was one of the hardest fought for United States Marines in the war. The casualties were high, and Americans did not understand why so many had to die for a war that seemed to already be set to conclude by negotiations. This study tells the story of that battle more completely than ever before, and assesses its significance to the course of the Korean War. Marines Punchbowl Korean War Hill 749 Hill 812 The Rock Kanmubong Ridge Yoke Ridge 1951 September 11 Korean War, 1950-1953 -- Campaigns. United States. Marine Corps -- History -- Korean War, 1950-1953. Korean War, 1950-1953 -- Participation, American. Public Copyright Montandon, Joshua W. Copyright is held by the author, unless otherwise noted. All rights reserved. Thesis or Dissertation Text oclc: 191506514 https://digital.library.unt.edu/ark:/67531/metadc3938/ ark: ark:/67531/metadc3938