text:
Talk:Ferruccio Busoni
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- 1 Russolo citation
- 2 Recordings
- 3 Fantasia Contrappuntistica
- 4 Cramer and Busoni
- 5 Turandot Link
- 6 Detailed addresses of burial place, etc.
- 7 International Piano Contest
- 8 State of the article
- 9 Media
- 10 Composer project review
- 11 Busoni's name
- 12 Brahms and Neo-classicism
- 13 Met Liszt?
- 14 Bach/Busoni Chaconne - A Musical Myth
- 15 Aesthetics
- 16 Pupils
- 17 Catalogs/Lists(?)
- 18 Add note to GAN tag?
- 19 The Brautwahl libretto edition
- 20 GA Review
- 21 Given name
- 22 Sidebar
Russolo citation[edit]
Does anyone know of the citation where Russolo is listed as one of Busoni's pupils? I'm currently researching both and it would help me out a lot, but I haven't come across it in any of my readings.
- I inserted a request for a reference. (I don't believe Russolo was a Busoni pupil.) Unfortunately, it now appears on another web site as fact without substantiation, e.g., Piano Society:Ferruccio Busoni. This author probably got it from Wikipedia. I don't think that would make a valid citation for Wikipedia, would it... Robert.Allen (talk) 08:41, 13 April 2009 (UTC)
Hi Helohe, Unfortunately listing the recordings of Busoni's music is not viable (Amazon has almost 300 of them!) so I changed this section to be about Busoni's recordings. I would suggest that if you want to mention specific recordings that you do so in a subarticle on the specific piece. Or if you want to mention musicians who championed Busoni's music in general... Tedneeman 23:57, 24 May 2005 (UTC)
- The Recordings section was very confusing. It did not distinguish clearly between his audio recordings for Columbia and the piano rolls, so I split it into two subsections. Here is a good example of what I mean: it mentioned recordings of Liszt's Sonata in B minor and Beethoven's Hammerklavier; these may actually be intended to refer to piano roll recordings which have been lost, but I don't know for sure, and don't have a reference yet, so I left them in the section about the well-documented lost audio recording of Gounod-Liszt Mephisto-Waltz where they originally appeared and asked for references. (Regarding the Gounod-Liszt, see Recordings by Ferruccio Busoni). Also the "La Campanella" in the list of surviving recordings probably refers to a piano roll recording as well. I hope we can straighten this out as some point. --Robert.Allen (talk) 05:08, 14 July 2009 (UTC)
Fantasia Contrappuntistica[edit]
I think Fantasia Contrappuntistica should get its own page. Including a description whats the difference in the 4(?) Versions. helohe 08:12, 22 July 2005 (UTC)
Cramer and Busoni[edit]
Regarding Busoni's "edition" of Cramer: I think the etudes in the Klavierubung, even though they are called "nach Cramer", are close enough to Cramer's originals so that "edition" is the right word. In the first few he hardly changed anything. Tedneeman | Talk 22:25, 17 August 2005 (UTC)
Turandot Link[edit]
The link in the article goes to Puccini's Turandot - there is no article here on the Busoni opera of that name. --Philip Howard 23:58, 24 November 2005 (UTC)
Detailed addresses of burial place, etc.[edit]
The descriptions of his burial place and last home seem to be a bit overboard. I think few English speakers have any idea what all that stuff, especially the numbers, means. I know I don't. I think that information should be made more concise, or cut out entirely. --Rschmertz 05:52, 12 March 2006 (UTC)
International Piano Contest[edit]
I've added the link to the Busoni Contest in Bozen / Bolzano. I would quote it on the article with a little citation. It was started in 1949 by Cesare Nordio enrolling judges such as Arturo Benedetti Michelangeli. Maybe we should think to link to the English page only. Alegreen 07:27, 3 November 2006 (UTC)
State of the article[edit]
I feel this article needs a good rewrite. There are sections that are poorly organized, and other sections that sound as if they have been ill-translated from (maybe) German. I am not a Busoni expert by any means but I will try my hand at doing some work when I can; feel free to beat me to it! --Wspencer11 (talk to me...) 18:02, 4 January 2007 (UTC)
- Which sections are poorly organized? How so? Which sections sound poorly written? How could those sections be improved, specifically? Hyacinth (talk) 22:13, 14 June 2008 (UTC)
~~ The very first paragraph reads horribly to begin with. —Preceding unsigned comment added by 184.108.40.206 (talk) 19:15, 8 April 2009 (UTC)
Has anyone else noticed that a number of the recordings in the media section are not by Busoni? The transcriptions of Jesu, Joy of Man's Desiring, Sinfonia to Cantata no. 29, and Sheep May Safely Graze are by Myra Hess, Wilhelm Kempff, and Egon Petri (respectively). Wsupianist (talk) 14:57, 7 October 2008 (UTC)
- Thanks for the information. I was the original uploader of the files, and I found them at this directory of Pandora Records. They were all labelled as being by Busoni. Wikipedia's catalog of adaptations by Ferruccio Busoni confirms what you are saying. I'm quite embarrassed that these files stayed on Busoni's article for over fifteen months, and I wish I'd found your message sooner. I have removed the files from this article, and marked them for deletion. They are probably copyright violations as well because their transcribers died relatively recently. Graham87 14:57, 2 June 2009 (UTC)
Composer project review[edit]
I've reviewed this article as part of the Composers project review of its B-class articles. This article is B-class; it lacks a complete works list, and has relatively little popular reaction to his playing or compositions. My full review is on the comments page; questions and comments should be left here or on my talk page. Magic♪piano 14:46, 5 February 2009 (UTC)
- List of compositions by Ferruccio Busoni: article created 9 Feb; not yet complete, but getting there Robert.Allen (talk) 08:48, 13 April 2009 (UTC)
Busoni's name[edit]
Is Busoni's middle name really "Michelangiolo" as opposed to the more familiar "Michelangelo" ? MUSIKVEREIN (talk) 13:17, 14 July 2009 (UTC)
- According to Dent (who may have actually checked a document, since he specifies that Busoni was "christened" with the name), it is "Michelangiolo". Antony Beaumont lists him as "Michelangelo" in the New Grove entry. Couling also uses "Michelangelo", but she probably used Beaumont as her source. --Robert.Allen (talk) 03:35, 15 July 2009 (UTC)
Brahms and Neo-classicism[edit]
I removed the following because it does not really fit in at this point:
"Earlier, Brahms had also made a transcription of the same chaconne, but for left hand only. Thus some consider him an originator of neoclassicism in music."
When we add a section on Busoni's theories about Neo-classicism, which he called "Young Classicism", it would be very appropriate. --Robert.Allen (talk) 22:41, 14 July 2009 (UTC)
Actually the German title reads: Von der Einheit der Musik, von Dritteltönen und junger Klassizitat... --Robert.Allen (talk) 03:49, 15 July 2009 (UTC)
Met Liszt?[edit]
Currently, we have: "A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met Liszt, Johannes Brahms and Anton Rubinstein".
Well, Grove V says, of Busoni: ".... Liszt, for whom he always had the greatest admiration, although he never heard Liszt play and never even saw him". What do we make of this discrepancy? -- JackofOz (talk) 04:55, 1 November 2009 (UTC)
- Is the author of the Grove V entry Antony Beaumont? Dent (p. 24) asserts that Liszt was in Vienna for the celebration of the fiftieth anniversay of Beethoven's death in 1877 and (1) Busoni heard Liszt play the Concerto in E-flat and was "bitterly disappointed with his performance" (Liszt was getting pretty old by then) and (2) Busoni played for Liszt a few days later at a meeting in the rooms of Liszt's cousin Eduard von Liszt with whom Liszt stayed when in Vienna. He says the event was arranged by Busoni's patroness Caroline Gomperz-Bettelheim. Beaumont's 1987 book of letters repeats this information (in the chronology on p. xvii). Couling repeats Dent's story in her 2005 book, so she was apparently unaware of any change as of that date. Perhaps later research has shown it to be false. I would tend to trust the most recent information, but it might be best to search for confirmation, and/or consult the source of it, to see more details of the argument. --Robert.Allen (talk) 11:00, 1 November 2009 (UTC)
Couling also quotes a 3 April 1879 letter (pp. 31-32) from Busoni (perhaps written by his mother) to Otto von Kapf in which it is claimed that Ferruccio was examined by Liszt (among others) for his competency on the piano (Couling's footnote cites the original letter in the Berlin State Library). (Actually a different translation of this letter is also in Beaumont, 1987, p. 8.) --Robert.Allen (talk) 11:27, 1 November 2009 (UTC)
- I just realized you are using the old Grove (1954). I was wondering whether "V" was some sort of typo, now I understand. I would guess that the information in that edition is out of date, but I'm surprised it did not take Dent into account. That was first published in 1933. I'm curious whether the Grove V articles had bibliographies, and if so, whether the article listed Dent. --Robert.Allen (talk) 17:08, 1 November 2009 (UTC)
- Surprise, surprise! The Grove V article was written by none other than "E.J.D" = Edward J. Dent. He seems to have been relying on his faulty memory, rather than checking the facts recorded in his own book written 21 years earlier. Unless, maybe, he had reason in 1954 to gainsay what he'd written in 1933. -- JackofOz (talk) 20:36, 1 November 2009 (UTC)
That's a hoot! I expect you're right about him relying on his memory. (He turned 78 in 1954.) Also, I seem to remember that Busoni himself claimed late in his life that he had never met Liszt, but I haven't been able to find where I read it. I'll keep looking. --Robert.Allen (talk) 21:09, 1 November 2009 (UTC)
- Something I didn't mention, he (Dent) said in his book that there was no longer any documentation of the event, but doesn't say who his source for the information was. --Robert.Allen (talk) 21:29, 1 November 2009 (UTC)
- Well, how odd. I'm quite prepared to believe he met Liszt, however briefly, and that does seem well documented. So it's surprising he would have denied it in his latter years. Maybe it was always a legend around which certain "facts" accreted, which he wanted to put to rest before he died. -- JackofOz (talk) 08:14, 2 November 2009 (UTC)
Bach/Busoni Chaconne - A Musical Myth[edit]
This text focuses the musical myth in which has been transformed the piano transcription done in 1892 by the pianist and composer Ferruccio Busoni (1866-1924), based on the composition of Johann Sebastian Bach named Chaconne – BWV 1004, the 5th Movement of the Partita Nr 2 for solo violin.
Bach composed the Partita Nr 2 between 1720 and 1723 and according to some scholars, prominently Professor Helga Thoene,1 the Chaconne was done in homage to Maria Barbara, his first wife, unexpectedly died in July 1720 during his absence by reason of work. Bach was not informed about the wife's death and when he returned the body had been buried a week ago. This loss motivated him to compose the Chaconne.
Busoni became known mainly because of his many transcriptions for solo piano of Bach's compositions, specially the Chaconne and the Chorale Preludes as, by example, that named "Nun komm' der Heiden Heiland" (Now comes the gentiles' Saviour) – BWV 659. Being a great pianist, he influenced new pianist generations at the transition from the Romanticism to the Modernism.
Usually the transcriptions are done with the purpose of performing the music through a different instrument of that the composer had chosen for the original score. Concerning the Bach's Chaconne, many and several transcriptions have been done for piano, guitar, organ, bassoon, orchestra and even one for choral (See http://www.scoreexchange.com/scores/95424.html). Frequently the transcriptions of Bach's compositions are object of polemic arisen by purist critics who do not accept modifications in the opuses of that, who is considered the Music's father, or by other critics who accept changes, but with reservations, mainly those concerning the original's content or essence.
The Busoni transcription of the Bach's Chaconne has been object of criticism by both the tendencies. Busoni did so many alterations to the original – of expression, rhythm, time and even quantity of measures – which affected strongly the opus' content of deepest feelings and expressive emotions. It's impossible to believe that Busoni, with his vast knowledge on the Bach's music, was not conscious of the intrinsic but not written performance indications in the original, since they were not used at that period. However, even who knows a minimum about baroque music (See Doctrine of the Affections) and, particularly, a little of Bach's music, can almost naturally see the presence of narratives and dialogs in the ascendant or descendant, bass or treble phrasing, which concern the expression. Because of the deliberated distance from the original, it is not wrong to say that this transcription could be another composition, a great composition if it were not the fact that, in despite of the alterations, still it is the Bach's Chaconne, even though transfigured. It's, for example, as if the Da Vinci's Monalisa were redone with other colors, other lines and proportions, but even so it could be recognized.
What would have been the Busoni's purpose in doing these alterations? It's known that Busoni, answering the pianist D'Albert's criticism in May 1894, argued that the violin, for its limitations, wasn't suitable for the Chaconne performance.2 According to this declaration, Bach would have made a mistake, or it would have been impossible for him to choose the adequate instrument or instruments. There are even people who suppose, without proof, that the Bach's Chaconne for solo violin would be a reduction from other composition for orchestra, whose score would have been lost. These favorable arguments to the Busoni's transcription work to justify its orchestral character. But this character is just the Achilles heel of this argumentation.
The arts, particularly the music, consist in feeling and expressing emotions. Regarding this Chaconne, it´s a deep emotion of a man who lost his wife and, after visiting her grave, is now alone in his room. Nobody, at this moment, feels like him that pain. Would he have than inspiration to compose for an orchestra or it would be more naturally adequate that he had chosen an intimist instrument as the violin to compose for? Let's listen to an expert so qualified as Johannes Brahms:
"The Chaconne is the most wonderful, unfathomable pieces of music. On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth shattering experience would have driven me out of my mind."
Brahms did also his piano transcription from the Bach's Chaconne in the most simple and faithful way to the original and for left hand performance. A caprice or a gift and respect to those pianists who lost the use of one of the hands? It's a beautiful transcription that causes emotion. It's worthwhile to watch the pianist Anatol Ugorski playing it in the You Tube.
All those people who have done a transcription for orchestra from this Chaconne did not get a corresponding success to the original masterpiece weight, nor to the experience and competence of great composers as Leopold Stokowski whose transcription for symphonic orchestra, even being grandiose, don't awake emotion with the same intensity like the original for solo violin. Why? I'll try to answer, paradoxically, with other question: why the piano transcription done by Franz Liszt (1811-1886) from the Funeral March, 2nd Movement of the Beethoven's 3rd Symphony, the Heroic, also doesn't correspond to the Liszt's mastery of the piano, neither to this Beethoven's masterpiece? Each opus owns an essential character which is built from the initial idea, impulse or motivation of its creator. The Beethoven's motivation to compose this Funeral March wasn't based in an individual feeling, particular like that which motivated Bach to compose the Chaconne, but in other feeling of universal or collective ambit and resulting from that historic moment, a feeling of deep respect for the died and anonymous heroes of the French Revolution. This motivation couldn't prosper through a solo instrument composition, but only by a Symphonic Orchestra executing a symphony. Nevertheless, the Bach's Chaconne also moves millions of people around the world because, in the likeness of the spectator, the listener also abandons himself to the catharsis process by feeling as his own the another's pain.
In his Chaconne transcription Busoni has opted for the orchestral character by availing himself of and exploring at the utmost the sonority, timbre and pedals resources of the modern grand pianos made in Europe (Bösendorfer, since 1828 in Austria) and after in the USA (Steinway & Sons, since 1853). This transcription became a musical myth and also a challenge even to the great pianists because of its complexity, on the point of many of them, almost that obligatorily, have included it in their repertoires. However, not all of them. Why? Glenn Gould (1932-1982), the great Bach's interpreter, didn't record it although had done recordings of Beethoven-Liszt Symphonies transcriptions. Vladimir Horowitz (1903-1989) also didn't it, but has recorded another Bach-Busoni transcription, the Chorale Prelude – BWV 659. Purists? Absolutely not. Are they from those who accept changes, but with some reservations? Personally, I think so.
According to some enthusiasts of this transcription, Busoni, by exploring the piano timbre resources, would allow the interpreter to "almost hear the roll of drums and the ringing of bells."2 However much I have heard this transcription many times by many performers, I couldn't hear bells. What one hears well is, surprisingly, the sound of a steam locomotive (mm. 40-47), an abrupt change of tempo and touch –"più mosso ma misuratto" – that interrupts the narrative and breaks the melodic line and the passage unity. Busoni, along the transcription, deliberately ignores the Bach's typical poetic rhetoric, so exuberant in this Chaconne. The strong sonority effects and the emphasis in grandiosity, which don't allow the interpreter to perform with coherent expression, hide the evocations, dialogs, affirmations, exclamations, questions and answers, so clear in the Bach's original to an attentive audience.
In the initial measures Bach evokes the Barbara's name, following a clear dialog between them (mm. 7-20). Successively the phrases and passages go ahead suggesting reminiscences from the courtship happy days in Arnstadt and the marriage in Dornheim (mm. 24-119); the lancinating lament for the loss of Barbara (mm. 124-131); the complaining and revolt while talking to God (mm. 132-147); the disapproval about the insatiability of the death (mm. 148-150); increasing desperation, delirium, loss and refinding of the faith (mm. 151-183); the God's answer to Bach at the music climax (mm. 184-189); a laudation act (mm. 200-207); dedication of the Chaconne to Barbara (mm. 208-225); a flamenco theme of moorish influence (mm. 228-239) and at last the moving farewell (mm. 248-256). Evidently the impressions above are personal and were inspired by listening many times to some violin performances. They are cited only to show the idea and emotion richness of the Bach's Chaconne. Deep emotion, for sure, is the essence of this masterpiece.
These few observations concerning the Bach's original for solo violin certainly didn't pass unperceived to Busoni, a great connoisseur of the Bach's music, composer and great pianist. Why than would he have concretized his Chaconne transcription in this way, covering that essence with another kind of emotion, with grandiosity? Personally, I come to the conclusion that Busoni wished to make something greater than the original. But when you deal with masterpieces I would say that it's impossible. To the pianists who play this Bach-Busoni transcription a note of respect because it's a personal conquest and an important mark in their careers. Nevertheless, here remains the suggestion to perform, also, another piano transcription, faithful to the original Chaconne.
Luiz Antonio V Penteado
Nov. 2010
Notes: 1. Helga Thoene, "Ciaccona Tanz oder Tombeau?", ISBN 3-935358-60-1, 2005.
2. Fabrikant, Marina: "Bach-Busoni Chaconne: A PianoTranscription Analysis", pag. 57
University of Nebraska-Lincoln, 2006.
3. Fabrikant, Marina: "Bach-Busoni Chaconne: A PianoTranscription Analysis", pag. 4
University of Nebraska-Lincoln, 2006.
Rueb, Franz, "48 variações sobre Bach". Ed.Companhia das Letras, São Paulo, 2001.
Fabrikant, Marina: "Bach-Busoni Chaconne: A PianoTranscription Analysis". University of Nebraska-Lincoln, 2006.
Helga Thoene, Ciaccona Tanz oder Tombeau?", ISBN 3-935358-60-1, 2005. — Preceding unsigned comment added by 220.127.116.11 (talk) 15:41, 24 August 2011 (UTC)
The Aesthetics section of this article does not seem as if the author was even attempting to be objective. It expresses value judgments regarding tonality, and without evidence pronounces judgments on the degree to which Busoni is tonal. The only citation serves to contradict the authors interpretation. This section needs a complete rewrite. — Preceding unsigned comment added by 126.96.36.199 (talk) 01:22, 28 July 2012 (UTC)
I have no idea how the names of the pupils were gathered, how sourced, why in no apparent order. I linked at least what I could. The German Wikipedia has life data and what they did in life. Worth trying? --Gerda Arendt (talk) 10:41, 9 February 2016 (UTC)
- The German article has a long (and by no means complete) list, completely unreferenced, with a one or two word career description, dates and references. To incorporate such a list as part of the main article would I think be rather distracting. I think such an item would come off better as a separate article (List of pupils of...) As many of the pupils will be mentioned (I hope) in the expanded biography, we could wait till later to make a final decision.--Smerus (talk) 14:23, 9 February 2016 (UTC)
- Good ideas. Perhaps those not mentioned in the article (especially without even a link) are not needed anyway. --Gerda Arendt (talk) 14:54, 9 February 2016 (UTC)
I note that the existing associated articles (Catalog of original compositions by Ferruccio Busoni, Catalog of adaptations by Ferruccio Busoni and Ferruccio Busoni discography (as composer)) are also ragbags. I think, for a start, they should be retitled as 'List of..' ('Catalog' is rather pompous and makes a claim to inclusivity which there is no way of assessing or justifying) , and generally tidied up to avoid mass overlinking, etc. any views?--Smerus (talk) 14:23, 9 February 2016 (UTC)
- I wanted to do it, but it takes an admin. Graham, would you do that: List of compositions by Ferruccio Busoni, Ferruccio Busoni discography? --Gerda Arendt (talk) 15:00, 9 February 2016 (UTC)
- ps: to make things worse, the first redirect points to the wrong article (also discography), but it's probably pointless to change now, --Gerda Arendt (talk) 15:02, 9 February 2016 (UTC)
- @Gerda Arendt: All done. Thanks for the ping. Graham87 15:59, 9 February 2016 (UTC)
- Thanks for the work. Every time I install {{ill}} I think of you, and that is often! --Gerda Arendt (talk) 16:06, 9 February 2016 (UTC)
- @Gerda Arendt: All done. Thanks for the ping. Graham87 15:59, 9 February 2016 (UTC)
Everything around the lists is massive. Overbolding, overlinking, - normally I would clean it up - but it's so long. There seems to be a second discography, less advertised. - The articles on compositions are very modest, and not many, see {{Ferruccio Busoni}}, --Gerda Arendt (talk) 21:37, 9 February 2016 (UTC)feel free to add, just click on the little E in the upper left.
- Late March–early April I updated the first 27 entries of List of adaptations by Ferruccio Busoni#Transcriptions (BV B 20 to 115), not experiencing particular problems in the process. Let's not imply "beyond salvation" too soon maybe. --Francis Schonken (talk) 11:48, 1 July 2016 (UTC)
Add note to GAN tag?[edit]
Is it OK to add the following note to the GAN tag on top of this page:
|note= A discussion tangentially involving some of the content of this article took place at Wikipedia talk:WikiProject Classical music#Relisted move request (June–July 2016)
? (or something in that vein) --Francis Schonken (talk) 10:56, 1 July 2016 (UTC)
- The normal GA reviewer will look at the talk and see this. It also seems over. - The nomination is templated, with few parameters. --Gerda Arendt (talk) 12:34, 1 July 2016 (UTC)
- Re. "It also seems over" – the chaconne question there is still unanswered: don't know very well whether this biography should go GAN without mentioning a piece that probably leads the list of Busoni's most popular works (or if it doesn't lead that list, it would be very near to the top). Does anyone know a solo piano work by Busoni that was recorded more often? --Francis Schonken (talk) 07:57, 2 July 2016 (UTC)
The Brautwahl libretto edition[edit]
I'd like to add this sentence to Ferruccio Busoni#Writings:
Sometimes these librettos were published in separate luxury editions, for instance for Die Brautwahl a few years after the opera was created.[1]
Rationale: I think such text edition too representative to leave it unmentioned in the "writings" section. --Francis Schonken (talk) 07:58, 2 July 2016 (UTC)
- But:
- 1) do you know whether or not his other libretti were also published in such editions (as implied by ("sometimes"))? - and -
- 2) The publishing of limited editions of works of literature, sometimes with special illustrations, was not at all uncommon in the early 20th century - I have numerous examples in my own library. What is so special about this edition that makes it worth mentioning? What makes this edition especially "representative"? If nothing special, it falls under WP:UNDUE and/or WP:TRIVIAL imo as far as this article is concerned. It may however be appropriate for Die Brautwahl.--Smerus (talk) 09:34, 2 July 2016 (UTC)
- Turandot seems to have one: OCLC 9104618; For Arlecchino I could only find less luxurious text editions (so "sometimes" seems OK). Note that the Turandot one was only published much later, so it seems more reasonable to mention the one that was published during the composer's lifetime.
- The librettos received scholarly attention (e.g. [1], [2]), they are also discussed in the context of his essays, a sizable portion of which involve stage works (see Brendel's 2015 book I mentioned at the WikiProject talk page), so I think mentioning one or two of the librettos as example in the writings section far from uncalled for. Wikipedia's biographical article on the composer mentions lost compositions, with comparatively little scholarly study (and, of course, "unpublished"). --Francis Schonken (talk) 17:17, 2 July 2016 (UTC)
- Also, seems a preliminary version of the Brautwahl libretto is tied to the Entwurf essay: https://books.google.com/books?id=u6_ZZcyELZkC&pg=PA196 – 197 (I had been wondering why the title page of the 1913 edition said it was the "second and final" version of the libretto, harmonized with the score) --Francis Schonken (talk) 19:19, 2 July 2016 (UTC)
Francis, please do not twist my comments. I am not arguing against mentioning the librettos in the article as part of B's writings. I am disputing including anything about this edition. It is not significant in any way to B's career, and does not appear to represent a different version of the original libretto. As it happens I've now found the very detailed programme booklet (190 pages) of the 1992 Brautwahl production in Berlin, which I attended. It mentions (p. 129) that Busoni's publisher Cassirer arranged this de-luxe edition of the libretto, a year after the premiere, signed by the composer and artist, and distributed it to his contacts. This is the only specific reference I have come across to this edition in secondary sources and it does not indicate that the edition was in any way significant to Busoni's life or work. Certainly not in any sense 'representative'. Unless you can come up with something which says different, mention of this edition belongs, if anywhere at all, in the article on Die Brautwahl.--Smerus (talk) 22:05, 2 July 2016 (UTC)
- The Entwurf einer neue Ästhetike der Tonkunst was first published in 1907 by Schmidl. There were two editions of the Entwurf in that year (both by Schmidl). The first of these contained an early version of the Brautwahl libretto (that is: before Busoni had started composing the opera).[2]
- The 1913 edition of the libretto has "Zweite, endgültige, mit der Komposition übereinstimmende Fassung" (Second and final version, in accordance with the composition) on the title page,[3] so it is a valid (and illustrated) version of the opera's text.
- Besides being valid, illustrated, and published during the composer's lifetime, it has the advantage of being available on-line. I'm not attached to the wording of the sentence above, but to answer your question why I propose to link to precisely this edition of a Busoni libretto (sorry for not answering that question before): it is what we often do when a particular edition of a work is available on-line: we link to it from the author's biographical article. Compare (for instance) Picander's article: the editions of that author's librettos that are available at archive.org are linked from the author's article. Similar for Johann Nikolaus Forkel: for this author an English translation of one of his books is available at Gutenberg.org, so we link to it from the biography. We do the same for compositions (mostly linked to IMSLP and/or ChoralWiki). In this case there are separate articles listing Busoni's compositions, and you will find the IMSLP links for the compositions there. For Busoni there is not a separate article listing his writings (yet), and seems unlikely that half a dozen published writings would warrant a separate list article, so I think that besides the two books of essays, the biography should provide a link to at least one printed edition of a libretto, for which an illustrated one, available on-line, is more than representative enough. --Francis Schonken (talk) 23:33, 2 July 2016 (UTC)
- ^ Busoni, Ferruccio, with illustrations by Karl Walser. Die Brautwahl. Musikalisch-phantastische Komödie in drei Akten und einem Nachspiel nach E.T.A. Hoffmanns Erzählung. Berlin: B. Cassirer, 1913
- ^ Della Couling. Ferruccio Busoni: "a Musical Ishmael". Scarecrow Press, 2005. ISBN 9780810851429, pp. 196–197
- ^ Busoni, Ferruccio, with illustrations by Karl Walser. Die Brautwahl. Musikalisch-phantastische Komödie in drei Akten und einem Nachspiel nach E.T.A. Hoffmanns Erzählung. Berlin: B. Cassirer, 1913, title page
Male lion
Japanese macaque juvenile
Crabeater seal (Lobodon carcinophaga)
- Smerus (talk) 06:57, 3 July 2016 (UTC)
Updated proposal[edit]
I'd replace the second paragraph of the writings section, currently:
Another collection of Busoni's essays was published in 1922 as Von der Einheit der Musik, later republished as Wesen und Einheit der Musik, and in 1957 translated as The Essence of Music.[1][2] Busoni also wrote the librettos of his four operas.[3]
The first edition of the Entwurf included two opera librettos by Busoni, one of which became his first opera, Die Brautwahl.[4] In 1913 Cassirer published an illustrated version of that opera's libretto.[5] Also for his further three operas Busoni wrote the librettos himself.[6] A collection of Busoni's essays, in part focussing on stage works, was published in 1922 as Von der Einheit der Musik, later republished as Wesen und Einheit der Musik, and in 1957 translated as The Essence of Music.[7][8]
- ^ (in German) Busoni, Ferruccio. Von der Einheit der Musik: von Dritteltönen und junger Klassizität, von Bühnen und Bauten und anschliessenden Bezirken. Berlin: M. Hesse, 1922
- ^ Busoni, Ferruccio, translated by Rosamond Ley. The Essence of Music: And Other Papers. London: Rockliff, 1957. OCLC 6741344 (digitized: OCLC 592760169)
- ^ Wirth (1980), p. 510
- ^ Della Couling. Ferruccio Busoni: "a Musical Ishmael". Scarecrow Press, 2005. ISBN 9780810851429, pp. 196–197
- ^ (in German) Busoni, Ferruccio, with illustrations by Karl Walser. Die Brautwahl. Musikalisch-phantastische Komödie in drei Akten und einem Nachspiel nach E.T.A. Hoffmanns Erzählung. Berlin: B. Cassirer, 1913
- ^ Wirth (1980), p. 510
- ^ (in German) Busoni, Ferruccio. Von der Einheit der Musik: von Dritteltönen und junger Klassizität, von Bühnen und Bauten und anschliessenden Bezirken. Berlin: M. Hesse, 1922
- ^ Busoni, Ferruccio, translated by Rosamond Ley. The Essence of Music: And Other Papers. London: Rockliff, 1957. OCLC 6741344 (digitized: OCLC 592760169)
Rationale: see above. --Francis Schonken (talk) 07:59, 3 July 2016 (UTC)
- The first sentence of this paragraph contains information ('two opera librettos') not substantiated by the reference. The second sentence is irrelevant to the article. The third sentence is correct, but in incorrect English. The last sentence is OK.--Smerus (talk) 09:50, 3 July 2016 (UTC)
GA Review[edit]
|GA toolbox
- This review is transcluded from Talk:Ferruccio Busoni/GA1. The edit link for this section can be used to add comments to the review.
Reviewer: Tim riley (talk · contribs) 07:22, 5 July 2016 (UTC)
Initial comments after quick first reading for spelling etc:
- "concertized" – a new one on me, but I see from the OED that it's been around since 1840. (Still looks a bit odd to me, but to each his own.)
- "luke-warm" the OED and Chambers don't hyphenate this word.
- "composers's" – one 's' too many, I think
- "vis-a-vis" – both my dictionaries insist on the grave accent for the -à-
That's all from this pass. More after a close reading. – Tim riley talk 07:22, 5 July 2016 (UTC)
Clearly meets the GA criteria, and I hope to see the article at FAC in due course. A few comments, which don't affect the promotability for GA, and are offered for acceptance or rejection entirely as you choose.
- Duplicate links
- We have a few duplicate blue links of which the Votaries of the Manual of Style would disapprove: Bach, Brahms, Viktoria-Luise-Platz, the Emperor Concerto, Edgard Varèse, opus numbers, An die Jugend, Berceuse, Schumann, the Tomato and Fugue in D minor, Goldberg Variations, Debussy, Schoenberg, Doktor Faust, Philipp Jarnach, and Columbia Records
- Lead
- 'Esthetic' – as the essay was written in German and exists in translations into both English and American, you are at liberty to spell Aesthetic in the normal way if you are so inclined.
- Early career
- 'With the help of a patron' – that will do fine for GA, but when this goes to FAC someone is sure to demand the patron's name.
- 'In 1877' he heard – the 'he' being Busoni, but the last person mentioned was Hanslick – possibly ambiguous.
- Helsingfors, Moscow, America
- 'Kathi Petri (the mother of his future pupil Egon Petri, then only 5 years old) – I might be inclined to omit the last five words – one wonders (well, I wondered) for a nanosecond which Petri they refer to, till the brain catches up with the eyes. [Afterthought: if you do decide to keep them, perhaps turn '5' into 'five' in keeping with the style elsewhere on the page. Tim riley talk 11:14, 6 July 2016 (UTC)]
- 'JS Bach' – the MoS would have us write 'J. S. Bach' with full stops and spaces – ridiculously antiquated in this year of grace 2016, but I just mention it. Please feel extremely free to ignore me.
- 'St. Petersburg Conservatory' – I believe it is customary to spell out 'Saint' rather than abbreviate it in the title of the city.
- Berlin
- 'and for Busoni the city's development' – given the mention of Busoni in square brackets a few words later, you could, if you wanted, omit 'for Busoni' here without damage to the clarity of the sentence.
- 'The Musical Times' – not sure why you omit the definite article from the italicisation and piping when you include it for, e.g., Die Brautwahl: it's just as much part of the title of the former as of the latter.
- 'commenced in a manner to irritate' – there is a word missing: the MT's review ('Various Recitals', 1 Dec 1897, p. 820) says 'commenced in a manner calculated to irritate'. (I don't know how much of the review Scholes quotes, but I see it also says of Busoni's playing of the Beethoven Op. 106, 'To Mr. Busoni, however, the most arduous passages appeared but trifling, and the player seemed assured of his notes, interpreting the master's music with a measure of ease and assurance that many pianists might envy.')
- Before and after World War I
- 'Here in Zürich' – looks a bit odd: perhaps 'There in Zurich'?
- 'In 1916 whilst visiting Italy ... whilst on military training' – two 'whilsts' in a row. You might make one (or even both) a plain 'while'.
- 'Busoni met again with the artist Boccioni' – this tripped me up: in BrE we usually confine 'meet with' to abstract things – approval, a dreadful fate, etc – and just meet people. ('Meet with Boccioni' would pass without comment in AmEng, I know.) Same in the next para.
- 'to write for Sorabji a letter of recommendation' – doesn't flow very well, I think: perhaps 'to write a letter of recommendation for Sorabji'?
- Early compositions
- 'though, as Leichtentritt points out' – possibly implies rather too strongly that Leichtentritt is undisputedly right: perhaps something like 'though Leichtentritt comments that...' would be more neutral
Nothing to frighten the horses there, and I leave you to take these suggestions or leave them, as you prefer. Meanwhile, on to the tape-cutting:
Overall summary[edit]
GA review – see WP:WIAGA for criteria
- Is it reasonably well written?
- Is it factually accurate and verifiable?
- A. References to sources:
- Well referenced.
- B. Citation of reliable sources where necessary:
- Well referenced.
- C. No original research:
- A. References to sources:
- Is it broad in its coverage?
- A. Major aspects:
- B. Focused:
- Is it neutral?
- Fair representation without bias:
- Is it stable?
- No edit wars, etc:
- Does it contain images to illustrate the topic?
- A. Images are copyright tagged, and non-free images have fair use rationales:
- Well illustrated.
- B. Images are provided where possible and appropriate, with suitable captions:
- Well illustrated.
- A. Images are copyright tagged, and non-free images have fair use rationales:
- Overall:
- Pass or Fail:
I greatly enjoyed this article, and learnt a lot from it. Very pleased to be able to promote it to GA, and I hope I shall see it again at FAC at some point. – Tim riley talk 10:08, 6 July 2016 (UTC)
- Many thanks for this. I will certainly be considering all your points as I revise the piece. Best, -Smerus (talk) 14:05, 6 July 2016 (UTC)
Given name[edit]
Michelangiolo? Really? The Rambling Man (talk) 21:01, 16 July 2016 (UTC)
- Did you read the detailed footnote regarding this, including the spelling? --Gerda Arendt (talk) 21:07, 16 July 2016 (UTC)
I reverted the newly-created sidebar added by an editor listing Busoni's works. Amongst my reasons are:
- Duplication: his works are already listed in a template at the foot of the article
- Unnecessary clutter
- The article is a general biography of Busoni; to have a detailed listing of his works at its head is distracting and unnecessary. Encyclopedic practice (e.g. Grove Dictionary of Music and Musicians and similar works) is to have a list of compostions after the biographical artcle.
- The article has GA status and it would be normal polite practice to discuss any major changes on the talkpage before instituting them. I invite editors' comments.--Smerus (talk) 17:42, 30 July 2016 (UTC)
- I entirely concur on all four points. This list of works is, admittedly, more appropriate and relevant than an info-box that tells us the name of the composer's wife, place of burial etc, and duplicates the info alongside it in the lead, but it is in the wrong place: it is usually wise to consider the practice of professional works of reference, and Grove – about as authoritative as you can get – and does very well without info-boxes, sidebars and the rest of the clutter so prevalent in Wikipedia. The final bullet point above is pretty much a bullseye too, I'd say. There is a related question being pursued here and here, where a similar point of polite practice seems not to occur to some of the more absolutist I-B apostles. Tim riley talk 07:08, 31 July 2016 (UTC)
- Wikipedia good articles
- Wikipedia CD Selection-GAs
- Music good articles
- GA-Class Composers articles
- WikiProject Composers articles
- WikiProject Classical music articles
- GA-Class Opera articles
- WikiProject Opera articles
- GA-Class biography articles
- GA-Class biography (arts and entertainment) articles
- Unknown-importance biography (arts and entertainment) articles
- Arts and entertainment work group articles
- WikiProject Biography articles
- Old requests for peer review


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Beneq Oy
Beneq Oy
Beneq Oy | Date: 2015-07-03
The invention relates to a nozzle head, an apparatus and method for subjecting a surface of a substrate to successive surface reactions of at least a first precursor (A) and a second precursor (B). The nozzle head having an output face comprises at least one precursor nozzle for supplying precursor (A, B) to the surface of the substrate and at least one discharge channel for discharging precursor (A, B) from the surface of the substrate. The output face comprises in the following order: a discharge channel, at least one at least one precursor nozzle arranged to supply the first precursor (A) and the second precursor (B) and a discharge channel.
Agency: European Commission | Branch: FP7 | Program: CP-IP | Phase: ENERGY.2011.2.1-2;NMP.2011.1.2-1 | Award Amount: 9.64M | Year: 2012
CIGS solar module technology on rigid glass substrate is already mature and industrial companies are producing hundreds of MWp each year. Bringing flexible CIGS solar modules to industrial maturity will yield the next breakthrough for further cost reduction by taking into account the inherent advantages of thin film technology, e.g. high throughput and large scale coating with less energy and material consumption. The aim of R2R-CIGS is to develop efficient flexible solar modules by implementing innovative cost-effective processes such that production costs below 0.5 /Wp can be achieved in large volume factories with annual capacity of 500MWp in future. The main objectives of this project are: Flexible solar cells on polymer film with 20% efficiency and mini-module with 16% efficiency by control of composition gradient, surface, and interface properties on nano-scale Transfer of innovative buffer layer process for roll-to-roll manufacturing and replacing problematic CBD-CdS by higher yield processes such as (spatial) ALD and ultrasonic spray Developing fully laser based patterning technology for monolithic interconnection in R2R pilot-line Scale-up of static multi-stage CIGS deposition process from laboratory scale towards inline R2R compatible processes Implementation of the up-scaled multi-stage CIGS deposition process into pilot lines for R2R manufacturing of flexible CIGS modules Development of moisture barrier with WVTR < 5x10-4 g/m2/d and cost-effective encapsulation Decrease cost of ownership for enabling production costs below 0.5 /Wp for a commercial plant with annual production of 500 MWp in future
Agency: European Commission | Branch: FP7 | Program: CP-IP | Phase: NMP.2012.1.4-1 | Award Amount: 13.40M | Year: 2013
In this proposed integrating project we will develop innovative in-line high throughput manufacturing technologies which are all based on atmospheric pressure (AP) vapour phase surface and on AP plasma processing technologies. Both approaches have significant potential for the precise synthesis of nano-structures with tailored properties, but their effective simultaneous combination is particularly promising. We propose to merge the unique potential of atmospheric pressure atomic layer deposition (AP-ALD), with nucleation and growth chemical vapour deposition (AP-CVD) with atmospheric pressure based plasma technologies e.g. for surface nano-structuring by growth control or chemical etching and, sub-nanoscale nucleation (seed) layers. The potential for cost advantages of such an approach, combined with the targeted innovation, make the technology capable of step changes in nano-manufacturing. Compatible with high volume and flexible multi-functionalisation, scale-up to pilot-lines will be a major objective. Pilot lines will establish equipment platforms which will be targeted for identified, and substantial potential applications, in three strategically significant industrial areas: (i) energy storage by high capacity batteries and hybridcapacitors with enhanced energy density, (ii) solar energy production and, (iii) energy efficient (lightweight) airplanes. A further aim is to develop process control concepts based on in-situ monitoring methods allowing direct correlation of synthesis parameters with nanomaterial structure and composition. Demonstration of the developed on-line monitoring tools in pilot lines is targeted. The integrating project targets a strategic contribution to establishing a European high value added nano-manufacturing industry. New, cost efficient production methods will improve quality of products in high market value segments in industries such as renewable energy production, energy storage, aeronautics, and space. DoW adaptations being made responding on requests from Phase-2 Evaluation Report In Phase-2 of the evaluation process, a number of points were noted by the evaluators where the project had insufficient information or could benefit from upgrading or justification. Our response and actions against each point raised has been summarized and send to the project officer, Dr. Rene Martins, in a separate document.
Agency: European Commission | Branch: FP7 | Program: JTI-CP-FCH | Phase: SP1-JTI-FCH.2012.1.5 | Award Amount: 4.68M | Year: 2013
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Beneq Oy | Date: 2014-02-28
An apparatus for processing two or more substrates in a batch process by subjecting at least part of the surface of the substrates to alternating surface reactions of at least a first and a second precursor. The apparatus includes: multiple substrate holders for supporting the substrates, and a reaction chamber that includes a reaction space for depositing material on the surface of the substrates during a processing phase. The substrate holders are installed or arranged to be installed inside the reaction chamber for processing of the substrates inside the reaction chamber during the processing phase. During a loading phase in which the substrates are loaded to the substrate holders by a loading device, at least some of the substrate holders are arranged to be movable relative to each other.
Beneq Oy | Date: 2014-09-09
The present invention relates to an apparatus and method for producing aerosol. The apparatus comprising a first atomizer for producing a first aerosol jet and a second atomizer for producing a second aerosol jet, each atomizer comprising an atomizing head in which the liquid is atomized into an atomized aerosol jet. Said atomizers further comprise a focusing part arranged to restrain the atomized aerosol jet for providing a punctual aerosol jet, said focusing part extending directly from the atomizing head. The first and second atomizer form an atomizer pair such that the atomizers are aligned towards each other for colliding the aerosol jets to each other.
Beneq Oy | Date: 2014-09-02
The invention relates to a method of coating a substrate in a deposition chamber. The method comprising the steps of providing a source of at least one liquid precursor; atomizing the at least one liquid precursor into liquid droplets in the deposition chamber for producing aerosol; filling the deposition chamber with aerosol for forming saturated aerosol in the deposition chamber; and settling saturated aerosol by gravitation towards a surface of the substrate for coating the substrate in the deposition chamber.
Beneq Oy | Date: 2014-06-10
A burner nozzle is disclosed, comprising a nozzle body that includes a slit such that a line passage to the slit opens in an outlet face surface at the surface of the burner nozzle body. A plurality of channels is connected to the slit. A group of first channels is connected to a source of oxidizing substance, and a group of second channels is connected to a fuel source. Each of the first channels and second channels have a circumferential passage to the slit at a non-zero distance from the outlet face surface. Furthermore, each of the first channels and second channels is formed to output a directed tubular flow towards a side wall of the slit, or towards a circumferential passage in a side wall of the slit. A safe pre-mixed burner configuration is achieved. A burner and a surface treatment device incorporating the burner nozzle are also disclosed.
Beneq Oy | Date: 2016-02-10
A method for forming an electrically conductive oxide film (1) on a substrate (2), the method comprising the steps of, bringing the substrate (2) into a reaction space, forming a preliminary deposit on a deposition surface of the substrate (2) and treating the deposition surface with a chemical. The step of forming the preliminary deposit on the deposition surface of the substrate (2) comprises forming a preliminary deposit of transition metal oxide on the deposition surface and subsequently purging the reaction space. The step of treating the deposition surface with a chemical comprises treating the deposition surface with an organometallic chemical and subsequently purging the reaction space, to form oxide comprising oxygen, first metal and transition metal. The steps of forming the preliminary deposit and treating the deposition surface being alternately repeated such that a film (1) of electrically conductive oxide is formed on the substrate (2).


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Lone Star to cut purses
Lone Star Park in Texas plans to cut purses across the board by 10 percent beginning May 8, citing declining wagering revenue because of a blackout of the track's signal on account-wagering platforms, the track said Tuesday.
Organizations representing horsemen have blocked the export of Lone Star's signal to account-wagering companies since the meet began on April 12. A company representing the horsemen in the negotiations, Thoroughbred Horsemen's Group, has pressed Lone Star to direct one-third of the revenue from in-home bets on the track's races to horsemen, but Lone Star, through its own negotiating partner, TrackNet Media, has balked at the demand.
The Thoroughbred Horsemen's Group and TrackNet are also locked in a stalemate over the export of the signal from Calder Race Course and Churchill Downs to account-wagering companies. The dispute has shown no signs of being resolved soon.
TrackNet is owned by Churchill Downs Inc. and Magna Entertainment Corp. Churchill owns Calder, and Magna owns Lone Star Park.
On Sunday, Churchill cut purses at Calder by 30 percent.


text:
View the Show 2017 Flyer Here
Sunday, September 10, 2017
From 10am to 2pm Registration ends at 11am
Calvary Assembly of God 9320 Elm Ave KCMO 64138
Allproceeds will be supporting Speed the Light-an
Assemblies of God youth program that provides vehicles
for missionaries.
$20 Entry Fee (includes 1 meal ticket)
Lunch on the Grounds Catered by Outback Steakhouse –
All Proceeds to Speed the Light!
Door Prizes! Dash Plaques and Goodie Bags to the first
100 registrants.
All Cars and Trucks compete to place in the Top 45!
Trophies include – 15 Gold, 15 Silver, 15 Bronze. Plus
People's Choice and Pastor's Choice Gold, Silver, Bronze,
AND Best of Show! Cars 2000 and Newer Judged
Motorcycles judged by People's Choice.
Bring your Canned Goods for the Local Food Pantry!
Yummy Pie and Cake Auction!
Questions? 816-761-0230 or firstname.lastname@example.com
Best of Show 2016!


text:
Tower Talk is the newsletter for new ringers produced by the Association of Ringing Teachers. If you like Tower Talk why not sign up to receive all the latest news, information and learning tips via email? To sign up all you need is to enter your email address. Then wait patiently for our next issue to drop into your email. Note: your details will not be shared with any third parties.
» Sign up to receive future editions of Tower Talk


text:
Words containing ahidic
Found 1 words containing ahidic. Browse our Scrabble Word Finder, Words With Friends cheat dictionary, and WordHub word solver to find words that contain ahidic. Or use our Unscramble word solver to find your best possible play! Related: Words that end in ahidic
- Scrabble
- Words With Friends
- WordHub
- Crossword


text:
Why do you need HowNow Online
Designed from the ground up for the cloud, HowNow Online brings the same depth of understanding of the requirements for a powerful document and email management system. Simple and flexible in its approach, it is easy to add, edit or download documents, all from within your browser – making it easily accessible from anywhere.
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Senior Product Manager in Pune Salary (India)
A Senior Product Manager in Pune, Maharashtra earns an average salary of Rs 1,954,726 per year. Most people move on to other jobs if they have more than 20 years' experience in this field. A skill in Product Management is associated with high pay for this job.
Rs 497,503 - Rs 3,199,614
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MEDIAN: Rs 2,049,455
|Rs 0Rs 3M
|Rs 497,503 - Rs 3,199,614
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|Total Pay (
XTotal Pay combines base annual salary or hourly wage, bonuses, profit sharing, tips, commissions, overtime pay and other forms of cash earnings, as applicable for this job. It does not include equity (stock) compensation, cash value of retirement benefits, or the value of other non-cash benefits (e.g. healthcare).)
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Senior Product Manager Job Listings
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text:
A prototype Iphone 5 lost in a bar in San Francisco
Same pattern as for Apple: a prototype of the future five Iphone was forgotten in a tequila bar in San Francisco last July, according to the website dedicated C Net. Guided by GPS device, police officers and employees of Apple went to a house in San Francisco, in vain. Its occupant told the Weekly SF Weekly that he had spent some time in the bar where the Iphone 5 would have been lost, but he had no phone. In 2010 already, a prototype of the iPhone 4 was lost by an engineer in a bar and found by a man who had sold the Web site Gizmodo. He had cut up the new device and had published photos and content worldwide.


text:
287: Postprandial cardiac hypertrophy in pythons
Physiology: Postprandial cardiac hypertrophy in pythons:
Oxygen consumption by carnivorous reptiles increases enormously after they have eaten a large meal in order to meet metabolic demands, and this places an extra load on the cardiovascular system. Here we show that there is an extraordinarily rapid 40% increase in ventricular muscle mass in Burmese pythons (Python molurus) a mere 48 hours after feeding, which results from increased gene expression of muscle-contractile proteins. As this fully reversible hypertrophy occurs naturally, it could provide a useful model for investigating the mechanisms that lead to cardiac growth in other animals.Understanding rapid heart grown in pythons could help heal heart defects in humans. Evolution and common descent at work.


text:
Irresistor / Zip / Crystal
€ 375.00
Brand: Irresistor
The philosophy of Irresistor is the reinterpretation and the conversion of different points of view. This reinterpretation is based on the cutting edge technology.
Pop Star upgraded material mix recently trendy, this created very new and innovative shape.
The harmony of round eye and square front shape with straightness is little aggressive but strongly eye-catching.
Modern pattern with titanium in temple and shiny crystal acetate raise the quality and values, eventually completes the Zip style.
FEATURES: crystal acetate frame with gold details; blue mirror lenses
MEASUREMENTS: lens diameter: 53mm; bridge width: 20mm
DELIVERY: Italy: 1 day; Europe: 2 days; World: 3/5 days
Customer Service
(Mon–Sat 10am–8pm CET)


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Looking for:
Cypress Media Group partners with companies worldwide to provide trade show exhibit installation and dismantle services.
Q: What exhibit I and D services do you offer?
A: We provide shipping, installation and dismantling, show paperwork completion, supervision, and post-show inspection of your trade show exhibit properties.
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© 1999-2017 Cypress Media Group, Inc. | Promoted by Cypress Media Group, Inc.


text:
Tree Antique charm
A tree charm completed with a lobster clasp.
Material: Zinc alloy, antique silver color finish
Metal: Lead, nickel, and cadmium free
Size: 2.9 x 2.3 CM
Return not available for this product. Read about our shipping & return policy here.
Product SKU: PHI000727
Priced per piece unless stated otherwise. Actual product appearance may vary due to difference in your device lighting.


text:
Napier, Mar 2(ANI): New Zealand skipper Daniel Vettori has indicated that Scott Styris and Nathan McCullum may have to sit outside for the opening game of the Chappell-Hadlee Trophy ODI series against Australia, starting in Napier on Wednesday.
Styris, who has been recalled for the series, has few chances of making it to the final eleven after Vettori said he and coach Mark Greatbatch wanted to retain the same batting lineup, which completed the 3-0 ODI series whitewash against Bangladesh last month.
"It'll be the same top six as last time that we played in the ODIs. Neil (Broom) did reasonably well in the last series and we want to keep giving him opportunities, and the same with James Franklin. They've got a chance to stamp their authority on this series," Stuff.co.nz quoted Vettori, as saying.
Vettori said the venue might also count against offspinner McCullum, meaning a likely pace attack of Shane Bond, Tim Southee and Daryl Tuffey with backup from Franklin and Jacob Oram.
"It's a difficult ground at times for spin bowlers so that balance with Nathan and the extra seamer, that'll be the main talking point," he said.
He further said that he expects the Napier track to be batsman friendly and tipped a runfest.
"I don't think there's any surprises when you come to Napier, we know it's going to be a high scoring game and in the end it's the bowlers that turn up and bowl the best who can actually execute, particularly in the latter stages and the power play overs," Vettori said.
ew Zealand team: Daniel Vettori (captain), Brendon McCullum, Peter Ingram, Martin Guptill, Ross Taylor, Neil Broom, James Franklin, Jacob Oram, Daryl Tuffey, Tim Southee, Shane Bond, Scott Styris and Nathan McCullum. (ANI)


text:
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text:
Wow! What a fantastic find! As a professional hotel inspector on an inpromptu stop over (for pleasure) I was eager to see inside and beyond the website in the flesh. A hefty stones throw from Haymarket Train Station and not next to it as advertised on the website, a genuinely warm and friendly greeting awaited myself and my son by Kate at reception who is indeed a credit to the Team. Although we sadly didn't get to stay in one of the newly refurbed rooms on this occassion it was however way after 9pm and it was howling a gale outside so I reluctantly went along with 'check-in' non the less despite being a tad dissappointed. The long overdue tired decor of room 108 'Spey' included bland white heavy scuffed walls, two ikea bedside lamps and ikea malm bedside cabinets. Apart from the small ikea lamps, the compact room was illuminated by just one of the two built in ceiling lights.
The out of place safe on the window ledge required you to pay extra at reception in order to use, however there was many good points... The linen was clean, large fresh towels, adequate tea & coffee making facilities and the electric wall heater worked well although the high pitched buzz was quite annoying at 4am.
The bathroom had everything needed for functionality, however again, it was obvious that it was well overdue for a refurb, missing flush button, shower casing not complete on top of the unit -potential fire hazard.
The 'bathroom' with no bath would be best described as 'compact' and reminded me of an inner cabin shower room on board a struggling ferry company's fleet. The super thin peach toilet paper reinforced this comparrison.
All that said, the new owners who own and operate two other hotels in Bath & Bristol I believe are no doubt aware of this hence refurb'ing the hotel.
My only real gripe was not knowing this when making the reservation over the telephone that evening until we checked in.
Breakfast was served between 08:00-10:00 on the Sunday morning, (by the night porter who doubled up as the breakfast chef) and was buffet style.
The pleasant young female breakfast host wasn't visible when we areived for breakfast but it became apparent that she was preparing tea/coffee for existing guests already sitting down.
The hot breakfast buffet was faultless and eggs were cooked to order along with tea coffee and hot chocolate. Everything else was seamlessly self service and well stocked however, I would have liked to have seen a fruit s bowl selection and pastries perhaps. Maybe something that will be addresses in time.
The decor. The reception, function room(s), lounge and reataurant are faultless. Alot of attention to detail. I hope the bedrooms will match this. Judging by the website gallery, the rooms that have already been refurbed will fit this style i'm sure.
Overall, a pleasant experience and keen to see more on another visit towards easter when i'm informed all work will then be complete.
- Official Description (provided by the hotel):
- Early 20th century Victorian townhouse in Edinburgh city centre; offers convenient budget accommodation for business travellers and tourists. Perfect for groups, 2 minute walk to Edinburgh International Conference Centre & 10 minute walk to Edinburgh Castle. ... more less
- Reservation Options:
- TripAdvisor is proud to partner with Booking.com, Travel Republic (UK), Expedia, Hotels.com, Ebookers, LateRooms, Cancelon, HotelQuickly, 5viajes2012 S.L. and Evoline ltd so you can book your Brooks Hotel Edinburgh reservations with confidence. We help millions of travellers each month to find the perfect hotel for both holiday and business trips, always with the best discounts and special offers.
- Also Known As:
- Herald Hotel Edinburgh
- Brooks Hotel Edinburgh Scotland


text:
Discipling advice please!(1 Post)
leeds84 Wed 06-Jul-16 19:37:44
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text:
A neglected face will rebel by scowling during your wedding vows or sprouting a five o'clock shadow at precisely four. Soothe volatile visages with today's Groupon to NorthEast Ear, Nose, and Throat Center in Concord. Choose between the following options:
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Under the watchful eyes of Dr. James Dziadziola and Dr. Jamie Scaglione, the skilled staff at NorthEast Ear, Nose, and Throat Center treats signs of aging, acne, and rosacea with skin-enhancing microdermabrasion treatments and chemical peels. During the 30-minute microdermabrasion facial, an aesthetician diligently scours skinscapes before buffing away the outermost layer of cells with a crystal-tipped wand. As a fairy darts around the office in search of her stolen spell caster, the wand's vacuum apparatus sucks up debris to visibly reduce lines and blemishes.
Clients can choose from six 30-minute chemical peels, such as a salicylic-acid acne treatment that combats pimples or a pumpkin peel that rejuvenates the surrogate visages of headless horsemen. The Supra peel's nonirritating formula exfoliates sensitive skin for enhanced firmness and clarity, and the PCA peel refines pores and keeps breakouts in check.
NorthEast Ear, Nose, and Throat Center
At NorthEast Ear, Nose, and Throat Center, adult and pediatric otolaryngologists address virtually every malady that can affect a person's facial structures. Doctors James Dziadziola and Jamie Scaglione treat allergies, sinusitis, and sore throats, as well as provide hearing tests and hearing aids. Additionally, the clinic administers skincare services including facials, peels, and masks made with natural ingredients such as papaya puree and pumpkin enzymes. These facial treatments can improve a variety of skin problems including acne, sun damage, and wrinkles.


text: As a dog owner, one of the most important decisions you will have to make is whether or not to have your dog spayed/neutered. Although we advocate this procedure we do respect pet owners who decide not to have their dogs go through this process. If you do decide not to have your dog spayed/neutered be sure that you'll be able to take care of your dog's puppies if she does get pregnant. Bear in mind that there is currently an overpopulation of dogs in the United States. Owners who are not capable of taking care of these puppies usually ... Read More »


text:
I just wanted to say thank you for the amazing time. My family and I felt welcome from the moment we walked up.
The tour itself was wonderful. Our tour guides were funny and incredibly helpful. This trip was a gift for our son's 10th birthday and he could not have been happier.
Thank you again. We will be back!!!! This was wonderful for all of us.
Keagan, Kaden and Scott B.
What an amazing adventure! Tesha, Andrew, TJ, & the crew are fantastic!! We enjoyed our time so much that we are already planning our next trip! They make you feel so confident & relaxed ....if you are considering it -stop- and just go do it! You will not be disappointed!
See you soon!
Thank you!!
Cheryl & Nick
PS....if you survive the ride to the 1st flight, you got it made! Lol :))=
We had a fantastic time. My wife and I zipped with you back in Jul 2008 when you were just getting started. Since then we have zipped several other places and in a few other countries but none hold a candle to your staff. Zipping at Wimberley is one of the funniest things we've done together ...with our clothes on.
That being said (and I'm sure an implied Wimberley Zip Line dress code requirement to please "stay dressed"), we decided to bring the 3 kids and my sister to experience it as well. Obviously your zip lines are incredible, but your staff is over the top!!!! That includes everyone at Wimberley who we had the pleasure and privilege of dealing with, starting with our 1st call from Kayla making reservations and everyone in between until we left at the end of the day.
Billy, Garret and Missy were our flight attendants and they were ALL an absolute blast. They were very professional and conscientious. I was impressed at how astute they were watching everyone zip and helping them adjust accordingly for their safety and to get the most out of the adventure without being overbearing or over protective.
On top of all of that, Billy, Garret and Missy were very sincere, personable and a whole lotta fun. "I wanna hang out wit doze guyz!" Everyone got to experience their very own individual and personalized adventure. Youz guyz are friggin good!!! We WILL be back!
Please let me know when you are having the moonlight zipping. We want to be there. Thank you from the bottom of our hearts to the top of your zip lines.
Kurt & Anna
Waco TX
TJ and crew,
Thanks for an amazing adventure. My family and I had a wonderful time. I was so scared and nervous but everyone was very reassuring and helpful as I learned to become a "pro"!
Christy M.
My family and I would like to send a heart-felt thank you to your staff. We were part of the 11 am crew and had Tesha, Madi, and TJ as our Adventure Guides. With these three as the face of your company, you cannot go wrong. They were super-personable, super-knowledgeable, and an absolute blast to be around.
My daughter, who is not yet old enough to participate, and I were able to observe our family members zip line. Poor TJ had the task of hanging out with us. He was so kind to my child and made her feel acknowledged and part of the experience. He directed me where to stand for the best vantage point, and my pictures turned out great. He is also an amazing jeep driver, as we only suffered mild whiplash. :)
Thanks again to all for helping me pull off one of the best Father's Day presents to my husband, who has been deployed so often, that this was one of the few Father's Days he was actually home for.
I will gladly refer Wimberley Zip Line Adventure as THE place to go to, and you will most-certainly be seeing us again!
Thanks again!
Natasha G.
I would just like to thank you and your awesome crew for our great time yesterday, the 3 guides we had yesterday were knowledgeable, courteous and above all pleasant; Tesha, Andrew & TJ I think. That was our second time there, 1st time with al 10 lines and my son and I had a blast. Wanted you to know that your staff is great!!!
Thank you
Lana & Collin


text:
Dolores Guerriero
May 27, 1930 - April 01, 2017
Guerriero, Dolores. April 1, 2017. Age 86 of Allen Park. Beloved wife of the late Simon. Loving mother of Mike (Chris), Tony, Pat (Ann) and the late Jeff (Mary Ann). Dear sister of Donald (Donna) Ryktarsyk. Dearest grandmother of 12 and the late Anthony. Loving great-grandmother of 4. Dee will be deeply missed by family and friends.
Visitation Tuesday, April 04, 2017 from 3- 9 p.m. with a 6 p.m. Rosary at the Allen Park Chapel of Voran Funeral Home, 5900 Allen Rd. (313) 928-2300. In state Wednesday 10:30 a.m. with a 11:00 a.m. Mass of the Resurrection to follow at St. Mary Magdalen Catholic Church, 19624 Wood St, Melvindale. Memorial donations may be made to St. Mary Magdalen Catholic Church. Interment Our Lady of Hope Cemetery.


text:
There was a time---a wonderful, naive time---when I thought I would abstain from shopping while in Europe. For the first week or so, all I bought for myself was this cute wine stopper in Capri:
I figured this wine stopper would be the extent of my personal shopping.
I know, I know. Who do I think I am?
After two weeks of traveling, I found myself in Florence---home to a fabulous outdoor market filled with cheap leather goods, jewelry, and more.
Florence Scarves:
More (plus some Anthro) behind the cut)...
Florence Leather:
Purchased in Sienna:
Murano Glass Jew-ery in Venice:
And, of course, I bought some Anthro online once my beloved Gathering Tank finally went on sale:
I figured this wine stopper would be the extent of my personal shopping.
I know, I know. Who do I think I am?
After two weeks of traveling, I found myself in Florence---home to a fabulous outdoor market filled with cheap leather goods, jewelry, and more.
Florence Scarves:
(The back of the scarf above.)
This leopard thing is a scarf, but it had so much fabric that it worked as a maxi. I wouldn't wear this as a skirt in a non-suitcase scenario, but I was SO sick of my other two skirts that I was willing to play a little loose with my garments, even if it made me look a bit preggo.
Florence Jewelry:
Sterling silver with moonstone.
Sterling silver bracelet. The friendship bracelets were given to me by the jewelry salesmen from whom I bought a bunch of pieces.
More friendship bracelets. Yeah, I bought a lot of jewelry from this guy.
Both of these next two necklaces are completely bendable. I like them because they can be twisted into tons of different shapes and forms!
The flowers in my hair came from Marie Antoinette's hamlet at Versailles.
More (plus some Anthro) behind the cut)...
Florence Leather:
Perhaps I was just missing my Kate Spade blue ostrich bag when I bought this one, but I love it nonetheless. It came with me to LA/Vegas! I think it's supposed to be a fake Hermes. I usually don't like fake bags, but I don't think this one is so identical to the original that I will feel self-conscious wearing it. Time will tell.
Miscellaneous Florentine goods:
Sweater-like thing.
Mail holder!
(here's what it looks like in use)
Purchased in Sienna:
Bathing suit with crazy cut-outs! Naturally I had to pose with matching flowers along the Cinque Terre hike.
(different view of the cut-outs)
Remember my bug problem? Now this tile is hanging on my front doorframe!
These boots were a HUGE splurge, but I just fell in love with them. Impulse buy, yes, but they are warm and lined so hopefully they get some use!
Close-up of the boots.
Murano Glass Jew-ery in Venice:
This wine stopper says "L'chaim" ("to life") in Hebrew. It's traditional to cheer "L'chaim!" as you clink your glasses together before you drink.
I bought some macaroons and saved the box! (Herme macaroons were much better)
Six coasters with vintage french ads.
Cool vintage-y poster illustrating the steps involved in tasting wine.
And, of course, I bought some Anthro online once my beloved Gathering Tank finally went on sale:
The Gathering Tank, $30 here.
The gathering tank (emerald green IRL). I ordered a size medium, one up from my normal size small. See full review here.
Printed Boy Tee, Size Medium, $20 here.
I'm not crazy about the high neck, but I love the colors and need more simple tees. This is a size medium, one up from my usual small, and it's still quite clingy. Go up two sizes if you want it loose-fitting.
Steer the Helm Skirt, size 6, $20 here.
I can't resist the $20 skirt! A nice standard blue skirt is needed in my wardrobe, since I decided to sell my bit-too-small button parade skirt and woman-in-charge skirt. My true size 6 fits comfortably.
Milk Bottle Measuring Cups, $24 here.
I needed a full-priced item to get free shipping at Anthro.com, and I've been eying these cute measuring cups for a while. A sign? I think so.
And check out the cute lining!
Wallpaper juicer, $24 here.
Two full-priced kitchen gadgets can't hurt, really.


text:
51-year-old Steve Easton recently saw something very strange come out of his nose during a sneezing fit, while he was sick with a fever.
The object was reportedly a toy dart.
Easton had no clue how the dart had gotten there.
Soon thereafter, the man talked to his mom about the experience. She told him that when he was seven, he inhaled the dart. He had been taken to the hospital but doctors were not able to remove the object — they had assumed Easton had swallowed it. Apparently, Easton had no memory of the doctor's visit.
44 years later, the dart was confirmed as having been in his nasal cavity.
Easton's mother said to reporters, "There was just one of these darts without a tip. I took him to the hospital and they spent a lot of time looking for it but in the end they said perhaps it was a mistake. I knew it wasn't and it's always worried me and now it has suddenly shot out. We are all shocked."