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Whatever Jaeger thought, Elgar was certainly inspired, as noted by Rosa Burley at The Mount School the following week: 'He came to The Mount in the rather excited state which usually indicated some new inspiration and played me a sixteen-bar tune on the piano. I thought it wistful but hardly of outstanding interest and asked what it was. So far as I remember he did not answer the question but continued to play, apparently extemporizing, a set of variations each of which, he said, represented a friend … He was far more concerned with the variations than with the underlying theme and constantly challenged me to guess whom they represented … In many cases the portraiture was astonishingly accurate and the translation of physical or mental characteristics into musical terms wonderfully ingenious. As the work progressed, indeed, and variation was added to variation, I realized that the complete set, when illuminated by Edward's brilliant orchestration, might show an enormous advance on anything he had previously written. I believe it is true to say that Edward enjoyed the writing of the Variations more than that of any other work. I doubt indeed if he foresaw at the beginning that he had begun an important work.'
On November 1st Dora Penny vividly describes the scene:
The composer was in high spirits but I could get nothing out of either of them about the new music. All he said was: "You wait till we get home. Japes!" – taking up a spoon and conducting something with it. And I had to be content with that. No sooner inside the door than E.E. fled upstairs to the study, two steps at a time – I after him, the Lady following at a more sedate pace. "Come and listen to this", and he played me a very odd tune – it was the theme of the Variations – and then went on to play sketches, and in some cases completed numbers, of the Variations themselves. I turned over and saw the next page headed 'C.A.E.', the Lady's initials, something dedicated to her, evidently. Very serene and lovely – and in some curious way like her. Then he turned over two pages and I saw 'No. III R.B.T.', the initials of a connexion of mine. This was amusing! Before he had played many bars I began to laugh, which rather annoyed me. You don't generally laugh when you hear a piece of music for the first time, dedicated to someone you know, but I just couldn't help it, and when it was over we both roared with laughter! "But you've made it so like him! How on earth have you done it?" "Go on, turn over." And the next piece was called 'No. IV W.M.B.', another connexion and a great friend; very energetic and downright. Why did it remind me of him so? I think then he played Troyte, and a shout of laughter followed. "What do you think of that for the giddy Ninepin?" After that 'Nimrod'. "That must be a wonderful person, when am I going to meet him?" A voice from near the fire-place: "Oh, you will like him, he is the dearest person"… Then I turned over and had a shock. 'No. X 'Dorabella'. Being overcome by many emotions I sat silent when it was over. "Well, how do you like that – hey?" I murmured something about its being charming and rather like a butterfly, but I could think of nothing sensible to say … I had no idea what it really meant. It was not until many years afterward that it dawned on me that I had been as much the victim of E.E.'s impish humour as had R.B.T.
Ten days later, however, in a letter to Jaeger: 'The Variations go on slowly but I shall finish 'em some day'. The impetus needed to complete the work came in January 1899 during a visit to London when he met Jaeger who proposed the idea of asking Hans Richter to conduct the first performance. By the third week of February the full score was on its way to Richter (via his agent Nathaniel Vert) who, to Elgar's amazement, agreed. This internationally renowned conductor, who had such landmarks as the first performances of Wagner's 'Ring' cycle at Bayreuth, Bruckner's Fourth Symphony and Brahms's Third to his credit, and was Mahler's predecessor in Vienna, would start the rapid transformation of a little known provincial English musician in his forties into a leading composer of the time.
It is interesting to note, from the still existing score sent to Richter in Vienna, that although the word 'Enigma' is written over the theme it is in pencil, and not in Elgar's hand. Elgar himself never referred to the work as the 'Enigma Variations', insisting simply on 'Variations'. It is just possible that he may have known of the already existing 'Enigma Variations' for piano 'in the style of five eminent artists' by Cipriani Potter: if so, this could be a reason for his refusal to use the title. He was very particular about his music being remotely associated with that of any other composer, let alone someone who was employed at one of the London institutions of music. However, when writing about The Music Makers, he said: 'I have used the opening bars of the theme (Enigma) of the Variations because it expressed when written (in 1898) my sense of the loneliness of the artist….'. Significantly, the quote is used as a counterpoint to the words: 'And sitting by desolate streams…for ever, it seems'.
There has always been a mystery or puzzle surrounding this work, arising largely from the following: (1) 'on an original theme'; (2) 'the theme is a counterpoint on some well-known melody which is never heard' (R J Buckley, Elgar's first biographer in 1904 and a reliable source); and (3), 'through and over the whole set another and larger theme 'goes', but is not played' (from Elgar's programme note for the first performance). Elgar was always wary of the adjunct 'on an original theme', presumably because there was a doubt in his mind over the Enigma theme's total originality. Furthermore, if the Enigma theme is derived from a 'well-known melody which is never heard', it is quite understandable that Elgar would want to avoid any possible adverse criticism. However, 'a counterpoint' does not necessarily mean that it will resemble 'some well-known melody' in any way (and therefore could be original) even though it may fit perfectly with it. This rules out many of the favourite suggestions for the hidden theme such as 'Rule Britannia', 'Pop goes the Weasel' or 'Auld Lang Syne' which Elgar himself said 'would not do'. From early declarations to Troyte, such as: "It is so well-known that it is extraordinary that no one has spotted it", and to the young Dorabella: "I thought that you of all people would guess it", Elgar became more and more reluctant to talk about it at all. The fact that a prerequisite understanding of this hidden theme is irrelevant to appreciating the music (Elgar always maintained that "The Variations should stand simply as a piece of music") can perhaps be compared to a similar lack of religious or ornithological knowledge hindering an appreciation of Messiaen's music.
With regard to 'through and over the whole set', this must apply to the whole work – i.e. the entire set of variations. 'Another and larger theme "goes"' surely cannot refer to a musical theme as this would entail an extremely broad musical interpretation of the word 'goes', and as Elgar says: it 'is not played'. The overriding theme could simply be a reference to Elgar's life to date (he was 42) – i.e. that of the artist struggling to succeed against all odds (see many of Elgar's letters to Jaeger): cf. the sad mood of the Enigma theme (the first bar of which Elgar often used as a signature) at the beginning with the exciting and confident self-portrait which forms the finale. The variations in between portray his wife and friends who have helped and encouraged him to this pivotal point in his life and career.
As to the 'Friends Pictured Within', the following notes are based on those Elgar wrote to accompany the 1927 set of pianola rolls (his own words are quoted in brackets):
1. C.A.E.: These initials stand for Elgar's wife, Caroline Alice Elgar, and the four-note motif which is repeated several times under the theme represents the whistle Elgar gave when he arrived home. ['There is no break between the theme and this movement. The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.']
2. H.D.S.-P.: ['Hew David Steuart-Powell was a well-known amateur pianist and a great player of chamber music. He was associated with B.G.N. (Cello) and the Composer (Violin) for many years in this playing. His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H.D.S.-P.'s liking.']
3. R.B.T.: ['Richard Baxter Townshend, whose Tenderfoot books are now so well known and appreciated. The Variation has a reference to R.B.T.'s presentation of an old man in some amateur theatricals – the low voice flying off occasionally into 'soprano' timbre.']
4. W.M.B.: ['A country squire, gentleman and scholar. In the days of horses and carriages it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. This variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door. In bars 15-24 are some suggestions of the teasing attitude of the guests.']
5. R.P.A.: ['Richard P. Arnold, son of Matthew Arnold. A great lover of music which he played (on the pianoforte) in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks. The theme is given by the basses with solemnity and in the ensuing major portion there is much light-hearted badinage.']
6. YSOBEL: Isabel Fitton. ['A Malvern lady, an amateur viola player. It may be noticed that the opening bar, a phrase made use of throughout the variation, is an 'exercise' for crossing the strings – a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement.']
7. TROYTE: ['A well known architect in Malvern. The boisterous mood is mere banter. The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing "slam" records that the effort proved to be vain.'] Troyte thought the music represented himself and Elgar running for shelter having been caught in a thunderstorm.
8. W.N.: Winifred Norbury. ['Really suggested by an eighteenth-century house. The gracious personalities of the ladies are sedately shown. W.N. was more connected with music than others of the family, and her initials head the movement; to justify this position a little suggestion of a characteristic laugh is given.']
9. NIMROD: August Johannes Jaeger. Jaeger is German for 'hunter' and Nimrod is 'the mighty hunter'. ['The variations are not all "portraits"; some represent only a mood, while others recall an incident known only to two persons. Something ardent and mercurial, in addition to the slow movement (No. IX), would have been needful to portray the character and temperament of A.J. Jaeger (Nimrod). The variation bearing this name is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movement of Beethoven, and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred. It will be noticed that the opening bars are made to suggest the slow movement of the Eighth Sonata (Pathétique). Jaeger was for years the dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.'] The precise reference to the 'Pathétique' can be found by taking the first two notes of both bars 1 and 2, the first three (and 4) of bar 3 and transposing them up a fifth.
10. DORABELLA: Dora Penny who had a slight, attractive stammer. ['Intermezzo. The pseudonym is adopted from Mozart's 'Cosi fan tutte'. The movement suggests a dance-like lightness. The inner sustained phrases should be noted.']
11. G.R.S.: ['George Robertson Sinclair, Mus. D., late organist of Hereford Cathedral. The variation, however, has nothing to do with organs or cathedrals, or, except remotely, with G.R.S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the River Wye (bar 1); his paddling upstream to find a landing place (bars 2 and 3); and his rejoicing bark on landing (2nd half of bar 5), G.R.S. said, "Set that to music." I did; here it is.']
12. B.G.N.: ['Basil G. Nevinson, an amateur cello player of distinction and the associate with H.D.S.-P. and the writer (violin) in performances of many trios – a serious and devoted friend. The variation is a tribute to a very dear friend whose scientific and artistic attainments, and the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.']
13. ***: ['The asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner, over which the clarinet quotes a phrase from Mendelssohn's 'Calm Sea and Prosperous Voyage'.']
14. E.D.U.: 'Edoo' was Lady Elgar's nickname for her husband. ['Finale: bold and vigorous in general style. Written at a time when friends were dubious and generally discouraging as to the composer's musical future, this variation is merely to show what E.D.U. (a paraphrase of a fond name) intended to do. References made to Var. 1 (C.A.E.) and to Var. 9 (Nimrod), two great influences on the life and art of the composer, are entirely fitting to the intention of the piece. The whole of the work is summed up in the triumphant, broad presentation of the theme in the major.']
The puzzling three asterisks of Variation 13, ***, are generally believed to represent the initials of Lady Mary Lygon – one early score was labelled L.M.L. – but the reasons given do not support this. The sea voyage was still several months in the future and Elgar had ample opportunity to ask permission for the use of her initials. It has often been reliably suggested that Elgar had someone else in mind and that Helen Weaver, to whom he was engaged in the early 1880s but could not marry because he was a Catholic and she a Unitarian, was really the subject. Rosa Burley is very clear on the matter: 'I always supposed that his reason for witholding this lady's name was that extremely intimate and personal feelings were concerned. The throbbing and the quotation from Calm Sea and Prosperous Voyage (which might equally have come from the Schumann Piano Concerto or Leonora No 3) bore no reference to the liner and the sea voyage which were afterwards associated with this variation but, as might be expected in a movement named 'Romanza', expressed something very different." Helen Weaver and Elgar visited Leipzig together and went to concerts at the Gewandhaus (founded by Mendelssohn) where one programme contained the Schumann Piano Concerto. The 'unlucky' number 13 may also be significant in that Elgar was deeply saddened by the departure of Helen Weaver from his life; her emigration to New Zealand would have necessitated a long sea voyage; and this variation immediately precedes Elgar's XIV. At Elgar's memorial service the music was chosen by Ivor Atkins. He was a close friend and confidante of Elgar and selected the Theme, C.A.E., Nimrod and *** to represent the Variations.
Finally, 'The Variations' on the organ? This is possible by means of the art of transcription which entails the re-creation of a work in terms of a suitable but different instrument from that originally conceived by the composer. When the transcriber is also a composer, there can often be the exciting possibility of additional creative strands, e.g. Elgar's transcription for full orchestra of Bach's Fantasia and Fugue in C minor or the Brahms/Schoenberg Piano Quartet in G minor. This is quite different from arrangement which essentially means that anything can be done to make a work playable – e.g. keys may be changed, harmonies altered/simplified and technical challenges accomodated.
The organ at its best is a tremendously versatile instrument, with a wealth of sounds controlled by the player from a number of keyboards and a pedal-board. With two hands performing in a similar way to a concert pianist, and two feet performing with the agility and flexibility of a tap-dancer, there is tremendous potential for playing anything from the simplest to the most complex scores. Registration is an integral part of the organists' art and the selection of sounds during the preparation of a performance is akin to the composer orchestrating a work from short score. An organist has to do this for each performance as no two instruments, or buildings in which they are housed, are alike. Modern combination systems aided by computer technology make this easier and give an almost limitless number of settings: hundreds may be required for the 'orchestral or symphonic organ' in contrast to the one general purpose, all-encompassing 'Organo Pleno' setting that can last for an entire piece. A knowledge of, and ear for, the multitude of timbres produced from the organ's thousands of pipes is essential when dealing with 'the orchestral organ'. It is partly the careful use and combination of these different colours, as well as judicious use of the 'box', which help to achieve expressiveness. Both methods are needed to achieve the bigger changes of sound level over the entire dynamic range of the instrument. Those stops whose pipes are enclosed in a 'box' can be made to crescendo and diminuendo by the opening and closing of shutters: the magical rise and fall of the 'Celeste' stops or the roar and almost disappearance of the 'Full Swell' can be used to good musical effect.
Texture is closely linked to registration and the choice of a chord's spacing or register and dynamic is crucial. A full chord played fortissimo and staccatissimo can produce fewer decibels than a sustained chord of a few notes played on a single foundation/open flute-type stop. Clarity of melody or counterpoint needs particular attention and can be achieved in many ways. Whereas a pianist can give more weight to the fingers playing a melody in order to make it sing through, above or below the supporting harmony or other parts if the texture is contrapuntal, an organist will need to employ other means. Some of these are: (i) playing the melody on another manual (right or left hand) with a different tone colour, or one similar to the accompaniment but with a slight increase in the level of sound; (ii) playing the melody with the feet to utilize a particular sound colour, or simply for logistical reasons so that an interesting accompaniment, or other part(s) in contrapuntal music, can be given due attention; (iii) subtle phrasing with infinite variations of legato, non legato, emphasised notes, staccato and staccatissimo often requiring much finger substitution or even 'splitting' one hand between two adajacent manuals: feet, too, can phrase independently or even provide chords of up to four parts (more in extreme cases) in reasonable comfort.
from notes by Keith John © 2003
|Elgar: Enigma Variations & other works
'Mark Elder is making something of a name for himself as an Elgarian, and is in the best of possible places to do so' (MusicWeb International)» More
|Elgar: Enigma Variations and Introduction & Allegro
The 'Variations on an original theme', or 'Enigma' as they are commonly known, brought Elgar overnight fame when they appeared in 1899. The music is glorious from start to finish, especially in the serene 'Nimrod'. Each variation is given a crypti ...» More
|Elgar: Enigma Variations, In the South & Serenade for strings
This album features Elgar's best-known orchestral works: the 'Enigma' Variations depicting twelve of Elgar's family and friends in fourteen variations, the Serenade for strings, and 'In the South', a Concert Overture written for the Elgar festival ...» More
|Elgar: Enigma Variations & Organ Sonata
'one gladly salutes Keith John for his virtuoso performances … A very fine achievement' (Gramophone)
'a technically brilliant performance that employs the instrument's full range of colours and sonorities' (BBC Music Magazine)» More
|Elgar: Enigma Variations & other orchestral works
Two orchestral favourites, coupled with three Elgarian rarities from World War I. Kate Royal is the soloist in 'Une voix dans le désert'.» More
|Elgar: Organ Music
Former organ scholar at King's College, Cambridge, Robert Quinney performs a stunning recital of works by Elgar on the organ of Westminster Abbey where he has been Sub-Organist between 2004 and 2013 before being appointed organist at New College, ...» More


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WINTER: Machan hits century for Scotland in South Africa12-Oct-2012
Sussex's Matt Machan is part of Scotland's tour of South Africa this winter and scored his first century for the tourists yesterday on the opening day of their three-day match with North West Dragons in Witrand.
With a maximum of 65 overs per side, both teams fielded 12 players with the hosts winning the toss and electing to field first.
It was a tough morning session for the visitors, however Machan (104) produced a watchful innings to score his first century in Scotland colours.
Machan was ably supported by Josh Davey (32), as Scotland were all out for 222 in their first innings.
In reply, The North West Dragons reached 135 for 4 at the close of Day One. Majid Haq finished with two wickets, while Gordon Goudie and Safyaan Sharif claimed a wicket apiece.
Scottish Coach Pete Steindl said, "Matt showed great temperament and it was an impressive innings. The conditions were tough in the morning, and on a sticky wicket his shot selection and execution was clinical."
Scotland have also played two Twenty20 matches this week against sides warming up for the Champions League T20 in South Africa. They lost by 22 runs to a strong Kolkata Knight Riders outfit and by 20 runs to Highveld Lions on Tuesday.
Scotland have included four English county regulars in their fifteen-man squad including Machan. The players are eligible for the associate nation because of a change in ICC regulations which allows cricketers with British passports and Scottish parentage, whereas only those who were born or live in Scotland could play for the country.
Thanks to Cricket Scotland's website for the update on their tour to South Africa. Click HERE to visit their website.


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SECOND ELEVEN: Michael Ripps through Kent line-up in SET win16-May-2012
Sussex's 2nd XI comfortably saw off Kent in the Second Eleven Trophy at The PROBIZ County Ground yesterday, as trialist Michael Rippon starred with figures of 7 for 12.
The visitors won the toss in this 40 over affair and after electing to field, saw Sussex rack up 273/9. Matt Machan, who hit a century in Sunday's CB40 win over the Unicorns was once again in fine form, smashing 87 from 90 balls, and further down the order it was Amjad Khan's 40 from 25 which also did the damage, including a memorable six over the South Stand.
Rippon also chipped in to make 26 off only 16 balls, setting Kent a stiff target.
The visitors' innings was disrupted by some freak showers at Hove but the recalculation under the Duckworth/Lewis method only brought about a quicker victory for the hosts and it was Rippon that really got to grips with their batsmen.
Once the promising Daniel Bell-Drummond had been bowled by Will Beer for a run-a-ball 43, there was no looking back for Sussex as Kent slipped from 81/2 to 108 all out, chasing a revised target of 238.
Rippon, a South African leg-spinner who is currently playing Sussex Premier League cricket for Brighton and Hove, needed only four overs to claim his seven wickets whilst fellow spinner Beer finished with figures of 3 for 29 from 4.5 overs.
Another solid win for the Second Eleven who now move onto Arundel to take on the same opposition with play starting at 11.00am today.
It is a Second Eleven Championship (three-day match) and entrance of course is FREE


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Requests for Proposals (RFPs) for Health and Human Services Pursuant to Chapter 103F, HRS
This site contains the health and human services RFPs issued by various state agencies. Each applicant is responsible for checking the website for updates, changes and addenda. To be advised of changes and updates, interested parties must also provide an e-mail address to the RFP contact person located in the RFP detail and the RFP document. For your convenience, the RFP Interest form may be downloaded to your computer, completed and e-mailed or mailed to the RFP contact person. The State shall not be responsible for any missing addenda, attachments or other information regarding the RFP if a proposal is submitted from an incomplete RFP.
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Bonnie Cox
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Our Youth Voter Registration Program kicked off in nearly 40 communities nationwide. League volunteers in 15 states will visit local high schools, community colleges and technical/vocational schools to help young people get registered and ready to vote in 2014.
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Leagues across the country have been helping to build public support for restoring the effectiveness of the Voting Rights Act by submitting this template letter to the editor to local or state newspapers. Below is the growing list of Leagues that have already published the letter in their communities.
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TORONTO — Dr. Tiffany Chow, a behavioural neurologist in the Sam and Ida Ross Memory Clinic at Baycrest, has her own story to tell about Alzheimer's disease.
In her recent book, The Memory Clinic, Stories of Hope and Healing for Alzheimer's Patients and Their Families, (published by Penguin Group Canada) Chow said that she only recently figured out that her grandmother in Hawaii died of Alzheimer's, but without the typical memory loss symptoms.
Her grandmother died of a brain hemorrhage in 1995, but Chow said it was only after years of clinical training and experience with Alzheimer's patients that she recognized the details of her grandmother's illness were consistent with Alzheimer's.
Chow began to wonder if she, too, could ward off the effects of Alzheimer's by building up her own cognitive reserve, just like her grandmother did.
"I tried to discover how my grandmother kept her Alzheimer's asymptomatic. What did she do, or not do?"
Chow, 46, a married stepmother of two boys, 7 and 8, said she didn't go into medicine wanting to work with Alzheimer's patients, "but realized I enjoyed being in close contact with patients and their families.
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Chow said her literary agent, who urged her to write the book, found it fascinating "that a young, lively person like me enjoyed working with older people."
She wanted Chow to write a personal book that talks about her resolve to lessen her risk for the disease – she balances her career, with family, regular exercise and healthy eating – and about the life lessons she learns from her patients and their families.
The book, which is written for the layperson, has two distinct messages, Chow said. "First is for the caregiver. Pace yourself and receive help gracefully.
"At the end of the day, the caregiver has done a good job if the patient is pain-free, safe, and having some enjoyable moments. Burnout comes when the caregiver thinks they are not doing enough."
Chow said she learns a lot from the caregivers, and their stories are told throughout the book.
"They are the experts on each individual person. Part of what I do is make them feel empowered," Chow said. "They are an important role on our team. We help set them up for success."
There is less stress when everyone works together, she said. Social networking does the most good.
The book's second message, Chow said, is prevention. "What [changes] can you make to your lifestyle that are sustainable for you to do now and for the rest of your life? Ask yourself, 'What should I start and what should I stop?'"
She includes chapters on thinking before you eat, managing stress, and physical activity and the body-mind connection. "I follow the idea of moderation. I like red meat, and although I'm very mindful, I'm not perfect."


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Fire safety topic of workshop for Emporia State studentsJanuary 20, 2012
Fire safety is the topic of a workshop for Emporia State University students sponsored by the Emporia Fire Department and the Office of International Education and Office of Student Life at ESU.
The Fan-Lin Fire Prevention Workshop will be from 4 to 5 p.m. Monday, Jan. 30, 2012, in Webb Hall of the Memorial Union. The event is named in memory of Zheng Lin and Yawei Fan, two ESU students who died in an apartment fire last October. Investigators determined the fire started when combustible items blocking a floor furnace grate ignited.
During the workshop, members of the fire department will provide information on fire safety and planning escape routes from home or residence halls as well as demonstrate how to use safety equipment. The workshop will include a question-and-answer session to address specific questions and concerns.
Check out our students' achievements and accomplishments on Emporia State's meritpages.com site


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Students awarded scholarships for 2011-12 academic yearFebruary 2, 2012
Scholarships are helping almost 1,400 Emporia State University students attending classes this academic year. The 2011-12 allocation of scholarship awards, at $1,836,727, is helping support the educational dreams of students in Kansas, 18 other states and 10 foreign countries.
For more information about financial aid and scholarships at Emporia State University, visit http://www.emporia.edu/finaid.
For a list of students awarded scholarships for 2011-12, click here.
Check out our students' achievements and accomplishments on Emporia State's meritpages.com site


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Puzzle Levels
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|Separate the two pieces and put them back together again
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Two intertwined pieces of stainless steel. The objective is to take them apart without forcing the pieces.
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Tendons connect muscles to bone. The fingers have tendons that run all the way up to the finger tips. The tendons on the palm side let you curl your fingers. A flexor tendon injury is damage to these tendons. When the tendons are damaged, you can lose your ability to bend your finger(s).
Flexor tendon injures most commonly occur as a cut or laceration to the hand. Other causes include:
Damage to the tendon from:
- A cut to fingers—palm side
A sports injury:
- Stretching of tendon
- Jersey finger—when finger catches on another player's jersey or clothing
- Rheumatoid arthritis
Risk Factors
Factors that may increase your chance of a flexor tendon injury include:
Participating in certain sports, such as:
- Rugby
- Football
- Wrestling
- Rheumatoid arthritis
Symptoms may include:
- Pain
- Swelling
- Tenderness
- Inability to bend finger
- Cut to hand or fingers
- Loss of sensation
You will be asked about your symptoms and medical history. A physical exam will be done. During the exam, you will be asked to bend and straighten your fingers. Your doctor will also check your fingers for sensation, blood flow, and strength. You may be referred to a hand surgeon or an orthopedist—a doctor who specializes in bones.
Talk with your doctor about the best plan for you. Most patients with this type of injury require surgery. Surgery may be scheduled right away or within several days. Treatment options include the following:
Depending on the type of injury, you may receive antibiotics to prevent infection.
Tendons that are cut or ruptured require surgery. The hand surgeon may sew the tendon back together. It may be necessary to sew the tendon back to the muscle.
After surgery, you will be given a splint to protect your hand. You will be told how long to wear it. It may be up to two months. A physical therapist or occupational therapist will work with you to regain your finger strength and range of motion.
Flexor tendon injuries are typically caused by accidental injuries. There are no known prevention guidelines for this injury.
Revision Information
- Reviewer: Teresa Briedwell, PT, DPT, OCS, CSCS
- Review Date: 09/2016 -
- Update Date: 09/25/2014 -


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Tamron SP 90mm F/2.8 Di MACRO 1:1 VC USD Canon mounted on Canon EOS 5D Mark III : Tests and Reviews
Further readings for the Tamron SP 90mm F/2.8 Di MACRO 1:1 VC USD Canon
To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Launched in September 2012, the Tamron SP90mm f/2.8 Di Macro II VC USD lens aims to continue in the same vein as previous Tamron macro lenses by offering very high image quality in a well-priced package that rivals the offerings from the major camera manufacturers. A true macro lens, this model offers full 1:1 lifesize reproduction and includes Tamron's Vibration Compensation (VC) mechanism to help achieve images free of camera shake even at longer shutter speeds. Also present is their USD, or Ultrasonic Silent Drive, AF motor for fast, quiet AF operation.


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VICTORY: Sussex beat Yorkshire by an innings and 12 runs13-Apr-2013
Steve Magoffin finished with figures of 5 for 51 as Sussex beat Yorkshire by an innings and 12 runs at Headingley today, taking the final two wickets swiftly.
Jack Brooks became Chris Jordan's 8th victim of the match to put Sussex on the brink before Gary Ballance skied Magoffin into the grateful hands of wicketkeeper Ben Brown.
Sussex were the first side to register a win in the LV=County Championship Division One this season.
Yorkshire 96 all out and 248 all out, Sussex 356 all out. Sussex win by an innings and 12 runs
To see highlights of DAY THREE of the match, please use the link above.


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PANESAR: Face an over from Monty!18-May-2012
Have you ever wanted to test your skills against Sussex's star spinner Monty Panesar? Well now you could have the chance with Sussex Cricket World's fantastic competition!
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If you run a cricket club and would like a poster for the competition one can be downloaded from the Sussex Cricket World website, which you can visit by clicking HERE


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Dedicated investors are often getting positioned for the next great trading opportunity. Finding value in the stock market may require a lot of hard work and dedication. Investors are constantly reviewing every bit of information available. This may include keeping close watch on fundamental and technical data. Ply Gem Holdings, Inc (NYSE:PGEM) has a current Value Composite Score of 37. Using a scale from 0 to 100, a lower score would represent an undervalued company and a higher score would indicate an expensive or overvalued company. This ranking was developed by James O'Shaughnessy using six different valuation ratios including price to book value, price to sales, EBITDA to EV, price to cash flow, price to earnings, and shareholder yield.
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Monday, August 22, 2011
Olympus M.Zuiko 45mm F1.8 Review: Chinese and Hindu Temples
146 comments :
OMG.. despite cropping it's still THAT clear!! Amazing!ReplyDelete
Robin... got try the 45mm on the EPL1???ReplyDelete
Yeap, it is THAT clear.
not yet. I will try it. hehehehe
- kam mei8/22/2011 11:57:00 PM
nicely photos..ReplyDelete
Thanks Kam Mei !!ReplyDelete
Wow, beautiful pictures and the lens is also very good!ReplyDelete
Thanks Rainer. It is a very good lens !!ReplyDelete
wo what a good lens.. i wish i could us e it now in my g2 do you think the crops would be still that clear with my g2?ReplyDelete
Hope the lens will be released soon in Germany.. cant wait to get it.
hello Christian,ReplyDelete
I am sure the G2 sensor can deliver, after all Olympus PEN also uses sensors from Panasonic. Maybe with Noise Filter turned off, same sharpness can be achieved.
Beautiful sunburst man.ReplyDelete
I'm excited about this lens, those portraits are very nice looking. The background blur seems to not distract!ReplyDelete
those crops - (boy's right eye) for example - simply smashing detailsReplyDelete
Thanks again, robin, great work!
- Anonymous8/23/2011 04:46:00 AM
Dear Robin,ReplyDelete
Please don't take it personal if some dark wizzards can't realize that part 1 of your review was rather a teaser because you couldn't even wait for the first light and had to try this lens out...
You do an excellent job by showing us how huch we may be able to get out of the gear if we would only try.
And it seems like F1.8 is just perfect for portraits: Looking at the crop from the boy, only the eye is in focus - proves also the point of the excellent AF of the E-P3; if the combo can achieve this even with candid portraits then wow.
Your blog realy encourages me to try to do it myself and the combo you used for this entry just seems perfect for a little walkabout kit.
Many thanks for your real world anthusiast insight and keep up the good work
don knizi
Of all the things the sunburst shot actually exhibited some flaws in the camera ahahha, the possible red dot issue.
Hello Brad C,
The background blur is very good indeed, probably due to the medium telephoto range of 45mm.
Hi Mige0,
I know !! I gasped when I first previewed the boy's eye, and you should see the boy's facial expression after he saw me gasped !! Too bad I was too stunned to respond to capture his expression LOL.
Hello don knizi,ReplyDelete
Thanks for the kind compliments. I have intended to do two part review, and one of them should be strictly shooting under dim lighting where the F1.8 is needed.
The combo of the 45mm and the E-P3 is just right for walkabout, but I am sure many would feel that the 45mm is a little too far for their preferences. I have always loved the 50mm F2 macro on E-5, hence having a much smaller and lighter version, with added improved faster AF, it was really a great welcome !!
Great 2nd part of the review Robin! I enjoyed reading it again, and looking at the great photos. Have you had the opportunity to use the 45/1.8 with any of the Panasonic m4/3 cameras? I am wondering whether or not the AF would still be as responsive as it was with the EP3. Thanks again, and keep up with the great blog you've got going!ReplyDelete
hello Armando,ReplyDelete
Thanks for returning for my Part 2, and it was my pleasure to share and contribute to this community.
Unfortutunately I have no access to Panasonic cameras at the moment, to be honest most of my photography friends use either Canon or Nikon !!
If I do find one (in odd chances) I will give it a try before returning the lens to Olympus Malaysia. Thanks for the suggestion.
- Anonymous8/23/2011 07:30:00 AM
Robin, thanks so much for taking the time to post this extensive review.ReplyDelete
I enjoyed reading your review much more than the usual technical reviews.
I can't help but wonder what you will take street shooting, after you get a 45mm of your own.
Will it be the 50mm or the 45mm?
Thanks again for the effort you put into the review.
hello ollieReplyDelete
thanks for such kind remarks!! I certainly do not deserve them. it was my pleasure to be able to contribute and share with this community.
if I have the 45mm, it will be my street shooting gear. the reason is simple, much faster and more reliable focusing!hello ollie
thanks for such kind remarks!! I certainly do not deserve them. it was my pleasure to be able to contribute and share with this community.
if I have the 45mm, it will be my street shooting gear. the reason is simple, much faster and more reliable focusing!
Thanks a lot for your great review and extraordinary photos!
I really think Olympus ought to give you a complimentary copy of this lens, considering the huge number of the 45mm they will sell because of your review!
My 45mm is already on pre-order (are you listening, Olympus?).
I own a E-PL1, so it would very nice if you could test the lens on it.
Thanks again for a wonderful review and a great site!
hello antonio,ReplyDelete
your comments are too kind, I dont deserve them!! I wont be getting anything in return for this review write up, it is my pleasure to contribute to this photography society.
I do have plans to try the 45mm on the epl1 however that will only happen in the weekends as I have a full time job. wont be getting anything in return for this review write up, it is my pleasure to contribute to this photography society.
I do have plans to try the 45mm on the epl1 however that will only happen in the weekends as I have a full time job.
you must be excited and cant wait for the 45mm lens!! I am very confident you will make wonderful images with it.
definitely my next lens after the arrival of my PEN! thanks for this review.ReplyDelete
you are most welcome! I am very sure you will love the lens to bits.
Wonderful review Robin. I had high hopes for this lens myself, having been waiting for a decent portrait lens for 2 years! I'm so glad it stands up the quality standards we're looking for. If only it were a metal build, it would be perfect! I can't help but wonder what Olympus will release in their macro lens though.ReplyDelete
Anyway, I already pre-ordered this lens a couple of weeks ago. Just waiting on it now!
hello michaelReplyDelete
thanks for the compliments! perhaps the reason why olympus did not rush this lens out is to produce it as close to technical perfection as possible, in terms of image quality and autofocus. then it was surely worth the wait.
I would have preordered if I have the cash! I shall be saving up for the lens.
Hi Robin,ReplyDelete
Another good article. How much are they selling the 45mm in Malaysia? Tempted to pick one up when i'm there for a holiday.
Kind regards
hello william,ReplyDelete
thanks for the kind words. however I have not the slightest clue on the lens pricing in malaysia. it is not out in the stores yet. sorry I cannot be more helpful.ave not the slightest clue on the lens pricing in malaysia. it is not out in the stores yet. sorry I cannot be more helpful.
- Anonymous8/23/2011 07:17:00 PM
Thanks for the post (both parts). I now know that the Oly 45 is a good lens. In fact my only issue would be the lack of the black option, because it is the one thing that is putting me off for the moment. I prefer to be a bit stealthier than this lens may allow.
hello Anonymous,ReplyDelete
It was my pleasure to do the review and share with the community.
I absolutely agree with you on the need for black version, I would have preferred it to be black too !! Shooting with a metallic shiny lens under bright sunlight is not really good for street photography !!
Fuyoo..so crystal clear and sharp images:)nice pic bro:)ReplyDelete
Encik Senyum,ReplyDelete
Indeed, its very sharp !! Thanks mate.
For those who wants to know if the 45mm works on panasonic m43, I had it tested on G3. Works flawlessly, tho focusing is slightly slower than EP3 (by miliseconds if you want to know) but still very fast =) Thanks to Robin for giving me the chance to try out the 45mm f1.8 lens!ReplyDelete
Nice review, good sharpness. An interesting lens for m4/3 users!ReplyDelete
thanks for sharing !! I am sure many Panasonic users would love to know.
Hello Bartosz,
The lens is very interesting. Worth considering if you decided to join the micro 4/3 camp.
A very good review, what I would expect for real world. Besides, I don't shoot test charts in my work anyway, mostly people like you. I know my clients would like the results of this lens. Very good buddy, thanks again.ReplyDelete
hello carl,ReplyDelete
it is very good to hear from you again!! certainly we do not shoot test charts! real world usage is what matters to me regardless of graphs and figures.
congrats robin for everything..!ReplyDelete
i personally say that this review is acting more like a poison... an instant 'racun' laa =)
Hello Capin !!ReplyDelete
Thanks mate. Racun indeed, even I myself also kena.. ahahha.
When will you collect your precious from Olympus Malaysia?
Hi Robin,ReplyDelete
As always, great review!
Do you think the details and resolution would be present if this lens was used on a EP2?
Hello Krish,ReplyDelete
Thanks for the compliments.
Generally the lens is sharp, regardless of which body you use, but the E-P3 has weaker Anti-Alias filter, hence you will squeeze more details out of the lens with E-P3.
Great review and great pictures. This one definitely pushed me over the fence to go ahead and pre-order it. I shoot with an EPL1 as well, and have been hoping for a good upgrade. I didn't like the G3, and ended up selling that. If money wasn't an issue, I'd probably pick up an EP3. Quick question though. Do you use an EVF on the EP3 when you shoot with the 45? Strictly IQ-wise, do you feel the EP3 is better than the EPL1? I really want to paint the 45mm when I get it... but I know I will be too scared and fear ruining it to do that. Great photos and review!ReplyDelete
- Anonymous8/25/2011 04:30:00 AM
Thanks for the review. I would love to see a comparison of this lens with a legacy 50mm, or even a 45mm like the Rokkor 45mm pancake. Since the 50mm are so inexpensive and readily available.ReplyDelete
Hello SNTP,ReplyDelete
Thanks so much for the compliments, I appreciate them.
For both two parts of my tests with the 45mm on E-P3, I did not shoot with the EVF. I used the live view on the OLED screen at all times.
I do think that the image quality on the E-P3 is better than E-PL1. However, do take note that the noise filter on E-P3 is a lot more aggressive than E-PL1, to fully bring out its benefits you should turn off the noise filter and apply your own NR in post processing if necessary.
Thanks for the kind words. However, I have already mentioned clearly that NO comparisons shall be made here.
- Four by Six8/25/2011 11:58:00 AM
Robin, thank you so much for the insights into this new lens. I personally get much more out of real world commentary than test images and MTF charts. m43 has been in desperate need of a fast portrait lens. I currently use a Pentax 50mm f1.4 legacy lens with adapter, but the combination is anything but stealthy, and I have to run it at f2 if I want a sharp image. The sharp f1.8 of this lens is just right.ReplyDelete
I love the DOF on your portraits. Plane of eyes and cheek bones razor sharp, tip of nose reasonably sharp, and ears slightly out of focus. Perfect! I'll also be using this on an E-PL1, black, so I also wish the lens came in black.
hello four by sixReplyDelete
it was my pleasure to share and I am glad you find them useful.
from your description it does sound like the 45m is exactly what you want the lens to do.
I have a black epl1 too, thinking of doing something with the 45mm in the weekends. will update this blog if that happens.
Thanks for the review...very helpful. I was wondering if you could post some shots with the lens stopped down to say, f5.6 or f8.ReplyDelete
Wide open looks great, but it's good to judge some other apertures.
And, perhaps, some shots taken at infinity.
Many thanks.
Ah...I see you have a few "stopped down" shots already posted.ReplyDelete
This comment has been removed by the author.ReplyDelete
Dear Robin..ReplyDelete
First time to your Blog, and AMAZING!! Thanks a lot for the Review
Hello Jim,ReplyDelete
Thanks for your compliments. I have returned the E-P3 and the 45mm F1.8 to Olympus Malaysia, hence any further tests will not be made unless by some weird chance I managed to get my hands on them again.
Hello Yola,
Thanks !!
Just bought the Pen3 a few weeks ago and realising what a great camera and system this is. Will be getting the 45 mm & 12 mm prime lens soon.I rarely need to take the Dslr out of the home now. Just curious to ask if you take most of the pictures with or without the electronic viewfinder?ReplyDelete
Glad I found your blog which by the way is excellent. Congrats on all the entries and although I'm shooting with the G1 I'm picking up an Oly 17mm, what can I say, love the lens. This post was instrumental in my next lens, thanks so much.ReplyDelete
Cheers and following from you Miami, FL.
Hello drkamalofsjmc,ReplyDelete
I shot all the photos without the EVF. It was a short review session.
hello Jorge,
Thanks for your compliments, and I am very glad you find the information useful. I am sure you will love the lens a lot on your G1 !!
your reviews are a big help for Olympus users who are beginners like me. amazing pictures! would it be possible to test the 45mm 1.8 on E-520? would you be able to post sample pictures as well if you may? looking forward as i always browse your blog if not daily 3x a week if i may say..keep up the good work robin.ReplyDelete
- firstname.lastname@example.com/22/2011 09:26:00 PM
can u review the Panasonic 25mm f1.4 Leica Summilux?ReplyDelete
The 45mm F1.8 is a specific micro 4/3 lenses, it is not back compatible with the DSLR E-520.
I reviewed Olympus camera and lenses, because they loaned me the test units (even before the official worldwide launch).
If Panasonic chooses to loan me a unit for reviewing purposes, I would be glad to do so.
Unfortunately, Panasonic never approached me.
Stunting pictures!!ReplyDelete
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REPORT: Sharks beaten by Yorkshire on Finals Day26-Aug-2012
Sussex Sharks' hopes of claiming a unique treble this season were dashed amidst a carnival of cricket at the Friends Life t20 Finals Day yesterday, which was held at the SWALEC Stadium in Cardiff for the very first time.
Yorkshire elected to bat first after winning the toss and with some tight bowling in the early exchanges from both Styris and Yardy, things looked to be going Sussex's way as the Tykes were reduced to 36 for 3 in the 6th over, the promising Joe Root trapped leg-before to an attempted Yorker from Styris. An 82-run partnership between Jonathan Bairstow (68 not out), another player released from the England side this week, and hard-hitting South African David Miller (47) changed the complexion of the innings and the Finals Day debutants reached 172 for 6 from their 20 overs, which looked to be a stiff target on a slowish pitch.
The Sharks knew they would have to bat well to chase down this total but two of their key batsmen were back in the Pavilion inside the first three overs of the innings. Luke Wright, who had already scored 300 runs in the tournament this term, chopped on from former England seamer Ryan Sidebottom whilst Prior, looking to pull International team-mate Bresnan over mid-on could only find the hands of Ballance.
Chris Nash (pictured), so often a figurehead at the top of the order for Sussex in all three formats of the game, was already holding the innings together and put on 40 with Murray Goodwin who attempted to steady the ship before the latter holed out to Ballance in the deep off the bowling of Richard Pyrah for 15.
Joe Gatting could only add 3 to the score before he was bowled by Pyrah but there was a sense of renewed optimism from supporters when Styris strode to the crease in search of a similar innings in Sussex colours to his knock against Gloucestershire, the equal third-fastest t20 hundred of all time. It wasn't to be though, as he failed to get hold of Azeem Rafiq and found the safe hands of Ballance once again waiting on the straight boundary for only 8.
Nash ploughed a lone furrow for the Sharks, particularly playing the ramp shot well as he looked to maximise the pace of the Yorkshire bowlers. But Sussex's luck was epitomised with the dismissal of Will Beer. With Yardy and Matt Machan both having been dismissed and the Sharks still needing 72 with little more than three overs remaining, the rampant Nash smashed Sidebottom back towards the bowler whose slight touch diverted the ball onto the stumps and accounted for Beer run out at the non-strikers' end.
It summed up a below-par performance for Sussex, bar Nash who was offered scant support as he got to grips with the Carnegie attack. His superb unbeaten innings of 80 took only 58 balls as he carried his bat, consisting of 8 fours and 2 sixes. Only Goodwin (15) was the other Sussex batsman to reach double-figures as the Sharks went down by 36 runs.


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Seborrheic keratosis is a type of non-cancerous growth on the top layer of skin. These growths may look like warts.
Seborrheic keratoses are not contagious, do not spread, or do not turn into cancerous tumors. In most cases, treatment is not required.
Risk Factors
Seborrheic keratosis is more common in people aged 40 years and older and in those with a family history.
Seborrheic keratosis are thick growths that may:
- Look yellow, tan, brown, white, or black
- Be waxy or look like warts
- Be round, flat, or oval in shape
- Be itchy when irritated by clothing or jewelry
- Appear anywhere on the skin
Some people have one lesion, but it is more common to have many.
It may be hard to detect the difference between seborrheic keratosis and melanoma, a potentially fatal skin cancer. It is important to see your doctor anytime new or changing skin lesions are noticed.
Your doctor will ask about your symptoms and medical history. A physical exam will be done. Your doctor can usually make a diagnosis upon examination of the skin growth. You may need further testing, such as a skin biopsy, to rule out other skin conditions.
Talk with your doctor about the best treatment plan for you. Seborrheic keratoses do not pose a threat to your health. The best course of action may be to leave them alone. If they itch or become irritated, or if you feel they affect your appearance, they can be removed.
Treatment options include:
If you have irritated seborrheic keratoses, your doctor may recommend topical corticosteroids.
In some cases, you and your doctor may decide to remove the seborrheic keratoses. Surgical options include:
- Freezing the growth, which falls off a few days later
- Removal with a razor or scalpel
- Laser surgery to burn the growth off
Revision Information
- Reviewer: Michael Woods, MD, FAAP
- Review Date: 09/2016 -
- Update Date: 09/02/2015 -