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Next Episode of Adventure Time is
Season 9 / Episode 5 and airs on 18 December 2017 00:00
Adventure Time's unlikely heroes Finn and Jake are buddies who traverse the mystical Land of Ooo and encounter its colorful inhabitants.
After chasing the Lich through the portal, Finn and Jake meet a wishmaster named Prismo.
Jake and Prismo watch from the portal as the Ice King's crown makes Finn more and more powerful.
Finn and Jake stick their thumbs in everything; Marceline tries to find her way to Wizard Bill's Music Shop; Ice King gets a new bride.
Finn and Jake are playing catch when Finn accidentally tosses their throwing disc into a gigantic tree.
Magic Man secretly slips Finn a bag filled with miniature versions of Finn and all his friends.
Jake's a daddy, but being a father and keeping his rainicorn pups from killing themselves or each other is a lot harder than he imagined.
Finn can't go anywhere without folks stopping to thank him for being a hero.
Ice King, NEPTR, Tree Trunks, Shelby and Lemongrab are trapped inside a mysterious dungeon and must work together to free themselves.
Princess Bubblegum sends Finn and Jake to investigate a message of distress from the Earls of Lemongrab.
While Finn & Jake go swimming, Finn's hat magically comes to life!
The princesses are sick and tired of Ice King's crazy Fionna & Cake stories, so Marceline stops by the Ice Kingdom to show him how it's done.
Finn's worried that Flame Princess still has evil tendencies in her and wants to shift her alignment to good.
Finn and Jake get lost in the badlands and are saved by Xergiok, ex-Goblin King who now lives in cave.
A look at what Ice King and Marceline were like 996 years ago.
Ice King creates a computer virus to delete everybody except him and Princess Bubblegum.
Stuck inside the treehouse during a sword storm, Jake builds a pillow fort while Finn goes to a different world.
BMO gets snatched away by a giant eagle and must find his way home.
Ice King gets super jealous when he finds out that he wasn't invited to the Princess Potluck.
Finn and Jake meet a horse with the power to make sad people happy.
Finn and Jake hold a contest to see who can last longer without talking.
Peppermint Butler thinks Princess Bubblegum is spending too much time in her lab and decides she needs a suitor.
His kidnapping scheme foiled again for like the millionth time, Ice King decides he's had enough.
Jake Jr. gets mixed up with some bad eggs and Jake has to reunite with his old gang for one last job to save him.
Why are Finn and Jake building a time machine? Can Princess Bubblegum help Cinnamon Bun conquer his fear of the dark?
LSP is robbed and faints before she can tell Finn and Jake who robbed her.
Princess Bubblegum believes magic is nothing but a bunch of hooey, but when Starchy gets sick and asks her to use magic to cure him, she asks Finn and Jake to help her sneak into Wizard City to get a cold spell.
Jake is sick and tired of Finn using his body as a suit of armor, so he convinces Finn to trade places to show him how much it really stinks.
Finn and Jake disguise themselves as MOs in order to infiltrate the MO factory in hopes of saving BMO from malfunctioning.
Marceline is on a top-secret mission tracking Maja the Sky Witch. But when she loses the witch's trail, Marceline turns to Princess Bubblegum for help.
After Flame Princess battles Ice King, Finn has an exciting dream. But when it abruptly ends, Finn must get FP and IK to fight again to find out how it ends.
Finn, Jake and PB discover a talented mutant named Lemonsqueak at The Pageant of Mutants. Now they must find a way to free him from the lemongrabs.
Princess Bubblegum subjects Flame Princess to a series of tests to gauge FP's fiery tendencies. But when there's an emergency at the treehouse, and PB leaves Cinnamon Bun to watch Flame Princess, her experiment might literally backfire in her face.
Jake crafts the most delicious sandwich ever, but when Magic Man steals it, Finn must defy the laws of space and time to win back Jake's creation.
When Finn starts sleepwalking and dreaming about the Green Lady he filed away in his memory vault, Jake and BMO help him tap into his repressed memories to uncover a secret past. Who is the Green Lady? And how is she connected to Finn?
Slime Princess needs a husband or else she'll lose the Slime Kingdom to her obnoxious sis. Finn steps in to save the day, but first they will need to win a series of Love Games to prove to Slime Princess's dad that they are really in love. This is definitely NOT what Finn signed up for!
All aboard! Finn and Jake discover a train where every car is a dungeon filled with a new foe for Finn to fight. Jake quickly gets bored and wants to leave, but Finn is having the BEST time and doesn't want to leave... ever!
Finn meets the Box Prince (a cat with a box on its back) and discovers the Box Kingdom has been taken over by an imposter. Now, Finn must help the real Box Prince reclaim his rightful throne.
Finn, Jake and Marceline are trapped in an underground cavern with no red in sight. If Marceline doesn't feed, like ASAP, she will turn into a vampiric beast and suck out all of Jake's blood! So, Finn heads off to explore the cave and find something red to satiate her until they can be rescued. But time is running out!
Finn finds an old truck, and Jake calls Banana Man to help with the repairs. But when BMO stays up all night working on the truck, he hears on a spooky radio talk show that Princess Bubblegum is a reptilian replicant. Is it just another one of Starchy's crazy conspiracy theories, or a fact?
Sick and tired of babysitting Ice King while the Ice Kingdom is being rebuilt, Finn and Jake call up an old friend to hang out with their annoying houseguest: Abracadaniel. But when Ice King and his new BFF accidentally unleash the demon Kee-Oth, Finn and Jake have to clean up their mess.
Kee-Oth the Blood Demon has kidnapped Jake, taken him back to his dimension and thrown him in a pit. If Finn wants to rescue his friend, he's going to need Lady Rainicorn's help... and a videotape that will reveal how to open the portal to Kee-Oth's messed-up dimension.
Finn & Jake are excited when Princess Bubblegum invites them to help her collect samples in the Desert of Wonders. But when their vessel is attacked by nasty goo monsters, Finn & Jake start to think the mission has been sabotaged by PB's robot helper James.
Root Beer Guy works a boring job during the day and tries to write mystery stories at night. But his life is about to change when he witnesses Finn & Jake kidnapping Princess Bubblegum! There's only one problem: no one believes Root Beer Guy...
You are cordially invited to the Wedding of the Year! But who will be united in matrimony?
Finn and Jake decide it's time for Finn to get a new sword. Finn reluctantly buys a grass sword from a mysterious old man, but the sword turns out to be cursed! And unfortunately for our hero, all sales are final.
Finn practices his sword fighting skills at the candy junkyard, where he meets an old gumball robot named Rattleballs. To Finn's shock, he finds out he's NOT the master swordsman he thinks he is. What the what?! Finn begs Rattleballs to train him, but he soon discovers his mentor's deep, dark secret... a secret that will ultimately test Finn's loyalty to Princess Bubblegum.
When Flame King breaks out of his prison and takes over the Flame Kingdom again, Flame Princess turns to the one person she believes she can trust... Finn! But will Finn be able to put his feelings for Flame Princess aside long enough to help her reclaim her throne?
In Wizard City, a magic spell backfires and turns Ice King back into Simon. Now with Finn, Jake and Marceline's help, Simon finds a way to bring his beloved Betty back. Finally reunited with the love of his life, everything is great! There's just one catch...without his magic crown, Simon will die.
Love is in the air when Lumpy Space Princess reconnects with an old classmate, but will her jealousy get in the way of finding true love?
Tired of all of Princess Bubblegum's talk about "responsibility," Lemonhope yearns for true freedom. So he sets off on the greatest adventure of his lemony life.
Though Lemonhope finds refuge from the desert with monster hunter Phlannel Boxingday, he might not be able to escape the ghosts of his past.
Finn finds the hero Billy's bucket list and ecides to complete the unfiished items as a final tribute.
John DiMaggio(Jake)
Jeremy Shada(Finn)
Tom Kenny(Ice King)
Hynden Walch(Princess Bubblegum)
Olivia Olson(Marceline the Vampire Queen)
Pendleton Ward(Lumpy Space Princess)
Niki Hyun Yang(Lady Rainicorn)
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Firefighters were called to deal with a van which had caught fire in Leamington on Saturday (April 19).
The crew from Leamington fire station arrived at the scene in Cubbington Road at around 9.15am. The van was van well alight and it took the crew around 20 minutes to extinguish the fire. There are no reports of anyone being hurt in the incident.

subset: commoncrawl


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(COURTESY OF HARRAH'S ENTERTAINMENT & The Las Vegas Review-Journal)
Harrah's Entertainment is considering a retail and entertainment center development in the short thoroughfare that runs from the Strip to Audrie Street between the Flamingo and O'Sheas.
The Project Linq center would include restaurants, bars and shops along a promenade that leads to a 550-foot observation wheel in the back of the property.
"We're really aiming for a fun, entertaining, cutting-edge experience," said Marybel Batjer, Harrah's vice president of public policy and communications. "The really fun attraction is the observation wheel. It's like the London Eye or the Singapore Flyer. They're really quite spectacular. The capsule you sit in becomes its own experience, the way they're outfitted."
With nearly 150,000 hotel rooms, Las Vegas needs attractions more than accommodations to pump up visitor count. Hotel occupancy rates have dropped to 79.3 percent compared with 82.4 percent a year ago, the Las Vegas Convention and Visitors Authority reported.
Would you agree with Marybel Batjer's observation that Las Vegas needs attractions more than accommodations to pump up visitor count? Put me down on the side that agrees with her and salutes Harrah's for considering this proposal. We have enough hotel rooms and with the additional rooms at City Centre recently being added, some complain that we have too many rooms available and that the resorts have to take a big cut in room rates in order to attract tourists. Let me add, that we not only need more attractions, but we need more "affordable" attractions and Project Ling might just be the one to get the ball rolling. Let me know what you think.
– Alan Stock


text: From Wilhelm Röntgen's 1895 discovery of x-rays to the aftermath of the Fukushima meltdown, award-winning author Craig Nelson ("Rocket Men" and "The First Heroes") offers a clear, colorful history of the atomic age. Nelson presents the movers and shakers of the era – everyone from Marie and Pierre Curie and Robert Oppenheimer to Franklin Roosevelt and Ronald Reagan – even as he explains the process of unlocking the secrets of the atom and what that has meant to our lives. You can see the Monitor's full review of "The Age of Radiance" here.


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Dunn unavailable for rest of Royals series
Dunn unavailable for rest of Royals series
"Dunn has some family issues," Guillen said. "He should be back -- I told him he's not playing [Sunday] either -- but he should be back Tuesday."
In his place, Brent Lillibridge made his fourth career start at first base on Saturday, as the utility man continues to adjust to the latest position added to his arsenal. With Paul Konerko still nursing a left calf and knee injury that has relegated him to DH duties and Dunn continuing to struggle at the plate, Guillen also called on Lillibridge to start at first for one game each in Minnesota and Baltimore last week.
Entering Saturday's game, Lillibridge had yet to make an error this season while playing each of the outfield positions, second base and now first base, as he continues to learn the latest one on the fly by taking pre-game infield practice.
"He's a great athlete," Konerko said. "For the most part, a guy like him who can play the infield and the outfield, and move well, most guys like that can pull it off pretty easily."


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Myth:"It's impossible to organise a wedding in Mackay"
Fact: There's no need to shop out of town to organise your dream wedding. Everything you thought you'd need plus more was at the 2014 Mackay Wedding Showcase.
Mackay's brides-to-be brought their dream wedding one step closer to reality when they attended the 2014 Mackay Wedding Showcase on Sunday, 3 August, 2014.
With over 60 exhibitors – both seasoned pros and 18 enthusiastic Showcase debutants – practical advice, inspiration and exclusive discounts under the one roof, brides-to-be had the opportunity to organise all aspects of their special day; from cosmetics and pampering to reception venues and finance.
A big trend this year was the shabby chic theme with pastel colours, vintage chairs, and delicate roses in abundance.
Alongside roving fashion parades by Under The Veil and 98% Angelz, and the main fashion parade by Jill Burston for Brides, this year's Wedding Showcase attendees were treated to something a little different. Award winning local designer Jason Chetcuti debuted the new resortwear collection from Chetcuti Fashion - perfect for tropical honeymoons.
The price of entry to the showcase was a gold coin donation to Breast Cancer Support Services and the brides-to-be, their fiancés and families raised $1500 for the charity.
Lucy Dillon for Brides is also the organiser of Mackay's Premier Annual Bridal Fair. Held on the first Sunday in February each year, Mackay's Premier Annual Bridal Fair is Mackay's longest running wedding expo.
Until Mackay's next Wedding Showcase or Premier Annual Bridal Fair check out just some of what was on display at the 2014 Mackay Wedding Showcase here on Facebook.
180 Brides-to-be, registered for the chance to win great prizes. The lucky winners were:
Please note: you did not have to be present at the prize draw to claim your prize
"Had a wonderful day today, thankyou so much for putting on this fantastic expo, took us 4 hours to make our way around the entire display. xx much love."
Facebook, 03 August 2014
"Had a great time speaking with lots of great couples about their up coming weddings"
Michelle - Genesis Cakes
Facebook, 03 August 2014
01 Jul 2014 - Save the date for August wedding expo
Check out what was on display at the 2014 Mackay Wedding Showcase here on Facebook.


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"From atop the Loews State Theater Building, the B. Manischewitz Company, world's largest matzo bakers, happily presents Yiddish Melodies in Swing..."
Sapoznik spent the next seventeen years searching for more surviving discs. Most had been melted down during WWII scrap-metal drives, others had disintegrated, but he found over a thousand, in attics, storerooms, even dumpsters. Each fragile artifact was a one-of-a-kind window into Jewish immigrant culture during the first half of the 20th century. Searing dramas, swinging music, news programs, advice and game shows, man-on-the-street interviews, commercials, and shtick leaped to life after decades of silence.
Lovingly restored, with translations performed by a cast including Carl Reiner, Eli Wallach, and Yiddish stars, the Yiddish Radio Project is a journey through time to a lost world that is intimate, passionate, raucous and utterly fascinating.
©2002 Sound Portraits Productions, Inc.; (P) ©2002 HighBridge Company
"Remarkable...like recovering a few blocks from the pyramids." (Philadelphia Inquirer)
"It's matzo ball soup for the soul!" (Entertainment Weekly)
"You haven't heard this kind of talk in 20 years"
Do you remember the hit song Joe & Paul's?
The Barry Sisters?
The Yiddish Philosopher?
Charles A. Levine, the 1st airline passenger to cross the Atlantic?
If you do you'll love this collection, if not you'll probally like it anyway.
Guest voices Jerry Stiller, Christopher Lloyd, & Eli Wallack, just to name a few.
Stories of people who won fortune and fame and those who's lives were ruined because of there fame.
What do you have to lose?
I should sit here in the dark until you change the light bulb?
Try it you'll like it!
This is a very touching and relevant show. It gives a glimpse into the immigrant life that is truly captivating. i enjoyed the connection with times long gone. maybe it could have been a half hour less. but its a great recording.
"Uneven but fun look at Yiddish radio"
This could have been much more than it is, but even so, it is a fun way to spend a few hours.
It consists of clips from old radio shows that featured Yiddish speaking entertainers (in both Yiddish and English), mostly from the New York metropolitan area. It is a visit to a nostalgic place that has mostly vanished, but which gave rise to two generations of Jewish entertainers.
Try it -- you'll like it.
"Time travel"
This provided a virtual reality experience of the world in which my father grew up. He came to the US at age 11 from a shtetl in Belarus in 1921. During my life I just heard faint whispers from that world. Whispers used for communication I was not to understand and from which I slowly learned a few words in Yiddish. I don't remember enough to understand much of the program, but the overlays by Yiddish speaking celebrities made it both easy and fun to follow. I highly recommend this program to anyone whose life
experience in any way overlaps mine.
"Yiddish Radio"
This was a great find! Here is true magic where first generation American Jews find their way in the USA, especially in NYC!.
"Who Cares?"
Scott Simon, as any NPR listener knows, is an intelligent, articulate guy. Unfortunately, he apparently fails to realize that almost no one cares about Yiddish Radio. I, and I'm confident, many other listeners tuned out this program when it ran on NPR. Public radio content should be eclectic, but should meet some standard for potential listener interest. New York is not the whole world despite the confusion of many New Yorkers.
Report Inappropriate Content
If you find this review inappropriate and think it should be removed from our site, let us know. This report will be reviewed by Audible and we will take appropriate action.


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One of the many highly rated visitors at Virginia over the weekend was Levonta Taylor. The Virginia Beach (Va.) Ocean Lakes stand out took notice of the Cavaliers and their improvements.
"I saw a little bit of the scrimmage," said the 5-foot-10, 174-pound Taylor. "I saw their new offense and how they're running more cover-man on defense. I like playing man and cover-2."
"I talked to Quin, Turtle and Jamil," he said. "Jamil is on his way to being a starting wide receiver and Quin is already the starting safety. They were telling be they're focus on beating UCLA in their opener. It's going to be hard but they just need to limit their mistakes and they should be good."
Article Continues Below
There are so many players that Taylor knows at Virginia so they figure to be a key player in his recruitment down the line.
"I'm taking Virginia pretty seriously but at the same time I have some other options too," Taylor said. "I talk to Michigan State, Ohio State, Miami and Tennessee."
Taylor already has another visit set up for during the season.
"I know I'm going to Florida State for their game against Notre Dame," he said. "The Florida State coaches told me I remind them of Lamarcus Joyner, one of their defensive backs that just went to the NFL. They like how I get to the ball. They really want me so I'm going down there to see all of the new facilities they're getting. One of my defensive tackles from Ocean Lakes, Derrick Nnadi, is in the starting rotation down there so that's pretty cool to see."
There are a few other games Taylor wants to see this year.
"I want to go to Alabama's games against LSU and Auburn," said Taylor. "Those aren't planned yet but I'd like to go for those."
As a sophomore, Taylor made 49 tackles, three tackles for a loss, intercepted seven passes, knocked down ten passes, forced one fumble and had one interception return for a touchdown and one on a punt return. He also added two touchdowns as a slot receiver.


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A Minnesota House panel approved a resolution Tuesday that allows the House to join a lawsuit to keep essential services functioning during a government shutdown.
Republicans on the House Rules Committee sponsored the measure, which also authorizes the hiring of former Supreme Court Chief Justice Eric Magnuson to represent the House during the litigation. An initial hearing is scheduled Thursday in Ramsey County District Court.
House GOP Majority Leader Matt Dean of Dellwood said Magnuson will argue for continued funding and against Gov. Mark Dayton's proposal for budget mediation.
"We're tying to keep the doors open so that if we have a shutdown that we can process the bills to get us out of a shutdown," Dayton said. "We need a functioning House to do that, and that's going to be his role."
Democrats on the committee were generally critical of the resolution. Rep. Kim Norton, DFL-Rochester, said it was a sign that Republican leaders had given up on budget negotiations.


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Support may be needed throughout the course of a life-limiting illness.
There are key times when particular support may be required: diagnosis, beginning and end of treatment, recurrence, terminal phase, at time of death and following bereavement.
The Family Support team ensures that care is given not only to patients but also to those who care for them. The physical, emotional and psychological needs of carers can often be overlooked as carers regard the needs of their loved one as paramount, being reluctant to consider their own needs.
Who is a carer?
Carers can be anyone. Carers are wives, husbands, partners, grandparents, sons, daughters, friends or neighbours. You might not think of yourself as a carer, you might consider yourself as just looking after someone close to you; this means you are a carer.
At Willowbrook all carers and family members of patients can access Family Support. We take seriously trying to support those who support the patient. We make sure that carers receive care that meets their individual needs, whether this is spiritual, emotional and psychological or practical support. Where those needs cannot be met within the Hospice, we will signpost you or make a referral to other agencies if required.
Family support
Family support is provided by all the Clinical Support team. The Lead Chaplain and the Senior Social Worker work closely with the Family Support Therapist to deliver appropriate care. If spiritual or religious care is needed then the Chaplaincy team can provide a listening ear and guidance. If practical worries need addressing, the Social Worker will assess what is required and help put things in place.
One to one support is provided by the Family Support Therapist where a confidential listening ear is offered and a safe space in which to talk about what is happening to you. Carers may have many difficult decisions and adjustments to make throughout the course of their loved one's illness. Advice may be given on caring for yourself without feeling selfish or guilty about it. This will then help you to keep on caring.
Support will normally be offered for six individual sessions, each lasting an hour. Sessions take place at the Hospice and at The Living Well. Telephone support is also available if required.
Family Support exists to support the whole family of a patient. This includes children and young people. We will work with parents and carers to help them develop skills to meet their own children's needs; thus we will aim to support children through their parents.
Looking after yourself
As a carer you realise how important it is to care for yourself in order to be able to care for the person who is unwell. Family Support is available to anyone whose relative is known to Willowbrook Hospice, whether that is through the In Patient Unit, Well Being Services or the Out Patient Clinics. This support can begin right from the first visit to the hospice and can continue after a loved one dies.


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Comment on Healthy Smile Printable Activity Book by Shannon Gurnee.
These are so super cute! I love these different printables! This sounds like a great product too!
Recent Comments by Shannon Gurnee
3 Snaps For Blue Apron Meal Delivery
I love Blue Apron! They make meals fun and easy to make. It's a great service!
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To support my blogging efforts and site expenses, I do share relevant affiliate links in my posts. Thank you for your support.


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Photographer's Note
I made this photo in Poznan at the evening when the city is cool down.
Nobody has marked this note useful
Critiques | Translate
berek (50508) 2005-10-24 8:16
Hi Michael.
Nice shot. İ like to this picture. Sky colour and composition great.
thanks for sharing.
supereira (9576) 2005-10-24 10:52
Great shot.I like it.Good composition and point of view.Good contrast between the sky and the black silhuoettes.Good colors,light and sharpness.Well done!
Fis2 (114993) 2005-10-26 14:26 [Comment]
Ciekawie wygl±daj± kontury zabudowañ na tle ciekawego nieba.
Interesuj±ca kolorystyka i kontrast.
weswang (18223) 2005-10-27 10:54
Hi Michael, I like the quiet and peaceful mood shown in this silhouette view over the roof tops. The glimpse of the sunlight and the view through the glass window provide a good indication of the timing and the place. Nice capture of the special cloud patterns. A nicely composed shot.
jbweasle (9395) 2005-10-27 15:12
Michael, an fine silhouette against this brilliantly banded sky. It's unusual to see this type of shot taken in a city - most of the sunsets and silhouettes on TE are taken in some tropical resort. The dark cloud across the top of the frame is a bit overbearing - I might have cropped a little of it out.
Elduque (624) 2005-10-28 12:41
Very beautiful picture !
Impressing the darkness of the buildings, without any light at all, and only the transparency of glass roof.
You got a very sharp definition of the shapes of the buildings.
Antonio Elduque
jrj (34843) 2005-11-04 5:49
Well made silhouetted compo of Poznan m. I think it had also worked cropping a little more in the black lower section. Nice work
Gregtom (7169) 2005-12-08 1:11
Hello, Michael!
I like the almost monochromatic character of this picture. Zones of light and clouds on the sky made an unigue pattern, which contrasts with silhouetted, dark roofs. And one of them is almost transparent and illuminated by the light... Very nice effect.
riclopes (35577) 2006-03-06 9:14
Hi Michael,
Amazing effect of lighting on those clouds, in this early hour of the evening. Magnific composition with the sillouettes of the buildings against it. Excellent shot!
In general, I think you have wonderful shots in your gallery, but some lack in notes, that could improve the impact of your images.
Best regards,
AdnanDurmaz (116) 2006-05-29 17:58
enteresan hoş
Photo Information
- Copyright: Michael Umbreit (michalu) (810)
- Genre: Places
- Medium: Color
- Date Taken: 2005-10-01
- Categories: Architecture
- Camera: Kodak DX7590
- Exposure: f/6.3, 1/1600 seconds
- More Photo Info: view
- Photo Version: Original Version
- Date Submitted: 2005-10-24 5:54


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Amazing words ❤
Shatter me with your passion and send my soul into the wind. That I may fly towards another and share your words. Cradle me against the torrent of humanity, the tears of anger and sadness of others wash over me. I close my eyes to the pain of the world for a second, a second just to myself… Laying down the boulders of others, I take up my own cross and begin to climb The Hill. Inadvertently I follow the footsteps of others, but I do not share their trials or their story. The mud from their tears provides a fresh pavement for my own footsteps to leave their impression. A trail of humanity for the next.


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Edward J Hog and Friends - Counting Toes
Sold for:
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- Sold Date:
- Source: eBay UK
This auction is for an Edward J Hog figurine. It is called "Counting Toes".The item comes in a very good used condition. It spent a few years on a shelf and then a few years packaged up after I moved house. I have moved on to other collections now and therefore the item is ready to be passed on to a fellow collector who maybe be missing this one ! The item does not come with its original box but will be well packaged. Item is from a clean, pet and smoke free home. Paypal and UK postage only. I am happy to combine postage. Please check out my other listings.


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Shockers jump all over Dent
Jordan Wohlwend and Seth Hamman went 3-for-4 Sunday as the Wadena-Deer Creek Shockers pounded the Dent Wildcats 8-1.
Wohlwend collected a bases-loaded single in the sixth to drive in two runs. Hamann scored three times for the Shockers. Casey Johnson went 2-for-4 with one RBI and newcomer Jake Krause singled in Hamman in his first at bat for the Shockers.
"It's good to see our youth have success early," WDC skipper Jayme George said. "It really helps with their confidence down the road."
Wohlwend held the Wildcats scoreless until the seventh and struck out seven Dent hitters in picking up the mound win. Travis George struck out five in a relief appearance. Eric Weller was charged with the loss.
Jeff Ronning went 2-for-4 at the plate for Dent.
The victory gave the Shockers a 2-1 record in amateur ball. The club lost to Bertha in the season opener but crushed Detroit Lakes 10-0 May 5 in a seven-inning game. Travis George and Jamie Nordlund both drove in a pair of runs against the Angels. George was the winning hurler with strong relief help from Hamman.
The Shockers will host New York Mills Sunday in Deer Creek. Game time is set for 1:30 p.m.
Dent 000 000 100 - 1 7 1
WP- Jordan Wohlwend; LP- Eric Weller


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Note: This page contains links to PDF files. For more information, see the web page on Accessing files.
February 2011
© Commonwealth of Australia 2011
ISBN 978-0-642-79413-0 (Printed version)
ISBN 978-0-642-79414-7 (HTML version)
View the report as a single document - (PDF 1.1MB)
View the report as separate downloadable parts:
IntroductionCommittee duties Review Auditor-General's reports and conduct policy inquiriesAdvise the Auditor-General of the audit priorities of the ParliamentApprove or reject any nomination for an appointment as Auditor‑General
or Independent AuditorReview the annual budget of the ANAOApprove the annual report requirements for Commonwealth agenciesBiannual hearings with the Commissioner of TaxationAnnual hearing on the ANAO/Defence "Major Projects Report" Australasian Council of Public Accounts Committees (ACPAC)How the Committee operatesGovernment responses to JCPAA reportsThe Committee secretariat
Committee reportsReport 416: Review of the Major Projects Report 2007-2008Report 417: Review of Auditor-General's Reports tabled between February
2009 and September 2009Inquiries in progress at 30 June 2010Inquiry into the Auditor-General Act 1997Inquiry into the Auditor-General's role in scrutinising government
advertising Review of Auditor-General's reports Other Committee activities for 2009-10Statement on the draft estimates for the ANAO, budget day 2010Biannual public hearings with the Commissioner of Taxation2009-10 Annual Report Requirements for Commonwealth agenciesBriefing on public sector governance issuesEngagement with the Independent AuditorSpeeches and meetings with delegations
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The industrious author Sarah Palin has written her memoir in four months flat, and readers can look for the hardcover in mid-November.
According to the AP, the book is entitled "Going Rogue: An American Life," and the HarperCollins' Harper imprint plans to print 1.5 million copies. Harper publisher Jonathan Burnham had this statement: "Governor Palin has been unbelievably conscientious and hands-on at every stage, investing herself deeply and passionately in this project."
Today's edition of the Morning Media Menu podcast pondered this upcoming publishing event. In addition to the memoir, the show also explored Tina Brown's new publishing imprint and boozy days at the NY Times.


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Posted 4 years ago
(615 items)
These cool promo glasses get their point across. I find the EXXON glass promoting its tanker service to be very interesting.
And I'd assume that the small Molson item is a taster glass from their Brewery in Toronto. The hospitality room there was known as "The Anchor Room".
All were either flea market or yard sale acquisitions, and augment my collection very nicely.


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I'm a diehard Carolina Panthers fan and i love anything MMA
The news reported that they are burning his jersey in chicago, and i dont blame them. He has no heart, and was never consider a great QB and never will. jay cutler was never considered a classic team mate and chicago should be ashamed. When you are playing to go to the super bowl against your long time rival you give it your all. He punked out and he doesn't have the balls to do what he has to do for his team. I have seen players like brett favre and ben roethlisberger play with broken bones for there team.he lacks leadership


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An innocent Georgia man spent 17 months on Rikers Island on robbery charges before a detective noticed that fingerprints linking him to the crime were mismatched, a published report said.
In the end, Dwight Gomas walked away with a $145,000 settlement, but he told the Daily News the nightmare of his experience endures.
"That scares me now. It's like I'm walking on eggshells. I try to cover my tracks for everywhere I go."
During his 523 days in jail, Gomas, 31, lost his spot in a cooking school and his girlfriend and their child moved in with another man, the newspaper said.
Gomas' bungled situation was righted as he was headed to trial for allegedly holding up a a Queens jewelry store, and a veteran detective routinely checked his identification.
"When I looked at it, I said, 'You know what? This is a screwup; this is not his fingerprints,'" said Detective Daniel Perruzza, according to a court transcript.
"It looks similar, but 'similar' doesn't cut it in prints. It has to be an exact match," Perruzza said.
Gomas was actually 880 miles away, living in Atlanta, when the jewelry store in Howard Beach was held up in 2003.
A year later, Gomas was arrested for the robbery by U.S. marshals.
Detective Eileen Barrett had matched a partial index finger print from the crime scene to Gomas, whose prints were on file after an arrest for driving with a suspended license in Brooklyn.
It was the only arrest on his record other than a juvenile bust.
A second NYPD detective, Charles Schenkel, confirmed Barrett's identification, according to court papers.
Both detectives are now retired.


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Photo by James BunoanHe had me at "Loretta Swit had a bush you could hide a VCR in."
You don't know Patton Oswalt? He's the short, Keebler-ish sidekick on King of Queens, which, confusingly, refers to the borough. You know Patton. He lives with his mother? Who loves him inappropriately?
Oh, yes. Now you know him. Patton Oswalt is my lover. It's just gonna kill Dave Attel.
See, one night, I was all high and decided to make a list of all my famous friends, the sole criterion being that, if asked, they had to know who I was. Patton topped that list, with Dave Alvinand Billy Zoom coming in close behind. I'd regale you with more names, but the list was really depressing, so I threw it out like yesterday's garbage or The Orange County Register today. For instance? Although state Senator Gil Cedillo ranked pretty high on my personal faves, he's not really famous at all unless you listen to talk radio and want to eat illegal aliens. Liev Schreiber, who's also not famous, did not make the cut. Neal Pollack, America's greatest living writer, did. Have you heard of him? Yeah, me neither. See what I mean? Depressing!
But Patton loves me, yes, he does. So when he had a new album coming out—Feelin' Kinda Patton—he e-mailed me with sweet nothings designed to lure me into giving him some free PR. And I quote: "How are you? Yeah, that's great. Listen, I've got a new album coming out." No girl can resist a smoothie like Patton, including his girlfriend, whom he finally mentioned when we were finally at dinner, with, "Of course I mentioned her before! I didn't? Oh. Well, you know . . ." Then he stroked my neck a lot and told me I had skin you could make a vest out of. That was before we walked down Third Street and ran smack into Matt Groening, whom he introduced as "Matt" and who was not with Lara Flynn Boyle, although a woman came up to us and asked if she was, and she said, "I'm not who you think I am" in a really bored way because you know she gets it a lot because in fact I think she was Lara Flynn Boyle. She is not the droid you're looking for!
"So who was that?" I asked Patton after our couples had parted. "Oh, you didn't know? That was Matt Groening," he said. "I thought you knew!" That's when I kicked him in the shin and told him if he thought I was going to embarrass him by fawning when I found out his friend was Matt Groening, he was right and would just have had to deal with it by dragging me off in a manly kind of way, instead of withholding the information because he didn't trust me not to fawn, which I would have. Perhaps you'd like to not introduce me to Jon Stewart next? Or Liev Schreiber?
Fucking Patton Oswalt!
I thanked Patton for the $220 dinner—at luxurious AOCbecause he is a "foodie," and I didn't even make fun of him for using the word "foodie" because I am a kind and sensitive lady—and then I screamed, "See you in hell, Hobbit!" and peeled out in my sorority-girl car because I hate Patton Oswalt. Who is my lover.
"Meet me at Akbar," my gay was saying after I'd unceremoniously dumped Patton, who had to get home to his girlfriend. "You're up there anyway. It's half-gay/half-straight. You'll like it!"
And I did: it's such a luxury being the only girl in a half-straight bar! There were lots of fabulous men—whassup, Steve and Steven!—who all wanted to buy me shots of gin because I am classy and like to drink gin straight and also because I'd had a week. Did Mary Reilly take care of you while I was gone? Oh, she recommended Costa Mesa's Vegas? Then I'm sure it's now lovely! She's a good girl, Mary Reilly is. And you know she tries.
Anyway, my week was good in that I got to sing lullabies from the '30s and '40s to my Grandmama in her little Shawnee, Oklahoma, bedroom when it was my 2 to 3 a.m. shift to watch over her struggle to breathe, but it was bad in that, you know, it was bad. When Commie Mom is an island of gentleness and the soul of calm, reciting for her mother the Rosary while all around her people go apeshit, you know you've hit a rough patch. How do you know that? Because normally Commie Mom likes to fight! She will fight you in a boat, and she will fight you with a goat, and in a car and in a bar and here and there and everywhere, so usually a trip to Shawnee is a rollicking good-fighting time because it is filled with people from Oklahoma.
Whom she can fight!
Fucking Oklahoma.
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"One shot of gin?" Steve and Steven asked. "Oh, that's not going to be enough." And they were right. My gays often are.
After all that gay love Friday night, I was feeling fighty Saturday at the Swallow's Inn in San Juan Capistrano, with only my sister to take it out on, while she was all Jesus-y and wouldn't fight back. You know when everybody's going all crazy around you, and you're thinking, Jesus, everybody is really crazy right now, is Mars in retrograde or what the fuck? But then you start going crazy, too, and it's such a relief to get to just be an electric bundle of mean testosterone like you're wearing a big red T on your chest, and you're just waiting for someone to look at you funny, and it's no longer mysterious at all!
Luckily, another guy had his girlfriend to take it out on, as he walked up to the dance floor and smacked her on the back of the head while she was tripping the lights (really very beautifully; we were all mesmerized) with Keith. There's never a dull night at the Swallow's, where I've had a drunk Apache lift my dress over my head and a former Green Beret poke me in the chest and land a fist to my face. Also, there used to be this drunk kickboxing chick who liked to boot men to the head before taking them home and making their lives. She could probably hide a VCR in her bush—she was all woman, man, and she is so my idol. But nobody would fight me—only one another. Fucking Swallow's. I want my beer money back.


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In his Cento Concerti Ecclesiastici of 1602 Lodovico da Viadana spoke of others having already published imitations of his work. A print which he might well have regarded as a rival is Asprilio Pacelli's Chorici Psalmi et Motecta (Rome, 1599), hitherto largely overlooked. Although published without an organ part, it is clear from Pacelli's foreword that organ accompaniment was essential, and Pacelli further recommends leaving out one of his four vocal parts for a better effect; his foreword has interesting things to say on a number of performance and patronage issues. In this article Pacelli's publication is placed in the context of his employment at the Collegio Germanico in Rome and of the development of the Roman small-scale concerto with organ during the 1580s and 1590s. Rome is viewed here as a more forward-looking center in this development than has hitherto been recognized, with Viadana perhaps having learned more from Roman musicians during his stay there in the late 1590s than he was prepared to admit.
1. Introduction
2. Asprilio Pacelli's Chorici Psalmi et Motecta Of 1599: The Foreword
3. Few-Voiced Singing With the Organ in Late Sixteenth-Century Rome
4. Asprilio Pacelli and the Collegio Germanico in Rome
5. Asprilio Pacelli's Chorici Psalmi et Motecta of 1599: The Music
6. Early Examples of Roman Concerti by Other Composers
1.1 The publication of Lodovico Viadana's Cento Concerti Ecclesiastici of 1602 has long been seen as a turning point in the development of Italian sacred music, doing for the church repertory what the publications of Caccini and Peri did for secular music. Although published in Venice, its contents—pieces for from one to four voices and basso continuo—were said by the composer to have been written in Rome in 1596-7. In his preface Viadana states:
I saw that some of these Concerti, which I composed five or six years ago when in Rome . . . found such favor with many singers and musicians that they were not only found worthy to be sung again and again in many of the leading places of worship, but that some persons actually took occasion to imitate them very cleverly and to print some of these imitations [...]1
While attempts have been made to identify imitators in the north of Italy—Gabriele Fattorini, for instance2—no one has hitherto tried to find any in Rome. The first known Roman publication of small-scale concertato motets was Agostino Agazzari's Sacrae Cantiones (2, 3, 4 vv) of 1606; Giovanni Luca Conforti did publish the first of his three volumes of Salmi Passaggiati in 1601,3 but as embellished falsibordoni for soprano, these are different from the bulk of Viadana's concerti (Viadana did include some embellished solo falsibordoni in the 1602 Concerti).
1.2 There is, however, one Roman publication which Viadana might well have seen as rivaling his own: Asprilio Pacelli's Chorici psalmi et motecta quatuor vocum, Liber primus, published in Rome by Nicolo Mutii in 1599 (RISM A/I [Einzeldrucke vor 1800], P26). This print anticipated Viadana's achievement in many ways, but its neglect over the past four hundred years has distorted our understanding of the nature of the early Roman small-scale concertato motet and the chronology of its development.
2.1 The full text of Pacelli's foreword is given in Italian and in English translation in the Appendix.4 It is an important document bearing witness to various aspects of Roman music and its profession at the end of the sixteenth century. The introductory statements about the wooing and rekindling of devotion among the middle nobility and nobles, particularly by combining voices with instruments, is significant, as is his estimation of the new esteem in which the profession of musician had come to be held in Rome during the 1580s and 1590s (see below). But perhaps the most important sentence comes towards the middle:
I have thus resolved, for the satisfaction of many, to publish this book of psalms and motets, composed more as concerti with organ, such as is nowadays the custom in Rome for spiritual delight, so that they can entertain piously, rather than as ordinary church music (musica ordinaria di cappella).
Pacelli here makes a clear distinction between concerti with organ and musica ordinaria di cappella, the latter presumably meaning standard unaccompanied polyphony. He states that by 1599 concerti with organ were customary in Rome, and this clearly applied to the repertory found in his publication: Vesper psalms, Magnificats, Marian antiphons and motets with Blessed Sacrament and Passion texts. While no organ part was included, Pacelli makes it clear in the foreword to the publication that organ accompaniment was essential. He goes on to give further instructions as to the performance of his concerti, which are all for four voices, apart from one Magnificat setting for three:
Since not everyone will have voices appropriate for singing these works, the skilled organist should bear in mind that, according to the voices which are available, almost all of these compositions can be easily transposed downwards, or upwards, in various ways as is judged convenient, according to the abilities of the singers at hand. Also, although they are written for four [voices], some of them will make a better effect if sung by three, e.g. two sopranos and a bass. Note, however, that if the transposition is very low, the same bass part can be sung an octave higher by the bass or by another voice.
Particularly significant is the encouragement to leave out the middle voice, even though this has been provided and texted. This suggests a parallel with John Walter Hill's recent work on monodies from the Roman-Neapolitan orbit: continuo-accompanied madrigals by composers such as Bartolomeo Roy and Sebastian Raval (both of whom worked in Rome and in Naples) were published in dual-purpose format by Pietro Maria Marsolo in 1614, as four-voice pieces and as solo madrigals with continuo accompaniment; Hill argues that all of the pieces must have been composed before 1600.5 What Pacelli effectively says is that, while he has used the customary four-voice partbook format in publishing his 1599 pieces, that is not necessarily the only or even the best way of performing them. He advocates leaving out one voice: it would not be beyond the spirit of his foreword to leave out further voices and perform his pieces as duets or even solos.
2.2 Pacelli's foreword contrasts sharply with what Viadana had to say in his introduction:
I saw that singers wishing to sing to the organ, either with three voices, or two, or to a single one by itself, were sometimes forced by the lack of compositions suitable to their purpose to take one, two, or three parts from motets in five, six, seven, or even eight. . . . These . . . are full of long and repeated pauses . . . and sometimes separated by repeated breaks which render the style of performance either imperfect, or wearisome, or ugly and far from pleasing to the listeners.
For Viadana, the Roman habit of abstracting parts for available voices from pieces conceived for larger forces is "imperfect or wearisome;" Pacelli positively recommends it as far as his own pieces are concerned, saying that they will sound better if sung by three voices, without the middle part. Pacelli is clearly echoing existing Roman practice, and there is a body of evidence suggesting that this had been going on for twenty years and more before Viadana's publication.
3.1 The earliest such reference comes from a letter written by Ignatius Loyola in 1556: "Here there is a mixture of figured singing and that with organ," and a few days later, "here we have both types of singing."6 This implies a clear distinction between unaccompanied polyphony and singing by one or more soloists with the organ, analogous to the distinction made by Pacelli in 1599. References to singing with the organ (con organo, su l'organo, in organo) are especially frequent in the liturgical diaries of the Jesuit-run Collegio Germanico from 1583 onwards.7 For example, during the Forty-hours devotion in January of that year two or three soloists sang some melancholy motets, including settings of the Lamentations of Jeremiah, on the organ every hour or so, which "gave great devotion to all." In April a motet was sung "on the bourdon alone (or on some flute) with two or three voices," while on June 9th, in place of the Deo Gratias after the Benedicamus Domino, a short motet for two voices was sung nel organo. This practice seems to have been encouraged by Michele Lauretano, rector of the Collegio Germanico from 1573 until 1587: his biographer Schrick tells us that he was happy if "now and then, either one voice alone, or several more supple voices, took, together with the organ, some particular verse, either from the psalms or the sacred hymns."8 The assumption must be that the singers took one, two or more parts from an existing motet, with the organ supplying the missing parts—an indication that this was becoming a common, acceptable practice. On the other hand, there is evidence that this was not always satisfactory, as when Palestrina's Nos autem gloriari for four voices had to be sung by three because the director of the choir had failed to organize the fourth voice—but this may well have been a performance without organ. If it were with organ, then the criticism does echo Viadana's dissatisfaction with Roman practice.
3.2 Other evidence for small groups of singers with the organ comes from the German national church of Santa Maria dell'Anima where, for a visit by Pope Gregory XIII in 1580, one scudo was paid to the maestro Gerardo Villarius to pay the singers who sang in organis.9 Later evidence comes from San Pietro in Vaticano where the Ordini of 1605 (n. 45) ruled that if a singer is called a cantar su l'organo while the pope is coming down [in procession] to San Pietro, he should obey immediately or be fined the considerable sum of one giulio; this indicates that by this date the motet sung by the Cappella Giulia quando passa il papa was being sung at least sometimes by soloists with organ.10 On the octave of the feast of Corpus Christi in 1606 the maestro Francesco Soriano was paid three scudi for three papal singers who made up a choir nell'organo; this might, however, refer to a polychoral performance, where it was common for one choir, made up of solo singers, to sing with the main organ.11 At San Spirito in Sassia in 1604 a contract with the organ builder Stefano Blasi asked that the organ should be adapted "so that the singers can stand around the balcony [of the organ] without damaging the said balcony, removing only the bellows and placing them where they will be more convenient."12
3.3 All of this would suggest that the practice of having small groups of singers performing with organ accompaniment was long established in Rome, and particularly at the Collegio Germanico, by the time Viadana came to the city in 1596-7. The incumbent maestro di cappella at the Collegio at that time was none other that Asprilio Pacelli and he was still there when his Chorici Psalmi et Motecta were published in 1599. Pacelli was the man on the spot, by then one of the leading figures in Rome's sacred musical world, and there may well have been some rivalry between him and the visiting Viadana.
3.4 Despite the derogatory remarks in his preface about the Roman practice of abstracting vocal lines from larger-scale compositions, Viadana may well have learned more from the Romans than he was prepared to admit. It is possible to turn the received view, as articulated in Viadana's foreword and accepted by subsequent historians, on its head and see Viadana as having learned from Roman composers rather than vice versa. The wording of both men's forewords, with self-deprecatory references to the urgings of friends as the only reason for publishing, smacks of the Peri-Caccini-Cavalieri rivalry over who was first to use the stile recitativo in Florence; such claims and counter-claims are common to periods of new breakthroughs and need not necessarily be taken at face value.
4.1 Asprilio Pacelli is a good example of the new breed of Italian composer who made the most of the opportunities available from the increased demand for sacred music following the Council of Trent, moving continually from one Roman institution to another in an upwardly-mobile search for greater reward. He was born in Vasciano near Narni to the north of Rome in the late 1560s13 in a region which produced a number of important composers during the period (Giovanni Maria and Giovanni Bernardino Nanino, Francesco Soriano, Domenico Massenzio and Tullio Cima). Pacelli's entrance into the musical world of Rome may have been eased because of his presumed relationship to (probably nephew of) Fulginia Pacelli, also from Narni, the wife of Maurizio Anerio, who was a trombonist with the papal band at Castel Sant' Angelo and the mother of the two composing Anerio brothers, Felice and Giovanni Francesco. She was also on very friendly terms with San Filippo Neri.14
4.2Pacelli entered the Cappella Giulia as a boy in February 1581 and continued to sing under Palestrina until August 1582. 15 He is next heard of as maestro di cappella at the Arciconfraternita del Gonfalone from about July 1587, where he was in charge of a small choir of four singers as well as organizing music for the many special feast days celebrated by that confraternity.16 His presumed cousin, Felice Anerio, had organized music at the Gonfalone in the early 1580s,17 so there may well have been some family influence at work in obtaining Pacelli's appointment there. The fortunes of that choir fluctuated because of financial difficulties, and in 1591 Pacelli moved to the Arciconfraternita della Santissima Trinità dei Pellegrini e Convalescenti as its maestro di cappella; while there supervised that confraternity's attempt to build up its choir to a strength of six men and some boys.18
4.3This choir too fell victim to financial stringency, and Pacelli left in 1594 with rancor over an unpaid bill: he went so far as to obtain the signatures of two of the most influential maestri of the time, Andrea Dragoni (San Giovanni in Laterano) and Francesco Soriano (Santa Maria Maggiore) on an affidavit spelling out how much he should have been paid for organizing music on Santissima Trinità's two major public occasions, the feast of the Trinity and the Corpus Christi procession.19 He had already invoked the services of a notary in 1590 in order to obtain overdue payment for himself and his singers for the month of October at the Gonfalone.20 While at Santissima Trinità he continued to organize feast-day music at the Gonfalone and took on the same role for the Spanish church of Santa Maria di Monserrato between 1589 and 1593, sharing the task with Felice Anerio, among others.21 In 1595 he was again in dispute with the Gonfalone over payment for the Holy Thursday procession, but this seems to have been resolved without recourse to legal action.22 Pacelli was clearly someone of a litigious nature, capable of standing up for his rights and keen to get ahead in the competitive world of Roman institutions whose ambitions for music on a grand scale often ran ahead of their ability to pay.
4.4 Pacelli's early, considerable experience was gained in establishments which struggled to maintain a choir of even four singers—just the sort of situation, in fact, mentioned by Viadana in the foreword to his Cento Concerti Ecclesiastici. He would have brought to his first major appointment as maestro di cappella at the Collegio Germanico in 1594/5 a strong awareness of the need for flexibility and experience in trying out new practices at the two confraternities.23 He was to remain there until 1602, when he moved to the even more prestigious Cappella Giulia. After only a year he was recruited by the King of Poland and moved to Warsaw as maestro di cappella, where he remained until his death in 1628.24 The Chorici Psalmi et Motecta was his second publication, having been preceded by the eight-voice Motectorum et Psalmorum, Liber Primus in 1597.
4.5 At the Collegio Germanico Pacelli succeeded Annibale Stabile, who himself had been the near successor of Tomás Luis de Victoria as Moderator Musicae. Under the close supervision of the rector, Michele Lauretano, both composers had trained all of the students in plainchant and twenty or so of the more talented ones in polyphony. Lauretano was keen to involve the students as much as possible and retained a certain distrust of the newer trends in Roman church music. According to Schrick he was always careful lest
nimble and effeminate voices of men, and the soft instruments of musicians should disturb the gravity of the divine offices. For, although at certain sacred assemblies, the flatteries of such singing may be profitably used from time to time, to please the listeners, and to restore the waning devotion of men of the world, propriety [cannot], however, be maintained if [such abuses] be put in the ecclesiastical offices which are to be solemnly performed either by canons, or, even much more, by religious orders. Wherefore he [Lauretano] thought those things should be better relegated to oratories and festive assemblies of sodalists.25
It was, of course, precisely in the oratories and festive assemblies of two of the most important brotherhoods (or sodalities) in Rome that Pacelli had been working before coming to the Collegio. After Lauretano's death, his successors allowed more professional singers to be employed (there were seven by 1592), especially basses and sopranos, where the students were least strong. The students continued to sing some polyphony and, through an emphasis on alternatim performance, to sing as much plainchant as possible; at the same time the professional singers were available for concerti with organ. All is this is reflected in Pacelli's 1599 publication.
5.1Table 1 lists the contents of Pacelli's Chorici Psalmi et Motecta: there are ten Vesper psalms, three settings of the Magnificat and a Nunc Dimittis, four Marian antiphons and four motets. The bulk of these settings are specifically liturgical music: psalms, canticles and Marian antiphons (though the last could also be used in non-liturgical devotional circumstances). Of the four motets, one is Marian (Felix es Sacra Virgo) and the others set Eucharistic or passion texts, which would have been particularly appropriate for the Forty-hours devotion (O sacrum convivium, O vos omnes and Christus factus est).
5.2 All of the psalms and canticles are for alternatim performance with plainchant, so only every second verse is set to polyphony. There is an extra partbook (the copy in Regensburg, Bischöfliche Zentralbibliothek was printed in 1601) containing the Choir II parts (all ATTB) for optional 8-voice settings of the doxologies only, except for the secondi toni Magnificat, where the print says to use the Gloria Patri of the first Laudate Pueri setting, also in secondi toni. In his foreword Pacelli promised a second volume which was to contain risposti, presumably settings of the alternate verses. If this were subsequently published, no trace of it survives. There is thus a great amount of flexibility built into the publication, which must reflect a similar adaptability at the German College during the 1590s. It is exactly this flexibility which is reflected in both Pacelli's and Viadana's forewords, whatever the difference in emphasis. Pacelli's concerti were reprinted in Germany in 1608, ahead of the 1609 German printing of Viadana's Concerti (though without the additional Choir II parts). Historically, Viadana was given the credit by writers such as Praetorius and Mattheson in the development of the sacred concerto, and we now have no way of judging what effect Pacelli's publication might have had at the time.
5.3 There is only one piece for fewer than four voices in the 1599 print—a three-voice Magnificat. This too is an alternatim setting, with the odd verses set polyphonically. The piece is brief and very simple. The opening half verse(Example 1) has the two upper voices singing a duet over the alto foundation; it would be in accordance with Pacelli's flexible instructions to transpose the latter down an octave or simply play it on the organ. In verse 7(Example 2) the three parts act more independently and highlight the two opposing phrases that make up the verse by using a striking contrast in note values as well as strong dissonance in the first half-verse.
5.4 Pacelli's setting can be compared directly with Viadana's three- voice Magnificat from the 1602 Concerti. Viadana also sets the odd verses in polyphony, stipulating that "il choro risponde a questo salmo con un falsobordone." Viadana's opening half-verse(Example 3) is more old-fashioned than Pacelli's, with the three voices equally integrated into the imitation; the organ, as in the rest of the setting, simply acts as a basso seguente. Viadana continues to base his setting—as does Pacelli for the most part—on imitative writing, aside from verse 7, whose setting is homophonic, including falsibordoni (Example 4). Unlike Pacelli, Viadana uses different combinations of voices in each verse, an unusual procedure which means that more than three singers are needed.
5.5 It is instructive to compare Pacelli's and Viadana's settings with Giovanni Animuccia's three-voice Beata es Virgo from his pioneering Il primo libro de madrigali, a tre voci . . . con alcuni motetti, et madrigali spirituali of 1565(Example 5). Animuccia's setting, while largely imitative, used the same contrast between a pair of upper voices and a lower one, which happens to be at alto pitch but could easily be sung or played an octave lower on the organ. In a real sense Viadana's and Pacelli's innovations of the 1590s had been anticipated by Animuccia thirty years earlier. Equally instructive is a comparison with Felice Anerio's canzonetta spirituale, Jesu decus angelicum, of 1585(Example 6) with the same pairing of two upper voices on a tenor foundation and virtuoso melismas in the top parts on canticum.26 Both of these examples show plausible origins for the Roman sacred concerto in the devotional music for small numbers of singers written for performance in Roman oratories during the early post-Tridentine period.
5.6 Neither Pacelli nor Viadana was interested in exploiting the possibilities of the basso continuo as an independent entity; even in Viadana's duets the organ slavishly follows the lower of the two parts. Only in Viadana's solo pieces for non-bass voices does the organ act independently, and even then there is no material difference between the styles of the vocal and organ parts, making them in effect duets based on imitation between voice and organ. Indeed, one could turn them into just that simply by adding text to the organ part. This is exactly what Viadana does in the case of his Duo Seraphim, for two sopranos: at the words tres sunt he writes on the basso continuo part: "qui l'organista suona e canta"! This example is analogous to what John Hill calls "madrigals in reduced polyphony" found in manuscripts associated with Cardinal Montalto and his circle.27
5.7 What of Pacelli's recommendation that some of his four-voice pieces would "make a better effect if sung by three, e.g. two sopranos and a bass"? A good example is supplied by the third verse of the opening piece, Dixit Dominus(Example 7). Here leaving out the third part from the top (which is largely filler) would leave a double-soprano duet against a bass which, when doubled on the organ, would make the texture the equivalent of the three-voice Magnificat. A further example is provided by the opening of O sacrum convivium(Example 8). Again the alto part is largely redundant and could be discarded if the organ supported the harmony.
5.8 Of the 21 four-voice pieces in this collection, only four have the normal spread of SATB clefs, two in chiavette and two in standard clefs (see Table 2). Fifteen have SSAB or SSAT parts in one or another clef combination, and in each of these cases, the alto part can be omitted, as instructed by Pacelli. As can be seen, there is a wide variety of clef combinations used in the book, with the lowest part appearing in five different clefs; this is in line with Pacelli's flexible transposition instructions. It presumably also reflects performing conditions at the German College, with its mixture of students and professional singers, where maximum flexibility would have been necessary. At the same time, for marketing purposes, such adaptability was certainly also desirable, allowing for use in both female and male convents, for example. Pacelli's foreword also has some interesting things to say about altering the mode of his pieces after transposition if this were deemed to assist their performance (see the second paragraph of the preface in theAppendix below).
6.1 Was Asprilio Pacelli alone in experimenting with sacred concerti in 1590s Rome? Certainly the Collegio Germanico was, as we have seen, at the forefront of such developments. Graham Dixon has dealt with two of Pacelli's immediate successors there, Agostino Agazzari and Antonio Cifra, looking at the progressive tendencies in their small-scale concertato motets from a seventeenth-century perspective.28 He has also dealt with the music of Giovanni Francesco Anerio, another composer very much in the vanguard of both small- and large-scale concertato writing.
6.2 To find evidence of non-progressive tendencies, it is instructive to look at some small-scale concerti by Francesco Anerio's elder brother Felice. Appointed successor to Palestrina as composer to the Cappella Pontificia in 1594, Felice Anerio had been maestro di cappella at a number of smaller Roman institutions: Santa Maria di Monserrato, the English College and San Giovanni dei Fiorentini.29 In about 1604 he took up a similar position in the newly-formed private cappella of Duke Giovanni Angelo Altaemps, whose palace was right beside the Collegio Germanico at the north end of the Piazza Navona.30
6.3 Felice Anerio has been seen as a largely conservative composer, but a considerable number of small-scale concerti with organ copied into partbooks for use in the Duke's cappella show that he was making wide use of newer forms in his work; their neglect has led to a one-sided appreciation of his achievement. The sheer volume of these compositions would suggest that some, at least, must have already been composed prior to 1604. Many of Anerio's duets give a strong sense of having simply abstracted two lines from an existing four-voice piece. In this they provide a very clear link with the mainstream contrapuntal music of the sixteenth century: they are very restrained and rarely seem interested in exploiting the possibilities of an independent basso continuo or the expressive potential of the individual lines. In te Domine speravi for soprano and tenor provides a good example(Example 9):31 the organ bass always doubles the tenor when that voice is singing and otherwise provides minimal bass support. Neither line contains anything outside of the classical sixteenth-century polyphonic style. Melismas are all based on quarter notes and end with a long note before changing syllable; individual syllables are never given to successive quarter notes. A similar restraint in vocal writing, though broken by some syncopation, pervades Anerio's early solo motets such as Quaesivi quem diligit anima mea for tenor and bassus ad organum(Example 10). The bass slavishly doubles the tenor line and seems at a loss what to do when the voice is not singing, simply repeating the same connecting phrase. The gaps here are exactly those lamented by Viadana in his 1602 foreword and also addressed by Marsolo in his 1614 collection. The latter instructed the solo singer not to observe any of the rests written into his part and instructed the accompanist to ignore them as well.32
6.4 In Felice Anerio's Hi sunt(Example 11) the organ always follows the lower of the two bass parts, but here we do get some virtuoso vocal writing to illustrate the word insaniam, making use of a stock ornamentation formula (compare the vocal line with the organ part). The importance of such ornamental figuration in the composition of these pieces needs to be stressed. The common practice of Roman singers from the 1580s, such as Giovanni Luca Conforti, of ornamenting classically-conceived sacred polyphony led directly to the written-out melismas of the next generation. Notated ornamentation was applied to falsobordone in particular: Viadana in his Concerti provided solo decorative falsobordone settings of Psalm 109 for each voice in turn, making use of standard formulas, while Conforti published three volumes of decorated falsibordoni for solo singers between 1601 and 1603.33 In his foreword, Viadana mentioned embellishments, saying that over-ornamentation was not nowadays acceptable, "particularly in Rome, where the true school of good singing flourishes." It was presumably for this reason that Roman composers increasingly wrote their own desired ornamentation into the piece. A good example is given by Micheli Romano, who was particularly conservative and steeped in the canonic tradition. His three-voice alternatim Magnificat of 1610 uses classical imitation overlaid with ornamental figuration(Example 12).34
6.5 Eventually, more imaginative composers began to integrate this ornamental figuration into the musical discourse. They also began to separate the bassus ad organum from the lowest vocal part, at least for part of the time, so that it moved from being a basso seguente to taking on the role of basso continuo, in the process giving the organist opportunities for more creative work. Giovanni Bernardino Nanino's duet, Fratres qui gloriatur, is a good example.35 Phrases in this piece are alternated rather than being combined contrapuntally, leaving gaps in the texture(Example 13).
6.6 A more sophisticated illustration is Archangelo Crivelli's four-voice Quem vidistis for two sopranos, alto and tenor: it has a basso continuo line which is completely independent for much of the piece.36Crivelli uses his organ bass to support his setting of the dialogue-like text: the two sopranos consistently pose the questions while the alto/tenor pair respond(Example 14). When the four voices join together towards the end of the piece, the organ bass returns largely, though not exclusively, to doubling the tenor. Crivelli was a singer in the Cappella Pontificia and most of his music is written for conventional forces, but he too showed ability in the small-scale idiom shared by every composer active in Rome by 1610. The sheer extent of activity in this idiom by Rome-based composers in the early years of the century belies the traditional view of its being a response to Viadana's Cento Concerti and of the work of other more northern composers and argues for its having been based much more on a solid local tradition whose roots extend well back before 1600.
6.7 Ultimately, deciding who got there first between Pacelli and Viadana is less important than what both tell us about the origins of the Roman small-scale concertato motet. Taken together, their work demonstrates a widespread practice by the 1590s of singing by one or more solo voices with organ, usually adapting existing pieces for the purpose. Historically, writing on the origins of the concertato style has tended to focus more on Florence and the North of Italy than on Rome, and on secular music more than sacred. As a result, the Roman contribution has been overlooked and an impression created that the sacred concertato style was largely a secular development which was afterwards adopted, somewhat reluctantly, for sacred music by a rather conservative Rome. However, as early as 1628, Vincenzo Giustiniani saw its roots partly in what he saw as a change in singing style in Rome around the Holy Year of 1575.37
6.8 John Hill has now shown the importance of the Rome-Naples axis for the development of the secular concertato style and, while we still lack much information on Neapolitan developments in sacred music, it would appear that Rome at least was also crucial for the evolution of the sacred concerto. In both its small-scale and large-scale forms, the Roman concertato style originated in the music written for informal devotional use in Rome during the 1560s and 1570s, and was nurtured in the ornamented performance by solo singers of selected voice parts from polyphonic compositions in the 1580s and 1590s. Its main impulse was the breaking down of the older contrapuntal style and turning it into a more suitable vehicle for the transmission of sacred texts. The need to use music as bait for the nobility, as described by Pacelli in his foreword, provided an important spur in developing the concertato style. Those same noble, intellectual and rich patrons, in whose milieu new styles of secular music were being developed, were precisely those whom the church was particularly keen to attract to religious services. As in the case of secular music, a long time lag between the appearance of new styles in practice and its manifestation in publications has meant a distortion in the historical view.
Come tutte l'altre arti nobili sono state meravigliosamente favorite, et accresciute da' Principi à i di nostri per tutto il Christianesimo, & in Roma principalmente: così molto particularmente la profession de'Musici, la cui dolcezza suol sempre corteggiare li Principi, è stata inalzata à tanto gran credito e stima; quanto i Musici de' tempi andati da' Principi dell'età loro poterono più tosto desiderare, che attendere. Et è cosa memorabile in vero, che à tempi nostri, mercè al santissimo governo, & essempio dell'ottimo, e massimo Pontefice CLEMENTE VIII con infinita meraviglia, e contentezza veggiamo pure una volta, che l'artificio gioconda de' Musici, rivolto à più degni oggetti, lasciate dietro le spalle, le vanità, e seguendo dietro la pietà con la dolcezza de' soavi canti n'arreca non men'honesto, che dilettevole piacere. La onde mi sono avveduto che moltissimi, tanto di quei di mezzana nobilità, è facoltà, quanto quei, che sono veramente fra Principi nobile annoverati, spessissime volte sogliono risvegliare la devotion loro con questi purissimi diletti dell'orecchie: all'hor che discretamente con qualche bello trattenimento, di sonoro, è Musico concerto, ritornano di quando in quando à raddolcirsi, e rallentarsi il cuore ristretto dianzi da' severi pensieri, e noie delle publiche, e private cose. Questo rispetto per avviso anche di molti mi ha confortato, & assicurato à compiacere, à molti che lo desideravano: la qual opera credo se io non m'inganno, che congionte le voci all'istrumenti, sia per arrecar aiuto alla divotione: & à disobligarmi una volta d'un debito giustissimo, che mi trovo havere con alquanti affettionatissimi miei, di renderle, come cosa da me dovutale una mia opera, che è la presente, la quale io haveva composte, & riserbatami per mio privato trattenimento. Mi sono risoluto dunque per sodisfattion di molti dar alla Stampa il presente Libro di Salmi & Mottetti fatti più per concerti con Organo, quali hoggidi si usano in Roma, è diletto spirituale, per potersi trattenere piamente; che per Musica ordinaria di Capella. Per la quale subito doppo questa editione, manderò anche alla Stampa il Secondo Libro, di altri Mottetti, e Salmi, la maggior parte de'quali sono composti per risposta di'presenti. Nel che parmi bene con poche parole mostrare come si possino servire di questo Libro. E perche non per tutto sono voci appropriate per cantar detta opera: si mette in consideratione al valente organista, che secondo le voci, che si troverà, potrà quasi tutte queste compositioni trasportare facilissamente più basse, ò più alte, in diversi modi come giudicarà più conveniente, conforme all'habilità de'cantori che haverà. Et se bene, sono à quattro: alcune di esse per meglio effetto faranno, cantandosi à trè, come doi Soprani, & un Basso. Avvertendo però, che quando la trasportatione sia molto bassa: potrà il medesimo Basso esser cantato all'Ottava alta dal Basso, ò da altra voce. Et se nella trasportatione troverà quella sedia esser più commoda per il Choro d'un'altro tono di quello, che l'opera stessa porta seco; potrà quel medesimo Tono far intonare, & cantare seguitamente. Come per essempio: se una compositione del Sesto Tono, sarà trasportata, la Terza più Bassa, che sarà in D la sol re, ò vero la Quarta Bassa, che sarà in C sol fa ut; & che questo Tono sia molto scommodo, per il choro; si potrà far cantare la medesima compositione dell'Ottava Tono, che riuscirà commodissima: & cosi nel resto dell'altre opere. Et perche li Gloria Patri, et Sicut erat à Otto, in queste lontane trasportationi riuscirebbono molto scommode, si potranno lasciare. Il che tutto si lascia in arbitrio del Dotto è svegliato Mastro di Capella, è dal valente, & giuditioso Organista: alla cui Dottrina, è valore: non fa di mestieri usare simili essemplificationi, & avvertimenti.
Just as all of the other noble arts have been marvelously favored and expanded by princes in our time, throughout the whole of Christendom but especially in Rome: so particularly the profession of musicians, whose sweetness has always wooed princes, has been raised to such a peak of honor and esteem as musicians of former times could only desire rather than expect from the princes of their time. And it is truly remarkable that, in our time, thanks to the most holy governance and example of our most esteemed pontiff Clement VIII, we see with great wonder and contentment that the joyous artifice of musicians, now for once turned towards more worthy goals, forsaking vanity and following after piety with the sweetness of gentle songs, yields up delights no less virtuous than pleasant. Wherefore I have perceived that many, those of middle nobility and rank as well as those who are to be counted as truly noble princes, can often have their devotion rekindled by means of this most pure delight of the ears: so that, by the discreet use of some beautiful entertainment of sound and concerted music, they return from time to time to sweeten and calm their hearts, oppressed just before by heavy thoughts or the pressures of public and private cares. The assurance by many that this is so has comforted me and inspired me to give this pleasure to those who have desired it: it is particularly so, if I am not mistaken, when voices are joined with instruments that they produce such assistance to devotion. And in order to discharge for once a just obligation, which I find I have to some of my closest friends, I have undertaken the duty of publishing this present example of my work, which I have composed and hitherto reserved for my own private use. I have thus resolved, for the satisfaction of many, to publish this book of psalms and motets, composed more as concerti with organ, such as is nowadays the custom in Rome for spiritual delight, so that they can entertain piously, rather than as ordinary church music. Immediately after this edition, I will send to the printer a second book, of other motets and psalms, the major part of which are composed as risposti to the present ones.
It seems to me that it would be helpful to show in a few words how this book can be used. Since not everyone will have voices appropriate for singing these works, the skilled organist should bear in mind that, according to the voices which are available, almost all of these compositions can be most easily transposed downwards, or upwards, in various ways as is judged convenient, according to the abilities of the singers at hand. Also, although they are written for four [voices], some of them will make a better effect if sung by three, e.g. two sopranos and a bass. Note, however, that if the transposition is very low, the same bass part can be sung an octave higher by the bass or by another voice. Further, if in the transposition another tone (mode) is found more convenient for the choir than that in which the piece ends up, then that other mode can be intoned and followed. For example, if a piece in the sixth tone is transposed a third lower onto D la sol re, or indeed a fourth lower onto C sol fa ut, and this tone is found very inconvenient for the choir, the same piece can be sung in the eighth tone, which will be found much more suitable; the same applies to the rest of the pieces. However, because the Gloria Patri and Sicut erat settings for eight voices would be very difficult in these distant transpositions, they can be omitted. All of this can be left to the judgment of the experienced and perceptive maestro di cappella, or the capable and sensible organist; with their knowledge and understanding, further advice and examples are unnecessary.
(translation N.O'Regan)
return to paragraph 2.1 return to paragraph 5.8
* Noel O'Regan <email@example.com> is Senior Lecturer in music at the University of Edinburgh. He is the author of an RMA monograph,Institutional Patronage in Post-Tridentine Rome, as well as of numerous articles on Roman music and Roman institutions in the late 16th and early 17th centuries. He is currently engaged in an extensive study of the role of music in the devotional life of Roman confraternities in this period. In 1995 he was awarded the Premio Palestrina by the town of Palestrina in recognition of his researches into that composer; he is a member of the editorial board of the New Palestrina Edition, currently being planned by the Fondazione Giovanni Pierluigi da Palestrina. Return to beginning
1. This and subsequent translations from Viadana's foreword are taken from Oliver Strunk, Source Readings in Music History (New York: W.W. Norton, 1950), 419-423. Return to text
2. Murray Bradshaw has identified Fattorini as a candidate. See Gabriele Fattorini, I sacri concerti a due voci facili, & commodi da cantare, & sonare con l'Organo a voci piene, & mutate a beneplacito de cantori, co'l basso generale per maggior commodità de gl'organisti. Novamente composti, & dati in luce. In Venetia, appresso Ricciardo Amadino, MDC (RISM A/I [Einzeldrucke vor 1800], F 129); ed. Murray C. Bradshaw (Neuhausen-Stuttgart: American Institute of Musicology, 1986). Return to text
3. Giovanni Luca Conforti, Salmi passaggiati sopra tutti i toni che ordinariamente canta Santa Chiesa. Ne i Vesperi, della Domenica, & ne i giorni festivi di tutto l'anno, con il basso sotto per sonare, & cantare con organo, ò con altri stromenti . . .In Roma, Per li Heredi di Nicolò Mutij, 1601-1603 (RISM A/I, C3498); ed. Murray C. Bradshaw (Neuhausen-Stuttgart: American Institute of Musicology, 1985). Return to text Return to note 33
4. The Appendix gives the Italian version of the foreword as printed in the extra book of Secondi Chori Partes printed in 1601 (see below). The text is the same as that of the Latin foreword in the original 1599 books. The English translation in the Appendix and of excerpts in the text are by the author. Return to text
5. John Walter Hill, Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (Oxford: Clarendon Press, 1997), 1:90-95. The Marsolo print has been published by Lorenzo Bianconi in a modern critical edition as Pietro Maria Marsolo: Madrigali a Quattro Voci sulle monodie di Giulio Caccini e d'altri autori, e altre opere, vol. 4 of Musiche Rinascimentali Siciliane (Roma: Edizioni de Santis, 1973). Return to text
6. Quoted in Thomas F. Kennedy, "Jesuits and music: reconsidering the early years," Studi Musicali 17 (1988): 71-100. Correction by Author (11/27/2002): Quoted in Thomas D. Culley, "Musical activity in some sixteenth-century Jesuit colleges in Rome, with special reference to the venerable English College in Rome from 1579 to 1589," Analecta Musicologica 19 (1979): 1-29, 11. Return to text
7. This and the following references to performance practice at the Collegio Germanico come from the various liturgical diaries preserved in the archive of the Collegio. They are quoted in Thomas D. Culley, Jesuits and Music: I: A Study of the Musicians connected with the German College in Rome during the 17th Century and of their Activities in Northern Europe (Rome and St. Louis: Jesuit Historical Institute, 1970), 76-87. Return to text
8. Quoted in Culley, Jesuits and Music, 77. Return to text
9. Rome, Archive of Santa Maria dell'Anima, E-II-18, 216. Return to text
10. See Ordine no. 45 in Giancarlo Rostirolla, "Gli 'Ordini' della cappella musicale di San Pietro in Vaticano (Cappella Giulia)," Note d'Archivio, nuova serie 4 (1986): 227-230, plus supplement containing facsimile. In a recent article Arnaldo Morelli examines references to singing with the organ and suggests that many describe singing in canto fermo rather than one line of a polyphonic original. This cannot be true, however, of many of the references discussed here. See Morelli, "Cantare sull'organo: an unrecognized practice," Recercare 10 (1998): 183-208. Return to text
11. Rome, Biblioteca Apostolica Vaticana, Archivio Capitolare di San Pietro, Fondo Cappella Giulia 161, 41. Return to text
12. See Patrizia Melella, "Vita musicale e arte organaria a Santo Spirito in Sassia," La musica a Roma attraverso le fonti d'archivio, Atti del convegno internazionale, Roma 4-7 Giugno 1992 (Lucca: Libreria Musicale Italiana, 1994), 516. Return to text
13. His exact date of birth is not known. The date of 1570 given in The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), 14:45-46 would have made him too young for his first known appointment as maestro di cappella at the Archconfraternity of the Gonfalone in 1587 (see below). Assuming that he left the Cappella Giulia because his voice had broken in August 1582, he was probably born about 1567. Return to text
14. For details of the Anerio family, see Jonathan Couchman, "Felice Anerio's Music for the Church and for the Altaemps Cappella," Ph.D. diss., University of California at Santa Barbara, 1989. Return to text
15. Rostirolla, G., "La Cappella Giulia in S. Pietro negli anni del magistero di Giovanni Pierluigi da Palestrina," Atti del convegno di studi Palestriniani (Palestrina: Fondazione Pierluigi da Palestrina, 1977), 99-283. Return to text
16. Rome, Archivio Segreto Vaticano, Fondo Arciconfraternita del Gonfalone, 206, f.37. Return to text
17. Fondo Gonfalone, 193, f.23v; 195, f.30; 197, ff. 32v, 39. Return to text
18. Noel O'Regan, Institutional Patronage in Post-Tridentine Rome: Music at Santissima Trinità dei Pellegrini 1550-1650, no. 7 of Royal Musical Association Monographs (London: Royal Musical Association, 1995), 46-50. Return to text
19. O'Regan, Institutional Patronage, 48-49. Return to text
20. Vera Vita Spagnuolo, "Gli atti notarili dell'Archivio di Stato di Roma," La musica a Roma attraverso le fonti d'archivio, Atti del convegno internazionale, Roma 4-7 Giugno 1992, (Lucca: Libreria Musicale Italiana, 1994), 46. Return to text
21.Rome, Archivos de los Establicimientos Españoles, Santa Maria di Monserrato, B-III-196 passim. Return to text
22. Fondo Gonfalone, 52, f. 140 Return to text
23. The exact date of Pacelli's appointment to the Collegio Germanico is not known. He was certainly there by July 1595 when he was called maestro di cappella at San Apollinare, the church attached to the Collegio, in the affidavit mentioned above. It is likely that he moved there in October 1594 when he left Santissima Trinità. See Culley, Jesuits and Music, 51-52. Return to text
24. For further details of Pacelli's later career see the article "Pacelli" in the New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), 14:45-46. Return to text
25. Quoted in Culley, Jesuits and Music, 77-78. Return to text
26. Found in Diletto spirituale canzonette a tre et a quattro voci composte da diversi ecc[ellentissi]mi musici. Raccolte et scritte da Simone Verovio. Roma, M. van Buyten, 1586 (RISM B/I [Recueils imprimés XVIe-XVIIe Siècles] 15862). Return to text
27. Hill, Roman Monody, I, 181. Return to text
28. Graham Dixon, "Progressive Tendencies in the Roman Motet during the Early Seventeenth Century," Acta Musicologica 53 (1981): 105-19. Return to text
29. For Anerio's biography see Couchman, "Felice Anerio's Music for the Church" cited in note 14. Return to text
30. Jonathan Couchman, "Musica nella cappella di palazzo Altemps a Roma," Lunario Romano: Musica e musicisti nel Lazio (Rome: Fratelli Palombi, 1986), 167-83. Return to text
31. The three pieces by Felice Anerio quoted here are preserved in manuscript in Regensburg, Bischöfliche Zentralbibliothek, Proskesche Sammlung, Mappe "Anerio." Return to text
32. Hill, Roman Monody, I, 90-91. Return to text
33. See note 3. Return to text
34. Micheli Romano, Psalmi ad officium vesperarum musicis notis expressi, et ternis vocibus decantandi. Una cum parte organica . . . liber primus . . . Romae, Apud Io. Baptista Roblectum. 1610. (RISM A/I, M2682). Return to text
35. Found in manuscript in Regensburg, Bischšfliche Zentralbibliothek, Proskesche Sammlung, Mappe "Nanino". Return to text
36. Crivelli's Quem vidistis was published in Selectae cantiones excellentissimorum auctorum binis, ternis, quaternisque vocibus concinendae a Fabio Constantino romano insignis Basilicae S. Maria Transtyberini musices moderatore simul collectae Liber primus. Opus tertium. Roma, B. Zannejtti, 1616. (RISM B/I, 16161). Return to text
37. Vincenzo Giustiniani, Discorso sopra la musica de'suoi tempi, published in A. Solerti, L'Origine del Melodramma (Turin, 1903), English trans. Carol MacClintock, vol. 9 of Musicological Studies and Documents (Neuhausen-Stuttgart: American Institute of Musicology, 1962). Return to text
Table 1: Contents of Pacelli's 1599 Chorici psalmi et motecta, with clefs and tonal markers
|Tonal-type markers
|Dixit Dominus sexti toni
|Confitebor secundi toni
|Beatus vir sexti toni
|Laudate Pueri secundi toni
|Laetatus sum secundi toni
|Nisi Dominus quarti toni
|In convertendo quarti toni
|Credidi secundi toni
|Laudate Pueri octavi toni
|De Profundis sexti toni
|Nunc dimittis quarti toni
|Magnificat secundi toni
|Magnificat sexti toni
|Magnificat octavi toni
|O sacrum convivium
|O vos omnes
|Christus factus
|Foelix es
|Alma Redemptoris
|Ave Regina
|Regina coeli
|Salve Regina
Table 2: Pacelli's 1599 Chorici psalmi et motecta: Breakdown according to cleffing
|Paired soprano
|No. of pieces
|C1C3C4F4 - (standard)
|G2C1C3F3 - (chiavette)
|G2C1C2 (3vv)
Ex. 1: Asprilio Pacelli, Magnificat 3vv (1599), mm.1-8 Ex. 2: Asprilio Pacelli, Magnificat 3vv (1599), mm.48-57 Ex. 3: Lodovico Da Viadana, Magnificat 3vv (1602), mm.1-10 Ex. 4: Lodovico Da Viadana, Magnificat 3vv (1602), mm. 57-66 Ex. 5: Giovanni Animuccia, Beata es Virgo 3vv (1565), mm. 9-16 Ex. 6: Felice Anerio, Jesu, decus angelicum a 3 (1586), mm. 1-5 Ex. 7: Asprilio Pacelli, Dixit Dominus (1599), mm. 13-22 Ex. 8: Asprilio Pacelli, O sacrum convivium 4vv (1599), mm. 1-10 Ex. 9: Felice Anerio, In te Domine speravi, mm. 9-16 Exx. 10: Felice Anerio, Quaesivi quem diligit, mm. 47-56 E. 11: Felice Anerio, Hi sunt, mm. 32-37 Ex. 12: Romano Micheli, Magnificat, mm. 12-16 Ex. 13: Giovanni Bernardino Nanino, Fratres qui gloriatur, mm. 1-7 Ex. 14: Archangelo Crivelli, Quem vidistis, pastores, mm. 5-13
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Judge Howard Fell has joined defense attorney Peter Herberg's list of suspicious characters.
If you're a regular reader of At the Courthouse, you are no doubt aware Herberg has been filing motion-after-motion suggesting Pamela Phillips isn't getting a fair shake in her first-degree murder case.
Herberg wants the Pima County Attorney's Office, Clerk of the Court Patti Noland and Judge Richard Fields off the case. He believes former prosecutor Shawn Jensvold hoped to make money from Phillips' woes, Noland had close ties with the deceased victim in the case and Judge Fields has made questionable rulings against Phillips in order to protect the reputation of the Pima County Attorney's Office.
On Monday, Herberg filed a motion criticizing Judge Fell.
First, some more background.
Several months ago, now retired Judge Charles Sabalos decided Phillips' competency wasn't an issue after Dr. Brad Johnson met with her. Herberg hired his own doctors to meet with his client and he was able to convince Judge Fields to reconsider the issue after giving him their reports (which are confidential).
Judge Fields decided Phillips ought to be evaluated by another doctor and, at Herberg's insistence, arranged for Judge Fell to read the doctor's report and make the ultimate decision as to Phillips' competency.
Judge Fell appointed Dr. Paul Simpson to perform the evaluation. (The court has a rotating list of doctors and assign doctors based upon their availability and whether a psychiatrist or psychologist is more appropriate.)
Well, on Monday Herberg filed a motion suggesting some wrong-doing by Judge Fell.
First, Herberg said Judge Fell didn't tell anyone he was on a "Conqistadores money-raising 'Team 41'" with Gary Triano, the victim in the case.
Secondly, Herberg said Judge Fell, prosecutors or "someone else" may have been appointed Dr. Simpson because Dr. Simpson is a Christian and doesn't believe in recovered memories.
According to Herberg, Phillips recovered some memories after "undergoing work with a guru in India" and "has unusual beliefs linked to Hinduism and astrology."
In his motion, Herberg says that if Judge Fields doesn't revoke Dr. Simpson's appointment, he must "appoint a qualified expert who is current on the memory research and not partisan against previous amnesia of true memories of trauma."
Herberg also said Dr. Simpson met with his client before he was supposed to and before Herberg got a chance to talk to Phillips about the meeting.
In their response, prosecutors Bill McCollum and Casey McGinley remind Judge Fields that Herberg requested Judge Fell even though Judge Deborah Bernini is the new Mental Health Court judge.
The prosecutors also say Herberg did not request a hearing to determine who should do the evaluation, did not request to be present during the doctor's meeting with Phillips and has had months to discuss the whole competency issue with her.
"There is no evidence at this time that (Dr. Simpson) is partisan, or that any of his past teachings, opinions, experiences, training or education would disqualify him from having contact with the defendant," the prosecutors say.
If Herberg believes Dr. Simpson's religious beliefs or position on memory recall are issues, he can ask Judge Fields at the time of trial for permission to cross-examine Dr. Simpson on them, McCollum and McGinley wrote.
The prosecutors went on to say, "Although defense counsel implies within his argument that the prosecution was somehow involved with Dr. Simpson's appointment in this case, defense counsel is very much aware that the appointment was done by the court through the Clinical Coordinator."
Judge Fields hasn't yet scheduled a hearing to discuss the matter.
By the way, Dr. Johnson told Judge Sabalos he believes Phillips is probably faking mental illness. Phillips told him she believes someone has been watching and listening to her for the past seven to eight years and she believes plugs have been inserted into her brain so people can track her and control her body.
In addition, Phillips described feeling as though waves of energy or electricity have flowed through her body at times. At other times, she feels like she's exploding or imploding from within, Dr. Johnson said.


text:
Dear Latoof,
I am so sorry for acting out BUT my last post wasn't targeted at you. NOT AT ALL! I really want you to understand that, OK?!
I truly apologize to everyone who got offended by my behavior. I don't think anyone likes to be insulted. I should have known better, though, not to get down to this person's level.
You bet we are friends. Always have been, right?
Apology again.


text: Hi all. Just bought a PS3 a couple weeks ago and am loving it along with my 360. I purchased Killzone 2 and finished it. I also own Resistance, MLB 09 The Show, MGS4 and The original Metalstorm. Now here is my question. This weekend Gamestop has buy 2 used games get one free. What games are a must have or great games to own used? I know I want "Uncharted" as one out of the 3. Thanks for you advice in advance.