Der King Davids Peak (auch: West Wall) ist ein Berg im Zentrum des australischen Bundesstaates Tasmanien. Er liegt im Zentrum des Walls-of-Jerusalem-Nationalparks und steht in der Reihe der höchsten Berge Tasmaniens an 10. Stelle.

Wie andere Landmarken im Nationalpark, z. B. Herods Gate, Lake Salome, Solomons Jewels, Damascus Gate und Pool of Bathesda ist auch der King Davids Peak nach biblischen Orten und Gestalten benannt. Der Berg erhielt seinen Namen nach König David. Sein Alternativname 'West Wall' ist von der Klagemauer (engl.: Western Wall) in Jerusalem abgeleitet.

Der Berg ist eine bekannte Sehenswürdigkeit im Nationalpark und beliebt bei Wanderern und Bergsteigern.

Eintausender
Berg in Australien und Ozeanien
Berg in Tasmanien
David als Namensgeber
Tasmanische Wildnis

King Davids Peak


Deadly Nightshade may refer to:
 Deadly nightshade (Atropa belladonna), a poisonous perennial herbaceous plant in the nightshade family
 Deadly Nightshade (comics), a Marvel Comics character
 Deadly Nightshade (film), a 1953 British crime drama film
 The Deadly Nightshade, an American rock and country band
 "Deadly Nightshade", a song by the Sword from the album Used Future

See also
 Nightshade (disambiguation)

Deadly Nightshade


Die Handwerker- und Kunstgewerbeschule war eine Ausbildungsstätte in Bielefeld (Stadtbezirk Mitte). Sie wurde 1907 eröffnet. Ihr erster Direktor war Wilhelm Thiele, Architekt, Raumausstatter und Mitbegründer des Deutschen Werkbundes.

Geschichte
Im Laufe ihres Bestehens trug die Schule verschiedene Namen:
 1907–1914: Staatlich-Städtische Handwerkerschule mit kunstgewerblichen Tagesklassen
 1914–1933: Handwerker- und Kunstgewerbeschule Bielefeld
 1933–1938: Handwerkerschule Bielefeld
 1938–1943: Meisterschule des Deutschen Handwerks
 1943–1956: Meisterschule für das gestaltende Handwerk
 1956–1971: Werkkunstschule Bielefeld
 1971–1978: Fachbereich Design der Fachhochschule Bielefeld
Heute beherbergt das Gebäude die Musik- und Kunstschule der Stadt Bielefeld.

Architektur
Die dreiflügelige Anlage wurde im Sinne der Reformarchitektur von Wilhelm Thiele entworfen und 1912/13 vom Bielefelder Stadtbaurat Friedrich Schultz errichtet. Die Struktur des Stahlbetonbaus an der zur Sparrenburg gewandten langen Front ist formbestimmend. Die stark profilierten Strebepfeiler und auch der flachbogige Mittelrisalit gliedern die Front. Dem Risalit ist ein weiterer, höherer mit vier schmalen Fensterbahnen eingefügt. Die Flächen zwischen den Pfeilern sind in beiden Geschossen in Fenstern geöffnet. Die geometrisch-dekorativen Details sind aus Beton, die Oberflächen aus Kunststeinputz gefertigt. Das hohe, haubenförmige, gewölbte Walmdach ist mit großen Atelierfenstern ausgestattet. Die untergeordneten Hofseiten sind schlicht gestaltet. Am Südostflügel steht ein polygonaler Atelierbau in Strebenkonstruktion. Die Raumdisposition mit dem Treppenhaus und dem Folgen großer Ateliers ist weitgehend erhalten.

Das Gebäude steht heute unter Denkmalschutz.

Personen

 Bürgermeister Rudolf Stapenhorst setzte sich für die Gründung der Schule ein.
 Der Architekt Wilhelm Thiele nahm am 1. April 1907 als Direktor den Betrieb der Schule auf. Im Jahr 1913 wechselte er als Direktor an die Kunstgewerbe- und Handwerkerschule Charlottenburg
 Von 1907 bis 1938 war Gertrud Kleinhempel Leiterin der Textilklasse an der Handwerker- und Kunstgewerbeschule. Sie erhielt 1921 als eine der ersten Frauen in dieser Position in Preußen den Professorentitel. Zum 1. April 1938 trat sie in den Ruhestand.

Weitere Personen, die an der Schule lehrten oder lernten:
 Peter August Böckstiegel, Schüler 1907–1913
 Bernhard A. Böhmer, Schüler
 Marga Böhmer, Schülerin (Bildhauerei)
 Josefthomas Brinkschröder, Schüler 1929/30
 Jupp Ernst, Schüler (Grafik) 1926–1929
 Ludwig Godewols, Lehrer der Maler- und Lithographenklasse von 1907 bis 1926
 Paul Griesser, seit 1924  Leiter der neuen Fachklasse für Innenarchitekten und Tischler
 Roland Günter, Dozent
 Franz Guntermann, Leiter der Bildhauerklasse 1914–1928
 Thyra Hamann-Hartmann, Schulleiterin 1950–1969
 Ernst Hansen, Schüler 1924–1927, Lehrer für angewandte Malerei von 1933–1972
 Eduard Herterich, Schüler 1928–1934
 Gottfried Jäger, Lehrer für Fotografie 1960–1978
 Kurt Kranz, Schüler
 Heinz Lewerenz, Schüler 1909–1914
 Bernd Löbach, Dozent 1968–1978
 Else Lohmann, Schülerin
 Erich Lossie 1911–1914
 Karl-Heinz Meyer, Dozent ab 1966
 Gustav Mennicke, Schüler 1919–1923
 Berthold Müller-Oerlinghausen, Bildhauerstudium 1910–1912 unter Hans Perathoner
 Karl Muggly, Lehrer für Zeichnen und Malerei 1908–1950
 Wilhelm G. Niemöller, Schüler
 Hans Perathoner, Leiter der Bildhauerklasse und Lehrer für Aktmalerei bis 1914
 Christel Poll, Schülerin
 Ernst Sagewka, Schüler ab 1907
 Florenz Robert Schabbon, Schüler 1921–1922
 Josef Daniel Sommer, Lehrer
 Richard Sprick, Schüler
 Emil Steffann, Schüler (Bildhauerei) 1917/18–1921
 Theodor Steinkühler, Schüler 1912–1914
 Hermann Stenner, Schüler 1908/09
 Carl Strüwe, Schüler (Zeichnen, Malerei und Schrift) 1919–1923
 Bernhard Temming, Schüler Anfang der 1920er Jahre
 Wilhelm Thiele (Architekt), Lehrer und Direktor von 1907 bis 1912
 Georg Trump, Professor um 1926–1929
 Victor Tuxhorn, Schüler von 1909–1914
 Georg Tuxhorn, Schüler von 1921–1923
 Hannes Wader, Schüler von 1962–1964
 Alfred Wiese, Schüler
 Wilhelm Wrobel, Schüler

Literatur
 Ursula Quednau (Bearb.): Dehio-Handbuch der deutschen Kunstdenkmäler, Nordrhein-Westfalen II: Westfalen. Deutscher Kunstverlag, Berlin / München 2011, ISBN 978-3-422-03114-2, S. #.
 Gerhard Renda: Gestaltung im Zeichen der Burg. Die Handwerker- und Kunstgewerbeschule Bielefeld. In: Andreas Beaugrand  (Hrsg.): Stadtbuch Bielefeld 1214-2014. Bielefeld 2013, ISBN 978-3-87073-610-1, S. 746ff.

Weblinks
 Geschichte des Gebäudes (abgerufen am 21. März 2012)
 Geschichte der Schule (abgerufen am 21. März 2012)

Einzelnachweise

Bildung in Bielefeld
Bielefeld
Baudenkmal in Bielefeld
Erbaut in den 1910er Jahren
Bauwerk aus Beton
Bielefeld-Mitte
Bielefeld
Kunst (Bielefeld)
Bauwerk in Bielefeld
Gegründet 1907
Aufgelöst 1971
Bielefeld


La question des droits de l'homme en Tanzanie, une nation avec une population de 59 441 988 habitants en 2021, est un sujet complexe. Dans son rapport Freedom in the World de 2013, Freedom House a déclaré le pays « relativement libre ».

Préoccupations en matière de droits de l'homme
En  lors de sa réunion à Genève (Suisse), le Conseil des droits de l'homme des Nations Unies a achevé un examen périodique universel (EPU) de la situation des droits de l'homme en Tanzanie. Lors de cet EPU, l'équipe de pays des Nations unies (United Nations Country Team, UNCT) et plusieurs autres pays ont abordé divers problèmes en Tanzanie.

Égalité des sexes
L'UNCT a déclaré :  Le Danemark a effectué la recommandation suivante, approuvée par la Tanzanie, consistant à

La Tanzanie a également soutenu la recommandation du Ghana sur le fait de   .

Populations indigènes
L'UNCT a déclaré :  Au cours de l'EPU, la Finlande a notamment souligné les expulsions forcées et illégales d'autochtones. Cette dernière a demandé à la Tanzanie qu'elles étaient ses actions pour mettre en place les recommandations du Rapporteur spécial des Nations Unies sur les droits des peuples autochtones, et si le gouvernement comptait prendre des mesures législatives pour protéger efficacement les droits de ces derniers .

Le Danemark quant à lui a souligné le déni de la Tanzanie et la restriction des droits des peuples autochtones sur les terres ancestrales, se traduisant alors par de nombreuses expulsions forcées.

Relations entre personnes de même sexe
L'UNCT a déclaré :  Durant l'examen périodique universel (EPU), le gouvernement suédois a noté que   .

La Slovénie quant à elle s'est dite préoccupée par le fait que les actes sexuels consentis entre personnes de même sexe restaient incriminés .

Discrimination au travail
L'UNCT a déclaré :

Les travailleurs du sexe
L'UNCT a déclaré :

L'albinisme
Les meurtres et les mutilations de personnes atteintes d'albinisme se poursuivent, le plus souvent pratiqués par des sorciers. Navi Pillay, la Haut-Commissaire des Nations Unies aux droits de l'homme, a déclaré en  que les poursuites pour ces crimes aboutissent rarement avec seulement cinq cas connus de condamnations sur les 72 meurtres de personnes atteintes d'albinisme documentés en Tanzanie depuis 2000.

L'UNCT a déclaré :

Mortalité maternelle
La mortalité maternelle est extrêmement élevée en Tanzanie. Beaucoup de ces décès sont liés à des causes obstétricales indirectes ou directes, provoquées par le manque de moyens et les conditions insalubres dans lesquelles la plupart des femmes sont contraintes de donner la vie.

L'UNCT a déclaré :

Mortalité des enfants de moins de cinq ans
L'UNCT a déclaré :

Travail forcé
L'UNCT a déclaré :

Le trafic d'êtres humains
L'UNCT a déclaré :

Incarcération, prisons et accès à la justice
L'UNCT a déclaré :   Le Département d'État des États-Unis a déclaré dans son rapport sur les droits de l'homme de 2013 :   Les détenus accusés d'infractions pénales en Tanzanie attendaient généralement trois à quatre ans pour être jugés. Les principales raisons étant un manque de juges pour entendre les affaires, un budget judiciaire insuffisant et un manque de temps nécessaire pour mener à bien les enquêtes policières.

Justice pour mineurs
L'UNCT a déclaré :  Le Département d'État des États-Unis a déclaré dans son rapport sur les droits de l'homme de 2013 :

Usage excessif de la force, la torture, les arrestations arbitraires et la corruption
Au cours de l'EPU, les États-Unis se sont dits préoccupés par les rapports faisant état d'arrestations arbitraires, d'un recours excessif à la force par la police et les forces armées, ainsi que de la corruption flagrante dans l'application des lois  .

Le Danemark quant à lui a souligné les informations selon lesquelles les agents des forces de l'ordre feraient un usage disproportionné de la force, notamment de la torture. .

La Tanzanie a exprimé son accord à la suite des recommandations américaines de  et de dispenser une formation aux droits de l'homme aux forces de sécurité .

Le Département d'État des États-Unis a déclaré dans son rapport sur les droits de l'homme de 2013 :

Justice pour les survivants de violences sexuelles
L'UNCT a déclaré :

Liberté d'association, d'opinion et d'expression
L'UNCT a déclaré :

Traitement des écoliers
L'UNCT a déclaré :   Au cours de l'EPU, la Finlande a commenté les restrictions imposées par la Tanzanie sur l'éducation des personnes en situation de handicap. Elle a également interrogé le pouvoir tanzanien sur ses actions pour mettre pleinement en œuvre la loi sur les personnes handicapées et la stratégie sur l'éducation inclusive .

Personnes vivant avec le VIH/SIDA
L'UNCT a déclaré :

Zanzibar
Historiquement, la situation des droits de l'homme dans l'archipel de Zanzibar a toujours été plus problématique que la situation sur le continent. La constitution originale de la république unie n'accordait presque aucun recours aux autorités continentales pour intervenir dans les affaires de droit et de justice. Les responsables du continent étaient donc impuissants pour arrêter la vague d'arrestations et d'emprisonnements arbitraires dans les îles. La branche de Zanzibar du Parti révolutionnaire (connue sous le nom de Parti Afro-Shirazi, avant de fusionner avec l'Union nationale africaine du Tanganyika continentale en 1977) a toujours été beaucoup plus autoritaire que son homologue continental. Cette situation s'est maintenue même après que les partis d'opposition aient été légalisé en 1992.

Les réfugiés du Burundi
Après une réunion en  entre la Tanzanie, le Burundi et le Haut-Commissariat des Nations Unies pour les réfugiés (HCR), la décision a été prise de fermer le camp de Mtabila le . Ce camp abritait alors environ 38 000 réfugiés burundais sur le territoire tanzanien. La Tanzanie a notamment refusé d'accorder la citoyenneté à l'un de ces réfugiés après l'avoir fait pour 162 000 réfugiés burundais en 2010.

A la suite d'une enquête détaillée menée par le HCR et des responsables tanzaniens en , 33 708 réfugiés à Mtabila se sont avérés  et ceux qui . En , sur la base d'entretiens de sélection menés avec le HCR, seuls 2 715 des réfugiés ont été déterminés à conserver le droit au statut de réfugié. En novembre 2012, le HCR a signalé qu'environ 1 000 personnes par jour recevaient une aide pour rentrer volontairement au Burundi.

Entre  et , les autorités et les services de renseignement tanzaniens ont sobrement torturés et maltraités au moins 18 réfugiés et demandeurs d'asile burundais. Après la décision contestée du président Pierre Nkurunziza de se présenter pour un troisième mandat en 2015, de nombreux réfugiés burundais vivaient alors dans des camps en Tanzanie pour échapper à la violence dans leur propre pays.

Historique des notes de Freedom House
Le graphique suivant montre les notes de la Tanzanie depuis 1972 dans les rapports Freedom in the World, publiés chaque année par Freedom House. La moyenne de chaque évaluation sur les droits politiques et les libertés civiles détermine le statut global de «Libre» (1,0–2,5), «Relativement libre» (3,0–5,0) ou «Non libre» (5,5–7,0).

Traités internationaux
La position de la Tanzanie sur les traités internationaux relatifs aux droits de l'homme des Nations unies sont les suivantes :

Références

Liens externes
Rapports
 Rapport national sur les pratiques en matière de droits de l'homme pour 2011 par le Département d'État des États-Unis
 Rapport annuel 2012, par Amnesty International
 Rapport 2011 sur la liberté dans le monde, par Freedom House

Organisations internationales
 La Tanzanie à Amnesty International
 La Tanzanie à Human Rights Watch
 La Tanzanie à la FIDH
 Tanzanie au Haut-Commissariat des Nations unies aux droits de l'homme (HCDH)
 La Tanzanie à l'UNICEF
 La Tanzanie à l'International Freedom of Expression Exchange (IFEX)

Organisations nationales
 Centre juridique et des droits de l'homme

Droits de l'homme en Tanzanie
Pages avec des traductions non relues

Droits de l'homme en Tanzanie


Međunarodni kup Premier lige (eng. Premier League International Cup) je englesko nogometno natjecanje za igrače mladih momčadi iz Europe do 23 godine starosti. Natjecanje je osnovala engleska Premier liga 2014. godine s ciljem da se najbolje mlade engleske momčadi natječu s najboljim momčadima kontinentske Europe. Na Kupu se natječe 12 engleskih momčadi i 12 europskih momčadi.

Povijest

Dosadašnji pobjednici

Hrvatski klubovi
  Dinamo Zagreb, sezona 2018./19., igrao finale s Bayernom

Povezani članci
 Manchester United Premijer kup
 FIFA Kup mladih
 UEFA Liga mladih

Vanjske poveznice

Engleska nogometna natjecanja
Europska klupska nogometna natjecanja

Međunarodni kup Premier lige


Mpanjaka collenettei este o molie din familia Erebidae care se găsește în centrul Madagascarului.

Masculul are o anvergură a aripilor de 35  mm, iar lungimea aripilor din față este de 17 mm.

Vezi și
 Listă de molii din Madagascar

Referințe

Legături externe
  Baza de date a genului Lepidoptera la Muzeul de istorie naturală

Erebidae
Lymantriidae
Molii din Madagascar
Molii din Africa
Molii descrise în 1974

Mpanjaka collenettei


An Spirodela punctata in uska species han Liliopsida nga syahan ginhulagway ni Georg Friedrich Wilhelm Meyer, ngan ginhatag han pagkayana nga asya nga ngaran ni Charles Henry Thompson. An Spirodela punctata in nahilalakip ha genus nga Spirodela, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Spirodela

Spirodela punctata


was a town located in Saba District, Yamaguchi Prefecture, Japan.

As of 2003, the town had an estimated population of 7,946 and a density of 27.37 persons per km². The total area was 290.35 km².

On October 1, 2005, Tokuji, along with the towns of Aio, Ajisu and Ogōri (all from Yoshiki District), was merged into the expanded city of Yamaguchi.

Tokuji was home to Saba High School, which has a student body of around 100. Tokuji is a location of washi (traditional handmade Japanese paper) making since 1186.

External links
 Yamaguchi official website

Dissolved municipalities of Yamaguchi Prefecture
Yamaguchi (city)

Tokuji, Yamaguchi


An Brocchinia delicatula in uska species han Liliopsida nga ginhulagway ni Lyman Bradford Smith. An Brocchinia delicatula in nahilalakip ha genus nga Brocchinia, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Brocchinia

Brocchinia delicatula


اليوم العالمي للتوحد يصادف الثاني من أبريل من كل عام، ويهدف إلى التعريف بـه، والتحذير من مرض التوحد.

إعلانه
في عام 2008، بدأ نفاذ اتفاقية حقوق الأشخاص ذوي الإعاقة، وبذلك تم التأكيد من جديد على مبدأ أساسي من مبادئ حقوق الإنسان العالمية للجميع. ويتمثل الغرض منها في تعزيز جميع حقوق الإنسان والحريات الأساسية لجميع الأشخاص ذوي الإعاقة وحمايتها وضمان تمتعهم الكامل بها على قدم المساواة، وتعزيز احترام كرامتهم المتأصلة.

وقد أعلنت الجمعية العامة للأمم المتحدة بالإجماع يوم 2 نيسان/أبريل بوصفه اليوم العالمي للتوعية بمرض التوحد (القرار 139/62) لتسليط الضوء على الحاجة للمساعدة على تحسين نوعية حياة الذين يعانون من التوحد حتى يتمكنوا من العيش حياة كاملة وذات مغزى كجزء لا يتجزأ من المجتمع.

انظرَ أيضا
 أحد التوحد
 التوحد في المغرب
 علاج التوحد
 مبادرة الإنارة الزرقاء

مراجع

توحد
أيام التوعية الصحية
توحد
مناسبات أبريل

اليوم العالمي للتوحد


Kystvejen i Aarhus går fra Havnegade og Skolebakken langs Aarhus Havn til Skovvejen.

Fra 1867-1870 havde kommunen fyldt området ned mod vandet bag Mejlgade op med jord. Tidligere havde mange huse i Mejlgade haft haver ned mod vandet, og Skt. Olufs Kirkegård lå også ned mod vandet. Haverne forsvandt, da Kystvejen blev oprettet. Vejen løste et problem, som Mejlgades beboere længe havde haft. Når stormene fra Kattegat rasede, tog de ofte en del af beboernes haver med. Det samme galt for Skt. Olufs Kirkegård, hvor knogler ofte blev skyllet ud af stormene. Dette problem blev løst med opførelsen af Kystvejen som en barriere mod havet. Det var også beboerne i Mejlgade, der var med til at finansiere byggeriet, da de kom til at betale en tredjedel af anlægssummen. Vejens anlæggelse falder sammen med oprettelsen af Skolebakken og Havnegade.

Kystvejen fik sit navn i 1871; året efter at vejen blev anlagt. I efteråret 1871 begyndte det første hus at blive opført på vejen, og byrådet blev derfor nødt til at navngive vejen. Ejendommene skød langsomt op.

I 1877 blev jernbanesporet langs Kystvejen anlagt. Kystvejen var Aarhus' strandpromenade de første mange år, men omkring 1914 ændrede vejen sig fra promenade til en vigtig færdselsåre for byen.

Omlægning af Kystvejen
I forbindelse med indførelsen af Letbanen i Aarhus har Kystvejen haft en central rolle. Vejen har gennem lange perioder været gravet op og indsnævret til gene for trafikken på vejen. Vejen er nu ændret fra at have haft fire spor til at have to.

Kilder og henvisninger

Gader i Aarhus

Kystvejen (Aarhus)


Winterreise (, Winter Journey) is a song cycle for voice and piano by Franz Schubert (D. 911, published as Op. 89 in 1828), a setting of 24 poems by German poet Wilhelm Müller. It is the second of Schubert's two song cycles on Müller's poems, the earlier being Die schöne Müllerin (D. 795, Op. 25, 1823).

Both were originally written for tenor voice but are frequently transposed to other vocal ranges, a precedent set by Schubert himself. The two works pose interpretative demands on listeners and performers due to their scale and structural coherence. Although Ludwig van Beethoven's cycle An die ferne Geliebte (To the Distant Beloved) was published earlier, in 1816, Schubert's cycles hold the foremost place in the genre's history.

The autograph manuscript of the cycle is preserved in the Morgan Library & Museum.

Authorship and composition
Winterreise was composed in two parts, each with twelve songs, the first part in February 1827 and the second in October 1827. The two parts were also published separately by Tobias Haslinger, the first on 14 January 1828, and the second (the proofs of which Schubert was still correcting days before his death on 19 November) on 30 December 1828.

The text consists of poems by Wilhelm Müller. Müller, a poet, soldier and Imperial Librarian at Dessau in Prussia (present-day east-central Germany), died in 1827 aged 33, and probably never heard the first setting of his poems in Die schöne Müllerin (1823), let alone Winterreise. Die schöne Müllerin had become central to the performing repertoire and partnership of Schubert with his friend, the baritone singer Johann Michael Vogl, who introduced Schubert's songs to many people in their tours through Austria in the mid-1820s.

Schubert found the first twelve poems under the title Wanderlieder von Wilhelm Müller. Die Winterreise. In 12 Liedern in an almanack () published in Leipzig in 1823. His intimate friend Franz von Schober had provided this book for him. It was after he set these, in February 1827, that he discovered the full series of poems in Müller's book of 1824, Poems from the posthumous papers of a travelling horn-player, dedicated to the composer Carl Maria von Weber (godfather of Müller's son F. Max Müller), "as a pledge of his friendship and admiration". Weber died in 1826. On 4 March 1827, Schubert invited a group of friends to his lodgings intending to sing the first group of songs, but he was out when they arrived, and the event was postponed until later in the year, when the full performance was given.

Between the 1823 and 1824 editions, Müller varied the texts slightly and also (with the addition of the further 12 poems) altered the order in which they were presented. Owing to the two stages of composition, Schubert's order in the song-cycle preserves the integrity of the cycle of the first twelve poems published and appends the twelve new poems as a Fortsetzung (Continuation), following Müller's order (if one excludes the poems already set) with the one exception of switching "Die Nebensonnen" and "Mut!". In the complete book edition, Müller's final running-order was as follows:"Gute Nacht"; "Die Wetterfahne"; "Gefror'ne Tränen"; "Erstarrung"; "Der Lindenbaum"; "Die Post"; "Wasserflut"; "Auf dem Flusse"; "Rückblick"; "Der greise Kopf"; "Die Krähe"; "Letzte Hoffnung"; "Im Dorfe"; "Der stürmische Morgen"; "Täuschung"; "Der Wegweiser"; "Das Wirtshaus"; "[Das] Irrlicht"; "Rast"; "Die Nebensonnen"; "Frühlingstraum"; "Einsamkeit"; "Mut!"; "Der Leiermann".Thus, Schubert's numbers would run 1–5, 13, 6–8, 14–21, 9–10, 23, 11–12, 22, 24, a sequence occasionally attempted by Hans Joachim Moser and Günther Baum.

Schubert's original group of settings therefore closed with the dramatic cadence of "Irrlicht", "Rast", "Frühlingstraum" and "Einsamkeit", and his second sequence begins with "Die Post". Dramatically, the first half is the sequence from the leaving of the beloved's house, and the second half the torments of reawakening hope and the path to resignation.

In Winterreise Schubert raises the importance of the pianist to a role equal to that of the singer. In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen". The piano supplies rich effects in the nature imagery of the poems, the voices of the elements, the creatures and active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, the post horn calling, and the drone and repeated melody of the hurdy-gurdy.

Opinions of Schubert's intentions

Many have attempted to explain the reason Schubert composed Winterreise. A possible explanation is documented in a book by Elizabeth Norman McKay, Schubert: The Piano and Dark Keys: "Towards the end of 1822 ... Schubert was very sick, having contracted the syphilis that inevitably was to affect the remainder of his life: his physical and mental health, and the music he was to compose." As detailed below, he worked on Winterreise as he was dying of syphilis.

In addition to his friend Franz von Schober, Schubert's friends who often attended his Schubertiaden or musical sessions included Eduard von Bauernfeld, Joseph von Spaun, and the poet Johann Mayrhofer. Both Spaun and Mayrhofer describe the period of the composition of Winterreise as one in which Schubert was in a deeply melancholic frame of mind, as Mayrhofer puts it, because "life had lost its rosiness and winter was upon him." Spaun tells that Schubert was gloomy and depressed, and when asked the reason replied,
"Come to Schober's today and I will play you a cycle of terrifying songs; they have affected me more than has ever been the case with any other songs." He then, with a voice full of feeling, sang the entire Winterreise for us. We were altogether dumbfounded by the sombre mood of these songs, and Schober said that one song only, "Der Lindenbaum", had pleased him. Thereupon Schubert leaped up and replied: "These songs please me more than all the rest, and in time they will please you as well."

It is argued that in the gloomy nature of the Winterreise, compared with Die schöne Müllerin, there is a change of season, December for May, and a deeper core of pain, the difference between the heartbreak of a youth and a man. There is no need to seek in external vicissitudes an explanation of the pathos of the Winterreise music when the composer was this Schubert who, as a boy of seventeen, had the imagination to fix Gretchen's cry in music once for all, and had so quivered year by year in response to every appeal, to Mignon's and the Harper's grief, to Mayrhofer's nostalgia. It is not surprising to hear of Schubert's haggard look in the Winterreise period; but not depression, rather a kind of sacred exhilaration... we see him practically gasping with fearful joy over his tragic Winterreise – at his luck in the subject, at the beauty of the chance which brought him his collaborator back, at the countless fresh images provoked by his poetry of fire and snow, of torrent and ice, of scalding and frozen tears. The composer of the Winterreise may have gone hungry to bed, but he was a happy artist.

Schubert's last task in life was the correction of the proofs for part 2 of Winterreise, and his thoughts while correcting those of the last song, "Der Leiermann", when his last illness was only too evident, can only be imagined. However, he had heard the whole cycle performed by Vogl (which received a much more enthusiastic reception), though he did not live to see the final publication, nor the opinion of the Wiener Theaterzeitung:Müller is naive, sentimental, and sets against outward nature a parallel of some passionate soul-state which takes its colour and significance from the former. Schubert's music is as naive as the poet's expressions; the emotions contained in the poems are as deeply reflected in his own feelings, and these are so brought out in sound that no-one can sing or hear them without being touched to the heart.

Elena Gerhardt said of the Winterreise, "You have to be haunted by this cycle to be able to sing it."

Nature of the work

In his introduction to the Peters edition (with the critical revisions of Max Friedlaender), Professor Max Müller, son of the poet Wilhelm Müller, remarks that Schubert's two song-cycles have a dramatic effect not unlike that of a full-scale tragic opera, particularly when performed by great singers such as Jenny Lind (Die schöne Müllerin) or Julius Stockhausen (Winterreise). Like Die schöne Müllerin, Schubert's Winterreise is not merely a collection of songs upon a single theme (lost or unrequited love) but is in effect one single dramatic monologue, lasting over an hour in performance. Although some individual songs are sometimes included separately in recitals (e.g. "Gute Nacht", "Der Lindenbaum" and "Der Leiermann"), it is a work which is usually presented in its entirety. The intensity and the emotional inflections of the poetry are carefully built up to express the sorrows of the lover, and are developed to an almost pathological degree from the first to the last note, something explored (along with the cultural context of the work) by the tenor Ian Bostridge in Schubert's Winter Journey: Anatomy of an Obsession. Over the course of the cycle, grief over lost love progressively gives way to more general existential despair and resignation – the beloved is last directly mentioned only halfway into the work – and the literal winter's journey is arguably at least in part allegorical for this psychological and spiritual one. Wintry imagery of cold, darkness, and barrenness consistently serve to mirror the feelings of the isolated wanderer.

The cycle consists of a monodrama from the point of view of the wandering protagonist, in which concrete plot is somewhat ambiguous. After his beloved falls for another, the grief-stricken young man steals away from town at night and follows the river and steep ways to a charcoal burner's hut, where he rests before moving on. He comes across a village, passes a crossroads, and arrives at a cemetery. Here being denied even the death on which he has become fixated, he defiantly renounces faith before reaching a point of resignation. Finally he encounters a derelict street musician, the only instance in the cycle in which another character is present. The mysterious and ominous nature of the musician, along with the question posed in the last lines, leave the fate of the wanderer open to interpretation.

The two Schubert cycles (primarily for male voice), of which Winterreise is the more mature, are absolute fundamentals of the German Lied, and have strongly influenced not only the style but also the vocal method and technique in German classical music as a whole. The resources of intellect and interpretative power required to deliver them, in the chamber or concert hall, challenge the greatest singers.

Songs
{|
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"Gute Nacht" ("Good Night"): "A stranger I arrived; a stranger I depart." In May, he won the love of a girl and hoped to marry her. But now his world is bleak, and he must leave, in winter, in the dead of night, finding his own way in the trackless snow. "Love loves to wander—from one person to the next." He writes "Good Night" on her gate as he passes to show he thought of her.

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"Die Wetterfahne" ("The Weathervane"): The weathervane on her house creaks in the shifting winds, mocking him and showing the inconstant hearts inside. "What do they care about my suffering? Their child is a wealthy bride!"

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"Gefror'ne Tränen" ("Frozen Tears"): He notices he has been crying and chides his tears for being only lukewarm so that they freeze. They come out of his heart hot enough to melt all the winter's ice!

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"Erstarrung" ("Frozen"): He looks in vain for her footprints beneath the snow where she once walked with him through the green meadow; he wants to melt away the snow and ice with his tears. He has nothing to remember her by except his pain. She is frozen in his heart; if it thaws, her image will flow away.

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"" ("The Linden Tree"): The tree, a reminder of happier days, seems to call to him as he passes by in the depth of night, promising rest. But he turns away, into the cold wind. And now, miles away, he still hears it calling him: "Here you would find peace."

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"Wasserflut" ("Flood"): The cold snow thirstily sucks up his tears; when the warm winds blow, the snow and ice will melt, and the brook will carry them through the town to where his sweetheart lives.

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"Auf dem Flusse" ("On the Stream"): The gaily rushing stream lies silent under a hard crust. In the ice, he carves a memorial to their love. The river is an image of his heart swelling up powerfully beneath the frozen surface.

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"Rückblick" ("Backwards Glance"): He recounts his headlong flight from the town and recalls his springtime arrival in the "city of inconstancy," and two girlish eyes which captivated him. When he thinks of that time, he would like to go back and stand silently in front of her house.

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"Irrlicht" ("Will-o'-the-wisp"): The false light of the will-o'-the-wisp has led him astray, but he is used to that. Every path leads to the same goal. Our joys and sorrows are but a trick of the light. Every stream reaches the sea, every sorrow its grave.

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"Rast" ("Rest"): Only now that he has stopped to rest does he realize how tired and sore he is. And in the quiet he feels for the first time the "worm" which stings him inwardly.

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"Frühlingstraum" ("Dream of Spring"): He dreams of springtime and love, but wakes to cold and darkness and the shrieking of ravens. He sees frost leaves painted on the window. When will they turn green? When will he again embrace his beloved?

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"Einsamkeit" ("Loneliness"): He wanders, like a sad and lonely cloud, through the bright and happy Life around him. "Even when the storms were raging. I was not so miserable."

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"Die Post" ("The Post"): He hears a post horn. "Why does my heart leap up so? There's no letter for you! But maybe there's some news of her?"

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"Der greise Kopf" ("The Gray Head"): Frost has turned his hair gray and he rejoices at being an old man. But when it thaws, he is horrified to be a youth again: "How far it is still to the grave."

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"Die Krähe" ("The Crow"): A crow has been following him. It has never left him, expecting to take his body as its prey. "It won't be much longer now. Crow, show me constancy unto death!"

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"Letzte Hoffnung" ("Last Hope"): He gambles on a leaf quivering in the wind. If it falls from the tree, all his hopes are dashed. He falls to the ground himself and weeps over the "grave" of his hopes.

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"Im Dorfe" ("In the Village"): Dogs bark, and all the people are asleep, dreaming of success and failure, finding on their pillows what eluded them in life. "I am done with all dreaming. Why should I linger among the sleepers?"

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"Der stürmische Morgen" ("The Stormy Morning"): The storm is an image of his heart, wild and cold like the winter.

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"Täuschung" ("Deception"): A dancing light wants to lead him astray, and he is glad to go along. "Behind ice and night and horror" it shows him a warm, bright house and a loving wife within. Illusion is all he has to go on.

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"Der Wegweiser" ("The Signpost"): "Why do I take secret ways and avoid the other travelers? I've committed no crime. What foolish desire drives me to seek the wastelands?" He journeys endlessly, seeking peace and finding none. A signpost points the way: "I must travel a road where no one has ever yet returned."

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"Das Wirtshaus" ("The Inn"): He comes to a graveyard and wants to enter. But all the rooms in this "inn" are taken; he resolves to go on his way with his faithful walking-stick.

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"Mut!" ("Have Courage!"): He shakes the snow from his face and sings cheerfully to silence his heart's stirrings, striding into the world, against wind and weather: "If there's no God on earth, then we ourselves are gods!"

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"Die Nebensonnen" ("The Sun Dogs"): He sees three suns staring at him in the sky. "You are not my suns! Once I too had three, but the best two have now set. If only the third would follow, I'll be happier in the darkness."

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"Der Leiermann" ("The Hurdy-Gurdy Man"): Back of the village stands a hurdy-gurdy man, cranking his instrument with frozen fingers. His begging bowl is always empty; no one listens, and the dogs growl at him. But his playing never stops. "Strange old man. Shall I come with you? Will you play your hurdy-gurdy to accompany my songs?"

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Reworkings by others
 Franz Liszt transcribed 12 of the songs in the cycle for piano (S. 561), rearranging their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8). He may have intended to transcribe them all. See also Transcriptions by Franz Liszt.
 Leopold Godowsky made a number of piano transcriptions of Schubert songs; the only one from Winterreise was the first song, "Gute Nacht".
Maury Yeston based his musical-theatre song cycle, commissioned by Carnegie Hall for its Centennial, December Songs on Winterreise.
 Hans Zender orchestrated a version of the cycle in 1993, altering the music in the process.
 Jens Josef created in 2001 a version for tenor and string quartet. It was recorded by Christian Elsner and the Henschel Quartet in 2002, and performed in 2004 by Peter Schreier and the Dresdner Streichquartett.
 John Neumeier made a ballet to Winterreise on his Hamburg Ballet company in December 2001.
 Rood Adeo translated Müller's poem "Das Wirtshaus" into an English version "The Hotel", and wrote a new composition to it for piano, Wurlitzer electric piano, celesta, harmonium, and bass. It was recorded by Rood Adeo & Nighthawks at the Diner at the Wisseloord Studios in 2002, and released on the album Transit Cellophane.
 Oboist Normand Forget made a unique chamber version for accordion and wind quintet including bass clarinet, oboe d'amore and baroque horn, recorded in September 2007 by tenor Christoph Prégardien, accordionist Joseph Petric and the Montréal ensemble Pentaèdre. It was performed at the Hohenems Schubertiade, Austria 2009, and the Berlin Philharmonic Chambermusic series with the Berlin Philharmonic Wind Quintet 2013.
 The deaf actor Horst Dittrich translated the cycle of poems into Austrian Sign Language in 2007 and presented it on stage in a production of ARBOS – Company for Music and Theatre directed by Herbert Gantschacher, with Rupert Bergmann (bass-baritone) and Gert Hecher (piano), in 2008 in Vienna and Salzburg and in 2009 in Villach (Austria).
Rick Burkhardt, Alec Duffy and Dave Malloy created an Obie award-winning theatrical adaptation of the cycle, Three Pianos, directed by Rachel Chavkin. The show played at the Ontological Theater and New York Theatre Workshop in 2010 and the American Repertory Theater in 2011.
, inspired by "Der Leiermann", the last song of Winterreise, arranged the cycle for voice and hurdy-gurdy, and recorded it in 2010 with soprano .
Keith Kouna's 2013 album Le voyage d'hiver was a French-language reimagining of Winterreise.
A new version of the entire cycle for voice and accordion (2014) features indie rock singer Corn Mo and accordionist William Schimmel.
Conal Morrison and Conor Linehan combined songs from Winterreise (translated into English by Stephen Clark) with Georg Büchner's Woyzeck in a music theatrical production Woyzeck in Winter which was produced by Landmark Productions and performed at the Galway International Arts Festival, the Barbican Centre, London, and the Dublin Theatre Festival in 2017. The cast was led by Patrick O'Kane and Camille O'Sullivan. Other leading cast members included Rosaleen Linehan, Barry McGovern and Stephen Brennan.
Covenant, a Swedish synthpop/industrial band, released "Der Leiermann" on their 2000 single United States of Mind.
British translator and lyricist Jeremy Sams produced an English translation that was recorded by baritone Roderick Williams and pianist Christopher Glynn in 2018.
Composer and conductor Massimiliano Matesic made an orchestral version of the cycle, which premiered in Zurich on December 29, 2018.

Editions
Besides re-ordering Müller's songs, Schubert made a few changes to the words: verse 4 of "Erstarrung" in Müller's version read [Schubert's text bracketed]: "Mein Herz ist wie erfroren [erstorben]" ("frozen" instead of "dead"); "Irrlicht" verse 2 read "...unsre Freuden, unsre Wehen [Leiden]" ("pains" instead of "sorrows") and "Der Wegweiser" verse 3 read "Weiser stehen auf den Strassen [Wegen]" ("roads" instead of "paths"). These have all been restored in Mandyczewski's edition (the widely available Dover score) and are offered as alternative readings in Dietrich Fischer-Dieskau's revision of Max Friedlaender's edition for Peters. A few of the songs differ in the autograph and a copy with Schubert's corrections. "Wasserflut" was transposed by Schubert from F minor to E minor without alteration; "Rast" moved from D minor to C minor and "Einsamkeit" from D minor to B minor, both with changes to the vocal line; "Mut" was transposed from A minor to G minor; "Der Leiermann" was transposed from B minor to A minor. The most recent scholarly edition of Winterreise is the one included as part of the Bärenreiter New Schubert Edition, edited by Walther Dürr, volume 3, which offers the songs in versions for high, medium and low voices. In this edition the key relationships are preserved: only one transposition is applied to the whole cycle.

The following table names the keys used in different editions.

{| class="wikitable" style="text-align:center"
|+Published transpositions
! rowspan="2" | Song !! Autograph & copy !! colspan=2 | Peters edition of Friedlaendler (1884) !! Schirmer
|-
| Autograph ||  ||  || Low
|-
|style="text-align:left"| 1. Gute Nacht
| D minor || B minor || A minor || C minor
|-
|style="text-align:left"| 2. Die Wetterfahne
| A minor || F minor || D minor || F minor
|-
|style="text-align:left"| 3. Gefror'ne Tränen
| F minor || D minor || B minor || D minor
|-
|style="text-align:left"| 4. Erstarrung
| C minor || G minor || G minor || A minor
|-
|style="text-align:left"| 5. Der Lindenbaum
| E major || D major || C major || E major
|-
|style="text-align:left"| 6. Wasserflut
| F minor,changed to E minor || C minor || B minor || C minor
|-
|style="text-align:left"| 7. Auf dem Flusse
| E minor || C minor || A minor || C minor
|-
|style="text-align:left"| 8. Rückblick
| G minor || E minor || D minor || E minor
|-
|style="text-align:left"| 9. Irrlicht
| B minor || G minor || F minor || G minor
|-
|style="text-align:left"| 10. Rast
| D minor,changed to C minor || A minor || G minor || A minor
|-
|style="text-align:left"| 11. Frühlingstraum
| A major || F major || F major || G major
|-
|style="text-align:left"| 12. Einsamkeit
| D minor,changed to B minor || A minor || G minor || B minor
|-
|style="text-align:left"| 13. Die Post
| E major || B major || G major || B major
|-
|style="text-align:left"| 14. Der greise Kopf
| C minor || A minor || A minor || C minor
|-
|style="text-align:left"| 15. Die Krähe
| C minor || A minor || G minor || B minor
|-
|style="text-align:left"| 16. Letzte Hoffnung
| E major || C major || B major || D major
|-
|style="text-align:left"| 17. Im Dorfe
| D major || C major || B major || D major
|-
|style="text-align:left"| 18. Der stürmische Morgen
| D minor || C minor || B minor || D minor
|-
|style="text-align:left"| 19. Täuschung
| A major || G major || G major || A major
|-
|style="text-align:left"| 20. Der Wegweiser
| G minor || E minor || D minor || E minor
|-
|style="text-align:left"| 21. Das Wirtshaus
| F major || E major || D major || F major
|-
|style="text-align:left"| 22. Mut
| A minor,changed to G minor || F minor || D minor || F minor
|-
|style="text-align:left"| 23. Die Nebensonnen
| A major || F major || F major || A major
|-
|style="text-align:left"| 24. Der Leiermann
| B minor,changed to A minor || F minor || F minor || G minor
|-
|}

Enduring influence
Schubert's Winterreise has had a marked influence on several key works, including Gustav Mahler's Lieder eines fahrenden Gesellen and Benjamin Britten's Night-piece. In 1991, Maury Yeston composed both the original music and text of December Songs, a song cycle influenced by Winterreise, on commission from Carnegie Hall for its Centennial celebration. In 1994 Polish poet Stanisław Barańczak published his poems, entitled Podróż zimowa, which – apart from one translation of a work by Müller – were inspired by Schubert's music.
2020 Deutschlandfunk presents a new production of the Winterreise by Augst & Daemgen. In the program Atelier neuer Musik it says: "Hardly any other recording of the Winterreise cycle deals with Müller's texts and Schubert's music in such a radically different way than the reading of the composers and interpreters Oliver Augst and Marcel Daemgen. The focus of the arrangements is not the brilliantly polished beautiful sound of centuries-old traditional musical tradition, but rather its strict breakthrough in order to gain a new, undisguised access to the topicality of old texts and the core of the music."

Recordings
There are numerous recordings.
 Before 1936 are the complete 1928 version of Hans Duhan with Ferdinand Foll and Lene Orthmann, the incomplete Richard Tauber version with Mischa Spoliansky, and the version of Gerhard Hüsch with Hanns Udo Müller (1933, for which an HMV limited edition subscription society was created).
 Hans Hotter first recorded the cycle in 1942 with pianist Michael Raucheisen for Deutsche Grammophon.
 There is an account by Peter Anders with Raucheisen recorded in Berlin in 1945.
 Hans Hotter's famous account with Gerald Moore was issued in May 1955. Hotter went on to make two more recordings: with Erik Werba in 1961 and a live one with Hans Dokoupil in Tokyo in 1969.
 Gérard Souzay's 1963 recording with Dalton Baldwin.
 Dietrich Fischer-Dieskau, among the most famous of exponents, is showcased in seven versions spanning four decades:
 three with Gerald Moore (1955 HMV, 1963 HMV, and 1972 DG),
 and one each with Jörg Demus (1966, DG), Daniel Barenboim (1980, DG), Alfred Brendel (1986, Philips) and Murray Perahia (1992, Sony Classical).
 A recording was made by Peter Pears with Benjamin Britten (issued 1965).
 Very low-pitched recordings are available by Kurt Moll with pianist Cord Garben (Orfeo, 1983), and by Martti Talvela with pianist Ralf Gothóni (BIS, 1984), and by Josef Greindl with pianist Hertha Klust (Preiser 1957), and by László Polgár with pianist Jan Schultsz (Hungaroton, 2005).
 Jon Vickers with Peter Schaaf (1983, VAI)
 Mezzo-Soprano Christa Ludwig 1986 recording with James Levine, pianist on Deutsche Grammophon.
 Olaf Bär's 1989 recording with Geoffrey Parsons on EMI classics.
 Peter Schreier with András Schiff (1994, London/Decca)
 Wolfgang Holzmair with Imogen Cooper (1996, Philips),
 Thomas Quasthoff with Charles Spencer (1998, RCA)
 Mezzo-Soprano Brigitte Fassbaender with Aribert Reimann
 Christian Gerhaher with Gerold Huber (2001, RCA Sony BMG, re-edited in 2008)
 Contralto Nathalie Stutzmann with Inger Södergren (2005, Erato)
 Thomas Quasthoff with Daniel Barenboim (2005, DGG, DVD B-0005149-09)
 Tenor Ian Bostridge with Leif Ove Andsnes (2006, EMI Classics); also, in 2000, Bostridge and pianist Julius Drake made a dramatic video recording of the entire cycle.
 Mark Padmore with Paul Lewis (2009, Harmonia Mundi)
 Werner Güra with Christoph Berner playing a Rönisch fortepiano of 1872 (2010, Harmonia Mundi)
 Mark Padmore with Kristian Bezuidenhout (2018, Harmonia Mundi)
Some videotaped performances are also available, including mezzo-soprano Christa Ludwig with Charles Spencer (1994, Art Haus Musik), several by Fischer-Dieskau, one by Hermann Prey with pianist Helmut Deutsch, and a version by Thomas Quasthoff and pianist Daniel Barenboim filmed at the Berlin Philharmonie in 2005. Francisco Araiza tenor and Jean Lemaire (2014 Arthaus) coupled with Schumann's Dichterliebe; studio recording.

References

Sources

Further reading

Dorschel, Andreas, "Wilhelm Müllers Die Winterreise und die Erlösungsversprechen der Romantik", in: The German Quarterly LXVI (1993), nr. 4, pp. 467–476.

 Ingo Kühl, Winterreise – 24 Bilder zum gleichnamigen Liederzyklus von Franz Schubert – nach Gedichten von Wilhelm Müller – gemalt nach der Interpretation von Barry McDaniel, Gesang – Jonathan Alder, Klavier (1985). Berlin 1996. (Deutsche Nationalbibliothek)
Müller, Wilhelm, Aus den hinterlassenen Papieren eines reisenden Waldhornisten, II: Lieder des Lebens und der Liebe.
Neuman, Andrés, El viajero del siglo (Traveller of the Century). Madrid: Alfaguara, 2009. XII Alfaguara Award of novel.
Schubert, Franz, Sammlung der Lieder kritisch revidirt von Max Friedlaender, vol. I, preface by Max Müller (Peters, Leipzig).
 Suurpää, Lauri: Death in Winterreise: Musico-Poetic Associations in Schubert's Song Cycle. Bloomington: Indiana University Press, 2014. .

External links

 Winterreise: Schubert's autograph manuscript in the Morgan Library & Museum

Manuscript, Schubert Online
Schubert - Winterreise – A Beginners' Guide – Overview, analysis and the best recordings – The Classic Review
Comprehensive research website, Iain C. Phillips
German texts and English translations
Randall Scarlata (baritone) and Jeremy Denk (piano) part 1 and part 2 from the Isabella Stewart Gardner Museum in MP3 format
Complete performance by soprano Lotte Lehmann
Winterreise, MIDI
A Web site about Winterreise by Margo Briessinck
 The complete text, spoken in German, at librivox.org (N. 20)
 MP3s of Hawaii Public Radio broadcasts archived at lottelehmannleague.org/singing-sins-archive:
 Schubert Comparisons February 2, 2014 (comparing performances of songs from Winterreise)
 Winterreise 2015: 1 February 2015 (comparing two Winterreise recordings of 2014: Jonas Kaufmann with Helmut Deutsch, and Gerald Finley with Julius Drake)
, with Brigitte Fassbaender (mezzo-soprano), Wolfram Rieger (piano), directed by Petr Weigl
, with Ian Bostridge (tenor), Julius Drake (piano), directed by David Alden

Lieder composed by Franz Schubert
Song cycles by Franz Schubert
1827 compositions
Classical song cycles in German
Musical settings of poems by Wilhelm Müller

Winterreise


الأردين : هو إقليم فرنسي تابع لمنطقة الشرق الكبير. يبلغ عدد سكانها 290130 نسمة .

أعلام

 جول جامين
 فرناند أنجيل
 كريستين أدامو
 كريستوف لاغرانج

مراجع

تأسيسات سنة 1790 في فرنسا
دول وأقاليم أسست في 1790
مناطق فرنسا

الأردين (إقليم فرنسي)


Bu sayfada yapma bir dil olan "İdo dili" açıklanmaktadır. İstanbul Deniz Otobüsleri (İDO) için İDO (İstanbul Deniz Otobüsleri) sayfasına bakınız.

İdo, ana dilleri farklı olan insanlar arasında anlaşmayı kolaylaştırmayı amaçlayan bir yapay dildir. 1907'de icat edilmiştir.

İdo, dilbilgisi, sesbilgisi ve sözcelem bakımından öncülü Esperanto ile benzerlikler gösterir. İdo, Esperantoda reform talep eden Esperantocular tarafından oluşturulmuştur. Bu dili konuşanların sayısı bilinmemekle birlikte Esperantoyu azami 1.5 milyon, İdoyu birkaç bin kişinin konuştuğu tahmin edilmektedir. Yine Esperanto bilenlerin İdoyu, İdo bilenlerin Esperantoyu fazla zorlanmadan anladıkları tahmin edilmektedir.

İki dil arasında göze çarpan en önemli fark, İdonun 26 harfli standart Latin abecesini kullanmasıdır. Oysa Esperantoda "q", "w", "x" ve "y" harfleri bulunmayıp "ĉ", "ĝ", "ĥ, "ĵ", "ŝ" ve "ŭ" harfleri bulunmaktadır. İdonun Esperantonun 'hatalarını gidermek' amacıyla ortaya çıktığını söylemek yanlış olmaz.

İdo kurultayları
 2009: Tallinn, Estonya
 2008: Wuppertal-Neviges, Almanya (Rapor )
 2007: Paris, Fransa (Rapor )
 2006: Berlin, Almanya, 10 ülkeden yaklaşık 25 kişi (Rapor )
 2005: Toulouse, Fransa, 4 ülkeden 13 kişi (Rapor )
 2004: Kiev, Ukrayna, 9 ülkeden 17 kişi (Rapor )
 2003: Grossbothen, Almanya, 6 ülkeden gelen katılımcılar (Rapor )
 2002: Kraków, Polonya, 6 ülkeden 14 katılımcı (Rapor )
 2001: Nürnberg, Almanya, 5 ülkeden 14 kişi (Rapor )
 1998: Białobrzegi, Polonya, 6 ülkeden 15 kişi
 1997: Bakkum (mun. Castricum), Hollanda, 7 ülkeden 19 kişi
 1995: Elsnigk, Almanya
 1991: Oostende, Belçika, 21 katılımcı
 1980: Namur, Belçika, 35 kişi
 1960: Zürih, İsviçre, yaklaşık 50 kişi

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İdo dili


An Pennisetum macrourum in uska species han Liliopsida nga ginhulagway ni Carl Bernhard von Trinius. An Pennisetum macrourum in nahilalakip ha genus nga Pennisetum, ngan familia nga Poaceae. Ginklasipika han IUCN an species komo diri gud kababarak-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Pennisetum

Pennisetum macrourum


Pyrola szechuanica er tegund blómplantna af lyngætt. Hún er ættuð frá mið Kína (Sesúan).

Tilvísanir

Lyngætt

Pyrola szechuanica


Crambe maritima, common name sea kale, seakale or crambe, is a species of halophytic (salt-tolerant) flowering plant in the genus Crambe of the family Brassicaceae. It grows wild along the coasts of mainland Europe and the British Isles.

The plant is related to the cabbage and was first cultivated as a vegetable in Britain around the turn of the 18th century. The blanched stems are eaten as a vegetable, and became popular in the mid-19th century.

Description
Growing to  tall by  wide, it is a mound-forming, spreading perennial. It has large fleshy glaucous collard-like leaves and abundant white flowers. The globular pods contain a single seed.

Distribution
This species appears to be a European endemic, with a distribution generally confined to two discontinuous coastal regions of Europe; the species is absent from North Africa and the Middle East. It occurs in the Black Sea coasts of Bulgaria, Romania, Turkey, and Ukraine including the Crimea, but is absent from most of the Mediterranean, recurring again from northern France and the British Isles to the Baltic Sea. In the Iberian Peninsula, Greece and Italy it is replaced by the species Crambe hispanica, with which its distribution has been confused with until quite recently; the species is absent from Portugal, Greece, Italy and Spain, but is said to occur in Croatia.

Although it was once believed to be found growing in Israel and Jordan, or alternatively Lebanon and Syria, these populations are now classified as C. hispanica.

It is very rare in Northern Ireland, but has been recorded in Counties Down and Antrim, and in a number of other coastal counties in the island of Ireland. In England it is primarily found on the southeast coast (extensively along Chesil Beach in Dorset), but it also occurs on stretches of the East Anglian and Cumbrian coasts. In Wales it is found on the northern beaches and in Scotland in the extreme southwest.

It is uncommonly found along the coast of Norway, particularly so in the Færder National Park.

Ecology

Crambe maritima is a halophyte, meaning that it tolerates salt and is therefore found on coastal beaches where little else thrives. It is usually found above high tide mark on beaches in which the sand includes pebbles or rock. A typical habitat for the species in Britain is vegetated shingle beaches, where it grows in association with yellow horned poppy and curled dock. It is the dominant plant species in plant communities found in fragmentary, endangered habitats on shingle beaches and bars on the southern Baltic coasts of Sweden, Finland and Estonia, east to Mecklenburg, where it grows together with Leymus arenarius, Euphorbia palustris, Honkenya peploides, Angelica archangelica ssp. litoralis, Atriplex spp., Beta vulgaris ssp. maritima, Elymus repens, Geranium robertianum ssp. rubricaule, Glaucium flavum, Isatis tinctoria, Ligusticum scoticum, Mertensia maritima, Silene uniflora, Tripleurospermum maritimum and Valeriana salina. Trapping wind-blown sand, clumps of sea kale may initiate the formation of dunes.

Cultivation and culinary use
There are records from the 18th century of local people along some coasts of England digging out and harvesting the emerging shoots as a vegetable from naturally occurring root crowns in the early springtime. This custom was first reported by Phillip Miller in his 1731 Gardener's Dictionary as practised among the indigenous peoples of Sussex, and it was seen once in the 18th century being sold as food at the Chichester market in 1753. John Martyn was the first to publish some practical notes on cultivating the plant in a late edition of Miller's work, but William Curtis was the first to publish a tract about his experiments of growing the plant as a vegetable crop in London in 1799, just before his death, with John Maher giving a reading before the Horticultural Society of London in 1805 which elaborated slightly on the work of Curtis. Both Curtis and Maher recommended growing the plant as a forced, blanched vegetable, growing the root crown in a ceramic cylinder which could be capped with a closed blanching pot. Over and about this pot fresh manure would be heaped a few feet deep, the heat produced when this dung rotted would be sufficient to force the plant to bolt as early as December, although later in the winter was recommended. For those without the financial means to purchase expensive blanching pots, Maher suggests covering the plants in a mat covered by a thick layer of gravel, and Curtis mentions simply hoeing a foot of soil over the crown, or piling sea sand, pebbles or coal ash over it, although both agree this will produce a much inferior crop. An area of roughly five square feet could hold a single root crown consisting of three plants, which after growing out from seed for three years could be forced at least twice a season to yield four to six shoots of up to twelve inches, although usually much less.

Thomas Jefferson grew sea kale at Monticello between 1820 and 1825. It was served at the Royal Pavilion in Brighton, when Prince Regent George IV of the United Kingdom (1762–1830) used it as a seaside retreat. By the Victorian Era sea kale had become "in very general use" as a vegetable in Britain, according to the popular cookbook Mrs Beeton's Book of Household Management, in which it is called a type of asparagus, although at nine pennies for a basket of sprouts, it was one of the most expensive vegetables to be had. Its cultivation is discussed in older books on vegetable growing. Wild stocks were severely reduced in Britain by forcing in situ and collecting for food until the practice was banned in the early 20th century. Sea kale fell out of favour, but in the early 21st century, British chefs made it fashionable again. It is commercially grown by a number of farmers in Britain.

A tiny experimental plot of sea kale is cultivated on Texel, a North Sea island in the  Netherlands. It is irrigated with adulterated seawater.

Maher mentions that he personally considered blanched sea kale a delicacy. Curtis says that as a food, boiled twenty minutes and covered in melted butter, it resembled most asparagus, although with hints of cabbage. He reports most he served it to found it agreeable; although some found it no better than cabbage, others found it superior even to asparagus. Although Curtis had never tried to do so himself, he mentions someone once made a decent stew of it and also theorizes that perhaps it might be well suited to be pickled.

References

External links
 Seakale: A New Vegetable Produced as Etiolated Sprouts
 Seawater holds key to future food

Brassicaceae
Tumbleweeds
Leaf vegetables
Perennial vegetables
Halophytes
Flora of France
Flora of Denmark
Flora of Estonia
Flora of Germany
Flora of Ireland
Flora of Norway
Flora of Turkey
Flora of the United Kingdom
Flora of Ukraine
Plants described in 1753
Taxa named by Carl Linnaeus

Crambe maritima


Sillerslev er en landsby på det sydlige Mors med ca. 200 indbyggere.

Mors
Byer i Morsø Kommune

Sillerslev


Composições maiores/menores são músicas que iniciam em um tom maior e terminam em um tom menor (geralmente o menor paralelo), especificando uma nota chave (por exemplo C M/m). É uma forma muito incomum na música tonal, embora tenha se popularizado no século XIX. As composições maiores/menores não terminam necessariamente com um acorde menor; é suficiente se esta possuir uma passagem final que apresenta uma sonoridade que não consegue restabelecer o modo maior (como por exemplo, uma oitava aberta ou quinta).

Há poucas composições maiores/menores, ao contrário das composições menores/maiores que existem muitas. Esta lista inclui também obras de tom menor que terminam com a terça da Picardia, como muitas composições clássicas e românticas (sinfonias, concertos, sonatas, câmara e, movimentos individuais).

Obras excluídas
Estão excluídos os trabalhos que se enquadram nas seguintes categorias:

 Composições que seriam maiores/menores se não fosse por uma terça final da Picardia estipulada pelo compositor, como Darzu ist erschienen der Sohn Gottes de Bach, BWV 40 ou Vinea mea electa de Francis Poulenc de Quatre motets pour un temps de penitence ( FP 97);
 Composições em que o início apenas sugere uma possível leitura de uma chave maior sem realmente estabelecê-la, como o Brahms Clarinet Quintet, os dois quartetos de cordas de Haydn, Op. 33 nº 1 e op. 64 No. 2, CPE Bach's Piano Sonata, Wq. 55/3, ou o primeiro movimento da grande sonata de Alkan Les quatre âges (todos em si menor, mas começam com a possibilidade de ré maior);
 Composições em que o acorde maior de abertura serve apenas a uma função (por exemplo, dominante ou napolitana) na chave menor que se segue, sem ser tônica por si só, como a Danse macabra de Saint-Saëns ou a primeira balada de Chopin;
 Composições que são apenas incidentalmente maiores/menores por estarem inacabadas, sem qualquer indicação de que o compositor as pretendia maiores/menores, como a Sonata para Piano em Dó, Ré 840 de Schubert ou o Quarteto de Cordas em Ré menor de Haydn, Op. 103;
 Porções frequentemente executadas de uma obra maior que consiste no que são tecnicamente dois movimentos separados, se o primeiro deles termina claramente na tônica (e, portanto, não requer continuação), como o par de movimentos de abertura na Sonata para Piano Op. de Beethoven. 109 (conectado por um attacca );
 Obras estendidas inteiras como ciclos de canções, balés, óperas e oratórios que terminam em uma tônica diferente da inicial, a menos que as duas chaves carreguem conoções extramusicais ou programáticas claras dentro da obra (uma explicação das quais deve acompanhar qualquer listagem abaixo).

Composições mantendo a nota chave

Obras individuais e miniaturas
 Alkan – Chant d'amour - chant de mort, Op. 35 No. 10 (G-f)
 Alkan – Esquisse Op. 63 No. 7 "Le frisson" (F)
 Alkan – Prière Op. 64 No. 10 (B)
 Allen – Girl of the Orient (F)
 Bax – The Devil that Tempted St. Anthony (F)
 Brahms – Jägerlied Op. 66/4 (C)
 Brahms – Rhapsody Op. 119 No. 4 in E
 Busoni – Sonatina No. 6 in A, BV 284
 Campra - Cari Zephiri volate (A)
 Campra - Quis ego Domine (A)
 Catoire – Prelude Op. 17 No. 4 (Bb)
 Cavallini – Caprice for clarinet Op. 4 No. 4 (E)
 Chopin – Nocturne Op. 32 No. 1 in B (acorde final às vezes alterado para maior)
 Coste – Le Départ, Op. 31 (E)
 Couperin - Le Dodo, ou l'amour au Berçeau, from Pieces de Clavecin (A)
 de Curtis – Torna a Surriento (E) (only if the chorus is used as an instrumental introduction, as done in the widely-performed arrangement by Giancarlo Chiaramello)
 Fibich – Malířské Studie (Studies on Painters), No. 2, Spor Masopustu s Postem (The Fight Between Carnival and Lent) in C
 Franck – Fantaisie in A, from Trois Pièces for organ (1878) (A)
 Fuchs – Andante grazio and Capriccio Op. 63 (A)
 Graener – Theodor-Storm-Musik Op.93 (A)
 Harris – Symphony No. 3 (G)
 Heidrich – Variations on "Happy Birthday" (C)
 Heinrich – The President's Funeral March (E)
 Kuhlau – Introduction and Variations for flute and piano Op. 99 (A)
 Lalo – Fantaisie norvégienne in A
 Lecuona – La 32, No. 6 of Siete Danzas Cubanas Tipicas (Gb-f)
 Levy – Tango Brasileiro (A) (reverse Picardy third)
 Mendelssohn – Andante Cantabile e Presto Agitato in B
 Mendelssohn – Capriccio brillante for piano and orchestra in B, Op. 22
 Mendelssohn – Capriccio in E, Op. 118 (1837)
 Mendelssohn – Capriccio, MWV U 43 (E)
 Mendelssohn – Characteristic Piece Op. 7 No. 7 in E (reverse Picardy third)
 Mendelssohn – Rondo Capriccioso in E, Op. 14
 de Momigny – La Nouvelle Valentine (A)
 Moniuszko – Magda Karczmarka, No. 20 from Śpiewnik domowy Vol. 2 (B)
 Moniuszko – Do Niemna, No. 4 from Śpiewnik domowy Vol. 6 (E)
 Mozart – Sonata para violino em Lá, K. 402/385e (completed by Maximilian Stadler; the work has only one movement)
 Poulenc – Nocturne, FP 56 No. 6 (G)
 Poulenc – Amoureuses, FP 77 No. 5 (F)
 Praeger – Rhapsody No. 2 in F
 Purcell – Awake, ye dead, Z. 182 (C)
 Purcell – The earth trembled, Z. 197 (A)
 Purcell – Love arms himself in Celia's eyes, Z. 392 (C)
 Purcell – Oh! fair Cedaria, Z. 402 (C) (some performances add a Picardy third)
 Purcell – This poet sings the Trojan wars (Anacreon's defeat), Z. 423 (C)
 Rachmaninoff – K Djétjam (To the Children), Op. 26 No. 7, from "Fifteen Romances" of Op.26 (F)
 Reicha – L'Art de Varier, Op. 57 (F)
 Reicha – Fugue, Op. 36 No. 32 (E)
 Rheinberger – Toccata Op. 12 (G)
 Satie – Gymnopédie No. 1 (D)
 A. Scarlatti – Se Florindo e fedele (A) (ends on an open octave in an A menor context)
 D. Scarlatti – Keyboard Sonata K. 63 (L. 84) in G ("Capriccio") (ending sometimes changed to maior)
 D. Scarlatti – Keyboard Sonata K. 107 (L. 474) in F
 D. Scarlatti – Keyboard Sonata K. 140 (L. 107) in D
 D. Scarlatti – Keyboard Sonata K. 182 (L. 139) in A
 D. Scarlatti – Keyboard Sonata K. 206 (L. 257) in E
 D. Scarlatti – Keyboard Sonata K. 297 (L.S. 19) in F
 Scriabin – Mazurka in F (1889)
 Schubert – Impromptu Op. 90 No. 2 in E
 Schubert – Moment Musical No. 6 in Ab (ends on an open octave in an Ab menor context)
 Schubert – Am Bach im Frühling, D. 361 (Db-c)
 Schubert – An den Mond, D. 468 (A)
 Schubert – Tränenregen (No. 10 of Die Schöne Müllerin) (A)
 Schubert – Die böse Farbe (No. 17 of Die Schöne Müllerin) (B)
 Schubert – Frühlingstraum (No. 11 of Winterreise) (A)
 C. Schumann – Romance, op. 5 no. 3 (B)
 C. Schumann or Friedrich Wieck – Der Wanderer in der Sägemühle (C)
 R. Schumann – No. 17 of Davidsbündlertänze, Opus 6 (B)
 R. Schumann – Der Handschuh, Op. 87 (D)
 Sibelius – Impromptu, Opus 5 No. 6 in E
 Sibelius – Valse triste, op. 44 no. 1 (G)
 Soler – Keyboard Sonata R. 6 in F
 Strauss – Don Juan, Op. 20 (E)
 Tchaikovsky – To Forget So Soon, TH 94 (F)
 Tchaikovsky – Valse-Scherzo Op. 7 in A
 Voříšek – Fantasia for piano, Op. 12 (C)

Movimentos de obras maiores

 Arriaga – Sinfonia em ré maior, i
 Beethoven – Trio de piano nº 6 em Mi maior, ii (C)
 Beethoven – Sonata para violino nº 9, "Kreutzer", i (A)
 Beethoven – Piano Quartet No. 1 in E WoO 36, i (e ii) (E)  (embora às vezes interpretados como dois movimentos separados, eles não são realmente separáveis, pois o primeiro termina com uma meia cadência levando a o segundo)
 Lennox Berkeley – Três peças para clarinete solo, iii (G)
 Catalani – La Wally, "Ebben, ne andrò lontana" (E)
 Chausson – Piano Trio em sol menor, iv (sol)
 Chausson – Poème de l'amour et de la mer, i (G)
 Couperin – Pieces de clavecin, Troisieme livre, "L'enjouée" (G)
 Cui – No modo popular: Petite Suite No. 3, Op. 43, vi (Vivace, ma non troppo) (G) (retorna ao tema do primeiro movimento em sol menor)
 Dvořák – Piano Trio ("Dumky") Op. 90 em E menor, v (E)
 Fitelberg – Sonata para violino Op. 12, e (F)
 Fuchs – Trio de Cordas Op. 61/1, i (E)
 Gouvy – Petite Suite Galoise Op. 90, eu (G)
 Handel - Jephtha, "Tudo o que está em Hamor Mine" (G)
 Handel – Messias, "All We Like Sheep" (F)
 Handel – Serse, "Per dar fine alla mia pena" (G)
 Kabalevsky – Sonata para Piano No. 2, i (E)
 Lalo – Concerto Russe, Opus 29, i (G)
 Lalo – Symphonie espagnole, Opus 21, ii (G)
 Lalo – Sinfonia em sol menor, ii (scherzo) (E)
 Lazzari – Quarteto de Cordas em Lá Menor Op. 17, iv (A)
 Marais – Sonata à la Marésienne (La Gamme et Autres Morceaux de Simphonie 1723), iii (C)
 Marpurg – Cinqième Suite de Pièces de Clavecin, v (G)
 Mayer - Sinfonia nº 5, iv (F)
 Medtner – Sonata-Balada Op. 27, i (F#)
 Mendelssohn – Quarteto de Cordas Op. 13, i (A)
 Mendelssohn – Sinfonia de Cordas nº 11, i (Fá)
 Mendelssohn – Sinfonia No.5, Op.107 ("Reforma"), i (D)
 Mozart – A Flauta Mágica, Quinteto (Wie? Wie? Wie? Ihr an diesem Schreckensort? ), Ato II (G)
 Mozart – Sonata para Violino e Piano K. 379, i (G)
 Mozart – Overture-Allemande (ambos os movimentos tocados sem pausa) da Suite, K. 399/385i (C)
 Myaskovsky – Sinfonia nº 25 Op. 69, i (D -c)
 Poulenc – Sonata para Violoncelo FP 143, i (E)
 Poulenc – Concert champêtre para cravo e orquestra, iii (D)
 Poulenc – Oboé Sonata FP 185, ii (B)
 Poulenc – Un soir de neige FP 126, iv. La nuit le froid la solitude (E)
 Ries – Piano Concerto No. 3 in C♯ minor, Op. 55, iii (C♯)
 Rimsky-Korsakov - Sinfonia nº 3 Op. 32, e (C)
 Sibelius – Sinfonia nº 4 em lá menor, Op. 63, iv (A)
 Stöhr – Trio para piano em lá menor Op. 100, iv (somente na versão revisada; a primeira versão permanece em vigor até o fim)
 Szymanowski – Fantasia Op. 14, ii (Aflat)
 Tchaikovsky – Trio para piano em lá menor, Op. 50, iiB (A)
 Vivaldi – Concerto para Cordas e Contínuo em Sol, R151 ("Alla Rustica"), i (G)
 Verdi - Rigoletto, Finale (D♭, terceira picardia reversa)
 Weinberg – Quarteto de Cordas nº 4 em Mi, Op. 20, iv (Eflat)

Trabalha em vários movimentos

 Aimon – Quarteto de Cordas Op. 7 (E)
 Alfvén – Sinfonia nº 2 em Ré, Op. 11
 Alkan – Sonate de Concerto para Violoncelo e Piano em Mi, Op. 47
 Andrée – Quarteto de Cordas IEA 12 (A)
 Beethoven – Sonata quase uma fantasia, Biamonti 213 (D)
 Boccherini – Quinteto de Violões "Fandango" em Ré Maior, Sol 448
 Boieldieu – Concerto para harpa em dó
 Brahms – Piano Trio No. 1 em B, Op. 8 (ambas as versões)
 Couperin – Concerto Troisième de Concerts Royaux (A)
 Couperin – Ordem 12ème de clavecin (E)
 Dvořák – Suíte Checa em Ré, Op. 39
 Frey – Sonata para Violoncelo Op. 8 (B)
 Fuchs – Sonata para Piano Op. 19 (G-f)
 Fuchs – Quarteto de Cordas Op. 58 (E)
 Gigout – Deux Interludes pour orgue ou harmonium (C)
 Godard – Quarteto de Cordas Nº 2, Op. 37 (A)
 Handel – Concerto Grosso Op. 3 Nº 6 em D
 Hartmann – Serenata Op. 24 (A)
 Hummel – Sonata para Violoncelo Op. 104 em A
 Lalo – Concerto Russo, Op. 29 em G
 Marpurg – Troisième Suite de Pièces de Clavecin (C)
 Marpurg – Cinqième Suite de Pièces de Clavecin (G)
 Mendelssohn – Sinfonia de Cordas nº 11 (Fá)
 Mendelssohn - Sinfonia No. 4 em A, "italiano"
 Mendelssohn – Suíte em G MWV Z1/105-108
 Myaskovsky – Divertimento Op. 80 (E)
 Nielsen – Hagbarth e Signe: Música para a peça de Adam Oehlenschläger (D -c)
 Novák – Quarteto de Cordas Op. 22 (G)
 O'Kelly – Piano Trio Op. 15 (G)
 Palmgren – Impromptu e Scherzo Op. 10 (D-c)
 Pescetti – Sonata para cravo nº 4 (A)
 Poulenc – Sonata para clarinete e fagote em ré, FP 32a
 Rachmaninoff – Suite para dois pianos nº 2 em dó
 Rameau – Suite nº 5 em sol de Nouvelles Pièces de clavecin
 Ries – Sonata para Violoncelo Op. 21 em A
 Rosenhain – Sonata para Violoncelo Op. 38 (E)
 Schäfer – Sonata para Violoncelo Op. 13 (C)
 P. Scharwenka – 2 Tanz-Impromptus Op. 86 (Fsharp)
 Sgambati – Quarteto de Cordas Op. 12 ou Op. 17 (Dflat-csharp)
 Shostakovich – Quarteto de Cordas Nº 2 em Lá, Op. 68
 Smith – Suíte Ouverture em G
 Spendiarov – Esquisses de la Crimée Op.23 (G)
 Steibelt – Sonata para violino Op. 69 (G)
 Stöhr – Sonata para violino nº 1, Op. 27 (G)
 Stöhr – Sonata para violino nº 7, Op. 107 (E)
 Stöhr – Sonata para violino nº 15, Op. 134b (B)
 Taneyev – Quinteto de cordas nº 2 em dó, op. 16
 Voříšek – Sonata para violino em sol, Op. 5
 G. Weber – Sonata para Teclado em Dó, Op. 15
 Walter – Sonata para violino em A, 1908
 Weinberg – Quarteto de Cordas nº 4 em Miflat, Op. 20

Obras com mudança da tônica
Obras do tipo maiores/menores que mudam a tônica (tonalidade progressiva):

 Albéniz – Córdoba, No. 4 of Cantos de España, Opus 232 (F-d)
 Alkan – Prière, Op. 66 No. 7 (C-a)
 Bernstein – Chichester Psalms (B-g)
 Berlioz – Requiem (Grande Messe des Morts), Op. 5, viii, Hostias (G-b)
 Bizet – Symphony in C maior, ii (F-a)
 Claude Bolling – Suite for Flute and Jazz Piano Trio (G-c)
 Brahms – Du mein einzig Licht, WoO 33 No. 37 (A-f)
 Brahms – Vom Strande, Op. 69 No. 6 (F-a)
 Chausson – Poème de l'amour et de la mer (G-d)
 Chausson – Poème de l'amour et de la mer, ii  (actually the third movement, counting an unnumbered interlude) (E-d)
 Chopin – Ballade No. 2 (F-a)
 Couperin – Ordre 25ème de clavecin (Eflat-c)
 Debussy – Pour le piano, Sarabande (E-c) (E maior is suggested in the opening of the movement, as well as in various other sections, but it ends in C- menor)
 Debussy – Suite bergamasque (F-f#)
 Dvořák – The Noon Witch (C-a)
 Enescu – Cantabile e Presto for flute and piano, 1904 (E-g)
 Enescu – Nocturne e Saltarello for cello and piano, 1897 (F-a)
 Finzi – Childhood Among the Ferns (Eflat}}-b)
 Fuchs – Serenade in D Op. 9, ii (B-g)
 Handel – Belshazzar, Chorus of Babylonians: "Ye tutelar gods of our empire, look down" (G-e)
 Handel – Concerto Grosso Op. 3 No. 1 (B-g)
 Handel – Suite for Harpsichord No. 2 in F, HWV 427, i (F-a)
 Haydn – Arianna a Naxos, Hob. XXVIb:2 (E-f)
 Miriam Hyde – "Marsh Birds" for Flute and Piano (D-b)
 Lalo – Rapsodie norvégienne (A-d)
 Massenet – Piano Concerto (E-c)
 Mozart – Die Entführung aus dem Serail (The Abduction from the Seraglio), Aria, "Solche Hergelauf'ne Laffen" (F-a) (though the aria is interrupted by spoken dialogue after the full cadence in F maior, before continuing in A menor at a new tempo)
 Mozart (completed by Süssmayr) – Requiem, VII. Communio (B-d) (ends on an open fifth in a D menor context)
 Mozart – Preludes K. 284a/395, iii (B-c)
 Mozart – Preludes and Fugues K. 404, v (E-c)
 Mozart – Modulating Prelude, K. deest (F-e)
 Mussorgsky (completed by Stravinsky) – Khovanshchina (E-g)
 The key scheme in the opera is constructed mostly on a sharp-flat principle; thus the opening, reaching G# maior, is the sharpest music in the whole opera, and many portentions or descriptions of disaster in the opera are written in six or seven flats or even beyond. Mussorgsky intended an ending in A menor for the final scene, in which the Old Believers commit mass suicide; this was respected by Stravinsky in his completion, although written enharmonically for easier reading. Other completions do not respect this: Rimsky-Korsakov ends in A maior, Shostakovich in F maior. Valery Gergiev's productions, though using Shostakovich's completion, cut the final bars and end with an orchestral restatement of the Old Believers' final chorus (as written by Rimsky-Korsakov and reorchestrated by Shostakovich) in G# menor, thus following the original key scheme.
 Poulenc – Piano Sextet, ii (D-a)
 Poulenc – Suite Francaise FP 80, ii (F-d)
 Poulenc – Trio pour piano hautbois et basson, ii (B-f)
 Poulenc – Gloria FP 177, i (G-b)
 Poulenc – Oboe Sonata FP 185, (G-a)
 Rheinberger – Piano Sonata Op. 47 (C-a)
 Satie – Gnossiennes Nos. 5 (G-e) and 6 (F-c)
 Schoenberg – Chamber Symphony No. 2, Op. 38, ii (G-e)
 Schubert – Die Nonne, D. 212 (A-f)
 Schubert – Grablied, D. 218 (A-f)
 Schubert – Erster Verlust, D. 226 (A-f)
 Schubert – Piano Sonata, D. 279 (C-a)
 However, some authorities consider this to be an unfinished work; two incomplete C-maior movements (D. 346 and D. 309A) have been put forward as candidates for the missing finale, both of which would make this cease to be maior/menor.
 Schubert – Deutscher Tanz, D. 365 No. 22 (Op. 9 No. 22) (B-g#)
 Schubert – Ritter Toggenburg, D. 397 (F-b)
 Schubert – Der Herbstabend, D. 405 (A-f)
 Schubert – Klage an den Mond, D. 436 (F-d)
 Schubert – Edone, D. 445 (E-c)
 Schubert – Liedesend, D. 473 (E-e, both versions)
 Schubert – Didone Abbandonata, D. 510 (E-f)
 Schubert – Auf der Donau, D. 553 (Op. 21 No. 1) (E-f#)
 Schubert – Der Pilgrim, D. 794 (Op. 37 No. 1) (D-b, originally E-c#)
 Schumann – Réplique, No. 8 of Carnaval (B-g)
 Schumann – No. 16 of Davidsbündlertänze (G-b)
 Schumann – Kreisleriana, No. 4 (B{-d) (first edition only)
 Smetana – The Bartered Bride, Aria, "Kdybych se co takového" (B-g)
 W.G. Still – Symphony No. 3 (A-c)
 Tchaikovsky – The Sleeping Beauty – Finale and Apotheosis (D-g)
 Tchaikovsky – Six Pieces Op. 21, No. 1 "Prelude" (B-g#})
 Vaughan Williams – Three Shakespeare Songs, "The Cloud Capp'd Towers" (D-f) (reverse Picardy third)
 Mykhailo Verbytsky/Pavlo Chubynsky – "Shche ne vmerla Ukrainy i slava, i volia" (relative maior-relative menor) (Ukrainian National Anthem)

Referências

Veja também
 Tonalidade paralela
 Tonalidade progressiva

Análise musical
Tonalidades musicais
Composições eruditas
Harmonia (música)
Composição musical

Lista de composições maiores/menores


Anette Prehn (født 13. marts 1975) er dansk iværksætter, sociolog, foredragsholder, forfatter samt grundlægger og leder af Centre for Brain-Based Leadership and Learning.

Anette Prehn har udgivet en række bøger, der formidler hjerneforskning og socialpsykologi med fokus på praktisk anvendelighed for erhvervslivet og for privatpersoner,  bl.a. Hjernesmart-trilogien og Hjernevenner-serien.

Flere bøger er oversat til engelsk, tysk, kinesisk, russisk, svensk og norsk. Derudover har hun udviklet onlinekurset The Neuroscience of Reframing – and How to Do It, der har mere end 75.000 studerende på verdensplan.

I 2009/10 var Anette Prehn den første i Danmark til at undervise i NeuroLeadership, som er anvendt hjerneforskning for ledere. I 2009 blev hun tildelt prisen "Årets underviser – ledelse og coaching" af den store norskejede konferenceudbyder Confex. I 2018 blev hun af seks ministre udpeget som formand for Det Nationale Stresspanel. Ministrene ønskede dels – med afsæt i viden om, hvad der kan skabe stress – at blive rådgivet om mulige relevante tiltag, dels et panel, der kunne "skabe debat og bevidsthed i befolkningen, så færre oplever stress". I 2019 leverede stresspanelet sine 12 anbefalinger.

Bibliografi
 BrainSmart Leadership (Reframe Publishing, 2022)
 Empati (Dafolo, 2021)
 På gådejagt efter Jeppe Aakjærs usungne sange (2021)
 Det syngende menneske - nye veje til forbundethed (2020)
 Mod (Dafolo, 2020)
 Ansvar (Dafolo, 2020)
 Afledte effekter People'sPress, 2019)
 Udbryderkongen og Indbrudstyven (Dafolo, 2019)
 FLIP (People'sPress, 2018)
 Din kreative hjerne (Dafolo, 2018)
 Tag nye billeder med hjernen (Dafolo, 2018)
 Giv hjernen plads til udvikling (Dafolo, 2018)
 Sov dig til en bedre hjerne (Dafolo, 2017)
 Gør hjernen til en medspiller (Dafolo, 2017)
 Bliv ven med din hjernes amygdala (Dafolo, 2017)
 Stierne i hjernen (Dafolo, 2017)
 Hjernesmart ledelse (People'sPress, 2016)
 Hjernesmart pædagogik (Dafolo, 2015)
 Hjernesmarte børn (People'sPress, 2015)
 Create Reframing Mindsets Through Framestorm (artikel i NeuroLeadership Journal, Issue Four, 2012)
 Play Your Brain (Marshall Cavendish, 2011)
 Coach dig selv (s.m. Kjeld Fredens, Gyldendal, 2010)
 Coaching i perspektiv (s.m. Kim Gørtz, Hans Reitzels, 2008)

Referencer

Eksterne referencer
 [http://www.hjernesmart.dk Anette Prehns officielle side

Sociologer fra Danmark

Anette Prehn


62503 Tomcave este un asteroid din centura principală de asteroizi.

Descriere
62503 Tomcave este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Anza, California de Michael Collins (astronom) și Minor White (astronom). Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,71 ua, o excentricitate de 0,17 și o înclinație de 14,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 62001-63000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2000
Centura de asteroizi

62503 Tomcave


عبد الملك الخيبري(13 مارس 1986) لاعب كرة قدم سعودي، ولاعب المنتخب السعودي سابقاً.

الحياة الشخصية
عبد الملك هو شقيق كل من اللاعبين عبد الرحيم الخيبري وعبد الكريم الخيبري.

مسيرته المحلية
كانت بداياته مع القادسية و انتقل إلى الشباب في عام 2008 و لعب معهم حتى عام 2016، حقق مع الشباب العديد من البطولات وانتقل بعدها إلى الهلال عام 2016 وحقق معهم الدوري وكأس الملك و عاد في عام 2019 لنادي الشباب و وقع مع نادي الرياض مطلع عام 2022.

مسيرته الدولية
في يونيو عام 2018، تم أختيار الخيبري وضمه إلى التشكيلة النهائية للمنتخب السعودي والمُشاركة بمونديال كأس العالم 2018 في روسيا.

احصائيات
اعتباراً من 14 يونيو 2018

البطولات

مع الشباب
 كأس الأمير فيصل بن فهد: 2009، 2010
 دوري المحترفين السعودي 2011-12
 كأس السوبر السعودي 2014
 كأس خادم الحرمين الشريفين: 2009، 2014

مع الهلال
 دوري المحترفين السعودي:2016-17، 2017-18
 كأس خادم الحرمين الشريفين 2017

المراجع

روابط خارجية

لاعبو كرة قدم رجالية سعوديون
لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
رياضيون من الرياض
لاعبو دوري الدرجة الأولى السعودي
لاعبو دوري الدرجة الثانية السعودي
لاعبو دوري المحترفين السعودي
لاعبو كأس العالم 2018
لاعبو كرة قدم سعوديون
لاعبو منتخب السعودية لكرة القدم
لاعبو نادي الرياض
لاعبو نادي الشباب (السعودية)
لاعبو نادي القادسية (السعودية)
لاعبو نادي الهلال (السعودية)
مواليد 1406 هـ
مواليد 1986
مواليد في السعودية
لاعبو كرة قدم من الرياض

عبد الملك الخيبري


Pedro Rodríguez Lomelí (4 de diciembre de 1899- 9 de abril de 1991 ) fue un escritor, político, periodista y parapsicólogo jalisciense. Es considerado un "hijo ilustre" de Jalostotitlán, Jalisco, México.

Orígenes

Nació el 4 de diciembre de 1899, hijo de Modesto Rodríguez Marín y Carmen Lomelí Sánchez. Estudió la escuela primaria en su pueblo natal y después estudió 5 años en el seminario de San Juan de los Lagos, Jalisco. Se casó con la señorita profesora Margarita Ochoa Álvarez y con ella procreó dos hijos: Pedro Rodríguez Ochoa y Margarita Rodríguez Ochoa.

Estudios

Se recibió de profesor de escuela primaria por la escuela Normal de Jalisco en el año de 1921. Ese mismo año se matriculó en la facultad de medicina de la Universidad de Guadalajara. Obtuvo su grado de médico cirujano partero en el año de 1927 por la Universidad de Guadalajara, en Guadalajara, México.

Trayectoria

Trabajó como Supervisor de la sección editorial del diario "El Informador" en Guadalajara, Jalisco desde 1944 y se encargó de la sección literaria del diario. Trabajó en esa publicación durante más de 40 años.

Hasta los últimos años de su vida mantuvo una colaboración semanal, al supervisar la "Selección Literaria", una plana completa que "El Informador" publicaba los domingos.

Como docente, trabajó en escuelas públicas y también fue catedrático de la carrera de Trabajo Social de la Universidad de Guadalajara durante 16 años. En las elecciones de 1932, figuró como candidato a gobernador de jalisco apoyado por el Partido Agrarista de Jalisco.

También fue reconocido en los círculos de los estudiosos de los fenómenos paranormales y entre los espiritistas.

Obra Literaria
Autor de varias obras literarias. Estas son: "Libro del Amoroso y Bello Pensamiento", tres tomos. Según el propio Rodríguez Lomelí, esta obra le fue dictada en "escritura automática". Otra obra destacada En un Pueblo Alteño, en la cual habla de su querido Jalostotitlan.

Otros libros "En un Pueblo Alteño", "Mi experiencia sobre Espiritismo y Parapsicología"
El último libro que publicó fue "La Hora Fugaz ", un recuento de sus poemas.

Referencias
https://web.archive.org/web/20120128221430/http://members.pronet.net/jalos/personajes/pedro_rodriguez_lomeli.htm
http://news.google.com/newspapers?nid=2206&dat=19580618&id=Ma0yAAAAIBAJ&sjid=qOoFAAAAIBAJ&pg=5255,593926
https://web.archive.org/web/20170113171251/http://app.jalisco.gob.mx/Cultura.nsf/1897878423bd1e6486256c860061f796/8ec1012626e6de9006256df0007ea547?OpenDocument

Nacidos en Jalostotitlán
Espiritistas de México
Periodistas de México
Escritores en español
Escritores de Jalisco
Parapsicólogos de México

Pedro Rodríguez Lomelí


මාධ්‍ය මගින් ප්‍රහාරයත් සමග ඉදිරිපත්කල මතය වුයේ එම ප්‍රහාරය සමග ETA සංවිධානය බැදි ඇති  බවත්ය. එම ප්‍රකාශය ආණුඩුවේ නිළධාරින් විසින් සනාථ කරන ලදී. එමෙන් ම ස්පාඥ්ඥ මැතිවරණයට දින 03කට පෙර එල්ල වු ප්‍රහාරය දේශපාලණික දෘෂ්ටි කෝණයන්ගෙන් විග්‍රහා කිරිමත් සිදුවිය. මෙම සමුල ඝාතනය සිදුවුයේ ඇමරිකාවට එල්ල වු 9/11 ප්‍රහාරය වසර 2/1/2 කට පසුව යි.

මැඩිරිඩි හි ප්‍රහාරයෙන් පසුව නිකුත්කරන ලද නිල ප්‍රකාශ අතර සදහන් වු එක් විශේෂ කරැණක් වුයේ ලෙහෙන්ඩකරි ජ්‍රවාන් ජෝසේ ඉබරෙක්ස් නම් ETA සංවිධානයට සම්බන්ධ පුද්ගලයා ප්‍රධාන සැකකරැ වන බවයි. එහෙත් ප්‍රහාරයක් සිදු කලේ නම් එම වගකීම ඒ වන තෙක් භාරගත් ETA සංවිධානය  මෙම ප්‍රකාශය ප්‍රතික්සේප කරන ලදී. පසුව හෙළිදරවු වු සාක්ෂි වලට අනුව එම ප්‍රහාරයට වගකිව යුතු වුයේ  අන්තවාදී ඉස්ලාමීය සංවිධානයක් වන අතර එය විමර්ශන කටයුතු වල පහසුව තකා මොරොක්කෝ ඉස්ලාමීය සටන්කාමී කණ්ඩායම ලෙස හැදින්වේ.

 ETA සංවිධානය සතුව බෝම්බ ප්‍රහාර පිළිබදව ඉතිහාසයක් ඇති නමුත් මාර්තු 11 වන දා ප්‍රහාරය ඊට ප්‍රථම කිසිම යුරෝපීය ත්‍රස්ත සංවිධානයකින් කළ ප්‍රහාරයකට වඩා ඉදිරියෙන් සිටි . මේ නිසා බොහෝ පිරිස් උපකල්පනය  කරන ලද්දේ ප්‍රහාරය ඉස්ලාමීය මිලිටරි අන්තවාදී කණ්ඩායමක් විසින් අල්කයිඩා ත්‍රස්තවාදීන්ගේ සහය මත දියත්කරන ලද්දක් ලෙසයි. නිරික්ෂකයන් දක්වන්නේ ETA වැනි ත්‍රස්තවාදී කණ්ඩායමක් අල් කයිඩා සංවිධානය අනුගමනය කරමින් දියත් කරන ලද්දක් ලෙසයි. නිරික්ෂකයන් දක්වන්නේ ETA විසින්න බෝම්බ ප්‍රහාරයට පෙර කිසිම අනතුරැ ඇගවීමක් සිදු නොවු බවත්ය. " ඉයුරෝපෝල්" අධ්‍යක්ෂක ජර්ගන් ස්ටෝර්බෙක් අදහස් දක්වන්නේ" මෙම බෝම්බ පිපිරිම ETA සංවිධානය විසින් සිදු කර ඇති බවත් ................. නමුත් මේ දක්වා ඔවුන් විසින් ක්‍රියාත්මක කර ඇති වැඩ පිළිවෙල  මෙහි දී දක්නට නොලැබෙන" බවත් ය.

ETA සබදතා පිළිබද චෝදනා


Taisia Bekbulatova é uma jornalista russa. Em 2019, ela fundou sua própria revista online Holod Media, que ganhou prêmios. Em 2020, ela foi presa no mesmo dia que Ivan Safronov. Ela foi rotulada como agente estrangeira na Rússia e mudou-se com seus colegas jornalistas para fora da Rússia quando notícias "falsas" se tornaram ilegais. Em 2022, ela foi nomeada uma das 100 mulheres da BBC.

Início de vida
Taisia estudou jornalismo na Universidade Estadual de Moscou. Ela foi estagiária no jornal diário russo Kommersant em seu quarto ano. Sua professora de jornalismo, Lyudmila Resnyanskaya, a encorajou a ser uma jornalista política.

Em 2012, ela começou a trabalhar como correspondente do departamento de política do Kommersant. Em 2017, tornou-se correspondente especial da publicação online Meduza, onde escreveu e editou sobre assuntos políticos e não políticos até 2019.

Ela lançou sua própria revista online Holod Media, em 2019. A primeira grande história foi a cobertura de sua investigação de três meses sobre um assassino em série e estuprador que escapou da captura. Dmitry Lebed era um motorista de táxi de Abakan, na remota região de Khakassia e foi preso várias vezes e depois solto para continuar seus crimes. As mulheres que sobreviveram a seus ataques foram rejeitadas pela polícia e negaram justiça a ela e capacidade de incriminá-lo. A história "Road to Askiz" foi publicada em agosto de 2019 e ganhou o primeiro prêmio de Holod da Redkollegia. Ela logo reuniu uma equipe de outros jornalistas.

Autoridades russas que estavam investigando Ivan Safronov revistaram sua casa em julho de 2020. Safronov foi preso no mesmo dia por ser suspeito de ser um traidor. Pavel Chikov, que foi contatado por ela quando os funcionários chegaram, disse que ela foi levada para interrogatório e seu advogado, Nikolai Vasilyev, não teve permissão para estar presente. No final de 2021, ela foi rotulada como agente estrangeira pelo Ministério da Justiça da Rússia e mudou-se para Tbilisi, na Geórgia, nos EUA.

Sua revista publicou notícias sobre a invasão russa da Ucrânia em 2022. Em 2022, o estado russo aprovou novas leis que tornavam ilegal a publicação de notícias "falsas". Seus jornalistas enfrentariam penas de prisão de até quinze anos por infringir essas leis. O Comitê para a Proteção dos Jornalistas disse que os jornalistas estavam emigrando em "massas" para evitar a nova censura. Taisia estimou que 150 colegas haviam partido e cerca de 12 de sua equipe já haviam deixado o país. Ela disse que eles estavam rompendo contato com jornalistas que decidiram ficar na Rússia para garantir sua segurança.

Em 2022, a BBC a incluiu com duas outras mulheres russas em sua lista das 100 mulheres inspiradoras do ano. A BBC citou sua cobertura dos direitos das mulheres e da invasão russa da Ucrânia. Ela foi citada dizendo ". . . E os direitos das mulheres são geralmente os primeiros a desaparecer."

Referências

Alunos da Universidade Estatal de Moscou
Jornalistas da Rússia
Pessoas na lista BBC 100 Mulheres de 2022

Taisiya Bekbulatova


Günaltı,Kürtce Kistik Kahramanmaraş ilinin Elbistan ilçesine bağlı bir mahalledir

Coğrafya
Kahramanmaraş iline 207 km, Elbistan ilçesine 47 km uzaklıktadır.

Nüfus

Dış bağlantılar
 Kistikliler

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Günaltı, Elbistan


Kidlington is a large village and civil parish in Oxfordshire, England, between the River Cherwell and the Oxford Canal,  north of Oxford and  south-west of Bicester. It remains officially a village despite its size. The 2011 census put the parish population at 13,723.

History
Kidlington's toponym derives from the Old English Cudelinga tun: the tun (settlement) of the "Kidlings" (sons) of Cydel-hence. The Domesday Book in 1086 records Chedelintone. By 1214 the spelling Kedelinton appears in a Calendar of Bodleian Charters. The Church of England parish church of St Mary the Virgin dates from 1220, but there is evidence of a church on the site since 1073. St Mary's has fine medieval stained glass and a  spire known as "Our Lady's Needle". It is a Grade I listed building. The tower has a ring of eight bells. Richard III Chandler of Drayton Parslow, Buckinghamshire, cast the seventh bell in 1700. Abraham I Rudhall of Gloucester cast the tenor bell in 1708 and the fifth bell in 1715. Mears and Stainbank of the Whitechapel Bell Foundry cast the treble, second, third, fourth and sixth bells in 1897, the year of Queen Victoria's Diamond Jubilee.

Behind the church are archaeological remains of a three-sided moat. St Mary's Rectory is Tudor. Beside the church are almshouses built by Sir William Morton in 1671 in memory of his wife and children, whose names are inscribed above the windows. Sir William was a Royalist Commander in the Civil War and lived in nearby Hampden Manor in Mill Street. Other residents of Hampden Manor have included Sir John Vanbrugh, during the building of Blenheim Palace in Woodstock. The square tower-water closet in the front garden of Hampden Manor was built by Vanbrugh. It drains into a brook that now runs underground along Mill Street into the nearby Cherwell. Thomas Beecham formulated his pills while living in a cottage near the manor and worked for a time as a gardener for John Sydenham.

The settlement listed in Domesday grew from an ancient village close to the church. It has as many 18th-century Georgian buildings as modern houses. Until the Inclosure Acts in 1818, a large area south of it was unenclosed common land and the village widely known as Kidlington-on-the-Green. The land was built up as a garden city just before the Second World War. In the 1920s and 1930s, Kidlington was subject to ribbon development along the main (now A4260) road through the village. Since 1945 many housing estates have been built behind this on both sides. Oxford Zoo was once located in Kidlington, where the Thames Valley Police headquarters now stands. It was open only from 1931 to 1937, when the animals were transferred to Dudley Zoo. In 2018, an elephant sculpture was installed on a roundabout at the southern end of Kidlington to commemorate the zoo and an elephant that lived there.

In the 20th century, Kidlington grew to be a contender for largest village in England (even in Europe), with a population of 13,723, compared with 1,300 in 1901. Its residents have so far resisted efforts to change its official status to a town, though it clearly qualifies as such. After a peremptory change by the Parish Council to town status in November 1987, this was voted down by 83 per cent three months later in a ballot of the local electorate.

In June 2016, the BBC reported weekly coachloads of sightseers from China arriving on Benmead Road, Kidlington, who were seen posing for photos in front gardens and against parked cars, with no apparent reason for their interest. The story attracted worldwide interest, with Kidlington locals offering interviews about their experience. In November 2016, after analysing results of a Chinese-language questionnaire given to some tourists, the BBC found that "looking for the true sense" of Britain was one reason for the visits. An investigative journalist found that in fact Chinese tour operators charge $68 extra for Chinese-language tours of nearby Blenheim Palace. Tourists who do not want to pay to visit Blenheim are dropped off in Kidlington, which they find charming, but which tour operators select because it is too far from Blenheim to enable tourists to walk to the Palace and pay the cheaper £25 price for public tours in English.

Railways

Kidlington's railway station opened near Langford Lane in 1852 as Woodstock Road Station on the Great Western Railway. It was designed by Isambard Kingdom Brunel. A branch line was added between Kidlington and Woodstock in 1890 and a new Blenheim and Woodstock railway station built at Woodstock, renaming Woodstock Road as Kidlington Station. British Railways closed the station in 1964. The building remained into the 1980s. From the 1980s onwards it has been Oxfordshire County Council policy to open a new station on land between Flatford Place and Thorne Close on Lyne Road. This has yet to happen.

At Water Eaton,  south of the centre of Kidlington, there was a railway halt at Oxford Road on the former Varsity Line. The halt was opened by the London and North Western Railway in 1905 and closed by its successor, the London, Midland and Scottish Railway in 1926. In October 2015 Chiltern Railways and Network Rail opened a new Oxford Parkway railway station near the site of the former Oxford Road Halt with trains every 30 minutes between London Marylebone via  and  and .

Amenities

Kidlington has about 50 shops, banks and building societies, a public library, a large village hall and a weekly market. There are seven pubs, two cafes and four restaurants. The pubs along the main A4260 through the village are, from north to south, the Highwayman Hotel (originally the Anchor, then the Railway Hotel, then the Wise Alderman, before being renamed again in 2009), the Black Horse, the Black Bull and the Red Lion, with the King's Arms in the Moors and the Six Bells in Mill Street. The Squire Bassett was converted into a Nepalese restaurant and renamed the Gurkha Village in 2012. Ovisher Tandoori in Kidlington's main Oxford Road is one of Oxfordshire's longest-running Indian restaurants. There is a secondary school (Gosford Hill) and a handful of primary schools to deal with the expanding population. Recently Gosford Hill School started a narrow-band radio show for its pupils. Kidlington has a Women's Institute.

Economy
The headquarters of Oxfordshire Fire and Rescue Service, Thames Valley Police and the county St. John Ambulance are in Kidlington, as is the UK head office of the European publishing firm Elsevier and Oxford Airport, renamed London Oxford Airport in 2009 and important to local development. Since 1962 the airport has had a pilot training school for thousands from airlines in more than 40 countries.

There are several industrial and business parks and a motor park in the north of the village. Opposite is Langford Locks industrial estate and Oxford Motor Park, with showrooms for Honda, Nissan, Toyota and other makes. Other businesses include Essentra Components, Eurocopter and Guylian Chocolates. Campsfield House, an immigration detention centre run for the UK government, is near the industrial area and the airport.

Music
Kidlington has had a brass band since 1892. Earlier bands known from at least the 1850s. The current Kidlington Concert Brass arose from a merger of Kidlington Silver Band and Oxford Concert Brass in 1992. It gives local concerts and competes nationally. Kidlington Amateur Operatic Society (KAOS), founded in 1977, performs varied choral material in the village several times a year and has regular productions of musicals.

Sports
Kidlington Football Club is a semi-professional side founded in 1909. Its first team plays in the Evo-Stik League South Division One Central and its reserve in Uhlsport Hellenic Division One West. It also runs an under-18 youth team that plays in the Allied Counties League and an U16 team. All four are based at a ground in Yarnton Road. The pitch is floodlit, with spectator terracing and seating for 150. In the 2010–2011 season Kidlington first reached the final of the Oxfordshire Senior Cup, where it was beaten by Oxford United at the Kassam Stadium. Kidlington F.C. previously played at other sites in or just outside the village.

Kidlington Royals Football Club is a Sunday football team in the Premier Division of the Upper Thames Valley League. It was founded in 2004 and plays home games at Bletchington Sports Ground, just outside Kidlington. It consists of players who play Saturday football, including the Blue Square (football conference), Southern League and the Hellenic Premier Division. In April 2012 it reached the final of the Oxfordshire FA Sam Waters Challenge Cup, losing 3–2 after extra time to Highfield. The club reached the final of the competition again in 2013. Kidlington Old Boys' Football Club, formed in 1999, is currently in the Oxfordshire Senior League Division 1. Its home games are played at Exeter Close.

The Gosford All Blacks rugby union team, founded on 15 May 1956, takes its name from the New Zealand All Blacks team, which toured in that season. It remains based in Kidlington. The first team plays in the Berks, Bucks & Oxon Premier League. When founded, the club used the Gosford Hill School pitch and facilities. The King's Arms, the Moors, became its headquarters. In May 1959 the club moved to Langford Lane and in December 1962 became the youngest club to acquire its own clubhouse, after the neighbouring airport donated a hangar for the purpose. Gosford All Blacks held the county rugby shield in the 2011–12 season.

Kidlington Cricket Club, founded in 1837, used to play in the Oxford Times Cherwell Cricket League, but in January 2009 the League voted to expel it for alleged breaches of rules which were never proven. In the 2010 season, the club began to play in the Oxfordshire Cricket Association (OCA) league, After a league merger KCC now play in the Cherwell League again with 3 sides

For 1976 to 1998, Kidlington was home base for a motor racing team, Tom Walkinshaw Racing, founded by the Scottish driver Tom Walkinshaw. It raced cars that included the Rover Vitesse, Mazda RX-7, Jaguar XJS and Holden Commodore, while acting as the factory-backed Jaguar team in sports car racing and touring car racing. It went on to win several championships, including the World Sportscar Championship, the European and the British Touring Car Championships, and some high-profile races, including the 24 Hours of Le Mans, the Spa 24 Hours and the Bathurst 1000.

References

Sources

External links

Kidlington Voice Online
This is Oxfordshire website: Kidlington & District Historical Society
Parish Church of St Mary the Virgin, Kidlington
Kidlington Recreational Trust Social Club
Gosford Hill School
Kidlington Concert Brass website
Kidlington Amateur Operatic Society website
Kidlington Royals Football Club Official Website

Villages in Oxfordshire
Civil parishes in Oxfordshire
Cherwell District

Kidlington