Try and Fall Sick the Composer, Chemist, and Surgeon Aleksandr
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The Degradation of Carboxylic Acid Salts by Means of Halogen the Hunsdieceerreaction Robert G
THE DEGRADATION OF CARBOXYLIC ACID SALTS BY MEANS OF HALOGEN THE HUNSDIECEERREACTION ROBERT G. JOHNSON Department of Chemistry, Xavier University, Cincinnati 7, Ohio AND ROBERT K. INGHAM Department of Chemistry, Ohio University, Athens, Ohio Received November 17, 1966 CONTENTS I. Introduction.. ...... 11. Synthetic applicatio A. Aliphatic halides B. Alicyclic halides. C. Aromatic halides D. Heterocyclic hali 111. Materials and methods ....................................... 248 IV. Mechanisms., ...... V. Related reactions. ....... ......................................... 259 VI. Summary.. ......... VII. References.. ................................................................. 263 VIII. Addendum. ........................... .. 268 I. INTRODUCTION The degradation of a carboxylic acid salt in anhydrous medium by means of halogen to a halide of one less carbon atom than the original acid can be ex- pressed by the equation: RCOOM + Xz -+ RX + COz + MX Largely because of the extensive contributions of the Hunsdieckers (96, 97, 98, 99, 100, 101, 102) to our knowledge of this reaction, many chemists refer to the reaction under discussion as the “Hunsdiecker reaction.” Others designate the reaction by the names “silver salt reaction” or “silver salt-halogen reac- tion.” It has been proposed (95) that the name “Borodine reaction” be used, in recognition of the discovery of the reaction by Borodine (33). The authors of a recent book (179) incorrectly name this reaction M the Simonini reaction. The reviewers favor the use of “Hunsdiecker reaction,” if a name is to be given to this reaction, because of the many instances of the use of this termi- nology already in the literature and because of the large amount of developmental work carried out by the Hunsdieckers. The often-used descriptive names are contraindicated by the fact that the reaction is successful with salts other than silver salts, halogens other than bromine can be used, and the reaction of salts 219 220 ROBERT G. -
13 Foreword to Richard Taruskin's Essays On
13 FOREWORD TO RICHARD TARUSKIN’S ESSAYS ON MUSORGSKY Th e entry below initially appeared in 1993, as a Foreword to a book of ground-breaking essays on Modest Musorgsky by Richard Taruskin (Musorgsky: Eight Essays and an Epilogue [Princeton: Princeton University Press, 1993]). At the time Taruskin was the foremost authority on Russian music in the Western world; by now (2010) he has become foremost in several other areas as well. To his writings and generous mentorship I owe my education in this Russian composer. EXCERPTS FROM THE FOREWORD TO RICHARD TARUSKIN, MUSORGSKY: EIGHT ESSAYS AND AN EPILOGUE 1993 In 1839, the year of Musorgsky’s birth, the Marquis de Custine made a three-month journey through the Russian Empire. Th e travel account he published four years later, La Russie en 1839, became an international bestseller; to this day, fairly or no, it is read as a key to that country’s most grimly persistent cultural traits.1 Astolphe de Custine (1790–1857) was an aristocrat from a family ravaged by the French Revolution. Nevertheless, he came to view the Russian absolute autocracy (and the cunning, imitative, servile subjects it bred and fostered) as far more deceitful and potentially 1 See the reprint edition of the fi rst (anonymously translated) English version of 1843, Th e Marquis de Custine, Empire of the Czar: A Journey through Eternal Russia (New York: Anchor-Doubleday, 1989). Quotations in this essay occur on pp. 600, 109, and 206 respectively. George Kennan has called La Russie en 1839 “not a very good book about Russia in 1839” but “an excellent book, probably in fact the best of books, about the Russia of Joseph Stalin” (George F. -
The Russian Five Austin M
Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera. -
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
A Tribute to the Mighty Handful the Russian Guitar Quartet
A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music. -
Opera and Poison - a Secret and Enjoyable Approach to Teaching and Learning
Opera and Poison - A Secret and Enjoyable Approach to Teaching and Learning Chemistry João Paulo André Centro/Departamento de Química, Campus de Gualtar, Universidade do Minho, 4710- 057 Braga, Portugal Email: [email protected] Keywords: General Public, Continuing Education, History/Philosophy, Humor/Puzzles/ Games, Multimedia-Based Learning, Drugs/Pharmaceuticals, Forensic Chemistry, Toxicology, Interdisciplinary/Multidisciplinary, Public Understanding/Outreach Abstract The storyline of operas, with historical or fictional characters, often include potions and poisons. This has prompted a study of the chemistry behind some operatic plots. The results were originally presented as a lecture given at the University of Minho in Portugal, within the context of the International Year of Chemistry. The same lecture was subsequently repeated at other Universities as a invited lecture for science students, and in public theaters for wider audiences. The lecture included a multimedia and interactive content that allowed the audience to listen to arias and to watch video clips with selected scenes extracted from operas. The present paper, based on the lecture, not only demonstrates how chemistry and opera can be related, but may also serve as a source of motivation and inspiration for chemistry teachers looking for alternative pedagogical approaches. Moreover, the lecture constitutes a vehicle that transports chemistry knowledge to wider audiences through examples of molecules of everyday life, with particular emphasis on natural products. -
Song and Dance by Marina Harss N February, the Russian Director Dmitri Final Version” of the Opera
Books & the Arts. PERA O CORY WEAVER/METROPOLITAN WEAVER/METROPOLITAN CORY A scene from Alexander Borodin’s Prince Igor, with Ildar Abdrazakov as Prince Igor Song and Dance by MARINA HARSS n February, the Russian director Dmitri final version” of the opera. It is a jumble of Vladimir Putin’s incursion into Crimea also Tcherniakov produced a new staging of unfinished ideas and marvelous music. comes to mind. Tcherniakov’s Igor is an Alexander Borodin’s Prince Igor at the For his reconstruction, Tcherniakov re- antihero for our time. Metropolitan Opera. It was last per- arranged the order of scenes, cut several Borodin’s opera is the story of a Slavic formed there in 1917, sung in Italian. passages—including Glazunov’s overture— prince who goes off to fight a battle against IThe opera, which was left unfinished at and inserted music originally sketched by a “barbaric” non-Christian neighbor, a Tur- the time of the composer’s sudden death Borodin but never before integrated into the kic tribe known as the Polovtsians (or, more while attending a military ball in 1887, is opera, with orchestrations by Pavel Smelkov, often, as the Cumans), led by the cheerfully based on a twelfth-century Slavic epic, The including a major new monologue for Igor. truculent Khan Konchak. By the second Song of Igor’s Campaign, best known by the He also imagined a new, ambivalent end- act—in Tcherniakov’s staging, it’s the second English-speaking world in a translation by ing, set to a passage from the opera-ballet half of the first—Igor has suffered a brutal Vladimir Nabokov. -
Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
Organic Seminar Abstracts
L I B RA FLY OF THE U N IVERSITY OF 1LLI NOIS Q.54-1 Ii£s 1964/65 ,t.l P Return this book on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. University of Illinois Library OCfcfcsrm L161— O-1096 Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/organicsemi1964651univ s ORGANIC SEMINAR ABSTRACTS 196^-65 Semester I Department of Chemistry and Chemical Engineering University of Illinois ' / SEMINAR TOPICS I Semester I96U-I965 f"/ ( Orientation in Sodium and Potassium Metalations of Aromatic Compounds Earl G. Alley 1 Structure of Cyclopropane Virgil Weiss 9 Vinylidenes and Vinylidenecarbenes Joseph C. Catlin 17 Diazene Intermediates James A. Bonham 25 Perfluoroalkyl and Polyfluoroalkyl Carbanions J. David Angerer 3^ Free Radical Additions to Allenes Raymond Feldt 43 The Structure and Biosynthesis of Quassin Richard A. Larson 52 The Decomposition of Perester Compounds Thomas Sharpe 61 The Reaction of Di-t -Butyl Peroxide with Simple Alkyl, Benzyl and Cyclic Ethers R. L. Keener 70 Rearrangements and Solvolysis in Some Allylic Systems Jack Timberlake 79 Longifolene QQ Michael A. Lintner 00 Hydrogenation ! Homogeneous Catalytic Robert Y. Ning 9° c c Total Synthesis of ( -) -Emetime R. Lambert 1* Paracyclophanes Ping C. Huang 112 Mechanism of the Thermal Rearrangement of Cyclopropane George Su 121 Some Recent Studies of the Photochemistry of Cross -Conjugated Cyclohexadienones Elizabeth McLeister 130 The Hammett Acidity Function R. P. Quirk 139 Homoaromaticity Roger A. -
Masterworks 8
“Inside Masterworks” LISTENING IN COLOR M AY 2017 Masterworks #8: Russian Intensity May 12-14, 2017 Overcoming his illegitimate birth to become a well-respected 19th century scientist, Borodin was also a brilliant composer, whose music earned a Broadway Tony Award nearly 60 years after his death. Born in 1833, Aleksandr gift from Prince Gedevanishvili to Borodin and his Borodin was the ‘aunt’.vi The young boy’s gift for languages and illegitimate son of a music was immediately evident: he learned to wealthy 62-year-old play piano, flute and cello, as well as compose.vii Georgian prince, Luka Despite his obvious musical gifts, Borodin was, Gedevanishvili, and first and foremost, a scientist, who viewed music a married 25-year- as a pleasant distraction. In his own words, old woman, the wife “Music is a pastime, a relaxation from more of an army doctor.i To serious endeavors.”viii From 1850 to 1856, he conceal the circumstances of his birth, Borodin’s studied at the Medico-Surgical Academy in St. father registered the boy as the son of one of his Petersburg, the renowned institution that would Russian serfs, Porfiry Borodin, thus explaining later be home to Ivan Pavlov.ix With a specialty in the composer’s surname.ii As a result of the chemistry, Borodin graduated with his doctorate registration, both Borodin and his “designated in 1858, spent a year as a surgeon in a military father” were officially serfs, owned by Borodin’s hospital, and then embarked on a three-year biological father.iii The nobleman father course of advanced scientific -
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart Baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 ² 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers. Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of Mozart's death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years." Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart at 9 Getreidegasse in Salzburg, capital of the sovereign Archbishopric of Salzburg, in what is now Austria but, at the time, was part of the Bavarian Circle in the Holy Roman Empire.