Clowes Family Collection, 1842–1998
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Assenet Inlays Cycle Ring Wagner OE
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela -
The New NATO
PATRON H.R.H. THE PRINCE PHILIP DUKE OF EDINBURGH OTTAWA BRANCH THE NAVAL OFFICERS ASSOCIATION OF CANADA Box 505, Station B, Ottawa, ON K1P 5P6 “To make all levels of Government and the general public clearly aware of the vital need for, and value of adequate and effective Maritime security forces to protect and further the interests of Canada.” (Branch Constitution, Article III.) 44.01 “Trying the depth of the water and the quality of the bottom line.…” May, 2008 The New NATO With Table Mountain in the background, in September 2007 HMCS Toronto sails off Cape Town, South Africa as part of Standing NATO Maritime Group One. See the story by the Commanding Officer, Cdr Steve Virgin, starting on page 8, along with the cover story on the new NATO starting on page 4. Soundings May 2008 1 ______ ___________________________________________________________________________________________________ From the President By Richard Gimblett With luck, this issue Russ expanded his of Soundings will be posted mandate beyond our local In this edition: to our web-site before the confines (quite rightly to my Branch Annual General view, and with the support Meeting on May 5 th ; more of National President Ray likely you will be reading Zuliani) to undertake a P.2 From the President the mailed-out hard copy in detailed survey of the needs arrears of that event. It is and aspirations of our P.3 Library hard to believe that yet present national another of our regular membership as well as P.3 Spring Reception September-May “gathering” potential members in the seasons is coming to an fleet and ashore. -
Wagner: Das Rheingold
as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii. -
The Unauthorised History of ASTER LOCOMOTIVES THAT CHANGED the LIVE STEAM SCENE
The Unauthorised History of ASTER LOCOMOTIVES THAT CHANGED THE LIVE STEAM SCENE fredlub |SNCF231E | 8 februari 2021 1 Content 1 Content ................................................................................................................................ 2 2 Introduction ........................................................................................................................ 5 3 1975 - 1985 .......................................................................................................................... 6 Southern Railway Schools Class .................................................................................................................... 6 JNR 8550 .......................................................................................................................................................... 7 V&T RR Reno ................................................................................................................................................. 8 Old Faithful ...................................................................................................................................................... 9 Shay Class B ..................................................................................................................................................... 9 JNR C12 ......................................................................................................................................................... 10 PLM 231A ..................................................................................................................................................... -
Vorschau 541101.Pdf
B 10533 F - ISBN 978-3-89610-339-0 - Best.-Nr. 54 11 01 Deutschland € 12,50 Österreich € 13,75 - Schweiz sfr 25,00 - Belgien, Luxemburg € 14,40 Niederlande € 15,85 - Italien, Spanien € 16,25 - Portugal (con.) € 16,40 Konrad Koschinski www.eisenbahn-journal.de RHEINGOLD SPECIAL 1 2011 Luxuriös durch sechs Jahrzehnte (Füllseite) EDITORIAL MYSTISCH UND ELITÄR m 15. Mai 1928 fuhr der Rheingold erstmals von Hoek van Holland Aund Amsterdam nach Basel. Namensgebend war der sagenumwo- bene Nibelungenschatz. Die Deutsche Reichsbahn-Gesellschaft und die MITROPA machten mit dem violett-cremefarbenen Pullmanzug zunächst ein gutes Geschäft. Insbesondere erwies er sich auch als Trumpf ge- genüber dem von der Internationalen Schlafwagengesellschaft angebotenen Konkurrenzzug Edelweiss Amsterdam – Basel via Brüssel, Luxemburg und Straßburg. Für die meisten Reisenden bedeutete eine Fahrt im Rheingold mehr als nur hochkomfortabel ans Ziel zu gelangen. Wohlig in weiche Sessel zurück- gelehnt, ließen sie an den breiten Fenstern die Rheinlandschaft vorüberzie- hen, genossen deren sich im Streckenabschnitt Koblenz – Mainz entfaltende Pracht mit Burgen und Schlössern, malerischen Städten und Dörfern, reben- bewachsenen Hängen und dem weltberühmten Loreleyfelsen. Nicht zuletzt trug der enorme Werbeaufwand mit künstlerisch gestalteten Plakaten und Prospekten zum Erfolg des deutschen Pullmanzuges bei, Wa- gendurchläufe bis Luzern und Zürich erhöhten seine Attraktivität. Doch die 1930 voll einsetzende Wirtschaftskrise traf ihn gleichsam wie der auf dem Goldschatz im Rhein lastende Fluch des Nibelungenkönigs Alberich. Ab 1933 mieden ausländische Reisende die Route durch das von den National- sozialisten beherrschte Deutsche Reich, zudem gingen die Fahrgastzahlen aufgrund verschärfter Devisenkontrollen zurück. Erst die 1936 gesenkten Fahrpreiszuschläge und die 1938 deutlich angehobene Reisegeschwindig- keit bescherten dem Rheingold wieder mehr Zuspruch. -
CHAN 3086 BOOK.Qxd 21/5/07 5:36 Pm Page 2
CHAN 3086 Book Cover.qxd 21/5/07 5:33 pm Page 1 CHAN 3086(2) CHANDOS O PERA IN ENGLISH CHAN 3086 BOOK.qxd 21/5/07 5:36 pm Page 2 Giacomo Puccini (1858–1924) Turandot Lyric drama in three acts Libretto by Giuseppe Adami and Renato Simoni, after Gozzi’s dramatic fairy-tale Lebrecht Music Collection Music Lebrecht Princess Turandot............................................................................................Jane Eaglen soprano The Emperor Altoum, her father....................................................................Nicolai Gedda tenor Timur, the dispossessed King of Tartary...............................................................Clive Bayley bass Calaf, his son.................................................................................................Dennis O’Neill tenor Liù, a slave-girl ................................................................................................Mary Plazas soprano Ping, Grand Chancellor ............................................................................Peter Sidhom baritone Pang, General Purveyor Ministers ..............................................................Mark Le Brocq tenor Pong, Chief Cook } ...................................................................................Peter Wedd tenor A Mandarin .................................................................................................Simon Bailey baritone Prince of Persia ..............................................................................................Mark Le Brocq tenor -
Model Ship Book 4Th Issue
A GUIDE TO 1/1200 AND 1/1250 WATERLINE MODEL SHIPS i CONTENTS FOREWARD TO THE 5TH ISSUE 1 CHAPTER 1 INTRODUCTION 2 Aim and Acknowledgements 2 The UK Scene 2 Overseas 3 Collecting 3 Sources of Information 4 Camouflage 4 List of Manufacturers 5 CHAPTER 2 UNITED KINGDOM MANUFACTURERS 7 BASSETT-LOWKE 7 BROADWATER 7 CAP AERO 7 CLEARWATER 7 CLYDESIDE 7 COASTLINES 8 CONNOLLY 8 CRUISE LINE MODELS 9 DEEP “C”/ATHELSTAN 9 ENSIGN 9 FIGUREHEAD 9 FLEETLINE 9 GORKY 10 GWYLAN 10 HORNBY MINIC (ROVEX) 11 LEICESTER MICROMODELS 11 LEN JORDAN MODELS 11 MB MODELS 12 MARINE ARTISTS MODELS 12 MOUNTFORD METAL MINIATURES 12 NAVWAR 13 NELSON 13 NEMINE/LLYN 13 OCEANIC 13 PEDESTAL 14 SANTA ROSA SHIPS 14 SEA-VEE 16 SANVAN 17 SKYTREX/MERCATOR 17 Mercator (and Atlantic) 19 SOLENT 21 TRIANG 21 TRIANG MINIC SHIPS LIMITED 22 ii WASS-LINE 24 WMS (Wirral Miniature Ships) 24 CHAPTER 3 CONTINENTAL MANUFACTURERS 26 Major Manufacturers 26 ALBATROS 26 ARGONAUT 27 RN Models in the Original Series 27 RN Models in the Current Series 27 USN Models in the Current Series 27 ARGOS 28 CM 28 DELPHIN 30 “G” (the models of Georg Grzybowski) 31 HAI 32 HANSA 33 NAVIS/NEPTUN (and Copy) 34 NAVIS WARSHIPS 34 Austro-Hungarian Navy 34 Brazilian Navy 34 Royal Navy 34 French Navy 35 Italian Navy 35 Imperial Japanese Navy 35 Imperial German Navy (& Reichmarine) 35 Russian Navy 36 Swedish Navy 36 United States Navy 36 NEPTUN 37 German Navy (Kriegsmarine) 37 British Royal Navy 37 Imperial Japanese Navy 38 United States Navy 38 French, Italian and Soviet Navies 38 Aircraft Models 38 Checklist – RN & -
Boston Symphony Orchestra Concert Programs, Summer
Tanglewqpd SEIJI OZAWA HALL Wednesday, July 10, at 8:30 Florence Gould Auditorium, Seiji Ozawa Hall CHANTICLEER Texts and Translations I. GUILLAUME DUFAY (c. 1400-1 474) Gloria ad modum tubae Gloria ad modum tubae Trumpet Gloria Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonae And on earth, peace to men of good will. voluntatis. Laudamus te, benedicimus te, We praise You, we bless You, adoramus te, glorificamus te. we worship You, we glorify You. Gratias agimus tibi propter magnam We give You thanks for Your great glory. gloriam tuam. Domine Deus, Rex caelestis, Lord God, Heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite Jesu Christe. Lord the only begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You who take away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram patris, You who sit at the right hand of the Father, miserere nobis. have mercy on us. Quoniam tu solus sanctus, tu solus For You alone are holy, You alone are the Dominus, Lord, tu solus altissimus, Jesu Christe. You alone are most high, Jesus Christ. Cum Sancto Spiritu in gloria Dei Patris. With the Holy Spirit in the glory of God the Father. Amen. Amen. Please turn the page quietly. Design Team for Seiji Ozawa Hall: William Rawn Associates, Architect Lawrence Kirkegaard & Associates, Acousticians Theatre Projects Consultants, Inc., Theatrical Consultant Week 2 mm II. -
Moving Ourselves, Moving Others Motion and Emotion in Intersubjectivity, Consciousness and Language
Moving Ourselves, Moving Others Motion and emotion in intersubjectivity, consciousness and language Edited by Ad Foolen, Ulrike M. Lüdtke, Timothy P. Racine and Jordan Zlatev John Benjamins Publishing Company Moving Ourselves, Moving Others Consciousness & Emotion Book Series Consciousness & Emotion Book Series publishes original works on this topic, in philosophy, psychology and the neurosciences. The series emphasizes thoughtful analysis of the implications of both empirical and experiential (e.g., clinical psychological) approaches to emotion. It will include topical works by scientists who are interested in the implications of their empirical findings for an understanding of emotion and consciousness and their interrelations. For an overview of all books published in this series, please see http://benjamins.com/catalog/ceb Editors Ralph D. Ellis Peter Zachar Clark Atlanta University Auburn University Montgomery Editorial Board Carl M. Anderson Eugene T. Gendlin Maxim I. Stamenov McLean Hospital, Harvard University University of Chicago Bulgarian Academy of Sciences School of Medicine, Cambridge, MA Jaak Panksepp Douglas F. Watt Bill Faw Bowling Green State University, OH Quincy Hospital, Boston, MA Brewton Parker College, Mt. Vernon, GA Advisory Editors Bernard J. Baars Valerie Gray Hardcastle Martin Peper Wright Institute, Berkeley, CA Virginia Polytechnic Institute, University of Marburg, Germany Thomas C. Dalton Blacksburg, VA Edward Ragsdale California Polytechnic Institute, Alfred W. Kaszniak New York, NY San Luis Obispo, CA University of Arizona, Tucson, AZ Howard Shevrin Nicholas Georgalis Alfred R. Mele University of Michigan, East Carolina University, Greenville, Florida State University, Ann Arbor, MI NC Talahassee, FL Lynn Stephens George Graham Natika Newton University of Alabama, Wake Forest University, Wake Forest, Nassau County Community College, Birmingham, AL North Carolina New York Kathleen Wider University of Michigan, Dearborn, MI Volume 6 Moving Ourselves, Moving Others. -
Hans Kung Speech Opens 'Unbelief Lecture Series by Phillip Mccaffrey Rev
Selective Service Page 5 ol.48 No. 18 — 122 122 Prlnt.d by Cllywtd. Prlnffng Co., In * Friday, October 28. 1966 Hans Kung Speech Opens 'Unbelief Lecture Series By Phillip McCaffrey Rev. Hans Kung opened the "Phenomenon of Unbelief," current lecture series Wednesday night, addressing an audi- ence that overflowed the Campus Center ballroom and stu- 1%. ' dent lounge, and filled the cafeteria. Rev. Christopher F. Mooney, chairman of the Ford- ham theology department, and director of the sponsoring Cardinal Bea Institute, introduced the Swiss-born theolo- gian to his first American audience since the Second Vati- Mtn can Council. Father Kung approached the the Church. "The modern secular problem of the sincerity of the world," he claimed, "will con- , OPENING: The Compleat Works of Charles Dickons, Fordham's Church, and its effect on the tinue to move ahead with, with- i now off-campus coffee house. Church's position in the modern out, or in spite of the Church." world. He defined "Church" as the "entire community of believ- Father Kung feels that "a large ers, the whole people of God." number have abandoned Christ tudent Coffee House because of the Church," and sug- The reformist began by noting gested reforms in exegesis, moral the twentieth century's "new pas- teaching, ecumenical relations, sion" for sincerity, exemplified in o Promote Creativity the Church press, ecclessiastic'al CROWD-DRAWER: Theologian the arts, and in man's daily atti- dress and ceremonial (Father By Frank Quigley Horizons poetry readings, piano tude. "Men of today are willing Hans Kung. Thinking that discussion of recitals, one act plays, and dis- Kung wears a business suit), and to forgive almost any sin, as long administration. -
Stevens-Coolidge Place Collection, 1761-1962
The Trustees of Reservations – www.thetrustees.org THE TRUSTEES OF RESERVATIONS ARCHIVES & RESEARCH CENTER Guide to Stevens-Coolidge Place Collection, 1761-1962 SCP.MS.Coll.1 By Sharon Spieldenner July 2010 Last updated: October 2016 Laura Kitchings Archives & Research Center 27 Everett Street, Sharon, MA 02067 www.thetrustees.org [email protected] 781-784-8200 Stevens-Coolidge Place Collection - 1 The Trustees of Reservations – www.thetrustees.org Extent: 66 boxes, 15 oversize boxes Other storage formats: 5 Broadside Cabinet large folders Linear feet: 42 Copyright © 2015 The Trustees of Reservations ADMINISTRATIVE INFORMATION PROVENANCE Bequest of Mrs. Helen Stevens Coolidge, 1962. OWNERSHIP & LITERARY RIGHTS The Stevens-Coolidge Place Collection is the physical property of The Trustees of Reservations. Literary rights, including copyright, belong to the authors or their legal heirs and assigns. CITE AS Stevens-Coolidge Place Collection. The Trustees of Reservations, Archives and Research Center. RESTRICTIONS ON ACCESS This collection is open for research. Many of the photographs can be accessed through the Digital Commonwealth. https://www.digitalcommonwealth.org/ Stevens-Coolidge Place Collection - 2 The Trustees of Reservations – www.thetrustees.org STEVENS-COOLIDGE PLACE Formerly known as Ashdale Farm, Stevens-Coolidge Place served as the summer home of John Gardner Coolidge—a diplomat who was descended from Thomas Jefferson and was nephew to Isabella Stewart Gardner—and Helen Stevens Coolidge from 1914 to 1962. Helen Stevens Coolidge was devoted to preserving and improving Ashdale Farm, which her family had first acquired in 1729 and then farmed for six generations. With her husband’s support, she transformed the farm into an elegant agricultural estate that exemplified the gracious country living enjoyed then by wealthy Bostonians. -
Reflections on the Stuttgart Ring
Performance The Stuttgart Ring on DVD: A Review Portfolio Everyday Totalitarianism: Reflections on the Stuttgart Ring Downloaded from By the standards of contemporary German opera, the recent Stuttgart production of Richard Wagner’s Ring des Nibelungen has generated a great deal of hype. Critics hail it as an epochal “milestone in the history of Wagner production, akin to the Patrice Che´reau Bayreuth centenary Ring of 1976,” and praise it for single- handedly disproving “widespread claims that opera is dead.”1 The most com- http://oq.oxfordjournals.org monly cited virtue of the production is its use of a different director for each opera. Klaus Zehelein, Intendant of the Stuttgart Staatsoper from 1991 to 2006, a dramaturge by profession and the man who organized this Ring, offers unabashed self-praise: “Only because we arranged for a different team to direct each piece of the Ring will its moments of exposition finally realize those sublime theatrical forms that Wagner offers us.”2 The result is now available on DVD. at Princeton University on June 17, 2010 *** Why four directors and not one? Zehelein’s most straightforward justification, the one that dominates press releases from Stuttgart and reviews in the German press, is that stage directors must be liberated. Any effort to impose a unified concept or meaning on the Ring cycle (Totalita¨tsanspruch), Zehelein argues, restricts the director’s creative freedom and is thus “totalitarian.”3 Holistic con- cepts encumber directors by constraining them to adopt interpretations of the Ring consistent with the overarching ideas, symbols, and musical leitmotifs in Wagner’s text and music.4 By treating the Ring instead as a series of disconnected episodes, directors are free to respond to each dramatic moment without “prior assumptions” or “obligations.”5 A modern audience should similarly perceive the Ring as a series of disconnected theatrical moments or “theatrical piecework.”6 Having no big message to transmit and no one in charge enhances artistic freedom and releases creative energy.