#david c mahler

[musicainextenso]

Lesser Known Composers #2 with David Pulsford - Intro

There are SO many really good lesser known composers, that for this article I'm going to stick to the romantics.

I sometimes wonder about the change from romantic to modern styles. Maybe in the 20th Century some composers became a little obsessed with being different, new, experimental, so that if your music wasn't like this, it was deemed not so acceptable. I think this is still a slowly dissipating thing - and not just in classical music. Having said that, the change to a different style obviously gave rise to some cool stuff. 

Also, if a composer's music is in the style of someone else's, like for instance Beethoven and Ferdinand Ries, that's not necessarily a bad thing (unless it's blatant copying). Some musical artists are innovators, eg Schoenberg and Beethoven, others may perfect an existing style like, say, J S Bach. Whatever, I'm glad that there have been composers that have written music in the style of Mendelssohn, Schumann, Brahms, Wagner... They may not have kept up with the trends of the day, they may have been a little conservative or stuck in their ways, but it's a shame they are still in the shadows of the mainstream and being left out of concert programmes, although, I do think this has changed quite a lot recently.

1. Robert Fuchs (1847-1927)

An Austrian composer born in Frauenthal in Styria, he was the youngest of 13 childrenand learned flute, violin, piano and organ. He trained as a teacher and in 1865 he moved to Viennawhere he was taught composition by Otto Dessoff, earning a living as an organist and also teaching. In 1874 the success of the first of his five serenades established him as a composer and earned him the nick-name, serenaden fuchs. A year later he was appointed Professor of Harmony at the Vienna Conservatory and in 1886 hewas awarded the Beethoven prize for his C major symphony. He wrote a lot of different types of music including opera, songs, orchestral, instrumental but mainly chamber works.

He was a friend of Brahms who rated him highly ! (and Brahms was not free with his praise), and he is famous for teaching many well known composers, among these are Franz Schmidt, Mahler, Franz Schreker, Sibelius, Hugo Wolf, Zemlinsky...

I really like his music, it's neatly put together, there's a lot going on and in the case of the work featured here, his first Cello Sonata, the melody in the first movement is positively gorgeous!

Other composers’ Cello Sonata's that I like:

Jean Louis Nicode - 2nd Sonata for Cello and Piano in G major (1882)

Ernő Dohnányi - Sonata for Cello and Piano in B flat major, Op.21

Giuseppe Martucci - Cello Sonata in F flat minor, Op.52

David Pulsford, @lesser-known-composers

[chrispinecone]

orion mahler.

everyone’s favorite science geek, family man, hot dad, closet dork, and wannabe gangster. 

defining traits. reliable. trustworthy. far more intelligent than he’d ever admit. responsible. stubborn. emotionally constipated. responsible. punctual. idealistic. dramatic. high moral standards. strong sense of duty. always worries he's not a good enough person. constantly afraid of letting other people down. massive dork.

[taunuswolf]

MEINE VORBILDER, IDOLE, HELDEN ODER MENSCHEN, DIE ICH SEHR SCHÄTZE

Natürlich ist diese Liste nicht vollständig. Sicherlich könnte ich sie um viele Persönlichkeiten erweitern. Besonders bei Künstlern, Schriftstellern, Musikern und Schauspielern kämen sicherlich noch viel mehr bewundernswerte Menschen zusammen, die mein Leben mitbegleitet haben. Bei den eher unbekannten Namen habe ich die Funktion in Klammern daneben geschrieben. Einige Namen sind Legendengestalten oder biblische Figuren, zum Beispiel Heilige (HL). Menschen, die ich zum Beispiel während meiner Zeit als Redakteur oder anderwärtig persönlich kennen gelernt habe, sind zum Beispiel auf der Tumblr-Seite fett gekennzeichnet. Unter der Rubrik (Vormärz) versteht man die frühen Akteure der Demokratiebewegung, die leider nicht zum Zug kamen und stattdessen einem autokratischen System weichen mussten, die als Pseudodemokratie bis heute anhält. Im Klartext: Deutschland verträgt keine echte Opposition.  

A: Jeanne d´Arc, Hannah Arendt, Ernst Moritz Arndt, Bettine von Arnim, AC/DC, Johann Valentin Andreae (Rosenkreuzer), Alexandra (Sängerin), König Arthus, Adele, Hirsi Ali, Charles Aznavour,    

B: Hugo Ball (Schriftsteller), Marianne Bachmeier (Mutter Courage), Sebastian Bach, Gottfried von Bouillon (Kreuzritter), Friedrich Barbarossa, Clemens von Brentano (Dichter), G.L. von Blücher, F.W. von Bülow (Preußische Generäle der Befreiungskriege), Hildegard von Bingen, Beatles, Carl Ludwig Börne (1848ziger), Robert Blum (1848-Rebell), Ludwig van Beethoven, Arnold Böcklin, Max Brodt, David Bowie, Thomas Bernhard, Wilhelm Busch, James Baldwin, M. A. Bakunin (Anarchist), Boetius (Philosoph), Buena vista social Club, Josef Beuys, Samuel Beckett, Sebastian Brandt (Humanist)        

C: Cicero, Paul Celan, Carl von Clausewitz (Oberst Befreiungskriege), Leonard Cohen, M. Caravaggio, John Cassavetes (Regis.), Karl August von Cohausen (Archäologe), Charlotte Corday (Rebellin 1790), Robert Crumb, Eric Clapton, Lowis Corinth, Joe Cocker, N.S. Chruschtschow, Sean Connery.        

D: Denis Diderot (Aufklärer), Albrecht Dürer, Bob Dylan, Carl Theodor von Dalberg (Aufklärer), Dante, Dido (Sängerin), Alexander Dubcek, Doors,    

E: Max Ernst, Hl. Elisabeth, Enya, Eisbrecher (Band), Michael Ende, Umberto Ecco, Joseph von Eichendorff,    

F: Gottfried Fichte, Ernst Fuchs, Friedrich der Große, Georg Forster, Caspar David Friedrich, Fleetwood Mac,  

G: Theo van Gogh, Franzisko de Goya, Gottfried Grabbe, Che Guevara, Siddharta Gautama, Karoline von Günderode (Dichterin), Georges I. Gurdjief (Mystiker), Matthias Grünewald, Artemisia Gentileschi (Malerin), Gandalf, Brüder Grim, Grimmelshausen, Ralf Giordano (Journalist), Green Day (Band), Florian Geyer (Rebellenanführer), A.N. von Gneisenau (General Befreiungskriege), M.S. Gorbatschow.      

H: Hagen, Hermann Hesse, Peter Handke, Hölderlin, Heinrich Heine, E.T.A. Hoffmann, Gottfried Herder, Friedrich Hecker (1848-Rebell), Händel, Villard de Honnecourt (Gotik-Baumeister), Michel Houellebecq, Homer, Herodot, Klaus Heuser (BAB), Gorge Harrison, Andreas Hofer, Johnny Hallyday (Franz. Sänger), Friedensreich Hundertwasser, Werner Herzog, Elmar Hörig (Kultmoderator), Ulrich von Hutten (Humanist), Victor Hugo, Harro Harring (Vormärz),      

I: Jörg Immendorff, Henryk Ibsen, Isaias (Prophet),  

J. Jesus, Johannes der Täufer, Johannes der Evangelist, Jeremia (Prophet), C.G. Jung (Psychologe), Jennies Joplin, Friedrich Ludwig Jahn (Turnvater)

K: Karl Kraus, Theodor Körner, Franz Kafka, Frida Kahlo, Gustav Klimt, Charlotte von Kalb (Muse), Lee Krasner (Künstlerin), Rainhard Karl (Bergsteiger), Peter Keuer (Grünen-Gründer), Alfred Kubin,  

L: Lukas, John Lennon, David Lynch, Flake Lorenz, Andreas von Lichnowski (1848ziger), Cyprian Lelek (1848ziger), Georg C. Lichtenberg, Gotthold Ephraim Lessing, Lanzelot, M.V. Llosa (Schriftsteller), Annie Lenox, Königin Luise, Ludwig A.W. von Lützow (Befreiungskriege), M. Lafayette (Fr. Staatsmann und Aufklärer) Franz Liszt, Led Zeppelin, Hanns Lothar (Schauspieler)

M: HL. Maria, HL. Maria Magdalena, Marcus, Matthäus, Matthäus Merian, Maria Sybilla Merian, Amadeus Mozart, Bob Marley, Edward Munch, Claude Monet, Albertus Magnus (Scholastiker), Merlin, Alma Mahler-Werfel (Muse), Meister Eckard (Mystiker), Moody Blues.    

N: HL. Nikolaus, Novalis, V. Nabokov (Schriftsteller), Ningen Isu (Band), Nirvana, Agrippa von Nettesheim (Alchimist), Hannah Nagel (Künstlerin),    

O: Josef Maria Olbrich (Jugendstilbaumeister), Rudolf Otto (Religionswissenschaftler), Oomph (Band), Oasis, Mike Oldfield,  

P: Platon, Plotin, Pythagoras (Philosophen), Jean Paul, Plinius, Parzival, Tom Petty, Daniel Powter, Procol Harum, Pink Floyd,  

Q: Queen,

R:  Peter Paul Rubens, Rembrandt, Josef Roth, Ramstein, Philipp Otto Runge, Ludwig Richter, Rio Reiser, Ritter Roland, Rainer Maria Rilke, Erasmus von Rotterdam, Eric Rohmer, Ulrich Roski (Sänger), Rolling Stones, R.E.M. Lou Reed, Chris Rea, Petra Roth (Ex-OB Frankfurt/M)

S: Johann III Sobieski (polnischer König), Sunzi (chinesischer Philosoph), August Schöltis (Schriftsteller), Lou von Salome (Muse), B. Smetanar, Carlos Santana, Sappho (Dichterin), Schopenhauer, Helmut Schäfer (Staatsminister im Auswärtigen Amt) Sokrates, Egon Schiele, Madame de Stael, August Strindberg, Richard Strauss, Philipp Jacob Siebenpfeiffer (Vormärz), Helmut Schmidt, Subway to Sally (Band), Karl Ludwig Sand (Vormärz)    

T: B. Traven (Schriftsteller), A. P. Tschechov, Ivan Turgenjev, Ludwig Tieck (Romantiker), HL. Judas Thaddäus, Hermes Trismegistos (Philosoph), P.I. Tschaikowski, William Turner, Lars von Trier (Regisseur)  

U: Peter Ustinov, Ludwig Uhland, Siegfried Unseld (Verleger),

V: Luchino Visconti, Leonardo da Vinci, Velvet Underground, Vitruv, Vercingetorix, Francois Villon (Dichter), Walter von der Vogelweide, Robert Vogelmann (Menschenrechtsaktivist)    

W: Wim Wenders, Richard Wagner, Otto Wagner (Jugendstilbaumeister) Wagakki-Band, Sara Wagenknecht, Ludwig Wittgenstein (Philosoph), Georg August Wirth (Vormärz),

X: Xhol (Band)    

Y: Neil Young, Yvonne (Aktivistin der Gegenöffentlichkeit)

Z: Heinrich Zille, Carl Zuckmayer, Frank Zappa,  

[tinyshe]

WASHINGTON, DC (Catholic Online) - “I started this list as the 100 Best Pieces of Sacred Music, but I decided instead to recommend specific recordings. Why? No matter how fine the music, say Bach's Mass in B minor, a poor performance will leave the listener wondering where the "greatness" went.  So the recommendations below represent a merging of both: All of the compositions are among the very best sacred music ever written, but the recorded performances succeed in communicating their extraordinary beauty.  

“I also dithered over whether or not to make a list of "liturgical" music, or "mass settings," or "requiems." Each of these would make interesting lists, but I chose the broader "sacred music" with the hope that this list might be of interest to a wider spectrum of people. Composers are not limited to any denomination -- some are known to have been non-believers -- although the music belongs to the Christian tradition.  

“I've also decided to limit my choices to recordings that are presently available on CDs, DVDs, Blu-rays, or digital downloads.  I don't expect those who are curious about a particular title to start hunting down LPs, especially since these vinyl recordings are suddenly in great demand and prices are rising.  

“This list is alphabetized, rather than listed in chronological order. This was necessary, since recordings will often include several pieces composed years apart, perhaps much more. Thus, to reiterate, there has been no attempt to arrange them in order of preference -- all 100 are among "the best" recordings of sacred music currently available. The recording label is indicated in parentheses.

What I would call 'Indispensable Sacred Music Recordings' are marked with an ***.

1.Allegri, Miserere, cond., Peter Phillips (Gimell).*** 2.Bach Mass in B Minor, cond., Nikolaus Harnoncourt (1968 recording;Teldec).*** 3.Bach, St. Matthew Passion, cond., Philippe Herreweghe (Harmonia Mundi).*** 4.Bach, Cantatas, cond., Geraint Jones and Wolfgang Gonnenwein (EMI Classics). 5.Barber, Agnus Dei, The Esoterics (Naxos). 6.Beethoven, Missa Solemnis, cond., Otto Klemperer (EMI/Angel). 7.Bernstein, Mass, cond., Leonard Bernstein (Columbia). 8.Berlioz, Requiem, cond. Colin Davis (Phillips). 9.Brahms,  Requiem, cond., Otto Klemperer (EMI/Angel).*** 10.Briggs, Mass for Notre Dame, cond., Stephen Layton (Hyperion). 11.Britten, War Requiem, cond., Benjamin Britten (Decca). 12.Brubeck, To Hope! A Celebration, cond. Russell Gloyd (Telarc). 13.Bruckner, Motets, Choir of St. Mary's Cathedral (Delphian).*** 14.Byrd, Three Masses, cond., Peter Phillips (Gimell). 15.Burgon, Nunc Dimittis, cond., Richard Hickox (EMI Classics). 16.Celtic Christmas from Brittany, Ensemble Choral Du Bout Du Monde (Green Linnet) 17.Chant, Benedictine Monks of Santo Domingo de Silos (Milan/Jade). 18.Charpentier, Te Deum in D, cond., Philip Ledger (EMI Classics). 19.Christmas, The Holly and the Ivy, cond., John Rutter (Decca). 20.Christmas, Christmas with Robert Shaw, cond., Robert Shaw (Vox). 21.Christmas, Cantate Domino, cond., Torsten Nilsson (Proprius).*** 22.Christmas, Follow That Star, The Gents (Channel Classics). 23.Christmas, The Glorious Sound of Christmas, cond., Eugene Ormandy (Sony). 24.Christmas: Moravian Christmas, Czech Philharmonic Choir (ArcoDiva) 25.Desprez, Ave Maris Stella Mass, cond., Andrew Parrott (EMI Reflexe). 26.Dufay, Missa L'homme arme, cond., Paul Hillier (EMI Reflexe). 27.Duruflle, Requiem & Motets, cond. Matthew Best (Hyperion) 28.Dvorak, Requiem, cond. Istvan Kertesz (Decca). 29.Elgar, The Dream of Gerontius, cond. John Barbirolli (EMI Classics).*** 30.Elgar, The Apostles, cond. Adrian Boult (EMI Classics). 31.Elgar, The Kingdom, cond., Mark Elder (Halle). 32.Eton Choirbook, The Flower of All Virginity, cond., Harry Christophers (Coro). 33.Faure, Requiem, cond., Robert Shaw (Telarc). 34.Finnish Sacred Songs, Soile Isokoski (Ondine). 35.Finzi, In Terra Pax, cond. Vernon Handley (Lyrita). 36.Gabrieli, The Glory of Gabrieli, E. Power Biggs, organ (Sony). 37.Gesualdo, Sacred Music for Easter, cond., Bo Holten (BBC). 38.Gonoud, St. Cecilia Mass, cond. George Pretre (EMI Classics). 39.Gorecki, Beatus Vir & Totus Tuus, cond. John Nelson (Polygram). 40.Gospel Quartet, Hovie Lister and the Statesman (Chordant) 41.Guerrero, Missa Sancta et immaculata, cond., James O'Donnell (Hyperion) 42.Handel, Messiah, cond., by Nicholas McGegan (Harmonia Mundi)*** 43.Haydn, Creation, cond., Neville Marriner (Phillips). 44.Haydn, Mass in Time of War, cond., Neville Marriner (EMI Classics). 45.Hildegard of Bingen, Feather on the Breath of God, Gothic Voices (Hyperion). 46.Howells, Hymnus Paradisi, cond., David Willocks (EMI Classics).*** 47.Hymns, Amazing Grace: American Hymns and Spirituals, cond. Robert Shaw (Telarc).*** 48.Lauridsen, Lux Aeterna & O Magnum Mysterium, cond. Stephen Layton (Hyperion).*** 49.Lassus, Penitential Psalms, cond. Josef Veselka (Supraphon). 50.Leighton, Sacred Choral Music, cond., Christopher Robinson (Naxos). 51.Liszt, Christus, cond., Helmut Rilling (Hannsler). 52.Liszt, The Legend of St. Elisabeth, cond., Arpad Joo (Hungaroton). 53.Lobo, Requiem for Six Voices, cond., Peter Phillips (Gimell). 54.Martin, Requiem, cond. James O'Donnell (Hyperion). 55.Machaut, La Messe de Nostre Dame, cond., Jeremy Summerly (Naxos). 56.Mahler, 8th Symphony, cond., George Solti (Decca). 57.Mendelssohn, Elijah, cond. Rafael Frühbeck de Burgos (EMI 58.Monteverdi, 1610 Vespers, cond., Paul McCreesh (Archiv). 59.Morales, Magnificat, cond., Stephen Rice (Hyperion). 60.Mozart, Requiem, cond. Christopher Hogwood (L'Oiseau-Lyre). 61.Mozart, Mass in C Minor, cond. John Eliot Gardiner (Phillips). 62.Nystedt, Sacred Choral Music, cond., Kari Hankin (ASV). 63.Organum, Music of the Gothic Era, cond., David Munrow (Polygram). 64.Palestrina, Canticum Canticorum, Les Voix Baroques (ATMA). 65.Palestrina, Missa Papae Marcelli, cond. Peter Phillips (Gimell). 66.Part, Passio (St. John Passion), cond., Paul Hillier (ECM New Series). 67.Parsons, Ave Maria and other Sacred Music, cond., Andrew Carwood (Hyperion). 68.Pizzetti, Requiem, cond., James O'Donnell (Hyperion). 69.Poulenc, Gloria & Stabat Mater, cond., George Pretre (EMI Classics). 70.Poulenc. Mass in G Major; Motets, cond., Robert Shaw (Telarc). 71.Puccini, Messa di Gloria, cond., Antonio Pappano (EMI Classics). 72.Purcell, Complete Anthems and Services, fond., Robert King (Hyperion). 73.Rachmaninov, Liturgy of St. John Chrysostom, cond., Charles Bruffy (Nimbus). 74.Rachmaninov, Vespers, cond., Robert Shaw (Telarc). 75.Respighi, Lauda Per La Nativita Del Signore, cond., Anders Eby Proprius). 76.Rheinberger, Sacred Choral Music, cond., Charles Bruffy (Chandos). 77.Rossini, Stabat Mater, cond., Antonio Pappano (EMI). 78.Rubbra, The Sacred Muse, Gloriae Dei Cantores (Gloriae Dei Cantores). 79.Rutter, Be Thou My Vision: Sacred Music, cond., John Rutter (Collegium).*** 80.Russian Divine Liturgy, Novospassky Monastery Choir (Naxos). 81.Rutti, Requiem, cond., David Hill (Naxos). 82.Saint Saens, Oratorio de Noel, cond., Anders Eby (Proprius). 83.Schubert, 3 Masses, cond., Wolfgang Sawallisch (EMI Classics). 84.Schutz, Musicalische Exequien, cond., Lionel Meunier (Ricercar). 85.Spirituals, Marian Anderson (RCA).*** 86.Spirituals, Jesse Norman (Phillips) 87.Telemann, Der Tag des Gerichts, cond., Nikolaus Harnoncourt (Teldec). 88.Thompson, Mass of the Holy Spirit, cond., James Burton (Hyperion). 89.Shapenote Carols, Tudor Choir (Loft Recordings) 90.Stravinsky, Symphony of Psalms, cond., Robert Shaw (Telarc). 91.Tallis, Spem in alium & Lamentations of Jeremiah, cond., David Hill (Hyperion).*** 92.Tschiakovsky, Liturgy of St. John Chrysostom, cond, Valery Polansky (Moscow Studio). 93.Taneyev, At the Reading of a Psalm, cond., Mikhail Pletnev (Pentatone). 94.Vaughn Williams, Five Mystical Songs, cond., David Willcocks (EMI Classics).*** 95.Vaughn Williams, Mass in G, cond. David Willcocks (EMI Classics). 96.Vaughn Williams, Pilgrims Progress, cond., Adrian Boult (EMI Classics).*** 97.Verdi, Requiem, cond., Carlo Maria Guilini (EMI Classics).*** 98.Victoria, O Magnum Mysterium & Mass, cond., David Hill (Hyperion).*** 99.Victoria, Tenebrae Responsories, cond., David Hill (Hyperion). 100.Vivaldi, Sacred Music, cond., Robert King (Hyperion).   “ -----

Deal W. Hudson is president of the Pennsylvania Catholics Network and former publisher/editor of Crisis Magazine. Dr. Hudson also a partner in the film/TV production company, Good Country Pictures.

[firelynxinbloom]

The United Nations has made a statement regarding the protests against racial inequality in the United States. It reads:

"The recent killing of George Floyd has shocked many in the world, but it is the lived reality of black people across the United States. The uprising nationally is a protest against systemic racism that produces state-sponsored racial violence, and licenses impunity for this violence. The uprising also reflects public frustration and protest against the many other glaring manifestations of systemic racism that have been impossible to ignore in the past months, including the racially disparate death rate and socioeconomic impact of the COVID-19 pandemic and the disparate and discriminatory enforcement of pandemic-related restrictions. This systemic racism is gendered. The protests the world is witnessing, are a rejection of the fundamental racial inequality and discrimination that characterize life in the United States for black people, and other people of color.

The response of the President of the United States to the protests at different junctures has included threatening more state violence using language directly associated with racial segregationists from the nation’s past, who worked hard to deny black people fundamental human rights. We are deeply concerned that the nation is on the brink of a militarized response that reenacts the injustices that have driven people to the streets to protest.

Expressions of solidarity—nationally and internationally—are important but they are not enough. Many in the United States and abroad are finally acknowledging that the problem is not a few bad apples, but instead the problem is the very way that economic, political and social life are structured in a country that prides itself in liberal democracy, and with the largest economy in the world. The true demonstration of whether Black lives do indeed matter remains to be seen in the steps that public authorities and private citizens take in response to the concrete demands that protestors are making. One example is nationwide calls to rollback staggering police and military budgets, and for reinvestment of those funds in healthcare, education, housing, pollution prevention and other social structures, especially in communities of color that have been impoverished and terrorized by discriminatory state intervention.

Reparative intervention for historical and contemporary racial injustice is urgent, and required by international human rights law. This is a time for action and not just talk, especially from those who need not fear for their lives or their livelihoods because of their race, colour, or ethnicity. Globally, people of African descent and others have had to live the truths of systemic racism, and the associated pain, often without meaningful recourse as they navigate their daily lives. International leaders that have spoken out in solidarity with protestors, and with black people in the United States should also take this opportunity to address structural forms of racial and ethnic injustice in their own nations, and within the international system itself.

UN experts:

E. Tendayi Achiume, Special Rapporteur on contemporary forms of racism, racial discrimination, xenophobia and related intolerance

Ahmed Reid (Chair), Michal Balcerzak, Dominique Day, Sabelo Gumedze, and Ricardo A. Sunga III,Working Group of experts on people of African descent

Ikponwosa Ero, Independent Expert on the enjoyment of human rights by persons with albinism

Leigh Toomey (Chair-Rapporteur), Elina Steinerte (Vice-Chair), José Antonio Guevara Bermúdez, Sètondji Roland Adjovi, and Seong-Phil Hong,Working Group on Arbitrary Detention

Githu Muigai (Chair), Anita Ramasastry (Vice-chair), Surya Deva, Elżbieta Karska, and Dante Pesce, Working Group on Business and Human Rights

Rhona Smith, Special Rapporteur on the situation of human rights in Cambodia

Yao Agbetse, Independent Expert on the situation of human rights in the Central African Republic

Nourredine Amir (Chair), Committee on the Elimination of Racial Discrimination (CERD)

Tomás Ojea Quintana, Special Rapporteur on the situation of human rights in the Democratic People's Republic of Korea

Saad Alfarargi, Special Rapporteur on the right to development

Catalina Devandas-Aguilar, Special Rapporteur on the rights of persons with disabilities

Kombou Boly Barry, Special Rapporteur on the right to education

David R. Boyd, Special Rapporteur on human rights and the environment

Agnès Callamard, Special Rapporteur on extrajudicial, summary or arbitrary executions

Michael Fakhri, Special Rapporteur on the right to food

Yuefen LI, Independent Expert on the effects of foreign debt and other related international financial obligations of States on the full enjoyment of all human rights, particularly economic, social and cultural rights

David Kaye, Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression

Clément Nyaletsossi Voule, Special Rapporteur on the rights to freedom of peaceful assembly and of association

Baskut Tuncak, Special Rapporteur on human rights and hazardous substances and wastes

Dainius Pūras, Special Rapporteur on the right to physical and mental health

Balakrishnan Rajagopal, Special Rapporteur on adequate housing as a component of the right to an adequate standard of living, and on the right to non-discrimination in this context

Livingstone Sewanyana, Independent Expert on the promotion of a democratic and equitable international order

Obiora C. Okafor, Independent Expert on human rights and international solidarity

Alice Cruz, Special Rapporteur on the elimination of discrimination against persons affected by leprosy and their family members

Alioune Tine, Independent Expert on the situation of human rights in Mali

Chris Kwaja (Chair), Jelena Aparac, Lilian Bobea, Sorcha MacLeod, and Saeed Mokbil, Working Group on the use of mercenaries as a means of violating human rights and impeding the exercise of the right of peoples to self-determination

Felipe González Morales, Special Rapporteur on the human rights of migrants

Fernand de Varennes, Special Rapporteur on minority issues

Thomas Andrews, Special Rapporteur on the situation of human rights in Myanmar

Claudia Mahler, Independent Expert on the enjoyment of all human rights by older persons

Michael Lynk, Special Rapporteur on the situation of human rights in the Palestinian Territory occupied since 1967

Olivier De Schutter, Special Rapporteur on extreme poverty and human rights

Joe Cannataci, Special Rapporteur on the right to privacy

Ahmed Shaheed, Special Rapporteur on freedom of religion or belief

Mama Fatima Singhateh, Special Rapporteur on sale and sexual exploitation of children

Victor Madrigal-Borloz, Independent Expert on protection against violence and discrimination based on sexual orientation and gender identity

Tomoya Obokata, Special Rapporteur on contemporary forms of slavery, including its causes and consequences

Isha Dyfan, Independent Expert on the situation of human rights in Somalia

Aristide Nononsi, Independent Expert on the situation of human rights in the Sudan

Fionnuala D. Ní Aoláin, Special Rapporteur on the promotion and protection of human rights and fundamental freedoms while countering terrorism

Nils Melzer, Special Rapporteur on torture and other cruel, inhuman or degrading treatment or punishment

Maria Grazia Giammarinaro, Special Rapporteur on trafficking in persons, especially women and children

Fabian Salvioli, Special Rapporteur on the promotion of truth, justice, reparation and guarantees of non-recurrence

Alena Douhan, Special Rapporteur on the negative impact of the unilateral coercive measures on the enjoyment of human rights

Dubravka Šimonovic, Special Rapporteur on violence against women, its causes and consequences

Léo Heller, Special Rapporteur on the human rights to water and sanitation

Meskerem Geset Techane, Elizabeth Broderick (Chair), Alda Facio, Ivana Radačić, and Melissa Upreti (Vice Chair), Working Group on discrimination against women and girls

The Special Rapporteurs and Working Groups are part of what is known as the Special Procedures of the Human Rights Council. Special Procedures, the largest body of independent experts in the UN Human Rights system, is the general name of the Council's independent fact-finding and monitoring mechanisms that address either specific country situations or thematic issues in all parts of the world. Special Procedures' experts work on a voluntary basis; they are not UN staff and do not receive a salary for their work. They are independent from any government or organization and serve in their individual capacity."

[chiseler]

The Madness of Ken Russell

Critical thinking in Britain has always taken the view that Ken Russell was a wild, ill-disciplined talent who ultimately went artistically mad: this was also the view in the film industry. The only major disagreement was about when he went from being merely excessive to being balls-out crazy: different parties chose different tipping points.

(WAIT! WHO CARES ABOUT CRITICS?)

(Bear with me: in Russell’s case, the critical consensus serves as a valuable reverse barometer.)

Russell, a suburban boy, former merchant seaman and Catholic convert, made a few brilliant short films with his wife and fellow genius, costume designer Shirley Russell, before landing a job at the BBC’s flagship arts program, Monitor. His stint here taught him to fight, and placed him under the stern patronage of producer Huw Weldon, probably the only authority figure he ever respected. Many good fights were enjoyed. When Russell joined the program, there was an absolute ban on dramatization and re-enactment: the most he was allowed was to show a composer’s hands at the piano. By the time he finished up on the show, he’d managed to twist it out of shape to the point where he’d been allowed to make complete dramatic works in the guise of documentary. These TV plays are highly cinematic, kinetic and bold: like Kubrick, Russell had a love of both stark symmetry and dynamic movement. Control and its opposite.

Russell found actors he liked, including Oliver Reed, with whom he enjoyed a strange kinship: both were heavy drinkers, both affected a casual attitude to their work, though Russell was never ashamed to call himself an artist. Ollie became the John Wayne to Russell’s Ford (in a roiling, nightmare vision of classical cinema).

The point when Russell moved out of TV is the first moment his detractors choose to mark his decline into self-indulgent craziness. He made a modest, eccentric comedy, French Dressing (with mounds of inflatable girls piled up like Holocaust victims) and a wild, idiosyncratic spy movie, The Billion Dollar Brain, a Russophile anti-Bond movie full of flip humor and Eisenstein homages. Critics saw these films as work-for-hire, as perhaps they were, and largely discount them. They are quite brilliant.

Women in Love is counted by others as the last pre-madness film, and its relative sanity can be attributed to the control exerted by its writer-producer Larry Kramer. Russell’s excesses are held in check, it is argued, and the tension between its creators was productive. It’s a very good film, but I find it too sedate in places, though the vivid color and Shirley Russell’s bold designs, and some scenes of genuine wildness and invention stave off actual boredom.

The Music Lovers, his dream project, expanding the TV composer film to the big screen and color, is where a real case for craziness begins to be made: the choice to explore Tchaikovsky’s homosexuality now seems mature rather than lurid, but Ken is undeniably pushing the biopic into unfamiliar terrain: fantasies of decapitation by cannon-shot, a filthy madhouse, a demented honeymoon on a train rocking like the Starship Enterprise, complete with crotch shots. Maybe even worse, from the critics’ viewpoint, Russell, who had directed one TV commercial before walking away from that business in disgust, co-opted the visual language of the shampoo commercial to depict the images conjured by the composer’s music. Russell was in love with romanticism but saw through it too. Ironically, the filmmaker constantly castigated for unsubtlety injected an irony into the film that critics missed, taking the soppiness at face value and not seeing how the concealed satire blended perfectly with the overt caricature and phantasmagoric visions.

Still, the subject was respectable, but with The Devils, Russell managed a film maudit that took decades to be reappraised, and earned him criticism of a uniquely vociferous sort, admittedly in keeping with the hysteria of the film itself. An account – or channelling – of a 16th Century witchcraft trial in France, the movie didn’t so much push as cremate the envelope as far as sex, violence and blasphemy were concerned: Russell, who had converted to Catholicism in his youth, lost his faith while making this one, converting to an animist worship of the Lake District, a religion of his own devising. Well, he did have a substantial ego.

Russell was upsetting: apart from the torture, abuse and madness, the film threw in discordant tonal shifts, creative anachronisms and deployed all of his cinematic influences, which prominently featured Orson Welles, Fellini, Fritz Lang’s German silents, and the musicals of Busby Berkeley, which supplied the top-shots used to depict the rape of Christ on the cross, a scene cut by the censor and lovingly preserved by the director for a future restoration, still explicitly forbidden by the film’s backers, Warner Brothers.

Asides from his crisis of faith and crises in his marriage and his dealings with the studio, Russell was also knocking back the wine. “Better before lunch,” was his prop man’s characterization of the director. Production designer Derek Jarman recounted Russell asking him, “What can I do that’ll really offend the British public?” “Well you could kill a lot of people,” mused Jarman, “but if you really want to upset them you could kill some animals.” A plan was then devised to have King Louis with a musket blowing the heads off the peacocks on his lawn: the birds were to be fitted with explosives at the neck, like Snake Plissken, but Russell backed away from this extreme, even by his standards, approach, and instead had the target practice performed with a man dressed as a blackbird, and the King saying “Bye-bye, blackbird,” and Peter Maxwell-Davies’ remarkable score quoting the popular twenties song, and that infuriated the critics just as much as actual bird-blasting would have.

Less amusingly, Russell was also guilty of unsafe practices involving the naked girls and rowdy extras: the stories here get really dark. As does the film: a demented masterpiece that shows Russell for once engaging with the political: a film about corruption that uses physical disintegration alongside social and spiritual rot.

Just to confuse us even more, Russell made The Boy Friend the same year, an epic music and a miniature at the same time, allowing him to recreate Busby Berkeley’s pixilated fantasias in a seedy English theater. It’s light and charming, but Russell’s version of these qualities was not recognized by the critics, and it’s true that his wit is clodhopping, his whimsy grotesque, everything is overplayed, in your face: but you have to climb aboard the film, get into its spirit, and then it really is a very lovely reversal of the usual nightmare.

The seventies brought more composer films, Mahler and Lisztomania, and also the rock opera Tommy, which earned Russell slightly better reviews as his boisterousness was judged more in keeping with the material (critics, it seemed, could not stand the idea of a filmmaker responding to classical music for its passion and energy, its rock ‘n’ roll qualities, rather than for its assumed civilising effect). Russell got away with showing Ann-Margret humping her cushions while slathered in feculent chocolate sauce, shot Tina Turner with a 6mm lens to uglify her as she thrashed around a steel sarcophagus studded with hypos, and put Elton John on ten-foot platform shoes.

Lisztomania is another movie that’s seen as marking the decline into lunacy: its producer, David Puttnam, hugely impressed by Russell’s flare and his ability to shoot Mahler after half the budget fell through, felt that ultimately the relentless negative press knocked his enfant terrible off-balance. Instead of rolling over in submission, Russell perversely doubled down on the excess and became a parody of himself. And he had already been a parody to begin with (but a parody without an original, unless we take him as a combined burlesque of all his cinematic influences). I’ve always adored Lisztomania, which knows it’s going too far, knows its japes and conceits are ludicrous and indefensible, knows it can’t get away with Roger Daltrey as Liszt and Ringo Starr as the Pope. And just. Doesn’t. Care.

Valentino, which marked the end of the Russell marriage (there would be a bunch more), was dismissed by Russell as the fag-end of his first British period, “everything about it was bored and boring, including me,” but it’s actually rather good. Nureyev as Valentino (well, he was used to being called Rudolph), Russell as Rex Ingram wielding a megaphone the size of a cannon. The twenties, as lived by Rambova, Dorothy Arzner, Fatty Arbuckle, or as dreamt by Mad Ken.

Russell had made his career in Britain at a time when the industry was in collapse: he largely missed the explosion of energy that marked Swinging London, the British new wave, and the only kitchen sink he liked was the one he was always throwing in. Now, the domestic business seemed to have expired of ennui, senile dementia and blood poisoning, but Hollywood beckoned. Russell was bottom of a long list of directors who all turned down Paddy Chayefsky’s Altered States, a late-mid-life crisis film about sensory deprivation tanks and psychedelics which takes John C. Lilley and fuses him with Dr. Jekyll. Russell took it on despite being forbidden from changing a line of dialogue, but got his revenge by having his actors speak fast -- like Jimmy Cagney fast, not so much throwing away their lines as firing them like tennis balls. And by having them eat at the same time. And by expanding the hallucination sequences until they took over the movie, so that they were all anyone talked about. Druggie audiences would hang out into the lobby, Russell gleefully reported, posting a sentry in the auditorium who would yell “Hallucination!” whenever one was starting, and everyone would rush back in to get a hit of audiovisual delirium.

A bit like Women in Love, Altered States benefited from the creative clash between director and writer (who took his name off the script in protest at Russell’s backhanded fidelity), but the reaction among respectable types was mainly a theatrical eye-roll: the maniac was up to his old tricks. Crimes of Passion, starring Kathleen Turner and Anthony Perkins, was next, with she as a Belle de Jour career girl by day, working girl by night, he as an insane sex-obsessed preacher, some forgettable soap opera type as leading man, the whole thing soaked in neon colors and spliced full of Bearsley and Hokusai, whom the American censor duly deleted in horror. “They cut out anything to do with art,” observed the filmmaker.

And that was it for America, save occasional pieces for HBO, progressively more televisual, the locked-off symmetrical winning out over the kinetic. Russell returned to the UK to make theatrical features, and again you heard the cry off “Whatever happened? He used to be good!” Gothic dealt with Byron and the Shelleys and the birth of Frankenstein, and was fruity, literate, dirty good fun. The Rainbow was a return to Women in Love territory, on a lower budget and with less energy and star wattage: Russell declared it his best film since that imagined zenith, and a few critics wanly agreed. The Lair of the White Worm was another journey beyond the pale, thrusting some of the same actors into a ludicrous vampire and snake goddess phallic farrago with Hugh Grant and a kilted Peter Capaldi attempting to snakecharm with bagpipes. A vampirized policeman gets his head impaled on a deco sundial. Marvelous. And the sequence was rounded out with Salome’s Last Dance, which stages Oscar Wilde’s biblical wet dream in a Victorian brothel, an inspired no-budget solution and a film which, unlike Altered States, really respects its words, lingering over them, rolling them salaciously over its tongue. Add in also Ken’s episode of Aria, in which he stages Nessun Dorma as an accident victim’s operating room hallucination, with porn mag model Linzi Drew, a new Russell favorite, in the lead.

Time was running out, the budgets shrinking like a Fu Manchu death chamber, the ceiling pressing down and clearly constraining what Russell could achieve, despite his continuing ambition. Lady Chatterley’s Lover for the BBC scored huge ratings, and he was never asked back. Commercial television’s top arts programme, The South Bank Show, run by Russell’s old screenwriter from Women in Love, Melvyn Bragg, kept him going with more-or-less annual commissions: he’d come full circle, or did when he moved back to home movies, shot in his garden or in his favorite Soho pub, which he hoped to “flog on the internet.” The symmetry of the career, its ourobousness, is more pleasing to contemplate than it must have been to live, though the last marriage lasted and was happy, and the ever-moving critical pendulum had reached the place where people were starting to say that The Devils and some of the other seventies work was really good, actually.

I can admire everything up until the final home movies, and maybe I’ll come round to them: Russell was right to admire all his earlier films. He spent decades more or less brushing off French Dressing, then saw it on TV and thought, “This is a masterpiece!” which it is. But only a minor one compared to what was those around it. Seaside-postcard humor, musical comedy performances, pop art imagery, Wagnerian and Stravinskian soundtracks, a defiant rejection of subtlety. “I don’t believe there’s any value in understatement […] This is the age of kicking people in the balls and telling them something and getting a reaction […] Picasso was not restrained, Mahler was not restrained!’” His detractors thought he should be, possibly in a straitjacket and with megadoses of Thorazine, but Russell was a volcanic eruption in cinematic form, a purple-faced tyrant of the Stroheim school, a demonic force driven to possess reels of celluloid and make them glow in the dark with a sugar rush radiation that has yet to decay. He was too big, too vulgar, too beautiful, too nasty and too beautiful for a national cinema mired in lethargic literary-theatrical respectability. “The visual arts have never had a foothold in England,” he sneered.

Ken!

Life is not a Ken Loach movie. It is a Ken Russell movie.

by David Cairns

[ultimatesunset]

Music video for Canadian stalwart Doug Hoyer's track 'Hive Mind' off of 2019′s album Character Witness. A techno-bug pushes through the Cloud to emerge from a futuristic Hive Mind. Alone and exposed to the natural world for the first time it struggles to retain its sanity and mindless sense of purpose. Finally swayed by the beauty of nature, the machine barely has time to explore this new world before its program is repaired and it’s sucked back into the Machine, where at last it realises what it means to be trapped in a system. Director's statement: The choreography takes its cue from the Japanese dance style of Butoh, a post-war exploration of death and decay through precise, slow movement, employing cadaver-like body paint and pained facial expressions to convey human suffering and mortality. Transposing this style to a science-fiction setting, our performer looks not to the past but to the future, a future where Artificial Intelligence screams silently at its digital prison. The struggle for identity and self will become a personal war as society becomes more digitised, until all of us scuttling ants are reduced to numbered barcodes. Direction - David Mahler Produced by Carmen Hau and David Mahler Production - Studio Rin & Intothehole Productions Cinematography - Tong Woon Lam Performer - Cool Gaia Costume design - Leung Sum Yee Label - Mangled Tapes Copyright 2019 doughoyer.com facebook.com/DougHoyerMusic https://open.spotify.com/artist/3DfG9... doughoyer.bandcamp.com mangledtapes.bandcamp.com miasgard.com facebook.com/intothehole.cinema.and.productions studiorin.com.au

[stickyinstitute]

The Festival of the Photocopier 2019 - Full Program

Thursday February 7th:

Pey Chi exhibition at The City Library, 253 Flinders Lane, Melbourne.  Throughout the whole festival.  The poster for The Festival of the Photocopier 2019 was designed by Pey Chi.  See more of their work throughout the whole library throughout the whole festival.

Queer Pals - (un)socialites.  6pm to 8pm. The Back Room, 787 Nicholson Street, Carlton.   This is an official side event of Festival of the Photocopier 2019 entirely organised and hosted by Brisbane’s wonderful QueerContent Comix + Zines.  Facebook event here:  https://www.facebook.com/events/274474576564186/

Friday February 8th:

Feed The Animals - Sticky Institute Zine Fundraiser.  4pm to 5pm at Sticky Institute, Shop 10, Campbell Arcade, Melbourne.  Sticky has approached a stack of zinemakers and asked them to make a limited edition short run zine as a fundraiser for Sticky.  All zines made as part of the project will be launched here with any left over from the launch being available at the zine fair. Once the zines are gone they are gone forever!

Failbook Zine Launch.  5pm  - 7pm at Sticky Institute, Shop 10, Campbell Arcade, Melbourne.  The launch of a tiny zine about a big fantasy.  A Sydney - Melbourne co-creation by Ania and Shamini.

Festival of the Photocopier Official Launch Party.  7.30pm until late at The Burrow, 83 Brunswick Street, Fitzroy.   The full line up is: The Copy Copy Scams (USA), Alex Wrekk - zine reading (USA), Way Shit, Emma D (Sydney) - zine reading, The Night Before Tomorrow, Luke You - zine reading, Sticky Institute zine stall, Small Zine Volcano zine stall, Way Shit fanzine launch on The Great Auk Merch Stall. Facebook event here: https://www.facebook.com/events/287739928764576/

Saturday February 9th:

The Festival of the Photocopier Zine Fair - Day 1.  12 noon to 5pm. 270 zine stalls at Trades Hall, 54 Victoria Street, Carlton.  Facebook event here:  https://www.facebook.com/events/2289444454621948/

Live stream of the zine fair by zinemaker and filmmaker David Mahler.

Sunday February 10th:

The Festival of the Photocopier Zine Fair - Day 2.  12 noon to 5pm.  270 zine stalls at Trades Hall, 54 Victoria Street, Carlton.  Facebook event here: https://www.facebook.com/events/2289444454621948/

QueerContent Comix + Zines Australian Lesbian and Gay Archives Zine Tour. 1pm - 3pm at The Australian Lesbian and Gay Archives. This is an official side event of the Festival of the Photocopier entirely organised by Brisbane’s wonderful QueerContent Comix + Zines in conjunction with the Australian Lesbian and Gay Archives.  Q!C is thrilled to co-facilitate another visit to the ALGA Queer Zine Library.  Facebook event here:  https://www.facebook.com/events/274885303205009/

Sticky Institute acknowledges that The Festival of the Photocopier 2019 is being held on the stolen lands of the Wurundjeri people of the Kulin nation, and Indigenous sovereignty has never been ceded. We pay our respects to their Elders past, present, and emerging.

[unbreakabletrust]

Mixcloud GO! 1971 (08/24): 1PM to 2PM

https://www.mixcloud.com/epicharmus/mixcloud-go-1971-1pm-to-2pm/

David Bowie "Life on Mars?" From Hunky Dory (RCA Victor) Recorded and released in 1971

Earl Hines "Love You Madly" From Earl Hines Plays Duke Ellington (Master Jazz Recordings) Recorded in 1971

Mahotella Queens "Jive Makhona" From the Marena compilation (Motella) Released in 1971

Roberto Rivas y el Conjunto Gente Morena "Al son de la tambora" From the Nicomedes Santa Cruz presenta: Los reyes del festejo compilation (Virrey) Recorded and released in 1971

Los Hermanos Lopez y Jorge Oñate "Berta Caldera" From Lo último en vallenato (CBS) Released in 1971

Los Barbaros del Ritmo de Bluefields "Reedo reedo mama juka" From Palo de Mayo (Andino) Released in 1971

Tim Maia "A Festa do Santo Reis" From Tim Maia (Polydor) Recorded and released in 1971

Bob and Marcia "Pied Piper" From Pied Piper (Trojan) Released in 1971

Aretha Franklin "Rock Steady" From Young, Gifted and Black (Atlantic) Album recorded 1970–1971; released 1971

Andrés Do Barro "Pandeirada" From ¡Pum! (RCA Victor) Released in 1971

Morogoro Jazz Band "Expo 70 No. 1" and "Expo 70 No. 2" From Morgoro Jazz (Polydor) Released in 1971

Tim Hart and Maddy Prior "Dancing at Whitsun" From Summer Solstice (B & C) Released in 1971

Lucio Dalla "4/3/1943" From Storie di casa mia (RCA) Released in 1971

Van Morrison "Friday's Child" From the Van The Man bootleg (Highway High Fi) Recorded live on September 5, 1971; bootleg released in 1975; never officially released

Chicago Symphony Orchestra (cond. by Georg Solti) Excerpt from Part I of Gustav Mahler's Symphony No. 8 in E-flat major From Mahler: Symphony No.8 (Decca) Composed in 1906; recorded in 1971; released in 1972

Photograph by Dean Conger.

The Jorge Oñate track came from here: https://youtu.be/jbCuyf3xUaY

The Los Barbaros del Ritmo track was sourced from here: https://www.youtube.com/watch?v=-Qej-AbW_zg

[norikateatro]

Norikateatro’s Bootleg list! 💙

As of: February 16th, 2018 😄! Please message me if you want a bootleg! Do not comment *If you want to trade with me that’ll be really cool!

Miss Saigon Manila: December 24th, 2000 Full Show Cast: Lea Salonga (Kim) , Will Chase (Chris) , Leo Tavarro Valdez (Engineer), Ron K. Smith, Lisa Capps (Ellen), Robert Seña (They), Isay Alvarez (Gigi)

Miss Saigon London 5/19/14 Highlights (Tanya Manalang as Kim) Cast: Tanya Manalang, Alistair Brammer, Jon Jon Briones Highlights include: Kim's Nightmare - The Fall Of Saigon - Sun and Moon (Partial), Sun And Moon (Reprise), Movie In My Mind, The American Dream, Maybe, I Still Believe, The Last Night Of The World - Morning Of The Dragon (Partial), Why God Why. Musicalmania123's master.  

Miss Saigon 5/13/17 Lianah Sta. Ana as Kim Lianah Sta. Ana (alt. Kim), Jon Jon Briones (The Engineer), Alistair Brammer (Chris), Katie Rose Clarke (Ellen), Nicholas Christopher (John), Devin Ilaw (Thuy), Rachelle Ann Go (Gigi)

Matilda: Broadway March 6th, 2013

Cast: Oona Laurence, Bertie Carvel, Gabriel Ebert, Lesli Margherita, Lauren Ward, Karen Aldridge, Jack Broderick, Frenie Acoba ​

Aladdin (OBC) 

Anastasia: Broadway June 28, 2017

Cast: Christy Altomare, Derek Klena, John Bolton, Ramin Karimloo, Caroline O'Connor, Mary Beth Peil.

Beauty and The Beast:  Broadway- April 28th, 2002

Cast: Sarah Litzsinger as Belle, Steve Blanchard as Beast, Bryan Batt as Lumiere, and Beth Fowler as Mrs. Potts, and Nicholas Jonas as Chip

Chicago US tour: November 23th,  2005  Chicago, IL 

Cast: Paige Davis, Brenda Braxton, Tom Wopat, Carol Woods

Chicago: Broadway September 18th, 2002 Cast: Michael C Hall (Billy), Amy Spanger (Roxie), Stephanie Pope (Velma), Rob Bartlett (Amos), Roz Ryan (Mama), R Bean (Mary Sunshine). 

Cats- UK tour, Wolverhampton 30 March 2013 full show Cast: Joanna Ampil (Grizabella) Katie Warsop (Rumpleteazer) Clare Rickard (Jellylorum) Melissa James (Bombalurina) Lily Fraser (Demeter) Alice Redmond (Jennyanydots) Alicia Beck (Victoria/White Cat) Dawn Williams (Jemima) Nicholas Pound (Old Deutoronomy) Ben Palmer (Munkustrap) Oliver Savile (Rum Tum Tugger) Joseph Poulton (Quazo/Mistoffelees) Paul F Monaghan (Asparagus/Bustopher Jones/Growl Tiger:) Barnaby Thompson (Mungojerrie) Ross Finnie (Skimbleshanks) Jessica Buckby (Cassandra) Lizzi Franklin (Tantomile) Joal Morris (Carbucketty) Richard Astbury (Coricopat) Cameron Ball (Admetus/Macavity) James Darch (Alonzo) and Will Lucas (Bill Bailey).

Cats Broadway: July 2016 VOB (no small)

Cast: Leona Lewis (Grizabella), Tyler Hanes (Rum Tum Tugger), Ricky Ubeda (Mistoffelees), Quentin Earl Darrington (Old Deuteronomy), Eloise Kropp (Jennyanydots), Giuseppe Bausilio (Carbucketty), Jeremy Davis (Skimbleshanks), Kim Faure (Demeter), Sara Jean Ford (Jellylorum), Lili Froehlich (Electra), Daniel Gaymon (Macavity), Shonica Gooden (Rumpleteazer), Christopher Gurr (Gus/Bustopher Jones), Andy Huntington Jones (Munkustrap), Kolton Krouse (Tumblebrutus), Jess Le Protto (Mungojerrie), Georgina Pazcougin (Victoria), Emily Pynenburg (Cassandra), Arianna Rosario (SIllabub), Ahmad Smmons (Alonzo), Christine Cornish Smith (Bombalurina), Corey Snide (Coricopat), Emily Tate (Tantomile), Sharrod Wiliams (Pouncival)

Come Far Away (OBC)

Dear Evan Hansen (Broadway) Cast: Ben Platt, Laura Dreyfuss, Will Roland, Kristolyn Lloyd, Mike Faist, Rachel Bay Jones, Michael Park, Jennifer Laura Thompson (OBC)

Cinderella:  Broadway August 21, 2014  Cast: Paige Faure (Cinderella), Joe Caroll (Prince Topher), Victoria Clark (Crazy Marie/Fairy Godmother), Nancy Opel (Madame), Stephanie Gibson (Gabrielle), Ann Harada (Charlotte), Todd Buonopane (Jean-Michel), Branch Woodman (u/s Lord Pinkleton), Peter Bartlett (Sebastian), Andy Mills (Footman), Michael Callahan (Driver), Jill Abramovitz (Lady of Ridicule) 

Falsettos Broadway: October 28th, 2016 Cast: Christian Borle (Marvin), Andrew Rannells (Whizzer), Stephanie J. Block (Trina), Brandon Uranowitz (Mendel), Anthony Rosenthal (Jason), Tracie Thoms (Charlotte), Betsy Wolfe (Cordelia) 

Follies: Broadway  September 18, 2011

Cast: Bernadette Peters, Jan Maxwell, Danny Burstein, Rod Raines, Elaine Paige, Jayne Houdyshell, Rosalind Elias, Susan Watson, Terri White, Florence Lacey, Mary Beth Peil, Don Correia, Brian Shepard as (u/s) Young Ben, Christian Delcroix, Kirsten Scott, Lora Lee Gayer.

Finding Neverland (OBC)

Wicked Broadway:  Preview October 12th, 2003 Original Broadway Cast

Cast: Idina Menzel (Elphaba), Kristin Chenoweth (Glinda), Norbert Leo Butz (Fiyero), Carole Shelley (Madame Morrible), Joel Grey (The Wizard) Michelle Federer (Nessarose), Christopher Fitzgerald (Boq), William Youmans (Dr. Dillamond)

Wicked Chicago:  July 1, 2005- Cast: Ana Gasteyer (Elphaba), Kate Reinders (Glinda), Kristoffer Cusick (Fiyero), Gene Weygandt (The Wizard), Steven Skybell (Doctor Dillamond), Rondi Reed (Madame Morrible), Heidi Kettenring Nessarose), Telly Leung (Boq)

Wicked (Broadway): January 8, 2006

Cast: Shoshana Bean (Elphaba), Megan Hilty (Glinda), David Ayers (Fiyero), Rue McClanahan (Madame Morrible), Ben Vereen (The Wizard), Michelle Federer (Nessarose), Rob Sapp (Boq), Sean McCourt (Dr. Dillamond).

  notes: Shoshanna's, David's, Rue's and Michelle's last performances. Camera wanders at points due to the master's blind filming.

Wicked (Broadway):  May 28, 2006) (Megan’s Last)

  cast: Eden Espinosa (Elphaba), Megan Hilty (Glinda), David Garrison (The Wizard), Derrick Williams (Fiyero), Carol Kane (Madame Morrible), Jenna Leigh Green (Nessarose), Rob Sapp (Boq), David McCourt (Dr. Dillamond)

   Wicked First National Tour PROSHOT May 2006 - Victoria Matlock (s/b Elphaba), Kendra Kassebaum, Nicolas Dromard (u/s Fiyero), Jennifer Waldman (Nessarose), Alma Cuervo (Morrible), PJ Benjamin (The Wizard)

*Proshot from one camera at the back of the house. Sound is patched in from the soundboard and is incredibly clear. Some washout, but amazing to see the set and choreo like this.

Wicked Broadway: July 17th, 2008 Cast: Kerry Ellis (Elphaba), Kendra Kassebaum (Glinda), David Burnham (Fiyero), Cristy Candler (Nessarose), Ben Liebert (Boq), Lenny Wolpe (The Wizard), Jayne Houdyshell (Madame Morrible), Steven Skybell (Dr. Dillamond) Notes: Kerry’s first on Broadway

Wicked 1st National Tour: March 4, 2007    Baltimore, Maryland

Cast: Victoria Matlock (Elphaba), Christina DeCicco (Glinda), Cliffton Hall (Fiyero), Deedee Magno Hall (Nessarose), Barbara Tirrell (Morrible), P.J. Benjamin (Wizard), Josh Lamon (Boq), Tom Flynn (Dillamond),Paul Slade Smith as Witch’s Father/Frex

Lori Homles as Witch’s Mother/Melena Leslie Becker as Midwife/ Nanny

Wicked Broadway: October 9, 2007 (mp4) Stephanie J. Block (Elphaba), Annaleigh Ashford (Glinda), Sebastian Arcelus (Fiyero), Kathy Santen (Morrible), Lenny Wolpe (Wizard), Logan Lipton (Boq), Cristy Candler (Nessarose), Steven Skybell (Dillamond)

Wicked Broadway: July 17th, 2008 Cast: Kerry Ellis (Elphaba), Kendra Kassebaum (Glinda), David Burnham (Fiyero), Cristy Candler (Nessarose), Ben Liebert (Boq), Lenny Wolpe (The Wizard), Jayne Houdyshell (Madame Morrible), Steven Skybell (Dr. Dillamond) Notes: Kerry’s first on Broadway

Wicked Broadway: February 1, 2015

Cast: Lilli Cooper (s/b Elphaba), Kara Lindsay (Glinda), Jerad Bortz (u/s Fiyero), Brian Munn (u/s The Wizard), Kathy Fitzgerald (Madame Morrible), Catherine Charlebois (Nessarose), Robin De Jesus (Boq).

Wicked: Singapore April 22nd, 2012

Cast-  Zoe Jarrett (understudy Elphaba), Suzie Mathers (Glinda), David Harris (Fiyero), Anne Wood (Madame Morrible), Elisa Colla (Nessarose), James D Smith (Boq), Glen Hogstrom (u/s The Wizard)

Wicked Korea (Date: November 2013 )

Cast: Oak Joo Hyun (Elphaba), Jeong Sun Ah (Glinda), Lee Ji Hoon (Fiyero), Nam Kyoung Joo (The Wizard), Cho Jung Keun (Doctor Dillamond), Kim Young Joo (Madame Morrible), Lee Yea Eun (Nessarose), Kim Dong Hyun (Boq) 

Wicked First National Tour: February 24th, 2013

Cast: Dee Roscioli (Elphaba), Cassie Okenka (u/s Glinda), Cliffton Hall (Fiyero), Tom McGowan (The Wizard), Kim Zimmer (Madame Morrible), Demeree Hill (Nessarose), Justin Brill (Boq), Clifton Davis (Dillamond) 

Wicked  2nd National Tour (Madison, WI): May 28, 2013    Cast: Jennifer DiNoia (Elphaba), Hayley Podschun (Glinda), David Nathan Perlow (Fiyero), Walker Jones (The Wizard), Gina Ferrall (Madame Morrible), Zarah Mahler (Nessarose), Michael Wartella (Boq), Jay Russell (Doctor Dillamond).

  An absolutely beautiful HD capture with no obstructions. Jennifer is wonderful as Elphaba.

Wicked West End:  25th October 2014 Evening | Cast Change Kerry Ellis (Elphaba), Savannah Stevenson (Glinda)  *Final performance of Kerry Ellis, Sue Kelvin, Paul Clarkson and many ensemble members.

Wicked  West End: October 27th, 2014 Cast: Jennifer DiNoia (Elphaba), Savannah Stevenson (G(a)linda) Jeremy Taylor (Fiyero), Liza Sadovy (Madame Morrible), Martyn Ellis (The Wizard), Katie Rowley-Jones (Nessarose), Sam Lupton (Boq), Philip Childs (Dr. Dillamond)

Wicked Mexico: November 18th 2014

Cast: Ana Cecilia Anzaldúa, Crisanta Gómez (s/b), Jorge Lau, Anahí Allué, Paco Morales, Adam Sadwing, Beto Torres. Notes: Highlights include "No One Mourns the Wicked", "Dear Old Shiz", the Room Assignment scene from Let Her GO! to "What Is This Feeling?", "Popular", "Defying Gravity", "Thank Goodness", "No Good Deed" and "For Good". 

Wicked  2nd National Tour: 10/29/15 Cast: Mary Kate Morrissey (s/b Elphaba), Carrie St. Louis (Glinda), Jake Boyd (Fiyero), Liana Hunt (Nessarose), Wendy Worthington (Madame Morrible), Stuart Zagnit (The Wizard). Lee Slobotikin (Boq), Chad Jennings (Dr. Dillamond)

Wicked 2nd National Tour: November 6th, 2017

Cast: Jessica Vosk (Elphaba), Allison Bailey (u/s Glinda), Jeremy Woodard (Fiyero), Kristen Martin (Nessarose), Sam Sefarian (Boq), Chad Jennings (Doctor Dillamond), Stuart Zagnit (The Wizard), Wendy Worthington (Madame Morrible). 

Wicked 2nd National Tour September 24th, 2017 Cincinnati, Ohio  Jessica Vosk (Elphaba), Ginna Claire Mason (Glinda), Jon Robert Hall (Fiyero), Isabel Keating (Madame Morrible), Tom McGowan (The Wizard), Sam Seferian (Boq), Catherine Charlebois (Nessarose), Harry Bouvy (Dr. Dillamond)​ Notes: Jessica Vosk's final show.

Wicked Broadway:  June 21, 2016  

Cast: Rachel Tucker (Elphaba), Ginna Claire Mason (s/b Glinda), Jonah Platt (Fiyero), Peter Scolari (The Wizard), Judy Kaye (Madame Morrible), Dawn Cantwell (Nessarose), Zachary Noah Piser (Boq), Michael Genet (Doctor Dillamond).

Wicked San Francisco: September 5, 2010 (Last Show)

Marcie Dodd (Elphaba) Alli Mauzey (Glinda) Clifton C. Hall (Fiyero) Jody Gelb (Madame Morrible) Tom McGowan (The Wizard) DeeDee Magno Hall (Nessarose) Etai Benshlomo (Boq)

Wicked 1st National Tour: December 12, 2007; St. Louis, MO. Carmen Cusack  (Elphaba), Katie Rose Clarke (Glinda), Cliffton Hall (Fiyero), Alma Cuervo (Madame Morrible), Lee Wilkof (The Wizard), Deedee Magno Hall (Nessarose), Brad Weinstock (Boq), Tom Flynn (Dr. Dillamond)

Wicked UK/International Tour April 15th, 2017 Jodie Steele (alt. Elphaba), Carly Anderson (Glinda), Bradley Jaden (Fiyero), Kim Ismay (Mme. Morrible), Steven Pinder (Dr. Dillamond/Wizard), Emily Shaw (Nessarose), Iddon Jones (Boq) 

Wicked: Broadway August 11th, 2017

Cast: Jackie Burns (Elphaba), Amanda Jane Cooper (Glinda), Rondi Reed (Madame Morrible), PJ Benjamin (The Wizard), Ashley Parker Angel (Fiyero), Kristen Martin (Nessarose), Jye Frasca (Boq) Notes: Excellent HD capture of Jackie's return to the role, captured from the Orchestra.

Waitress (Broadway) − June 14, 2016: Jessie Mueller (Jenna), Keala Settle (Becky), Kimiko Glenn (Dawn), Drew Gehling (Dr Pomatter), Nick Cordero (Earl), Dakin Matthews (Joe), Eric Anderson (Cal), Christopher Fitzgerald (Ogie) (OBC)

Waitress ( Broadway) April, 2017 Cast: Sara Bareilles, Charity Angel Dawson, Molly Jobe as (u/s) Dawn, Chris Diamantopoulos, Will Swenson, Dakin Matthews, Eric Anderson, Christopher Fitzgerald 

El Hombre de La Mancha: Santiago, Chile Teatro Munipal:: 1974

Cast: Frankie Bravo, Jose del Campo, Omar Galarcé, Fernando Gallardo, Mary Hernandez, José Maria Langlais, Valentina Martinez, Alicia Quiroga, Carlos Trujillo

El Hombre de La Mancha: Madrid, Teatro Lope de Vega de Madrid

Cast: David V Muro (Cervantes / Quixote) The rest of the cast is unknown

Legally Blonde: Broadway (MTV Filmed) September 9th, 2007

Cast-Laura Bell Bundy, Christian Borle, Orfeh, Michael Rupert, Kate Shindle, Nikki Snelson, Richard H. Blake

Mary Poppins- US tour February 15 2013 Full Show Cast: Con O'Shea-Creal (Bert), Madeline Trumble (Mary Poppins), Madison Ann Mullahey (Jane Banks), Eli Tokash (Michael Banks), Chris K. Hoch (George Banks), Kerry Conte (Winifred Banks)

Man of La Mancha - Cast: Joan Diener as Aldonza (Dulcinea); Richard Kiley as Don Quixote (Cervantes); Dianne Barton as Antonia; Lee Bergere as Dr. Carrasco; Renato Cibelli as Captain of the Inquisition; Jack Dabdoub as The Innkeeper; Edmond Verrato as Sancho Panza (U/S); Eleanore Knapp as The Housekeeper; Robert Rounseville as The Padre; Ted Forlow as The Barber/The Horse (U/S); John Aristides as Juan; Robert Cromwell as Guard/Man of The Inquisition; Fernando Grahal as Tenorio/Dancing Horse; Laura Kenyon as Fermina; Jeff Killion as Man of The Inquisition/Guard; Hector Mercado as Dancing Horse/Jose; Rita Metzger as Maria; Shev Rodgers as The Horse/Pedro; Bill Stanton as Paco; David Wasson as Man of The Inquisition/Guard. 

Natasha, Pierre and The Great Comet of 1812 (Broadway) − October 29, 2016: Josh Groban, Denee Benton, Brittain Ashford, Nicholas Belton, Lucas Steele, Gelsey Bell, Nick Choksi, Amber Gray

Hamilton Broadway August 13th, 2016 - Javier Munoz (Alexander Hamilton), Lexi Lawson (Eliza Hamilton), Sydney James Harcourt (u/s Aaron Burr), Renee Elise Goldsberry ( Angelica Schuyler), Christopher Jackson (George Washington), Andrew Chappelle (u/s Marquis de Lafayette/Thomas Jefferson), Ephraim Sykes (u/s Hercules Mulligan/James Madison), Anthony Ramos (John Laurens/Philip Hamilton), Jasmine Cephas Jones (Peggy Schuyler/Maria Reynolds), Rory O’Malley (King George), Roddy Kennedy (u/s Philip Schuyler/James Reynolds/Doctor), Thayne Jasperson (Samuel Seabury), Neil Haskell (Charles Lee), David Guzman (u/s George Eacker), Ensemble: Carleigh Bettiol, Hope Easterbrook, Karla Puno Garcia, Gregory Haney, Sasha Hollinger, Seth Stewart, Kamille Upshaw​

Harry Potter and the Cursed Child: April 1st, 2017

Heathers- Concert reading at Joe's Pub - September 14 2010

Annaleigh Ashford (Veronica), Jeremy Jordan (Jason Dean), Jenna Leigh Green (Heather Chandler), Corri English (Heather McNamara), Christine Lakin (Heather Duke), James Snyder (Kurt), PJ Griffith (Ram), Julie Garnye (Martha)

Heather Off Broadway- Cast:  Dan Domenech as JD, Barrett Wilbert Weed as Veronica, and Charissa Hogeland as Heather Chandler

Phantom of the Opera: Broadway (June 21, 2016): James Barbour (Phantom), Ali Ewoldt (Christine), Jordan Donica (Raoul), Michele McConnell (Carlotta), Richard Poole (u/s Monsieur Andre), Craig Bennett (Monsieur Firmin), Rebecca Eichenberger (Madame Giry), Kara Klein (Meg), John Easterlin (Ubaldo Piangi) 

Spongebob the Musical: Chicago  (Try-Out)

Wants: Anything with Wicked, Cats México or Argentina, Dear Evan Hansen, Waitress, Heathers, The Wizard of Oz, and anything I don’t have!

[misayuhki]

Tag Music Meme

I was tagged by @musemm.  Thank you always <3

Rules : We’re snooping on your playlist. Set your entire music library to shuffle and report the first ten tracks that pop up ! Then choose ten additional victims.

1. Moon Gut Samul 문굿 사물  (a shaman ritual music of Korea) - there's no description about the performers  [in case you get interested in it: staged performance and real life ritual.]

2. Take The 'a' Train by Duke Ellington & His Orchestra

3. Cradle song by Anthony Way (from the soundtrack of The Choir)

4. Conditioned Soul by Eurythmics

5. Into The Void by Nine Inch Nails

6. Aladdin Sane by David Bowie

7. Every Day is Exactly The Same by Nine Inch Nails

8. Sons of The Silent Age by David Bowie

9. Symphony No.5 In C Sharp Minor :4.Adagietto by Mahler 

10. Black Noise by Nine Inch Nails

(11. You Don't Have To Say You Love Me by Dusty Springfield)

I tag @classic-movies-and-series, @flinnybillymoonexplosion, @vincisomething, @ohhhownice, @norseislander, @lizzmeijers, and @acompesdivision (I know you don't do this tag game, but I would love to know what you will have.  But you can ignore it as usual).  

If you have done it, or don't feel like to, or are not a music person, feel free to ignore it :)

[allbestnet]

Popular 19th Century Books

Alice’s Adventures in Wonderland by Lewis Carroll | Faust by Johann Wolfgang von Goethe | Treasure Island by Robert Louis Stevenson | Carmen by Georges Bizet | Huckleberry Finn by Mark Twain | Tom Sawyer by Mark Twain | Christmas Carol by Charles Dickens | Oliver Twist by Charles Dickens | La Traviata by Giuseppe Verdi | Uncle Tom’s Cabin by Harriet Beecher Stowe | David Copperfield by Charles Dickens | Symphony №9 in D Minor by Ludwig van Beethoven | Tale of Two Cities by Charles Dickens | Jane Eyre by Charlotte Brontë | Symphony №5 in C Minor by Ludwig van Beethoven | Symphony №3 in E-flat Major by Ludwig van Beethoven | Les Misérables by Victor Hugo | Aida by Giuseppe Verdi | Wuthering Heights by Emily Brontë | Night Before Christmas by Clement Clarke Moore | La Bohème by Giacomo Puccini | Pride and Prejudice by Jane Austen | Ivanhoe by Sir Walter Scott | Three Musketeers by Alexandre Dumas | Rigoletto by Giuseppe Verdi | Il Trovatore by Giuseppe Verdi | Barber of Seville by Gioacchino Rossini | Pickwick Papers by Charles Dickens | Pinocchio by Carlo Collodi | Little Women by Louisa May Alcott | Scarlet Letter by Nathaniel Hawthorne | Symphony №9 in E Minor by Antonín Dvořák | Black Beauty by Anna Sewell | Symphony №6 in B Minor by Peter Tchaikovsky | Madame Bovary by Gustave Flaubert | Faust by Charles Gounod | Great Expectations by Charles Dickens | Symphony №7 in A Major by Ludwig van Beethoven | Symphony №6 in F Major by Ludwig van Beethoven | Tosca by Giacomo Puccini | Moby Dick by Herman Melville | Symphony in B Minor (“Unfinished”) by Franz Schubert | Anna Karenina by Leo Tolstoy | Symphonie Fantastique by Hector Berlioz | Symphony №1 in C Minor by Johannes Brahms | Lucia di Lammermoor by Gaetano Donizetti | Last of the Mohicans by James Fenimore Cooper | Scheherazade by Nikolay Rimsky-Korsakov | Leaves of Grass by Walt Whitman | Count of Monte Cristo by Alexandre Dumas | Hunchback of Notre Dame by Victor Hugo | Flowers of Evil by Charles Baudelaire | Crime and Punishment by Fyodor Dostoevsky | Symphony №5 in E Minor by Peter Tchaikovsky | Fairy Tales by Jacob and Wilhelm Grimm | Twenty Thousand Leagues Under the Sea by Jules Verne | Tristan and Isolde by Richard Wagner | Piano Concerto №1 in B-flat Minor by Peter Tchaikovsky | Piano Concerto №5 in E-flat Major by Ludwig van Beethoven | Norma by Vincenzo Bellini | Cavalleria Rusticana by Pietro Mascagni | Lohengrin by Richard Wagner | Martín Fierro by José Hernández | Vanity Fair by William Makepeace Thackeray | Kidnapped by Robert Louis Stevenson | Tannhäuser by Richard Wagner | Tales from Shakespeare by Charles Lamb | Heidi by Johanna Spyri | Frankenstein by Mary Wollstonecraft Shelley | Nicholas Nickleby by Charles Dickens | Symphony in C Major by Franz Schubert | Communist Manifesto by Karl Marx | Capital by Karl Marx | War and Peace by Leo Tolstoy | Parsifal by Richard Wagner | Essays by Ralph Waldo Emerson | Symphony №4 in F Minor by Peter Tchaikovsky | Emma by Jane Austen | Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson | Ballo in Maschera by Giuseppe Verdi | Otello by Giuseppe Verdi | Symphony №1 in D Major by Gustav Mahler | Symphony №4 in E Minor by Johannes Brahms | Freischütz by Carl Maria von Weber | Symphony №2 in D Major by Johannes Brahms | Red and the Black by Stendhal | Walden by Henry David Thoreau | Requiem by Giuseppe Verdi | Silas Marner by George Eliot | Père Goriot by Honoré de Balzac | German Requiem by Johannes Brahms | Red Badge of Courage by Stephen Crane | Piano Concerto №1 in E Minor by Frédéric Chopin | Adventures of Sherlock Holmes by Sir Arthur Conan Doyle | Swan Lake by Peter Tchaikovsky | Jungle Book by Rudyard Kipling | Valkyrie by Richard Wagner | Swiss Family Robinson by Johann Wyss | Flying Dutchman by Richard Wagner | Martin Chuzzlewit by Charles Dickens | Cyrano de Bergerac by Edmond Rostand | Picture of Dorian Gray by Oscar Wilde | Lady of the Lake by Sir Walter Scott | Symphony №3 in F Major by Johannes Brahms | Violin Concerto in D Major by Peter Tchaikovsky | Sense and Sensibility by Jane Austen | Quo Vadis by Henryk Sienkiewicz | Child’s Garden of Verses by Robert Louis Stevenson | Violin Concerto in E Minor by Felix Mendelssohn | Prince and the Pauper by Mark Twain | Twilight of the Gods by Richard Wagner | Last Days of Pompeii by Edward Bulwer-Lytton | Bleak House by Charles Dickens | Through the Looking Glass by Lewis Carroll | Midsummer Night’s Dream by Felix Mendelssohn | Dracula by Bram Stoker | Quintet in A Major by Franz Schubert | Old Curiosity Shop by Charles Dickens | Brothers Karamazov by Fyodor Dostoevsky | Mill on the Floss by George Eliot | Pagliacci by Ruggiero Leoncavallo | Dombey and Son by Charles Dickens | Fledermaus by Johann Strauss | Tess of the D’Urbervilles by Thomas Hardy | Ring of the Niebelung by Richard Wagner | Little Dorrit by Charles Dickens | Winter Journey by Franz Schubert | Around the World in Eighty Days by Jules Verne | Symphony in D Minor by César Franck | Ben-Hur by Lew Wallace | Eugénie Grandet by Honoré de Balzac | Our Mutual Friend by Charles Dickens | Rheingold by Richard Wagner | Symphony №4 in E-flat Major by Anton Bruckner | Van Gogh by Vincent Van Gogh | Thus Spake Zarathustra by Friedrich Nietzsche | Lord Jim by Joseph Conrad | Siegfried by Richard Wagner | Barnaby Rudge by Charles Dickens | Adam Bede by George Eliot | Fidelio by Ludwig van Beethoven | Lorna Doone by R.D. Blackmore | Fathers and Sons by Ivan Turgenev | Piano Concerto No 1 in D Minor by Johannes Brahms | Mikado by Arthur Sullivan and W. S. Gilbert | Elijah by Felix Mendelssohn | Middlemarch by George Eliot | History of Henry Esmond by William Makepeace Thackeray | Democracy in America by Alexis de Tocqueville | Song of Hiawatha by Henry Wadsworth Longfellow | Alhambra by Washington Irving | Mansfield Park by Jane Austen | Idiot by Fyodor Dostoevsky | Hansel and Gretel by Engelbert Humperdinck | Missa Solemnis by Ludwig van Beethoven | Sketch Book by Washington Irving | Falstaff by Giuseppe Verdi | Origin of Species by Charles Darwin | Northanger Abbey by Jane Austen | Time Machine by H. G. Wells | Voyage to the Center of the Earth by Jules Verne | Nana by Émile Zola | Hard Times by Charles Dickens | French Revolution by Thomas Carlyle | Mayor of Casterbridge by Thomas Hardy | Oregon Trail by Francis Parkman | Charterhouse of Parma by Stendhal | Return of the Native by Thomas Hardy | Grammatical Institute of the English Language by Noah Webster | Eugene Onegin by Aleksandr Pushkin | Symphony №3 in C Minor by Camille Saint-Saëns | Rip Van Winkle by Washington Irving | Connecticut Yankee in King Arthur’s Court by Mark Twain | Hans Brinker by Mary Mapes Dodge | Persuasion by Jane Austen | Idylls of the King by Alfred Lord Tennyson | Far from the Madding Crowd by Thomas Hardy | War of the Worlds by H. G. Wells | Manon Lescaut by Giacomo Puccini | Moonstone by Wilkie Collins | Germinal by Émile Zola | Importance of Being Earnest by Oscar Wilde | Peer Gynt by Henrik Ibsen | Requiem by Gabriel Fauré | On Liberty by John Stuart Mill | Sonnets from the Portuguese by Elizabeth Barrett Browning | Twice-Told Tales by Nathaniel Hawthorne | Black Arrow by Robert Louis Stevenson | Villette by Charlotte Brontë | House of the Seven Gables by Nathaniel Hawthorne | Captains Courageous by Rudyard Kipling | Mysterious Island by Jules Verne | Life on the Mississippi by Mark Twain | Mystery of Edwin Drood by Charles Dickens | Invisible Man by H. G. Wells | Dead Souls by Nikolai Gogol | Turn of the Screw by Henry James | Ugly Duckling by Hans Christian Andersen | Portrait of a Lady by Henry James | Shropshire Lad by A. E. Housman | Jude the Obscure by Thomas Hardy | Innocents Abroad by Mark Twain | Legend of Sleepy Hollow by Washington Irving | Barchester Towers by Anthony Trollope | Warden by Anthony Trollope | Typee by Herman Melville | Old Mother Hubbard by Sarah Catherine Martin | Sister Carrie by Theodore Dreiser | Golden Bough by Sir James George Frazer | Emperor’s New Clothes by Hans Christian Andersen | Roughing It by Mark Twain | Voyage of the Beagle by Charles Darwin | Possessed by Fyodor Dostoevsky | On War by Carl Von Clausewitz | Interpretation of Dreams by Sigmund Freud | Three Little Pigs by Unknown | Washington Square by Henry James | Pudd’nhead Wilson by Mark Twain | Thumbelina by Hans Christian Andersen | Civilization of the Renaissance in Italy by Jacob Burckhardt | Apologia Pro Vita Sua by John Henry Newman | Age of Fable by Thomas Bulfinch | Billy Budd by Herman Melville | Nightingale by Hans Christian Andersen | Birds of America by John James Audubon | Merry Adventures of Robin Hood by Howard Pyle | Familiar Quotations by John Bartlett | American by Henry James | Looking Backward: 2000–1887 by Edward Bellamy | Narrative of the Life of Frederick Douglass An American Slave by Frederick Douglass | Owl and the Pussycat by Edward Lear | Steadfast Tin Soldier by Hans Christian Andersen | Personal Memoirs of U. S. Grant by Ulysses S. Grant | Rise of Silas Lapham by William Dean Howells | Mythology by Thomas Bulfinch | Awakening by Kate Chopin | Hansel and Gretel by Unknown | Anatomy Descriptive and Surgical by Henry Gray | Casey at the Bat by Ernest Lawrence Thayer | Principles of Psychology by William James | Autobiography by Mark Twain | Paul Revere’s Ride by Henry Wadsworth Longfellow | Original Journals of the Lewis and Clark Expedition by Meriwether Lewis |

[isichesque]

I have been running through the airport for twenty minutes. I stop when I realize I have already missed my flight. There are 20 hours before the next flight to New York. After running through the terminals, sweat on the brow and a bad knee, at the Lufthansa Lounge at Frankfurt, i sIt between two elderly Libyan men deepen in prayer on a green airport marble floor & a thought comes to me. They are stranded like me and  believe in a god who will deliver them form... a tiny girl with French speaking parents drops a plum and it rolls right near the feet of an older Arab who has just closed his prayerbook.  He lifts it up, picks the lint off it and hands it over to the young girl. Right then, a plane lands in terminal c-12 and the ground shudders like a harpooned whale.

As I talk to the Lufthansa official about changing my ticket, a friendly looking girl offers to translate for me. Here is how it happened:

Though I had known that I was likely to miss the flight, I sat on and checked my emails on the airports vertiginous wifi at what I thought to be my terminal. My mistake: I mistook a Z for B. How? How can I tell? Here I am, responding to an overdue email. Better miss a flight than a deadline, David? I submit the documents. I have two hours to kill. Well, Frankfurt is a massive airport and it takes a train ride from B to Z. In the right direction, that is. So when I get to the gate twenty minutes and find it locked, I try to locate the nearest Lufthansa official. Sorry. Gate change. Too late sir. No, nothing we can do. I had initially bought my ticket from a third party agent and my tickets were issued through air Canada. Call Air Canada. Call the agent. Blah blah blah. 

Later on, after rebooking and finding my way around the internet firewall, I relax and start to watch Queen of Katwe. Lupita has a nice Luganda accent and Phiona is good! I feel the sting of tears in my eyes when the Katwe kids go for the chess tournament. They are good. But poor. So classless. Or uncultured. I cry though it's not an emotional movie. I pause the movie and think of the many kids that can not afford school, though intelligent. 

An elderly North African man approaches. Can I help him log into the Wifi? Bring your phone, sir! In America, I have been gazed at suspiciously. But here, I feign expertise and help him register to the airport wifi. Soon, three other middle-aged men come to me. Travelers! We talk about how we got here. Earlier, an executive looking man had told me that I looked like a som he adapted from Abbysinia. 

Without a German visa, I will have to stay in the transit lounge overnight till my flight tomorrow. I call Nancy on my safaricom line and she asks where I am. Frankfurt. Why? I am ashamed to explain how I delayed going for the boarding. I read and respond to several text messages. Then an opportunity to write something presents itself. I take inventory of my surroundings. I look for the Labyan man. Over a cup of tea, he informs me he is going to Vegas. He explains that he has two sons who both work in vegas. This is his third day in transit. We talk about Mahler and Brook. He prefers the German composer. He thinks that it is fate that brings two travelers together that share common interest. To believe best when things look so grim- that is a human triumph. Today we celebrate the camaraderie  of travelers, i delight in this kinship fostered in waiting lounges. 

Long ago N and and i once stood next to a chicken trusser’s and watched a hawk swoop down and grab a hatchling. A pair of powerful wings. Many pairs of dark black feathered wings come and go. “After this, how do you not believe in our fate, Daūd?”. I think I do. i do. i also believe in the body as a dream of God. I believe in the blue electricity of two bodies touching. I believe in the communion of souls. My soul charts its trajectory. Becomes my path, becomes both - journey and road. 

[mastcomm]

7 Classical Music Concerts to See in N.Y.C. This Weekend

Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.

‘AGRIPPINA’ at the Metropolitan Opera (Feb. 6, 7:30 p.m.; through March 7). Handel’s early Venetian opera arrives at the Met in a production by David McVicar, and with an all-star cast. Joyce DiDonato takes the title role, with Kate Lindsey as Nerone, Iestyn Davies as Ottone, Matthew Rose as Claudio, Duncan Rock as Pallante and Brenda Rae as Poppea. Harry Bicket conducts. 212-362-6000, metopera.org

AMERICAN SYMPHONY ORCHESTRA at Carnegie Hall (Jan. 31, 8 p.m.). How many orchestras would come up with a Beethoven tribute concert without any works by Beethoven in it? Not many, but the American Symphony revels in being different. Leon Botstein conducts Spohr’s “Historical Symphony,” Reger’s “Variations and Fugue on a Theme of Beethoven,” Liszt’s “Fantasy on Motifs From Beethoven’s Ruins of Athens” and Ustvolskaya’s Piano Concerto. Lucas Debargue is the soloist. And if you want some actual Beethoven, Botstein and his orchestra can walk you through the Symphony No. 5 at Symphony Space on Sunday at 4 p.m. 212-247-7800, carnegiehall.org

DORIC STRING QUARTET at Weill Recital Hall (Feb. 6, 7:30 p.m.). The Doric is one of the most accomplished young string quartets around, which is saying something at a time when we’re inundated with them. Alex Redington, Jonathan Stone, Hélène Clément and John Myerscough play works by two composers they have recorded to considerable acclaim — Haydn and Schubert — and give the United States premiere of Brett Dean’s String Quartet No. 3, “Hidden Agendas.” 212-247-7800, carnegiehall.org

SUSAN GRAHAM at Alice Tully Hall (Feb. 4, 7:30 p.m.). With Malcolm Martineau at the keyboard, Graham weaves songs by Grieg, Strauss, Fauré, Mahler and many more composers through the eight songs of Schumann’s “Frauenliebe und -leben.” Be sure to hear that even if you somehow manage to find a ticket to the other big vocal recital, on Friday evening at Zankel Hall, in which Peter Mattei sings Schubert’s “Winterreise.” 212-721-6500, lincolncenter.org

[Read about the events that our other critics have chosen for the week ahead.]

NEW YORK PHILHARMONIC at David Geffen Hall (Feb. 5-6, 7:30 p.m.; through Feb. 11). All power to the Philharmonic for its Project 19, a multiyear effort to commission new works from 19 women composers, in honor of the passage of the 19th Amendment. The first fruit is Nina C. Young’s “Tread Softly,” appearing here along with Haydn’s Cello Concerto No. 1 and Mozart’s “Great” Mass. Carter Brey is the cello soloist, and the vocalists in the Mozart include Miah Persson and Nicholas Phan. 212-875-5656, nyphil.org

ORCHESTRA OF ST. LUKE’S at Carnegie Hall (Feb. 6, 8 p.m.). Baroque music from this orchestra and its principal conductor, Bernard Labadie, who deliver two works by Handel and four by Vivaldi, including two settings of the “Salve Regina.” They are joined by the violinist Daniel Hope and the contralto Marie-Nicole Lemieux. 212-247-7800, carnegiehall.org

CAROLINE SHAW at Miller Theater (Feb. 6, 8 p.m.). Shaw’s music is plenty familiar now, so we might see this composer portrait as a celebration of her recent success. There’s a nod to the past with performances by the Attacca Quartet of three string quartets, “Punctum,” “Entr’acte” and “Blueprint,” two of which are featured on a widely heralded recording on New Amsterdam/Nonesuch. And there’s a nod to the future: In addition to joining So Percussion for her song cycle “Narrow Sea,” Shaw performs songs created with that quartet for a future recording project, “Let the Soil Play Its Simple Part.” 212-854-7799, millertheatre.com

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