#ingrid schumann

[simposure]

spotted: mason & ingrid at the bakery!

[gunnarsohn]

Melancholie mit Wahn: Robert Schumann in Bonn-Endenich #Lieblingsorte

Raoul Mörchen schaut sich in der Sommerreihe des Deutschlandfunks „Lieblingsorte“ mit Ingrid Bodsch, Leiterin des Schumann-Netzwerkes, im Haus und Zimmer um, in dem Robert Schumann seine letzten beiden Lebensjahre verbrachte. Damals lag das Haus in einem großen Park, der der Erholung der Patienten dienen sollte. Am 15. Mai 1851 kam Schumann zum ersten Mal nach Bonn. Er holte nach, wozu er 1845,…

[drawing-way-outside-the-lines]

Jonathan Ford *Supporting character

Voice Claim: (Chace Crawford) https://www.youtube.com/watch?v=93RiBFp4DyA

Partner(s): None. Parents: Connie Burlington & Michael Ford. Siblings: Marlena Ford Kids: None Age: 35 Birthday: 1st of March Height: 189 cm (6.2ft) Body type: Slim but muscular. Eye color: Light to medium blue Classification: Human

About: Intelligent, Awkward, Clumsy, Observant, Neat, Rational, Intuitive, Curious, Open minded, Calm, Stubborn, Objective, Dedicated, Honest, Charming, Resourceful, Independent, Clean, Private, Disciplined, Logical, Decent, Focused, Determined and Reserved. ~ Sexuality Straight. ~ FBI agent. ~ Has sandy to golden blonde hair, he always spends a little too much time on fixing before his day starts. ~ Drinks too much coffee. ~ Can be a bit awkward at times. ~ Works too much, doesn’t have time for a relationship. ~ Lonely. ~ Has never fired a gun at anyone, only warning shots so far. ~ A bit of a momma’s boy. ~ 8/10 pretends to be sophisticated, really isn’t. ~ Very private, takes a lot for him to open up. ~ Can be a bit stiff around people he doesn’t know. ~ Can be a bit stiff, period. ~ Not the best cook, but manages not to burn the globe down. ~ City boy, but dreams of one day getting married, having kids and buying an old run down farm. ~ A bit of a closet romantic. ~ Drinks a lot of red wine. ~ Waiting for a promotion. ~ Doesn’t always know when to shut up. ~ Is often called the ‘ass-kisser’ at work, really isn’t. ~ Gets annoyed by slow drivers. ~ Can’t stand mushrooms! ~ Sings in the shower. ~ Isn’t very close to his family. More or less only see them during the big holidays. He’s on good terms with them, but work gets in the way aka Jonathan prefers work over people. ~ Goes grocery shopping once per week, always buys the same. ~ Eats a lot of frozen meals, canned tuna, scrambled eggs and pasta. ~ Often buried in work, even when he’s not at work. ~ Tends to forget there’s a world outside work. ~ His work partner simply calls him John, everyone else at work calls him ford. He tends to mostly listen to that. ~ Gets panic attacks. Pretends he’s alright, although he often feels like he’s losing it.  ~ Occasionally smokes, when he gets too stressed/tense. ~ Watches reality shows to battle his loneliness, 10/10 makes him more lonely! ~ Would never admit they make him more lonely, nor that he watches reality shows! ~ Loves: Married At First Sight (reality show), crime documentaries, serial killer documentaries, salted peanuts, canned tuna, red wine, peanut butter, burny-hot showers, work, French music, French fries, French kissing, French girls, French food, classical music, spring time, fog, cheese, otters, coffee, cuddling, foot baths, foot rubs, sea food and taking someone special out for dinner/cinema. ~ His style is formal/formal-casual (it’s rare to catch him in a completely casual look, and if you do, someone probably forced him or he lost a bet!) ~ Is actually a really great guy, if you have the patience to get to know him.

Biography: (Coming soon) Ford’s tag Ford’s house/home Ford’s moodboard Handwriting/ask answer pic:

One gif to describe him:

One song to describe him: Beethoven - Sonate au Clair de Lune Personal Playlist: 1. Indila - Tourner Dans Le Vide 2. Georges Bizet - The Pearl Fishers 3. Claude Debussy - Clair de Lune 4. Stromae - Formidable (ceci n'est pas une leçon) 5. Edith Piaf - Non, Je ne regrette rien 6. INGRID ST-PIERRE - Ficelles 7. Carla Bruni - Quelqu'un m'a dit 8. Johann Strauss - The Blue Danube Waltz 9. Maurice Ravel -  Miroirs III. Une Barque sur L'Ocean 10. Beethoven - Für Elise 11. La Femme - Sur La Planche 12. Guillaume Grand - Toi et moi 13. Tchaikovsky - Valse Sentimentale 14. Antonio Vivaldi - Storm 15. Franz Liszt - Liebestraum 16. Jacques Offenbach - La belle Hélène 17. Olivia Ruiz - J'Traine Des Pieds 18. Robert Schumann: der Dichter spricht (aus Kinderszenen op.15) 19. Franz Schubert - Ständchen 20. Erik Satie - Gnossienne No.3

[henry33tan]

Leeds Piano Competition 2021, and a look back!

I remember Leeds 1972 when my classmate from High School, Murray Perahia entered and prevailed as the First Place winner. “Murray” as he was known at the NYC HS of Performing Arts-“P.A.” (aka the FAME school) was rightly recognized as a teen phenom! I, for one, would gather with other piano majors, around an old, rather beat up grand where Murray was rehearsing a Mendelssohn Piano Trio with violinist, Diana Halperin (another big talent) and cellist, Marsha Heller. Naturally, the music-making was divine, as Perahia drew listeners into his singing tone, phrase-loving cosmos. (This was after school hours in a musty practice room.)

Even when P.A. orchestra conductor, Julius Grossman asked Murray to play the figured bass of a Corelli Concerto Grosso, ears became pinned to what the young student drew out of the piano that pulled members of the ensemble into collaborative harmony.

Who cannot forget Murray at the podium for a Conducting exam waving his fluid baton in an impassioned late Haydn Symphony reading. (As a Second Violin section member, I felt a surge of excitement that rose to new heights and dwarfed past rehearsals under our regular music director!)

Perahia, as would be expected, took Leeds by storm 8 years later at the urging of his mentor Mieczysław Horszowski. The 25 year old pianist from the Bronx, had largely been playing Chamber music at Marlboro and well beyond, partnering with Rudolf Serkin, Casals, and the Budapest String Quartet (a natural route for him), until he was jettisoned into the solo spotlight by his Leeds victory!

Fast forward to Leeds 2021 where so many competitions now abound in a crush for attention. Pianists from all over the over the world amass first, second, and third place medals, wondering how many they can collect before they solidify a career.

It’s a rat race to the top that’s often beyond reach since there’s always another contest on the horizon that trumps the last! (Given this testy, high-wire, environment, one worries about competition fatigue or burnout!) For pure relief, players hypnotize themselves into a non-competitive bubble, allowing the music to envelop them from start to finish without nerves eating them up alive!

For Leeds 2021 entrants, there’s a demanding Contemporary composition performance requirement that’s layered in with Solo piano repertoire and Chamber Music specifications. Here’s the list of Contemporary works to choose from.

Pierre Boulez1st Sonata10′Luciano BerioSequenza11′Brett DeanHommage a Brahms3 pieces – 8’György LigetiSelection of Etudesup to approx. 10’György KurtágSelection of Játékokup to approx. 10’Thomas LarcherNoodivihik10′Thomas AdesThree Mazurkas9′George Benjamin

Mandatory Chamber Music performances draw on defined works by Dvorak, Brahms, Beethoven among others.

This year, during the Semi-Final round I heard cello and violin sonatas, along with a well known Dvorak Quintet and Brahms Piano Quartet, etc.

Murray Perahia in this posted video for Leeds (as one of its patrons) emphasizes how the Chamber Music component is so intrinsic to the competition and a valued feature.

Were he, however to choose from the list of contemporary SOLO works at the 2021 Leeds website, his enthusiasm might wane.

In media interviews over decades, Perahia often referred to his career-embracing “Classical programming” of Bach, Beethoven, Mozart, Chopin, Schumann, Mendelssohn, and Brahms. He resisted critics such as New York Times Arts Editor, Anthony Tommasini who faulted him for omitting serial-based, atonal repertoire on his programs. (See my embedded blog about this repertoire issue that resonates into the present as Competitions insist on Contemporary music exposure.)

When a NY Times music critic and reader clash over a piano recital

Murray responded to his detractor that he “did not understand” many of the Contemporary works urged upon him, though perhaps he might feel differently at this juncture of his life. (Somehow Leeds 2021 officials overlooked Perahia’s recorded comments about the “classically-based” repertoire that he underscored as being a pivotal dimension of Leeds.) Oops! Did anyone check the total footage before it was amplified at the Competition’s website?

About the Leeds 2021 Jury. There are NINE members of which 4 are Pianists! (and only two women!)

Dame Imogen Cooper (UK) Chair of the Jury. (Pianist)

Adam Gatehouse (UK) Artistic Director / Juror. (Conductor)

Inon Barnatan (Israel/ USA) Juror. (Pianist)

Adrian Brendel (UK) Juror. (Cellist)

Silke Avenhaus (Germany) Juror. (Pianist/Chamber Musician/Arranger)

Gaetan Le Divelec (France) Juror. (Oboist)

Ryan Wigglesworth (UK) Juror. (Composer/Conductor)

Ludovic Morlot (France/ USA) Juror. (Conductor)

Steven Osborne (UK) Juror (Pianist)

By contrast the 1972 Leeds Competition had 11 judges, Chaired by the late Fanny Waterman, pianist. From having watched the 1972 Leeds Documentary on You Tube, I ingested the sagacious words of jurors, Ingrid Haebler, Raymond Leppard, Nikita Magaloff, and Waterman. Notice the appearance on the panel of Nadia Boulanger as well. (There were 4 women on the Jury.)

In 1972, when female pianist contenders including Uchida, obtained considerable recognition–though not passing into the Finals where 3 males prevailed, 2021 LEEDS eliminated NOTABLY gifted Semi-Finalists, Elizaveta Kliuchereva–Russia, age 22 and Yuzhang Li–China, age 22 from the Finals leaving FIVE MALES in the culminating Concerto round. These choices revealed a glaring gender disparity!

To make matters worse, Leeds instituted an Audience Favorite limitation, allowing only a voting selection among the FIVE FINALISTS. (This is highly unusual. Most respected Competitions give an option to pick from ALL entrants through a progression of Rounds) Such tight Leeds imposed control is likewise manifest in the Concerto portion of the Finals where Jurors select two piano Concertos for each player, barring contenders any autonomy. One might question the way these pairs of concertos of different length are assigned. Officials justify it as an attempt to adjudge what each entrant needs to play in order to further expand the jurors’ understanding of individual abilities. (This is atypical in the competitive arena.)

Leeds principles also assert in the main, that they want to avoid redundant performances of the same concerto in their assignments, though repetition of repertoire including concerti is par for the course at renowned Competitions such as the Tchaikovsky, Van Cliburn, and Chopin (in Poland) among others.

Leeds 2021 definitely has a different face this year that’s caused a bit of an uproar among its followers around the world. Surely, it should respond in accordance with public opinion and make appropriate adjustments. In the meantime, some ardent piano lovers who tuned into 2021 Leeds from day one, are bidding it farewell until there’s more gender equality and an opportunity to voice their choice of a FAVORITE pianist without restriction.

***

LEEDS 2021, Competition Website

https://leedspiano.medici.tv/en/about/the-leeds/

from Arioso7's Blog (Shirley Kirsten) https://arioso7.wordpress.com/2021/09/16/leeds-piano-competition-2021-and-a-look-back/

[jerrylevitch]

Get to Know Me pt 2

Thank you to @getbuckylucky for the tag!

nickname: Kat, 

gender: Female

star sign: Virgo.

height: 5'4″

time: 11:11 pm.

birthday: September 12th

favorite bands: Take That, The Beatles, The Beach Boys, ABBA, Coldplay, Fleetwood Mac, The Beatles, Gary Lewis and the Playboys (even though Gary makes me mad), The Killers, The Supremes, The Mamas & The Papas, Glenn Miller and his Orchestra, Frankie Valli and the Four Seasons, The Everly Brothers, The Platters, The Lovin Spoonful, Death Cab for Cutie, The Postal Service, The Pet Shop Boys, Imogen Heap, Florence and the Machine, Evanescence, Queen, Passion Pit, The Carpenters, The Association, The Beegees

favorite solo artist: Frank Sinatra, Robbie Williams, Dean Martin, Jerry Lewis, Ella Fitzgerald, Billie Holiday, Mika, Michelle Branch, Vanessa Carlton, Avril Lavigne, Johnny Rivers, Elvis Presley, Gary Barlow, Mark Owen, Michael Jackson, Johnny Cash, Edith Piaf, Dion, Patsy Cline, Adele, Regina Spektor, Jason Mraz, Dusty Springfield, Louis Armstrong, Sammy Davis Jr, Neil Diamond, Brenda Lee, Leslie Gore, Robert Downey Jr, Roisin Murphy, KT Tunstall, Ingrid Michaelson

song stuck in my head: Every Guy - Take That lol

last movie I watched: Captain America: Civil War

last thing I googled: cheap foldable bench lol

do you have any other blogs: @robbiewilliamsblog @jeromelevitchsizablebooty  @deanairbournemartin @classicalfusiondance There’s others too but I barely post or just have those urls lol

do you get asks: Yes, I do!

following blogs: 1138

followers: 2245

nationality: American

favorite color(s): Green

average hours of sleep: 4-8

favorite song right now: These ones are the pretty consistent ultimate faves No Regrets - Robbie Williams, Stalker’s Day Off- Robbie Williams, Theme from Somewhere in Time- John Williams, Can’t Take My Eyes off of You- Frankie Valli, Traumerei - Robert Schumann

what am I wearing: Pink Three’s Company t shirt with green sweatpants

how many blankets do I sleep with: 1

dream job: Choreographer/teacher (which I am), actress, writer (when I actually am writing), film historian

dream vacation: Italy, NY, Europe

favorite food: Pizza, Enchiladas, Lasagna

[theloniousbach]

Performances During the Pandemic, March-August 2020

I have used my FB Notes/Tumblr system for in the moment music with the heading "Couch Tour" and just noted videos of performances as posts on Facebook, I've written lots of little blurbs about music that might normally show up in the semi-archive of the Tumblr.  

I am interested in souvenirs, reminders, of the experiences and while they are welcome writing prompts the words themselves can be ephemeral. But I do want a record of how these experiences reflect my growth as a listener and cultural consumer.  That it has happened because of, not in spite of, the pandemic is also worth noting.

As we went into isolation in March, I knew that I needed to compensate for the loss of live music, include the SF Jazz Collective and Joe Russo's Almost Dead that first weekend.  I needed to see how musicians made their magic.  I also have developed a bit of a theater habit, so a few paragraphs on that at the end. I saw Fred Hersch's Tune of the Day on Facebook almost in real time for the 50 or so days that it ran and joined his 3 episode Patreon.  And I have bought access to 7 Larkin Poe house concerts and a band show in an empty venue and those turned into proper notes already.  I have watched the 19 Quarantine Concerts that Jorma Kaukonen has done weekly from his Fur Peace Station.  Two were with Jack Casady and again I wrote those up as well as the ones that coincided with Larkin Poe shows.

But mostly I record on my Facebook the YouTube or other line with a few comments.  With Jorma, it's a satisfied embarrassment of riches that such a formative influence is there every week.  Often it's just the realization that I can see music played and that favorite players or works are there.

I have seen archived sets by jazzers (Kenny Barron and Dave Holland; Herbie Hancock/Wayne Shorter/Dave Holland/Brian Blade; Joshua Redman/Brad Mehldau/Christian McBride/Brian Blade; the Ingrid Jensen/Steve Tressler tribute to Kenny Wheeler; and a Melissa Aldana trio date) to go with proper real time shows that got similarly proper write ups (Kris Davis solo from the 92nd Street Y, Shabaka Hutchings via NYC SummerStage Anywhere with anywhere being a London loft).

I've found Martin Hayes, both with Dennis Cahill and his Quartet (which was a lost concert in late March) as well as a compendium of Alasdair Fraser/Natalie Haas performances for Smithsonian Folkways and an NPR Tiny Desk Concert of the Danish String Quartet doing some of their arrangements of Danish folk songs.

But this exercise has allowed a blossoming of my interest in chamber music with some 40 or more performances.  Early on, the 92nd Y ran out their planned concert series with solo piano recitals coming remotely instead of from their hall and then releasing a few archived show.  

Chamber music allowed focused listening in nice segments.  Particularly via You Tube, I could often just have a favorite piece (so "Archduke," the Ravel String Quartet, the Poulenc oboe/piano/bassoon trio, Gassenheuer).  I could break up longer recitals even.  

Early on it was piano recitals, so I got to see Angela Hewitt three times, once Ravel's Tombeau de Couperin (also a favortie) but of course Bach mostly including getting a first but not last exposure to the Chromatic Fantasy.  I saw Peter Serkin's take on the Goldberg Variations and someone else go after Schumann's Symphonic Etudes which prodded my puzzle about what makes even the Hummell arrangements of Mozart's late symphonies still symphonic with four pieces.  This piano recital period coincided with Fred Hersch's Tunes of the Day and Patreon, so I was glad for all that piano and was in fact playing myself more under the inspiration.

Then the Chamber Music Society of Lincoln Center was highlighting some of their company, including David Shifrin who was glorious in the Mozart clarinet quintet.  The clarinet jag included Gassenheuer early on and then a second version later,, a recital with Michael Collins and Michael McHale doing Saint-Saens and Poulenc, Martin Frost with the Brahms Trio and I saw the Faure Trio with clarinet too. 

Wigmore Hall in London had a series of late May noon time GMT concerts that were taped.  One can put up with the unnecessary hushed tones of a BBC announcer in an empty hall for some grand music.  So it became a channel to check too.  

They and CMS-LC trained my YouTube algorithm so that Sol Gabetta turned up in various ensembles.  I saw Clemen Hagens a couple of times.  So two new cellists to follow.

The Busch Piano Trio did Beethoven's Ghost which gives me something beside Archduke to look for.  Other fixed ensembles include the Vienna Piano Trio (with Hagens) did Brahms 3 and Ruth Rogers and the Aquinas Trio also did Brahms, #2 I think.

I got to see the Bach Violin Partitas, Rachel Podger in Wigmore for #1 and Aliana Yousseffian doing #2 including of course THE Chaccone from her apartment.

There's been lots of Mozart, Bach, and Beethoven, unsurprisingly, plus Brahms, Schubert, and Schumann.  I look for winds in the ensembles but the piano trio is the epitome of what chamber music should be.

Whatever the world looks like post-Covid 19, my world will include watching lots of chamber music, both in the vernacular sense of in European Tradition Art Music and the small conversational ensembles of improvised jazz and traditional folk music.

I also started watching plays, often while Ellen was at a virtual knitting group.  London's National Theater had a weekly play in April and May which got some big productions with some big stars (Cumberbatch in Frankenstein; Tennant and Tate in Much Ado; Tamsin Grieg in Twelfth Night; Gillian Anderson in Streetcar).  But then the Globe was streaming and after that Stratford Festival kicked in.  I gravitated to lesser known, lesser seen Shakespeare's--King John, Two Noble Kinsmen, Love Labour's Lost, Anthony and Cleopatra twice.  But there was a Macbeth from the Globe and Coriolanus.  Stratford tried Shrew but I don't think you can make that work in our time.  From there I went to Olivier as Shylock.  The chilling thing is that Shylock is really a plot device, a bump in the road for Antonio and Brassiano.  This well is drying up but not before a spectacular Much Ado from last summer's Shakespeare in the [Central] Park set in Atlanta's Black middle class community. So, there will be plays too in the new normal.

I  will write a more regular summary (at least every other month) of these adventures.  Still a souvenir, but a slightly different one for a different experience.

[finishinglinepress]

Happy National Poetry Month!!! Please consider supporting FLP by purchasing a book. FLP can only survive if we get purchases or donations.

FINISHING LINE PRESS CHAPBOOK OF THE DAY:

One Last Scherzo by Margaret Chula

https://www.finishinglinepress.com/product/one-last-scherzo-by-margaret-chula/

RESERVE YOUR COPY TODAY

Margaret Chula fell in love with classical music at age ten while repeatedly listening to an LP of Rachmaninoff’s Piano Concerto No. 2 on her mother’s Victrola. She wanted to learn piano, but her family could not afford lessons, so she settled for playing clarinet in the high school band.

Her first book, Grinding my ink, appeared when she was in her forties and received the Haiku Society of America Book Award. Since then, she has published ten collections: This Moment; The Smell of Rust; Shadow Lines; Always Filling, Always Full; What Remains: Japanese Americans in Internment Camps; Just This; Winter Deepens; Daffodils at Twilight; One Leaf Detaches; and Shadow Man. Chula has been awarded fellowships to the Vermont Studio Center, The Helene Wurlitzer Foundation, and Playa. Grants from the Oregon Arts Commission and Oregon Literary Arts have supported collaboration projects with artists, musicians, photographers, and a quilt artist. She has been a featured speaker and workshop leader at writers’ conferences throughout the United States, as well as in Poland, Peru, Canada, and Japan. Chula served as President of the Tanka Society of America and as poet laureate for Friends of Chamber Music. After living in Kyoto for twelve years, she now makes her home in Portland, Oregon.

ADVANCE PRAISE FOR One Last Scherzo by Margaret Chula

Far beyond a mere meeting of art forms, Margaret Chula‘s One Last Scherzo opens up intricate worlds in which works of chamber music, some quite well known, are given a new voice with which to speak. Chula reminds us in these poems something practicing musicians often forget: music doesn’t need to stop when sound does.

–James Falzone, Composer & Clarinetist, Chair of Music, Cornish College of the Arts

Poetry and music have walked hand in hand for centuries, but Margaret Chula—in this exciting new collection—leads us on a parallel but very different path. Instead of words about pieces she heard during her stint as Poet Laureate for Friends of Chamber Music in Portland, Oregon—pieces composed by world-renowned as well as less widely known artists—Chula gives us the emotional essence of the compositions themselves. Through exquisitely rendered images and narratives, each poem becomes music’s verbal equivalent.

Scriabin saw musical notes as colors. Chula sees them as cohesive parts of a painting or photograph, sometimes static, sometimes in motion. In One Last Scherzo, she captures, in the details as well as the pacing of each poem, the heart and soul of each composer at the moment of creation and, sometimes, the life events behind each note. Here strolls Johannes Brahms, with his beloved, but untouchable, Clara Schumann; here is Shostakovich’s rendition of wartime terror; here, Vivaldi’s mercurial nature. Here, also, is music heard as pictures in the poet’s own mind, as she sits in the audience, letting her thoughts wander where they will, letting the soul of the music conjure images out of lived experience or out of imagination. If you love chamber music—and even if you don’t—what a bounty of beauty and insight awaits!

–Ingrid Wendt, Oregon Book Award recipient, author of Singing the Mozart Requiem and Evensong.

“This is amazing! Her poetry so represents the program Tapestry put together. Thank you so much for having a Poet Laureate and for having one with such perception and insight. I will not only forward this to Tapestry, but also to some of the composers whose music was presented. Reading this, they will want to write some more.

–Shupp Artist Management for Tapestry

PREORDER YOUR COPY TODAY

https://www.finishinglinepress.com/product/one-last-scherzo-by-margaret-chula/

#POETRY #preorder #lit #read #book

[reseau-actu]

Dans une tribune au Parisien-Aujourd’hui en France, le collectif Langue française et cent signataires des cinq continents appellent Emmanuel Macron à protéger la langue française.

Le collectif Langue française et cent signataires des cinq continents dont les représentants des associations partenaires.

« La langue française va mal. Étouffée par l’anglo-américain, elle voit désormais son usage même évincé par celui-ci. Confrontée à cette invasion, notre mémoire renvoie en écho un passé douloureux de soumission et d’oubli de soi. Une majorité capitulatrice plaidera le réalisme, hermétique aux cris sourds d’une identité enchaînée par une pseudo-langue universelle en réalité servante d’un maître particulier. Le français outragé, le français brisé, le français martyrisé. Mais le français rendu à la dignité si, monsieur le président, vous choisissez de suivre enfin la trace laissée par l’esprit de résistance.

Il est demandé au chef de l’Etat, premier contributeur à l’Organisation internationale de la francophonie (OIF), de montrer l’exemple :

1) en renonçant à l’emploi de l’anglo-américain à l’étranger, quand le français demeure l’une des deux premières langues d’usage d’une majorité d’organes internationaux ; en renonçant à l’utilisation de l’anglo-américain en France même, décourageant ainsi nos visiteurs de pratiquer une langue désertée par ses locuteurs naturels.

2) en renforçant par une loi le dispositif linguistique présent en en rendant notamment l’application contraignante ; en rappelant aux autorités judiciaires leur pouvoir de poursuivre les contrevenants ; en rappelant les préfets à leur obligation de contrôle de légalité pour les collectivités en infraction.

3) en interrompant la marche suicidaire vers l’intronisation de la langue anglo-américaine comme seconde langue officielle de la nation ; ainsi devrez-vous mettre un terme au projet sacrilège prétendant dispenser dans les établissements scolaires des cours de matières générales en anglo-américain.

Du pays source de la langue commune, la francophonie attend légitimement le signal fort d’une résistance enfin consciente de l’enjeu. Il est donc attendu du chef de file de l’OIF que vous êtes qu’il mette la politique étrangère de la France en accord avec les revendications humanistes de l’organisation, fidèle à la langue des Lumières, celle de l’égalité et du partage. À cet égard, nous déplorons l’installation au poste de secrétaire général de l’OIF d’une personnalité rwandaise membre actif d’un régime politique détestable. Il est attendu du chef de file de l’OIF qu’il défende l’usage de la langue française, non qu’il le rétrécisse. Les francophones se sont émus de votre adoubement, lors du dernier Sommet de la francophonie, de l’anglo-américain comme langue d’usage pour le monde. À en juger par le dynamisme économique d’une majeure partie de l’Afrique francophone, comme par la vitalité du Canada francophone, leur langue d’usage — le français — en vaudrait pourtant d’autres.

Lors de ce Sommet, nous vous avons également entendu ceindre la langue française du titre de langue de la création. Il conviendrait déjà que l’Etat encourageât les appellations françaises pour baptiser nouveaux produits et services créés par toute entreprise revendiquant son aide ; mieux, par toute entreprise où entrent des capitaux d’Etat. Or il se produit très exactement l’inverse. Faute d’avoir su précéder le Québec comme référence mondiale pour la défense du français, du moins sachons nous inspirer de sa pugnacité et abandonner nos comportements serviles. Il y va de notre identité nationale et de l’avenir de la francophonie. »

Les signataires

Associations du collectif Langue française

Louis Maisonneuve et Dr Pauline Belenotti, Président et secrétaire d’Observatoire des Libertés, France. Philippe Carron et Jacques Badoux, responsables de l’antenne Suisse romande pour le collectif, Suisse. Jean-Paul Perreault, Président du Mouvement Impératif français, Montréal, Canada. Philippe Reynaud et Lucien Berthet, Président et secrétaire de Défense de la Langue Française-Savoie, France.

Associations partenaires

Pierrette Vachon L’Heureux, Présidente de l’Association pour le soutien et l’usage de la langue française, Québec-ville, Canada. Albert Salon, docteur d’État, ancien ambassadeur, Président d’Avenir de la langue française (ALF), Paris, France. Régis Ravat Président de l’Association Francophonie Avenir (AFRAV), Nîmes, France. Edgar Fonck, directeur de l’Association pour la Promotion de la Francophonie en Flandre, De Haan, Belgique. Alain Ripaux, Président de Francophonie Force Oblige, Appilly, France. Catalina Hadra, secrétaire générale de Dicifran (Association pour la diffusion de la Civilisation Française en Argentine), Buenos Aires, Argentine.

Personnes privées

Ilyes Zouari Président du Centre d’étude et de réflexion sur le monde francophone, France. Jean-Pierre Luminet, astrophysicien, directeur de recherche au CNRS, Marseille, France. Tahar Ben Jelloun, écrivain, Prix Goncourt, France, Maroc. Michel Bühler, auteur-compositeur et chanteur. Sainte- Croix, Suisse. Vladimir Fédorovski, écrivain, Neuilly, France. Rémy Pagani, Maire honoraire de la ville de Genève, Suisse. Zachary Richard, auteur-compositeur et chanteur (« Travailler c’est trop dur »), Louisiane, États-Unis d’Amérique. Jean-Marie Rouart, écrivain, membre de l’Académie française, Paris, France. Jean Ziegler, homme politique, écrivain, vice-président du comité consultatif du « conseil des droits de l’homme » de l’ONU, Suisse. Pierre Perret, chanteur, Seine-et-Marne, France. Jeannie Longo, cycliste, championne olympique et du monde, Savoie, France. Boris Cyrulnik, neuropsychiatre, Toulon, France. Guimba Konate, ingénieur, ex-conseiller au Ministère des Télécommunications du Sénégal, Sénégal. Didier Van Cauwelaert, écrivain, Prix Goncourt, France. Jacques Drillon, journaliste-écrivain, Paris, France. Lakhdar Amrani, professeur de français, Algérie. Benoit Bergeron, enseignant en biologie, Montréal, Canada. Anna Maria Campogrande, fonctionnaire européenne, président d’Athena, Association pour la défense et la promotion des langues officielles de la Communauté européenne, résident à Bruxelles, Belgique. Huguette Lemieux, interprète, Ottawa, Canada. Michel Feltin-Palas, journaliste, Paris, France Marianne Périllard, traductrice, Lausanne, Suisse. Erasmia Boutsikari, avocate, Gytheion Grèce. Agnès Rosenstiehl, auteur, illustratrice (« Mimi Cracra »), Paris, France. Ingrid Stromman, professeur de français et d’anglais, Trondheim, Norvège. François Delarue, cardiologue, Paris, France. Jean-Pierre Siméon, poète et dramaturge, directeur de la collection poésie, éditions Gallimard, Clermont-Ferrand, France. Paul Miédan-Gros, pilote de ligne, ancien Président du Syndicat National des Pilotes de Ligne, Santeny, France. Rosana Pasquale, professeur de français, université nationale de Lujan-Buenos Aires, Argentine. Fernand Melgar, cinéaste, Lausanne, Suisse. Yvan Lepère, journaliste, Bruxelles, Belgique. Alexandre Riblet, professeur de français, Mexico, Mexique. Angel Viñas, enseignant, ancien directeur à la Commission européenne, Bruxelles, Belgique. Miltiades Vassilatos, ingénieur, Montréal, Canada. Renato Corsetti, enseignant, Londres. Royaume-Uni. Thierry Saladin, médecin, vice-président de l’AFRAV, Montpellier, France. Paolo Monaco, expert de l’organisation internationale pour la sécurité de la navigation aérienne, Bruxelles, Belgique. Jean-Louis Carpe, professeur de philosophie, Orléans, France. Pia Sylvie Marquart, enseignante, Hurghada Égypte. Monique Phuoeng, directrice de société, Phnom Penh, Cambodge. Rodolphe Clivaz, artiste, directeur de théâtre, Lausanne, Suisse. Alain Borer, écrivain, poète, Los-Angeles (E.U.A.) et Paris, France. Olivier Belle, auteur-compositeur et chanteur, Neuilly, France. Étienne Guilloud, pasteur, Bière, Suisse. Yves Montenay, Président de l’Institut culture, économie et géopolitique, vice-président de l’ALF, France Bérénice Franca Vilardo Irlando, ex-fonctionnaire du ministère des Affaires étrangères d’Italie, Rome, Italie. Valeria Pancrazzi, professeur de français, Tigre-Buenos Aires, Argentine. Philippe Mougel, conseiller artistique, Clermont-Ferrand, France. René Fournier, maire honoraire de Carignan, Québec, Canada. Louise Chevrier, romancière, Chambly, Québec, Canada. Micheline Khemissa, enseignante, Écublens, Suisse. Daniel Perrenoud, médecin, Lausanne, Suisse. Gérard Laurin, professeur de français, Gatineau, Québec, Canada. Ralph Stehly, professeur émérite de l’Université de Strasbourg, France. Claude Filatrault, conseiller à Hydro-Québec, Québec-ville, Canada. Françoise Carré, enseignante, Landevieille, France. Philippe Prudhomme, professeur de français, Président de l’association « Les amis de Bougainville », Papeete. Tahiti, France. Benoît Cazabon, linguiste, enseignant en biologie, cofondateur et ex-directeur de l’Institut franco-ontarien, Vernet, Ontario, Canada. Claude Sybers, auteur littéraire, dramaturge Saly, Sénégal. Jean-Louis Brion, ingénieur, Nouvain-la-Neuve, Belgique. Veronica Gebauer, professeur de français, Université nationale de Cordoba, Argentine. Luc Charrette, pédiatre, Gatineau, Québec, Canada. Cyril R. Vergnaud, professeur de langues, Pingtung, Taiwan. Nicolae Dragulanescu, professeur d’université, Président de la Ligue de coopération culturelle et scientifique Roumanie France, Bucarest, Roumanie. Bert Schumann, ingénieur, Rennes, France. Michel Donceel, violoneux, Bertirx, Belgique. Gérard Cartier, ingénieur et auteur, L’Étang-la-Ville, France. Laurent Martin, pianiste, Vollore, France. Madana Gobalane, Président de l’association indienne des professeurs de français, Chennai, Inde. Fara Nume, professeur de français, Temara, Maroc. Alicia Santana, professeur de français, Tigre-Buenos Aires, Argentine. Jean Maisonneuve, pilote de ligne, Billom, France. Évelyne Raimbault, secrétaire, Fontenay-sous-Bois, France. Daniela L. Martinez, professeur de français, Buenos Aires, Argentine. Nicolas Bitterlin, ouvrier du livre, Québec-ville, Canada. Bernard Joss, dessinateur, Lausanne, Suisse. Geneviève Despinoy, professeur d’espagnol, Agen, France. Emilie Szczukiecka, enseignante, Wroclaw Pologne. Damien Feron, photographe. Madrid, Espagne. Ines Mensi, enseignante, Tunis, Tunisie. Dominique Lambilotte, fonctionnaire de police, Bertrix, Belgique. Kader Ali Lahmar, inspecteur d’enseignement du français, Oran, Algérie. Johan Nijp, professeur de français, Groningen, Pays-Bas. Mohamed Farhat, enseignant, Joub Jenin, Liban. Nathalie Pacico, technicienne, Courcelles, Belgique. Didier Catineau, journaliste, écrivain, Plassay, France. Jean-Pierre Roy, réalisateur, Montréal, Canada. Roger Rochat, ingénieur, Cottens, Suisse. André Creusot, administrateur, Ottawa, Canada.

[erli-cassemiro-blog]

DISTORÇÕES COGNITIVAS [2] • Psicologia • Casule Saúde Mental

DISTORÇÕES COGNITIVAS [2] • Psicologia • Casule Saúde Mental

Temos distorções cognitivas, ou “pensamentos distorcidos”, o tempo todo. Mas quando será que eles nos fazem mal?

Confira com Cristiane Schumann, psicóloga da Casule!

Quer tomar um café? Conheça nossa clínica ou marque um atendimento online (em qualquer lugar do mundo): http://casule.com Ou então fale direto com a Ingrid no tel ou…

[theamericanscholar-blog]

And what a career it was. Szeryng specialized in all of the standard concerto and sonata repertoire, forming a formidable duo with Rubinstein and with another pianist, Ingrid Haebler, making numerous recordings treasured by collectors. His studio and live recordings of the Brahms Violin Concerto—the work with which he made his name and the last piece that he performed, shortly before his death in 1988—are among the most stylish available. His approach to everything he played was tasteful and lyrical, his tone sweet and round, his intonation impeccable, his musical intelligence probing, always keen. Listen to his Beethoven and Tchaikovsky, his Lalo and Schubert, his Mozart and Schumann, and you will hear these many felicities. But listen, above all, to the music that made Rubinstein weep: the Sonatas and Partitas by Bach. The violinist made two recordings of these touchstone works—in 1952 for Sony and in 1967 for Deutsche Grammophon.

Sudip Bose, Measure by Measure

[simposure]

natalie runs into mason and ingrid at the art gallery in town, “how the new house?! wait wait, when will we expect good news about little o’leary’s?!” natalie giggled at the thought of being an aunt.

[gunnarsohn]

Eine virtuose Bonner Ausstellung zur Konzertvirtuosin Clara Schumann endet am Sonntag

Eine virtuose Bonner Ausstellung zur Konzertvirtuosin Clara Schumann endet am Sonntag

Ingrid Bodsch

Leidenschaftlicher Vortrag der Kuratorin Ingrid Bodsch zum Abschluss der Ausstellung “On tour. Clara Schumann als Konzertvirtuosin auf den Bühnen Europas”.

Dazu schreibt der FAZ-Redakteur Jan Brachmann:

“Wer sich ein Bild von den vielen Konzertreisen machen will, die Clara Schumann in ihrem sechsundsiebzigjährigen Leben zwischen Dublin und Moskau, Edinburgh und Klagenfurt…

[simposure]

as mason and ingrid embark on their new life together, i’m closing the chapter on them. hopefully we’ll see them again sooner rather than later.

(please make many cute babies!!!!)

[simposure]

... and we congratulations to mr. and mrs. o’leary!

mason & ingrid will be moving into their humble tiny studio house. so we’ll bid goodbye to their appearance on my simblr for a while.

[simposure]

ingrid’s a grown young lady now.

[simposure]

as the wedding looms ahead, i got mason and ingrid to take some picturesque pre-wed photos together.

congratulations to mason and ingrid!