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mccartertheatrecenter · 8 years ago

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Short Stories: a world premiere work for clarinet, cello, and piano

As the story goes, after the cellist Alisa Weilerstein performed a Shostakovich concerto with the orchestra of the Cleveland Institute of Music, a freshman at the conservatory introduced himself and said he’d like to compose a concerto for her. She’d heard that one before, but this time was different. The student, Joseph Hallman, actually did compose that concerto, and as he sent portions of it to her, she found the music (as she later told an interviewer for the New York Times) “totally amazing.” And that, as they say, was the beginning of a beautiful friendship.

And fruitful, too. The success of that concerto at its 2008 premiere (with Ms. Weilerstein and the St. Petersburg Philharmonic Chamber Orchestra) brought a stream of works involving the cello, including a second concerto, a solo sonata (with another in the works at this writing), pieces pairing the cello with piano and with marimba, and the new work heard at this concert, Short Stories for Clarinet, Cello, and Piano.

Meanwhile, Mr. Hallman composed prolifically for other instruments and voices as well. In the years after he completed his composition studies with Margaret Brouwer at C.I.M., his lively, evocative music attracted wider and wider notice, culminating in a 2014 Grammy nomination for the CD Sprung Rhythm, on which the Washington, D.C.-based ensemble Inscape performed two contrasting yet characteristic Hallman works, Three Poems of Jessica Hornik and Imaginary Landscapes (inspired by science-fiction writer H.P. Lovecraft).

Although Mr. Hallman is capable of roaring and raging with the prickliest of contemporary composers, his music is perhaps most notable for his skill in writing for each instrument according to its own capabilities and for the subtle chemistry he creates when mingling the tones of instruments, voices, and other sounds.

Short Stories was commissioned expressly for Inon Barnatan, Anthony McGill, and Alisa Weilerstein by Music Accord, a consortium of concert presenters, nine of which will be introducing the piece during this month’s “premiere tour,” January 18-29, ranging from Urbana, IL, to Durham, SC, to New York’s Lincoln Center.

As the first stop on that tour, McCarter Theatre has the honor of presenting the work’s world premiere. Despite the piece’s literary title, and the composer’s previous history of drawing inspiration from poems and novels, Mr. Hallman insists that no specific narratives are being evoked in the five brief movements of Short Stories. Rather, he says, “each movement’s title is meant to serve as a prompt for the listener. The listeners are called upon to imagine their own ‘story,’ inspired by the musical content of each movement and the prompt of the title.”

- Exceprt from program notes by David Wright

For more information on this performance, click here: Barnatan/McGill/Weilerstein at McCarter Theatre

#mccarter theatre #music at mccarter #classical music #alisa weilerstein #inon barnatan #anthony mcgill #piano #cello #clarinet #joseph hallman

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ablackwomansurvivingrape · 6 years ago

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A man had been arguing with his ex-wife over taxes and child support before he went to her house and killed her and three other people and then fatally shooting himself, an investigator said on Monday.

The shooting happened just after 3pm on Saturday as neighbours were outside enjoying unusually warm weather. Cedric Prather Jr, 33, parked about a quarter of a mile from the home, in suburban Atlanta, and walked inside, fatally shooting his ex-wife, 33-year-old Latoya Andrews, and her boyfriend, 33-year-old Joseph Terry Brown, police said.

Prather also fatally shot two of his children, including one of whom a neighbour said begged him not to pull the trigger.

Prather left no note explaining his motive, Douglas County sheriff’s captain Bruce Ferguson said.

“I can’t tell you why he did it,” Ferguson said. “All I can do is to say he snapped or he had enough is what we’ve concluded in our investigation.”

The shooting happened in a subdivision in Douglasville, about 20 miles west of Atlanta. Prather killed his seven-year-old daughter, London, and nine-year-old son, Jerimiah. He shot and wounded two other children, who are in critical condition: Andrews’ 15-year-old daughter, Demesha Owens, and Brown’s seven-year-old daughter, Jada Brown.

A third child of Andrews and Prather, a 13-year-old boy, was not home at the time. Prather and Andrews were married for about 11 years and had been divorced about five years, Ferguson said.

There had been no prior reports of domestic violence and there was nothing in Prather’s record that jumped out as a red flag, Ferguson said.

Neighbours heard gunshots within a few minutes of Prather’s arrival and called 911, Ferguson said. A witness told police one of Prather’s children was heard outside pleading with him not to shoot. Prather killed himself in the street.

Friends of Prather told police he had been upset and angry lately. One friend had called Prather to check up on him and was on the phone with him as the shooting happened.

Prather used a .45-calibre handgun to shoot all the victims and himself. The Douglas County sheriff’s office is working with the federal Bureau of Alcohol, Tobacco, Firearms and Explosives to trace the gun and determine whether he had it legally.

Teresa Carter, 59, said she heard the gunfire from inside her home but didn’t see what happened. Carter said she often saw the children playing in the driveway and around the neighbourhood. They enjoyed petting her dog.

“I heard shots, and I heard the girl scream,” Carter said. “And then I heard four more shots.”

Brandon Hallman was working on a car a few houses down when the shooting started.

“I heard a couple quick shots, you know, back to back to back. Went out there and, you know, looked and it was already over,” Hallman said. “We just grabbed some towels and kind of went down there to try and help before the paramedics got here.”

#Latoya Andrews #domestic violence #homicide #intimate partner violence #Cedric Prather Jr

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imustak · 6 years ago

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youarenotthewalrus · 6 years ago

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this article is dumb, i shouldn’t be hate-reading and you shouldn’t either but here we are so let’s do this:

We begin with a description of a platformer doing something clever and metatextual at the end. Followed by;

What this means is that the game stands in stark contrast to an industry whose products, historically speaking, rely on hijacking the reptile brains of hormone-crazed teenaged boys. In short, the history of videogames is the history of the glorification of violence.

Ah yes, who can forget such bloodthirsty products of the military-industrial complex as Pong, Tetris, Pacman or Zork?

We can debate what constitutes the first videogame, and whether it’s fair to attribute the invention of videogames to the military,

Given the contentiousness of that assertion, I should certainly hope so!

but what’s undeniable is that military engineers—ever ready to coopt, conspire with, or commission innovation from the private sector (e.g., the splitting of the atom, the invention of I.Q.)—more or less immediately recognized that videogames could be employed as a cheap substitute for teaching soldiers how to do everything from fly a plane to take out a sniper.

Kinda reductive to reduce the history of video games to FPSes in general and America’s Army in particular, doncha think?

Anyway, then we get some more waffle about how first-person shooters video games are training us to kill, before we get to the real question: given that this platformer he just finished playing did something a little artsy, can video games be art even despite the fact that were originally works of military propaganda intended to inure potential military recruits to violence? And more importantly, given that this guy seems to think the history of video games began with first person shooters, is he really qualified to answer this question?

Then we get some pointless side chatter over the claim that games are good for your brain, followed by the charge that games are addictive--despite the explicit comparison made to gambling (at “your local Native American casino,” no less), there is no discussion of lootboxes or microtransactions whatsoever, suggesting the author is not aware of specific steps which are taken to make games addictive and is just invoking vague notions of all games being addictive. None of this ever comes up again, and we promptly move back to talking about the actual game.

More specifically, Inside is what’s known as a “2D side-scroller”—meaning that you observe your figure mostly in profile in the center of your screen while a background landscape scrolling right-to-left gives the illusion of left-to-right forward motion.

Somehow, the use of the term “2D side-scroller” in quotes does not make me feel that this fellow is sufficiently familiar with video games to assess whether or not they can be art, as does the fact that he reckons that the platformer he is playing hearkens back to a 1981 shoot-em-up he remembers from his teens, which makes his apparent conviction that video games originated as first person shooters all the more baffling.

And while the world of videogames has already become a “spectator sport,” I’m unaware of any instance of the record of a videogame player’s performance becoming intellectual property, as it has in the world of chess, and in a whole array of sports. True, gamers go “professional” by attracting followers on the internet and earning ad revenue, but their play itself is not copyrighted. Games might wind up in museums (worldwide, there are at least seventeen museums dedicated to videogames), but bracketed moments of the play of particular games have not yet become value-able as art.

I invite the author to start selling unauthorized DVDs of clips from popular Twitch streamers and gaming YouTubers and see how long their lawyers allow him to entertain the notion that Let’s Plays do not constitute intellectual property.

the 2D side-scroller and its pitbull of a cousin, the first-person shooter,

???

The rest of the section is pretty unremarkable, so we move onto him complaining about lousy movie critique, then lousy video game critique, then explaining the concept of Easter eggs, then video game puzzles:

The puzzles of Limbo and Inside are more ambitious than the puzzles of most games in that their solutions often require the player to wait, or to exhibit what in psychology and education circles is known as divergent thought—for example, a corpse is a corpse, but it is also potentially a deadweight that can be used to spring a boobytrap.

Making the player wait or use an unusual object as a weight doesn’t strike me as particularly devilishly clever.

Then we get this jewel of a paragraph:

Nevertheless, puzzles themselves stand as an obstacle blocking the path of videogames’ journey from game to art. For while I might willingly suspend my disbelief long enough to accept that a boy has been tasked with jogging exhaustedly through a factory that churns out invincible blob creatures, I will find that willingness strained when I am also confronted with confounding puzzles placed in my path for no good reason. Videogames, in other words, ignore the basic tenets of internal consistency—in order to keep playing, you must suspend your disbelief, and then suspend it again, and again, and again, which means that in order to play and enjoy videogames you must also suspend the kind of critical judgment that is normally associated with art.

You heard it here, folks, accepting weird gameplay conceits means you can’t critically analyze a game.

Similarly, Easter eggs appeal only on the level of geek fetish—which is more or less the opposite of critical appreciation—and it is for this reason that I won’t address the puzzles and Easter eggs in Inside, even though they eventually lead to what some have concluded is the game’s “hidden meaning.” And this is the problem of videogames in a nutshell, because meaning in work of art is no more hidden from its beholder than the summit of a mountain is hidden from the mountain climber.

Sounds to me more like the problem is that he’s ignoring what the game itself is telling him about its plot and themes because it’s doing it in a way he finds aesthetically displeasing. I don’t know much about critical analysis but I feel like that’s not really how you should be doing it.

We then get a description of the plots of Limbo and Inside, including a decent bit of analysis marred by a bit of “murder simulator”-ism.

This is worth noting because prior to this moment the violence the boy has inflicted, either in Limbo or Inside, has been indirect—really an act of self-defense—but now the game is threatening to creep back into the usual videogame mode of affectless murder. You are given a choice: slip backward toward the wantonly horrific likes of Grand Theft Auto (1997) and Postal 2 (2003) [3] , or pause a moment and then continue on in a macabre but not morally bankrupt pursuit narrative. In this way, the player is implicated in a wryly disjointed bit of commentary on the history of gaming itself.

I mean this entirely sincerely: someone should get this guy a copy of Undertale. I think he’d enjoy it, if he could get past the idea of having to accept JRPG conventions.

Sadly, video game still aren’t art because he can list a bunch of movies that had vaguely similar elements:

From there, it’s not hard to find antecedents for Inside in both literature and film—it’s a little bit Soylent Green, a little bit Logan’s Run, a little bit The Island of Dr. Moreau, and more than a little bit Frankenstein. The imagery starts to seem familiar, too, with milieus lifted from E.T., Alien, and The Poseidon Adventure. But all this allusive flotsam becomes a bit of a disappointment, as eventually you become hard pressed to find anything in Inside that you haven’t seen inside something else.

Ezra Pound demanded that artists “make it new,” and Marcel Proust insisted that a writer is someone who invents a voice as unique as his or her fingerprint, but Inside isn’t even really trying to tell a story that hasn’t been told before. That’s a problem. Art cannot be made up wholly of references to other art. Star Wars, for example, does not come close to art because at its core it is nothing more than a pre-fab mash-up of archetypes mail-ordered from the IKEA superstore of Joseph Campbell.

I mean... why can’t art be composed solely of references to other art? Why can the whole not be more than the sum of its parts? If I take a picture of the Mona Lisa and photoshop a photo of a can of soup over her head, the resulting work is distinct from either of the originals, even though I provided no original content except the idea of sticking the two together.

Put another way, Inside could only have been designed by someone who hasn’t read Roland Barthes’s “The Death of the Author,” and hasn’t read Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” and hasn’t read T.S. Eliot’s “Tradition and the Individual Talent”—someone who hasn’t, in other words, engaged theoretically with what art is. And that, in turn, leads to the simple conclusion that on the level of its plot Inside is not trying to do what art does.

Good god this guy is snobbish.

Second, there’s still the meta-twist to consider: perhaps Inside is a game with both a text and a subtext. And perhaps a subtext can help the videogame industry evolve beyond the hyperviolence that is its womb and its crutch.

“Hyperviolent” is not exactly how I would describe Breakout or Super Mario Bros. Anyway, he then ponders the potential meaning of the evil scientists at the end of the game being stand-ins for the developers, and comes to the conclusion that...

The problem of games today is that their creators have not imagined any purpose for them greater than fun. There are exceptions to this, of course, but for the most part games equate escape with distraction—to be distracted is to be entertained, and it is good to be entertained.

Unlike the rest of popular media, of course.

The obligation of art, as Henry James described it, is to be interesting, and if you’re paying attention, that is to say, if you’re trying for more than distraction, then Inside begins to be interesting with its name, which stands in stark contrast to games like Call of Duty: Infinite Warfare and Grand Theft Auto: Vice City.

I too enjoy criticizing games for being superficial based on their titles.

Then we get some final analysis, a quote from a Raymond Carver short story I read in high school and remember mostly as something my friends in English class found homoerotic subtext in, and the claim that the goal of art is a feeling of transcendental bliss:

The much remarked-upon narrator of Raymond Carver’s classic short story, “Cathedral,” experiences such a moment as the story climaxes with a blind man helping him draw a church. “My eyes were still closed,” the narrator says. “I was in my house. I knew that. But I didn’t feel like I was inside anything.”

At its most ambitious, Inside aspires to a similar feeling. Escape in art that is not transcendence is cheap, and if you can climb beyond the foolish puzzles and the Easter eggs and the hidden meanings, you can feel, for a moment, that you are not alone on your sofa with your phone, playing a game; rather, you are somewhere else—somewhere grassy, bathed in warmth by a ray of sunlight falling from above.

And that’s nice and all but it feels like he didn’t really lead up to it.

Anyway, I spent way too much time picking through this but here we go. Final rating: 2/10, the next time you want to know if video games are art yet ask someone who actually plays them.

#idle musings #long post

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kandrsdarkangelsbookblog · 5 years ago

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dswrights · 5 years ago

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clejay62 · 5 years ago

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politicoscope · 5 years ago

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Russia Already Dragged Into 2020 U.S. Presidential Campaign

New Post has been published on https://www.politicoscope.com/russia-already-dragged-into-2020-u-s-presidential-campaign/

Russia Already Dragged Into 2020 U.S. Presidential Campaign

Just weeks into this year’s election cycle, Russia already is actively interfering in the U.S. presidential campaign in hopes of reelecting President Donald Trump, and is also trying to help the candidacy of Sen. Bernie Sanders on the Democratic side, intelligence officials have concluded. The Russian efforts are aimed at undermining public confidence in the integrity of U.S. elections and stirring general chaos in American politics, intelligence experts say.

Lawmakers were told in a classified briefing last week that Russia is taking steps that would help Trump, according to officials familiar with the briefing. And Sanders acknowledged Friday that he was briefed l ast month by U.S. officials about Russian efforts to boost his candidacy.

The revelations demonstrate that the specter of foreign interference in the 2020 presidential election will almost certainly be a cloud over the campaign, and possibly even the final results if the contest is close. Democrats have consistently criticized Trump for not doing more to deter the Russians and others, and now they have fresh evidence to support their concerns.

There were some conflicting accounts about what the briefers had revealed about Russia’s intentions. One intelligence official said that members were not told in the briefing that Russia was working to directly aid Trump. But advancing Sanders’ candidacy could be seen as beneficial to Trump’s reelection prospects.

“That Russia would put its national intelligence apparatus in an operational mode to enhance Sanders and attack (Joe) Biden and others is only natural,” said Malcolm Nance, a veteran intelligence officer who wrote a book on meddling in the 2016 presidential election. “A damaged Sanders or one who would lose at a brokered convention would … assure another Trump victory.”

Sanders condemned Russia and called on President Vladimir Putin to steer clear of U.S. politics.

“I don’t care, frankly, who Putin wants to be president,” Bernie Sanders said. “My message to Putin is clear: Stay out of American elections, and as president I will make sure that you do.”

Trump, acknowledging nothing, took a different tack in responding to news that the House Intelligence Committee earlier this month had been briefed by U.S. intelligence experts that Russia was attempting to ensure his reelection.

On Friday he sought to minimize the new warnings by his government intelligence experts and revived old grievances in claiming any problem was just Democrats trying to undermine the legitimacy of his presidency.

The president started the day on Twitter, claiming that Democrats were pushing a “misinformation campaign” in hopes of politically damaging him.

Later, making light of the intelligence findings at a campaign rally in Las Vegas, he suggested that Russia might actually prefer Sanders in the White House.

“Wouldn’t he rather have, let’s say, Bernie?” Trump said. ”Wouldn’t he rather have Bernie, who honeymooned in Moscow?”

Donald Trump Now Campaigns – USA News Headlines

A senior intelligence official with knowledge about the briefing said the handful of U.S. election security briefers did not tell Intelligence Committee members in so many words that Russia was “aiding the re-election of President Trump.”

The official, who spoke on condition of anonymity to discuss the classified briefing, said the briefers covered election threats from Russia, China, Iran, non-state actors, hacktivists and ransomware, but that both Democrats and Republicans homed in on Russia’s activities. The official said some of the lawmakers reached conclusions that had not been made by the briefers.

The fresh warnings about Russian interference came in what has been a tumultuous stretch for the intelligence community.

A day after the Feb. 13 briefing to the House Intelligence Committee, Trump berated the acting Director of National Intelligence Joseph Maguire in a meeting at the White House. Then this week, Trump abruptly announced that Maguire would be replaced by Richard Grenell, a Trump loyalist who also will hold the job in an acting capacity.

In addition to Maguire, two other senior officials will soon leave the agency.

Andrew Hallman, one of Maguire’s top deputies, announced Friday he would leaving. He is expected to return to the CIA, where he has spent more than 30 years, according to an official familiar with the move, who spoke on condition of anonymity to discuss the personnel move. Jason Klitenic, the general counsel for the national intelligence director’s office, is returning to private practice. Klitenic’s departure is unrelated to the sudden shakeup by Trump.

Former CIA Director John Brennan told MSNBC’s “Morning Joe” on Friday that Trump’s ouster of Maguire and Hallman was a “virtual decapitation of the intelligence community.”

Like Trump, Sanders appeared to suggest there was a political motive to the revelations about Russian interference. Nevada Democrats are to hold their nominating contest on Saturday.

“One day before the Nevada caucus, why do you think it came out?” he said.

Trump erupted when he learned last week about the briefing to House members, according to a senior administration official familiar with the matter. It was unclear whether he was aware of the specific information briefed, but he was agitated that contents of the briefing could be politically damaging to him, said the official, who spoke on condition of anonymity to dicuss sensitive matters.

Trump tweeted Friday that he was considering four candidates to serve as permanent intelligence director and said he expected to make a decision within the next few weeks. He told reporters Thursday evening that Rep. Doug Collins of Georgia was among those he’s considering.

But Collins, who is vying for one of Georgia’s Senate seats, said Friday he’s not interested in the job overseeing the nation’s 17 spy agencies.

The installation of Grenell, even in a temporary role, has raised questions among critics about whether Trump is more interested in having a loyalist than someone steeped in the complicated inner workings of international intelligence.

Grenell has a background that is primarily in politics and media affairs. Most recently, he’s been serving as Trump’s ambassador to Germany.

The Democratic chairman of the House Homeland Security Committee, Bennie Thompson of Mississippi, dismissed Grenell as someone who, “by all accounts, rose to prominence in the Trump administration because of his personal devotion to Donald Trump and penchant for trolling the President’s perceived enemies on Twitter.”

From the start of his presidency three years ago, Trump has been dogged by insecurity over his loss of the popular vote in the general election and a persistent frustration that the legitimacy of his presidency is being challenged by Democrats and the media, aides and associates say. He’s also aggressively played down U.S. findings that Russia interfered in the 2016 election.

In addition to those findings by the major intelligence agencies, a nearly two-year investigation led by special counsel Robert Mueller concluded there was a sophisticated, Kremlin-led operation to sow division in the U.S. and upend the 2016 election by using cyberattacks and social media as weapons.

Russia also took steps to support Sanders in the 2016 presidential campaign, according to a criminal indictment against a Russian troll farm and Mueller’s lengthy report.

Mueller charged 13 Russians in a covert social media campaign that prosecutors said was aimed at dividing public opinion on hot-button social issues as well propping up Sanders and Republican candidate Donald Trump while denigrating Hillary Clinton, the eventual 2016 Democratic nominee.

Organizers of that Russian effort circulated an outline of themes for future social media content, with instructions to “use any opportunity to criticize Hillary and the rest (except Sanders and Trump—we support them),” according to the indictment.

Moscow has denied any meddling. Kremlin spokesman Dmitry Peskov said Friday that the newest allegations are “paranoid reports that, unfortunately, there will be more and more of as we get closer to the elections (in the U.S.). Of course, they have nothing to do with the truth.”

#Russia #U.S. Presidential Election #US Elections

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todayclassical · 7 years ago

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August 11 in Music History

1600 Birth of composer Paul Hallman.

1613 Birth of composer Cristoph Kaldenbach.

1720 Birth of composer Martin Gerbert.

1748 Birth of German Kapellmeister and composer Joseph Schuster.

1842 Birth of German composer Reinhold Becker.

1861 Death of Irish soprano Catherine Hayes.

1862 Birth of American composer Carrie Jacobs Bond in Janesville, WI.

1863 Birth of composer Arpad Szendy.

1868 Death of Norwegian composer Halfdan Kjerulf in Grefsen.

1872 Death of American composer, organist, and conductor Lowell Mason.

1873 Birth of American composer J. Rosamond Johnson in Jacksonville, FL.

1880 Birth of composer Frederick Jerome Work.

1894 Birth of composer Wilhelm Grosz.

1898 Birth of Italian soprano Giuseppina Cobelli in Maderno.

1900 Birth of Russian composer Alexander Mosolov in Kiev.

1900 Death of German bass-baritone Franz Betz.

1905 Birth of baritone Bruce Dargavel in Briton Ferry.

1909 Birth of French composer and organist Gaston Litaize.

1914 Death of bass Pol Plancon.

1915 Birth of composer Kunio Toda.

1919 Birth of French violinist Ginette Neveu in Paris. 1920 Birth of American pianist William Masselos in Niagra Falls, NY. 1922 Founding of the International Society for Contemporary Music. 1925 Birth of American composer Robert Linn.

1927 Birth of English conductor Raymond Leppard in London. 1929 Birth of Welsh composer Alun Hoddinott in Bargoed, Wales.

1929 Birth of Dutch mezzo-soprano Cora Canne-Meyer in Amsterdam.

1930 Birth of composer Heinz Werner Zimmermann.

1933 Birth of Hungarian-Swiss conductor and pianist Tamas Vasary.

1933 Birth of composer Justin Connolly.

1938 Birth of composer Rainer Boesch.

1939 Birth of composer Attila Bozay.

1943 Birth of composer Krzysztof Meyer. 1943 FP of Richard Strauss’ Horn Concerto No. 2. Vienna Philharmonic conducted by Karl Böhm, with Gottfried von Freiburg, horn, at the Salzburg Festival.

1945 Birth of American mezzo-soprano Barbara Conrad in Pittsburg Texas.

1947 Birth of French pianist Catherine Collard.

1948 Birth of American composer Raphael Mostel.

1949 Death of Austrian born composer Karl Weigl in NYC.

1952 Death of American tenor Riccardo Martin.

1954 Birth of English composer Sinan Carter Savaskan in London.

1955 Leonard Bernstein’s On the Waterfront Symphonic Suite. Boston Symphony conducted by the composer at Tanglewood, Lennox, MA.

1955 FP of Avery Claflin’s madrigal A Lament for April 15. IRS text on how to file an income tax return, at the Berkshire Center in Tanglewood, MA.

1956 Birth of American composer Daniel Kallman.

1957 FP of Paul Hindemith’s opera, The Harmony of the World the composer conducting in Munich.

1966 Birth of Argentinian composer Juan María Solare in Buenos Aires.

1968 FP of Darius Milhaud’s Music for New Orleans to celebrate the 250th anniversary of New Orleans in 1966, it was rejected. Aspen Festival in Colorado.

1969 Death of soprano Miriam Licette.

1974 Death of mezzo-soprano Maria Maksakova.

1984 FP of S. Rachmaninoff’s opera Monna Vanna Act 1 orchestrated by Igor Buketoff, posthumously, at a concert performance in Saratoga, NY. In 1907 Rachmaninoff left it unfinished.

1985 FP of Han Werner Henze’s realization of Monteverdi’s opera Il ritorno d’ Ulisse the Return of Ulysses’ at the Salzburg Festival.

1988 Death of French opera designer, producer, and director Jean-Pierre Ponnelle, in Munich.

1995 Death of bass Karel Berman.

1996 Death of Czech pianist, composer, and conductor Rafael Kubelik.

2003 FP of Judith Weir’s The Voice of Desire for voice and piano, with mezzo-soprano Alice Coote and pianist Julius Drakem at an afternoon BBC Proms concert at the Victoria and Albert Museum in London.

2003 FP of Mark O'Connor’s Violin Concerto No. 6 Old Brass. Academy of St. Martin in the Fields conducted by Kenneth Sillito, composer soloist at an evening BBC Proms concert at Royal Albert Hall in London.

2011 Death of Spanish violinist and conductor Jose Luis Garcia.

#classicalmusic #musichistory #today in music history #todayclassical #onthisday

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political-fluffle · 5 years ago

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How Trump Hollowed Out US National Security

Acting director of national intelligence Richard Grenell is just the latest in a cascade of temporary or vacant personnel in critical government positions.

As Richard Grenell, the current US ambassador to Germany, starts his second day on the job as the nation’s acting director of national intelligence, his arrival also marks the ouster of not only his predecessor, Joseph Maguire, but reportedly also of DNI principal executive Andrew Hallman. By the end of the day, almost all of the roles created after 9/11 literally to prevent the next 9/11 will be either vacant or lack permanent appointees.

While vacancies and acting officials have become commonplace in this administration, the moves by President Donald Trump this week represent a troubling and potentially profound new danger to the country. There will soon be no Senate-confirmed director of the National Counterterrorism Center, director of national intelligence, principal deputy director of national intelligence, homeland security secretary, deputy homeland security secretary, nor leaders of any of the three main border security and immigration agencies. Across the government, nearly 100,000 federal law enforcement agents, officers, and personnel are working today without permanent agency leaders, from Customs and Border Protection and Immigrations and Customs Enforcement to the Drug Enforcement Administration and the Bureau of Alcohol, Tobacco, Firearms, and Explosives.

All the posts, and many more top security jobs, are unfilled or staffed with leaders who have not been confirmed by the Senate. Trump has done an end-around, installing loyalists without subjecting them to legally mandated vetting and approval by Congress. (…)

The enduring vacancy at Liberty Crossing is indicative of an increasingly hollowed-out executive rank in government that will surely only worsen this year. The Justice Department has no third in command—the associate attorney general role has been vacant for more than two years now, ever since the departure of Rachel Brand—nor is there a Senate-confirmed administrator or deputy administrator for the DEA, which is a key part of the nation’s intelligence community. The ATF, a billion-dollar law enforcement agency with 5,000 personnel, hasn’t had a Senate-confirmed leader for five years. (…)

No department is in worse shape than the Department of Homeland Security, itself a post-9/11 creation meant to bring together under one roof the key agencies that protect the nation’s infrastructure, transportation, and borders.

April will mark a full year since DHS’s last Senate-confirmed secretary, Kirstjen Nielsen, was fired after not tackling border security aggressively enough for Trump. From April to November, the department was led by acting secretary Kevin McAleenan, who had been the Senate-confirmed CBP commissioner. (…)

Seems almost as if Putin's Bitch is deliberately weakening the country. Almost.

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cesarhcastrojr · 5 years ago

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