Early life.

Seyfried was born in Allentown, Pennsylvania, on December 3, 1985. Her mother, Ann ("née" Sander), is an occupational therapist, and her father, Jack Seyfried, is a pharmacist. She is of mostly German descent, with smaller amounts of English, Scots-Irish, and Welsh ancestry. Seyfried graduated from Allentown's William Allen High School in 2003.  She has an older sister, Jennifer Seyfried, a musician in the Philadelphia organ-driven rock band Love City. Seyfried enrolled at Fordham University in the fall of 2003, but did not attend after being offered her role in "Mean Girls".

Career.

Early work (1996–2006).

During Seyfried's time modeling, she appeared in the printed ads for clothing companies including Limited Too with Leighton Meester, and was featured on three covers of the "Sweet Valley High" novel series. She stopped modeling when she was 17, and worked as a waitress in a retirement community. Seyfried took voice lessons, studied opera, and trained with a Broadway coach while still a teen. She began acting as an extra in the daytime drama television series "Guiding Light". From 2000 to 2001, she portrayed the recurring character Lucy Montgomery on the CBS soap opera "As the World Turns". She played Joni Stafford on the ABC soap "All My Children" from 2002 to 2003.  In 2003, Seyfried auditioned to play the role of Regina George in "Mean Girls"; the role eventually went to Rachel McAdams. While she was initially considered to play the lead role of Cady Heron, played by Lindsay Lohan, the producers of the film decided that Seyfried should play Karen Smith, Regina's dim-witted "Plastic" friend and sidekick. The film was a box office success, earning over US$129 million in its theatrical run. Seyfried's performance in the film earned her, along with Lohan, Lacey Chabert, and McAdams, an MTV Movie Award in the category of "Best On-Screen Team". Seyfried auditioned to play the title character on UPN's television series "Veronica Mars". The role eventually went to Kristen Bell, and Seyfried portrayed Veronica's murdered best friend Lilly Kane. Her character was only shown in flashbacks. The show's creator, Rob Thomas, felt that Seyfried's portrayal as Lilly Kane was so outstanding that he used her more times in the show than he initially planned in the first season. Seyfried appeared in 10 episodes from 2004 to 2005.  In 2005, Seyfried played the lead character, Samantha, a role written by director Rodrigo García specifically for her, in one of the nine parts of the film "Nine Lives", composed of nine short films with different themes and an ensemble cast. For her performance, Seyfried, along with the film's other female leads, won an award from the Locarno International Film Festival, for Best Actress. The same year she played supporting character, Mouse, in the independent film "American Gun". In 2006 Seyfried appeared in five episodes of "Wildfire" as Rebecca and had a lead role as Chrissy in the short film "Gypsies, Tramps & Thieves", by writer-director Andrea Janakas. Seyfried also contributed a minor role as Julie Beckley in "Alpha Dog". From 2004 to 2006 Seyfried made multiple guest appearances on television series, including "House", "Justice", "", "American Dad!" and "".

Breakthrough (2006–2011).

Seyfried's profile gained prominence due to her role in the highly acclaimed HBO drama television series "Big Love". The series centers on a fictional fundamentalist Mormon family, in which Seyfried plays Sarah Henrickson, Bill and Barb's first daughter, who struggles with her family's polygamous faith. "Big Love" premiered in the United States on March 12, 2006. In December 2009, HBO confirmed that Seyfried would return for the show's fourth season, but that it would be her last, as Seyfried wished to concentrate on her film career and upcoming projects.  Following "Big Love" Seyfried had a supporting role, as Zoe, in the 2008 horror drama film "Solstice", and co-starred alongside Meryl Streep in "Mamma Mia!", a romantic comedy film adaptation of the 1999 musical of the same name. "Mamma Mia!" was Seyfried's first leading role. The film was the fifth highest-grossing film of 2008, and as of January 2013 was the 73rd highest-grossing film of all time. Her musical performance in "Mamma Mia!" was released on the film's soundtrack, for which she recorded five songs. As part of promotion for both the film and its soundtrack, Seyfried recorded a music video of the song "Gimme! Gimme! Gimme! (A Man After Midnight)".  In March 2008, Seyfried was cast in the comedy horror film "Jennifer's Body" as Anita "Needy" Lesnicki, the title character's best friend. The film, which premiered at the 2009 Toronto International Film Festival and was released to theaters on September 18, 2009, received mixed reviews from critics. The same year she was cast in the comedy-drama independent film "Boogie Woogie". She played Paige Oppenheimer, one of the lead roles in the ensemble movie. The movie was originally shown on June 26, 2009, at Edinburgh International Film Festival, and was shown in US theaters April 25, 2010. On February 22, 2009, Seyfried presented an award and performed at the 81st Academy Awards ceremony. In early March 2009 director Zack Snyder had tapped Seyfried to portray the lead role, Baby Doll, in "Sucker Punch", but Seyfried had to drop out of the film due to scheduling conflicts with "Big Love".  Seyfried starred alongside Channing Tatum in "Dear John", the film adaptation of the novel of the same name that was written by Nicholas Sparks. The film was released on February 5, 2010, and received generally negative reviews. Seyfried wrote and recorded "Little House", a song on one of the soundtracks of "Dear John". Kirk Honeycutt of The Hollywood Reporter said, "Seyfried gives the character and her relationship all she's got, but she can't do all the heavy lifting. The romance is too one-sided, and frankly, you can't blame her for steering her life into another channel." Despite the mixed reviews, "Dear John" became the first film to break up "Avatar"s box office reign at number one at the United States box office and grossed US$80 million in the US theatrically and US$115 million worldwide.  Seyfried appeared as the title character in the erotic thriller "Chloe", theatrically released by Sony Pictures Classics on March 26, 2010. "Chloe" originally premiered at the Toronto Film Festival in September 2009. In the film, Seyfried's character is an escort who is hired to test a husband, because his wife feels that she cannot trust his fidelity. "Chloe" enjoyed commercial success and became director Atom Egoyan's largest financial success. Seyfried's performance in the film also received favorable reviews from critics; it also helped her to gain industry acclaim and receive more opportunities to play more varied roles.  Later in 2010, Seyfried starred in the romantic-comedy film "Letters to Juliet", based on the book by Lise and Ceil Friedman, which was released to mixed reviews and was a box office success, generating US$80 million worldwide. She was named, and received an award as, the "Showest Breakthrough Female Star of The Year". She also won the "Scared-As-S**T" category for her performance in "Jennifer's Body" and was nominated for Best Female Performance for her movie "Dear John", at the 2010 MTV Movie Awards. Also in 2010, she was included in "Forbes"s "The 17 Stars To Watch" list, and received three nominations in the Teen Choice Awards, including for Choice Movie Actress Drama and Choice Movie Chemistry with her co-star Channing Tatum for their film "Dear John". Seyfried was also nominated for Choice Movie Actress Romantic Comedy for "Letters to Juliet".  In late January 2009, she became attached to appear in Myriad Pictures' adaptation of Oscar Wilde's comedy "A Woman of No Importance". The film was set to be released in 2011. In 2010, however, reports indicated that the film might not be produced due to lack of financing. In 2009, she was scheduled to appear in the movie "Albert Nobbs"; she ultimately dropped out due to scheduling conflicts and was replaced by Mia Wasikowska. Seyfried played the starring role of Valerie in Catherine Hardwicke's "Red Riding Hood"; it was released on March 11, 2011, to mostly negative reviews, but earned US$90 million worldwide on a US$42 million budget. She also played the lead role of Sylvia Weis in Andrew Niccol's "In Time", which reunited her with her "Alpha Dog" co-star, Justin Timberlake, released in October 2011 to mixed reviews but grossed more than US$172 million worldwide. Also in 2011, Seyfried became a spokesperson and model for Cle de Peau Beaute, a Japanese line of beauty products.

Further success (2012–present).

Seyfried starred in the thriller "Gone", released in early 2012. Later that year, she played Cosette in the film adaptation of the musical "Les Misérables". The film, and her performance, received acclaim from critics, and was nominated for an Academy Award for Best Picture and earned a total of US$440 million worldwide.  In 2013, Seyfried appeared in the comedy "The Big Wedding", had a voice role in the successful animated movie "Epic" and played Linda Lovelace in the biopic "Lovelace". Her performance in the latter film earned Seyfried critical acclaim from film critics. She appeared in the 2013 drama "The End of Love". She was also signed to play the role of Ann Burden in the dramatization of the Robert O'Brien post-apocalyptic novel "Z for Zachariah", but was replaced by Margot Robbie after production was pushed back. In 2013, she began modeling for Givenchy.  In 2015, she starred in the comedy "Ted 2", alongside Mark Wahlberg and Seth MacFarlane, and played Peter Pan's mother in the film "Pan".  In 2018, she starred as Anon, a futuristic visual hacker, in the Netflix original film "Anon", with Clive Owen; and reprised her role as Sophie Sheridan in the "Mamma Mia!" sequel, "Mamma Mia! Here We Go Again", which was released in July.  In 2019, Seyfried starred as Eve in "The Art of Racing in the Rain", a comedy-drama based on bestselling book of the same name. She provided the voice of Daphne Blake in the 2020 film "Scoob!"

Personal life.

Seyfried has stated that she suffers from anxiety, obsessive compulsive disorder, and panic attacks. She also has stage fright and avoided performing in theater productions until April 2015.  Seyfried dated her "Mamma Mia!" co-star Dominic Cooper on and off from 2008 to 2010 and actor Justin Long from 2013 to 2015. Seyfried began dating actor and "The Last Word" co-star Thomas Sadoski early in 2016. The couple confirmed their engagement on September 12, 2016, and in March 2017, they were married in a private ceremony. On March 24, 2017, it was announced that Seyfried had given birth to the couple's first child, a daughter.  Seyfried is a board member of the NGO INARA, which helps refugee children injured as a result of conflict, by providing them with the treatment they need.

In the media.

Seyfried has received numerous accolades from "People" magazine, which ranked her number one in a 2011 article featuring "25 Beauties (and Hotties) at 25"; she was also included in the magazine's annual beauty list in 2009 and 2010. Additionally, she appeared in the "Beautiful at Every Age" article in 2012. Seyfried was featured in "Vanity Fair"<nowiki>'</nowiki>s "Bright Young Hollywood" article in 2008, and appeared on the magazine's cover with several other actresses in 2010.

Amanda Michelle Seyfried ( ; born December 3, 1985) is an American actress and model. Born and raised in Allentown, Pennsylvania, Seyfried began modelling when she was 11 and ventured into acting when she was 15 with recurring roles as Lucy Montgomery on the CBS soap opera "As the World Turns" (1999-2001) and Joni Stafford on the ABC soap "All My Children" (2003). She gained prominence following her feature film debut in the teen comedy "Mean Girls" (2004) and her recurring role as Lilly Kane on the UPN television series "Veronica Mars" (2004–2006). She went on to have supporting roles in independent films such as "Nine Lives" (2005) and "Alpha Dog" (2006), and portrayed Sarah Henrickson on the HBO series "Big Love" (2006-2011).

Amanda Seyfried (* 3. prosince 1985, Allentown, Pensylvánie, USA) je americká herečka, zpěvačka-skladatelka a bývalá dětská modelka. Svou hereckou kariéru zahájila v patnácti letech.


Nutritional content.

Brown rice and white rice have similar amounts of calories and carbohydrates. Brown rice is a whole grain and a good source of magnesium, phosphorus, selenium, thiamine, niacin, vitamin B6, and manganese, and is high in fiber. White rice, unlike brown rice, has the bran and germ removed, and therefore has different nutritional content.  Brown rice is whole rice from which only the husk (the outermost layer) is removed. To produce white rice, the next layers underneath the husk (the bran layer and the germ) are removed leaving mostly the starchy endosperm.  Several vitamins and dietary minerals are lost in this removal and the subsequent polishing process. Among these are oil in the bran, which is removed along with the bran layer, dietary fiber, small amounts of fatty acids, and magnesium. A part of these missing nutrients, such as vitamins B and B, and iron, are sometimes added back into the white rice. In the US the result is called "enriched rice" and must comply with Food and Drug Administration (FDA) regulations for this name to be used.  It has been found that germinated grains in general have nutritional advantages. Germinated brown rice (GBR), developed during the International Year of Rice, is brown rice that has been soaked for 4–20 hours in warm water before cooking. This stimulates germination, which activates various enzymes in the rice, giving rise to a more complete amino acid profile, including GABA. Cooked brown rice tends to be chewy; cooked GBR is softer, and preferred particularly by children.

Cooking time.

Brown rice generally needs longer cooking times than white rice, unless it is broken or flourblasted (which perforates the bran without removing it). Studies by Gujral and Kumar in 2003 estimated a cooking time between 35 and 51 minutes.

Modifications.

Parboiled rice is a modified process that forces into the kernel some of the vitamins found in the hull before the hull is removed. The process provides more nutrition than white rice while shortening the time necessary for final meal preparation.

Storage.

Brown rice has a shelf life of approximately 6 months, but hermetic storage, refrigeration or freezing can significantly extend its lifetime. Freezing, even periodically, can also help control infestations of Indian meal moths.

Arsenic.

Rice plants accumulate arsenic, and there have been concerns over excessive arsenic levels in rice. There is more arsenic in the bran, so brown rice contains more arsenic. The European Union has introduced regulations on arsenic in rice, but the United States has not.  Natural arsenic levels in groundwater and soils vary. Rice grown in some regions contains less arsenic than others. Arsenic from pesticides and poultry fertilizer may be taken up by rice.  A 2012 report from the US publication "Consumer Reports" found measurable levels of arsenic in nearly all of the 60 varieties of rice and rice products it tested in the US. "Consumer Reports" states that brown rice has 80 percent more inorganic arsenic on average than white rice of the same type, because the arsenic tends to accumulate in the outer layers of the grain. Its 2013 analysis found that rice cereal and pasta can possess significantly more inorganic arsenic than the 2012 data showed; "Consumer Reports" said just one serving of rice cereal or pasta could place children over the maximum amount of rice it recommended for their weekly allotment, due to arsenic content. One study published in the Proceedings of the "National Academy of Sciences" (US) journal found a median level of arsenic that was 56% higher in the urine of women who had eaten rice.

Brown Rice is a whole-grain rice with the inedible outer hull removed. White rice is the same grain but has the hull, bran layer, and cereal germ removed. Red rice, gold rice, and black rice (also called purple rice) are all whole rices, but with differently pigmented outer layers.

Hnědá rýže (: (玄米); : (糙米); : (현미); : ; : ) je rýže, u které je odstraněna pouze slupka. Po uvaření má mírně tuhou konzistenci a chutná po oříšcích. Je výtečným zdrojem nestravitelné vlákniny, vitamínů a stopových prvků.


Early life.

Mary Arthur was born in Greenwich, New York, the last of nine children born to William and Malvina S. Arthur. Arthur's mother, Malvina Stone, was born in Vermont, the daughter of George Washington Stone and Judith Stevens. Malvina's family was primarily of English and Welsh descent, and her grandfather, Uriah Stone, fought in the Continental Army during the American Revolution. Her father, William Arthur, was born in Dreen, Cullybackey, County Antrim, Ireland; he graduated from college in Belfast and emigrated to Canada in 1819 or 1820. Her mother met her father while William Arthur was teaching at a school in Dunham, Quebec, just over the border from her native Vermont.  She attended the Emma Willard School Seminary in Troy, New York.

Acting First Lady of the United States.

In November 1880, Mary's brother Chester Arthur was elected vice president. In July 1881, President James Garfield was fatally wounded and died on September 19, 1881. Arthur succeeded him as president, and asked McElroy to care for his young daughter Ellen and act as "Mistress of the White House." Because she had her own family in Albany, McElroy lived in Washington, D.C. only during the busy winter social season. Although Arthur never officially granted her the protocol of a formal position, she proved to be a popular and competent hostess. The procedures she and her brother developed for the social functions were used by future First Ladies for decades.  McElroy presided over a number of events and honored former First Ladies Julia Tyler and Harriet Lane, James Buchanan's niece and social hostess, by asking them to help her receive guests at the White House. McElroy's oldest daughter May and Arthur's daughter Nell often assisted. Her final reception took place on February 28, 1885, one week before the end of the Arthur administration: 3,000 people attended (including Adolphus Greely) and 48 daughters of officials and of the social elite assisted her.  McElroy and her husband were supportive of civil rights for African Americans and hosted Booker T. Washington at their home in Albany in June 1900. She was a member of the "Albany Association Opposed to Women's Suffrage".

Personal life.

On June 13, 1861, she married John Edward McElroy (1833–1915), the son of William McElroy and Jane Mullen. McElroy was an insurance salesman who was the president of the Albany Insurance Company. They lived in Albany, New York, and had four children:  She died on January 8, 1917 at the age of 75 in Albany, New York and was buried at Albany Rural Cemetery.

References.

Notes Sources

Mary McElroy ("née" Arthur; July 5, 1841 – January 8, 1917) was the sister of the 21st President of the United States, Chester A. Arthur, and served as a hostess (acting as the First Lady) for his administration (1881–1885). She assumed the role because Arthur's wife, Ellen Lewis Herndon Arthur, had died nearly two years earlier.

Mary Arthurová McElroyová (5. července 1841, Greenwich, New York – 8. ledna 1917, Albany, New York) byla sestrou 21. prezidenta USA Chestera A. Arthura a v letech 1881 až 1885 vykonávala funkci první dámy USA, protože Chester A. Arthur byl od roku 1880 vdovec.


History.

Electromagnetic induction was discovered independently by Michael Faraday in 1831 and Joseph Henry in 1832. Faraday was the first to publish the results of his experiments. In Faraday's first experimental demonstration of electromagnetic induction (August 29, 1831), he wrapped two wires around opposite sides of an iron ring (torus) (an arrangement similar to a modern toroidal transformer). Based on his assessment of recently discovered properties of electromagnets, he expected that when current started to flow in one wire, a sort of wave would travel through the ring and cause some electrical effect on the opposite side. He plugged one wire into a galvanometer, and watched it as he connected the other wire to a battery. Indeed, he saw a transient current (which he called a "wave of electricity") when he connected the wire to the battery, and another when he disconnected it. This induction was due to the change in magnetic flux that occurred when the battery was connected and disconnected. Within two months, Faraday had found several other manifestations of electromagnetic induction. For example, he saw transient currents when he quickly slid a bar magnet in and out of a coil of wires, and he generated a steady (DC) current by rotating a copper disk near the bar magnet with a sliding electrical lead ("Faraday's disk").  Michael Faraday explained electromagnetic induction using a concept he called lines of force. However, scientists at the time widely rejected his theoretical ideas, mainly because they were not formulated mathematically. An exception was James Clerk Maxwell, who in 1861–62 used Faraday's ideas as the basis of his quantitative electromagnetic theory. In Maxwell's papers, the time-varying aspect of electromagnetic induction is expressed as a differential equation which Oliver Heaviside referred to as Faraday's law even though it is different from the original version of Faraday's law, and does not describe motional EMF. Heaviside's version (see Maxwell–Faraday equation below) is the form recognized today in the group of equations known as Maxwell's equations.  Lenz's law, formulated by Emil Lenz in 1834, describes "flux through the circuit", and gives the direction of the induced EMF and current resulting from electromagnetic induction (elaborated upon in the examples below).

Faraday's law.

The most widespread version of Faraday's law states:  The closed path here is, in fact, conductive.

Mathematical statement.

For a loop of wire in a magnetic field, the magnetic flux is defined for any surface whose boundary is the given loop. Since the wire loop may be moving, we write for the surface. The magnetic flux is the surface integral:  where is an element of surface area of the moving surface, is the magnetic field, and is a vector dot product representing the element of flux through. In more visual terms, the magnetic flux through the wire loop is proportional to the number of magnetic field lines that pass through the loop.  When the flux changes—because changes, or because the wire loop is moved or deformed, or both—Faraday's law of induction says that the wire loop acquires an EMF, defined as the energy available from a unit charge that has traveled once around the wire loop. (Some sources state the definition differently. This expression was chosen for compatibility with the equations of Special Relativity) Equivalently, it is the voltage that would be measured by cutting the wire to create an open circuit, and attaching a voltmeter to the leads.  Faraday's law states that the EMF is also given by the rate of change of the magnetic flux: where formula_3 is the electromotive force (EMF) and is the magnetic flux.  The direction of the electromotive force is given by Lenz's law.  The laws of induction of electric currents in mathematical form was established by Franz Ernst Neumann in 1845.  Faraday's law contains the information about the relationships between both the magnitudes and the directions of its variables. However, the relationships between the directions are not explicit; they are hidden in the mathematical formula.  It is possible to find out the direction of the electromotive force (EMF) directly from Faraday’s law, without invoking Lenz's law. A left hand rule helps doing that, as follows:  For a tightly wound coil of wire, composed of identical turns, each with the same, Faraday's law of induction states that  where is the number of turns of wire and is the magnetic flux through a single loop.

Maxwell–Faraday equation.

The Maxwell–Faraday equation states that a time-varying magnetic field always accompanies a spatially varying (also possibly time-varying), non-conservative electric field, and vice versa. The Maxwell–Faraday equation is  (in SI units) where is the curl operator and again is the electric field and is the magnetic field. These fields can generally be functions of position and time.  The Maxwell–Faraday equation is one of the four Maxwell's equations, and therefore plays a fundamental role in the theory of classical electromagnetism. It can also be written in an integral form by the Kelvin–Stokes theorem, thereby reproducing Faraday's law:  where, as indicated in the figure:  Both and have a sign ambiguity; to get the correct sign, the right-hand rule is used, as explained in the article Kelvin–Stokes theorem. For a planar surface, a positive path element of curve is defined by the right-hand rule as one that points with the fingers of the right hand when the thumb points in the direction of the normal to the surface.  The integral around is called a path integral or line integral.  Notice that a nonzero path integral for is different from the behavior of the electric field generated by charges. A charge-generated -field can be expressed as the gradient of a scalar field that is a solution to Poisson's equation, and has a zero path integral. See gradient theorem.  The integral equation is true for "any" path through space, and any surface for which that path is a boundary.  If the surface is not changing in time, the equation can be rewritten: The surface integral at the right-hand side is the explicit expression for the magnetic flux through.  The electric vector field induced by a changing magnetic flux, the solenoidal component of the overall electric field, can be approximated in the non-relativistic limit by the following volume integral equation: where is the boundary (loop) of the surface, and is the velocity of a part of the boundary.  In the case of a conductive loop, EMF (Electromotive Force) is the electromagnetic work done on a unit charge when it has traveled around the loop once, and this work is done by the Lorentz force. Therefore, EMF is expressed as  where formula_3 is EMF and is the unit charge velocity.  In a macroscopic view, for charges on a segment of the loop, consists of two components in average; one is the velocity of the charge along the segment, and the other is the velocity of the segment (the loop is deformed or moved). does not contribute to the work done on the charge since the direction of is same to the direction of formula_9. Mathematically,  formula_10  since formula_11 is perpendicular to formula_9 as formula_13 and formula_9 are along the same direction. Now we can see that, for the conductive loop, EMF is same to the time-derivative of the magnetic flux through the loop except for the sign on it. Therefore, we now reach the equation of Faraday's law (for the conductive loop) as  where formula_7. With breaking this integral, formula_17 is for the transformer EMF (due to a time-varying magnetic field) and formula_18 is for the motional EMF (due to the magnetic Lorentz force on charges by the motion or deformation of the loop in the magnetic field).

EMF for non-thin-wire circuits.

It is tempting to generalize Faraday's law to state: "If'is any arbitrary closed loop in space whatsoever, then the total time derivative of magnetic flux through'equals the EMF around ""." This statement, however, is not always true and the reason is not just from the obvious reason that EMF is undefined in empty space when no conductor is present. As noted in the previous section, Faraday's law is not guaranteed to work unless the velocity of the abstract curve matches the actual velocity of the material conducting the electricity. The two examples illustrated below show that one often obtains incorrect results when the motion of is divorced from the motion of the material.  One can analyze examples like these by taking care that the path moves with the same velocity as the material. Alternatively, one can always correctly calculate the EMF by combining Lorentz force law with the Maxwell–Faraday equation: where "it is very important to notice that (1) is the velocity of the conductor... not the velocity of the path element and (2) in general, the partial derivative with respect to time cannot be moved outside the integral since the area is a function of time."

Faraday's law and relativity.

Two phenomena.

Faraday's law is a single equation describing two different phenomena: the "motional EMF" generated by a magnetic force on a moving wire (see the Lorentz force), and the "transformer EMF" generated by an electric force due to a changing magnetic field (described by the Maxwell–Faraday equation).  James Clerk Maxwell drew attention to this fact in his 1861 paper "On Physical Lines of Force". In the latter half of Part II of that paper, Maxwell gives a separate physical explanation for each of the two phenomena.  A reference to these two aspects of electromagnetic induction is made in some modern textbooks. As Richard Feynman states:

Einstein's view.

Reflection on this apparent dichotomy was one of the principal paths that led Albert Einstein to develop special relativity:

Faraday's law of induction (briefly, Faraday's law) is a basic law of electromagnetism predicting how a magnetic field will interact with an electric circuit to produce an electromotive force (EMF)—a phenomenon known as electromagnetic induction. It is the fundamental operating principle of transformers, inductors, and many types of electrical motors, generators and solenoids.

Zákon elektromagnetické indukce je fyzikální zákon, který vyslovil v r. 1831 Michael Faraday. Tento zákon pojednává o vzniku elektrického napětí v uzavřeném elektrickém obvodu, který je způsoben změnou magnetického indukčního toku, což je označováno jako elektromagnetická indukce.


Early life.

Anna Maria Mazzini was born into a working-class family in Busto Arsizio, Lombardy. The family moved to work in Cremona in her childhood. She listened to American rock and roll and jazz records and was a frequent visitor at the Santa Tecla and the Taverna Messicana clubs of Milan, both known for promoting rock and roll. After finishing high school in 1958, she attended college where she majored in accounting.

Career.

Queen of Screamers (1958–1961).

While on summer holiday in Versilia on 8 August 1958, Mazzini gave an improvised performance of the song "Un'anima tra le mani" to amuse her family after a concert at the night club. During the following nights, Sergio Bernardini, the owner of the club, held her back in her attempts to get back on stage.  In September, she started her solo career with the backing of the band Happy Boys. Her concert in September 1958, before an audience of 2,500 people at the Theatre of Rivarolo del Re, won enthusiastic approval from local critics. She soon signed with Davide Matalon, owner of the small record company Italdisc. Her first single, "Non partir"/"Malatia", was produced under the stage name Mina for the Italian audience. Simultaneously, "Be Bop A Lula"/"When" was issued under the name "Baby Gate" for the international audience. "Baby" was chosen as a contrast to her 178 cm height (5 ft 10 in) – exceptionally tall for an Italian woman – and "Gate" as a tribute to The Golden Gate Quartet. In December, her performance at the of Milan was described by the "La Notte" newspaper as the "birth of a star". It was Mina's last performance with the Happy Boys, as her family refused to let her skip college for a scheduled tour of Turkey.  Less than a month after the breakup with her previous band, Mina co-founded a new group called Solitari, which consisted of a singer, a saxophonist, a pianist, a contrabassist, and a guitarist. Her first hit with the band featured Mina performed an extra-loud, syncopated version of the popular song "Nessuno" ("Nobody"), which she performed at the first rock festival in the Milan Ice Palace in February 1959. Performances of the song on the TV game shows "Lascia o raddoppia?" and "Il musichiere" on 1 March and 4 April were hailed by Italian critics. The starlet signed with Elio Gigante, an experienced artist manager. In the following years, he organized her performances in the grand ballrooms of Italy. Her first Italian #1 hit was the up-tempo "Tintarella di luna" ("Moon Tan") in September 1959, which was performed in her first "musicarello" (musical comedy film), "Juke box – Urli d'amore". In late 1959, Matalon had her drop the name Baby Gate in favour of Mina.

Growing up (1960–1965).

In 1960, Mina made her Festival della canzone italiana in Sanremo debut with two songs. She turned to slow emotional love songs for the first time. The song "È vero" ("It's True") reached #8 on the Italian charts. Gino Paoli's song "Il cielo in una stanza" ("The Sky in a Room") marked the beginning of the young singer's transformation from a rock and roll shrieker to a feminine inspiration for cantautori. The idea for the song "Love can grow at any moment at any place" had come to Paoli while lying on a bed and looking at the purple ceiling. The single topped the list of annual sales in Italy and reached the Billboard Hot 100 as "This World We Love In". Video performances of the song were included in the musicarellos "Io bacio... tu baci" and "Appuntamento a Ischia", and in 1990, in the soundtrack of the film "Goodfellas". At the 1961 Sanremo song festival, Mina performed two songs. "Io amo, tu ami" ("I Love, You Love") finished fourth and "Le mille bolle blu" ("A Thousand Blue Bubbles") placed fifth. Disappointed with these results, Mina declared her intention of never performing at the Sanremo song festival again.  As her songs and movies were already popular abroad, Mina started to tour Spain and Japan, and performed on Venezuelan TV in 1961. Mina performed on Spanish TV and at the Paris Olympia hall at the beginning of 1962. The presentation of her German single "Heißer Sand" on 12 March 1962 on Peter Kraus's TV show caused a boom of 40,000 record sales in ten days in Germany. The record went to #1 and spent over half the year on the German charts in 1962. Mina had six more singles on the German chart in the next two years. In a listeners' poll conducted in July 1962 in Germany, Austria, and the German-speaking portion of Switzerland, Mina was voted the most popular singer in the world. In May 1962, she performed in Buenos Aires. Meanwhile, her version of the mambo rhythm "Moliendo Cafe" and the surf pop "Renato" peaked at #1 and #4 respectively on the Italian charts. "L'eclisse twist" appeared on the flipside of "Renato", and was used on the soundtrack of Michelangelo Antonioni's feature film "Eclipse".  In 1963 Mina's TV and radio career was interrupted by RAI, the Italian public broadcasting service, as she refused to cover up her relationship (and resulting pregnancy) with the married actor Corrado Pani. Mina's record sales were unaffected and due to public demand, RAI ended the ban. On 10 January 1964 she returned to the TV screen on the program "La fiera dei sogni", and performed the song "Città vuota", a cover of Gene McDaniels' "It's a Lonely Town (Lonely Without You)", which was her first release on the RiFi label. Her next single, "È l'uomo per me", a cover of Jody Miller's "He Walks Like a Man", became the biggest selling record of the year in Italy. Her new melodic manner was demonstrated again on 11 December 1964 TV program "Il macchiettario", where she performed "Io sono quel che sono" ("I Am What I Am"). A reminder of her previous adolescent image, her single "Suna ni kieta namida" ("Tears Disappear in the Sand"), sung in Japanese, peaked at #1 on the Japanese singles chart and earned Mina the title of Best International Artist in Japan.  The first episode of the "Studio Uno" live Saturday night series showcased Mina's new blond look with shaved eyebrows. The shows included the brooding songs "Un bacio è troppo poco" ("One Kiss is Not Enough") and "Un anno d'amore" ("A Year of Love"), a cover of Nino Ferrer's "C'est irreparable". In the same series she performed "Brava" ("Good"), a rhythmic jazz number specially written by Bruno Canfora to demonstrate the Mina's vocal range and performing skills. Her "Studio Uno" album topped the Italian chart that year. Her recordings of 1965 included the scatting performance of "Spirale Waltz", the theme song for the film "The 10th Victim".

Independence (1966–1968).

Maurizio Costanzo and Ghigo De Chiara wrote the lyrics of "Se telefonando" ("If Over the Phone") as the theme for the TV program "" in spring 1966. The lyrics were composed in a dark, Hal David mode. The serialist composer Ennio Morricone was asked to compose the music. Mina and the three songwriters met in a RAI rehearsal room at Via Teulada, Rome. Morricone started to repeat a short musical theme of just three notes (by his term a "micro-cell") on an upright piano. He had copied the snippet of melody from the siren of a police car in Marseilles. After a few bars Mina grabbed the lyrics sheet and started to sing as if she had known the tune before. Composed in this way, "Se telefonando" is a pop song with eight transitions of tonality that builds tension throughout the chorus. Morricone's arrangement featured a sophisticated combination of melodic trumpet lines, Hal Blaine-style drumming, a string set, a 1960s Europop female choir, and intense subsonic-sounding trombones. "Se telefonando" was presented in May 1966 in a "Studio Uno" episode and in August the same year at "Aria condizionata". The single peaked at #7 on the Italian chart and was 53rd in the annual list of sales. The album "Studio Uno 66" featured the song as one of the standout tracks along with "Ta-ra-ta-ta" and "Una casa in cima al mondo". It was the fifth biggest selling album of the year in Italy.  In 1966, Mina started working with the Swiss Broadcasting Service and the Orchestra Radiosa in Lugano. She founded the independent record label in collaboration with her father. The first record issued under the label was "Dedicato a mio padre" (Dedicated to My Father). Mina's growing interest in Brazilian music resulted in "" ("The Band"), a Chico Buarque song, which reached #3 in Italy. Mina continued to perform on Italian TV, and presented "Zum zum zum" on the spring 1967 variety series "Sabato sera", accompanied by the NATO naval band. The series also included "La coppia più bella del mondo" ("The Most Beautiful Couple in the World"), a duet with Adriano Celentano. The title of the song "Sono, come tu mi vuoi" ("I Am, as You Want Me to Be") was taken from Luigi Pirandello's play "". The lyrics talk about the manic attention of the press on an artist's private life. Another hit from "Sabato sera" was "L'immensità" ("Immensity"), which was re-scored by Augusto Martelli and released as "La inmensidad" in Spain and Latin American countries.  RAI broadcast the third episode of "Senza Rete" ("Without Safety Net") live on 18 July 1968 from the Auditorio A of the corporation's regional headquarters in Naples. The program presented Mina's homage to Luigi Tenco, who had recently died. She turned his song "Se stasera sono qui" ("If I Stay Here Tonight") into a rigorous piece of soul music in the score of Pino Calvi. She celebrated the 10th anniversary of her career with a concert at La Bussola, backed by the Orchestra Augusto Martelli. The concert was recorded and issued as "Mina alla Bussola dal vivo".  "" was a Saturday night prime time variety show that aired on Rai Uno from September 1968 to January 1969. It was hosted by Mina, Walter Chiari and Paolo Panelli. The orchestrations were scored by the conductors Bruno Canfora and Augusto Martelli. "Sacumdì Sacumdà", Mina's talking and laughing version of Carlos Imperial's bossa nova "Nem Vem Que Não Tem", narrowly escaped a ban by RAI because of its irreverent lyrics. The song was performed as part of a musical fantasy, back to back with "Quelli che hanno un cuore", her intense version of "Anyone Who Had a Heart". Another interpretation of a Dionne Warwick song was "La voce del silenzio" ("Silent Voices") by Paolo Limiti and Elio Isola, presented in a live session during the show. "Niente di niente" ("Nothing at All") was her version of the Delfonics' "Break Your Promise". The series also included the songs "Fantasia", "La musica è finita" ("The Music is Over") and the elegant "Un colpo al cuore" ("Heart Attack"). "Un colpo al cuore" ended up as #68 on the best-selling singles chart for that year in Italy. Each show was closed by Mina singing "Vorrei che fosse amore" ("Wish It Was Love"), a piece of atmospheric music by Bruno Canfora that was #50 on the best-selling singles chart for 1968 in Italy. A selection of songs from the series were issued as the album "Canzonissima '68".

Mogol-Battisti (1969–1973).

After a break of three months, Mina returned and recorded the song "Non credere" ("Disbelieve"), composed by Luigi Clausetti and Pietro Soffici, with lyrics by Mogol, in April. The single became the third biggest-selling record of the year in Italy. Mogol and his fellow composer Lucio Battisti, along with the Premiata Forneria Marconi on back-up instrumentals, worked with Mina on several songs as a result of the success of "Non credere". The team produced a set of songs including "" ("You and Me Alone"), "Insieme" ("Together"), "Amor mio" ("Love of Mine"), "Io vivrò senza te" ("I'll Live without You"), "" ("And I Think of You"). One of the first introductions of the new repertoire was the "Senza Rete" live televised concert from the Auditorio A in Naples on 20 January 1970. The material provided by Mogol-Battisti was the core for five albums. Among them, "...bugiardo più che mai...più incosciente che mai..." was Mina's first independent album to reach #1 of the weekly Italian charts and was the biggest selling album of 1969 in Italy. "...quando tu mi spiavi in cima a un batticuore..." was seventh on the annual record chart of 1970. "Del mio meglio..." ("My Best...") was second in 1971. "Mina" was the biggest seller of 1972. The latter two albums were recorded during a break from live performances to give birth to her daughter Benedetta. Mina's comeback took place at RAI's variety series "Teatro 10" in spring 1972. One of the highlights of the series was a selection of Battisti's songs performed in duet with the composer. The shows also included "Balada para mi muerte" ("Ode to My Death"), a nuevo tango duet with Ástor Piazzolla at the bandoneón, backed by the Argentinian group Conjunto 9. "Grande grande grande", arranged by Pino Presti, was the second biggest-selling single of the year in Italy. The successes encouraged Enrico Riccardi to copy Battisti's style in Riccardi's composition "Fiume azzurro", which earned another place in the top 100 of annual record sales in Italy.  The final number of the eight "Teatro 10" episodes was "Parole parole" ("Words Words"), a duet with Alberto Lupo. The song is an easy listening dialogue between Mina's singing and Lupo's declamation. The lyrics' theme are hollow words. These intertwine the lady's lamentation of the end of love and the lies she has to hear with the male protagonist's recitation. In the dialog she scoffs at the compliments he gives her, calling them "parole" – just words. The single was released in April 1972 and topped the Italian charts. It was covered by numerous Italian and French duets.  Mina said she would be retiring from public appearances after an exclusive concert at the La Bussola Club on 16 September. Thousands of people turned up at the nightclub's doorstep. Gianni Ferrio's Orchestra featured Gianni Basso on tenor saxophone and Oscar Valdambrini on trumpet.  Mina lost her husband Virgilio Crocco in a car accident in 1973. She continued her career with the top Italian chart hits "E poi..." ("And Then...") and "L'importante è finire" ("It's Important to Finish"). She recorded the theme song "Fa presto, fa piano" ("Works Quickly, Works Quietly") for the film "La sculacciata", issued in 1974.

Since 1974.

Mina's last live TV appearance was the final episode of the "Milleluci" series on 16 March 1974. Mina was the hostess of the series alongside Raffaella Carrà. During the series, she explored different musical styles in the songs "Everything's Alright", "Mack the Knife", "Night and Day", and "Someday (You'll Want Me to Want You)". After "Non gioco più" ("The Game Is Over"), a blues duet with the harmonica player Toots Thielemans, Mina announced her withdrawal from public performances.  Her last appearance on TV was her performance of "Ancora ancora ancora". The video was the final number of the "Mille e una luce" show on 1 July 1978. Her last concert appearances, a series of thirteen fully booked concerts at La Bussola in 1978, were cut short due to her illness. Mina gave her last public performance on 23 August 1978 at the Bussoladomani theatre. It was recorded and issued as "Mina Live '78". Mina continued to release albums on a yearly basis with her son Massimiliano Pani as the producer. Between 1972 and 1995, she published a double album each year. From 1973, her LPs and CDs have been characterized by artistic motifs of the designers Luciano Tallarini, Gianni Ronco and the photographer Mauro Balletti. From the mid-1980s, the design of the album covers was trusted to Balletti alone.  All of Mina's records under the PDU label have reached the Italian Top 100. A large part of her work has consisted of covering well-known songs; she has dedicated tribute albums to The Beatles, Frank Sinatra, Renato Zero, Domenico Modugno, Lucio Battisti, Enzo Jannacci, the Neapolitan song, and sacred music. Starting in 1989, all of her records included the jazzy piano playing of Danilo Rea.  After leaving the stage, her greatest chart successes have been duets. In 1985, "Questione di feeling", a duet with Riccardo Cocciante, was the 13th biggest-selling single of the year in Italy and became an evergreen (as a hit song is called in Europe). The duet album "Mina Celentano", recorded with Adriano Celentano, was the biggest-selling album of 1998 in Italy.  The break in Mina's TV appearances lasted until 2001, when she released footage of her recording sessions. The videos were broadcast over the Wind internet site on 30 March. This resulted in millions of visits to the site on that night, and additional millions on following days. The footage was released as the DVD "Mina in Studio".  After that event, Mina's singles started to chart in Italy again. The track "Succhiando l'uva" (2002), written for her by Zucchero, peaked at #3 on the chart. Mina's cover of "Don't call me baby (Can't take my eyes off you)" (2003) reached #4 in Italy. The single "Alibi" (2007) reached #6 in Italy. The triple CD "The Platinum Collection" reached #1 on the Italian charts. So did "Olio" (1999), "Veleno" (2002), "Bula Bula" (2005), "Todavía" (2007), "Le migliori" (2016) and "Maeba" (2018).  Mina's later releases included duets with Mick Hucknall, Fabrizio De André, Piero Pelù, Adriano Celentano, Lucio Dalla, Joan Manuel Serrat, Chico Buarque, Miguel Bose, Tiziano Ferro, Giorgia and Seal.  In recent years, Mina has been writing a weekly column on the front page of "La Stampa" (from 2000 until 2011) and a page in the Italian edition of the magazine "Vanity Fair", where she answered fan letters (from 2003 until 2015).  Mina continues to publish gold selling albums to the present. She alternates pop albums with jazz-arranged projects and other styles, and keeps surprising with new musical collaborations.  Meanwhile, her voice and songs are omnipresent in radio and TV commercials, theme tune of sports programs, talent shows (where they sing classics), tribute shows, new covers, and even as samples in the recordings of other artists (for example rapper Mondo Marcio).  Although not appearing live, she opened and closed the 2009 national Sanremo festival with her version of the Puccini opera aria "Nessun dorma". Her voice was also present, singing a cover in video's by main sponsor TIM, at the Festival editions of 2017 and 2018.  In 2016 there was quite hype about a second album of Mina and Celentano together: Le Migliori. It became the best selling album of the year in Italy.  Mina's surprising new album 'MAEBA' in 2018 debuted again at the Number 1 spot of the Italian albums and vinyls hitparade.

Musical style and public image.

Voice.

Mina is a soprano with great agility and a range of three octaves. Swingy and anti-melodic in her early years ("Tintarella di luna", 1959), her singing later acquired high dramatic tones. Louis Armstrong famously declared her to be "the greatest white singer in the world".

Queen of Screamers.

Caught up in the wave of rock and roll sweeping across Italy in 1958, Mina listened to American records and was a frequent visitor at the, the Santa Tecla, and the Taverna Messicana clubs of Milan, which promoted rock and roll music. Mina's repertoire at the beginning of her career included clumsy imitations of British and American rock and jazz songs, while her extra-loud and syncopated version of the song "Nessuno" showcased her excellent sense of rhythm. Earlier in 1958, Domenico Modugno had caused astonishment by raising his hands in the air during his performance of Nel blu dipinto di blu ("Volare"). In Mina's first TV appearances she further broke with tradition by shaking her head, hands, and hips to the rhythm. The writer Edoardo Sanguineti recalled the Italian public's first encounter with the enthusiastic singer as: TV host Mario Riva named her one of the "urlatori" (screamers), for her distinctive timbre and power. Later, the public called Mina the Queen of the Screamers. Her extravagant gestures earned her another nickname – "The Tigress of Cremona" (la Tigre di Cremona).

Grown up.

Mina introduced her new sensual manner in her presentation of the ballad "Il cielo in una stanza" in 1960. Three years later, her love affair with Corrado Pani challenged the moral foundations of Italy, a country where divorce was illegal and single motherhood was considered shameful. Thus, her non-conformist choices represented the emancipation of women in Italy, which did not accord with the dominant Catholic and bourgeois virtues prevalent at the time. The subsequent ban from performing on Italian TV and radio channels further developed Mina's image as an independent bad girl, which she emphasized with her choice of song themes. An example was her performance of "Sacumdì Sacumdà" on air after RAI had expressed their displeasure with the song's lyrics about a girl's encounter with the Devil. Other songs that RAI initially banned as immoral were "Ta-ra-ta-ta" (dealing forthrightly with smoking), "La canzone di Marinella", and "L'importante è finire" (alluding to sex without love). Mina's cool act featured sex appeal, public smoking, dyed blonde hair, shaved eyebrows, and heavy use of eye make-up.  The main themes of Mina's songs were distressing love stories. Her style was to interpret them in a highly dramatic way by using gestures and body language to bring the story alive. Mina's performance was typically characterised by expressive intensity, subtle variations, and original phrasing. The music critic Gherardo Gentili has noted her interpretive skills as:  To demonstrate Mina's vocal range, the composer Bruno Canfora penned the song "Brava", and Ennio Morricone wrote "Se telefonando" with numerous transitions of tonality. More songs were composed exclusively for Mina and arranged for RAI's all-star orchestras for performance on the TV variety series "", "Sabato sera", "" and "". Mina (alongside Carmen Villani) pioneered by combining classic Italian pop and swing music with features of blues, R&B and soul music, particularly in the songs "Se stasera sono qui" and "Deborah". She helped to incorporate new styles into Italian pop music, including nuevo tango, as seen in her duet "Balada para mi muerte" with Ástor Piazzolla.

Mogol-Battisti.

When she altered her musical style in 1969, Mina changed her hairdo from short and straight to long blonde curls, and started to wear a black minidress. Mogol's and Lucio Battisti's first songs, particularly "Insieme" and "Io e te da soli", showcased Mina's blues and soul skills. Around the time of their collaboration, Mina turned toward middle-of-the-road pop. Battisti's melodies were sophisticated and had a complex chord sequence. The songs were characterized by frequent changes of rhythm, pauses, and dialogues between the voice and the orchestra. Another characterizing feature was an instrumental introduction without a rhythmic base.

Mina Latina.

A fan of bossa nova, Mina recorded in Spanish and Portuguese from the start of her career and currently enjoys a fan base in Spain and Latin America. The Spanish director Pedro Almodóvar has used Mina's songs in his movie soundtracks. In 2001, Mina published the compilation album "Colección Latina". It includes standards in Spanish, as well as Spanish covers of her originals. In 2003, the musical "Mina... che cosa sei?" based on Mina's songs was staged in Argentina, starring Elena Roger. It was nominated for four "" in 2003 and 2004, among them "Best Musical", and won the "" for Best Musical. In 2007, Mina published "Todavía", an album in Spanish and Portuguese, which reached #36 on the Spanish charts and #1 on the Italian charts. It included duets with Joan Manuel Serrat, Miguel Bosé, Diego Torres, Chico Buarque, and Diego El Cigala.

Collaborations.

Legacy.

Mina has scored 77 albums and 71 singles on the Italian charts. She is the only artist to land an album at the top of the Italian charts in each of the six decades from the start of record keeping in 1965. She released an album every year during 1958–2003, and continues to release new albums and singles.  President Carlo Azeglio Ciampi presented her with the Second Class of the Italian Order of Merit on 1 June 2001.  British singer Dusty Springfield referenced Mina in performance.  A number of Mina's songs were turned into hits by singers in other languages:  To celebrate Mina's 70th anniversary, the "la Repubblica" newspaper held a reader's poll to pick Mina's best song of all time. In a vote of 30,000 participants, "Se telefonando" emerged at the top of the list.

Awards, nominations, honours and records.

1958  1959  1960  1961  1963  1964  1965  1966  1968  1987  2001  2010

Personal life.

In her early teens, Mina was a competitive swimmer for the Canottieri Baldesio sports club in Cremona, attended by the elite of the Cremonese bourgeoisie at the time. She met her first boyfriend, a fullback for the U.S. Cremonese football club, at the swimming pool at her age of 16.  Mina fell in love with actor Corrado Pani in 1962. Their relationship shocked Italian audiences as he was already married although separated from his wife. Their son, Massimiliano Pani, was born on 18 April 1963. Due to Mina's refusal to hide the relationship, the singer was banned from performing on public Italian television or radio channels. As her record sales were unaffected and audiences demanded to see Mina on the air, RAI was forced to end the ban and let Mina return to television on 10 January 1964. Within a year, her affair with Corrado ended.  Mina's brother Alfredo Mazzini died in a car accident in 1965. A year later she and her father moved to Lugano, Switzerland. Mina's intimate relationships, however, remained in Italy, as she had a brief affair with the actor Walter Chiari. A later relationship with actor Gian Maria Volonté ended after she found out about Volonté's affair with an actress. Mina's great love of the late 1960s, with whom she had a relationship that lasted three years and almost led to marriage, was the composer Augusto Martelli. Her second spouse was Virgilio Crocco, a journalist for "Il Messaggero", in 1970. As a result of their marriage, her legal name was changed to Anna Maria Mazzini Crocco. Their daughter was born on 11 November 1971. Crocco died in a car accident in 1973.  Mina became engaged to her current husband, cardiologist Eugenio Quaini, in 1981. They were married on 10 January 2006 in Lugano. She obtained Swiss citizenship in 1989. As required in that country, she took on her husband's last name and her legal name became Anna Maria Quaini. For the public, the Italian civil registry and its Italian documents, however, she still addresses herself as Mina Mazzini, also seen in her website's domain name.

Mina Anna Maria Mazzini (born 25 March 1940), Anna Maria Quaini (for the Swiss civil registry), known as Mina Mazzini or simply Mina, is an Italian singer. She was a staple of television variety shows and a dominant figure in Italian pop music from the 1960s to the mid-1970s, known for her three-octave vocal range, the agility of her soprano voice, and her image as an emancipated woman.

Mina Mazzini známá jako Mina, rodným jménem Mina Anna Maria Mazzini (* 25. března 1940) je italská popová zpěvačka. Díky svému hlasu a přednesu písně se stala hvězdnou atrakcí různých italských televizních show a byla dominantní postavou italských hudebních žebříčků. Prodala přes 76 miliónů nosičů.


Life.

Born Ernst Heinrich Křenek in Vienna (then in Austria-Hungary), he was the son of a Czech soldier in the Austro-Hungarian army. He studied there and in Berlin with Franz Schreker before working in a number of German opera houses as conductor. During World War I, Krenek was drafted into the Austrian army, but he was stationed in Vienna, allowing him to go on with his musical studies. In 1922 he met Alma Mahler, widow of Gustav Mahler, and her daughter, Anna, to whom he dedicated his Symphony No. 2, and whom he married in March 1924. That marriage ended in divorce before its first anniversary. At the time of his marriage to Anna Mahler, Krenek was completing his Violin Concerto No. 1, Op. 29. The Australian violinist Alma Moodie assisted Krenek, not with the scoring of the violin part, but with getting financial assistance from her Swiss patron Werner Reinhart at a time when there was hyper-inflation in Germany. In gratitude, Krenek dedicated the concerto to Moodie, and she premiered it on 5 January 1925, in Dessau. Krenek's divorce from Anna Mahler became final a few days after the premiere. Krenek did not attend the premiere, but he did have an affair with Moodie, which has been described as "short-lived and complicated". He never managed to hear her play the concerto, but he did "immortalize some aspects of her personality in the character of Anita in his opera "Jonny spielt auf"". This 'jazz opera', completed in 1926, was an enormous success across Europe and made Krenek a household name for several years; there was even a brand of cigarettes, still on the market today in Austria, named "Jonny". Krenek himself became uncomfortable with this success though, as his musical colleagues criticised the commercialisation of his music, and shortly afterwards changed his compositional direction radically.  The jazz-influenced score of "Jonny spielt auf" and its central character of a black jazz musician (who is also seen womanising and stealing a priceless violin) brought Krenek the opprobrium of the nascent Nazi Party; the image of Jonny was distorted to form the centrepiece of the poster advertising the "Entartete Musik" exhibition of so-called 'degenerate' music in 1938. Krenek was frequently named as a Jewish composer during the Third Reich, although he was not, and was intimidated by the regime until his emigration; on March 6, 1933, one day after the last semi-free election of March 1933, Krenek's incidental music to Goethe's "Triumph der Empfindsamkeit" was withdrawn in Mannheim, and eventually pressure was brought to bear on the Vienna State Opera, which cancelled the commissioned premiere of "Karl V".  In 1938 Krenek moved to the United States, where he taught music at various universities, the first being Vassar College. He later taught at Hamline University in Saint Paul, Minnesota from 1942 to 1947. There he met and married his third wife, his student and composer Gladys Nordenstrom. He became an American citizen in 1945. He later moved to Toronto, Ontario, Canada, where he taught at The Royal Conservatory of Music during the 1950s. His students included Milton Barnes, Lorne Betts, Roque Cordero, Samuel Dolin, Robert Erickson, Halim El-Dabh, Richard Maxfield, Will Ogdon, and George Perle. Later he moved to Tujunga, before moving to Palm Springs, California in 1966. In 1998 Gladys Nordenstrom founded the Ernst Krenek Institute; in 2004 the private foundation moved from Vienna to Krems an der Donau, Austria.

Completions of other composers' unfinished works.

After meeting Krenek in 1922, Alma Mahler asked him to complete her late husband's Symphony No. 10. Krenek assisted in editing the first and third movements but went no further. More fruitful was Krenek's response to an approximately contemporary request from his pianist and composer friend Eduard Erdmann, who wished to add Schubert's "Reliquie" piano sonata to his repertoire, for completions of that work's fragmentary third and fourth movements. Krenek's completion, dated to 1921 in some sources but to 1922 in his own memory, later found other champions in Webster Aitken in the concert hall and Ray Lev; Friedrich Wührer; and, more recently, Stanislav Khristenko on records.  In his notes to the Lev recording, dated July 1947, Krenek offered insights into the challenges of completing another composer's works in general and the Schubert sonata in particular.  Completing the unfinished work of a great master is a very delicate task. In my opinion it can honestly be undertaken only if the original fragment contains all of the main ideas of the unfinished work. In such a case a respectful craftsman may attempt, after an absorbing study of the master's style, to elaborate on those ideas in a way which to the best of his knowledge might have been the way of the master himself. The work in question will probably have analogies among other, completed works of the master, and careful investigation of his methods in similar situations will indicate possible solutions of the problems posed by the unfinished work. Even then the artist who goes about the ticklish task will feel slightly uneasy, knowing from his own experience as a composer that the creative mind does not always follow its own precedents. He is more conscious of the fact that unpredictability is one of the most jealously guarded prerogatives of genius.... However, scruples of this kind may be set aside once we are certain that the author of the fragment has put forth the essential thematic material that was expected to go into the work. If this is not the case, I feel that no one, not even the greatest genius, should dare to complete the fragments left by another genius.  As an example, Krenek explains that a careful student of Rembrandt's style might be able to complete a painting lacking one or two corners but could never supply two entirely missing paintings from a four-painting series; such an attempt would result only in "more or less successful fakes." Turning to a musical example, Krenek, evidently unaware of the surviving sketch of a third movement, avers that Schubert's own "Unfinished" Symphony "was left by its creator with only two of its four movements written; of the other two there is no trace. It would be possible to write two or more movements to the symphony in the manner of Schubert, but it would not be Schubert."

Musical style.

Krenek's music encompassed a variety of styles and reflects many of the principal musical influences of the 20th century. His early work is in a late-Romantic idiom, showing the influence of his teacher Franz Schreker, but around 1920 he turned to atonality, under the influence of Ernst Kurth's textbook, "Grundlagen des linearen Kontrapunkts", and the tenets of Busoni, Schnabel, Erdmann, and Scherchen, amongst others.  A visit to Paris, during which he became familiar with the work of Igor Stravinsky ("Pulcinella" was especially influential) and Les Six, led him to adopt a neo-classical style around 1924. Shortly afterward, he turned to neoromanticism and incorporated jazz influences into his opera "Jonny spielt auf" (Jonny Strikes Up, 1926) and one-act opera Schwergewicht (1928). Other neoromantic works of this period were modeled on music of Franz Schubert, a prime example being "Reisebuch aus den österreichischen Alpen" (1929).  Krenek abandoned the neoromantic style in the late 1920s to embrace Arnold Schoenberg's twelve-tone technique, the method exclusively employed in Krenek's opera "Karl V" (1931–33) and most of his later pieces. His most uncompromising use of the twelve-tone technique was in his Sixth String Quartet (1936) and his Piano Variations (1937). In the "Lamentatio Jeremiae prophetae" (1941–42) Krenek combined twelve-tone writing with techniques of modal counterpoint of the Renaissance.  In 1955 he was invited to work in the Electronic Music Studio at WDR in Cologne, and this experience motivated him to develop a total serial idiom. Beginning around 1960 he added to his serial vocabulary some principles of aleatoric music, in works such as "Horizon Circled" (1967), "From Three Make Seven" (1960–61), and "Fibonacci-Mobile" (1964).  In his later years his compositional style became more relaxed, though he continued to use elements of both twelve-tone and total serial techniques.

Decorations and awards.

On Krenek's 85th birthday, the City of Vienna donated the Ernst Krenek Prize.

Ernst Křenek (, August 23, 1900 – December 22, 1991) was an Austrian, later American, composer of Czech origin. He explored atonality and other modern styles and wrote a number of books, including "Music Here and Now" (1939), a study of Johannes Ockeghem (1953), and "Horizons Circled: Reflections on my Music" (1974). Krenek wrote two pieces using the pseudonym Thornton Winsloe.

Ernst Křenek či později Ernst Krenek (23. srpna 1900 Vídeň – 22. prosince 1991 Palm Springs, Kalifornie) byl rakouský a americký hudební skladatel, vědec a pedagog českého původu. Experimentoval s atonalitou a dalšími moderními hudebními styly. Napsal i řadu hudebněvědných prací. Dvě skladby zkomponoval pod pseudonymem Thornton Winsloe.


History.

Wayne Blizard traced multisets back to the very origin of numbers, arguing that “in ancient times, the number "n" was often represented by a collection of "n" strokes, tally marks, or units.” These and similar collections of objects are multisets, because strokes, tally marks, or units are considered indistinguishable. This shows that people implicitly used multisets even before mathematics emerged.  Practical needs for this structure have caused multisets to be rediscovered several times, appearing in literature under different names. For instance, they were important in early AI languages, such as QA4, where they were referred to as "bags," a term attributed to Peter Deutsch. A multiset has been also called an aggregate, heap, bunch, sample, weighted set, occurrence set, and fireset (finitely repeated element set).  Although multisets were used implicitly from ancient times, their explicit exploration happened much later. The first known study of multisets is attributed to the Indian mathematician Bhāskarāchārya circa 1150, who described permutations of multisets. The work of Marius Nizolius (1498–1576) contains another early reference to the concept of multisets. Athanasius Kircher found the number of multiset permutations when one element can be repeated. Jean Prestet published a general rule for multiset permutations in 1675. John Wallis explained this rule in more detail in 1685.  Multisets appeared explicitly in the work of Richard Dedekind.  Other mathematicians formalized multisets and began to study them as precise mathematical structures in the 20th century. For example, Whitney (1933) described "generalized sets" ("sets" whose characteristic functions may take any integer value - positive, negative or zero). Monro (1987) investigated the category Mul of multisets and their morphisms, defining a "multiset" as a set with an equivalence relation between elements "of the same "sort"", and a "morphism" between multisets as a function which respects "sorts". He also introduced a "multinumber": a function "f(x)" from a multiset to the natural numbers, giving the "multiplicity" of element "x" in the multiset. Monro argued that the concepts of multiset and multinumber are often mixed indiscriminately, though both are useful.

Examples.

One of the simplest and most natural examples is the multiset of prime factors of a number. Here the underlying set of elements is the set of prime divisors of. For example, the number 120 has the prime factorization which gives the multiset.  A related example is the multiset of solutions of an algebraic equation. A quadratic equation, for example, has two solutions. However, in some cases they are both the same number. Thus the multiset of solutions of the equation could be, or it could be. In the latter case it has a solution of multiplicity 2. More generally, the fundamental theorem of algebra asserts that the complex solutions of a polynomial equation of degree always form a multiset of cardinality.  A special case of the above are the eigenvalues of a matrix, whose multiplicity is usually defined as their multiplicity as roots of the characteristic polynomial. However two other multiplicities are naturally defined for eigenvalues, their multiplicities as roots of the minimal polynomial, and the geometric multiplicity, which is defined as the dimension of the kernel of (where is an eigenvalue of the matrix ). These three multiplicities define three multisets of eigenvalues, which may be all different: Let be a matrix in Jordan normal form that has a single eigenvalue. Its multiplicity is, its multiplicity as a root of the minimal polynomial is the size of the largest Jordan block, and its geometric multiplicity is the number of Jordan blocks.

Definition.

A multiset may be formally defined as a 2-tuple where is the "underlying set" of the multiset, formed from its distinct elements, and formula_2 is a function from to the set of the positive integers, giving the "multiplicity", that is, the number of occurrences, of the element in the multiset as the number.  Representing the function by its graph, that is the set of ordered pairs formula_3 allows for writing the multiset as, and the multiset as. This notation is however not commonly used and more compact notations are employed.  If formula_4 is a finite set, the multiset is often represented as  where upper indices equal to 1 are omitted. For example, the multiset may be written formula_7 or formula_8 If the elements of the multiset are numbers, a confusion is possible with ordinary arithmetic operations, those normally can be excluded from the context. On the other hand, the latter notation is coherent with the fact that the prime factorization of a positive integer is a uniquely defined multiset, as asserted by the fundamental theorem of arithmetic. Also, a monomial is a multiset of indeterminates.  A multiset corresponds to an ordinary set if the multiplicity of every element is one (as opposed to some larger natural number). An indexed family,, where varies over some index-set "I", may define a multiset, sometimes written. In this view the underlying set of the multiset is given by the image of the family, and the multiplicity of any element is the number of index values such that formula_9. In this article the multiplicities are considered to be finite, i.e. no element occurs infinitely many times in the family: even in an infinite multiset, the multiplicities are finite numbers.  It is possible to extend the definition of a multiset by allowing multiplicities of individual elements to be infinite cardinals instead of natural numbers, but not all properties carry over to this generalization.

Basic properties and operations.

Elements of a multiset are generally taken in a fixed set, sometimes called a "universe", which is typically the set of natural numbers. An element of that does not belong to a given multiset is said to have a multiplicity 0 in this multiset. This extends the multiplicity function of the multiset to a function from to the set formula_10 of nonnegative integers. This defines a one to one correspondence between these functions and the multisets that have their elements in.  This extended multiplicity function is commonly called simply the multiplicity function, and suffices for defining multisets, when the universe containing the elements has been fixed. This multiplicity function is a generalization of the indicator function of a subset, and shares some properties with it.  The support of a multiset formula_11 in a universe is the underlying set of the multiset. Using the multiplicity function formula_12, it is characterized as  A multiset is "finite" if its support is finite, or, equivalently, if its cardinality is finite. The "empty multiset" is the unique multiset with an empty support (underlying set), and thus a cardinality 0.  The usual operations of sets may be extended to multisets by using the multiplicity function, in a similar way as using the indicator function for subsets. In the following, and are multisets in a given universe, with multiplicity functions formula_15 and formula_16  Two multisets are "disjoint" if their supports are disjoint sets. This is equivalent to saying that their intersection is the empty multiset or that their sum equals their union.  There is an Inclusion–exclusion principle for finite multisets (similar to the one for sets), stating that a finite union of finite multisets is the difference of two sums of multisets: in the first sum we consider all possible intersections of an odd number of the given multisets, while in the second sum we consider all possible intersections of an even number of the given multisets.

Counting multisets.

The number of multisets of cardinality, with elements taken from a finite set of cardinality, is called the multiset coefficient or multiset number. This number is written by some authors as formula_21, a notation that is meant to resemble that of binomial coefficients; it is used for instance in (Stanley, 1997), and could be pronounced " multichoose " to resemble " choose " for formula_22. Unlike for binomial coefficients, there is no "multiset theorem" in which multiset coefficients would occur, and they should not be confused with the unrelated multinomial coefficients that occur in the multinomial theorem.  The value of multiset coefficients can be given explicitly as where the second expression is as a binomial coefficient; many authors in fact avoid separate notation and just write binomial coefficients. So, the number of such multisets is the same as the number of subsets of cardinality in a set of cardinality. The analogy with binomial coefficients can be stressed by writing the numerator in the above expression as a rising factorial power to match the expression of binomial coefficients using a falling factorial power:  There are for example 4 multisets of cardinality 3 with elements taken from the set of cardinality 2 ( = 2, = 3), namely,,,. There are also 4 subsets of cardinality 3 in the set of cardinality 4 (), namely,,,.  One simple way to prove the equality of multiset coefficients and binomial coefficients given above, involves representing multisets in the following way. First, consider the notation for multisets that would represent (6 s, 2 s, 3 s, 7 s) in this form:  This is a multiset of cardinality = 18 made of elements of a set of cardinality = 4. The number of characters including both dots and vertical lines used in this notation is 18 + 4 − 1. The number of vertical lines is 4 − 1. The number of multisets of cardinality 18 is then the number of ways to arrange the 4 − 1 vertical lines among the 18 + 4 − 1 characters, and is thus the number of subsets of cardinality 4 − 1 in a set of cardinality 18 + 4 − 1. Equivalently, it is the number of ways to arrange the 18 dots among the 18 + 4 − 1 characters, which is the number of subsets of cardinality 18 of a set of cardinality 18 + 4 − 1. This is thus is the value of the multiset coefficient and its equivalencies:  One may define a generalized binomial coefficient in which is not required to be a nonnegative integer, but may be negative or a non-integer, or a non-real complex number. (If = 0, then the value of this coefficient is 1 because it is the empty product.) Then the number of multisets of cardinality in a set of cardinality is

Recurrence relation.

A recurrence relation for multiset coefficients may be given as with  The above recurrence may be interpreted as follows. Let := formula_35 be the source set. There is always exactly one (empty) multiset of size 0, and if = 0 there are no larger multisets, which gives the initial conditions.  Now, consider the case in which > 0. A multiset of cardinality with elements from might or might not contain any instance of the final element. If it does appear, then by removing once, one is left with a multiset of cardinality − 1 of elements from, and every such multiset can arise, which gives a total of  If does not appear, then our original multiset is equal to a multiset of cardinality with elements from, of which there are  Thus,

Generating series.

The generating function of the multiset coefficients is very simple, being As multisets are in one to one correspondence with monomials, formula_40 is also the number of monomials of degree in indeterminates. Thus, above series is also the Hilbert series of the polynomial ring formula_41  As formula_40 is a polynomial in, it is defined for any complex value of.

Generalization and connection to the negative binomial series.

The multiplicative formula allows the definition of multiset coefficients to be extended by replacing "n" by an arbitrary number "α" (negative, real, complex):  With this definition one has a generalization of the negative binomial formula (with one of the variables set to 1), which justifies calling the formula_44 negative binomial coefficients:  This Taylor series formula is valid for all complex numbers "α" and "X" with < 1. It can also be interpreted as an identity of formal power series in "X", where it actually can serve as definition of arbitrary powers of series with constant coefficient equal to 1; the point is that with this definition all identities hold that one expects for exponentiation, notably  and formulas such as these can be used to prove identities for the multiset coefficients.  If "α" is a nonpositive integer "n", then all terms with "k" > −"n" are zero, and the infinite series becomes a finite sum. However, for other values of "α", including positive integers and rational numbers, the series is infinite.

Applications.

Multisets have various applications. They are becoming fundamental in combinatorics. Multisets have become an important tool in the theory of relational databases, which often uses the synonym "bag". For instance, multisets are often used to implement relations in database systems. In particular, a table (without a primary key) works as a multiset, because it can have multiple identical records. Similarly, SQL operates on multisets and return identical records. For instance, consider "SELECT name from Student". In the case that there are multiple records with name "sara" in the student table, all of them are shown. That means the result set of SQL is a multiset. If it was a set, the repetitive records in the result set were eliminated. Another application of multiset is in modeling multigraphs. In multigraphs there can be multiple edges between any two given vertices. As such, the entity that shows edges is a multiset, and not a set.  There are also other applications. For instance, Richard Rado used multisets as a device to investigate the properties of families of sets. He wrote, "The notion of a set takes no account of multiple occurrence of any one of its members, and yet it is just this kind of information which is frequently of importance. We need only think of the set of roots of a polynomial f(x) or the spectrum of a linear operator."

Generalizations.

Different generalizations of multisets have been introduced, studied and applied to solving problems.

In mathematics, a multiset (aka bag or mset) is a modification of the concept of a set that, unlike a set, allows for multiple instances for each of its elements. The positive integer number of instances, given for each element is called the multiplicity of this element in the multiset. As a consequence, an infinite number of multisets exist, which contain only elements and, but vary by the multiplicity of their elements:

Multimnožina je zobecněním množiny, respektive množina je speciálním druhem multimnožiny. V multimnožině je oproti množině povolen vícenásobný výskyt prvků. Tzn. multimnožina může obsahovat více stejných prvků. Tedy např. soubory prvků {1, 2, 3} a {1, 1, 2, 3} jsou dvě různé multimnožiny.


Life and career.

Early years.

Family background.

Holst was born in Cheltenham, Gloucestershire, the elder of the two children of Adolph von Holst, a professional musician, and his wife, Clara Cox, "née" Lediard. She was of mostly British descent, daughter of a respected Cirencester solicitor; the Holst side of the family was of mixed Swedish, Latvian and German ancestry, with at least one professional musician in each of the previous three generations.  One of Holst's great-grandfathers, Matthias Holst, born in Riga, Latvia, was a Baltic German; he served as composer and harp teacher to the Imperial Russian Court in St Petersburg. Matthias's son Gustavus, who moved to England with his parents as a child in 1802, was a composer of salon-style music and a well-known harp teacher. He appropriated the aristocratic prefix "von" and

Childhood and youth.

Holst was taught to play the piano and the violin; he enjoyed the former but hated the latter. At the age of twelve he took up the trombone at Adolph's suggestion, thinking that playing a brass instrument might improve his asthma. Holst was educated at Cheltenham Grammar School between 1886 and 1891. He started composing in or about 1886; inspired by Macaulay's poem "" he began, but soon abandoned, an ambitious setting of the work for chorus and orchestra. His early compositions included piano pieces, organ voluntaries, songs, anthems and a symphony (from 1892). His main influences at this stage were Mendelssohn, Chopin, Grieg and above all Sullivan.  Adolph tried to steer his son away from composition, hoping that he would have a career as a pianist. Holst

Royal College of Music.

In 1892 Holst wrote the music for an operetta in the style of Gilbert and Sullivan, "Lansdown Castle, or The Sorcerer of Tewkesbury". The piece was performed at Cheltenham Corn Exchange in February 1893; it was well received and its success encouraged him to persevere with composing. He applied for a scholarship at the Royal College of Music (RCM) in London, but the composition scholarship for that year was won by Samuel Coleridge-Taylor. Holst was accepted as a non-scholarship student, and Adolph borrowed £100 to cover the first year's expenses. Holst left Cheltenham for London in May 1893. Money was tight, and partly from frugality and partly from his own inclination he became a vegetarian and a teetotaller. Two years later he was finally granted a scholarship, which slightly eased his financial difficulties, but he retained his austere personal regime.  Holst's professors at the

Professional musician.

In 1898 the RCM offered Holst a further year's scholarship, but he felt that he had learned as much as he could there and that it was time, as he put it, to "learn by doing". Some of his compositions were published and performed; the previous year "The Times" had praised his song "Light Leaves Whisper", "a moderately elaborate composition in six parts, treated with a good deal of expression and poetic feeling".  Occasional successes notwithstanding, Holst found that "man cannot live by composition alone"; he took posts as organist at various London churches, and continued playing the trombone in theatre orchestras. In 1898 he was appointed first trombonist and "répétiteur" with the Carl Rosa Opera Company and toured with the Scottish Orchestra. Though a capable rather than a virtuoso player he won the praise of the leading conductor Hans Richter, for whom he played at Covent Garden.; and </ref> His salary was only just enough to live on, and he supplemented it by playing in a popular orchestra called the "White Viennese Band", conducted by Stanislas Wurm.  Holst enjoyed

Composer and teacher.

While in Germany, Holst reappraised his professional life, and in 1903 he decided to abandon orchestral playing to concentrate on composition. His earnings as a composer were too little to live on, and two years later he accepted the offer of a teaching post at James Allen's Girls' School, Dulwich, which he held until 1921. He also taught at the Passmore Edwards Settlement, where among other innovations he gave the British premieres of two Bach cantatas. The two teaching posts for which he is probably best known were director of music at St Paul's Girls' School, Hammersmith, from 1905 until his death, and director of music at Morley College from 1907 to 1924.  Vaughan Williams wrote of the former establishment: "Here he did away with the childish sentimentality which schoolgirls were supposed to appreciate and substituted Bach and da Vittoria; a splendid background for immature minds." Several of Holst's pupils at

1910s.

In June 1911 Holst and his Morley College students gave the first performance since the seventeenth century of Purcell's "The Fairy-Queen". The full score had been lost soon after Purcell's death in 1695, and had only recently been found. Twenty-eight Morley students copied out the complete vocal and orchestral parts. There were 1,500 pages of music and it took the students almost eighteen months to copy them out in their spare time. A concert performance of the work was given at The Old Vic, preceded by an introductory

First World War.

At the outbreak of the First World War, Holst tried to enlist but was rejected as unfit for military service. He felt frustrated that he could not contribute to the war effort. His wife became a volunteer ambulance driver; Vaughan Williams went on active service to France as did Holst's brother Emil; Holst's friends the composers George Butterworth and Cecil Coles were killed in battle. He continued to teach and compose; he worked on "The Planets" and prepared his chamber opera "Savitri" for performance. It

Post-war.

On his return from Greece, Holst resumed his teaching and composing. In addition to his existing work he accepted a lectureship in composition at the University of Reading and joined Vaughan Williams in teaching composition at their "alma mater" the RCM. Inspired by Adrian Boult's conducting classes at the RCM, Holst tried to further pioneer music education for women by proposing to the High Mistress of St Paul's Girls' School that he should invite Boult to give classes at the school: "It would be glorious if the SPGS turned out the only women conductors in the world!" In his soundproof room at SPGS he composed the "Ode to Death", a setting of a poem by Whitman, which according to Vaughan Williams is considered by many to be Holst's most beautiful choral work. Holst, in his forties, suddenly found himself in demand. The New York Philharmonic and Chicago Symphony Orchestra vied to be the first to play "The Planets" in the US. The success of that work was followed in 1920 by an enthusiastic reception for "The Hymn of Jesus", described in

Later years.

Holst's productivity as a composer benefited almost at once from his release from other work. His works from this period include the "Choral Symphony" to words by Keats (a "Second Choral Symphony" to words by George Meredith exists only in fragments). A short Shakespearian opera, "At the Boar's Head", followed; neither had the immediate popular appeal of "A Moorside Suite" for brass band of 1928.  In 1927 Holst was commissioned by the New York Symphony Orchestra to write a symphony. Instead, he wrote an orchestral piece "Egdon Heath", inspired by Thomas Hardy's Wessex. It was first performed in February 1928, a

Music.

Style.

Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with "The Planets", which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.

Early works.

Although Holst wrote many works—particularly songs—during his student days and early adulthood, almost everything he wrote before 1904 he later classified as derivative "early horrors". Nevertheless, the composer and critic Colin Matthews recognises even in these apprentice works an "instinctive orchestral flair". Of the few pieces from this period which demonstrate some originality, Matthews pinpoints the G minor String Trio of 1894 (unperformed until 1974) as the

Experimental years.

At the beginning of the 20th century, according to Matthews, it appeared that Holst might follow Schoenberg into late Romanticism. Instead, as Holst recognised afterwards, his encounter with Purcell's "Dido and Aeneas" prompted his searching for a "musical idiom of the English language"; the folksong revival became a further catalyst for Holst to seek inspiration from other sources during the first decade or so of the new century.

Indian period.

Holst's interest in Indian mythology, shared by many of his contemporaries, first became musically evident in the opera "Sita" (1901–06). During the opera's long gestation, Holst worked on other Indian-themed pieces. These included "Maya" (1901) for violin and piano, regarded by the composer and writer Raymond Head as "an insipid salon-piece whose musical language is dangerously close to Stephen Adams". Then, through Vaughan Williams, Holst discovered and became an admirer of the music of Ravel, whom he considered a "model of purity" on the level with Haydn, another composer he greatly admired.  The combined influence of Ravel, Hindu spiritualism and English folk tunes enabled Holst to get beyond the once all-consuming influences of Wagner and Richard Strauss and to forge his own style. Imogen Holst has acknowledged Holst's own suggestion (written to Vaughan Williams): "[O]ne ought to follow Wagner until he leads you to fresh things". She notes that although much of his grand opera, "Sita", is "'good old Wagnerian bawling'... towards the end a change comes over the music, and the beautifully calm phrases of the hidden chorus representing the Voice of the Earth are in Holst's

Folksong and other influences.

Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite "A Somerset Rhapsody" (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's "Norfolk Rhapsody", Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of "A Somerset Rhapsody" did much to banish the chromaticisms that had dominated his early compositions. In the "Two Songs without Words" of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy

Full flowering.

"The Planets".

Holst conceived the idea of "The Planets" in 1913, partly as a result of his interest in astrology, and also from his determination, despite the failure of "Phantastes", to produce a large-scale orchestral work. The chosen format may have been influenced by Schoenberg's "Fünf Orchesterstücke", and shares something of the aesthetic, Matthews suggests, of Debussy's "Nocturnes" or "La mer". Holst began composing "The Planets" in 1914; the movements appeared not quite in their final sequence; "Mars" was the first to be written, followed by "Venus" and "Jupiter". "Saturn", "Uranus" and "Neptune" were all composed during 1915, and "Mercury" was completed in 1916.  Each planet is represented with a distinct character; Dickinson observes that "no planet borrows colour from another". In "Mars", a persistent, uneven rhythmic cell consisting of five beats, combined with trumpet calls and harmonic dissonance provides battle music which Short asserts is unique in its expression of violence and sheer terror, "... Holst's intention being to portray the reality of warfare rather than to glorify

Maturity.

During and after the composition of "The Planets", Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the "Six Choral Folksongs" of 1916, based on West Country tunes, of which "Swansea Town", with its "sophisticated tone", is deemed by Dickinson to be the most memorable. Holst downplayed such music as "a limited form of art" in which "mannerisms are almost inevitable"; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan Williams's "Five English Folk Songs" of 1913.  Holst's first major work after "The Planets" was the "Hymn of Jesus", completed in 1917. The words are from a Gnostic text, the apocryphal Acts of John, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on the innovative character of the "Hymn": "At a stroke Holst had cast

Later works.

Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his "Fugal Overture" of 1922 for full orchestra and the neo-classical" Fugal Concerto" of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 "Terzetto" for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the "Choral Symphony" completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, "At the Boar's Head" (1924), is based on tavern scenes from

Recordings.

Holst made some recordings, conducting his own music. For the Columbia company he recorded "Beni Mora", the "Marching Song" and the complete "Planets" with the London Symphony Orchestra (LSO) in 1922, using the acoustic process. The limitations of early recording prevented the gradual fade-out of women's voices at the end of "Neptune", and the lower strings had to be replaced by a tuba to obtain an effective bass sound. With an anonymous string orchestra Holst recorded the "St Paul's Suite" and "Country Song" in 1925. Columbia's main rival, HMV, issued recordings of some of the same repertoire, with an unnamed orchestra conducted by Albert Coates. When electrical recording

Legacy.

Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language". Holst did not found or lead a school of composition; nevertheless, he exercised influences over both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst seemed to look right inside me, with an acute spiritual vision". Kennedy observes that

Notes and references.

Notes  References

Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite "The Planets", he composed many other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style.

Gustav Theodore Holst (21. září 1874 – 25. května 1934) byl anglický pozdně romantický hudební skladatel a hudební pedagog. Známá je především jeho orchestrální suita "Planety" (1914–1916).