text: Palm Desert

text: stoner rock

text: Kyuss

text: Vista Chino

text: John Garcia

text: Nick Oliveri

text: Palm Desert scene

text: Josh Homme

text: John Garcia

text: EP

text: Dungeons & Dragons

text: Kyuss

text: Chameleon Records

text: Wretch

text: Elektra Records

text: desert rock

text: Welcome to Sky Valley

text: El Camino Records

text: Duna Records

text: hardcore punk

text: stoner rock

text: Palm Desert

text: The Desert Sessions

text: Santa Cruz

text: LAB

text: BL'AST!

text: Fatso Jetson

text: "Jailbreak" 7" split EP

text: Fu Manchu

text: Nick Oliveri

text: Mondo Generator

text: Cocaine Rodeo

text: A Drug Problem That Never Existed

text: Use Once and Destroy Me

text: Australian Tour EP

text: No One Rides for Free

text: The Action Is Go

text: California Crossing

text: Eatin' Dust

text: King of the Road

text: Jalamanta

text: Ché

text: Queens of the Stone Age

text: Alfredo Hernández

text: Sounds of Liberation

text: Brant Bjork & the Operators

text: Keep Your Cool

text: Local Angel

text: Saved by Magic

text: Somera Sól

text: Tres Dias

text: Joshua Tree, California

text: Punk Rock Guilt

text: Gods & Goddesses

text: Yawning Man

text: Mondo Generator

text: Kyuss Lives!

text: Bruno Fevery

text: John Garcia

text: Vista Chino

text: Peace

text: Napalm Records

text: Ludwig Drums

text: Cymbals

text: Paiste

text: Pro-mark

text: Kyuss

text: Kyuss

text: Zildjian

text: Fu Manchu

text: Kyuss

text: Zildjian

text: Vater

text: Vic Firth

text: Pro-mark

text: Fender Stratocaster

text: Gibson SG

text: Gibson Firebird

text: Amps

text: Effects

text: Phase shifter

text: Jalamanta

text: Brant Bjork & the Operators

text: Keep Your Cool

text: Local Angel

text: Tres Dias

text: Punk Rock Guilt

text: Gods & Goddesses

text: Saved by Magic

text: Somera Sól

text: Black Power Flower

text: Brant Bjork's official Facebook page

text: Allmusic

text: Official Homepage of Brant Bjork

text: Brant Bjork fansite and community page

categories: American rock drummers,American rock singers,Kyuss members,American singer-songwriters,20th-century American drummers,Fu Manchu (band) members,American male drummers,American male songwriters,21st-century American singers,American rock songwriters,American multi-instrumentalists,Mondo Generator members,Living people,1973 births

paragraph: Brant Bjork

paragraph: Brant Bjork (born March 19, 1973) is an American musician, singer, songwriter, multi-instrumentalist, and producer from Palm Desert, California. He is perhaps best known as the drummer and founder of the influential Californian stoner rock band Kyuss. Bjork played in Vista Chino, along with former Kyuss vocalist John Garcia, up until October 2014, at which point Nick Oliveri announced that there was a falling out and that Bjork and Garcia would continue working on their solo projects. He is one of the more notable figures in the stoner rock and Palm Desert scenes.

paragraph: Section::::Musical career.

paragraph: Section::::Musical career.:Kyuss.

paragraph: While still in high school, Bjork got together with friends Josh Homme and John Garcia in 1987 to form a band called Katzenjammer. At Bjork's prompting, the band would soon be renamed Sons of Kyuss for a single EP, named after "The Sons of Kyuss" monsters in the Dungeons & Dragons role-playing game, and then later shortened to Kyuss. The band relocated to Los Angeles in 1990 and signed to Chameleon Records, releasing their debut album, "Wretch" in September 1991. They were then picked up by the major label Elektra Records, becoming the first desert rock band to achieve international success. Bjork was a major creative force in Kyuss, contributing a substantial portion of the band's songwriting. In 1994, Bjork left the band following the release of "Welcome to Sky Valley", frustrated at guitarist Homme's growing reluctance to play the songs he was contributing to the band.

paragraph: Section::::Musical career.:Post-Kyuss.

paragraph: After leaving Kyuss, Bjork would go on to play with several different bands, as well as founding the independent label El Camino Records (later Duna Records). Through his label, Bjork would release albums that he was musically involved in, such as hardcore punk band De-Con's 1995 album "Balls for Days", on which he played drums. Bjork would also release and produce stoner rock band Solarfeast's 1995 debut "Gossamer". Bjork would later go on to join former Kyuss bandmate, Josh Homme, in his Palm Desert musical collective series, The Desert Sessions. He would play a mixture of guitar, bass, drums, and percussion on various tracks on the 1997 releases "" and "", as well as 1999's "" and "".

paragraph: Bjork briefly moved to Santa Cruz to play guitar for hardcore punk band LAB in 1997 (made up of the remaining members of 80's punk band BL'AST!), playing on their 1997 release, the 7" EP "Burning Leaf/Chihuahua". He would also play guitar for Fatso Jetson during 1997–1998, including on their 1998 "Jailbreak" 7" split EP with stoner rock band Fu Manchu.

paragraph: Bjork was playing with another former member of Kyuss, Nick Oliveri, in Oliveri's metal band Mondo Generator. Joining in 1997, Bjork's drumming would feature on the 2000 LP "Cocaine Rodeo", and the 2003 LP "A Drug Problem That Never Existed". He would tour with the band until leaving in 2004. Bjork also appeared on the live DVD, 2004's "Use Once and Destroy Me", as well as later releases featuring the Bjork-era line-up, in including the 2006 7" single "I Never Sleep" and the 2008 "Australian Tour EP".

paragraph: Section::::Musical career.:Fu Manchu.

paragraph: Having produced their debut album "No One Rides for Free" in 1994, Bjork would officially join Fu Manchu with the release of their critically acclaimed 1997 album "The Action Is Go". Bjork would continue to play on every Fu Manchu recording until his departure following the release of 2001's "California Crossing", including the LPs "Eatin' Dust" and "King of the Road".

paragraph: Section::::Musical career.:Solo career.

paragraph: Bjork began recording his first solo album, 1999's "Jalamanta", in February of that year. Bjork performed all instruments, including guitar and vocals. He would also perform guitar and vocals in the short-lived stoner rock band Ché – a side-project collaboration with former Kyuss and Queens of the Stone Age drummer Alfredo Hernández. Ché released their only album, "Sounds of Liberation", in October 2000. Bjork's next album, 2002's "Brant Bjork & the Operators", named for Bjork's fictional backing band, 'the Operators', was recorded in November 2000 with Bjork again performing vocals and most instruments. He would continue to be the sole performer, except for a few guest spots, on 2003's "Keep Your Cool" and 2004's "Local Angel".

paragraph: Bjork would form the band Brant Bjork and the Bros in 2003, featuring guitarist Mike Pygmie, bassist Dylan Roche, and drummer Michael Peffer, with Bjork performing vocals and additional guitar. They toured Europe in October 2003, performing a mixture of Bjork's solo material and Ché's "Sounds of Liberation". Pygmie was replaced by Scott "Cortez" Silverman for further touring in Europe and North America in 2004. This line-up went on to record the 2005 double album "Saved by Magic". The album featured a return to the sound of Bjork's earlier sound from his "Jalamanta"/"Sounds of Liberation" era.

paragraph: 2006 saw the release of "Sabbia", a feature film "visual soundtrack" by filmmaker Kate McCabe, featuring Bjork's music. Brant Bjork and the Bros would go on to record another album, 2007's "Somera Sól", with Alfredo Hernández replacing Michael Peffer on drums. In the same year, Bjork released his fifth solo album, "Tres Dias", an acoustic album featuring reinterpretations of older songs, as well as some new material. The title of the album ("Three Days") comes from the purported amount of time that Bjork claimed it took to record it at producer Tony Mason's house in Joshua Tree, California.

paragraph: Bjork reported in 2007 that he had ended his label, Duna Records, citing that it took too much time and energy to run. Bjork soon created a new label, Low Desert Punk Recordings, and the Duna Records website now functions as a Brant Bjork community fansite and forum. The first release on the new label was Bjork's 2008 album, "Punk Rock Guilt", made up of recordings from December 2005 referred to as the "New Jersey Sessions". This release was followed up with the 2010 album "Gods & Goddesses". Recorded in LA in 2009, "Gods & Goddesses" was the first Brant Bjork solo album not to be primarily recorded by Bjork himself. Instead, Bjork recorded with a new line-up of musicians including guitarist Brandon Henderson, former Yawning Man bassist Billy Cordell, and former Mondo Generator drummer Giampaolo Farnedi.

paragraph: In March 2014, Bjork announced that he would tour Australia in May with his backing band, the 'Low Desert Punks', consisting of bassist Dave Dinsmore, guitarist Bubba Dupree, and Tony Tornay on drums. He would later announce a New Zealand tour with dates in June.

paragraph: In June 12, 2018, Brant Bjork announced his new album, "Mankind Woman" to be released on September 14, 2018.

paragraph: In April 2019, a new solo record entitled "Jacoozzi" was released. Originally recorded in 2010 and then shelved, "Jacoozzi" is an instrumental album, featuring jazz and funk influences with break beats. Bjork explains the material was improvisation meant to lead up to a new solo record. But Visto Chino started up around that time and thus the album was shelved. It was released on April 5, 2019 on Heavy Pysch Sounds.

paragraph: Section::::Musical career.:Vista Chino.

paragraph: In November 2010, it was announced that Bjork was forming Kyuss Lives! with Bruno Fevery on guitar, Nick Oliveri on bass and John Garcia on vocals. The band undertook a European, Australian and New Zealand tour from March to May 2011. On November 2012, Kyuss Lives! announced that they had changed their name to Vista Chino.

paragraph: Vista Chino released their debut album "Peace" on September 3, 2013 through Napalm Records.

paragraph: Section::::Gear.

paragraph: Drums:

paragraph: Ludwig Drums

paragraph: 24x16 Bass Drum,

paragraph: 14x13 Tom Tom,

paragraph: 16x16 Floor Tom,

paragraph: 18x16 Floor Tom,

paragraph: 14x6.5 Snare

paragraph: Cymbals:

paragraph: Paiste

paragraph: 15" sound edge hi-hats',

paragraph: 22" Signature Reflector Heavy Full Crash',

paragraph: 22" 2002 Heavy Ride',

paragraph: 22" 2002 Crash

paragraph: Pro-mark: 2b Drumsticks

paragraph: In the early days of Kyuss Brant would sometimes reverse his sticks to get more power, towards the end of his original stint with Kyuss Brant used Zildjian Rock Sticks.

paragraph: During his time in Fu Manchu Brant used various Ludwig drum kits including the kit he used in Kyuss but was mainly seen using a blonde maple Ludwig with a 26x16 kick, 14x14 tom and a 18x18 floor tom.

paragraph: Cymbals were Zildjian A's, 20 and 22 crashes and ride and 15 or 16 inch hats.

paragraph: sticks were various mainly 5b's or 2b's from Vater, Vic Firth or Pro-mark turned upside down for maximum power.

paragraph: Guitars:

paragraph: Fender Stratocaster,

paragraph: Gibson SG,

paragraph: Gibson Firebird

paragraph: Amps:

paragraph: Marshall Heads and Cabs

paragraph: Effects:

paragraph: fuzz tone,

paragraph: Dunlop Cry Baby Wah,

paragraph: Phase shifter

paragraph: Section::::Discography.

paragraph: Brant Bjork

paragraph: BULLET::::- "Jalamanta" (October 11, 1999)

paragraph: BULLET::::- "Brant Bjork & the Operators" (April 30, 2002)

paragraph: BULLET::::- "Keep Your Cool" (October 21, 2003)

paragraph: BULLET::::- "Local Angel" (August 10, 2004)

paragraph: BULLET::::- "Tres Dias" (February 27, 2007)

paragraph: BULLET::::- "Punk Rock Guilt" (May 13, 2008)

paragraph: BULLET::::- "Gods & Goddesses" (March 30, 2010)

paragraph: BULLET::::- "Tao of the Devil" (September 16, 2016)

paragraph: BULLET::::- "Europe '16" (September 22, 2017)

paragraph: BULLET::::- "Mankind Woman" (September 14, 2018)

paragraph: BULLET::::- "Jacoozzi" (April 5, 2019)

paragraph: Brant Bjork and the Bros

paragraph: BULLET::::- "Saved by Magic" (August 1, 2005)

paragraph: BULLET::::- "Somera Sól" (May 8, 2007)

paragraph: Brant Bjork and the Low Desert Punk Band

paragraph: BULLET::::- "Black Power Flower" (November 17, 2014)

paragraph: Section::::External links.

paragraph: BULLET::::- Brant Bjork's official Facebook page

paragraph: BULLET::::- [ Brant Bjork] at Allmusic

paragraph: BULLET::::- Bjork interviewed on Israel's Jekyll and Hyde, 2009

paragraph: BULLET::::- Official Homepage of Brant Bjork

paragraph: BULLET::::- Brant Bjork fansite and community page

description: American musician and drummer of Kyuss

wikidata_label: Brant Bjork

wikipedia_title: Brant Bjork


text:
Kushite King
Meroe
Amanineteyerike
Nastasen
Akhraten
regnal year
Habesha
Abyssinia
Punt
Hatshepsut
Nuri

paragraph: Harsiotef

paragraph: Harsiotef was a Kushite King of Meroe (about 404 – 369 BC).

paragraph: Harsiotef took on a full set of titles based on those of the Egyptian Pharaohs.

paragraph: Horus name: Kanakht Khaemnepet ("Mighty Bull appears in Napata")br

paragraph: Nebty Name: Nednetjeru ("Who seeks the council of Gods") br

paragraph: Golden Horus Name: Uftikhesutnebut ("Subduer given all the Desert Lands") br

paragraph: Prenomen: Sameryamun ("Beloved son of Amun") br

paragraph: Nomen: Harsiotef ("Horus Son of his Father")

paragraph: Harsiotef was the son of Queen Atasamale and likely of King Amanineteyerike. He had a wife named Queen Batahaliye and may have had another wife named Queen Pelkha. If Queen Pelkha was his wife, he would also be the father of King Nastasen. It is possible that King Akhraten was also a son of Harsiotef, and Queen Sakhmakh, the wife of Nastasen, may be his daughter.

paragraph: He left an inscription dated to his thirty-third regnal year, listing the battles from his successful campaign east of his kingdom against a town called "Habasa", whose inhabitants were called Matit. As a result of his victory, the Matit agreed to pay tribute to him.

paragraph: The name of this place may be the earliest recorded use of the word Habesha, the etymological basis for English "Abyssinia," the only earlier text which may refer to the term is the mention of a people of Punt living in incense-producing regions called "ḫbstjw" during Queen Hatshepsut's time.

paragraph: Harsiotef was buried in a pyramid at Nuri (Nu. 13).

description: Kushite King

wikidata_label: Harsiotef

wikipedia_title: Harsiotef


text:
king
Kush
stela
Pelkha
Harsiotef
Aryamani
shabti
Nuri
Napata
New Dongola
Amun temple of Jebel Barkal
Pelkha
Sekhmakh
Upper Egypt
Khabbash
Persians
The hieroglyphic text of the stela
Homestead Nastasen Stela

paragraph: Nastasen

paragraph: Nastasen was a king of the African civilisation of Kush (335 - 315/310 BC). According to a stela from Dongola his mother was named Queen Pelkha and his father may have been King Harsiotef. His successor was Aryamani.

paragraph: Section::::Monuments.

paragraph: He is known from three types of objects. There is a stela with a long historical inscription, a silver handle of a mirror and several "shabti"-figures. The mirror handle and the "shabti" were found in a pyramid at Nuri (Nu. 15), which was obviously his burial place. He was the last Kushite king to be buried in the royal cemetery at Napata.

paragraph: The 1.63 m high granite stela was found at New Dongola and is now in the Berlin Museum Inv. no. 2268. Originally it was most likely placed in the Amun temple of Jebel Barkal. In the upper part appear the pictures and name of his mother, Pelkha and his wife, Sekhmakh, next to the king.

paragraph: Section::::Tomb being excavated.

paragraph: The tomb of Nastasen is among several in Nuri that are slated for excavation by archaeologists using underwater archaeological methods. That is necessary because of rising ground waters in what was the Nubian region of Ancient Egypt. These tombs are under the pyramids and have flooded. Initial excavation reports of his tomb indicate that, essentially, it may be undisturbed by robbers. Expectations exist that artifacts not adversely affected by the water, will be found so more will be known about Nastasen from what is discovered along with tantalizing evidence already found, of artifacts mostly damaged or lost due to the action of the water.

paragraph: Section::::Conflict with Khabbash.

paragraph: During his reign, Nastasen defeated an invasion of Kush from Upper Egypt. Nastasen's monument calls the leader of this invasion Kambasuten, a likely local variation of Khabbash. Khabbash was a local ruler of Upper Egypt who had campaigned against the Persians around 338 BC. His invasion of Kush was a failure, and Nastasen claimed to have taken many fine boats and other booty during his victory.

paragraph: Section::::Literature.

paragraph: BULLET::::- Laszlo Török, in: "Fontes Historiae Nubiorum, Vol. II", Bergen 1996, 467-501,

paragraph: Section::::External links.

paragraph: BULLET::::- The hieroglyphic text of the stela

paragraph: BULLET::::- Homestead Nastasen Stela

description: Nubian king

wikidata_label: Nastasen

wikipedia_title: Nastasen


text:
French
landscape painter
lithographer
Versailles
Pierre-Henri de Valenciennes
École des Beaux-Arts
First French Empire
Joséphine de Beauharnais
Duchess of Berry
Salon
Rome
Naples
Sicily
Pyrenees
Forest of Fontainebleau
Boulevard Saint-Germain
Florence
Orvieto
Roman Forum
Saint-Pol-de-Léon
Musée des beaux-arts de Quimper
Paris, vu des hauteurs du Père Lachaise
Musée des Augustins de Toulouse

categories: 19th-century French painters,People from Versailles,1790 births,French women painters,1871 deaths,French landscape painters

paragraph: Louise-Joséphine Sarazin de Belmont

paragraph: Louise-Joséphine Sarazin de Belmont (1790–1871) was a French landscape painter and lithographer.

paragraph: Section::::Life.

paragraph: Louise-Joséphine Sarazin de Belmont was born in Versailles in 1790.

paragraph: She studied painting under Pierre-Henri de Valenciennes (1750–1819), who supplemented his income as an artist by teaching drawing to young women.

paragraph: In 1812 de Valenciennes was appointed a professor at the École des Beaux-Arts, which did not admit women.

paragraph: During the time of the First French Empire she was encouraged by Joséphine de Beauharnais.

paragraph: After the restoration of the monarchy she became a protegee of the Duchess of Berry.

paragraph: Sarazin de Belmont submitted her first paintings to the Salon in 1812.

paragraph: Her Salon entries in the years that followed show that she travelled widely.

paragraph: Between 1824 and 1826 she painted in Rome, Naples and Sicily, and in 1831 was in the Pyrenees.

paragraph: She received the second class medal at the Salon of 1831

paragraph: In 1834 she depicted the Forest of Fontainebleau.

paragraph: She won a first class medal in 1834.

paragraph: An 1834 dictionary of French artists listed her as a landscape artist living on the Rue Saint-Germain-des-Prés (Boulevard Saint-Germain) in Paris, where she taught pupils drawing and painting at her studio.

paragraph: Sarazin de Belmont painted in Nantes and Brittany from 1836 to 1837.

paragraph: She lived in Italy from 1841 to 1865, painting landscapes around Rome and views of Florence, Naples and Orvieto.

paragraph: She won another medal at the Salon in 1861.

paragraph: Her 1861 submission to the Salon was two paintings of the Roman Forum, one in the morning and the other in the evening.

paragraph: In 1865 she returned to Paris, and submitted her last entries to the Salon of 1868 "hors concours".

paragraph: She died in 1871.

paragraph: Section::::Works.

paragraph: Many of Sarazin de Belmont's works depicted historical scenes, while others took pastoral themes.

paragraph: BULLET::::- "Vue de Saint-Pol-de-Léon", 1837, 62 cm × 90,5 cm, Musée des beaux-arts de Quimper.

paragraph: BULLET::::- "Paris, vu des hauteurs du Père Lachaise", Musée des Augustins de Toulouse

alias:
Louise-Josephine Sarazin de Belmont
Joséphine Sarazin de Belmont
Louise Josephine De Sarazin Belmont
Louise Josephine de Sarazin Belmont
Louise Josephine Sarazin de Belmont
Louise Joséphine Sarazin de Belmont
Josephine Sarazin de Belmont
Louise Joséphine Sarazin De Belmont
Sarazin de Belmont

description: painter from France

wikidata_label: Louise-Joséphine Sarazin de Belmont

wikipedia_title: Louise-Joséphine Sarazin de Belmont


text:
auxiliary bishop
Roman Catholic Archdiocese of Naples
titular bishop
Turres Concordiae
ordained
Pope Francis
titular bishop
Turres Concordiae
bishop of Naples
Lucio Lemmo
Turres Ammeniae
Gennaro Acampa

categories: 1956 births,2019 deaths,Italian Roman Catholic bishops

paragraph: Salvatore Angerami

paragraph: Salvatore Angerami (26 November 1956 – 7 July 2019) was an Italian Roman Catholic prelate, who served as an auxiliary bishop of Roman Catholic Archdiocese of Naples, and titular bishop of Turres Concordiae, North Africa.

paragraph: He was ordained on 22 June 1997. On 27 September 2014 he was named by Pope Francis as titular bishop of Turres Concordiae and auxiliary bishop of Naples. The episcopal ordination was on 8 November 2014. Co-consecrators were the auxiliary bishops Lucio Lemmo (titular bishop of Turres Ammeniae) and Gennaro Acampa . He died on 7 July 2019.

description: Italian catholic bishop

wikidata_label: Salvatore Angerami

wikipedia_title: Salvatore Angerami


text:
née
cryptographer
SIGABA
National Security Agency
National Cryptologic Museum
Pearl Harbour
SIGABA
The Pentagon
Douglas MacArthur
World War II

categories: 2017 deaths,American cryptographers,American women in World War II,1921 births

paragraph: Helen Nibouar

paragraph: Helen Lucile Nibouar ("née" Breese; June 6 1921 – December 28, 2017) was an American cryptographer who was part of the select group who first worked on the SIGABA cipher device during World War II. She was honored by the National Security Agency's National Cryptologic Museum in 2012 for her role in "60 Years of Cryptologic Excellence".

paragraph: Section::::Early life.

paragraph: Nibouar grew up in Oklahoma, where she attended high school but "was unable to attend any further education." She lived with relatives for a few years before moving to Washington DC. She was inspired to volunteer her services to the US military following the bombing of Pearl Harbour.

paragraph: Section::::Cryptography.

paragraph: Nibouar had not planned to become a cryptographer, but was recruited at the water fountain by a woman who encouraged her to "give cryptography a try." Nibouar then trained at Morrison Field, where she met fellow cryptographer Marion Johnson. The two worked on the SIGABA cipher device, which was used to obscure troop movements and other sensitive material. They were part of a group of about five people who worked decoding these messages in Florida. She later worked in Hawaii, Washington DC, Japan, and The Pentagon. She met her husband, Lt. Colonel Grover Cleveland Nibouar Junior, in Japan whilst assigned to the staff of General Douglas MacArthur. She then worked as the instructor, teaching cryptography to military personnel. She was particularly unusual in being able to keep her job after her marriage.

paragraph: Section::::Later life.

paragraph: Nibouar is one of only four surviving World War II Cryptographers. Nibouar later worked as a teacher and spent a large amount of time volunteering. She and Marion Johnson were recognised at the ribbon-cutting ceremony for the National Cryptologic Museum exhibit on "60 Years of Cryptologic Excellence" in recognition of their work. Nibouar died in December 2017 at the age of 96.

description: American cryptographer

wikidata_label: Helen Nibouar

wikipedia_title: Helen Nibouar


text:
Skien
Norway
Best Surround Sound Album
58th Grammy Awards
Best Choral Performance
Best Engineered Album, Classical
Trondheim Soloists
Vladimir Ashkenazy

categories: Norwegian audio engineers,1970 births,Living people,Norwegian record producers

paragraph: Morten Lindberg (sound engineer)

paragraph: Morten Lindberg (born 15 August 1970 in Skien, Norway) is a Norwegian sound engineer and music producer, specialising in classical music productions. As a producer and engineer he holds the record for most Grammy nominations without a win, with twenty-six through 2018.

paragraph: Lindberg started his career in 1992 with his production company Lindberg Lyd, followed by the record label 2L which he created with Wolfgang Plagge and Jorn Simenstad in 2001. The company specialises in high quality recordings of Nordic classical music, often recorded in concert halls, churches, etc.

paragraph: From 2006, the 2L record label has received 28 Grammy nominations, including fifteen (as of 2018) for Mr Lindberg in the Best Surround Sound Album category alone. Proving his dominance in this category, he received three nominations in a field of five at the 58th Grammy Awards in 2016. Lindberg has also been nominated in other categories, such as Best Choral Performance and Best Engineered Album, Classical.

paragraph: He usually works with Norwegian and other Scandinavian ensembles and soloists, such as the Trondheim Soloists, Ensemble 96, Uranienborg Vokalensemble and Vladimir Ashkenazy.

wikidata_label: Morten Lindberg

wikipedia_title: Morten Lindberg (sound engineer)


text:
Palma de Mallorca
collage
music
video
deconstruction
Tumblr
Flickr
Madrid
Barcelona
Pollença
dark wave
punk
Bernat
Orden Mundial
Belgrado
Una Bèstia Incontrolable
+++
Orden Mundial
·Y·
Maquina Muerta
Crimen de Estado
Demonios Salvajes
Diät
Pena Máxima
COÀGUL
Pharmakon
Barcelona
Siega
Absurdo
Bernat
Buenos Aires
Dios
sound collage
samplers
effects
keyboards
industrial
More Mars
Rafa
Orden Mundial
Trance
Escorpio
Andrea Jarales
collage
installation art
Andrea Jarales
artist-in-residence
Catalan
Moià
Ex Abrupto
Moià
neofolk
Bandcamp
Death in June
Oriol Roca
noise
industrially
cut-ups
Death in June
Freedonia
Barcelona
Cønjuntø Vacíø
LP
Blackest Ever Black
Catalan
Coàgul
Adriana Petit
Tumblr
Adriana Petit
Flickr
Adriana Petit
Adriana Petit
Palma Open Arts
"Ruidos Salvajes"
Carne Roja
Bandcamp

categories: People from Palma, Majorca,1984 births,Spanish contemporary artists,Living people,21st-century artists

paragraph: Adriana Petit

paragraph: Adriana Petit (born 1984 in Palma de Mallorca) is a multidisciplinary artist. Her main mediums of choice include photography, "collage", music, writing and video. Nonetheless, her work is characterized by a predominance of content over medium, exploring the relationship between contraries from an autobiographical and deconstructionist point of view. The absence of academic training and the scarce institutional coverage contribute to locate her in the outskirts of the mainstream art context, and digital platforms like Tumblr, Flickr or YouTube are her usual exhibition channels. She has lived and worked at Madrid and Barcelona.

paragraph: Section::::Exhibitions.

paragraph: BULLET::::- 2009 – "Honne". Individual exhibition at Fundació Martí Vicens (Pollença).

paragraph: BULLET::::- 2013 – "Tots som putes" (Spanish for "We are all prostitutes"). Collective exhibition for webzine 40Putes birthday, at Galeria Pelaires (Palma de Mallorca).

paragraph: BULLET::::- 2013 – "Blackmatic". Exhibition with the artist Marcelo Víquez in the context of Photopalma's "First Focus Advisor", at ABA Art – Convent de la Missió (Palma de Mallorca).

paragraph: BULLET::::- 2013 – "Outfoto 2013". Collective exhibition at Espai d'Art Waka (Palma de Mallorca).

paragraph: BULLET::::- 2014 – "Los últimos serán los últimos" (Spanish for "The last ones will be the last ones"). Individual exhibition at 33/45 bar Barcelona.

paragraph: Section::::"Ruidos Salvajes".

paragraph: One of the reasons why in 2013 she went to live in Barcelona was the will to experience closely the emerging dark wave and punk scene that existed there, as it is explicited in the anthropological character of her photographic work of that period. But besides photography, she and Bernat from Orden Mundial decided to start a videographical documentation project under the moniker of "Ruidos Salvajes" (Spanish for "Wild Noises"), in which by the means of an homonymous YouTube channel they went on uploading an inventory of video recordings of concerts that mapped that scene. Bands like Belgrado, Una Bèstia Incontrolable, +++, Orden Mundial, ·Y·, Maquina Muerta, Crimen de Estado, Demonios Salvajes, Diät, Pena Máxima, COÀGUL, Pharmakon, Barcelona, Siega and Absurdo are part of the recordings of this platform, that ceased to exist when one year later Bernat left Barcelona and Adriana centered herself in other priorities.

paragraph: Section::::Musical projects.

paragraph: From the time she spent in Buenos Aires when she was 19 years old and in her successive cities of residence, Adriana Petit has worked in several rather unsuccessful ephemereal musical projects, which have been more fruitful as drafts that helped to configure her quest for her own sound language than as music bands in the conventional sense of the term. Sometimes these projects worked at the same time as a creative means of experiential recording, which at the end is nothing more than the translation of her general work's autobiographical constant into sound.

paragraph: Section::::Musical projects.:Muso Fantasma.

paragraph: From 2007 to 2013 Adriana was part of a duo called Muso Fntasma, together with argentinian Pedro Amoidio from the band called Dios. Musically, Muso Fantasma is based in sound collage and spoken word, using samplers, effects, keyboards, electric guitar and industrial percussions. In 2009 they released a CD album called "Se puede bailar con los demonios pero siempre en actitud de fiesta" (Spanish for "You can dance with the demons but always in a party mood") on the Greek label More Mars, as the second instalment of the "Anarthria" series.

paragraph: Section::::Musical projects.:V.

paragraph: In 2013 Adriana started a post-punk band called "V", together with Rafa (from the bands Orden Mundial, Trance and Escorpio) and the artist Andrea Jarales, from which it only exists one video recording played live in a rehearsal room.

paragraph: Section::::Musical projects.:Esperit Maleït.

paragraph: Esperit Maleït (Catalan for "Cursed Spirit") was a sound and collage-installation art project developed by Adriana together with Andrea Jarales in an artist-in-residence program in the Catalan village of Moià, in the context of the Ex Abrupto 2014 Art Festival. By the means of manipulating words and sounds extracted from Moià's anthropological environment, Esperit Maleït was created just for the occasion and it was exclusively formalized in the shape of a tuned room and a concert.

paragraph: Section::::Musical projects.:Carne Roja.

paragraph: Carne Roja (Spanish for "Red Meat") was a musical project that Adriana started to develop solo along 2015. In a first stage Carne Roja consisted in single songs with an explicit neofolk approach that she uploaded at Bandcamp one by one, including a Death in June cover and a collaboration with Oriol Roca. After a short pause, during the same year she digitally published a first 6-track digital EP titled "Érase" (Spanish for "It was"), more noise-industrially oriented and with lyrics constructed from cut-ups from her own writings.

paragraph: Section::::Musical projects.:Mort Al Juny.

paragraph: In summer 2016 Adriana joined Mort Al Juny (Catalan for "Death in June") a project of videgraphical re-interpretations of Death in June songs in which Daniel Sedcontra and Marc O'Callaghan were working at the time. Adriana brought her aesthetics and audiovisual influence unto the project.

paragraph: Section::::Musical projects.:Adriana Petit.

paragraph: In a 2016 interview Adriana suggested that whenever Carne Roja got to the point of finding its own sound and being capable of playing live concerts, then it would cease to be called as it was and Adriana would start to use her own name. That first performance with her own name became real on 17 October 2016 at Freedonia venue in Barcelona, in the context of the second "Vigilar y Castigar" showcase commissioned by the Barcelonian label Cønjuntø Vacíø.

paragraph: Section::::Album covers.

paragraph: Some of Adriana Petit's photographies have been published as LP album covers, like that for the "I Can't Give You The Life You Want" compilation by the German label Blackest Ever Black or the one for the "Tot Encaixa!" album by Catalan musician Coàgul.

paragraph: Section::::External links.

paragraph: BULLET::::- Adriana Petit on Tumblr.

paragraph: BULLET::::- Adriana Petit on Flickr.

paragraph: BULLET::::- Adriana Petit on YouTube.

paragraph: BULLET::::- Adriana Petit on Palma Open Arts.

paragraph: BULLET::::- "Ruidos Salvajes" YouTube channel.

paragraph: BULLET::::- Carne Roja on Bandcamp.

wikidata_label: Adriana Petit

wikipedia_title: Adriana Petit


text:
baseball
pitcher
Tampa Bay Rays
Philadelphia Phillies
R. L. Paschal High School
Fort Worth, Texas
Washington Nationals
2009 Major League Baseball draft
University of Texas at Austin
college baseball
Philadelphia Phillies
2012 MLB draft
Cleveland Indians
Rule 5 draft
Lehigh Valley IronPigs
Phillies
Philadelphia Phillies
Tampa Bay Rays
Blue Jays
catcher
Brian Milner

categories: Reading Phillies players,Lakewood BlueClaws players,Lehigh Valley IronPigs players,Tampa Bay Rays players,Baseball players from Texas,Clearwater Threshers players,Texas Longhorns baseball players,Indios de Mayagüez players,1991 births,Philadelphia Phillies players,Major League Baseball pitchers,Sportspeople from Fort Worth, Texas,Williamsport Crosscutters players,Living people

paragraph: Hoby Milner

paragraph: Hoby Milner (born January 13, 1991) is an American professional baseball pitcher in the Tampa Bay Rays organization. He previously played for the Philadelphia Phillies.

paragraph: Section::::Career.

paragraph: Milner attended R. L. Paschal High School in Fort Worth, Texas and was drafted by the Washington Nationals in the 44th round of the 2009 Major League Baseball draft. He did not sign and attended the University of Texas at Austin, where he played college baseball.

paragraph: Section::::Career.:Philadelphia Phillies.

paragraph: After his junior year he was drafted by the Philadelphia Phillies in the seventh round of the 2012 MLB draft.

paragraph: Milner was selected by the Cleveland Indians in the 2016 Rule 5 draft. The Indians returned Milner to the Phillies on March 24, 2017. Milner started 2017 with the Lehigh Valley IronPigs, and was called up to the Phillies on June 20. Milner was designated for assignment July 8, 2018.

paragraph: Section::::Career.:Tampa Bay Rays.

paragraph: On July 14, 2018, the Philadelphia Phillies traded Milner to the Tampa Bay Rays for cash considerations. He was designated for assignment on November 20th.

paragraph: Section::::Personal life.

paragraph: Milner is the son of Yvonne Milner and former Blue Jays catcher Brian Milner.

description: American professional baseball pitcher

wikidata_label: Hoby Milner

wikipedia_title: Hoby Milner


text: Alès

text: Gard

text: French

text: rhythmic gymnast

text: Chrystelle-Arlette Sahuc

categories: People from Alès,Gymnasts at the 1992 Summer Olympics,Sportspeople from Gard,French rhythmic gymnasts,1975 births,Olympic gymnasts of France,Living people

paragraph: Chrystelle Sahuc

paragraph: Chrystelle-Arlette Sahuc, better known as Chrystelle Sahuc, (born February 9, 1975, Alès, Gard, France) is a retired French rhythmic gymnast.

paragraph: She competed for France in the individual rhythmic gymnastics all-around competition at the 1992 Olympic Games in Barcelona. She was 19th in the qualification round and didn't advance to the final.

paragraph: Section::::External links.

paragraph: BULLET::::- Chrystelle-Arlette Sahuc at Sports-Reference.com

alias:
Chrystelle-Arlette Sahuc
Christelle Sahuc
Christelle-Arlette Sahuc

description: French rhythmic gymnast

wikidata_label: Chrystelle Sahuc

wikipedia_title: Chrystelle Sahuc


text: Lord Provost

text: Edinburgh

text: Parochial Registers

text: Perth

text: Clunie

text: Edinburgh

text: Friends of the People

text: British Convention

text: Royal Mile

text: Tron Kirk

text: Princes Street

text: Postmaster General for Scotland

text: Edinburgh's First Town

text: Clunie

text: Perthshire

text: George Husband Baird

text: portrait

text: Henry Raeburn

text: Richard Earlom

text: etching

text: James Tassie

text: Scottish National Portrait Gallery

categories: Lord Provosts of Edinburgh,18th-century Scottish people,United Kingdom Postmasters General,1731 births,1799 deaths,Scottish soldiers

paragraph: Thomas Elder (Lord Provost of Edinburgh)

paragraph: Thomas Elder of Forneth (1737–29 May 1799), was a Scottish wine merchant who served as Lord Provost of Edinburgh from 1788 to 1790.

paragraph: Section::::Life.

paragraph: Elder was the eldest son of Elizabeth (née Man) and William Elder of Loaning. The exact date of his birth is not known, but he was baptised on 7 October 1737 (Parochial Registers, county of Perth, Clunie).

paragraph: Elder held the office of chief magistrate of Edinburgh (where he carried on business as a wine merchant and grocer) for three different periods, viz. 1788-90, 1792–1794, and 1796-8. During his second term of office he took a active part in suppressing the meetings of the Friends of the People, and without any military aid he broke up the meeting of the British Convention held at Edinburgh on 5 December 1793, and took ten or twelve of the principal members prisoners.

paragraph: In Edinburgh his shop was on the Royal Mile opposite the Tron Kirk at his house was at 5 Princes Street. His house was demolished around 1900.

paragraph: On the formation of the Royal Edinburgh Volunteers (militia) in the summer of 1794 he became their first Colonel in Chief, and on 9 September 1794 was voted a piece of silver plate by the town council "for his spirited and prudent conduct while in office, and especially during the late commotions".

paragraph: In 1795 Elder was appointed Postmaster General for Scotland. Through his exertions the scheme for rebuilding the college was successfully matured. The foundation-stone of the new buildings was laid during his first mayoralty on 16 Nov. 1789, but they were not completed until after his death. In Edinburgh in later life he lived in a then new townhouse at 85 Princes Street in Edinburgh's First Town.

paragraph: He died at Forneth House, in the parish of Clunie in northern Perthshire, on 29 May 1799, aged 66. He was buried in the old churchyard in Clunie on 2 June.

paragraph: Section::::Family.

paragraph: In 1765 Elder married Emilia Husband, the eldest daughter of Paul Husband of Logie, an Edinburgh merchant. They had four daughters and one son. His eldest daughter, Isabella, married George Husband Baird on 9 August 1792, who later became the Principal of the University of Edinburgh.

paragraph: Section::::Artistic recognition.

paragraph: Elder's portrait, by Henry Raeburn, which was painted in 1797 at the request of the principal and professors of the university, is preserved in the court room of the university, It has been engraved by Richard Earlom. A duplicate of this portrait was exhibited at the Raebum exhibition in Edinburgh in 1876 (Catalogue, No. 210). Two etchings of Elder by Kay will be found in Kay's 'Original Portraits' (Nos. 144 and 310).

paragraph: His cameo, by James Tassie, is in the Scottish National Portrait Gallery in Edinburgh.

description: lord provost of Edinburgh during the late 1700s

wikidata_label: Thomas Elder


text: American football

text: quarterback

text: Houston Texans

text: college football

text: North Carolina

text: Houston Texans

text: 2011 NFL Draft

text: Atlanta Falcons

text: Miami Dolphins

text: Buffalo Bills

text: high school

text: quarterback

text: punter

text: Pope High School

text: Atlanta

text: Marietta

text: quarterback

text: North Carolina Tar Heels

text: Darian Durant

text: 2011 NFL Draft

text: Houston Texans

text: Jacksonville Jaguars

text: Matt Leinart

text: collarbone

text: Atlanta Falcons

text: University of North Carolina

text: NFL

text: Cincinnati Bengals

text: Pepsi NFL Rookie of the Week

text: Andy Dalton

text: Baltimore Ravens

text: Matt Schaub

text: John Beck

text: Case Keenum

text: St. Louis Rams

text: Atlanta Falcons

text: Akeem Dent

text: Tampa Bay Buccaneers

text: interception

text: Ryan Mallett

text: Brian Hoyer

text: Indianapolis Colts

text: injured reserve

text: Miami Dolphins

text: Ryan Tannehill

text: Matt Moore

text: Pittsburgh Steelers

text: Bud Dupree

text: Buffalo Bills

text: Houston Texans

text: ACL injury

text: Deshaun Watson

text: Bill O'Brien

text: Tom Savage

text: Indianapolis Colts

text: San Francisco 49ers

text: Atlanta Falcons bio

text: Houston Texans bio

text: North Carolina Tar Heels bio

categories: Atlanta Falcons players,Houston Texans players,1987 births,Living people,American football quarterbacks,Players of American football from Georgia (U.S. state),Sportspeople from Marietta, Georgia,North Carolina Tar Heels football players,Miami Dolphins players,Buffalo Bills players

paragraph: T. J. Yates

paragraph: Taylor Jonathan Yates (born May 28, 1987) is a former American football quarterback who is currently an offensive assistant with the Houston Texans. He played college football at North Carolina and was drafted by the Houston Texans in the fifth round of the 2011 NFL Draft. He has also played for the Atlanta Falcons, Miami Dolphins, and Buffalo Bills.

paragraph: Section::::Early years.

paragraph: Yates played in youth-league football. He continued playing for his freshman high school team and into the 2003 season until moving his focus to basketball. Yates returned in 2005, where he played quarterback and punter for Pope High School, in the north Atlanta suburb of Marietta, where he earned Atlanta Metro First-Team All-Area honors.

paragraph: Section::::College career.

paragraph: Yates played quarterback for the North Carolina Tar Heels at the University of North Carolina at Chapel Hill from 2006 to 2010. In the 2006 season, he redshirted. In the 2007 season, he finished with 2,655 passing yards, 14 touchdowns, and 18 interceptions. In the 2008 season, he suffered an ankle injury and had to miss some time. Overall, he finished with 1,168 passing yards, 11 touchdowns, and four interceptions. In the 2009 season, he finished with 2,136 passing yards, 14 touchdowns, and 15 interceptions. In the 2010 season, he finished with 3,418 passing yards, 19 touchdowns, and nine interceptions. He was a member of the Alpha Tau chapter of the Sigma Chi fraternity there. Yates currently holds the school records for total career passing yards and single-season passing yards, having broken records set by predecessor Darian Durant during his time at North Carolina.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Houston Texans.

paragraph: Yates was selected with the 152nd pick (fifth round) of the 2011 NFL Draft by the Houston Texans. He first saw action in a November 27, 2011 game against the Jacksonville Jaguars when quarterback Matt Leinart left the game with a collarbone injury, throwing 8-of-15 for 70 yards and a fumble. Yates made his first career start in the next game against the Atlanta Falcons, throwing 12-of-25 for 188 yards and a touchdown. Yates also became the first former University of North Carolina player to start an NFL game at quarterback. Yates started his second game on December 11 against the Cincinnati Bengals. Yates completed 26-of-44 passes for 300 yards. He threw two touchdowns and one interception and helped lead the Texans to their tenth win, clinching a playoff spot for the first time in franchise history. For his performance in the Bengals game he was named the Pepsi NFL Rookie of the Week. On January 7, 2012, Yates led the Texans to their first ever playoff win with the score of 31–10 over the Cincinnati Bengals (the same team Yates and the Texans beat to clinch their first ever playoff berth), becoming the fifth rookie quarterback to win a playoff game. The game was the first playoff game in NFL history that had two rookie quarterbacks starting for their respective teams (Andy Dalton was the other rookie). The Texans eventually lost to the Baltimore Ravens in the divisional round by a score of 20–13.

paragraph: Yates began the 2012 season second on the depth chart, behind quarterback Matt Schaub, but ahead of John Beck and undrafted rookie Case Keenum. He did not see much playing time in the 2012 season, finishing 4-of-10 for 38 yards and an interception while having one rushing touchdown, which occurred against the New England Patriots in a 42–14 loss. Yates replaced Schaub against the St. Louis Rams during the 2013 season, throwing two interceptions, one of which was returned for a touchdown. Yates ended 2013 completing 15 of 22 passes for 113 yards and 2 interceptions, while also being third on the depth chart behind Schaub and Keenum.

paragraph: Section::::Professional career.:Atlanta Falcons.

paragraph: On June 18, 2014, Yates was traded to the Atlanta Falcons in return for linebacker Akeem Dent. On September 18, 2014, when the Falcons built a 49–0 lead against the Tampa Bay Buccaneers, Yates had his only playing time of the season, throwing 3-of-4 for 64 yards and 1 interception. He was released by the Falcons on September 4, 2015, as part of their final roster cuts.

paragraph: Section::::Professional career.:Houston Texans (second stint).

paragraph: Yates was signed by the Texans on October 27, 2015, after the team cut quarterback Ryan Mallett. He was signed to serve as a backup to Brian Hoyer. After Hoyer went out with an injury during a November 16 game against the Cincinnati Bengals, Yates replaced him in the third quarter, and eventually won the game 10–6 over the Bengals. In the game, Yates completed 5 of 11 passes for 69 yards and a touchdown. On December 20, Yates suffered a torn ACL in a game versus the Indianapolis Colts. On December 21, 2015, Yates was placed on injured reserve with a torn ACL, ending his season.

paragraph: Section::::Professional career.:Miami Dolphins.

paragraph: Yates was signed by the Miami Dolphins on December 13, 2016, after a knee injury to Ryan Tannehill. After starting quarterback Matt Moore was hit hard by Pittsburgh Steelers linebacker Bud Dupree in the AFC Wild Card game on January 8, 2017, Yates appeared for one snap but Moore then returned to the game.

paragraph: Section::::Professional career.:Buffalo Bills.

paragraph: Yates was signed by the Buffalo Bills on April 10, 2017. He was placed on injured reserve on September 5, 2017, with a concussion. He was released on September 12, 2017, after agreeing to an injury settlement.

paragraph: Section::::Professional career.:Houston Texans (third stint).

paragraph: On November 3, 2017, Yates signed with the Houston Texans after a season-ending ACL injury to starter Deshaun Watson. Head coach Bill O'Brien said that Yates would be the backup to Tom Savage for the November 5 game against the Indianapolis Colts. On December 10 against the San Francisco 49ers, Yates entered the game late in the second quarter after Savage suffered a concussion. Yates completed 14-of-26 passes for 176 yards and two touchdowns as the Texans lost by a score of 26–16. Due to Savage's injury, Yates started the final three games of the season. In Week 15, against the Jacksonville Jaguars, he finished 12-of-31 for 128 yards, one touchdown, and one interception in the 45–7 loss. On Christmas Day, against the Pittsburgh Steelers, he finished with 83 passing yards, one touchdown, and one interception in the 34–6 loss. In the regular season finale, in the second divisional game against the Indianapolis Colts, he finished with 137 passing yards and an interception in the 22–13 loss.

paragraph: Section::::Coaching career.

paragraph: On February 5, 2019, Yates was hired as an offensive assistant by the Texans.

paragraph: Section::::External links.

paragraph: BULLET::::- Atlanta Falcons bio

paragraph: BULLET::::- Houston Texans bio

paragraph: BULLET::::- North Carolina Tar Heels bio

description: American football player

wikidata_label: T. J. Yates

wikipedia_title: T. J. Yates


text:
Ancient Egypt
Second Intermediate Period
Kim Ryholt
Theban
16th Dynasty
Jürgen von Beckerath
Thomas Schneider
Detlef Franke
13th Dynasty
Gebelein
Cairo Museum
Dedumose I
propaganda
Hyksos
Ludwig Morenz
Eduard Meyer
Josephus
Manetho
Thutmose
revisionistic
Immanuel Velikovsky
Egyptologist
David Rohl
Pharaoh of the Exodus
change views on Egyptian history
shortening
Third Intermediate Period of Egypt
the Exodus

categories: 16th-century BC Pharaohs,17th-century BC Pharaohs,Pharaohs of the Sixteenth Dynasty of Egypt

paragraph: Dedumose II

paragraph: Djedneferre Dedumose II was a native Ancient Egyptian pharaoh during the Second Intermediate Period. According to egyptologists Kim Ryholt and Darrell Baker, he was a ruler of the Theban 16th Dynasty. Alternatively, Jürgen von Beckerath, Thomas Schneider and Detlef Franke see him as a king of the 13th Dynasty.

paragraph: Section::::Dating issues.

paragraph: Williams and others place Dedumose as the last king of Egypt's 13th Dynasty. Precise dates for Dedumose are unknown, but according to the commonly accepted Egyptian chronology his reign probably ended around 1690 BC.

paragraph: Section::::Attestations.

paragraph: Djedneferre Dedumose II is known from a stela originally from Gebelein which is now in the Cairo Museum (CG 20533). On the stela Dedumose claims to have been raised for kingship, which may indicate he is a son of Dedumose I, although the statement may also merely be a form of propaganda. The martial tone of the stela probably reflects the constant state of war of the final years of the 16th Dynasty, when the Hyksos invaded its territory:

paragraph: Ludwig Morenz believes that the above excerpt of the stele, in particular ""who is acclaimed to the kingship"", may confirm the controversial idea of Eduard Meyer that certain pharaohs were elected to office.

paragraph: Section::::As Josephus' Timaios.

paragraph: Dedumose is usually linked to Timaios mentioned by the historian Josephus – who was quoting Manetho – as a king during whose reign an army of Asiatic foreigners subdued the country without a fight.br

paragraph: The introductory phrase in Josephus' quotation of Manetho "του Τιμαιος ονομα" appears somewhat ungrammatical and following A. von Gutschmid, the Greek words "του Τιμαιος" ([genitive definite article] "Timaios" [nominative]) is often combined into the proposed name "Τουτιμαιος" (Tutimaios) based on the tenuous argument of von Gutschmid that this sounded like "Tutmes" i.e. Thutmose. This has influenced the transliteration of the name Dedumose as "Dudimose" in order to reinforce the resemblance but this transliteration is not justified by the hieroglyphic spelling of the name. Nevertheless Dedumose did rule either as a Pharaoh of the 13th dynasty which preceded the Hyksos or as part of the 16th dynasty contemporaneous with the early Hyksos and the actual form "Timaios" in the manuscript of Josephus still plausibly represents his name. Whiston's translation of Josephus understands the phrase to mean “[There was a king] of ours ("του"), whose name was Timaus ("Τιμαιος ονομα")." A. Bülow-Jacobsen has suggested however that the phrase in Josephus may have been derived via a series of (unattested) scribal errors from "του πραγματος" (""of the matter"") and that "ονομα" (""this is a name"", typically left out of translations) is a later gloss whence the original text of Josephus did not contain the name of a Pharaoh at all. Nevertheless the following sentence of Josephus' quotation states "In his [reign]" implying that a Pharaoh has indeed been mentioned. The account in Josephus has also long been linked to a tale about Egypt preserved in an Indian text in which the Pharaoh's name appears as "Tamovatsa".

paragraph: Section::::Fringe theories.

paragraph: There have been revisionistic attempts by the historian Immanuel Velikovsky and Egyptologist David Rohl to identify Dedumose II as the Pharaoh of the Exodus, much earlier than the mainstream candidates. Rohl, in particular, attempted to change views on Egyptian history by shortening the Third Intermediate Period of Egypt by almost 300 years. As a by-result the synchronisms with the biblical narrative have changed, making Dedumose the pharaoh of the Exodus. Rohl's theory, however, has failed to find support among most scholars in his field.

description: Egyptian pharaoh

wikidata_label: Dedumose II

wikipedia_title: Dedumose II


text: Hungarian

text: conductor

text: composer

text: music director

text: Cleveland Orchestra

text: Cleveland

text: Ohio

text: World War II

text: Christoph von Dohnányi

text: Budapest

text: Vienna

text: Jewish

text: Catholic

text: Mass

text: Richard Robert

text: Rudolf Serkin

text: Eusebius Mandyczewski

text: Brahms

text: Max Reger

text: arranged

text: Bedřich Smetana

text: String Quartet No. 1

text: Europe

text: London

text: Mozart

text: Berlin Philharmonic

text: Cleveland

text: Staatsoper

text: Richard Strauss

text: Don Juan

text: United States

text: Berlin

text: Strasbourg

text: Otto Klemperer

text: Prague

text: Darmstadt

text: Düsseldorf

text: Berlin Staatsoper

text: Hans Gál

text: Die heilige Ente

text: United States

text: Saint Louis Symphony Orchestra

text: Royal Scottish National Orchestra

text: Glasgow

text: New York City

text: Mannes College of Music

text: George Rochberg

text: Ursula Mamlok

text: Arturo Toscanini

text: NBC Symphony Orchestra

text: Metropolitan Opera

text: New York Philharmonic

text: naturalized citizen

text: Cleveland Orchestra

text: Boston Symphony Orchestra

text: Chicago Symphony Orchestra

text: NBC Symphony Orchestra

text: New York Philharmonic

text: Philadelphia Orchestra

text: Severance Hall

text: Carnegie Hall

text: James Levine

text: phrasing

text: Donald Vroon

text: American Record Guide

text: Fidelio

text: Salome

text: Schumann

text: Cleveland Orchestra

text: snare drum

text: Bartok's Concerto for Orchestra

text: Cleveland

text: Carnegie Hall

text: Prokofiev's Symphony No. 5

text: side drum

text: New York City

text: Bernard Adelstein

text: Dutilleux

text: Walton

text: Prokofiev

text: Hindemith

text: Bartók

text: Pierre Boulez

text: Haydn

text: Mozart

text: Concertgebouw Orchestra

text: Amsterdam

text: London Symphony Orchestra

text: Chicago Symphony Orchestra

text: Vienna Philharmonic

text: Salzburg Festival

text: New York Philharmonic

text: Richard Robert

text: Cadillac

text: bone-marrow cancer

text: Sandy Springs, Georgia

text: Commander of the Order of the British Empire

text: Epic

text: Columbia Masterworks

text: Sony Classical

text: Vienna Philharmonic

text: Amsterdam Concertgebouw Orchestra

text: Béla Bartók

text: Concerto for Orchestra

text: Ludwig van Beethoven

text: Leon Fleisher

text: Emil Gilels

text: Missa Solemnis

text: Johannes Brahms

text: Rudolf Serkin

text: Violin Concerto

text: David Oistrakh

text: Concerto for violin and violoncello

text: Mstislav Rostropovich

text: Anton Bruckner

text: Symphony No. 3

text: Symphony No. 8

text: Claude Debussy

text: La mer

text: Antonín Dvořák

text: Slavonic Dances

text: Cello Concerto

text: Pablo Casals

text: Czech Philharmonic Orchestra

text: Pierre Fournier

text: Berlin Philharmonic Orchestra

text: Joseph Haydn

text: Zoltán Kodály

text: Háry János

text: Gustav Mahler

text: Symphony No. 4

text: Judith Raskin

text: Symphony No. 6

text: Symphony No. 10

text: Des Knaben Wunderhorn

text: Elisabeth Schwarzkopf

text: Dietrich Fischer-Dieskau

text: London Symphony Orchestra

text: Felix Mendelssohn

text: Symphony No. 4

text: A Midsummer Night's Dream

text: Wolfgang Amadeus Mozart

text: Eine kleine Nachtmusik

text: Piano Concertos

text: Robert Casadesus

text: Piano Quartets Nos. 1

text: Budapest String Quartet

text: Modest Mussorgsky

text: Pictures at an Exhibition

text: Sergei Prokofiev

text: Symphony No. 5

text: Gary Graffman

text: Maurice Ravel

text: Daphnis et Chloé

text: Franz Schubert

text: Symphony No. 8 "Unfinished"

text: Symphony No. 9 "The Great"

text: Robert Schumann

text: Jean Sibelius

text: Symphony No.2

text: Bedřich Smetana

text: The Moldau

text: New York Philharmonic

text: Four Dances from the Bartered Bride

text: String Quartet in E minor, "From My Life"

text: Richard Strauss

text: Don Juan

text: Don Quixote

text: Pierre Fournier

text: Abraham Skernick

text: Till Eulenspiegels lustige Streiche

text: Tod und Verklärung

text: Four Last Songs

text: Radio-Symphonie-Orchester Berlin

text: Igor Stravinsky

text: The Firebird

text: Pyotr Tchaikovsky

text: Symphony No. 4

text: Symphony No. 5

text: Symphony No. 6

text: Capriccio Italien

text: Richard Wagner

text: The Ring

text: Tannhäuser

text: William Walton

text: Symphony No. 2 "Liverpool"

text: Hindemith

text: George Szell discography

text: Fifth Symphony

text: European archive

categories: 20th-century classical composers,20th-century American composers,Music directors of the New York Philharmonic,American male pianists,20th-century American conductors (music),American classical composers,Classical musicians from Ohio,Hungarian male classical composers,Hungarian emigrants to the United States,Male pianists,Catholics from Ohio,1897 births,20th-century classical pianists,Conductors of the Metropolitan Opera,Deaths from cancer in Ohio,Hungarian classical composers,American male conductors (music),1970 deaths,Hungarian conductors (music),Commanders Crosses of the Order of Merit of the Federal Republic of Germany,Hungarian classical pianists,Musicians from Shaker Heights, Ohio,American Jews,The New School faculty,Deaths from multiple myeloma,Jewish classical pianists,20th-century American pianists,American Roman Catholics,American classical pianists

paragraph: George Szell

paragraph: George Szell (; June 7, 1897 – July 30, 1970), originally György Széll, György Endre Szél, or Georg Szell, was a Hungarian-born American conductor and composer. He is widely considered one of the twentieth century's greatest conductors. He is remembered today for his long and successful tenure as music director of the Cleveland Orchestra of Cleveland, Ohio, and for the recordings of the standard classical repertoire he made in Cleveland and with other orchestras.

paragraph: Szell came to Cleveland in 1946 to take over a respected if undersized orchestra, which was struggling to recover from the disruptions of World War II. By the time of his death he was credited, to quote the critic Donal Henahan, with having built it into "what many critics regarded as the world's keenest symphonic instrument."

paragraph: Through his recordings, Szell has remained a presence in the classical music world long after his death, and his name remains synonymous with that of the Cleveland Orchestra. While on tour with the Orchestra in the late 1980s, then-Music Director Christoph von Dohnányi remarked, "We give a great concert, and George Szell gets a great review."

paragraph: Section::::Life and career.

paragraph: Section::::Life and career.:Early life.

paragraph: Szell was born in Budapest but grew up in Vienna. His family was of Jewish origin but converted to Catholicism and so as a young boy he was brought up as a Catholic and taken regularly to Mass

paragraph: Section::::Life and career.:Early career.

paragraph: He began his formal music training as a pianist, studying with Richard Robert. One of Robert's other students was Rudolf Serkin; Szell and Serkin became lifelong friends and musical collaborators. In addition to the piano, Szell studied composition with Eusebius Mandyczewski (a personal friend of Brahms), and with Max Reger for a brief period. Although his work as a composer is virtually unknown today, when he was fourteen Szell signed a ten-year exclusive publishing contract with Universal Edition in Vienna. In addition to writing original pieces, he arranged Bedřich Smetana's String Quartet No. 1, "From My Life", for orchestra.

paragraph: At the age of eleven, Szell began touring Europe as a pianist and composer, making his London debut at that age. Newspapers declared him "the next Mozart." Throughout his teenage years he performed with orchestras in this dual role, eventually making appearances as composer, pianist and conductor, as he did with the Berlin Philharmonic at age seventeen.

paragraph: Szell quickly realized that he was never going to make a career out of being a composer or pianist, and that he much preferred the artistic control he could achieve as a conductor. He made an unplanned public conducting debut when he was seventeen, while vacationing with his family at a summer resort. The Vienna Symphony's conductor had injured his arm, and Szell was asked to substitute. Szell quickly turned to conducting full-time. Though he abandoned composing, throughout the rest of his life he occasionally played the piano with chamber ensembles and as an accompanist. Despite his rare appearances as a pianist after his teens, he remained in good form. During his Cleveland years he occasionally would demonstrate to guest pianists how he thought they should play a certain passage.

paragraph: In 1915, at the age of 18, Szell won an appointment with Berlin's Royal Court Opera (now known as the Staatsoper). There, he was befriended by its Music Director, Richard Strauss. Strauss instantly recognized Szell's talent and was particularly impressed with how well the teenager conducted Strauss's music. Strauss once said that he could die a happy man knowing that there was someone who performed his music so perfectly. In fact, Szell ended up conducting part of the world premiere recording of "Don Juan" for Strauss. The composer had arranged for Szell to rehearse the orchestra for him, but having overslept, showed up an hour late to the recording session. Since the recording session was already paid for, and only Szell was there, Szell conducted the first half of the recording (since no more than four minutes of music could fit onto one side of a 78, the music was broken up into four sections). Strauss arrived as Szell was finishing conducting the second part; he exclaimed that what he heard was so good that it could go out under his own name. Strauss went on to record the last two parts, leaving the Szell-conducted half as part of the full world premiere recording of "Don Juan."

paragraph: Szell credited Strauss as being a major influence on his conducting style. Much of his baton technique, the Cleveland Orchestra's lean, transparent sound, and Szell's willingness to be an orchestra builder all came from Strauss. The two remained friends after Szell left the Royal Court Opera in 1919; even after World War II, when Szell had settled in the United States, Strauss kept track of how his protégé was doing.

paragraph: In the fifteen years during and after World War I Szell worked with opera houses and orchestras in Europe: in Berlin, Strasbourg — where he succeeded Otto Klemperer at the Municipal Theatre — Prague, Darmstadt, and Düsseldorf, before becoming principal conductor, in 1924, of the Berlin Staatsoper, which had replaced the Royal Opera. In 1923 he conducted the premiere of Hans Gál's opera "Die heilige Ente" in Düsseldorf. In 1930, Szell made his United States debut with the Saint Louis Symphony Orchestra. At this time he was better known as an opera conductor than an orchestral one. He was conductor of the Scottish Orchestra (which later became the Royal Scottish National Orchestra) in Glasgow for three seasons, 1936-39.

paragraph: Section::::Life and career.:Move to the U.S..

paragraph: At the outbreak of war in Europe in 1939, Szell was returning via the U.S. from an Australian tour; he ended up settling with his family in New York City. From 1940 to 1945 he taught composition, orchestration, and music theory at the Mannes College of Music in Manhattan; his composition students at Mannes included George Rochberg and Ursula Mamlok. After a year devoted primarily to teaching, Szell began to receive frequent guest conducting invitations. Important among these invitations was a series of four concerts with Arturo Toscanini's NBC Symphony Orchestra in 1941. In 1942 he made his Metropolitan Opera debut; he conducted the company regularly for the next four years. In 1943 he made his New York Philharmonic debut. In 1946 he became a naturalized citizen of the United States.

paragraph: Section::::Life and career.:The Cleveland Orchestra: 1946 to 1970.

paragraph: In 1946, Szell was asked to become the Music Director of the Cleveland Orchestra. At the time the Cleveland Orchestra was a highly regarded regional American orchestra (the top-tier American orchestras were the Boston Symphony Orchestra, Chicago Symphony Orchestra, NBC Symphony Orchestra, New York Philharmonic, and Philadelphia Orchestra). For Szell, working in Cleveland would represent an opportunity to create his own personal ideal orchestra, one which would combine the virtuosity of the best American ensembles, with the homogeneity of tone of the best European orchestras. Szell made it clear to the trustees of the Orchestra that if they wanted him to be their next conductor, they would have to agree to give him total artistic control of the Orchestra; they agreed. He held this post until his death.

paragraph: The next decade was spent firing musicians, carefully hiring replacements, increasing the orchestra's roster to over one hundred players, and relentlessly drilling the orchestra. Szell's rehearsals were legendary for their intensity. Absolute perfection was demanded from every player. Musicians would be dismissed on the spot for making too many mistakes or simply questioning Szell's authority. Although Szell was not alone in this practice — Toscanini was nothing if not dictatorial — such firings would not happen today: musicians' unions are much stronger now than they were then. If Szell heard a player practicing backstage before a concert and did not like what he heard, he would not hesitate to berate the musician and give detailed notes on how the music should be played, despite the concert being minutes away. Szell's autocratic style extended to giving suggestions to the Severance Hall janitorial staff on mopping technique and what brand of toilet paper to use in the restrooms.

paragraph: Szell proudly boasted: "the Cleveland Orchestra gives seven concerts a week and the public is invited to two." Some critics found the Orchestra to sound over-rehearsed in concert, lacking spontaneity. Szell conceded this critique, saying that the orchestra did much of its best work during rehearsals. But Szell's high standards paid off. According to music critic Ted Libbey, "Szell's formidable musicianship and paternal authority commanded equal measures of respect from the Cleveland players, who under his baton achieved what was probably the highest executant standard of any orchestra in the world."

paragraph: By the end of the 1950s it became clear to the world that the Cleveland Orchestra, noted for its flawless precision and chamber-like sound, had taken its place alongside the greatest orchestras in America and Europe. In addition to taking the Orchestra on annual tours to Carnegie Hall and the East Coast, Szell led the orchestra on its first international tours to Europe, the Soviet Union, Australia, and Japan.

paragraph: Among the awards he received in his lifetime was that of an honorary Commander of the Order of the British Empire (C.B.E.) in 1963.

paragraph: He was also a Chevalier de la Légion d'honneur.

paragraph: From 1964 to 1965, James Levine served as an apprentice to Szell with the Cleveland Orchestra, and then served as its assistant conductor until 1970.

paragraph: Section::::Conducting style.

paragraph: Szell's manner in rehearsal was that of an autocratic taskmaster. He meticulously prepared for rehearsals and could play the entire score on the piano from memory. Preoccupied with phrasing, transparency, balance and architecture, Szell also insisted upon hitherto unheard-of rhythmic discipline from his players. The result was often a level of precision and ensemble playing normally found only in the best string quartets. For all Szell's absolutist methods, many of the orchestra's players were proud of the musical integrity to which he aspired. Video footage also shows that Szell took care to explain what he wanted and why, expressed delight when the orchestra produced what he was aiming for, and avoided over-rehearsing parts that were in good shape. His left hand, which he used to shape each sound, was often called the most graceful in music.

paragraph: As a result of Szell's exactitude and very thorough rehearsals, some critics (such as Donald Vroon, editor of "American Record Guide") have censured Szell's music-making as lacking emotion. In response to such criticism, Szell expressed this credo: "The borderline is very thin between clarity and coolness, self-discipline and severity. There exist different nuances of warmth — from the chaste warmth of Mozart to the sensuous warmth of Tchaikovsky, from the noble passion of "Fidelio" to the lascivious passion of "Salome". I cannot pour chocolate sauce over asparagus." He further stated: "It is perfectly legitimate to prefer the hectic, the arhythmic, the untidy. But to my mind, great artistry is not disorderliness."

paragraph: He has been described as a "literalist", playing only what is in the score. However, Szell was quite prepared to play music in unconventional ways if he thought the music needed these; and, like most other conductors before and since, he made many small modifications to orchestrations and even notes in the works of Beethoven, Schubert and others. His recordings of the four Schumann symphonies contain changes to the composer's orchestration (slight changes, admittedly, and fewer than most other prominent conductors have made).

paragraph: A stickler for perfection, Szell could at times seem almost absurdly stubborn, but he always aimed only to get the best results. His great expertise regarding instrumental techniques assisted him in this respect.

paragraph: Cloyd Duff, timpanist with the Cleveland Orchestra, once recalled how Szell had insisted that he play the snare drum part in Bartok's Concerto for Orchestra, an instrument which he was not supposed to play. A month after having recorded the concerto in Cleveland (October 1959), it was to be performed at Carnegie Hall, as part of an annual two-week tour of the Eastern United States along with Prokofiev's Symphony No. 5. Szell had begun getting increasingly irritated about the side drum part in the second movement and by the time they reached New York City, Szell's escalation was going off the scale. "Starting with the one who had played on the recording, Szell tried out each of the staff percussionists on the side drum part. He made them so nervous that, one by one, they all stumbled. Finally Szell turned to timpanist Cloyd Duff."

paragraph: This is the story as Duff tells it:

paragraph: Szell's reputation as a perfectionist was well-known, but his knowledge of instruments was deep. The Cleveland trumpeter Bernard Adelstein recounted Szell's knowledge of the trumpet:

paragraph: Section::::Repertoire.

paragraph: Szell primarily conducted works from the core Austro-German classical and romantic repertoire, from Haydn, Mozart and Beethoven, through Mendelssohn, Schumann and Brahms, and on to Bruckner, Mahler and Strauss. He said once that as he got older he consciously narrowed his repertoire, feeling it was "actually my task to do those works which I thought I'm best qualified to do, and for which a certain tradition is disappearing with the disappearance of the great conductors who were my contemporaries and my idols and my unpaid teachers." He did however program contemporary music; he gave numerous world premieres in Cleveland, and he was particularly associated with such composers as Dutilleux, Walton, Prokofiev, Hindemith and Bartók. Szell also helped initiate the Cleveland Orchestra's long association with composer-conductor and avant-garde icon Pierre Boulez. At the same time, Szell championed the music of Haydn and Mozart in a period when those composers were little represented in concert programs.

paragraph: Section::::Other orchestras.

paragraph: After World War II Szell became closely associated with the Concertgebouw Orchestra of Amsterdam, where he was a frequent guest conductor and made a number of recordings. He also regularly appeared with the London Symphony Orchestra, Chicago Symphony Orchestra, the Vienna Philharmonic, and at the Salzburg Festival. From 1942 to 1955, he was an annual guest conductor of the New York Philharmonic and served as Musical Advisor and senior guest conductor of that orchestra in the last year of his life.

paragraph: Section::::Personal life.

paragraph: Szell married twice. The first, in 1920 to Olga Band (1898-1984), another of Richard Robert's pupils, ended in divorce in 1926. His second marriage, in 1938 to Helene Schultz Teltsch, originally from Prague, was much happier, and lasted until his death. When not making music, he was a gourmet cook and an automobile enthusiast. He regularly refused the services of the orchestra's chauffeur and drove his own Cadillac to rehearsal until almost the end of his life.

paragraph: Section::::Death.

paragraph: He died from bone-marrow cancer in Cleveland in 1970. His body was cremated, and his ashes were buried, in Sandy Springs, Georgia, along with his wife upon her death in 1991.

paragraph: The British government made Szell an honorary Commander of the Order of the British Empire (CBE) in 1963.

paragraph: Section::::Discography.

paragraph: Most of Szell's recordings were made with the Cleveland Orchestra for Epic/Columbia Masterworks (now Sony Classical). He also made recordings with the New York Philharmonic, the Vienna Philharmonic and the Amsterdam Concertgebouw Orchestra. Many live stereo recordings of repertoire Szell never conducted in the studio exist, both with the Cleveland Orchestra and other orchestras.

paragraph: Below is a selection of Szell's more notable recordings — all with Szell conducting the Cleveland Orchestra (issued by Sony, unless otherwise noted).

paragraph: Béla Bartók:

paragraph: BULLET::::- Concerto for Orchestra (1965)

paragraph: Ludwig van Beethoven:

paragraph: BULLET::::- The 9 Symphonies (1957–64)

paragraph: BULLET::::- Symphony No. 6 (New York Philharmonic)

paragraph: BULLET::::- The Piano Concertos; Leon Fleisher (p) (1959–61)

paragraph: BULLET::::- The Piano Concertos; Emil Gilels (p) (1968, EMI)

paragraph: BULLET::::- "Missa Solemnis" (1967, TCO)

paragraph: Johannes Brahms:

paragraph: BULLET::::- The 4 Symphonies (1964–67)

paragraph: BULLET::::- Piano Concertos; Leon Fleisher (p) (1958 & 1962)

paragraph: BULLET::::- Piano Concertos; Rudolf Serkin (p) (1968 & 1966)

paragraph: BULLET::::- Violin Concerto; David Oistrakh (vn) (1969, EMI)

paragraph: BULLET::::- Concerto for violin and violoncello; David Oistrakh (vn), Mstislav Rostropovich (vc) (1969, EMI)

paragraph: Anton Bruckner:

paragraph: BULLET::::- Symphony No. 3 (1966)

paragraph: BULLET::::- Symphony No. 8 (1969)

paragraph: Claude Debussy:

paragraph: BULLET::::- "La mer" (1963)

paragraph: Antonín Dvořák:

paragraph: BULLET::::- Symphonies Nos. 7-9 (1958–60)

paragraph: BULLET::::- Slavonic Dances (1962–65)

paragraph: BULLET::::- Cello Concerto; Pablo Casals(vc) / Czech Philharmonic Orchestra br(1937, HMV)

paragraph: BULLET::::- Cello Concerto; Pierre Fournier(vc) / Berlin Philharmonic Orchestra br(1962, DG)

paragraph: Joseph Haydn:

paragraph: BULLET::::- Symphonies Nos. 88, 92-99, 104 (1954–69)

paragraph: Zoltán Kodály:

paragraph: BULLET::::- "Háry János" Suite (1969)

paragraph: Gustav Mahler:

paragraph: BULLET::::- Symphony No. 4; Judith Raskin (sop) (1965)

paragraph: BULLET::::- Symphony No. 6 (1967)

paragraph: BULLET::::- Symphony No. 10 (Adagio only) (1958)

paragraph: BULLET::::- "Des Knaben Wunderhorn"; Elisabeth Schwarzkopf (sop), Dietrich Fischer-Dieskau (bar) / London Symphony Orchestra (1968, EMI)

paragraph: Felix Mendelssohn:

paragraph: BULLET::::- Symphony No. 4 (1962)

paragraph: BULLET::::- "A Midsummer Night's Dream", Overture and Incidental Music (1967)

paragraph: Wolfgang Amadeus Mozart:

paragraph: BULLET::::- Symphonies Nos. 28, 33, 35, 39-41 (1960–67)

paragraph: BULLET::::- "Eine kleine Nachtmusik" (Serenade K. 525) (1968)

paragraph: BULLET::::- Piano Concertos; Robert Casadesus (p) (1955–68)

paragraph: BULLET::::- Szell as pianist:

paragraph: BULLET::::- Piano Quartets Nos. 1-2; Budapest String Quartet, Szell (p) (1946)

paragraph: BULLET::::- Violin Sonatas, K. 301 & 296; Rafael Druian (vn), Szell (p) (1967)

paragraph: Modest Mussorgsky:

paragraph: BULLET::::- "Pictures at an Exhibition" (1963)

paragraph: Sergei Prokofiev:

paragraph: BULLET::::- Symphony No. 5 (1959)

paragraph: BULLET::::- Piano Concertos Nos. 1 & 3; Gary Graffman (p) (1966)

paragraph: Maurice Ravel

paragraph: BULLET::::- "Daphnis et Chloé" Suite No. 2 (1963)

paragraph: Franz Schubert:

paragraph: BULLET::::- Symphony No. 8 "Unfinished" (1957)

paragraph: BULLET::::- Symphony No. 9 "The Great" (1957)

paragraph: Robert Schumann:

paragraph: BULLET::::- The 4 Symphonies (1958–60)

paragraph: Jean Sibelius:

paragraph: BULLET::::- Symphony No.2; Royal Concertgebouw Orchestra br(1964, Philips)

paragraph: BULLET::::- Symphony No.2 (1970) – Live concert in Tokyo, Japan, Szell's last recording.

paragraph: Bedřich Smetana:

paragraph: BULLET::::- "The Moldau" / New York Philharmonic (1951/2007 United Archives)

paragraph: BULLET::::- "Four Dances from the Bartered Bride" (1958)

paragraph: BULLET::::- String Quartet in E minor, "From My Life" (orch. Szell) (1949)

paragraph: Richard Strauss:

paragraph: BULLET::::- "Don Juan" (1957)

paragraph: BULLET::::- "Don Quixote"; Pierre Fournier (vc), Abraham Skernick (va) (1960)

paragraph: BULLET::::- "Till Eulenspiegels lustige Streiche" (1957)

paragraph: BULLET::::- "Tod und Verklärung" (1957)

paragraph: BULLET::::- Four Last Songs; Elisabeth Schwarzkopf (S) / Radio-Symphonie-Orchester Berlin (1965, EMI)

paragraph: Igor Stravinsky:

paragraph: BULLET::::- "The Firebird" Suite (1919 version) (1961)

paragraph: Pyotr Tchaikovsky:

paragraph: BULLET::::- Symphony No. 4; London Symphony Orchestra (1962, Decca)

paragraph: BULLET::::- Symphony No. 5 (1959)

paragraph: BULLET::::- Symphony No. 6; Cleveland Orchestra (1969)

paragraph: BULLET::::- "Capriccio Italien", Op. 45 ; Cleveland Orchestra (1958)

paragraph: Richard Wagner:

paragraph: BULLET::::- Overtures, Preludes & Extracts from "The Ring" (1962–68)

paragraph: BULLET::::- "Tannhäuser", Helen Traubel, Alexander Kipnis, Lauritz Melchior, Metropolitan Opera Chorus & Orchestra, live (1942, Music & Arts)

paragraph: William Walton:

paragraph: BULLET::::- Symphony No. 2 "Liverpool" (1961)

paragraph: BULLET::::- Partita for Orchestra (1959)

paragraph: BULLET::::- Variations on Theme by Hindemith (1964)

paragraph: Section::::External links.

paragraph: BULLET::::- George Szell discography

paragraph: BULLET::::- Video of Szell rehearsing the 2nd movement of Beethoven's Fifth Symphony /a

paragraph: BULLET::::- European archive Copyright free LP recording of Brahms 3rd symphony by George Szell (conductor) and the Amsterdam Concertgebouw Orchestra at the European Archive (for non-American viewers only).

alias:
György Széll
György Endre Szél

description: American conductor

wikidata_label: George Szell

wikipedia_title: George Szell


text: Neo-Impressionist

text: painter

text: Georges Seurat

text: Pointillist

text: architecture

text: Monet

text: Claude Monet

text: Georges Seurat

text: Neo-Impressionism

text: Divisionism

text: Impressionism

text: St. Tropez

text: Albert Dubois-Pillet

text: Odilon Redon

text: Société des Artistes Indépendants

text: Henri Matisse

text: Fauve

text: Luxe, Calme et Volupté

text: Divisionist

text: St. Tropez

text: French Riviera

text: neo-Impressionist

text: Henri-Edmond Cross

text: Vincent van Gogh

text: Paris

text: Asnières-sur-Seine

text: Arles

text: Genoa

text: Florence

text: Naples

text: anarchist

text: Elisee Reclus

text: Kropotkin

text: Jean Grave

text: Maximilien Luce

text: Camille Pissarro

text: Constantinople

text: watercolors

text: etching

text: lithographs

text: André Derain

text: Fauvism

text: Société des Artistes Indépendants

text: Cubists

text: Florence Meyer Blumenthal

text: Prix Blumenthal

text: 18th arrondissement of Paris

text: Maximilien Luce

text: Camille Pissarro

text: Georges Lecomte

text: Hector Guimard

text: Saint-Tropez

text: Antibes

text: Jeanne Selmersheim-Desgrange

text: Françoise Cachin

text: sepsis

text: Père Lachaise Cemetery

text: Volendam

text: Johan Barthold Jongkind

text: anarchist

text: Jean Cocteau

text: periodical

text: List of Orientalist artists

text: Orientalism

text: The Lagoon of Saint Mark, Venice

categories: French anarchists,Post-impressionist painters,Artists from Paris,Orientalist painters,1935 deaths,19th-century French painters,Peintres de la Marine,French male painters,Burials at Père Lachaise Cemetery,Divisionist painters,1863 births,Pointillism,20th-century French painters

paragraph: Paul Signac

paragraph: Paul Victor Jules Signac (; 11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style.

paragraph: Section::::Biography.

paragraph: Paul Signac was born in Paris on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet's work. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted a series of watercolors of French harbor cities in later years.

paragraph: In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat's faithful supporter, friend and heir with his description of Neo-Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of Pointillism.

paragraph: Many of Signac's paintings are of the French coast. He loved to paint the water. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends.

paragraph: Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants. The association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device "No jury nor awards" ("Sans jury ni récompense"). "The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom". For the following three decades their annual exhibitions set the trends in art of the early 20th century.

paragraph: At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting "Luxe, Calme et Volupté". In the Divisionist technique and brightly colored, it was painted in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had first adopted after reading Signac's essay, "d'Eugène Delacroix au Néo-Impressionnisme" in 1898. Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants.

paragraph: In 1886 Signac met Vincent van Gogh in Paris. In 1887 the two artists regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes and cafés. Initially, Van Gogh chiefly admired Signac’s loose painting technique. In March 1889, Signac visited Van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.

paragraph: In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, who all developed the ideas of anarchist communism. With his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux (New Times). His financial support was considerable; he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912. Signac's 1893 painting, "In the Time of Harmony" was originally titled "In the Time of Anarchy" but political repression targeting the anarchists in France at this time forced him to change it before the work could be accepted by a gallery.

paragraph: Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to the Netherlands, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat.

paragraph: Signac himself experimented with various media. As well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots.

paragraph: The Neo-Impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism.

paragraph: As president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.

paragraph: Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.

paragraph: Section::::Personal life.

paragraph: On 7 November 1892 Signac married Berthe Roblès at the town hall of the 18th arrondissement of Paris; witnesses at the wedding were Alexandre Lemonier, Maximilien Luce, Camille Pissarro and Georges Lecomte. In November 1897, the Signacs moved to a new apartment in the "Castel Béranger", built by Hector Guimard, and a little later, in December of the same year, acquired a house in Saint-Tropez called "La Hune"; there the painter had a vast studio constructed, which he inaugurated on 16 August 1898.

paragraph: In September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913. In the meantime Signac had left "La Hune" as well as the "Castel Beranger" apartment to Berthe: they remained friends for the rest of his life. On 6 April 1927, Signac adopted Ginette, his previously illegitimate daughter. His granddaughter, Françoise Cachin, was an art historian.

paragraph: Paul Signac died from sepsis in Paris on 15 August 1935 at the age of 71. His body was cremated and buried three days later, on 18 August, at the Père Lachaise Cemetery.

paragraph: Some of his well-known paintings are: "In the Time of Harmony", "Femmes au puits", "Port St. Tropez", "The Papal Palace", and "The Demolisher".

paragraph: In 2010, a previously unknown work was discovered at a hotel which was preparing an exhibition of its many paintings. The in Volendam has about 1,400 works of art and Signac apparently gave this one to pay for his stay there in 1894. Valued at €100,000, the untitled oil "representing a view of the harbour used to hang off a rusty nail in the lobby".

paragraph: Section::::Writer.

paragraph: Signac left several important works on the theory of art, among them "From Eugène Delacroix to Neo-Impressionism", published in 1899; a monograph devoted to Johan Barthold Jongkind (1819–1891), published in 1927; several introductions to the catalogues of art exhibitions; and many other still unpublished writings.

paragraph: Politically he was an anarchist, as were many of his friends, including Félix Fénéon and Camille Pissarro.

paragraph: Section::::Illustrations.

paragraph: BULLET::::- Jean Cocteau, Bertrand Guégan (1892–1943); "L'almanach de Cocagne pour l'an 1920–1922, Dédié aux vrais Gourmands Et aux Francs Buveurs" (1921)

paragraph: BULLET::::- "La Gerbe" (Nantes), periodical.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Orientalist artists

paragraph: BULLET::::- Orientalism

paragraph: BULLET::::- "The Lagoon of Saint Mark, Venice" (1905)

paragraph: Section::::References.

paragraph: BULLET::::- "Signac 1863–1935", Réunion des Musées Nationaux, Paris 2001

paragraph: BULLET::::- "The New Encyclopædia Britannica", 1988, Volume 10, Micropædia, pg. 796

paragraph: Section::::External links.

paragraph: BULLET::::- Works by Signac at the Musée d'Orsay, Paris

paragraph: BULLET::::- Finding Aid for Paul Signac letters and Signac family correspondence, 1860–1935, Getty Research Institute

paragraph: BULLET::::- Essay on "Palais des Papes, Avignon" by Paul Signac – 1909, at Great Works of Western Art

paragraph: BULLET::::- Woodcuts by Paul Signac, Henriette Tirman, Henri Ottmann and others, "La Gebre", 1921/04 (A3, N31), Gallica, BnF

paragraph: BULLET::::- Detail about Paul Signac's 1886 three month visit to Les Andelys that crystalised his theories around Pointillism.

alias:
Hsi-nieh-kʻo
Polʹ Sinʹi︠a︡k
Paul Victor Jules Signac
Signac
p. signac
signac p.

description: French painter

enwikiquote_title: Paul Signac

wikidata_label: Paul Signac

wikipedia_title: Paul Signac


text:
Latin
French
humanist
Ciceronian Latin style
Renaissance
Muret
Limoges
elder Scaliger
Auch
Villeneuve
College of Guienne
Bordeaux
college of Cardinal Lemoine
Paris
King Henry II
Jean Dorat
Pierre Ronsard
epigram
ode
satire
homosexuality
Toulouse
Huguenot
sodomite
Italy
Ippolito II d'Este
Roman Catholics
Protestants
Poissy
Kraków
Gregory XIII
Friedrich August Wolf
J. H. Fasi
Editio princeps
David Ruhnken
"Julius Caesar"

categories: People from Muret,1526 births,16th-century French philosophers,French Renaissance humanists,French male non-fiction writers,1585 deaths

paragraph: Muretus

paragraph: Muretus is the Latinized name of Marc Antoine Muret (12 April 1526 – 4 June 1585), a French humanist who was among the revivers of a Ciceronian Latin style and is among the usual candidates for the best Latin prose stylist of the Renaissance.

paragraph: Section::::Biography.

paragraph: He was born at Muret near Limoges. At the age of eighteen he attracted the notice of the elder Scaliger, and was invited to lecture in the archiepiscopal college at Auch. He afterwards taught Latin at Villeneuve, and then at the College of Guienne, Bordeaux, where his Latin tragedy "Julius Caesar" was presented. Some time before 1552 he delivered a course of lectures in the college of Cardinal Lemoine at Paris, which drew a large audience, King Henry II and his queen being among his hearers. In Paris he formed part of the larger circle of humanists and poets that included Jean Dorat and Pierre Ronsard. He wrote almost exclusively in Latin: epigrams, odes, satires and letters, which were widely circulated before they were printed. His orations remained models for students through the eighteenth century.

paragraph: His success made him many enemies, and he was thrown into prison on a charge of homosexuality, but released by the intervention of powerful friends. The same accusation was brought against him at Toulouse, and he only saved his life by timely flight. The records of the town show that he was burned in effigy as a Huguenot and as sodomite (1554).

paragraph: After a wandering and insecure life of some years in Italy, he received and accepted the invitation of the Cardinal Ippolito II d'Este to settle in Rome in 1559. In 1561 Muretus revisited France as a member of the cardinal's suite at the conference between Roman Catholics and Protestants held at Poissy.

paragraph: He returned to Rome in 1563. His lectures gained him a European reputation, and in 1578 he received a tempting offer from the king of Poland to become teacher of jurisprudence in his new college at Kraków. Muretus, however, who about 1576 had taken holy orders, was induced by the liberality of Gregory XIII to remain in Rome, where he died.

paragraph: Muretus edited a number of classical authors with learned and scholarly notes. His other works include "Juvenilia et poemata varia", "orationes" and "epistolae".

paragraph: Section::::Works.

paragraph: BULLET::::- Two volumes of "Scripta selecta", edited by J. Frey, 1871.

paragraph: BULLET::::- "Variae lectiones", edited by Friedrich August Wolf and J. H. Fasi, 1791-1828.

paragraph: BULLET::::- "The Iuvenilia of Marc-Antoine Muret", edited and translated by Kirk. M. Summers, Columbus, OH: 2006

paragraph: Section::::Works.:Complete editions.

paragraph: BULLET::::- "Editio princeps", Verona (1727-1730). There were further editions of Muretus edited by David Ruhnken (1789) and by C. H. Frotscher (1834-1841).

paragraph: Section::::Works.:On-line.

paragraph: BULLET::::- "Julius Caesar" Muretus' Senecan tragedy, printed in 1591 (Latin text)

paragraph: Section::::References.

paragraph: BULLET::::- Endnotes:

description: French philosopher

wikidata_label: Muretus

wikipedia_title: Muretus