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wikipedia_title: Rolling Stone's 500 Greatest Songs of All Time

wikipedia_title: Rolling Stone's 500 Greatest Albums of All Time

wikipedia_title: Bachelor No. 2 or, the Last Remains of the Dodo

wikipedia_title: List of UK Singles Chart Christmas number ones

wikipedia_title: Triple J Hottest 100 of the Past 20 Years, 2013

categories: Guitarists from California,American rock guitarists,Singers from California,American people of French descent,20th-century American singers,American writers of Greek descent,People from Greenwich Village,American folk rock musicians,American rock singers,Guitarists from New York (state),American people of Panamanian descent,American rock songwriters,Musicians Institute alumni,American people of Italian descent,American male singer-songwriters,Songwriters from New York (state),Singers with a four-octave vocal range,American people of Irish descent,1966 births,American tenors,1997 deaths,Musicians from Anaheim, California,Columbia Records artists,Accidental deaths in Tennessee,American male guitarists,20th-century American guitarists,Singers from New York (state),American singer-songwriters,Deaths by drowning,American male songwriters,American soul singers,Songwriters from California

image: 512px-Граффитти_Jeff_Buckley._Revisited._Россия,_Октябрьский,_2015.jpg

paragraph: Jeff Buckley

paragraph: Jeffrey Scott Buckley (November 17, 1966 – May 29, 1997), raised as Scott Moorhead, was an American singer, songwriter and guitarist. After a decade as a session guitarist in Los Angeles, Buckley amassed a following in the early 1990s by playing cover songs at venues in Manhattan's East Village, such as Sin-é, gradually focusing more on his own material. After rebuffing much interest from record labels and his father Tim Buckley's manager Herb Cohen, he signed with Columbia, recruited a band, and recorded what would be his only studio album, "Grace", in 1994.

paragraph: Over the following three years, the band toured extensively to promote the album, including concerts in the U.S., Europe, Japan, and Australia. In 1996, they stopped touring and made sporadic attempts to record Buckley's second album in New York City with Tom Verlaine as producer.

paragraph: In 1997, Buckley moved to Memphis, Tennessee, to resume work on the album, to be titled "My Sweetheart the Drunk", recording many four-track demos while also playing weekly solo shows at a local venue. On May 29, 1997, while awaiting the arrival of his band from New York, he drowned during a spontaneous evening swim, fully clothed, in the Mississippi River when he was caught in the wake of a passing boat; his body was found on June 4.

paragraph: Since his death, there have been many posthumous releases of his material, including a collection of four-track demos and studio recordings for his unfinished second album "My Sweetheart the Drunk", expansions of "Grace", and the "Live at Sin-é" EP. Chart success also came posthumously: with his cover of Leonard Cohen's song "Hallelujah" he attained his first number one on "Billboard"s Hot Digital Songs in March 2008 and reached number 2 in the UK Singles Chart that December. Buckley and his work remain popular and are regularly featured in "greatest" lists in the music press; in 2004, "Rolling Stone" listed him at number 39 on their list of greatest singers of all time.

paragraph: Section::::Early life.

paragraph: Born in Anaheim, California, Buckley was the only son of Mary Guibert and Tim Buckley. His mother was a Zonian of mixed Greek, French, and Panamanian descent, while his father was the son of an Irish American father and an Italian American mother. Buckley was raised by his mother and stepfather, Ron Moorhead, in Southern California, and had a half-brother, Corey Moorhead. Buckley moved many times in and around Orange County while growing up, an upbringing Buckley called "rootless trailer trash." As a child, Buckley was known as Scott "Scottie" Moorhead based on his middle name and his stepfather's surname.

paragraph: His biological father, Tim Buckley, was a singer-songwriter who released a series of highly acclaimed folk and jazz albums in the late 1960s and early 1970s, and whom, he said, he only met once, at the age of eight. After his biological father died of a drug overdose in 1975, he chose to go by Buckley and his real first name, which he found on his birth certificate. To members of his family he remained "Scottie."

paragraph: Buckley was brought up around music. His mother was a classically trained pianist and cellist. His stepfather introduced him to Led Zeppelin, Queen, Jimi Hendrix, the Who, and Pink Floyd at an early age.

paragraph: Buckley grew up singing around the house and in harmony with his mother, later noting that all his family sang. He began playing guitar at the age of five after discovering an acoustic guitar in his grandmother's closet.

paragraph: Led Zeppelin's "Physical Graffiti" was the first album he ever owned; the hard rock band Kiss was also an early favourite. At the age of 12, he decided to become a musician, and received his first electric guitar — a black Les Paul — at the age of 13. He attended Loara High School, and played in the school's jazz band. During this time, he developed an affinity for progressive rock bands such as Rush, Genesis, and Yes, as well as jazz fusion guitarist Al Di Meola.

paragraph: After graduating from high school, he moved north to Hollywood to attend the Musicians Institute, completing the one-year course at the age of 19. Buckley later told "Rolling Stone" the school was "the biggest waste of time," but noted in an interview with "DoubleTake Magazine" that he appreciated studying music theory there, saying, "I was attracted to really interesting harmonies, stuff that I would hear in Ravel, Ellington, Bartók."

paragraph: Section::::Career.

paragraph: Buckley spent the next six years working in a hotel and playing guitar in various struggling bands playing in styles from jazz, reggae, and roots rock to heavy metal. He toured with the dancehall reggae artist Shinehead and also played the occasional funk and R&B studio session, collaborating with fledgling producer Michael J. Clouse to form X-Factor Productions. Throughout this period, Buckley limited his singing to backing vocals.

paragraph: He moved to New York City in February 1990, but found few opportunities to work as a musician. He was introduced to Qawwali, the Sufi devotional music of India and Pakistan, and to Nusrat Fateh Ali Khan, one of its best-known singers. Buckley was an impassioned fan of Khan, and during what he called his "cafe days," he often covered Khan's songs. In January 1996, he interviewed Khan for "Interview" and wrote liner notes for Khan's "Supreme Collection, Vol. 1" compilation. He became interested in blues musician Robert Johnson and hardcore punk band Bad Brains during this time. Buckley moved back to Los Angeles in September when his father's former manager, Herb Cohen, offered to help him record his first demo of original songs. Buckley completed "Babylon Dungeon Sessions", a four-song cassette that included the songs "Eternal Life," "Unforgiven" (later titled "Last Goodbye"), "Strawberry Street" (a different version of which appears on the "Grace Legacy Edition"), and punk screamer "Radio." Cohen and Buckley hoped to attract attention from the music industry with the demo tape.

paragraph: Buckley flew back to New York early the following year to make his public singing debut at a tribute concert for his father called "Greetings from Tim Buckley." The event, produced by show business veteran Hal Willner, was held at St. Ann's Church in Brooklyn on April 26, 1991. Buckley rejected the idea of the concert as a springboard to his career, instead citing personal reasons regarding his decision to sing at the tribute.

paragraph: With accompaniment by experimental rock guitarist Gary Lucas, Buckley performed "I Never Asked To Be Your Mountain," a song Tim Buckley wrote about an infant Jeff Buckley and his mother. Buckley returned to the stage to play "Sefronia – The King's Chain," "Phantasmagoria in Two," and concluded the concert with "Once I Was" performed acoustically with an impromptu a cappella ending, due to a snapped guitar string. Willner, the show's organizer, later recalled that Buckley's set closer made a strong impression. Buckley's performance at the concert was counter-intuitive to his desire to distance himself musically from his father. Buckley later explained his reasoning to "Rolling Stone": "It wasn't my work, it wasn't my life. But it bothered me that I hadn't been to his funeral, that I'd never been able to tell him anything. I used that show to pay my last respects." The concert proved to be his first step into the music industry that had eluded him for years.

paragraph: On subsequent trips to New York in mid-1991, Buckley began co-writing with Gary Lucas resulting in the songs "Grace" and "Mojo Pin," and by late 1991 he began performing with Lucas' band Gods and Monsters around New York City. After being offered a development deal as a member of Gods and Monsters at Imago Records, Buckley moved back to New York to the Lower East Side at the end of 1991. The day after Gods and Monsters officially debuted in March 1992, he decided to leave the band.

paragraph: Buckley began performing at several clubs and cafés around Lower Manhattan, but Sin-é in the East Village became his main venue. He first appeared at Sin-é in April 1992, and quickly earned a regular Monday night slot there. His repertoire consisted of a diverse range of folk, rock, R&B, blues and jazz cover songs, much of it music he had newly learned. During this period, he discovered singers such as Nina Simone, Billie Holiday, Van Morrison, and Judy Garland. Buckley performed an eclectic selection of covers from a range of artists from Led Zeppelin, Nusrat Fateh Ali Khan, Bob Dylan, Édith Piaf, Elton John, the Smiths, Bad Brains, Leonard Cohen, Robert Johnson and Siouxsie Sioux. Original songs from the "Babylon Dungeon Sessions", and the songs he'd written with Gary Lucas were also included in his set lists. He performed solo, accompanying himself on a borrowed Fender Telecaster. Buckley stated that he learned how to perform onstage from playing to small audiences.

paragraph: Over the next few months, Buckley attracted admiring crowds and attention from record label executives. Industry maven Clive Davis even dropped by to see him. By the summer of 1992, limos from executives eager to sign the singer lined the street outside Sin-é. Buckley signed with Columbia Records, home of Bob Dylan and Bruce Springsteen, for a three-album, essentially million-dollar deal in October 1992. Buckley spent three days in February 1993 in the studio with engineer Steve Addabbo and Columbia A&R man, Steve Berkowitz, recording much of Buckley's solo repertoire. Buckley sang a cappella and also accompanied himself on acoustic and electric guitars, Wurlitzer electric piano, and harmonium. These tapes remain unreleased in the Columbia vaults, but much of this material later surfaced on the "Grace" album. Recording dates were set for July and August 1993 for what would become Buckley's recording debut, an EP of four songs which included a cover of Van Morrison's "The Way Young Lovers Do". "Live at Sin-é" was released on November 23, 1993, documenting this period of Buckley's life.

paragraph: Section::::"Grace".

paragraph: In mid-1993, Buckley began working on his first album with record producer Andy Wallace. Buckley assembled a band, composed of bassist Mick Grøndahl and drummer Matt Johnson, and spent several weeks rehearsing.

paragraph: In September, the trio headed to Bearsville Studios in Woodstock, New York to spend six weeks recording basic tracks for what would become "Grace". Buckley invited ex-bandmate Lucas to play guitar on the songs "Grace" and "Mojo Pin," and Woodstock-based jazz musician Karl Berger wrote and conducted string arrangements with Buckley assisting at times. Buckley returned home for overdubbing at studios in Manhattan and New Jersey, where he performed take after take to capture the perfect vocals and experimented with ideas for additional instruments, and added textures to the songs.

paragraph: In January 1994, Buckley left to go on his first solo North American tour to support "Live at Sin-é". It was followed by a 10-day European tour in March. Buckley played clubs and coffeehouses and made in-store appearances. After returning, Buckley invited guitarist Michael Tighe to join the band and a collaboration between the two resulted in "So Real", a song which was recorded with producer/engineer Clif Norrell as a late addition to the album. In June, Buckley began his first full band tour called the "Peyote Radio Theatre Tour" that lasted into August. Pretender Chrissie Hynde, Soundgarden's Chris Cornell, and The Edge from U2 were among the attendees of these early shows.

paragraph: "Grace" was released on August 23, 1994. In addition to seven original songs, the album included three covers: "Lilac Wine," based on the version by Nina Simone; made famous by Elkie Brooks, "Corpus Christi Carol", from Benjamin Britten's "A Boy was Born", Op.3, a composition that Buckley was introduced to in high school, based on a 15th-century hymn; and "Hallelujah" by Leonard Cohen, based on John Cale's recording from the Cohen tribute album, "I'm Your Fan". His rendition of "Hallelujah" has been called "Buckley's best" and "one of the great songs" by "Time", and is included on "Rolling Stone"s list of "The 500 Greatest Songs of All Time."

paragraph: Sales of "Grace" were slow, and it garnered little radio airplay despite critical acclaim. "The Sydney Morning Herald" proclaimed it "a romantic masterpiece" and a "pivotal, defining work." Despite slow initial sales the album went gold in France and Australia over the next two years, achieving gold status in the U.S. in 2002, and selling over six times platinum in Australia in 2006.

paragraph: "Grace" won appreciation from a host of revered musicians and artists, including members of Buckley's biggest influence, Led Zeppelin. Jimmy Page considered "Grace" close to being his "favorite album of the decade." Robert Plant was also complimentary, as was Brad Pitt, saying of Buckley's work, "There's an undercurrent to his music, there's something you can't pinpoint. Like the best of films, or the best of art, there's something going on underneath, and there's a truth there. And I find his stuff absolutely haunting. It just ... it's under my skin."

paragraph: Others who had influenced Buckley's music lauded him: Bob Dylan named Buckley "one of the great songwriters of this decade," and, in an interview with "The Village Voice", David Bowie named "Grace" as one of 10 albums he'd bring with him to a desert island. The album eventually went on to feature in Rolling Stone's 500 Greatest Albums of All Time in 2003, appearing at No. 303.

paragraph: Section::::Concert tours.

paragraph: Buckley spent much of the next year and a half touring internationally to promote "Grace". From the album's release, he played in numerous countries, from Australia, to the UK (Glastonbury Festival and the 1995 Meltdown Festival — at which he sang Henry Purcell's "Dido's Lament" — at the invitation of Elvis Costello). Following Buckley's "Peyote Radio Theater" tour, the band began a European tour on August 23, 1994, starting with performances in the UK and Ireland. The tour continued in Scandinavia and, throughout September, numerous concerts in Germany were played. The tour ended on September 22 with a concert in Paris. A gig on September 24 in New York dovetailed on to the end of the European tour and Buckley and band spent the next month relaxing and rehearsing.

paragraph: A tour of Canada and the U.S. began on October 19, 1994 at CBGB's. The tour was far reaching with concerts held on both East and West Coasts of the U.S. and a number of performances in central and southern states. The tour ended two months later on December 18 at Maxwell's in Hoboken, New Jersey. After another month of rest and rehearsal, the band commenced a second European tour, this time mainly for promotion purposes. The band began the tour in Dublin; Buckley has remained particularly popular in Ireland. The short tour largely consisted of promotional work in London and Paris.

paragraph: In late January, the band did their first tour of Japan, playing concerts and appearing for promotion of the album and newly released Japanese single "Last Goodbye." The band returned to Europe on February 6 and toured various Western European countries before returning to the U.S. on March 6. Among the gigs performed during this period, Buckley and his band performed at a 19th-century-built French venue, the Bataclan, and material from the concert was recorded and later released in October of that year as a four track EP, "Live from the Bataclan". Songs from a performance on February 25, at the venue Nighttown in Rotterdam, were subsequently released as a promotional-only CD, "So Real".

paragraph: Touring recommenced in April with dates across the U.S. and Canada. During this period Buckley and the band notably played Metro in Chicago, which was recorded on video and later released as "Live in Chicago" on VHS and later on DVD. In addition, on June 4 they played at Sony Music Studios for the Sony Music radio hour. Following this was a month-long European tour between June 20 and July 18 in which they played many summer music festivals. During the tour, Buckley played two concerts at the Paris Olympia, a venue made famous by the French vocalist Édith Piaf. Although he had failed to fill out smaller American venues at that point of his career, both nights at the large Paris Olympia venue were sold out. Shortly after this Buckley attended the Festival de la Musique Sacrée (Festival of Sacred Music), also held in France, and performed "What Will You Say" as a duet with Alim Qasimov, an Azerbaijani mugham singer. Sony BMG has since released a live album, 2001's Live à L'Olympia, which has a selection of songs from both Olympia performances and the collaboration with Qasimov.

paragraph: Buckley's "Mystery White Boy" tour, playing concerts in both Sydney and Melbourne, Australia, lasted between August 28 and September 6 and recordings of these performances were compiled and released on the live album "Mystery White Boy". Buckley was so well received during these concerts that his album "Grace" went gold in Australia, selling over 35,000 copies, and taking this into account he decided a longer tour was needed and returned for a tour of New Zealand and Australia in February the following year.

paragraph: Between the two Oceanian tours, Buckley and the band took a break from touring. Buckley played solo in the meantime with concerts at Sin-é and a New Year's Eve concert at Mercury Lounge in New York. After the break, the band spent the majority of February on the "Hard Luck Tour" in Australia and New Zealand, but tensions had risen between the group and drummer Matt Johnson. The concert on March 1, 1996 was the last gig he played with Buckley and his band.

paragraph: Much of the material from the tours of 1995 and 1996 was recorded and released on either promotional EPs, such as the "Grace EP", or posthumously on albums, such as "Mystery White Boy" (a reference to Buckley not using his real name) and "Live à L'Olympia". Many of the other concerts Buckley played during this period have surfaced on bootleg recordings.

paragraph: Following Johnson's departure, the band, now without a drummer, was put on hold and did not perform live again until February 12, 1997. Due to the pressure from extensive touring, Buckley spent the majority of the year away from the stage. However, from May 2 to 5, he played a short stint as bass guitarist with Mind Science of the Mind, with friend Nathan Larson, then guitarist of Shudder to Think. Buckley returned to playing live concerts when he went on his "phantom solo tour" of cafés in the Northeast in December 1996, appearing under a series of aliases: the Crackrobats, Possessed by Elves, Father Demo, Smackrobiotic, the Halfspeeds, Crit-Club, Topless America, Martha & the Nicotines, and A Puppet Show Named Julio. By way of justification, Buckley posted a note on his Internet site stating that he missed the anonymity of playing in cafes and local bars:

paragraph: Section::::"Sketches for My Sweetheart the Drunk".

paragraph: After completing touring in 1996, Buckley started writing a new album, to be called "My Sweetheart the Drunk". He worked with Patti Smith on her 1996 album "Gone Again" and met collaborator Tom Verlaine, the lead singer for the punk band Television. Buckley asked Verlaine to be producer on the new album and he agreed. In mid-1996, Buckley and his band began recording sessions in Manhattan with Verlaine. Eric Eidel played the drums through these sessions as a stop-gap between the dates drummer Matt Johnson left and before Parker Kindred joined as full-time drummer. Around this time Buckley met Inger Lorre of The Nymphs in an East Village bar, and struck up a fast and close friendship. Together, they contributed a track to "", a Jack Kerouac tribute album. After Lorre's backup guitarist for an upcoming album quit the project, Buckley offered to fill in. He became attached to one of the songs from the album, "Yard of Blonde Girls", and covered it on "Sketches for My Sweetheart the Drunk". Another recording session in Manhattan followed in early 1997, but Buckley and the band were unsatisfied.

paragraph: On February 4, 1997, Buckley played a short set at The Knitting Factory's tenth anniversary concert featuring a selection of his new songs: "Jewel Box," "Morning Theft," "Everybody Here Wants You," "The Sky is a Landfill" and "Yard of Blonde Girls." Lou Reed was there to watch and expressed an interest in working with Buckley. The band played their first gig with Parker Kindred, their new drummer, at Arlene's Grocery in New York on February 9. The set featured much of Buckley's new material that would appear on "Sketches for My Sweetheart the Drunk" and a recording has become one of Buckley's most widely distributed bootlegs. Later that month, Buckley recorded a spoken word reading of the Edgar Allan Poe poem, "Ulalume," for the album "Closed on Account of Rabies". It was his last recording in New York; shortly after, he moved to Memphis, Tennessee.

paragraph: Buckley became interested in recording at Easley McCain Recording in Memphis, at the suggestion of friend Dave Shouse from the Grifters. He rented a shotgun house there, of which he was so fond he contacted the owner about the possibility of buying it. Throughout this period, February 12 to May 26, 1997, Buckley played at Barristers', a bar located in downtown Memphis underneath a parking garage in an alley off Jefferson Avenue. He played numerous times in order to work through the new material in a live atmosphere, at first with the band then solo as part of a Monday night residency. In early February, Buckley and the band did a third recording session with Verlaine, in Memphis, but Buckley expressed his dissatisfaction with the sessions and later called "Grace" producer, Andy Wallace, to step in as Verlaine's replacement. Buckley started recording demos on his own 4-track recorder in preparation for a forthcoming session with Wallace. Some of these demos were sent to his band in New York, who listened to them enthusiastically, and were excited to resume working on the album. These recordings would go on to compose the second disc of "Sketches for My Sweetheart the Drunk". However Buckley was not entirely happy with the results and he sent his band back to New York while he stayed behind to work on the songs. The band was scheduled to return to Memphis for rehearsals and recording sessions on May 29.

paragraph: Section::::Death.

paragraph: On the evening of May 29, 1997, Buckley's band flew to Memphis intending to join him in his studio to work on his new material. The same evening, Buckley went swimming in Wolf River Harbor, a slack water channel of the Mississippi River, wearing boots and all of his clothing and singing the chorus of the song "Whole Lotta Love" by Led Zeppelin. Buckley had gone swimming in the river several times before. A roadie in Buckley's band, Keith Foti, remained on shore. After moving a radio and guitar out of reach of the wake from a passing tugboat, Foti looked up to see that Buckley had vanished. Despite a rescue effort that night and the morning after by scuba teams and police, Buckley remained missing. On June 4, two locals spotted his body in the Wolf River near a riverboat, and he was brought to land.

paragraph: Buckley's autopsy showed no signs of drugs or alcohol in his system, and the death was ruled as an accidental drowning.

paragraph: Section::::Tributes.

paragraph: BULLET::::- One-time friend Elizabeth Fraser of the Cocteau Twins recorded the Massive Attack song "Teardrop" on the day he died, and later stated: "That was so weird ... I'd got letters out and I was thinking about him. That song's kind of about him – that's how it feels to me anyway."

paragraph: BULLET::::- Duncan Sheik's "A Body Goes Down" paid tribute to Buckley on Sheik's 1998 album "Humming", which was also included in the documentary "". Drummer Matt Johnson played drums on the track, as well as for "Grace" and most of "Humming".

paragraph: BULLET::::- Glen Hansard wrote "Neath the Beeches" in memory of Buckley; it appears on the album "Dance the Devil" by Hansard's band The Frames.

paragraph: BULLET::::- Chris Cornell's song "Wave Goodbye" from his album "Euphoria Morning" pays tribute to Buckley.

paragraph: BULLET::::- Pete Yorn's song "Bandstand in the Sky" from his album "Nightcrawler" and his live album "Live from New Jersey" is a tribute to Buckley.

paragraph: BULLET::::- Zita Swoon's song "Song for a Dead Singer" from the album "I Paint Pictures on a Wedding Dress" is a tribute to Jeff Buckley.

paragraph: BULLET::::- Coldplay's song "Shiver" was inspired by Jeff Buckley's "Grace." Chris Martin called it "a rip off of Jeff Buckley."

paragraph: BULLET::::- Rufus Wainwright's 2004 album "Want Two" includes the track “Memphis Skyline” about the death of Buckley.

paragraph: BULLET::::- Lisa Germano's "Except For The Ghosts," from the album "In The Maybe World", was written for Buckley.

paragraph: BULLET::::- Aimee Mann's "Just Like Anyone," from the album "Bachelor No. 2", pays tribute to Buckley.

paragraph: BULLET::::- Juliana Hatfield's song "Trying Not To Think About It" from the album "Please Do Not Disturb" was written about the death of Jeff Buckley.

paragraph: BULLET::::- Lana Del Rey's song "Gods and Monsters" is a direct nod to Buckley's former band. Del Rey cites Buckley as an influence.

paragraph: BULLET::::- Caligula's Horse's song "Dragonfly" was described as "a vocal dedication to the music of Jeff Buckley" by Jim Grey (the band's lead vocalist).

paragraph: Section::::Musical style.

paragraph: Buckley's voice was a particularly distinguished aspect of his music. He possessed a tenor vocal range that spanned around four octaves. Buckley made full use of this range in his performance, particularly in the songs from "Grace", and reached peaks of high G in the tenor range at the culmination of "Grace." "Corpus Christi Carol" was sung entirely in a high falsetto. The pitch and volume of his singing was also highly variable, as songs such as "Mojo Pin" and "Dream Brother" began with mid-range quieter vocals before reaching louder, higher peaks near the ending of the songs.

paragraph: Buckley played guitar in a variety of styles ranging from the distorted rock of "Sky is a Landfill", to the jazz of "Strange Fruit", the country styling of "Lost Highway", and the guitar fingerpicking style in "Hallelujah". He occasionally used slide guitar in live performances as a solo act and used a slide for the introduction of "Last Goodbye" when playing with a full band. His songs were written in various guitar tunings which, apart from the EADGBE standard tuning, included Drop D tuning and an Open G tuning. His guitar playing style varied from highly melodic songs, such as "The Twelfth of Never", to more percussive ones, such as "New Year's Prayer".

paragraph: Section::::Musical style.:Equipment.

paragraph: Buckley mainly played a 1983 Fender Telecaster and a Rickenbacker 360/12, but also used several other guitars, including a black Gibson Les Paul Custom and a 1967 Guild F-50 acoustic. When on tour with his band, he used Fender Amplifiers for a clean sound and Mesa Boogie amps for his overdriven tones. He was primarily a singer and guitarist; however, he also played other instruments on various studio recordings and sessions, including bass, dobro, mandolin, harmonium (heard on the intro to "Lover, You Should've Come Over"), organ, dulcimer ("Dream Brother" intro), tabla, esraj, and harmonica.

paragraph: Section::::Personal life.

paragraph: Shortly before recording "Grace", Jeff was roommates with actress Brooke Smith. Smith takes credit for introducing Buckley to the music of Bad Brains during that time.

paragraph: In 1994-95, Jeff had an intense relationship with Elizabeth Fraser of Cocteau Twins.

paragraph: At the time of his death, Jeff was in a relationship with Joan Wasser, to whom he had reportedly proposed marriage.

paragraph: Section::::Legacy.

paragraph: After Buckley's death, a collection of demo recordings and a full-length album he had been reworking for his second album were released as "Sketches for My Sweetheart the Drunk" — the compilation being overseen by his mother, Mary Guibert, band members and old friend Michael J. Clouse, as well as Chris Cornell. The album achieved gold sales in Australia in 1998. Three other albums composed of live recordings have also been released, along with a live DVD of a performance in Chicago. A previously unreleased 1992 recording of "I Shall Be Released", sung by Buckley over the phone on live radio, was released on the album "For New Orleans".

paragraph: Since his death, Buckley has been the subject of numerous documentaries: "Fall in Light", a 1999 production for French TV; "Goodbye and Hello", a program about Buckley and his father produced for Netherlands TV in 2000; and "Everybody Here Wants You", a documentary made in 2002 by the British Broadcasting Corporation (BBC). An hour-long documentary about Buckley called "" has been shown at various film festivals to critical acclaim. The film was released worldwide in 2009 by Sony BMG Legacy as part of the "Grace Around The World Deluxe Edition". In the spring of 2009 it was revealed that Ryan Jaffe, best known for scripting the movie "The Rocker", had replaced Brian Jun as screenwriter for the upcoming film "Mystery White Boy". Orion Williams is also set to co-produce the film with Michelle Sy. A separate project involving the book "Dream Brother" was allegedly cancelled.

paragraph: Buckley's premature death inspired many artists he knew or influenced to write songs in tribute to the late singer. PJ Harvey knew him personally and in the song "Memphis" she takes lines from a song on his unfinished album, "Morning Theft", and in her own words reflects on Buckley's death: ""In Memphis ... die suddenly, at a wonderful age, we're ready to go"". Chris Cornell wrote "Wave Goodbye", which appeared on his first solo album, "Euphoria Morning", for Buckley. Rufus Wainwright, whose fledgling career had barely started when he met Buckley, wrote "Memphis Skyline" in tribute to him, singing ""then came hallelujah sounding like Ophelia, for me in my room living, turn back and you will stay, under the Memphis Skyline"". Duncan Sheik's "A Body Goes Down", from his 1998 album "Humming", was a response to Buckley's death. Steve Adey wrote a song tribute entitled "Mississippi" on his 2006 album "All Things Real". The song contains the lyrics "Until the morning thief steals the humming of the Lord", a reference to Buckley's song "Morning Theft".

paragraph: In May and June 2007, Buckley's life and music were celebrated globally with tributes in Australia, Canada, UK, France, Iceland, Israel, Ireland, Republic of Macedonia, Portugal and the U.S. Many of Buckley's family members attended the various tribute concerts across the globe, some of which they helped organize. There are three annual Jeff Buckley tribute events: the Chicago-based "Uncommon Ground", featuring a three-day concert schedule, "An Evening With Jeff Buckley", an annual New York City tribute, and the Australia-based "Fall In Light". The latter event is run by the Fall In Light Foundation, which in addition to the concerts, runs a "Guitars for Schools" program. The name of the foundation is taken from the lyrics of Buckley's "New Year's Prayer".

paragraph: In 2015, tapes of a 1993 recording session for Columbia Records were discovered by Sony executives doing research for the 20th anniversary of "Grace". The recordings have been released on an album, "You and I", in March 2016 and it features mostly covers of songs recorded previously by other artists.

paragraph: In 2012, at Toronto International Film Festival, "Greetings from Tim Buckley" premiered; the film explores the relationship Jeff Buckley had with his father.

paragraph: Buckley is referenced in the 2001 film "Vanilla Sky," when Sofia asks David if he would rather listen to Jeff Buckley or Vikki Carr, to which he responds, "Both. Simultaneously." As David is leaving Sofia's apartment, the music playing is the intro to Jeff Buckley's song "Last Goodbye", from his 1994 studio album "Grace".

paragraph: Section::::Legacy.:Resurgence.

paragraph: On March 7, 2008, Buckley's version of the Leonard Cohen song, "Hallelujah", went to No. 1 on the iTunes chart, selling 178,000 downloads for the week, after being performed by Jason Castro on the seventh season of the television series "American Idol". The song debuted at No. 1 that week on "Billboard"s Hot Digital Songs chart, giving Buckley his first No. 1 on any "Billboard" chart.

paragraph: In a similar vein, the 2008 UK "X Factor" winner, Alexandra Burke, released a cover of "Hallelujah" with the intent to top the UK Singles Chart as the Christmas number one single. Buckley fans countered this, launching a campaign with the aim of propelling Buckley's version to the number one spot. The campaign picked up support through social networking websites and it soon spread to the mainstream media. Burke's version eventually reached Christmas Number One on the UK charts in December 2008. Buckley's version of the song entered the UK charts at No. 49 on November 30, and by December 21 it had reached No. 2 despite the fact that it had not been rereleased in a physical format.

paragraph: Section::::Discography.

paragraph: BULLET::::- Studio album

paragraph: BULLET::::- "Grace" (1994)

paragraph: Section::::Awards and nominations.

paragraph: BULLET::::- The Académie Charles Cros awarded Buckley the "Grand Prix International Du Disque" on April 13, 1995 in honor of his debut album "Grace".

paragraph: BULLET::::- MTV Video Music Award nomination for Best New Artist in a Video for "Last Goodbye", 1995.

paragraph: BULLET::::- "Rolling Stone" magazine nomination for Best New Artist, 1995.

paragraph: BULLET::::- Triple J Hottest 100 awarded No. 14 best song for that year in the world's largest voting competition for "Last Goodbye", 1995.

paragraph: BULLET::::- In 2006, "Mojo" named "Grace" the No. 1 Modern Rock Classic of all Time. It was also rated as Australia's second favorite album on "My Favourite Album", a television special aired by the Australian Broadcasting Corporation on December 3, 2006.

paragraph: BULLET::::- Grammy Award nomination for Best Male Rock Vocal Performance for "Everybody Here Wants You", 1998.

paragraph: BULLET::::- MOJO Awards nomination for Calalogue Release of the Year for "Grace", 2005

paragraph: BULLET::::- "Grace" was ranked No. 303 of the 500 Greatest Albums by "Rolling Stone" in 2003.

paragraph: BULLET::::- Buckley's cover of "Hallelujah" was ranked No. 259 of the 500 Greatest Songs by "Rolling Stone" in 2004.

paragraph: BULLET::::- "Rolling Stone" ranked Buckley No. 39 in its 2008 list: The 100 Greatest Singers of All Time.

paragraph: BULLET::::- On the Triple J Hottest 100 of All Time, 2009, Buckley's version of "Hallelujah" was voted in 3rd place, Last Goodbye was 7th, Lover, You Should've Come Over was 56th and Grace came in 69th.

paragraph: BULLET::::- On the Triple J Hottest 100 of the Past 20 Years, 2013, Last Goodbye was voted in 3rd place and Hallelujah at number 36.

paragraph: Section::::References.

paragraph: BULLET::::- Browne, David. "." HarperEntertainment. 2001, 2002.

paragraph: BULLET::::- Kane, Rebecca. "Kingdom for a Kiss—The Jeff Buckley F.A.Q.". 1998, 1999. Retrieved on 2008-06-13.

paragraph: BULLET::::- Biography from jeffbuckley.com Retrieved on 2008-06-13.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Price, Chris & Harland, Joe. "Live Fast, Die Young: Misadventures in Rock & Roll America". Summersdale. 2010.

paragraph: BULLET::::- Apter, Jeff. "A Pure Drop: The Life of Jeff Buckley". Backbeat Books. 2009.

paragraph: BULLET::::- Brooks, Daphne. "Jeff Buckley's Grace". Continuum International Publishing Group. 2005.

paragraph: BULLET::::- Buckley, Jeff. "Jeff Buckley Collection". Hal Leonard. 2002.

paragraph: BULLET::::- Cyr, Merri and Buckley, Jeff. "Wished for Song: A Portrait of Jeff Buckley" Hal Leonard. 2002.

paragraph: BULLET::::- Giulia Cortella, New York I love you a personal diary of Jeff Buckley, Cortellaeditore 2013.

paragraph: Section::::External links.

paragraph: BULLET::::- "Amazing Grace" documentary

paragraph: BULLET::::- Jeff Buckley Videos Official Sony BMG music videos

description: American singer, guitarist and songwriter

enwikiquote_title: Jeff Buckley

wikidata_label: Jeff Buckley

wikipedia_title: Jeff Buckley


text: Somnium Scipionis

text: Platonism

text: Saturnalia

text: ancient Roman religious

text: antiquarian

text: Greek

text: Latin Verb

text: Cassiodorus

text: Boethius

text: Terrot Glover

text: J. E. Sandys

text: Ludwig van Jan

text: Vergil

text: Cicero

text: Codex Theodosianus

text: praetorian prefect

text: Spain

text: praepositus

text: floruit

text: praetorian prefect of Italy

text: Africa Proconsularis

text: Byzacena

text: Dream of Scipio

text: Stoic

text: Neo-Platonic

text: cosmos

text: astronomy

text: Johannes Scotus Eriugena

text: Franz Eyssenhardt

text: Teubner

text: OCT

text: Loeb

text: Georg Wissowa

text: Heinrich Keil

text: Georg Friedrich Schömann

text: Saturnalia

text: Vettius Agorius Praetextatus

text: Saturnalia

text: antiquarian

text: lunar crater

text: Macrobius Cove

text: Antarctica

text: antipodes

text: Ptolemaic climate

text: flat Earth

text: Allegory in the Middle Ages

text: Zeitschrift für Antikes Christentum

text: Macrobius: "The Saturnalia"

text: vol. 1

text: vol. 2

text: Iohannis (Scoti) defloratio de Macrobio

text: pagg. 599-629

text: Macrobii excerpta Bobiensa

text: pagg. 631-55

categories: Roman-era philosophers,Neoplatonists,5th-century Byzantine people,Ancient Roman scholars of religion,5th-century philosophers,Grammarians of Latin,Philosophers of Roman Italy,4th-century Romans,5th-century Latin writers,Byzantine-era pagans,Ancient Roman antiquarians,Latin-language writers,Romans from Africa

paragraph: Macrobius

paragraph: Macrobius, fully Macrobius Ambrosius Theodosius, also known as Theodosius, was a Roman provincial who lived during the early fifth century, at the transition of the Roman to the Byzantine Empire, and when Latin was as widespread as Greek among the elite. He is primarily known for his writings, which include the widely copied and read "Commentarii in Somnium Scipionis" ("Commentary on the Dream of Scipio"), which was one of the most important sources for Platonism in the Latin West during the Middle Ages, the "Saturnalia", a compendium of ancient Roman religious and antiquarian lore, and "De differentiis et societatibus graeci latinique verbi" ("On the Differences and Similarities of the Greek and Latin Verb"), which is now lost.

paragraph: Section::::Name.

paragraph: The correct order of his names is "Macrobius Ambrosius Theodosius", which is how it appears in the earliest manuscripts of the "Saturnalia", and how he is addressed in the excerpts from his lost "De differentiis". Only in later manuscripts were his names reversed as "Ambrosius Theodosius Macrobius", which James Willis then adopted for his edition of the "Commentary". Alan Cameron notes that Cassiodorus and Boethius both refer to him as "Macrobius Theodosius", while he was known during his lifetime as "Theodosius": the dedication to the "De differentiis" is addressed "Theodosius Symmacho suo" ("Theodosius to his Symmachus"), and by the dedicatory epistle to Avianus's "Fables", where he is addressed as "Theodosi optime".

paragraph: Section::::Life.

paragraph: Little is known for certain about Macrobius, but there are many theories and speculations about him. He states at the beginning of his "Saturnalia" that he was "born under a foreign sky" ("sub alio ortos caelo"), and both of his major works are dedicated to his son, Eustachius. His major works have led experts to assume that he was a pagan.

paragraph: Which "foreign sky" Macrobius was born under has been the subject of much speculation. Terrot Glover considers Macrobius either an ethnic Greek, or born in one of the Greek-speaking parts of the Roman Empire, such as Egypt, due to his intimate knowledge of Greek literature. J. E. Sandys went further and argued that Macrobius was born in one of the Greek provinces. However other experts, beginning with Ludwig van Jan, point out that despite his familiarity with Greek literature Macrobius was far more familiar with Latin than Greek—as evidenced by his enthusiasm for Vergil and Cicero—and favor North Africa, which was part of the Latin-speaking portion of the Roman Empire.

paragraph: Scholars have attempted to identify him with a Macrobius who is mentioned in the "Codex Theodosianus" as a praetorian prefect of Spain (399–400), and a proconsul of Africa (410). The "Codex Theodosianus" also records a "praepositus" (or lord chamberlain) named Macrobius in 422. A number of older authorities go so far as to identify Macrobius the author with the first, and date his "floruit" to 399–410. There are objections to either identification: as Alan Cameron notes, the complete name of the first candidate is attested in an inscription to be "Flavius Macrobius Maximianus", while the second is excluded because "A "praepositus" must at this period have been a eunuch."

paragraph: However, since Macrobius is frequently referred to as "vir clarissimus et inlustris", a title which was achieved by holding public office, we can reasonably expect his name to appear in the "Codex Theodosianus". Further, Cameron points out that during his lifetime Macrobius was referred to as "Theodosius", and looking for that name Cameron found a Theodosius who was praetorian prefect of Italy in 430. "It is significant that the only surviving law addressed to this Theodosius sanctions a privilege for Africa Proconsularis on the basis of information received concerning Byzacena," Cameron notes.

paragraph: Section::::Works.

paragraph: Section::::Works.:"Commentary on the "Dream of Scipio"".

paragraph: Macrobius's most influential book—and one of the most widely cited books of the Middle Ages—was a commentary in two books on the "Dream of Scipio" narrated by Cicero at the end of his "Republic". The nature of the dream, in which the elder Scipio appears to his (adopted) grandson and describes the life of the good after death and the constitution of the universe from a Stoic and Neo-Platonic point of view, gave occasion for Macrobius to discourse upon the nature of the cosmos, transmitting much classical philosophy to the later Middle Ages. In astronomy, this work is noted for giving the diameter of the Sun as twice the diameter of the Earth. Of a third work "On the Differences and Similarities of the Greek and Latin Verb", we only possess an abstract by a certain Johannes, doubtfully identified with Johannes Scotus Eriugena (9th century).

paragraph: See editions by Ludwig von Jan (1848–1852, with a bibliography of previous editions, and commentary), Franz Eyssenhardt (1893, Teubner text), James Willis (1994, new Teubner), and R. A. Kaster (OCT and Loeb, 2011); on the sources of the "Saturnalia" see H. Linke (1880) and Georg Wissowa (1880). The grammatical treatise will be found in Jan's edition and Heinrich Keil's "Grammatici latini"; see also Georg Friedrich Schömann, "Commentatio macrobiana" (1871).

paragraph: Section::::Works.:"Saturnalia".

paragraph: Macrobius's "Saturnalia" (, "Seven Books of the Saturnalia") consists of an account of the discussions held at the house of Vettius Agorius Praetextatus during the holiday of the Saturnalia. It contains a great variety of curious historical, mythological, critical, antiquarian and grammatical discussions. "The work takes the form of a series of dialogues among learned men at a fictional banquet."

paragraph: Section::::Works.:Editions and translations.

paragraph: BULLET::::- Robert A. Kaster (ed.), "Macrobius: Saturnalia". Loeb classical library 510-512. Cambridge, MA/ London: Harvard University Press, 2011. 3 volumes.

paragraph: BULLET::::- Percival Vaughan Davies (trans.), "Macrobius: The Saturnalia". New York: Columbia University Press, 1969.

paragraph: BULLET::::- William Harris Stahl (trans.), "Macrobius: Commentary on the Dream of Scipio". New York: Columbia University Press, 1952. (Second printing, with revisions, 1966)

paragraph: Section::::Legacy.

paragraph: A prominent lunar crater is named after Macrobius.

paragraph: Macrobius Cove in Antarctica is named after Macrobius.

paragraph: Section::::Gallery.

paragraph: Cicero's "Dream of Scipio" described the Earth as a globe of insignificant size in comparison to the remainder of the cosmos. Many early medieval manuscripts of Macrobius include maps of the Earth, including the antipodes, zonal maps showing the Ptolemaic climates derived from the concept of a spherical Earth and a diagram showing the Earth (labeled as "globus terrae", the sphere of the Earth) at the center of the hierarchically ordered planetary spheres. (See also: flat Earth).

paragraph: Images from a 12th-century manuscript of Macrobius's "Commentarii in Somnium Scipionis" (Parchment, 50 ff.; 23.9 × 14 cm; Southern France). Date: ca. 1150. Source: Copenhagen, Det Kongelige Bibliotek, ms. NKS 218 4°.

paragraph: Section::::See also.

paragraph: BULLET::::- Allegory in the Middle Ages

paragraph: Section::::References.

paragraph: Section::::References.:Bibliography.

paragraph: BULLET::::- Brigitte Englisch: Die Artes liberales im frühen Mittelalter (5.–9. Jahrhundert). Das Quadrivium und der Komputus als Indikatoren für Kontinuität und Erneuerung der exakten Wissenschaften zwischen Antike und Mittelalter. Steiner, Stuttgart 1994,

paragraph: BULLET::::- Frateantonio, C., "Praetextatus – Verteidiger des römischen Glaubens? Zur gesellschaftlichen (Neu-)Inszenierung römischer Religion in Macrobius' "Saturnalien"," "Zeitschrift für Antikes Christentum", 11,2 (2007), 360–377.

paragraph: BULLET::::- Kaster, R. (ed), "Studies on the Text of Macrobius’s ‘Saturnalia’" (New York, 2010) (American Philological Association. American Classical Studies, 55).

paragraph: BULLET::::- Cameron, A., "The Last Pagans of Rome" (Oxford, 2011).

paragraph: Section::::External links.

paragraph: BULLET::::- Macrobius: "The Saturnalia", the Latin text of the critical edition edited by Ludwig von Jan (Gottfried Bass; Quedlinburg and Leipzig, 1852), web edition by Bill Thayer.

paragraph: BULLET::::- "Opera quae supersunt", 2 voll., Quedlinburgi et Lipsiae, typis et sumptibus Godofredi Bassii, 1848-52: vol. 1, vol. 2.

paragraph: BULLET::::- Iohannis (Scoti) defloratio de Macrobio, a paraphrase of Macrobius' De uerborum Graeci et Latini differentiis uel societatibus. Also as "Excerpta parisina" in "Grammatici latini", vol. 5, Lipsiae, in aedibus B. G. Teubneri, 1923, pagg. 599-629.

paragraph: BULLET::::- Macrobii excerpta Bobiensa, some extracts from Macrobius' De uerborum Graeci et Latini differentiis uel societatibus. Also as "Excerpta bobiensa" in "Grammatici latini", vol. 5, cit., pagg. 631-55.

paragraph: BULLET::::- Bibliography on Macrobius' grammatical work

alias:
Macrobius Ambrosius Theodosius
Ambrosius Theodosius Macrobius

description: 5th century European writer

enwikiquote_title: Ambrosius Theodosius Macrobius

wikidata_label: Macrobius

wikipedia_title: Macrobius


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text: 5th Moscow International Film Festival

text: 2014 Winter Olympics

text: Sochi

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text: Bear Family Records

text: Elvis Presley

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text: their list of the 100 greatest film scores

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text: Official site

text: Dimitri Tiomkin

text: Dimitri Tiomkin's Golden Decade

text: Audio clips

text: Tiomkin on "You Bet Your Life" in 1955

categories: American people of Ukrainian-Jewish descent,1979 deaths,20th-century American composers,American male conductors (music),People from Kremenchuk,Ukrainian Jews,Jewish American composers,Best Original Music Score Academy Award winners,Burials at Forest Lawn Memorial Park (Glendale),Male film score composers,1894 births,Soviet emigrants to the United States,20th-century American conductors (music),People from Poltava Governorate,Best Original Song Academy Award-winning songwriters,American film score composers

paragraph: Dimitri Tiomkin

paragraph: Dimitri Zinovievich Tiomkin (, "Dmitrij Zinov'evič Tjomkin", , "Dmytro Zynoviyovyč Tomkin") (May 10, 1894November 11, 1979) was a Ukrainian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including "Duel in the Sun", "Red River", "High Noon", "The Big Sky", "Gunfight at the O.K. Corral", and "Last Train from Gun Hill".

paragraph: Tiomkin received twenty-two Academy Award nominations and won four Oscars, three for Best Original Score for "High Noon", "The High and the Mighty", and "The Old Man and the Sea", and one for Best Original Song for "The Ballad of High Noon" from the former film.

paragraph: Section::::Early life and education.

paragraph: Dimitri Tiomkin (, "Dmitrij Zinov'evič Tjomkin", , "Dmytro Zynoviyovyč Tomkin") was born in Kremenchuk, Ukraine, then part of the Russian Empire.

paragraph: His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."

paragraph: Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.

paragraph: He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the "Mystery of Liberated Labor," a pseudo-religious mystery play for the May Day festivities, and "The Storming of the Winter Palace""" for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.

paragraph: Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and

paragraph: made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.

paragraph: He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.

paragraph: Section::::Life in America.

paragraph: In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the United States. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.

paragraph: While in New York Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's "Concerto in F" at the Paris Opera, with Gershwin in the audience.

paragraph: After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's "Alice in Wonderland" (1933). Although Tiomkin worked on some smaller film projects, his goal was still to become a concert pianist. But in 1937 he broke his arm, injuring it so that he ended that possible career. He began to focus on work as a film music composer.

paragraph: Section::::Life in America.:Working for Frank Capra (1937-1946).

paragraph: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for "Lost Horizon" (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.

paragraph: In his autobiography, "Please Don't Hate Me!" (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:

paragraph: He worked on other Capra films during the following decade, including the comedy "You Can't Take It With You" (1938), "Mr. Smith Goes to Washington" (1939), "Meet John Doe" (1941), and "It's a Wonderful Life" (1946). During World War II, he continued his close collaboration with Capra by composing scores for his "Why We Fight" series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.

paragraph: Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.

paragraph: Section::::Life in America.:"High Noon" (1952).

paragraph: Following his work for Fred Zinnemann on "The Men" (1950), Tiomkin composed the score for the same director's "High Noon" (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide.

paragraph: Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.

paragraph: According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's "Pinocchio" and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)

paragraph: The song's lyrics briefly tell "High Noon"s entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.

paragraph: According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the "Encyclopedia of Modern Jewish Culture", on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon) ... "

paragraph: Tiomkin won two more Oscars in subsequent years: for "The High and the Mighty" (1954), directed by William A. Wellman, and featuring John Wayne; and "The Old Man and the Sea" (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.

paragraph: The composer worked again for Zinnemann on "The Sundowners" (1960).

paragraph: Section::::Life in America.:Film genres and other associations.

paragraph: Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed "Duel in the Sun" (1946). In addition to "High Noon", among his other Westerns were "Giant" (1956), "Friendly Persuasion" (1956), "Gunfight at the O.K. Corral" (1957), and "Last Train from Gun Hill" (1959). "Rio Bravo" (1959), "The Alamo" (1960), "Circus World" (1964) and "The War Wagon" (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both "Giant" and "The Alamo". He told TV host Gig Young that his aim in creating the score for "Giant" was to capture the "feelings of the great land and great state of Texas."

paragraph: Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as "Cyrano de Bergerac" (1950), "The Fall of the Roman Empire" (1964), and "Great Catherine" (1968); war movies such as "The Court-Martial of Billy Mitchell" (1955), "The Guns of Navarone" (1961), and "Town Without Pity" (1961); and suspense thrillers such as "36 Hours" (1965).

paragraph: Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: "Shadow of a Doubt" (1943), "Strangers on a Train" (1951), "I Confess" (1953), and "Dial M for Murder" (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller "The Thing from Another World", which is considered his "strangest and most experimental score." He also worked with Howard Hawks on "The Big Sky" (1952) and "Land of the Pharaohs" (1955), with John Huston on "The Unforgiven" (1960), and with Nicholas Ray on "55 Days at Peking" (1963).

paragraph: Section::::Life in America.:Television.

paragraph: In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as "Rawhide" (1959) and "Gunslinger." (A cover version of the theme from "Rawhide" was performed in the musical film "The Blues Brothers" (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for "The Wild Wild West" (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.

paragraph: Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on "What's My Line?" and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program "You Bet Your Life", hosted by Groucho Marx.

paragraph: He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film "Wild Is the Wind" (1957).

paragraph: Section::::Life in America.:Composition styles and significance.

paragraph: Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."

paragraph: Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for "The High and the Mighty", he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.

paragraph: Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:

paragraph: Tiomkin alluded to this relationship in his autobiography:

paragraph: Section::::Life in America.:Techniques of composing.

paragraph: Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.

paragraph: Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.

paragraph: Tiomkin explains why he took the extra time with actors:

paragraph: Section::::Death and legacy.

paragraph: Dimitri Tiomkin died in London, England in 1979. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.

paragraph: During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. During the single year of 1952, he composed nine film scores, including "High Noon", for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.

paragraph: He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to "It's a Wonderful Life" and "Giant" were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.

paragraph: Beginning with "Lost Horizon" in 1937, through his retirement from films over four decades later in 1979, and up until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.

paragraph: Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including "High Noon" and "Gunfight at the O.K. Corral," in which the theme song was repeated as a common thread running through the entire film. For the film "Red River", for example, his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:

paragraph: Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for "Titanic".

paragraph: He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.

paragraph: A number of Tiomkin's film scores were released on LP soundtrack albums, including "Giant" and "The Alamo". Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to "High Noon" has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.

paragraph: In 1999, the U.S. Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.

paragraph: In 1976, RCA Victor released "Lost Horizon: The Classic Film Scores of Dimitri Tiomkin" (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.

paragraph: The American Film Institute ranked Tiomkin's score for "High Noon" as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:

paragraph: BULLET::::- "The Alamo" (1960)

paragraph: BULLET::::- "Dial M for Murder" (1954)

paragraph: BULLET::::- "Duel in the Sun" (1946)

paragraph: BULLET::::- "Friendly Persuasion" (1956)

paragraph: BULLET::::- "The Guns of Navarone" (1961)

paragraph: BULLET::::- "Lost Horizon" (1937)

paragraph: Section::::Awards and nominations.

paragraph: Section::::Awards and nominations.:Academy Awards.

paragraph: BULLET::::- 1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for "Tchaikovsky" (1969)

paragraph: BULLET::::- 1965 - nominated for "Best Music, Score - Substantially Original" for: "The Fall of the Roman Empire" (1964)

paragraph: BULLET::::- 1964 - nominated for "Best Music, Original Song" and "Best Music, Score - Substantially Original" for "55 Days at Peking" (1963)

paragraph: BULLET::::- 1962 - nominated for "Best Music, Original Song" for "Town Without Pity" (1961) and for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Guns of Navarone" (1961)

paragraph: BULLET::::- 1961 - nominated for "Best Music, Original Song" and for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Alamo" (1960)

paragraph: BULLET::::- 1961 - nominated for "Best Music, Original Song" for "The Young Land" (1959)

paragraph: BULLET::::- 1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Old Man and the Sea" (1958)

paragraph: BULLET::::- 1958 - nominated for "Best Music, Original Song" for "Wild Is the Wind" (1957)

paragraph: BULLET::::- 1957 - nominated for "Best Music, Original Song" for "Friendly Persuasion", "Best Scoring of a Dramatic Picture" for "Giant" (1956)

paragraph: BULLET::::- 1955 - nominated for "Best Music, Original Song" for "The High and the Mighty" (1954) and won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for the same movie

paragraph: BULLET::::- 1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for "High Noon" (1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter

paragraph: BULLET::::- 1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for "High Noon" (1952)

paragraph: BULLET::::- 1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for "Champion" (1949)

paragraph: BULLET::::- 1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Bridge of San Luis Rey" (1944)

paragraph: BULLET::::- 1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Moon and Sixpence" (1943)

paragraph: BULLET::::- 1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for "The Corsican Brothers" (1941)

paragraph: BULLET::::- 1940 - nominated for "Best Music, Scoring" for "Mr. Smith Goes to Washington" (1939)

paragraph: Section::::Awards and nominations.:Golden Globe Awards.

paragraph: BULLET::::- 1965 for "Best Original Score" for "The Fall of the Roman Empire" (1964)

paragraph: BULLET::::- 1962 for "Best Motion Picture Score" for "The Guns of Navarone" (1961)

paragraph: BULLET::::- 1962 for "Best Motion Picture Song" for "Town without Pity" (1961)

paragraph: BULLET::::- 1961 for "Best Original Score" for "The Alamo" (1960)

paragraph: BULLET::::- 1957 he received the "Special Award" as "Recognition for film music"

paragraph: BULLET::::- 1955 he received the "Special Award" "For creative musical contribution to Motion Picture"

paragraph: BULLET::::- 1953 for "Best Motion Picture Score" for "High Noon" (1952)

paragraph: Section::::External links.

paragraph: BULLET::::- Official site

paragraph: BULLET::::- Dimitri Tiomkin

paragraph: BULLET::::- Dimitri Tiomkin's Golden Decade

paragraph: Section::::External links.:Multimedia links.

paragraph: BULLET::::- Audio clips, 40 film samples

paragraph: BULLET::::- , audio score compilation by Berny Debney, 10 minutes

paragraph: BULLET::::- Tiomkin on "You Bet Your Life" in 1955

alias:
Dimitri Zinovievich Tiomkin
Дмитрий Зиновьевич Тёмкин

description: American conductor

wikidata_label: Dimitri Tiomkin

wikipedia_title: Dimitri Tiomkin


text: Brunswick-Lüneburg

text: Protestant

text: Protestant Reformation

text: Prince of Lüneburg

text: Lüneburg-Celle

text: Welf

text: Henry I, Duke of Lüneburg

text: Margarete of Saxony

text: Ernest, Elector of Saxony

text: Uelzen

text: Frederick the Wise

text: Otto

text: Sophia of Mecklenburg-Schwerin

text: Protestant Reformation

text: Wittenberg

text: Wettin

text: Frederick III

text: Georg Spalatin

text: University of Wittenberg

text: Protestant Reformation

text: Lüneburg

text: Wolf Cyclop

text: Zwickau

text: Gottschalk Cruse

text: Heinrich Bock

text: Matthäus Mylow

text: German Peasants' War

text: elector of Saxony

text: Roman Catholic

text: Celle

text: diet

text: Augsburg

text: Confession

text: Urbanus Rhegius

text: Martin Ondermark

text: Schmalkald War

text: Hanover

text: Westphalia

text: Pomerania

text: Mecklenburg

text: Hoya

text: East Friesland

text: Hamburg

text: Bremen

text: Brunswick

text: Philip of Hesse

text: Henry V, Duke of Mecklenburg

text: Ursula of Brandenburg

text: Schwerin

text: Joachim II Hector of Brandenburg

text: Hedwig of Poland

text: Henry III, Duke of Brunswick-Lüneburg

text: Francis I, Duke of Saxe-Lauenburg

text: John, Count of Mansfeld See

text: William VI, Duke of Brunswick-Lüneburg

text: Dorothea of Denmark

text: Christian III of Denmark

text: Otto IV of Schaumburg

text: Arnold, Count of Bentheim-Steinfurt

text: Ernest at the House of Welf site

categories: Princes of Lüneburg,Converts to Lutheranism from Roman Catholicism,1546 deaths,People from Uelzen,1497 births

paragraph: Ernest I, Duke of Brunswick-Lüneburg

paragraph: Ernest of Brunswick-Lüneburg () (27 June 1497 – 11 January 1546), also frequently called Ernest the Confessor, was duke of Brunswick-Lüneburg and a champion of the Protestant cause during the early years of the Protestant Reformation. He was the Prince of Lüneburg and ruled the Lüneburg-Celle subdivision of the Welf family's Brunswick-Lüneburg duchy from 1520 until his death.

paragraph: He was the son of Henry I, Duke of Lüneburg, and Margarete of Saxony, the daughter of Ernest, Elector of Saxony.

paragraph: Section::::Life.

paragraph: Ernest was born in Uelzen of the House of Guelph on 27 June 1497. His father was Henry I of Lüneburg and his mother Margarete of Saxony who was a sister of Frederick the Wise, Elector of Saxony and Champion of Martin Luther. Ernest succeeded as Duke of Brunswick-Lüneburg upon the retirement of his brother Otto in 1527. Ernest, Duke of Brunswick-Lüneburg, married Sophia of Mecklenburg-Schwerin, and he died on 11 January 1547 at the age of 49.

paragraph: Ernest's life coincided with the Protestant Reformation. In 1512 he was sent to the court of his mother's brother at Wittenberg, the Wettin elector Frederick III ("Frederick the Wise"), and received instruction there from Georg Spalatin in the University of Wittenberg; he remained at Wittenberg through the beginning of the Protestant Reformation.

paragraph: In 1520, political frictions with Charles V convinced his father, Henry I of Duke of Brunswick-Lüneburg to abdicate and leave for the French Court which was ardently Catholic. Henry’s two eldest sons, Otto and Ernest, became regents of the country. At the urging of the Catholic forces, Henry returned to Lüneberg in 1527 and tried to regain control. But Henry's attempt failed and he returned to France. Henry was allowed to return in 1530 to spend his last days in the princely house in Lüneberg given to him by his eldest son.

paragraph: Henry's eldest son Otto (24 August 1495 – 11 August 1549), who also had been educated with his brothers at Wittenberg, succeeded as Duke of Brunswick-Lüneburg; he was also the Prince of Lüneburg from 1520 to 1527 and Baron of Harburg from 1527 to 1549.

paragraph: Otto and Ernest appear to have ruled jointly from 1520 to 1527. But with the retirement of Otto, Ernest became sole ruler. The condition of his domain was not prosperous. Political considerations furthered the introduction of the Reformation; amongst the commoners it offered opportunity to restrict the privileges of the nobles and the clergy. From the nobles point of view, the Reformation offered the chance to gain from church and monastery property. The forerunner of the Reformation in Lüneburg was Wolf Cyclop, a physician from Zwickau, who was not free from the Zwickau enthusiasm. Moderates such as Gottschalk Cruse, Heinrich Bock, and Matthäus Mylow followed him.

paragraph: Ernest was inclined to move slowly, but by 1525 the German Peasants' War gave him occasion to join with his brother in requiring the monasteries to declare their properties and to require them to admit Protestant preachers. Ernest had also promised his uncle, the elector of Saxony to stand by the Protestant cause. After an attempt by the Roman Catholic party in 1527 to reinstate his father had failed, Ernest's course became more decided as he succeeded as Duke.

paragraph: In July 1527, the first book of discipline was adopted, drawn up by the preachers of Celle. At a diet in August of the same year it was ordered that "God's pure word should be preached everywhere without additions made by men." Between 1527 and 1530, Lutheran preachers were introduced in most parishes and monasteries—not in all cases without compulsion. Ernest went to Augsburg in 1530 and signed the Confession. He brought back Urbanus Rhegius, who worked to spread the Reformation, introducing it into the city of Lüneburg. The largest and richest monastery in the land, St. Michael's in Lüneburg, accepted the new order after the death of Abbot Boldewin in 1532. Rhegius died in 1541 and was succeeded by Martin Ondermark, who completed the former's work.

paragraph: Generally, the preachers were well disposed to the reformed religion, while the people held to the old and only gradually adapted themselves to the new. During the Schmalkald War the greater masses remained true to the Gospel. After 1530, Ernest was the most influential prince of North Germany. He sent Rhegius to Hanover when the Reformation there threatened to become revolution and restored order. In the cities of Westphalia he strengthened the Protestant party against both the Roman Catholics and the enthusiasts, although his efforts were vain in Münster. His influence was also felt in Pomerania and Mecklenburg, in Hoya, and in East Friesland.

paragraph: Ernest's most effective work probably was accomplished by his restless activity for the Schmalkald League. He induced the North German cities, Hamburg, Bremen, Brunswick, Göttingen, and others to join, and he often became the successful mediator when a rupture was threatened between the overcautious elector of Saxony and the headstrong Philip of Hesse. While Ernest sometimes used harsh measures to accomplish his will, and was actuated by a desire to exalt his position as ruler as well as by higher motives, yet, on the whole, he was faithful to his motto, "aliis inserviendo consumor" ("consumed in service of others"), alternatively appearing as "aliis servio; me ipsum contero" ("I serve others; I wear myself out").

paragraph: His four sons at his death were still minors, but the Protestant Church of Lüneburg was so firmly established that it could survive the regency and the unhappy time of the Schmalkald War, and to this day the church life of Lüneburg bears the character impressed upon it by Ernest who is now called Ernest the Confessor.

paragraph: Section::::Children.

paragraph: Ernest married Sophia, daughter of Henry V, Duke of Mecklenburg and Ursula of Brandenburg, on 2 June 1528 in Schwerin. They had the following children who reached adulthood:

paragraph: BULLET::::- Francis Otto, Duke of Brunswick-Lüneburg (1530–1559), married Elisabeth Magdalena of Brandenburg, daughter of Joachim II Hector of Brandenburg and Hedwig of Poland.

paragraph: BULLET::::- Frederick (1532–1553)

paragraph: BULLET::::- Henry III, Duke of Brunswick-Lüneburg (1533–1598) married Ursula of Saxe-Lauenberg, daughter of Francis I, Duke of Saxe-Lauenburg

paragraph: BULLET::::- Margaret (1534–1596), married John, Count of Mansfeld See

paragraph: BULLET::::- William VI, Duke of Brunswick-Lüneburg (1535–1592), married Dorothea of Denmark, daughter of Christian III of Denmark.

paragraph: BULLET::::- Elizabeth Ursula (1539–1586), married Otto IV of Schaumburg

paragraph: BULLET::::- Magdalena Sophia (1540–1586), married Arnold, Count of Bentheim-Steinfurt, a brother of Eberwin III, Count of Bentheim-Steinfurt

paragraph: BULLET::::- Sophia (1541–1631), married Poppo XVIII, Count of Henneberg-Schleusingen

paragraph: Section::::References.

paragraph: BULLET::::- Ernest at the House of Welf site

paragraph: BULLET::::- Allgemeine Deutsche Biographie, vol. 6, p. 260

description: Prince of Lüneburg-Celle

wikidata_label: Ernest I, Duke of Brunswick-Lüneburg

wikipedia_title: Ernest I, Duke of Brunswick-Lüneburg