Today Ljubojevic and Melodi are popular music performers, with a musical tours in many places worldwide but mostly in Eastern and Western Europe; they have given more than 600 concerts in Europe.

(meta data) TITLE: The Soul of Orthodox Chant

The fifth edition of the "World Cultures Festival – Lasting Legacies of Eastern Europe"

has been concluded with enthusiastic response.

Thank you very much for your kind support!

With Divna and her choir, the Golden Gate of the long-lost sacred world of Byzantine Orthodox chant opens again

"[Divna is] the most remarkable representative of old Byzantine-Russian singing in today's culture"

Divna is not just a name, but an entire level in Serbian culture

The incomparable Divna Ljubojević and her ethereal interpretations of Orthodox chant are regarded among Serbia's most significant cultural ambassadors.

Like an angel from on high, her sublime voice reaches across time and space to elevate and touch souls with love.

She started her vocal training at the century-old Vavedenje monastery in Belgrade at the age of 10.

Later, she served as choirmaster, inheriting her reverential appreciation of Byzantine sacred music from Russian nuns keen to preserve and cherish the tradition.

Ljubojević's gift for leading other musicians was also spotted at an early age, with the singer becoming the youngest conductor in the 160-year history of the Première Société Chorale de Belgrade.

In 1991, Ljubojević founded Divna and Melodi to raise awareness and extend the art of sacred singing, injecting new vitality into ancient Byzantine culture and traditional Serbian, Russian and Byzantine chant.

The choir has given more than 600 concerts in Europe.

Exapostilaire of the Dormition of the Mother of God

All of You who have been Baptised in Christ

Canon of Intercession to the Mother of God

Verse Sung at Great Complines of the Grand Lent Sermon at Easter and Associated with the Chant of Psalm 150

Troparions of the Resurrection (Eulogétaires)

Prokimenon Sung at the Vespers of Certain Important Liturgical Celebrations

Approx 1 hr and 5 mins without intermission

Meet-the-artist session after the performance

Photo: Nikola Popović, Aleksandar S Kostić

In 1988 Ljubojević started conducting the Mokranjac choir. She also conducted the First Belgrade Singing Society between years 1989 and 1991, becoming the youngest conductor in its history. Ljubojević has been also an active teacher of church and choir singing in France, Netherlands and England. In 1991 she founded the "Melodi" ensemble, composed of 10 singers.


Alike that of the next Seventh Symphony, the finale is in "arch form".

(meta data) TITLE: Bruckner's Golden Arches | William Carragan

(meta data) PUBLISHER: https://de-de.facebook.com/william.carragan.5

## William CarraganContributing Editor, Anton Bruckner Collected Edition, ViennaVice-President, Bruckner Society of America

#### A paper delivered at the Third Bruckner Journal Readers' ConferenceUniversity of Nottingham, Nottingham, England, April 26, 2003, revised 2017

###### Brucknerorgel im Stift St. Florian

By 1879 Bruckner had completed the first of his two symphonic tetralogies, written without interruption starting in 1871, and carried out a further process of revision to all four of its members as well as to the earlier First Symphony and the Mass in F Minor.

But during that time, there had been only three performances of any of his symphonies, all conducted by the composer: two successful ones of the Second, and one disastrous one of the Third in one or another of its many versions.

Although there doesn't appear to be any direct evidence for it, Bruckner must have realized that he could not continue in this way writing symphonies each one of which was twenty percent more ambitious than its predecessor.

Instead, he turned to a more modest genre, in which the basic compositional tasks would be simpler, where he could develop further structural and formal ideas usable in future works that might not be larger, but would in other ways be more sophisticated.

The result was the viola quintet in F major, and the most prominent and easily-perceived innovative formal element employed thereBprobably for the first time chronologically in his workBis the arch structure which can be readily heard in the finale.

We can define an arch most simply as the thematic recurrence A, B, C, B, A.

This excludes the simple song-form, whether three-part (A, B, A) as in the slow movements of the Study Symphony and the First Symphony, or five-part (A, B, A, B, A) as in most of the other slow movements; it is essential that there be at least two two-sided balancing members and a thematically distinct center section to give the impression of a true arch.

At the same time, the arch, if the correspondence between the two sides of each member is exact, is essentially static, in contrast to the highly dynamic, evolutionary process of the traditional sonata form.

The arch must therefore be a background, like a literary conceit, within which the usual thematic development of a symphonic movement can still take place.

I am reminded of J.R.R. Tolkien's epics, The Hobbit and The Lord of the Rings, in which the respective protagonists, Bilbo and Frodo, make a lot out of returning to their native land after their adventures.

However, in each case the subject's character is changed profoundly during the course of the story, so much so that neither of them can find a permanent home in his old diggings.

Instead they both eventually pass over sea to the uttermost West, of which before their exploits they had had hardly any idea at all.

Similarly we expect in a Bruckner symphony that in one way or another, when the arch is completed, a great transformation, or a transforming change in viewpoint, shall have taken place.

This, probably the first of Bruckner's arch forms, is also the most classic.

Thus the form is strictly A, B, C, B, A, and the arch encompasses the entire movement.

Three performances were studied for this paper, by the Koeckert Quartet, the Kocian Quartet, and the Vienna Quintet.

As the diagram shows, the balance of the main structures is extremely close in all three performances.

### Bruckner's Golden Arches - Analyses of Symphonies

The C theme in the center is in five short sections, of 16, 10, 16, 8, and 8 measures, with a six-measure reference to the B theme between the third and fourth.

This reference to B is itself a mini-arch, consisting of two measures with the theme upright, two measures inverted, and two measures upright again; this is the keystone of the arch.

Although the mini-arch is not centered in terms of measure count, Bruckner requests a slower tempo for the last two sections of the C group, thus moving the keystone closer to the true center in terms of elapsed time.

In this respect the performance by the Kocian Quartet is particularly observant of Bruckner's wishes.

Bruckner wrote a slightly grander ending for the publication than in the manuscript, perhaps coming to realize by stages that the completion of an arch form cannot by itself satisfy the listener as the closure of the movement.

Yet the F major coda, either in its manuscript or its published form, in balancing an initial theme in the flatted supertonic (G flat, the tonality of the preceding slow movement), still embodies a profound metamorphism in that respect alone.

###### Listen on YouTubeAnton Bruckner, String Quintet in F major

The finale of the Seventh is also an arch structure, a bit more elaborate than that in the Quintet since it has to include a full exposition, development, and recapitulation of the usual ingredients of a Bruckner finale.

These diagrams are made with respect to measure number along the x-axis for comparison with the score.

The upper diagram shows the ingredients of the form: A, B, C, development, C, B, A, coda.

The letter K refers to the codetta (derived from the A theme) at the end of Part I, the classical exposition.

The center of the arch comprises the codetta and development, placing an eerie inverted form of A just after the keystone.

The arch form is made particularly evident because in this movement C is really a loud version of A, and the inverted order of the recapitulation makes sense to the listener even if the arch form is not initially detected.

Notice that K, derived from A, can plausibly balance the later inverted A in the keystone area, where, as in the Quintet, the music achieves the maximum of mystery and remoteness.

The diagram also applies the golden section to the movement, showing that the ratio of Part I (the exposition) to Part II (the development, is closely 1.618.

This movement comes closer than any other of Bruckner's to fulfilling that much-discussed criterion.

This identity between C and A makes it possible to draw individual arches for the exposition and recapitulation, shown superimposed on the whole-movement arches in the lower diagram.

The recapitulated forms of C and A are heavily developed, giving a fully symphonic sense of evolution through the movement.

The coda, one of Bruckner's classic crescendos, lies outside the arch and forms a thunderous resolution to the hour-long symphony.

In all these respects the symphonic concept of the finale of the Seventh is far more ambitious than that in the Quintet, but surely it was of help to Bruckner in creating this bold and challenging movement to have worked with the idea already.

The six ritardandos or ritenutos in the A theme, which make the correspondence between that jaunty, angular theme and the mighty, ponderous C theme much more convincing, are shown with arrows at the bottom.

These ritardandos are given in the first publication.

Most of the tempo information in the first publication was suppressed by Haas and only partially reintroduced by Nowak; Nowak includes the ritardandos, but does not give the metronome markings for the surrounding passages.

Both recordings heard here, Klemperer Vienna Symphony 1958 and Max Rudolf Cincinnati 1966, take wonderfully deep ritardandos.

Every time I hear the work of a young director who omits the ritardandos for one reason or another, I sense an opportunity missed.

In this next viewgraph, the upper diagram shows the form as heard in the Klemperer performance in 1958 in which he conducted the Vienna Symphony in the Musikverein (which seems anomalous), and the lower one shows the Max Rudolf Cincinnati performance of 1966 on Decca.

###### Viewgraph 2: Seventh: Klemperer and Rudolf

###### Listen on YouTubeBruckner: Symphony no. 7 (Klemperer – Berliner Philharmoniker – Live 1958)

In both cases the horizontal axis is time according to the performance, not measure number; the time coordinate is more reflective of what is heard since the tempos of the three themes, explicitly given in the first publication, are not intended to be the same.

Both of these excellent performances from the old style of music making show throughout the symphony a strong influence from the tempo specifications of the first publication.

Notice the lesser proportion of time spent in the B theme (yellow) by Rudolf.

Here a very slow performance, Celibidache Munich 1994, is compared with a very fast one, Ormandy Minneapolis 1935.

### Bruckner's Golden Arches - Analyses of Symphonies

###### Viewgraph 3: Seventh: Celibidache and Ormandy

The bloated tempos and feeble, mannered articulations of the Celibidache version still do not destroy the arch, even though the time spent in the B theme seems interminable on audition.

By contrast the fleet Ormandy reading, not perhaps the strongest aspect of this very early and interesting recording, still shows the arch quite well.

Here are two performances, one by David Alan Miller conducting my hometown group, the Albany Symphony, and the other by Benjamin Zander conducting the semi-professional Boston Phil-harmonic, both from November 2000.

###### Viewgraph 4: Seventh: Miller and Zander

I served as advisor in the preparation of both performances, the paper I wrote for Nottingham 1999, Those Pesky Ritardandos, being of great help in convincing these two quite individual maestri to take my advice on many aspects of interpretation.

Accordingly, a real attempt was made by both conductors to replicate the tempos of the first publication, the result being that visually it is very difficult to see the difference between them even though the performances sound quite distinct.

I recall that shortly before the Zander performance one of the percussionists approached me for advice, saying that he had no idea what to do.

It was he who was to be responsible for the triangle entrance at measure 177 in the Adagio.

I asked if he knew when to come in, and he admitted that he did.

I said: "Get the three biggest triangles you can find, and the three biggest beaters that you can find.

When that moment comes, make as much noise as you can for four seconds by the clock, and sit down.

You will have earned as much money as the concertmaster."

The notion that the percussion in this movement is inauthentic, invented by Haas in 1944, is obsolete.

The Te Deum also has an arch, clearly defined for even the most casual listener by the two similar solo passages (Te ergo quæsumus and Salvum fac populus), enclosing the words Æterna fac cum sanctis tuis in gloria numerari ("Make them to be numbered with your saints in glory everlasting"; this is the original end of Nicetas's hymn).

The primitive C major/minor texture of the opening is balanced after the solos by a similar but much briefer passage setting the words Per singulos dies benedicimus te ("Day by day we bless you", Psalm 145:2), and the entire section devoted to the words In te, Domine, speravi, non confundar in æternum ("In you, O Lord, I have hoped; let me never be confounded", Psalm 31:2) lies outside the arch form.

But in another sense, this final five minutes of the Te Deum can be considered to be balanced by the whole opening section through Iudex crederis esse venturus ("We believe that you will come to be our judge") which is only a little longer.

At any rate, the mood inspired in the listener evolves just as certainly in this piece as it does in any symphonic movement Bruckner wrote.

It is doubtful that Bruckner knew that the text we now know as the Te Deum is not all from the same period, the petitions from Salvum fac onward having been added to the original hymn attributed to St. Nicetas of Remesiana in Dacia, who lived from about 340 or 350 to after 414, at a later time.

Nor, if he had known, do I think he would have cared enough to reflect it in his music; to him the liturgical text as accepted by the church for well over a thousand years would all need to be treated equally.

The fact that Bruckner placed the join between the hymn and the petitions immediately after the keystone is probably to be ascribed to the similarity of accent between the half-lines Te ergo quæsumus and Salvum fac populum and the individual words sanguine and benedic, which seems to have cried out to him for similar musical expression.

The final words, non confundar in æternum, although set by Bruckner to triumphant music, are not really triumphal but humble and supplicatory.

In this respect Bruckner's Te Deum might appear not as appropriate to liturgical use as, say, his masses where the setting of the words Agnus Dei, qui tollis peccata mundi, dona nobis pacem, received hushed, devotional treatment consistent with the mood of the communion service at the time when they are to be sung.

However one must remember that the Te Deum's most socially-prominent use was not so much as the concluding canticle of Nocturns, sung in a monastery in the middle of the night, but instead as a hymn of thanksgiving which could easily be a great public occasion requiring themost impressive music one could bring forward.

Once again the arch structure shows how Bruckner was able to balance his treatment of the simple concluding distich with almost the entire original hymn, the many words proclaimed at the beginning expressing the magnificence of the faith, but the few words repeated over and over at the end being closest to the hearts of the people at prayer.

(St. Nicetas or Niketa, bishop of Remesiana in Dacia, today Bela Palanka, southeast of Nis in Serbia, friend of Paulinus of Nola, was consecrated about 370, and remained in the office of bishop until his death.

He dedicated himself to spreading the faith in this most difficult region which Rome was seldom able to control.

The Te Deum, not being strophic like the contemporary work of Prudentius but rather partaking of the style of the Gloria in excelsis, was a most unusual expression of religious poetry for the time.)

The individual arches of the Seventh show that we should expect to see other arch forms expressed as smaller ingredients of movements.

For example, the Sixth offers one as the exposition of the finale.

In it the latter part of the first theme group balances with the early part of the third theme group rather obviously, and the opening idea of the first group and the second idea of the third group also balance, but much more subtly.

###### Viewgraph 7: Sixth, finale, first theme group

In the first theme group, the sinuous, mysterious A1 is followed by a pair of themes, A2a and A2b, repeated in different form as A3a and A3b, while in the third group, C1 is clearly an inverted and augmented version of A2b or A3b.

The similarity of A1 and C2 is not nearly as clear and some might be inclined to reject it.

But consider: the opening contours are quite close, where in C2 the first notes of the melody are G F E F with F in the bass, while in A1 the first notes are F E D E with E in the bass.

The B theme is in the middle of the arch, with two statements of B1 framing a dialogue at the keystone between two other themes, the second (C3) being a quotation from Tristan, which Bruckner weaves into his counterpoint utterly naturally.

Once these likenesses are accepted it is possible to make a diagram.

The upper diagram reflects the functional role of the various sections, with red and orange representing the first theme group, yellow and green the second, and cyan and blue the third.

The lower diagram indicates the situation with the identifications of A1 with C2 and A2-A3 with C1, the B theme still being framed in the middle.

The first four melodic ideas of the exposition of the Finale of the Ninth are also disposed in arch structure.

These are A1, balancing with Bk which is its literal inversion, and A2, balanced by B1 which is a development of it.

If there is a keystone, it is the solemn trombone chords at the end of the first theme group which look forward to the great brass chorale which lies outside the arch.

There is also a mini-arch in the first part of the second theme group (Gesangsperiode).

Here the first ten measures of the B theme, beginning with three statements of the basic thematic motive derived from A2, are followed by a six-measure interlude, and then there are ten further measures also beginning with three statements of the motive.

The six-measure interlude is only indicated in Bruckner's sketches by a gap, and in my completion I had to write music to fill this gap.

Nonetheless the sketches clearly show that an arch was desired by the composer.

In the example we hear the whole passage beginning with A2, including the trombone chords which are the keystone of the wide arch, followed by the mini-arch with which the Gesangsthema begins.

At the beginning of this discussion it was specified that Bruckner's adagios would not be regarded as arch structures, but as five-part song forms.

However, in this case as in many others, the Ninth is an exception, because of the reversed recapitulation of the two components of the second theme group, B1 and B2.

the basic form is A, B1 and B2, A, B2 and B1, A, coda.

The diagram shows that between B2 beginning part 4 and B1 beginning part 5 there is a substantial amount of A; also the final recapitulation of A is at the top of the climax of part 5, not at the beginning of it as in the other adagios.

The form of this movement is usually regarded as Brucknerian while being anomalous, though nobody would say that the result is not effective.

The table shows the traditional formal elements but the arch-structure analysis tells a somewhat different story; the A elements are in exquisite global balance with the B elements separating them like beads on a chain.

The final reference to the "farewell to life" recall the antecedents of that theme in the Third Symphony and the Mass in D Minor, still providing the balance to the original statement near the beginning.

There is also kinship between the "farewell to life" and the first four notes of B.

I have suggested that Bruckner's use of the arch form is a product of his self-appraisal following the composition of the immense Fifth, which he must have wondered if he would ever hear.

How could there be arches, then, in the Fourth?

They come about, it would seem, by virtue of the revision of the Fourth he carried out in 1878.

I am grateful to Laurence Wallach of Simons Rock College for giving me his numerical table1 of this movement in which the arch form is present both in measure count and in thematic recurrence, in a place where I would never have thought to look.

The most reasonable explanation is that Bruckner wrote the 1874 version with no more similarity between A and the closing group (C) than one finds in many earlier classical compositions, for example in the Beethoven Fifth.

But then in 1878, with the new concept of the arch fresh in his mind, Bruckner "metrically revised" the movement until the arch structure was created.

This meant (1) shifting the reference of the C theme from A1 to A2, (2) redesigning the development so that it could be considered to be symmetrical, and (3) creating a new and very close relationship between the recapitulated C theme and the coda so that one would find it difficult to say where the coda begins.

This last task had to be done because Bruckner needed some of the coda to lie in the right-hand part of the arch which balances the first theme group in the exposition at the opposite extreme of the movement, and he wanted it to sound natural there; only the short, triumphal fortississimo ending is external to the arch.

Wallach says that these external elements are like the ninth measure following an eight-measure phrase in Bruckner; it is that measure which contains the final chord which gives the phrase shape.

But one could also say that the final, outside, music could be what is reached when one passes though the archBthe ultimate heaven where joyful harmonies never cease.

At the beginning of this discussion it was specified that Bruckner's adagios would not be regarded as arch structures, but as five-part song forms.

However, in this case as in many others, the Ninth is an exception, because of the reversed recapitulation of the two components of the second theme group, B1 and B2.

In a discussion of this paper which I had with Paul Nudelman, he posed the question: Does the arch necessarily shift the climax from the end to the middle?

The answer seems to be that the use of arch structure must not and cannot shift the traditional emotional climax, or denouement, away from the end if the movement is to remain symphonic.

But there can also be an intellectual climax, the place where the inner meaning of the movement is clearest, a place where the movement seems most profound.

We have seen this place to be, in more than one case, the keystone or centerpoint of the arch.

It is Bruckner's individual genius to be able to use the clash of two formal paradigms, the dynamic sonata-allegro and the static arch structure, to portray our lifelong journey of quest and yearning against the ageless background of eternal truth.

The Finale displays an arch in the development, with the fantasy beginning at the keystone point.

The exposition might also have an arch, principally due to the reintroduction of the A theme at measure 183.

But in the recapitulation, this feature is replaced by a climactic reminiscence of the first movement, which presses on toward the conclusion rather than balancing a previous event.

###### Viewgraph 14: Eighth, Finale (1890)

The diagram also shows the golden section, with the exposition as the unit standard and nearly all of Part 2, the development, the recapitulation, and the first twenty or so measures of the coda being 1.618 times as long; the application of the criterion is not nearly as convincing as it is with the Seventh.

However, as with the arch structure, the section can be applied to segments of movements as well, and it turns out that the exposition of the finale of the Sixth is divided roughly the same way, with B, C, and K together being closely equal to 1.618 times A.

The perception of any such feature is as always deeply affected by the relative tempos chosen by conductors, and as my work has shown over many years, they are not always sensitive to such arcane formulæ.

###### Viewgraph 16: Second, development of Finale (1872, 1873)

###### Viewgraph 17: Second, development of Finale (1876, 1877/1892)

Considering the global symmetry of the finale of the Second, the pizzicato passage near the end should be considered a transitional section in the third theme group, not a part of the coda.

Any appearance of an overall arch form is probably just an accident of composition.

The 1877 revision did not make it more perfect, unless one agrees to leave the exposition codetta (the single F Minor Mass quotation remaining in this version) out of the scheme along with the one-section coda.

However, the arch form in the development is real, and looks like that of the Eighth.

In it there are four sections: an introductory passage deriving from the codetta, a fantasy on the first theme, a fantasy on the second theme, and a dominant preparation for the recapitulation of A2; so much was established in 1872.

But in 1873, Bruckner removed the final two thirds of the fantasy on the first theme and replaced it with a shorter, more lyrical passage labeled in the manuscript sources "Neuer Satz".

Then, after the 1873 performance, he must have come to realize that the shortness of the Neuer Satz had thrown the sections of the development out of balance, for he tried to fix things up in 1876 by abbreviating the fantasy on the second theme for the performance that year, and more thoroughly in 1877 when he replaced the Neuer Satz with an even shorter 1877-Satz.

Except in 1873, the center of the development (actually the center of the pair of fantasies) is located near the end of the first fantasy.

In 1872 the music found there is a weird and disturbing breakdown of the theme into dissonant fragments that would have startled Arnold Schoenberg in the work of any other composer.

As in the Seventh, the center of the form has the most mysterious music.

In the summer of 2003, some time after this paper was delivered, I was at the Janáček festival at Bard College and saw and immediately purchased a new book on Dvořák by Michael Beckerman in which the violin-and-piano Sonatina in G major is given a careful analysis and a highly perceptive interpretation.

Beckerman shows that the second of its three movements is in arch structure, and notes in some detail that the very center of the arch, while not a dramatic passage, is the place where the inner meaning of the music is hidden in plain view: "… it is his portrait of the waterfall and the woman [Minnehaha] for which it was named.

This is his "water music," and the gentle lyrical song that goes with it.

This is the great illusion of the pastoral mode: sparkle without movement.

It is fitting, then, that Dvořák went against the grain by conspicuously marking his inconspicuous sonatina as Opus 100 and then hiding his exquisite portrait in the middle of its middle.

This lovely secret in the midst of his one-hundredth work is at once noticed and effectively hidden from view."2

Thus Beckerman is saying much the same thing about this composition of Dvořák as I have independently said in this paper about the symphonies of Bruckner, even to the recognition that the arch form is intrinsically static.

An old favorite of mine is the third symphony of Joachim Raff, the one entitled "Im Walde".

I recently obtained a full score of this amazing and seminal work and upon analysis, the finale turns out to be in arch form, in sonata form, and clearly narrative all at the same time.

The accompanying diagram makes the structure clear.

###### Viewgraph 18: Raff, symphony no. 3 in F major, "Im Walde" (1869)

This work, published and premiered in 1869, could have served as a prototype, or at least an inspiration, to Bruckner, but Bruckner carried the idea quite a bit further.

The Gershwin piano concerto of 1925 also presents in its first movement a clear rondo structure with a very distinctive embedded arch and equally-distinctive material centered in the second episode.

###### Viewgraph 19: George Gershwin, Concerto in F (1925), first movement

A more elaborate example is the finale of the third symphony of Glière, "Ilya Muromets", which like the Raff is simultaneously an arch, a sonata, and a narrative, with the bogatyrs' disastrous eight-horned challenge to the universe located at the focus.

Our ability to identify and point out these several examples, however, should not make us think they are common; instead, each one represents a considerable degree of innovation and protean rethinking of accepted paradigms, which is just what one should expect in the greatest works of the greatest composers.

###### Viewgraph 20: Reinhold Glière, Symphony no. 3 in B minor (1911), finale

This system of numbering of Anton Bruckner's "symphonic essays" was devised by Juan Ignacio Cahis Llugany of Santiago, Chile, as a way of identifying the different versions of the symphonies in chronological order in cases where systematic analysis is made of the development of the composer's technique.

The system was presented by Sr. Cahis at the Wagnerian Symphony international symposium at Troy, New York in November 1996, held as a celebration of the Bruckner centenary, and was later published in David Daniels, Orchestral Music, a Handbook, Lanham, Maryland, and London, 1996.

This table lists the version of the "C." numbers that Sr. Cahis is now using, but a future revision might become necessary if certain presently incomplete versions can be more fully reconstructed.

Haas report, 1935, reconstr. Carragan, newly Röder

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Anton BrucknerA Curious Case of Convergent Evolution

Tempo Studies on Bruckner's Fifth Symphony

Tempo Studies on Bruckner's Sixth and Eighth Symphonies

Eighty Years of Anton Bruckner's Symphony No. 2

The Early Version of the Second Symphony

Some Notes on Editing Bruckner's Second Symphony

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Duration: about 43 minutes. At first the Scherzo was third rather than second, as in most of Bruckner's symphonies.
 Bruckner's only large chamber music work is symphonic as well as with clearly distinct instrumental part writing. A wealth of musical ideas is unfolded: Polyphony and motive-thematic work play a significant role, and a colourful pattern lords the work over by the deployment of the tessituras and the voices of all the instruments, with audacious modulations, theme inversions and half-tone key changes ("e.g.", the Adagio in G-flat major).Differently from in Bruckner's symphonies , the form is more compact and the score starts with a clear melodic profile in 3/4 on a pedal point of the cello. On the other hand, the finale starts as in the symphonies with a tremolo. The combination of all musical ideas at the end of the first movement, and the three-thematic setting of the finale are also similar to that of Bruckner's symphonies.


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Since the College pays great attention to the quality of the educational curricula, it uses the method of "case study" which is the approach that is utilized through out the various programs offered in the college, as well as working on the linking what the student specializes in, the culture, creed, environment, and community.

Therefore, a program in Islamic culture is offered that aims to demonstrate the foundations of this culture and portrays its various dimensions; including the humanity, civilization and science .

The College is proud to have many of its graduates occupy positions in agencies and institutions the Gulf, in which they demonstrate their ability to meet the challenges.

It welcomes students, wishing them success and excellence in their studies and with hopes they prove able to continue the march towards a brighter and more prosperous future for the Arab nation.

The College of Graduate Studies was established in 1994 as a result of a merger between the Faculty of Applied Science and the Faculty of Education. The college primarily focuses on special education training and technology as well as technical studies.


Orion Cinema Network, most commonly known by the abbreviation OCN, is a movie channel on basic cable throughout South Korea, owned by CJ E&M.

(meta data) TITLE: CJ E&M makes 13.3 bil. won in TV drama exports

CJ E&M, a local entertainment giant that owns four cable TV channels including tvN and OCN, said Tuesday it earned 13.3 billion won (US$12 million) from overseas sales of its own TV dramas in the third quarter of this year.

Rights to a total of 20 dramas have been sold to foreign countries, including tvN's "Shut Up Flower Boy Band," "I Need Romance" and OCN's "Vampire Prosecutor," with the three exported to more than 20 countries, the company said.

It said overseas sales of "Answer Me 1997," a tvN drama known as this year's most popular cable TV drama, will begin early next year.

"The company will continue to fulfill its role as a window of hallyu, exporting its television dramas to various countries in the Middle East and Europe as well as U.S. and Latin American markets," Choi Jin-hee, a director of CJ E&M said, referring to the rising global popularity of Korean pop culture.

The company has put much energy in producing soap operas since the second half of last year, with the number of series increasing from eight in 2010 to 14 in 2011.

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Change your perspective and see the world in a new way


Its title track topped the UK Independent Singles Breakers Chart for one week, and entered the UK Rock & Metal Singles Chart at number eight.

(meta data) TITLE: Meet the acts behind the music featured in Apple's iPhone X launch

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# Meet Daye Jack, Sofi Tukker and Emma Blackery - the musicians behind the launch of Apple's iPhone X

## Sofi Tukker's infectious song Best Friend was used in the iPhone X trailer.

Apple's iPhone 8 and iPhone X launch event yesterday in California was a big deal for tech fans, but it also introduced some lucky musicians to a worldwide audience.

Daye Jack, Emma Blackery and Sofi Tukker were centre stage for Apple's presentation, as their music was heavily featured through demonstrations of the new iPhone X, and upcoming changes to Apple Music.

New York duo Sofi Tukker, made up of Sophie Hawley-Weld and Tucker Halpern, had the biggest spotlight, with their new single Best Friend being the featured track on the iPhone X trailer.

The song, which enlists Nervo, The Knocks & Alisa Ueno as collaborators, can be heard below.

The GRAMMY nominees have released one EP titled Wild Animals, while their song Johny was featured on the soundtrack to popular football video game FIFA 17.

If you like Fickle Friends or Crystal Fighters, then we think you're going to love Sofi Tukker.

While Sofi Tukker can claim over 7 million people have heard their new song (as of writing), Emma Blackery and Daye Jack will be happy with Apple Music promotion.

It was announced that the platform will be integrated within the upcoming Apple Watch 3.

For the first time, Apple Watch users will be able to stream music as their wearable device connects with AirPod wireless headphones.

Daye and Emma seemingly had no idea their music would be featured on screen.

They both took to Twitter as soon as they found out:

— Daye Jack (@dayejack) September 12, 2017

I AM FUCKING SHOOKOH MY GODNO I DIDNT KNOW THIS WOULD HAPPEN#AppleEvent

— Emma Blackery (@emmablackery) September 12, 2017

Daye's debut album No Data was released in March 2017, while his other credits include backing vocals on Ariana Grande's Dangerous Woman album, and supporting Tove Lo during her Ladywood US tour.

Meanwhile, independent musician Emma Blackery, who is also a popular YouTuber, has released five EPs, the most recent of which Magnetised was the one that caught Apple's eye.

Magnetised charted on the Official Albums Chart Top 100 while her song Perfect hit the Top 10 on the Official Rock/Metal Singles Chart.

.@billieeilish is heading for UK chart domination with debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Can @LewisCapaldi keep his chart crown for a sixth week?!

Check out the latest Official Singles Chart midweeks...… https://t.co/XECVmv1ujV

.@westlifemusic continue to make waves with Better Man, debuting in the Official Trending Chart Top 5 ☝☝… https://t.co/tOBhHfoueb

She released her first EP, "Human Behaviour", in early 2012. Blackery released her second EP, "Distance", in July 2013. A music video for the lead track, "Go the Distance," was produced by Arthur Walwin. Her third EP, "Perfect", was released on 11 November 2014 (Blackery's 23rd birthday).


(meta data) TITLE: Kristopher Negrón Stats, Fantasy & News | MLB.com

Globe iconLogin iconRecap iconSearch iconTickets icon

Kristopher David Negrón…married to Allison…resides in Napa, CA…graduated from Vanden HS (CA)…during his college career with Consumnes River College, was named the California Community College Baseball Conference MVP in 2007.

The Totals - Hit .219 (7x32) with 6 runs, 1 home run, 4 RBI, 1 walk and 2 stolen bases in 20 games with the Diamondbacks (2 G) and Mariners (18 G)...

Mariners Totals - Appeared in 18 games with the Mariners, batting .207 (6x29) with 6 runs, 1 home run, 3 RBI, 1 walk and 2 stolen bases...Join the Club - Acquired by Seattle from Arizona in exchange for cash considerations on Aug. 30...Getting Defensive

- Appeared defensively at 5 different positions: 3rd base (4 GS), left field, (4 G, 2 GS), right field (2 GS), 2nd base (2 G, 1 GS) and shortstop (2 G)...Big Night - Went 3-for-4 with 2 runs, 1 home run and 2 RBI on Sept. 15 at the Angels...Minor Details - Spent most of the season with Triple-A Reno (ARI), batting .283 (105x371) with 71 runs, 17 doubles, 5 triples, 15 home runs, 45 RBI, 43 walks and 10 steals in 118 games.

Batted .160 with 1 double, 1 RBI and 4 walks in 14 games with the D-backs after being selected from Triple-A Reno on Sept. 1...it was his first Major League action since 2015 with the Reds...Made 5 appearances at shortstop (3 starts), 5 in left field (2), 2 at first base (1) and 1 at second...

In 120 games for the Aces, hit .300 with 17 doubles, 11 triples, 13 homers and 64 RBI.

On Arizona's Wild Card and NLDS roster but did not play.

For the Reds made 36 starts at 3 positions (13gs at 2B, 22gs at 3B, 1gs at SS on 9/17 at Chi)...also made 1 appearance as a defensive replacement in LF (8/13 vs Bos)...began the season at Class AAA Louisville, where he also played 2B (5g), 3B (3g), SS (46g) and OF (26g)...joined the Reds on 7/10, when 2B Brandon Phillips was injured...with Phillips on the disabled list, made 12 of his first 17 starts at 2B...after Phillips came off the DL on 8/18 made 18 of his last 19 starts at 3B (17gs) or SS (1gs)...was voted by media the Most Outstanding Player in the 3-1 Ohio Cup series win vs the Indians (7-13, .538, 2 2b, 1hr, 5rbi, 5r)...his first 2 hits this season were home runs, the first of his career...finished the season with 6 homers in just 49 apps and 144ab...in the second inning of his first career start, a 6-3 win on 7/13 vs Pit, hit a 3-run HR off Francisco Liriano that gave the Reds a 3-0 lead...

on 7/21 at Mil hit a pinch-hit HR on the first pitch from Will Smith...in the 15-inning, 2-1 loss on 7/28 vs Ari singled twice for his first career multi-hit game...in the 3-2 win on 8/15 at Col went 4-for-4, including an RBI-single off Adam Ottavino with 2 outs in the top of the ninth inning that snapped the 2-2 tie...in the 11th inning on 8/22 vs Atl became the 25th Red to play shortstop next to Phillips...

finished the season with a 3-game hitting streak (8-12, .667, 1 2b, 1hr, 3rbi) as the Reds earned the 2-1 series win vs the playoff-bound Pirates...in the ninth inning of Louisville's 11-4 loss vs Scranton/Wilkes-Barre on 5/27 made his only professional pitching appearance (1ip, 1h, 0r, 0bb, 1k)...as one of the team's final roster moves, was sent to Louisville on the last day of spring training...

in his last 11 apps of the spring hit .417 (10-24, 3 2b, 1 3b, 1hr, 6rbi) while playing 2B, SS, LF and CF.

Battled back from a July 2012 season-ending knee injury to play the entire season at Class AAA Louisville, where he led the club in starts at shortstop (69)...overall played 73g at SS, 22g in the OF, 12g at 3B, 7g at 2B and 1g at 1B...hit a grand slam on 4/30 vs Lehigh Valley...as a pinch hitter in the bottom of the ninth inning of the 3-2 win vs Indianapolis on 7/11 produced a bases-loaded, walkoff RBI-single...on 7/25 at Syracuse made his only career start at first base...

played for Caguas in the Puerto Rican Winter League (24g, .211, 4 2b, 2 3b, 8rbi, 3sb).

On 7/5 suffered a season-ending knee injury while playing at Louisville...on 7/10 had surgery to repair the torn anterior cruciate ligament and medial meniscus in his right knee...spent most of the season at Louisville but made 4 apps during his only stint with the Reds (6/6-6/17)...in the ninth inning of the 10-inning, 5-4 loss on 6/7 vs Pit made his Major League debut as a pinch runner...as a pinch hitter on 6/14 vs Cle singled off Scott Barnes for his first career hit and then played CF in his first career appearance on defense...originally was recalled from Lousiville on 6/6, when IF Mike Costanzo was optioned...returned to Louisville after Scott Rolen came off the disabled list and played there until he was injured...overall for the Bats played 2B (15g), 3B (18g), SS (21g), CF (18g), LF (3g) and RF (3g)...on 8/31 came off Louisville's disabled list, was recalled and placed on the Reds' 15-day disabled list...on 11/30 was non-tendered but agreed to a minor league contract with an invitation to 2013 Major League spring training camp...for the Reds wore uniform number 17.

Spent his first full season at Class AAA... led Louisville with 86 starts batting eighth in the orderand ranked second in overall apps...on 8/10 at Toledo hit the Bats' only inside-the-park HR of the season...on 8/25 vs Lehigh Valley hit a leadoff HR.

Spent most of the season at Class AA Carolina but made 7 apps during 2 stints with ClassAAA Louisville (8/24, 8/31-remainder of the season)...with 35 stolen bases ranked second among all Redsminor league batters...his 34 steals for Carolina ranked T4th in the Southern League...in Baseball America'sBest Tools issue was rated the best defensive shortstop in the Southern League...following the season playedfor the Peoria Saguaros in the prestigious Arizona Fall League (24g, .296, 4 2b, 4 3b, 4hr, 16rbi)

...was theAFL's Player of the Week for 11/8-11/14 (.368, 2hr, 5rbi)...

on 11/19 was added to the 40-man roster.

In 134 apps at Class A Salem and Sarasota and Class AA Carolina hit .259 with 6hr, 41rbi and 27 stolenbases...on 8/14 was traded from Bos to Cin in exchange for SS Alex Gonzalez and cash...twice hit 2 homersin a game (4/23 vs Myrtle Beach, 8/25 vs Tennessee)...for Salem, hit safely in 12 straight games from 7/22-8/3(.364, 16-44).

In 129g at Class A Greenville and Lancaster and Class AA Portland hit .265 with 8hr,46rbi and 31 steals...ranked among Red Sox minor league leaders in games (129, 2nd), triples (8, T2nd), stolenbases (31, 3rd) and runs scored (73, 10th)...earned Red Sox Minor League Base Stealer of the Month for May(9 steals in 9 attempts) and Red Sox Minor League Base Runner of the Month for August/September (6 stealsin 7 attempts, 15 extra-base hits)...on 8/22 vs Bakersfield went 5-for-5 with a pair of homers and 5 RBI...

inthe 10th inning of Game 2 of the California League semifinals belted a 3-run walkoff homer...played 108g at2B but also played SS, 3B and all 3 outfield positions.

With 31 stolen bases at Class A Greenville andLancaster ranked second among all Red Sox farmhands...was named Red Sox Minor League Base Stealerof the Month for May (8 steals in 9 attempts).

In his first professional season hit .270 with 2hr, 21rbi and 15 stolen bases in 50 apps with the Rookie GCL Red Sox and Class A Lowell Spinners.

#### LAD@ATL: Negron leaps at the wall to make tough grab

#### LAD@MIA: Roberts talks taking Negron out of the game

#### Dodgers OF puts body on line with painful dive

#### LAD@MIA: Negron gets injured on a diving attempt

Seattle Mariners traded 2B Kristopher Negron to Los Angeles Dodgers for SS Daniel Castro.

Seattle Mariners selected the contract of 2B Kristopher Negron from Tacoma Rainiers.

2B Kristopher Negron assigned to Seattle Mariners.

Seattle Mariners sent 2B Kristopher Negron outright to Tacoma Rainiers.

Arizona Diamondbacks traded 2B Kristopher Negron to Seattle Mariners for cash.

2B Kristopher Negron assigned to Tacoma Rainiers.

Arizona Diamondbacks sent 2B Kristopher Negron outright to Reno Aces.

Arizona Diamondbacks designated Kristopher Negron for assignment.

Arizona Diamondbacks selected the contract of 3B Kristopher Negron from Reno Aces.

Arizona Diamondbacks invited non-roster 2B Kristopher Negron to spring training.

Arizona Diamondbacks sent 3B Kristopher Negron outright to Reno Aces.

Arizona Diamondbacks selected the contract of 2B Kristopher Negron from Reno Aces.

RF Kristopher Negron assigned to Reno Aces.

Arizona Diamondbacks signed free agent 3B Kristopher Negron to a minor league contract and invited him to spring training.

SS Kristopher Negron elected free agency.

Iowa Cubs activated SS Kristopher Negron from the bereavement list.

Iowa Cubs placed 2B Kristopher Negron on the bereavement list.

2B Kristopher Negron assigned to Iowa Cubs.

Chicago Cubs signed free agent 2B Kristopher Negron to a minor league contract and invited him to spring training.

2B Kristopher Negron elected free agency.

Cincinnati Reds sent 2B Kristopher Negron outright to Louisville Bats.

Cincinnati Reds transferred 2B Kristopher Negron from the 15-day disabled list to the 60-day disabled list.

Recovering from September 2015 left shoulder surgery

Cincinnati Reds placed 2B Kristopher Negron on the 15-day disabled list retroactive to September 14, 2015.

Cincinnati Reds recalled 2B Kristopher Negron from Louisville Bats.

Louisville Bats activated 2B Kristopher Negron from the 7-day disabled list.

Louisville Bats placed 2B Kristopher Negron on the 7-day disabled list retroactive to July 24, 2015.

Cincinnati Reds optioned 2B Kristopher Negron to Louisville Bats.

2B Kristopher Negron assigned to Criollos de Caguas.

Cincinnati Reds selected the contract of Kristopher Negron from Louisville Bats.

Cincinnati Reds invited non-roster 2B Kristopher Negron to spring training.

CF Kristopher Negron elected free agency.

Cincinnati Reds activated CF Kristopher Negron from the 15-day disabled list.

Cincinnati Reds recalled Kristopher Negron from Louisville Bats.

Cincinnati Reds placed CF Kristopher Negron on the 15-day disabled list.

Kristopher Negron roster status changed by Louisville Bats.

Cincinnati Reds optioned SS Kristopher Negron to Louisville Bats.

Cincinnati Reds optioned Kristopher Negron to Louisville Bats.

SS Kristopher Negron assigned to Criollos de Caguas.

Kristopher Negron roster status changed by Cincinnati Reds.

Kristopher Negron assigned to Peoria Saguaros.

Kristopher Negron assigned to Carolina Mudcats from Louisville Bats.

SS Kristopher Negron assigned to Louisville Bats from Carolina Mudcats.

SS Kristopher Negron assigned to Cincinnati Reds.

Kristopher Negron assigned to Carolina Mudcats from Sarasota Reds.

Cincinnati Reds Traded SS Alex Gonzalez to Boston Red Sox and Salem Red Sox Traded SS Kristopher Negron to Sarasota Reds.

On August 30, 2018, Negrón was traded to the Seattle Mariners for cash considerations. He was called up to the major leagues on September 1.


Cardiff is a significant tourist centre and the most popular visitor destination in Wales with 21.3 million visitors in 2017.

(meta data) TITLE:  Cardiff Boasts Record Visitor Numbers During 2017

(meta data) PUBLISHER: https://www.facebook.com/BusinessWales/

## Showcasing the Best of Welsh Business

# Cardiff Boasts Record Visitor Numbers During 2017

Cardiff Home Page Hospitality & Tourism Original Content Public Sector South Wales

Tourism in Cardiff is up according to preliminary figures which show the city experienced a record number of visitors during 2017.

The information was taken from the STEAM report which measures the economic impact of tourism.

– The total economic impact of tourism for 2017 is £1.30 billion, 7% on 2016 and 6% on 2015.

– During 2017, 21.30 million people visited the city last year, 5% more than the year before.

– 2.06 million of those visitors stayed overnight, a 2% increase from 2016

– 19.24 million people visited for the day, an increase of 5% from 2016

Cabinet Member for Investment and Development Cllr Russel Goodway said:

"Tourism has played a critical role in the city's economic success in past decades.

We are committed to continuing this success by working with partners in the sector to invest in projects such as the new Indoor Arena to attract more visitors to our city."

The National Tourism Awards 2018 has recently crowned Cardiff winners of the Best Event for the UEFA Champions League Final 2017.

The city showed that with vital infrastructure in place, it could put on a mesmerizing show for a global audience of over 1 billion.

In just a couple of months' time the Volvo Ocean Race will take place in Cardiff and for the first time in its history, the leading sailing series will stop here from 27 May to 10 June 2018.

Also returning after 10 years is the 2018 National Eisteddfod, Wales' largest cultural festival.

The festival attracts around 150,000 visitors each year over the two week period and this year is the first year it will not have the traditional Maes and will be open for all across the city.

Plans for Cardiff to become the UK's first 'Music City' are underway with hopes to elevate the city's status to the likes of Berlin and Barcelona in this sector.

Visit Cardiff is the official marketing, tourism and partnership organisation for the city promoting Cardiff as a destination to visit, meet and invest.

Cardiff (Welsh: "Caerdydd" [kairˈdiːð, kaːɨrˈdɨːð] (listen)) is the capital of Wales and its largest city. The eleventh-largest city in the United Kingdom, it is Wales's chief commercial centre, the base for most national cultural institutions and Welsh media, and the seat of the National Assembly for Wales. At the 2011 census, the unitary authority area population was estimated to be 346,090, and the wider urban area 479,000.


In addition, she and her crew were involved in original animation casting and voice directions of several productions created in India.

(meta data) TITLE: Dubbing a success story | Indian Television Dot Com

(meta data) AUTHOR: https://www.facebook.com/ITVNewz

(meta data) PUBLISHER: https://www.facebook.com/ITVNewz

27 Mar, 2005 - 10:20 PM IST | By indiantelevision.com Team | 8510 Reads

##### Times Network reduces Mirror Now MRP, launches new bouquet for English movie channels at Rs 10

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According to the new Reference Interconnect Offer (RIO), the broadcaster has reduced the MRP of news channel Mirror Now to Rs 0.5 from Rs 2.

##### COLORS Tamil extends fiction line-up from Monday to Saturda

On popular demand, COLORS Tamil has announced an extension in the telecast of its fiction line-up.

Starting 17 August 2019, viewers can now catch their favorite show from Monday to Saturday, offering a perfect start to an entertaining weekend packed with action, drama and more.

##### iTV Network appoints R K Arora as director - strategy and planning

In an announcement made on Friday by iTV Network, R K Arora joins as director - strategy and planning.

Arora has a wealth of leadership experience of around two-and-a-half decades in the news broadcasting, spanning the entire spectrum from strategic vision and planning to execution.

##### iTV Network gives additional charge to Varun Kohli, strengthens senior management team

iTV Network on Friday announced strengthening its senior management team with CEO Varun Kohli being handed additional responsibility for print companies.

Kohli is currently handling India News, NewsX, digital assets and is providing strategic direction, leading teams and strengthening...

##### Announcement of Indian men's cricket team coach at 6PM today on Star Sports

Star Sports, India's leading broadcaster and the 'Home of Cricket' to telecast the big and official announcement of the coach of the Indian Men's Cricket Team today at 6PM on a special programming show 'Follow the Blues LIVE' on Star Sports 1 SD/HD.

The segment on the show will witness the...

##### Star India distributes eco-friendly flags on account of India's 73rd Independence Day!

In an encouraging and positive endeavour towards a greener India, Star India has distributed eco-friendly National flags which have been sourced from 21Fools.

With a novelty in thought, these flags are made out of waste cotton and are embedded with marigold seeds.

##### Shemaroo Entertainment brings devotees closer to Lalbaugcha Raja

Shemaroo Entertainment Limited, India's leading content powerhouse, has acquired rights for the live feed of one of the most popular Ganpati Mandals of Maharashtra-"LALBAUGCHA RAJA" for Mobile apps, Internet and DTH platforms.

##### This Independence Day, Viacom18 celebrates many facets of freedom for Indians

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##### Insight TV Announces Co-Production with VICE Studios for Streetkings in Jail

Insight TV, the world's leading 4K UHD HDR broadcaster and producer of native UHD content, is announcing details of its gritty new series Streetkings in Jail, a co-production with VICE Studios, the production company from VICE.

Featuring 4 x 44 minute episodes, Streetkings in Jail will launch on...

 Eliza Lewis (Hindi: एलिजा लुईस) is an Indian people voice actress, voice-dubbing artist and a director of Indian dubbed content and foreign dubbed content. She speaks English and Hindi as her mother tongue languages. She did her schooling from Bombay Scottish School and was a classmate and very good friend of the youngest Ashok Chokra awardee Neerja Bhanot
 Her career has first starting with the animation industry all the way back in 1986 where she worked with Jenny Pinto at ThinkBig Productions. Her first shooting was with animation veteran Ram Mohan. In 2000, she founded an dubbing studio by the name of Main Frame Software Communications, located at Sitadevi, Temple Road Mumbai. It is a division of UTV, set up during her tenure. Eliza and her crew members then begun to dub project works for Discovery, Walt Disney, Nickelodeon, Warner Bros., 20th Century Fox and other studios that are associated with this studio are highly experienced personnel in their area of expertise.


In September 1941, he was made acting administrator at Rabaul when Administrator Walter McNicoll left for Lae.

(meta data) TITLE: Anne McCosker - What about Rabaul?

NGVR Museum, Brisbane & Bustard Painting

Australia's first battle as a sovereign nation

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Early political (anti Common Market, EU) work

Letter to Quadrant, The Montevideo Maru controversy, July 2010

Letter, published in Quadrant, 2008, responding to Max Hastings' 2008 book "Nemesis"

Margaret Reeson, comments on her 2000 book

Noel Barry, his translation of Parkinson's "Thirty Years in the South Seas"

On 23rd January 1942 the Japanese easily captured Rabaul, in Australian administered New Guinea.

The Australian garrison, of ill equipped, badly trained, almost leaderless men, was sent bush without even their 'hard tack' rations.

The civilians were left to fend for themselves.

'Australia would never stand our men being deserted'1 said Sir Earle Page to the War Cabinet assembled in London, 21st January 1942.

He was expressing his opinion of Churchill's hypothetical suggestion that the British evacuate Singapore.

Did Earle Page not know that the Australian Chief of Naval Staff had sent a cablegram on 12th December 1941 to the Australian Minister in Washington, Rt. Hon. R.G. Casey.

This stated 'it is considered better to maintain Rabaul only as an advanced air operational base, its present small garrison being regarded as hostages to fortune.'

This small garrison, so summary dismissed, consisted of about 1400 military personnel.

Rabaul and the surrounding islands were home also to many hundreds of Australian families.

Over Christmas 1941 European women and children were evacuated, leaving as part of the 'hostages to fortune' about 500 European men, mostly over military age.

Any one looking at a map of the Pacific can see the strategic importance of Rabaul.

The town had a magnificent harbour and excellent port, reasonably easy to defend.

In 1939 it had two airfields and good wireless communications.

Having been the centre of Germany's southern Pacific interests pre WWl, and retained as capital by the Australians, by WWII it had symbolic as well as strategic importance.

Many of the resident male Europeans were WWl veterans, some with over 20 year's experience of Island life.

These men continued the pioneering work begun by the Germans, building up plantations, missions, mines, ports, trade.

Many had excellent relationships with the New Guineans.

At the outbreak of WWll these men assumed that the importance of Rabaul would be recognized.

They knew Germany was still interested in her former colony and had excellent knowledge of the Islands, including the Territory's various safe anchorages useful for German navy operations.

They knew too that Japan, given the mandate of the Caroline Islands after WWI, had built bases there which placed New Guinea within reach.

And they were aware that Japanese had been spying around the Islands for years.

So the energetic core of resident Europeans acted.

The New Guinea Voluntary Rifles was formed, defence work begun, Coast Watchers recruited.

The Australian government and Chiefs of Staff however were not much interested.

Earle Page during September and October 1941, on the way to his appointment as Australian envoy in London, had visited the Netherlands East Indies, Singapore, the Philippines, Canada, USA.

In London he would tell the British there were not enough fighter aircraft in Singapore.

At the same time the Australian government agreed to spend £666,500 on behalf of the United States for further development of New Caledonia as an operational base and the 3rd Independent company was sent to Noumea as a gesture to the Free French.

On that day, 21st January 1942, that Earle Page in London was busy lecturing the British regarding their responsibilities in Singapore, the military commanders in Rabaul were busy preparing - or not preparing, it was a rout - to abandon Rabaul and the civilians.

Who was the senior Australian representative in Rabaul?

Harold Page, Acting Administrator since September 1941 (the Administrator, Sir W. McNicholl left Rabaul then to reside in Lae) had been the Mandated Territory's Government Secretary since 1923.

On 22nd January, Harold Page left Rabaul for an outlying plantation.

The Assistant District Officer wrote in his dairy 'visited Raniola Plantation interviewed Mr H.H. Page, Government Secretary.'

Page left behind him hundreds of civilians, having done nothing to facilitate their escape on the many small ships available.

On 23rd January, in Rabaul, the civilian population was surrendered to the Japanese by the Chief Civil Warden N. L. Clark, Rabaul Times editor, Gordon Thomas, and perhaps two other Australians.

What exactly Harold Page was told by the Australian Government has never been satisfactorily explained.

He was to say when a POW 'as late as the morning of the 20th Jan he received a reply to an earlier cable saying that the situation was in hand and to carry on as usual!'

Had Page ever been informed that he, and those he was supposed to be protecting, had been considered 'hostages to fortune' since 12th December 1941, or was he told only of 15th December decision?

On 15th December 1941, the Chiefs of Defence Staff considered it essential ' to maintain a forward air observation line as long as possible and to make the enemy fight for this line rather than abandon it at the first threat.'

Harold Page on 15th January 1942 telegraphed Canberra, 'It now appears that the defence policy for the territory is to be limited to demonstrations of force rather than any serious attempt to hold the territory against any enemy attack in force and there are indications that such an attack will take place in the very near future.

For these reasons it is considered urgent that consideration should be given to the position of civil population of the territory and if necessary their evacuation.'

Events on the ground were following the plan outlined in 12th December cablegram to Washington.

The Acting Administrator's brother, Earle Page left London over Christmas 1941, for a six-day holiday with relations in Belfast.

It seemed Earle Page, in spite of such important personal connections with New Guinea, treated the Mandated Territory as a child treats an unwanted toy - as did most Australian politicians in 1941.

Australia had been an independent nation since 1901 and the Mandated Territory of New Guinea was her responsibility.

Rabaul was of vital importance to the allies from the onset of WWII.

The Australian Government with up to date information and backed by a patriotic, highly motivated and experienced core of British subjects, well supported by the majority of the New Guineans, could have given mature advice to the British.

Instead the Australian cabinet and Chiefs of Staff became fixated on Singapore.

Was Singapore really of vital importance to Australia?

It could be argued that if the Japanese wanted to invade Eastern Australia they could have done so without Singapore.

However it is hard to visualise such an undertaking proceeding without controlling Rabaul.

The Japanese captured Rabaul before Singapore.

It was from Rabaul their fleet sailed, with transports, to the battle of the Coral Sea.

From Rabaul their planes bombed Moresby, their troops left for the Owen Stanley Range.

The capture of Rabaul not only placed the Japanese much closer to Port Moresby and Australia, it also gave them the vast untapped wealth of New Guinea.

Rabaul became a labyrinth of tunnels as did other strategic outlying areas in New Britain.

It is said they could have remained unconquered there for years, harassing Australia at will.

As early as June 1942 General MacArthur and his staff made plans to recapture Rabaul in 2 weeks.

Thousands of lives were to be lost trying to recapture or neutralise it.

Soldiers, sailors, airmen were to die fighting on the Kokoda Trail, Milne Bay, Buna, Guadalcanal.

Australians, Papuan New Guineans, Americans fought in Papua, New Guinea, the Solomons, through 1942, 1943, 1944.

By 1943, the Americans had become so interested in New Britain, the Australian General Blamey believed that the operations there would be undertaken by American forces 'to strengthen a claim to retain New Britain in the post-war settlement'.

7 MacArthur however took little interest in Singapore.

Back to Earle Page and the Australian government of 1942.

On the very day Rabaul fell, 23rd January, the Australian War Cabinet received a cablegram from Earle Page stating the

British government had considered the evacuation of Singapore.

Another paragraph was inserted into the communiqué about to be sent to London.

Page has reported the Defence Committee has been considering evacuation of Malaya and Singapore.

After all the assurances we have been given, the evacuation of Singapore would be regarded here and elsewhere as an inexcusable betrayal.

Singapore is a central fortress in the system of Empire and local defence'.

Were Churchill and his advisers aware of what had happened that day in Rabaul?

Churchill was angered by the Australian attitude to his hypothetical suggestions regarding Singapore.

If he had known the full extent of the debacle in Rabaul he might have been even angrier!

Lt. Col. Rowell is quoted as saying after the fall of Rabaul, 'its not the first time a few thousand men have been thrown away and it won't be the last'.

Later in conversation with the historian, D.M. Horner he said 'they [the Chiefs of Staff] had the scale of attack all wrong.

The Japanese employed a division against a battalion.

It was bad luck for the battalion that the Japanese intended making Rabaul their main base.'

Where exactly did the Chiefs of Staff think the Japanese main base would be?

Any reasonably intelligent person with up to date knowledge of Rabaul would have expected it to be there.

The Chiefs of Staff also showed their lack of knowledge and responsibility when in their report of 15th December 1941 they stated that the withdrawal of the garrison and abandonment of Rabaul was not possible because of the effect it 'would have on the minds of the Dutch in NEI.'

Apparently they did not worry about abandoning Australian civilians, the Chinese community or the New Guineans, Australia was supposed to be protecting under the mandate.

And they had, of course, no concern for the small Australian garrison.

Paul Hasluck, later Governor General of Australia wrote 'The most charitable view, namely that Canberra was out of touch with what was happening in New Guinea, is itself a criticism only less damning than the alternative view that Canberra did know but did not care enough.

Government policy in the ensuing weeks [after the fall of Rabaul ] was to water down the news of disasters lest Australians should get scared.' 11

Sixty years on, the establishment is not just watering down the fall of Rabaul and the subsequent loss of life, but washing it away.

In 2002, it is still the fall of Singapore that most Australian historians are discussing.

They pick over every detail in ever more conferences, discussion papers, articles.

The Australian War Memorial,Remembering 1942 history conference had no paper on the subject.

The Menzies Centre in London convened in Cambridge a conference on Churchill and Australia.

Amongst the topics discussed were the fall of Singapore and the latter stages of the Pacific war.

There were no major articles or programmes in the Australian media on Rabaul.

Establishment humbug can perhaps be illustrated by the AUSTRALIANS REMEMBERED MAP, published in early 2002, with the help of the AWM and the Australian government.

This map lists Australian war losses since Federation.

It claims to show 'significant actions and events'.

An arrow pointing to Rabaul states '23/1/42 Japanese forces land at Rabaul.'

It then notes '4/3/42 160 AIF POWs murdered by their captors at Tol & Waitavola plantations.'

It also names ships sunk with loss of Australian life during this period.

One however is certainly missing - the Montevideo Maru

It is officially said that over 1000 men, civilian and military - including Harold Page - captured after the fall of Rabaul, drown when this ship was sunk by USA submarine off the Philippines in July 1942.

If so this was almost certainly the biggest maritime disaster in Australian history.

Yet the AUSTRALIANS REMEMBERED MAP does not mention it.

No other allies were involved in the fall of Rabaul, it is purely an Australian tragedy.

Is that why now sixty years on it can still be ignored?

Well over a thousand Australians 'hostages to fortune', are still hostages to incompetence and betrayal.

'Singapore' before and after it fell, was used in some Australian quarters to foment hostility towards the British.

One example is the use made of it by present day members of the republican movement.

The loss of Australian lives at Singapore, seen as a betrayal of Australia by the British, is reason enough, they think, to attack the Crown and Australian ties with the United Kingdom.

They do not mention the betrayal of Rabaul by the Australian Government.

Neither did they question the United States' role in the fall of Rabaul.

This republic, a model for many in the republican movement, had no vision in WWII for either the south-west Pacific or Australia.

That infamous cablegram of 12th December 1941, sent - to Washington - shows the USA played a part in the tragic debacle at Rabaul.

'In view of the present situation,' it stated, 'Naval Board have reviewed proposals for development of Rabaul as defended base.

Formerly it was not intended to develop Rabaul beyond the requirements of an advanced air operational base.

------- U.S.A. request was acceded to and offer of assistance accepted on the implied understanding that U.S.A. forces would at least occasionally operate in the area and possibly in the 'shaded area'.

It would appear under present circumstances that the proposed plan would be greatly delayed or even impossible to fulfill.-------

Under the foregoing circumstances and as the reinforcements and subsequent supply would be hazardous without United States co-operation, it is better to maintain Rabaul only as an advanced air operational base, its present small garrison being regarded as hostages to fortune.' 13

The USA confused the position of Rabaul not only for the Australian government and Chiefs of Staff, but perhaps more importantly, for the European residents of the Mandated Territory.

Paul Hasluck wrote concerning the aftermath of the fall of Rabaul 'In the escape of survivors, both soldiers and civilians, there were suffering, endurance, dangers and adventures that should make a nation's legends for years.' 14

The whole Australian nation is entitled to know the facts surrounding the fall of Rabaul.

It can then have a better perspective of its WWII history and be able to give recognition to the sacrifices and achievements of many individual Australians.

Defence Committee (operations) minutes, 21st January

1942.CAB 69/4, DC (42) 4 PRO. ; D.M. Horner, High Command.

Cablegram, Australian Archives Documents series A2671/1,File 333/41, War Cabinet Agenda files.

Anne McCosker, Masked Eden, A History of the Australians in New Guinea.

See Chapters 10, 11, 12, 13. for further details.

M. Horner, Crisis of Command. ANUP, 1978. p 36.

Hasluck, The Government and the People, 1942 – 45. AWM, 1970.

AUSTRALIANS REMEMBERED MAP, published 2002, Hemma Maps PTY. Ltd, Australia.

Cablegram, Australian Archives Documents series A2671/l, File 333/41, War Cabinet Agenda files.

W. S. Churchill, The Second World War, Vols III and IV, Cassell, London, 1950, 51.

The Great Betrayal, David Day. Angus & Robertson Publishers, 1988

The Japanese Thrust, Lionel Wigmore. AWM, 1957.

Published in Heritage, Vol 26, No 102, Spring 2002

Page received his discharge in July 1919 and returned to university, graduating Bachelor of Arts the following year. He rejoined the public service and was posted to the Territory of New Guinea, recently acquired by Australia as a League of Nations mandate. Page briefly served as chief of police and director of schools, then in 1923 was appointed government secretary. He was an "ex officio" member of the territory's executive council and legislative council. According to his obituary in "Pacific Islands Monthly", he was "practically a certainty for the Administratorship of the Territory, the next time it became vacant". As the most senior civil servant in the territory, Page was the deputy administrator and acted as territorial administrator on a number of occasions.


He arrived in Burma on 18 August 2005 for a three-day visit and sought the release of Aung San Suu Kyi.

(meta data) TITLE: Obituary: Ali Alatas | World news | The Guardian

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(meta data) PUBLISHER: https://www.facebook.com/theguardian

(meta data) PUBLISHED DATETIME: 2008-12-16T19:01:00-0500

Available for everyone, funded by readers

Indonesian diplomat who helped to broker peace in Cambodia

Ali Alatas, who has died aged 76, was one of Indonesia's most widely respected foreign ministers.

A charismatic and urbane man - known affectionately as "Pak Ali" - he was tipped to become the United Nations secretary general in the 1990s.

But his boss, the Indonesian dictator Suharto, is said to have opposed the move, fearing it would shine a spotlight on the country's questionable human rights record in East Timor.

He graduated from the Academy for the Indonesian Foreign Service in 1954 and the University of Indonesia's law faculty two years later.

A career diplomat, he was stationed in various embassies of Indonesia, including those in Bangkok and Washington DC, and he twice served as Indonesia's ambassador to the UN, in Geneva from 1975 to 1978 and in New York between 1982 and 1988.

That year, in the final decade of Suharto's 32-year reign, he became Indonesia's foreign minister, serving another year under the dictator's successor, BJ Habibie.

Successive Indonesian presidents, including the current incumbent, Susilo Bambang Yudhoyono, valued his long experience and unflappable nature.

Each ensured that he stayed around as a foreign adviser.

Most recently, he was instrumental in seeing that the 10-member Association of South East Asian Nations (Asean) enshrined the values of human rights and democracy in a charter that came into force this week.

He was also a board member of the Brussels-based International Crisis Group.

Alatas was in recent years a UN special envoy tasked with drafting a report on security, development and human rights.

But his soaring diplomatic career was always tarnished by Indonesia's abuses in East Timor, after it invaded and occupied the former Portuguese colony once it had achieved independence in 1975.

Alatas's diplomatic skills were tested to the full by the Suharto regime's often brutal repression in East Timor, and elsewhere.

Alatas admitted that the 1991 massacre of pro-independence demonstrators by Indonesian troops at the Santa Cruz cemetery in the capital, Dili, in which hundreds of civilians died, was a "turning point".

Even nations that had supported Indonesia were "shocked" by the carnage, which was captured on film by Max Stahl, a British journalist and documentary maker.

It led to Indonesia's isolation by the west for years.

International outrage over the deaths may have cost Alatas the top UN job, for which he was in the running in the late 1990s.

After his long stint as foreign minister under Suharto, who was swept from power in May 1998 by mass street protests, he served just one year as Habibie's senior diplomat.

But it was an uncomfortable time; Habibie failed to consult him, notably on the decision to stage a referendum on East Timor that ended Jakarta's 24-year occupation in 1999.

The mayhem that ensued, when more than 1,000 East Timorese died as Jakarta-backed militias went on the rampage, were a further stain on Alatas.

In 2001, Alatas compiled a book, A Voice for a Just Peace that contained a selection of his speeches with some commentary, though only one passage on East Timor was included.

It also highlighted Indonesia's desire for economic and social justice on a global scale, demanding an end to nuclear testing and the reform of the UN to end superpower domination.

Indonesia's wish to discuss "moral" alternatives on the world stage was, however, blighted by East Timor.

Yet five years later, Alatas' ground-breaking work, The Pebble in the Shoe: The Diplomatic Struggle for East Timor, helped stir a wider debate about the occupation and forced Indonesia to start to re-examine its rule there.

Some successes helped to underpin Alatas's reputation as an international statesman.

His greatest triumph was his work with the Cambodian prime minister Hun Sen, who had been appointed by the invading Vietnamese in 1978; Alatas brokered the historic 1991 peace settlement at the Paris International Conference to end the war with the Khmer Rouge, though he had to share some of the glory with France, which joined the negotiations late in the day.

Less successfully he also battled hard with Asean neighbour Burma for the release of opposition leader, Aung San Suu Kyi, who has spent 13 of the last 19 years under house arrest.

Alatas is survived by his wife and three daughters.

• Ali Alatas, diplomat, born November 4 1932; died December 11 2008

 His obituary by Reuters said Alatas "was a widely respected figure in the region tipped at one stage to be a possible United Nations secretary-general" but that his later career was "haunted by the Suharto era and the turmoil in East Timor," the former Portuguese colony that voted for independence from Indonesia in 1999. Alatas recounted his role in the diplomatic controversy over Indonesia's annexation of East Timor in 1975 and the events leading to independence in "The pebble in the shoe: The diplomatic struggle for East Timor". His obituary in "The Guardian" argued that a 1991 massacre of anti-Indonesian demonstrators at Santa Cruz cemetery in Dili, East Timor's capital, probably prevented Alatas from taking charge of the UN. "International outrage over the deaths may have cost Alatas the top UN job, for which he was in the running in the late 1990s," "The Guardian" wrote. "Suharto reportedly vetoed his candidacy as he believed the role would have highlighted such abuses." Alatas later termed the Santa Cruz massacre a "turning point" for Indonesia in East Timor.
 On 30 March 1995 he was appointed an Honorary Officer of the Order of Australia, for service to Australian-Indonesian relations. In 2003, Alatas was appointed as the United Nations special envoy to Burma.


The project is a co-production of Vulcan Productions, the British Film Institute, the Idea Room, MetFilm Production, and Runaway Fridge.

(meta data) TITLE: 'Reason I Jump' Autism Movie in Works at Paul Allen's Vulcan – Variety

Read Next: Stray Dogs Picks Up Int'l Sales Rights to Venice-bound 'Blanco en Blanco' (EXCLUSIVE)

# 'The Reason I Jump' Autism Movie in Production at Paul Allen's Vulcan

Paul G. Allen's Vulcan Productions is producing Naoki Higashida's bestseller "The Reason I Jump" as a documentary about autism, Variety has learned exclusively.

The book was written in 2005 by Higashida, who was 13 at the time, and published in Japan in 2007.

The English translation was published in 2013.

Higashida wrote the book to help communicate his own needs and thoughts to his family, and shine a light for other autistic individuals around the world.

Most of the memoir is told through 58 questions Higashida and other people dealing with autism are commonly asked.

The film is presented by Vulcan Productions, the British Film Institute, the Idea Room, MetFilm Production, and Runaway Fridge.

The producers include Stevie Lee, Jeremy Dear, and Al Morrow.

Allen is an executive producer along with Carole Tomko, Jannat Gargi, and Rocky Collins.

The film, announced on Wednesday, is in production and part of a larger effort from Vulcan Productions to spotlight various issues, including uncovering the mysteries of the human brain.

Allen is the founder of the Allen Institute for Brain Science and has contributed more than $500 million to the organization.

"Naoki's book transformed my understanding of autism and I hope we can translate it onto the screen with as much simplicity, elegance, and power as in his writing," Rothwell said.

Rothwell's credits include "How to Change the World," "Town of Runners," "Donor Unknown," "Heavy Load," and "Deep Water."

Vulcan's credits include "Body Team 12," which was nominated for an Oscar in the documentary short category, "We the Economy," "Ocean Warriors," and "Girl Rising."

Their upcoming releases are "Ghost Fleet" and "Oliver Sacks."

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The book will be adapted into a feature-length documentary, directed by Jerry Rothwell.


By Duffield's account, she had a new single scheduled for release in 2017, but was informed that Warner Music Canada was no longer working with her management team and she was subsequently dropped from the label.

(meta data) TITLE: Victoria Duffield Discloses Why She Hasn't Released New Music | Canadian Music Blog

(meta data) PUBLISHER: https://www.facebook.com/WordPresscom

## Getting the rock and snowball rolling for fans of Canadian recording artists

# Victoria Duffield Discloses Why She Hasn't Released New Music

One of the finest, brightest young stars to sweep the nation over the past few years, Victoria Duffield, hasn't released new music since 2014.

Her two albums spawned a number of hits including platinum certified "Shut Up and Dance".

As a teen triple threat – singer, actress, and dancer (and oh what a dancer!) – Victoria was an immense inspiration across the nation picking up fans of all ages.

She collaborated with Cody Simpson and toured with The Backstreet Boys.

Victoria who has been sharing her story in bits and pieces on her social networking sites opened up today in a post we quote below.

Warning: For those of you who love Victoria and her music, this is not an easy read.

"As you've read, I've been giving you highlights (and lowlights) of my past years getting to do what I love.

I am so thankful for the amazing years I had and getting to meet and perform for my fans across the country.

Following my tour with the Backstreet Boys, I had hurt myself vocally.

As a singer, you never know with vocal surgery if you're going to be okay after.

Singing is what I love and was terrified of losing it.

Thankfully I was able to work with some incredible doctors in Los Angeles who helped me get back to full strength.

My voice was back and it was time to work on the next release.

"Now let's fast forward 2.5 years of writing and writing and writing….

"After flying to multiple countries and writing tons of songs, I had plans lined up with a new team for a new song release.

We were ready to go and I had booked a final photo shoot in Toronto to complete the project.

Just before I was supposed to leave, in a matter of one phone call, that new team quit and the release plan was canceled.

Everything I was depending on, planning, and preparing for vanished in seconds.

For the first time, I Googled for other job options.

I typed in 'what do I do with my life?'.

No matter what I looked up, nothing felt right.

There was no go-to Plan B that I was okay with.

Music is my everything but I wasn't finding a way to make it work.

For sure this is heartbreaking news for all Victoria Duffield fans and it certainly is for us.

While her first two albums were released under Warner Music, the label no longer lists her as one of their artists.

We cherish the hope that new doors will open and she will continue her career as a recording artist.

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Career.:2013–present: "Accelerate" and "Day Won".

In 2013, Duffield announced that she was recording new music in Los Angeles, California. Her second studio album, "Accelerate", was released in June 2014 and failed to chart in any countries. However, its lead single, "More Than Friends", reached number 49 on the Canadian Hot 100. She also toured with the Backstreet Boys on the second North American leg of their In a World Like This Tour. Following the tour, Duffield sustained injuries to her vocal chords and underwent surgery at Cedars-Sinai Medical Center in Los Angeles, resulting in a brief hiatus from performing.


She spends long stretches of time working on her novels, often spending 20 to 30 hour periods on her typewriter.

(meta data) TITLE: Danielle Steel's Desk Is Unlike Anything You've Ever Seen | Vanity Fair

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Danielle Steel's wildly popular novels have made her a household name,

and as the founder of the Nick Traina Foundation—so called after her

late son—the mother of nine is also an ardent advocate for

published next month, take a look at where Steel's best-sellers are

brought to life, at her desk in San Francisco.

My beloved, partially handmade 1946 Olympia standard typewriter.

I've written 163 books on this typewriter, and it's still going strong.

I love these mementos that my children have given me for good luck.

They touch my heart but do not help my creative process.

The desktop is so crowded that, when I'm writing, I have to take them off the desk until I finish the book.

This tall stack of papers is all pending projects.

On the walls of my office are framed covers of my books and sayings that I love.

One favorite, since I work very late: "What hath night to do with sleep?"

Art done by my children when they were little.

This magnet says, "#1 Mom," and was a Mother's Day gift.

This nameplate belonged to my son Nick, with the name of his band, Link

I had my desk made by some artisans about 25 years ago.

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Jenna works from this table in her New York City office.

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Steel spends two to three years on each book, juggling multiple projects at once. According to Steel, once she has an idea for a story her first step is to make notes, which are mostly about the characters. She told the "New York Times" in 2018: "I make notes for a while before I start work on the outline. The notes are usually more about the characters. I need to know the characters really well before I start — who they are, how they think, how they feel, what has happened to them, how they grew up." Steel has written all of her novels on 1946 Olympia standard typewriters. She has two which she primarily writes on, one at her home in San Francisco and another at her home in Paris. Her typewriter at her home in San Francisco has been in her possession since she bought it while working on her first book. According to Steel, she bought it second hand for $20.