texts:
 the Tennozan final but losing to the Osaka Pro Champion, Tigers Mask. Super Delfin then started to take an interest in <mask>, offering to teach him more about professional wrestling and give him further training. Despite the rest of Bad Force’s protests, <mask> accepted Delfin’s offer and eventually left the group.After Hurricane 2008, he started the rookie group Blood & Guts (B&G), recruiting Daisuke Harada, Tadasuke and eventually Atsushi Kotoge to join. In 2008, <mask> started to appear in other promotions, most notably facing and later teaming with veteran Toshiaki Kawada in Hustle. It was in Hustle that he picked up a clean singles win over former IWGP Heavyweight Champion Bob Sapp. <mask> produced his own show in December and hinted at a major announcement at Hurricane 2009. After defeating the Bodyguard, <mask> announced that he was going to start training for a career in boxing and that he would be leaving the wrestling industry effective immediately. Return to OPW (2010–2013)
After retiring from boxing, Obayashi announced his return to professional wrestling in July 2010. His in-ring return was delayed after he underwent further training and spent time to trying to build up body mass after losing a lot of weight for boxing.His official return to wrestling took place in November 2010 at Osaka Pro: <mask> Will Be Back, where he teamed with Daisuke Sekimoto to defeat Akebono and Don Fujii. Shortly after returning, <mask> re-ignited his old rivalry with the Bodyguard. The two traded wins back and forth for months, but eventually formed a tag team in early 2011 after Bodyguard was kicked out of the Joker stable, and <mask> saved him from an attack by the rest of Joker. Known collectively as the Big Guns, they would go on to hold the Osaka Pro Tag Title for a short time in early 2011.

masks: Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus


type: original

texts:
 The Big Guns started to achieve major success in 2013, winning the Osaka Tag Festival and the Osaka Pro Wrestling Tag Team Championship for the second time later that year. In the 2013 Tennozan, <mask> and Bodyguard faced each other in the finals with <mask> coming out victorious. On March 1, 2014, it was announced that Osaka Pro would be folding due to financial difficulties.On April 20, all of its workers became freelancers. It was later announced that the promotion would continue under new management, but Zeus and Bodyguard eventually vacated their all of their championships, and on April 20 wrestled their last match in OPW, teaming with Quiet Storm in a losing effort against Billyken Kid, Bull Armor Takuya and Black Buffalo. As owner of OPW (2022–present)
In October 2021, he announced that he had been appointed as the owner and president of Osaka Pro Wrestling. He became president on July 30, and on August 26, he received a share transfer from former owner Yuji Sakagami. However, he remained under contract with All Japan Pro Wrestling (AJPW) for the rest of the year. Pro Wrestling Zero1 (2011–2014)
<mask> debuted with Zero1 in 2011, taking part in the 2011 Fire Festival, finishing with 3 points and therefore not advancing to the final. In September, he teamed with Masato Tanaka to capture the NWA Intercontinental Tag Team Championship from Kohei Sato and Kamikaze.<mask> and Tanaka held the title for over a year, eventually losing them to Yusuke Obata and Shito Ueda in November 2012. <mask> and James Raideen participated in the 2012 Furinkazan tournament, defeating Ueda and Obata in the final on December 15. On February 3, 2013, Kohei Sato and <mask> received an opportunity at the vacated NWA Intercontinental Tag Team Championship, but lost to Zero64 (Akebono and Daisuke Sekimoto). On

masks: Zeus Zeus Zeus Zeus Zeus Zeus


texts:
 July 30, <mask> defeated Ikuto Hidaka to win the NWA United National Heavyweight Championship. <mask> held the championship for 6 months, losing it in January 2014 to Tama Williams in his first defense and last appearance in Zero1 to date. DDT Pro-Wrestling (2014)
<mask> made his debut for DDT in March 2014, when he and The Bodyguard defeated the Nuru Nuru Brothers (Michael Nakazawa & Tomomitsu Matsunaga). On September 13, <mask> received an opportunity at the DDT Extreme Division Championship, losing against Danshoku Dino in a "Kiss Pin" match.On February 15, <mask> won the Ironman Heavymetalweight Championship, defeating Soma Takao, but later that day he lost the championship back to Tomomitsu Matsunaga. All Japan Pro Wrestling (2014–2021)
On March 28, <mask> and The Bodyguard made their debut for AJPW, defeating Menso～re Oyaji and Sushi. On May 16, <mask> and The Bodyguard received an opportunity at the World Tag Team Championship, but were unable to defeat defending champions Evolution (Joe Doering and Suwama). <mask> and Bodyguard both participated in the 2014 Ōdō Tournament as singles competitors, with <mask> being eliminated in the second round by eventual winner Go Shiozaki and Bodyguard in the first round by Takao Omori. <mask> and The Bodyguard participated in the 2014 World's Strongest Tag Determination League, finishing with 8 points but not making it to the final. On January 12, 2015, <mask> defeated Kenso to become the new #1 contender to the Triple Crown Heavyweight Championship. On February 7, <mask> failed to capture the championship from Go Shiozaki.Both <mask> and The Bodyguard participated in the 2015 Champion Carnival Tournament, with <mask> finishing the tournament with 3 points in Block B and Bodyguard finishing with 2 points in Block A. On May 31, they received

masks: Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus


texts: another shot at the World Tag Team Championship, but were unable to defeat Xceed (Go Shiozaki and Kento Miyahara). On August 15, <mask> and Bodyguard scored a big win, defeating former World Tag Team Champions Akebono and Yutaka Yoshie. The following day, <mask> made his second challenge for the Triple Crown Heavyweight Championship, this time losing to Akebono. <mask> and The Bodyguard participated in the 2015 World's Strongest Tag Determination League, losing their first two matches but managing to win the rest of their matches, and make it into the finals, finishing the tournament with 8 points. In the final, they were defeated by Kento Miyahara and Suwama. On December 23, <mask> and Bodyguard finally captured the World Tag Team Championship, defeating Wild Burning (Jun Akiyama and Takao Omori).On January 10, 2016, after <mask>, Bodyguard, and Billyken Kid defeated Suwama, Atsushi Aoki & Hikaru Sato, <mask> called out for a shot at the Triple Crown Heavyweight Championship. On February 12, at the first day of the Jr.Battle Of Glory, <mask> lost to Kento Miyahara for the vacated Triple Crown Heavyweight Championship. On February 21, <mask> and Bodyguard retained the World Tag Team Championship against Nextream (Jake Lee and Kento Miyahara). From April 9 to April 24, <mask> participated in the 2016 Champion Carnival Zeus in block B. He finished his block with 10 points, losing only 1 match and advancing to the finals, where he lost to Daisuke Sekimoto. On June 15, <mask> and Bodyguard lost the World Tag Team title to Daisuke Sekimoto and Yuji Okabayashi. On November 27, <mask> and Bodyguard defeated Sekimoto and Okabayashi to regain the World Tag Team Championship.On May 21, 2017, they lost the titles to Kai and Kengo Mashimo, but managed to regain the titles in a rematch on June 11.

masks: Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus Zeus


texts:
 However, they would lose the titles in their first defense to Nextream (Jake Lee and Naoya Nomura) on July 17. On February 25, 2018, they defeated Kento Miyahara and Yoshitatsu to win the titles for the fourth time, but lost them exactly one month later to Ryoji Sai and Dylan James. On July 29, <mask> once more challenged and defeated Kento Miyahara to finally capture the Triple Crown Heavyweight Championship. He made his first successful defense on August 26 against Shuji Ishikawa. However, he lost the title back to Miyahara on October 21 in his second defense. Personal life
Outside of professional wrestling, Obayashi is a bodybuilder and co-owner of "King Gym", a power and strength gym in Osaka, Japan with tag team partner and former bodybuilder Noboru Kurakawa.Championships and accomplishments
All Japan Pro Wrestling
All Asia Tag Team Championship (1 time) – with Izanagi
Triple Crown Heavyweight Championship (1 time)
World Tag Team Championship (5 times) – with The Bodyguard (4) and Ryoji Sai (1)
Champion Carnival (2020)
DDT Pro-Wrestling
Ironman Heavymetalweight Championship (1 time)
Osaka Pro Wrestling
Osaka Pro Wrestling Championship (1 time)
Osaka Pro Wrestling Tag Team Championship (3 times) – with The Bodyguard (2) and Gaina (1)
Tennozan (2013)
Osaka Tag Festival (2008) – with Daisuke Harada
Osaka Tag Festival (2013) – with Bodyguard
Pro Wrestling Illustrated
 Ranked No. 91 of the top 500 singles wrestlers in the PWI 500 in 2019
Pro Wrestling Zero1
NWA United National Heavyweight Championship (1 time)
NWA Intercontinental Tag Team Championship (1 time) – with Masato Tanaka
Furinkazan (2012) – with James Raideen

References

1982 births
Japanese male professional wrestlers
Japanese people of Korean descent
Naturalized citizens of Japan
Living people
Sportspeople from Osaka
Zainichi


texts:
Dame <mask>, DBE (12 November 1922 – 15 September 2014) was a British Conservative Party politician. Political career
Joining the Conservative Party in 1952, she was elected to Sevenoaks council five years later, chairing it in 1962 and 1963; she also served on the West Kent education executive. She made a strong impression among Kentish Tories, and in 1964 was shortlisted ahead of 104 applicants, almost all men, to succeed Harold Macmillan at Bromley. She missed out in the final selection, then again at Brighton Kemptown where the party was seeking — and would fail — to overturn a Labour majority of seven. After unsuccessfully fighting Newcastle-under-Lyme in 1966, <mask> was elected MP for Rochester and Chatham at the 1970 general election. Rochester and Chatham Conservatives selected her to take on the Left-wing Labour MP Anne Kerr, and in 1970 she bettered the national swing to capture the seat by 5,341 votes. Both candidates bemoaned the fact that the other could not have found a man to defeat somewhere else, and when <mask> arrived in the Commons it was women's issues that she took up.Her first success was to force the Royal Navy to scuttle a “dial a sailor” scheme for the public to befriend sailors docking away from their home port, after Navy wives complained. She joined other Tory women in trying to amend the recently liberalised divorce laws which ended the right of the “innocent party” to veto divorce after five years. Her work on the Expenditure Select Committee impressed, and in November 1972 Heath appointed her Parliamentary Under-Secretary for Agriculture with responsibility for prices, which were becoming an issue as inflation set in. <mask> served as Parliamentary Secretary at the Ministry of Agriculture, Fisheries and Food, with responsibility for food, from November 1972 to February 1974 under Edward Heath, and again from September 1981 to September 1986 under Margaret Thatcher. Upon leaving the government in 1986 she was appointed a Dame

masks:
Peggy Edith Fenner
Fenner
Peggy Fenner
Peggy Fenner


texts: Commander of the Order of the British Empire. At MAFF she took through the legislation obliging food producers to put sell-by dates on their products, but spent most of her time tackling a rising tide of complaints about higher meat prices, caused by a world shortage, and explaining a 48 per cent increase in food prices in three years. When Labour's Willie Hamilton complained of being charged 5p for a banana, she told him curtly: “You could certainly do with some help with your shopping.I bought six bananas for 17p recently, and I don’t have time to shop around.” Hamilton was back next week saying he had now been charged 16½p for three bananas. In the February 1974 election called by Heath over the miners’ strike, <mask> fought a tight battle with Roger Kenward, Labour, and her majority slumped to 843. In opposition, she joined Britain's contingent in the then-nominated European Parliament. She attended only a handful of sessions before Harold Wilson called another election and Labour's Bob Bean ousted her by 2,418 votes. She was out of the Commons for Mrs Thatcher's overthrow of Heath, and as the Tories regrouped for a return to government. She won back Rochester and Chatham in 1979, by 2,688 votes. John Nott's decision to close Chatham dockyard was a blow to <mask>'s constituents, many of whom took it out on their MP.And before she could launch a campaign against the closure, Mrs Thatcher, in September 1981, gave her back her old job at MAFF. Prices were now less of an issue, so she could address concerns over quality: the conditions in which veal calves and battery hens were kept, the amount of fat in mince and water in sausages, dyes in pet food, tighter curbs on pesticides, pesticide residues on lemons that were polluting gin-and-tonics, and the unsuitability of cling film for microwave cooking. She also presided over the first raising of the Thames Barrier. At the 1983 election the Rochester and Chatham seat was abolished and <mask> was elected MP for

masks:
Peggy Fenner
Peggy Fenner
Fenner


texts:
 the new constituency of Medway. She continued to hold the seat for the next fourteen years, being re-elected at the 1987 and 1992 general elections, until she lost it at the 1997 election to Labour's Bob Marshall-Andrews. On the death of Baroness Jeger in 2007, <mask> became the oldest living woman to have served as an MP in the United Kingdom. Mrs Thatcher dropped her in September 1986 in a cull of junior ministers, compensating her with a DBE.Dame <mask> became a leading campaigner against the high speed link across Kent to the Channel Tunnel. For a decade from 1987 she returned to Strasbourg as a delegate to the Council of Europe and Western European Union. The 1997 election brought boundary changes and a heavy national swing to Labour. Dame <mask>, her 75th birthday approaching, went down by 5,354 votes to the colourful barrister Bob Marshall-Andrews. Personal life
Born on 12 November 1922 in Lewisham, London, as <mask> Bennett, she was cared for in infancy by her grandparents. Her parents divorced when she was three and she never saw her father again. Educated at a London County Council elementary school in Brockley, Kent she went on to attend Ide Hill School in Sevenoaks but left aged 14 going into service.In 1940 aged 18 she married architect <mask> and went into wartime factory work. The couple had one daughter. Her husband <mask> and their daughter predeceased her. She died on 15 September 2014. References

 "Times Guide to the House of Commons", Times Newspapers Limited, 1979 and 1997 editions. External links

1922 births
2014 deaths
Conservative Party (UK) MPs for English constituencies
Female members of the Parliament of the United Kingdom for English constituencies
UK MPs 1970–1974
UK MPs 1974
UK MPs 1979–1983
UK MPs 1983–1987
UK MPs 1987–1992
UK MPs 1992–1997
Dames Commander of the Order of the British Empire
Conservative Party (UK) MEPs
MEPs for the United Kingdom 1973–1979
Place of birth missing
20th-century British women

masks:
Fenner
Peggy
Peggy
Peggy Edith
Bernard Fenner
Bernard Fenner


texts:
<mask> (24 January 1838 – 11 February 1891), commonly referred to as D. C. F<mask>, was a South African writer, historian and linguist who published a newspaper The Portonian in Port Adelaide, South Australia, from 1871 to 1879. <mask> was born near Stellenbosch, South Africa, the sixth son of public servant <mask>, R.N. (1794–1861) and his wife <mask>, née Pigot (1804 – 26 October 1881). When quite young, his father was appointed the Colony of Natal's first Colonial Secretary after the imposition of British rule, and the family moved accordingly. The boy's formal education was sporadic, partly owing to the paucity of teaching in the new Colony, but also on account of his impulsive nature. Most of his education must have come from his mother, whom he adored: a cultured and talented woman who, among other attributes was a fine chess player, and taught her children to play at a high standard. His nomadic nature took him over much of the Colony, where he fraternised with vagrants of many races, gaining a working knowledge of a variety of languages and dialects.He was a particular admirer of the Zulu race, and his vernacular Zulu was said to be indistinguishable from that of a native speaker. He was a fine athlete, and a decent shot with a rifle, and enjoyed quoit playing, wrestling and other sports. South Australia
<mask> came to South Australia from South Africa around 1869, and soon found employment with the Customs Department at Port Adelaide. In 1870 he was nominated for the Humane Society's medal when he dived into the river fully clothed to rescue a young man who had fallen overboard from the Coonatto. The story

masks:
Duncan Campbell Francis Moodie
. Moodie
History Moodie
Donald Moodie
Eliza Sophia Moodie
Moodie


texts:
 that he was subsequently sacked because his tally-book was spoiled by the immersion gained credence with repetition. Moodie founded the weekly newspaper The Portonian (1871 – May 1879) as a forum for news about Port Adelaide, but much of the paper's content was devoted to criticising the Parliament, the Governor and just about any other authority figure. His racy, vigorous style of writing won for the paper a large and loyal circulation.He employed a talented cartoonist in "Cerberus" (John Eden Savill, better known as a racehorse owner), and journalist Spencer Skipper, who later, as "Hugh Kalyptus", gained fame for his satirical column "Echoes and Re-Echoes". <mask> himself was a brilliant writer and well regarded as a poet. He contributed news items from South Africa, in particular the Anglo-Zulu War early in 1879. Portonian ceased without notice in May 1879. <mask> was not one to settle down however, and publication of The Portonian in the last years became intermittent and ceased entirely in May 1879 without announcement or apology. Savill's political cartoons had almost completely disappeared; in their place were works by W. Wyburd and W. Pyndar Willis. The Portonian was printed by Webb, Vardon & Pritchard, and the artwork lithographed by the firm of Penman & Galbraith.Other satiric newspapers of the period in Adelaide were:
F. S<mask>'s The Lantern;
H. C. Evans's Quiz (became Quiz and The Lantern)
J. C. F. Johnson's Adelaide Punch
H. A. Grainger's Australian Star

<mask> was an excellent swimmer, and on one occasion in 1880 outlasted the renowned "Professor" <mask> (1839–1927) in a swim from the Semaphore to

masks:
Moodie
Moodie
. Carroll
Moodie
Frederick Cavill


texts: Glenelg, a distance of . <mask>ll was accompanied by a friend in a rowboat, and <mask> by his Zulu friend Ugende in a catamaran. <mask>, older, "blue-blooded and scarlet-faced" and somewhat corpulent, kept up with his rival and continued for several miles after Cavill was forced to retire due to eye inflammation, but did not complete the distance. <mask>ll did complete the distance (in the other direction) a week later. Persistent rumours that <mask> had cheated by touching the bottom and so dishonestly propelling himself were rebuffed by referees who had accompanied the pair in another boat. He took offence at an article in the Williamstown Advertiser of Williamstown, Victoria on 15 May 1880 in which Queen Victoria was called an "obese, not overburdened with brains, old woman". He and Ugende took a steamer to Melbourne with the avowed intent of giving Alfred Thomas <mask>, the paper's prominent co-owner, a caning.He was convicted of assault and fined £3. Not having sufficient funds for the return passage, the pair walked back to Adelaide, taking 17 days, crossing the Ninety Mile Desert in five. The cane was sent by some sympathisers to Walsh Bros., where it was suitably mounted, and engraved:With this cane Mr. <mask>. F. Moodie thrashed A. T<mask>, M.P., for insulting Her Majesty Queen Victoria. Presented by a few Melbourne gentlemen, June, 1880. On his return he found that solicitor Alfred Knight Whitby had given advice to Mrs. Moodie regarding separation from her husband. <mask> promptly sought out the lawyer at Aldridge's Prince Alfred Hotel and in front of witnesses knocked him to the floor. For this assault he

masks:
Cavi
Moodie
Moodie
Cavi
Moodie
Clark
D C
. Clark
Moodie


texts:
 was fined £5.He wrote lyrics, to which Jules Meilhan BA ( –1882) composed the music, for a patriotic cantata which was performed at the opening of the Adelaide Exhibition of 1881 (not to be confused with the Jubilee Cantata, or Victoria Cantata, written (words and music) by <mask>n for the Adelaide Jubilee International Exhibition of 1887). Genial and sociable but erratic, "Zulu" Moodie as he had been dubbed seemed to be continually in the public eye: he put himself forward as candidate for the seat of Encounter Bay, but was hissed down; he offered to lead a contingent to fight in the Transvaal, then to organise a South Australian Guerrilla Force; he wrote "Letters to the Editor" on subjects as diverse as decoding the Biblical 666 and the ban on ostrich farming. He was in the forefront in organising a Literary Society, then after being elected Secretary, claimed to have lost the minute book and resigned. Return to Africa
In 1883 he made a brief return to South Africa, then around September 1883 returned for good. Around 1889 or 1890 he founded a newspaper The South African Rambler, which may not have survived its first issue. He died at sea aboard a steamer off the island of Tenerife, perhaps en route between Cape Town and London. Bibliography

 included a poem by his brother John Bell Moodie.

. . . His most notable performance, "The Wars and Battlefields of South Africa", will be of abiding value and interest.It is a pictorial history of the picturesque epochs of South Africa. It contains a good deal of matter, Chief <mask>'s chapters for instance, that can be found nowhere else. Family
Moodie came from a large and

masks:
Carl Puttman
Dunn


texts:
 influential family, descendants of Major <mask> (1757–1820), Laird Of Melsetter. His father's younger brother John Wedderburn <mask> (1797–1869) was a notable administrator and author whose wife <mask>, née Strickland (1803–1885) was a noted author. <mask> was a cousin. Among his many brothers were:
(William James) <mask> (1827–1903), Resident Magistrate of the Umkomanzi District. <mask> (1827– ) excelled at the long jump, and was a fine swimmer
George Pigot <mask> (1829–1891), a surveyor
<mask> <mask> (1833–1858), was a champion runner
John Bell <mask> (1836–1876), a poet of some merit who became a barrister, was a fine swimmer.Alfred Harding <mask> (1846–1882) was Postmaster-General of Natal
A sister married Rev. James Green, Dean of Pietermaritzburg, and another was the wife of diplomat John Shepstone, brother of Sir Theophilus Shepstone, Secretary for Native Affairs. <mask> married Matilda Hunt (1855– ) in Adelaide on 27 June 1874. Among their children were
Harold/Harald Wedderburn <mask> (21 September 1874 – December 1898) born in Adelaide
Erland Olave <mask> (5 May 1884 – ) born in Pietermaritzburg
For all the attention Moodie received in Adelaide, his family remained out of the limelight, and little information on their activities is available from the contemporary press. They had a home on South Terrace. References

1838 births
1891 deaths
19th-century South African poets
South African historians
South African male poets
Australian newspaper editors
Australian newspaper proprietors
History of Port Adelaide
19th-century Australian journalists
19th-century South African writers
19th-century Australian

masks:
James Moodie
Dunbar Moodie
Susannah Moodie
Thomas Moodie
Dunbar Moodie
Donald Moodie
Moodie
Benjamin Charles
Moodie
Moodie
West Moodie
Moodie
Moodie
Moodie


texts:
<mask> (born 16 September 1952) is a theoretical physicist from Austria. He is Professor at the University of Innsbruck and works on quantum optics and quantum information and is best known for his pioneering research on quantum computing and quantum communication and for bridging quantum optics and solid state physics. Biography
<mask> studied physics at the University of Innsbruck, obtained his doctorate there in February 1977, and became a lecturer at their Institute of Theoretical Physics. For 1978/79, he was granted a Max Kade stipend to research with <mask> at the University of Southern California. In 1980, he stayed at the University of Waikato in Hamilton, New Zealand, as a researcher with the group around Dan Walls. In 1981, <mask> handed in his book "Über die lichtstatistische Abhängigkeit resonanter Multiphoton-Prozesse" at the University of Innsbruck to qualify as a professor by receiving the "venia docendi". He spent 1981/82 and 1988 as Visiting Fellow at the Joint Institute for Laboratory Astrophysics (JILA) of the University of Colorado, Boulder, and 1986 as guest professor at the Université de Paris-Sud 11, Orsay.In 1991, <mask> was appointed Professor of Physics and JILA Fellow at JILA and at the Physics Department of the University of Colorado, Boulder. At the end of 1994, he accepted a chair at the University of Innsbruck, where he has worked ever since. From 1995 to 1999, he headed the Institute of Theoretical Physics, from 2001 to 2004, he was vice-dean of studies. <mask> continues to keep in close touch with JILA as Adjoint Fellow. Numerous guest professorships have taken him to all major centers of physics throughout the world. He was Loeb lecturer in Harvard, Boston, MA (2004)

masks:
Peter Zoller
Peter Zoller
Peter Lambropoulos
Peter Zoller
Peter Zoller
Peter Zoller


texts:
 and Yan Jici chair professor at the University of Science and Technology of China, Hefei, chair professor at Tsinghua University, Beijing (2004), Lorentz professor at the University of Leiden in the Netherlands (2005), Distinguished Lecturer at the Technion in Haifa (2007), Moore Distinguished Scholar at Caltech (2008/2010) and Arnold Sommerfeld Lecturer at LMU München (2010). In 2012/13 he was "Distinguished Fellow" at the Max Planck Institute of Quantum Optics in Garching, Munich.In 2014 he has been elected as an "External Scientific Member" at the Max Planck Institute of Quantum Optics. In 2015 he held the International Jacques Solvay Chair in Physics at the University of Brussels . Since 2003, <mask> has also held the position of Scientific Director at the Institute for Quantum Optics and Quantum Information (IQOQI) of the Austrian Academy of Sciences. In 2018, <mask> co-founded Alpine Quantum Technologies, a quantum computing hardware company. Research
As a theoretician, <mask> has written major works on the interaction of laser light and atoms. In addition to fundamental developments in quantum optics he has succeeded in bridging quantum information and solid state physics. The model of a quantum computer, suggested by him and Ignacio Cirac in 1995, is based on the interaction of lasers with cold ions confined in an electromagnetic trap.The principles of this idea have been implemented in experiments over recent years and it is considered one of the most promising concepts for the development of a scalable quantum computer. Zoller and his researcher colleagues have also managed to link quantum physics with solid state physics. One of his suggestions has been to build a quantum simulator with cold

masks:
Peter Zoller
Peter Zoller
Peter Zoller


texts:
 atoms and use it to research hitherto unexplained phenomena in high temperature superconductors. Zoller's ideas and concepts attract widespread interest within the scientific community and his works are highly cited. Books
<mask> and Crispin Gardiner have jointly written the books
 C W Gardiner and <mask>:  Quantum Noise;  Springer, Berlin Heidelberg, 2nd ed. 1999, 3rd ed. 2004
 Crispin Gardiner and <mask>er: The Quantum World of Ultra-Cold Atoms and Light Book I:  Foundations of Quantum Optics, Imperial College Press, London and Singapore 2014.Crispin Gardiner and <mask>: The Quantum World of Ultra-Cold Atoms and Light Book II:  Physics of Quantum Optical Devices, Imperial College Press, London and Singapore 2015. Crispin Gardiner and <mask>: The Quantum World of Ultra-Cold Atoms and Light Book III:  Ultra-Cold Atoms, World Scientific, London and Singapore 2014. Awards
<mask> has received numerous awards for his achievements in the field of quantum optics and quantum information and especially for his pioneering work on quantum computers and quantum communication. These include the Micius Quantum Prize (2018), the Willis E. Lamb Award for Laser Science and Quantum Optics (2018), the Herbert Walther Award from the OSA (2016), the Wolf Prize in Physics (with Juan Ignacio Cirac) (2013), the "Hamburger Preis für theoretische Physik" (2011), the Blaise Pascal Medal in Physics (2011), The Franklin Institute's 2010 Benjamin Franklin Medal in Physics (with Juan Ignacio Cirac and David Wineland), the 2008 BBVA Foundation Frontiers of Knowledge Award, in the Basic Sciences category (ex aequo with Ignacio Cirac), the Dirac Medal (2006), the 6th International Quantum Communication Award (2006), the Niels

masks:
Peter Zoller
Peter Zoller
Peter Zoll
Peter Zoller
Peter Zoller
Peter Zoller


texts:
 Bohr/UNESCO Gold Medal (2005), the Max Planck Medal (2005) of the Deutsche Physikalische Gesellschaft, the Humboldt Research Award (2000), the Schrödinger Prize (1998) of the Austrian Academy of Sciences, the Max Born Award (1998) of the Optical Society of America, as well as the Wittgenstein Award (1998), Austria's highest scientific accolade, the Ludwig Boltzmann Prize (1983) of the Austrian Physical Society. In 2001, Peter Zoller became full member of the Austrian Academy of Sciences, in 2008 he was elected to the United States National Academy of Sciences and the Royal Netherlands Academy of Arts and Sciences, in 2009 to the Spanish Royal Academy of Sciences, in 2010 to the German Academy of Sciences Leopoldina, in 2012 to the European Academy of Sciences, and in 2013 to the Academia Europaea. In 2019 he has received the honorary doctorate of the University of Colorado Boulder and in 2012 one of the University of Amsterdam. See also
 Open quantum system
 Quantum jump method

References

External links

Biography Peter Zoller
Peter Zoller’s Thomson Reuters RESEARCHERID

1952 births
Living people
Austrian physicists
Quantum physicists
Optical physicists
University of Innsbruck alumni
University of Southern California alumni
Harvard University staff
University of Colorado faculty
Paris-Sud 11 University faculty
University of Innsbruck faculty
Members of the Austrian Academy of Sciences
Members of the Royal Netherlands Academy of Arts and Sciences
Foreign associates of the National Academy of Sciences
Members of Academia Europaea
UNESCO Niels Bohr Medal recipients
Wolf Prize in Physics laureates
Members of the German Academy of Sciences Leopoldina
Quantum information scientists
Winners of the Max


texts:
<mask> (8 January 1901 – 9 April 1960), was a Polish consulting engineer and industrial coding expert. He was the designer of the Brisch Classification, widely known and used in building and engineering. He became a British citizen in the 1940s. Biography
Born in Lodz, Poland, he gained an Intermediate B.Sc. (Engineering) at the Technical University of Warsaw, then a diploma in Mechanical Engineering at the University of Toulouse. He returned to Warsaw, where from 1926 to 1929 he was Assistant Chief Designer at the Ursus tractor factory, and was then appointed Works Manager of Citroën's Warsaw branch. He remained there until 1932 before taking on the role of Engineer in charge of Development of National Production at the Polish State Engineering Works.By now married, in 1934 he established an engineering consultancy in Warsaw, transferring soon afterwards to Paris, where he did some work for the British Army’s armoured vehicle operations. Returning to Poland in summer 1939 to visit his family, trapped there by the German invasion, he escaped to Riga in Latvia, but Latvia was to be occupied by the Soviet Union in 1940. Unable to return to Paris, <mask> was urged by the British War Office and Vickers Ltd to come to England, but that journey proved extremely difficult. Sir Stafford Cripps, then British Ambassador in Moscow, helped to arrange his land and air journey from Riga to Rangoon in British Burma. He left Riga in June 1941, scarcely a month before the German occupation, reaching Rangoon (by way of Chungking, wartime capital of China) in August 1941. Burma, in turn, was soon to be conquered by Japan, but he was able to continue his journey via Bombay in British India to Liverpool, a total of some 25,000 miles (40,000 km). Cripps’ intervention had probably saved his life.He kept a record in Polish

masks:
Edward Gustave Brisch
Brisch


texts:
 of this long and hazardous journey, of which the first seven pages have survived. They can now be read online in English translation. He arrived in England with a lung ailment, contracted in Burma, and underwent an immediate pneumonectomy, but this left him prone to infections for the rest of his life. In late 1942 he joined the Department of Tank Design of the Ministry of Supply, and worked also during the war years for the War Office school of technology. His first wife having died in the Warsaw Ghetto, he married his British nurse, Susan Rogers (1920–2018), in 1947. In the same year he founded in London a firm of consultants, E. G. Brisch and Partners. R. S<mask>, with whom he had worked at the Department of Tank Design, was to join him in 1953.This was the most fruitful period of <mask>'s life: his business activities extended to other countries in Europe and beyond. He established an American branch, first in Cleveland (1956) and later in Toledo, Ohio. The American firm had among its early clients the Owens-Illinois Glass Company, the Libbey-Owens-Ford Glass Company, General Electric in Cleveland and the Underwood Company of New York. In 1957, <mask> moved his family from Oxshott in Surrey to settle in Toledo. Never robust following his lung surgery, he died of pneumonia in Toledo on 9 April 1960. His widow and three children moved back to Surrey in the same year. The Brisch Classification
<mask> was a member of numerous British and American technical and management societies and a fellow of the Royal Society of Arts.He wrote several technical papers in his field. His great innovation was the development of a flexible machine-card inventory classification system, which was adopted by major companies in the US and Europe. His work drew some inspiration from the Universal Decimal Classification,

masks:
. Geoghegan
Brisch
Brisch
Brisch


texts:
 used for classifying documents. The uniqueness of the idea lies in the nomination of a primary code (typically within nine main headings 00-80) attached to every ‘part’, based on its essential features (shape and dimension). A further, secondary, code (based on 81 two-digit numbers, representing concepts, which are divided, and can be used in any conjunction) is then bonded to the parent, determined by its process features (e.g. machining operation). Evolving with the advances of computing and digitisation, the system has spread roots in contemporary situations requiring complicated inventory management.The system had wide applicability. In 1955 <mask> published a paper on his classification in the newly established journal of the Association of Special Libraries and Information Bureaux, ASLIB Proceedings. Sir Frank Francis, director and principal librarian at the British Museum, in the brief memoir that he contributed to The Times at <mask>'s death, recalled frequent discussions on "expanding the methods [Brisch] had successfully developed for industry to the classification of documents and books. In the course of these discussions he elaborated a classification for music designed to make possible precise reference to documents illustrating many different aspects of a particular subject." Publications
 1948 : "Adaptation of the U.D.C. Form of Notation to Punched Card Techniques" in Royal Society Scientific Information Conference Report, 690–692. 1951 : "Standardization without tears" in The Manager vol.19 (9), September, 496-497. 1953 : "Standardization practice" in Engineering Inspection, September, 59-66. 1954 : "A new dragon for St. George" in Institution of Production Engineers Journal vol. 33 (3), March, 143-145. 1954 : "Maximum ex minimo" in Institution of Production Engineers Journal vol. 33

masks: Brisch Brisch


texts:
 (6), June, 344-351. 1955 : "Subject analysis in eighty-one concepts" in ASLIB Proceedings vol.1 (3), 157-162. 1956 : "Production classification methods" in H. B. Maynard (ed. ), Industrial Engineering Handbook (New York, McGraw Hill) 6 and 195-207
 1957 (with R. S<mask>) : "Simplification and standardisation for automation. Discussion Group B 4 (Proceedings of Conference on Automatic Production – Change and Control, Harrogate, June 30-July 3, 1957)" in Institution of Production Engineers Journal vol. 36 (9), September, 571-582

Notes

References
 <mask>, "Subject analysis in eighty-one concepts" in ASLIB Proceedings vol. 1 no. 3 (1955) pp.157–162
 <mask>, "From Riga to Rangoon (June-August 1941). A Travelogue" (2018). Online edition with illustrations
 <mask>, R. S<mask>, "Simplification and standardisation for automation" in Institution of Production Engineers Journal vol. 36 (9), September, 571-582 (includes brief biographies and photographs, p. 571)
 [Business Dictionary.] "Brisch classification ". [Business Professor.] "Brisch classification - Definition".F. C. Francis, "Mr. E. G. Brisch" in The Times (26 April 1960) p. 15
 [New York Times.] "<mask><mask>, Consultant, Dies: Expert on Industrial Coding and Classification Headed Firms in U.S. and Europe" in New York Times (10 April 1960) p. 86 (paywall)
 Raymond Parmenter, "A Screw By Any Other Name" in The Observer (19 October 1952) p. 6
 1971. ERIC ED066203: Classification and Coding, An Introduction and Review of Classification and Coding Systems. Management Guide No. 1 (with bibliography). Engineers from Łódź
British mechanical engineers
1901 births
1960 deaths
Trade and industrial classification systems
Warsaw University of Technology alumni
University of Toulouse alumni
Citroën
Deaths from pneumonia in Ohio
Polish emigrants to the United

masks:
. Geoghegan
Edward Brisch
Edward Brisch
Edward Brisch
. Geoghegan
Edward G
. Brisch


texts:
<mask> (born 4 January 1955, Ashton-under-Lyne, Tameside, England) is an English singer/songwriter, musician and record producer. He has toured in bands, provided backup for well-known musicians, and written songs that have been covered by Kim Carnes, Norma Waterson and Nanci Griffith. He is featured in Hugh Gregory's 2002 book 1,000 Great Guitarists. Background
<mask> was born and raised in Ashton-under-Lyne, Greater Manchester, England. His earliest musical influence was The Beatles in the early 1960s. It was around this time that he received his first guitar as a present from his parents, using the proceeds from the sale of his older brother's unwanted drum kit. <mask> played in a band at school but played his first professional gig with Any Trouble, the band he formed in Crewe, England with college friends around 1975.Going professional after Any Trouble signed a recording contract, <mask> has continued as a working musician. <mask> and Manx singer, Christine Collister, together formed folk-rock duo Gregson & Collister, and produced a number of CD albums. After the band's demise, <mask> went on to perform solo. In 1993, <mask> relocated from the UK to Nashville, United States. In 2003, his career suffered a hiatus of several months after he broke his arm and shoulder in a fall from a ladder. He made a full recovery and continues to record and tour extensively in countries including the UK and Japan from his new base in Houston, Texas..

<mask> cites a wide range of musical influences and tastes and has stated that his all-time favourite record is Nick Drake's Pink Moon. Career

Any Trouble

<mask>'s professional music career started as he took the role of lead-singer of Any Trouble, the band he had co-founded in the mid 1970s, as well the role of songwriter and rhythm guitarist after co-founder Tom Jackson left.Having

masks:
Clive James Gregson
Clive Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Clive Gregson


texts:
 recorded and released <mask>'s composition Yesterday's Love as an indie single in 1979 Any Trouble began to receive airplay courtesy of BBC Radio 1 DJs John Peel, Andy Peebles and others in the UK. This led to interest from major record labels including WEA, Chrysalis, EMI and Stiff. They selected Stiff "because they were our kind of people". Any Trouble released three albums on Stiff, including a live album, initially for promotion only, and a further two on EMI America; all were well-received critically, and were accompanied by singles and extensive touring. Despite featuring regularly on radio playlists Any Trouble's popularity wasn't reflected in record sales, and they disbanded in 1984. They re-formed briefly in 2007 to record a new album Life in Reverse, released again through the re-constituted Stiff Records in the UK, playing a headline gig to support it at the Jazz Cafe, London, England. In November 2013, the band re-formed for a one-off gig at the 229 Club, London, England, in support of the release of the three-CD set The Complete Stiff Recordings 1980–1981

In 2014, they recorded Present Tense, playing a short tour in December 2014, which included Band on the Wall, Manchester, England on 2 December 2014. plus dates in Newcastle upon Tyne, England, Birmingham, England, the 229 Club, London, England, and the Purple Weekend Festival, in León, Spain.Richard Thompson Band
While working with Any Trouble, <mask> was introduced to Richard Thompson at the wedding of John Wood, who had produced Any Trouble's debut album and worked on a number of records with Thompson. The meeting led to <mask>'s singing backing vocals on the Richard and Linda Thompson album Shoot Out the Lights. This was to be the start of a long association with Richard Thompson during which they recorded and toured together extensively. <mask>

masks: Gregson Gregson Gregson Gregson


texts:
 introduced Christine Collister to Thompson, resulting in her also joining the Richard Thompson Band. Gregson & Collister
In 1984, shortly after the release of Any Trouble's fifth album Wrong End of the Race, <mask> saw vocalist Christine Collister perform at Poynton Folk Club, Cheshire, England. After the demise of Any Trouble, <mask> recorded a solo album (Strange Persuasions) and invited Collister to sing on it. Shortly after this, Richard Thompson asked <mask> to sing on his album Across a Crowded Room; at <mask>'s suggestion, Collister was enlisted for vocal duties, leading to her joining the Richard Thompson Band.The <mask> and Collister musical partnership proved popular and productive, producing five albums and earning them the attribution "the state of the art in British folk-rock" by Rolling Stone. Their albums, whose songs were all written by <mask>, included the low-fi live duo record Home and Away (recorded on a four-track Portastudio cassette recorder), Mischief, featuring a band including Martin Hughes from Any Trouble, A Change in the Weather, and covers album Love Is a Strange Hotel. By 1992, <mask> and Collister went separate ways after recording a fifth and final album The Last Word; the supporting tour proved to be their most successful. A CD compilation celebrating <mask>'s and Collister's career, The Best of <mask> & Christine Collister, was released by Gregson & Collister Recordings through Gott Discs in 2006. Solo again
Demand for <mask>'s services as a record producer and session musician grew throughout the 1990s. He released Welcome to the Workhouse, his second solo project, in 1990, and by October 1992, was performing as a solo artist. As of January 2015, <mask> had released on CD 10 solo albums and one solo Best of collection plus two digital-only releases: the original recordings for his I Love

masks:
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Clive Gregson
Gregson
Gregson


texts:
 This Town album and a stand-alone collection of songs recorded by <mask> for Any Trouble's Life in Reverse but not included thereupon.In addition to Richard Thompson, he has collaborated with many other artists, including Nanci Griffith (1996–2007), Eddi Reader and Boo Hewerdine, founder member of The Bible (1993 & 1999) and Plainsong (1997). The Gregson, Hewerdine & Reader trio made recordings for an album, although only three songs were released, as a CD EP, including <mask>'s Who's Your Jailer Now? In 2007, <mask> was musical director for the Dennis Locorriere Hits and History Tour, which features on the Hits and History Tour Live DVD. Since 2010, <mask> has become a regular opening act for Jools Holland. <mask>'s reputation as a songwriter has led to his songs being recorded by artists, including Nanci Griffith (I Love This Town), Kim Carnes (Touch and Go), Fairport Convention (Home Is Where the Heart Is), Claire Martin (Could This Be the One? ), Norma Waterson (Fred Astaire) and Smokie (Northern Soul). <mask>'s I Love This Town was recorded as a duet by Nanci Griffith and Jimmy Buffett in 2006, becoming a radio hit in the UK and U.S.

<mask> has shared his guitar expertise at the adult music camps California Coast Music Camp and Puget Sound Guitar Workshop in Washington State over several summers.3 Boxes
In 2011, <mask> joined forces with guitarist Mark Griffiths and Andy Roberts to form 3 Boxes, an instrumental guitar trio, to play a series of gigs and record an album of original material. The three had worked together in the group Plainsong in 1999. In 2013, 3 Boxes released their only album to date Strings Attached, including only material written by the three members, all instrumentals for three acoustic guitars recorded live in the studio by producer John Wood. Discography

Any Trouble

Albums
 Where Are All the

masks: Gregson Gregson Gregson Gregson Gregson Gregson Gregson Gregson


texts:
<mask> or <mask> (circa 1700, Antwerp - 1769, York) was a Flemish sculptor and ivory carver. It is possible he should be identified with the ivory carver signing his works with the monogram G. VDR. He is only known for his work created during his stay in England where he was an assistant in the workshop of the prominent Flemish sculptor John Michael Rysbrack. He is known for his portrait busts and portrait medals carved in ivory. Life
Details about his life are scarce. He was likely born in Antwerp as he is known to have had sisters who lived in Antwerp and was recorded first in Antwerp. The year of his birth is not known but it is likely it was some time around 1700 as he was registered as a pupil in the Antwerp Guild of Saint Luke in the guild year 1711–1712.In the Guild records his name is spelled Gaspaer Verhaghen and <mask> Verhagen and it is noted that he is studying sculpture ('belthouwen' or 'beltsnyden') with <mask> Papenhoven. His master was a prominent sculptor and architect in Antwerp. <mask> <mask> may have continued to work in the workshop of <mask>en after his apprenticeship ended as he was never registered as a master in the Antwerp Guild. He left Flanders for England probably around 1730. If he is to be identified with the monogrammist G. VDR, he is recorded in England from 1734. He became closely linked with John Michael Rysbrack, another Flemish sculptor from Antwerp who was working in London and was at the time the leading portrait and monument sculptor in

masks:
Gaspar van der Hagen
Gaspar Vanderhagen
Gaspar
Alexander van
Van der
Hagen
van Papenhov


texts: England. He was recorded in London in 1744 when the Daily Advertiser carried a notice about "Mess.Claessens and Ven <mask>, at Mr. Rysbrack's in Vere Street, near Oxford Chapel". Claessens was Rysbrack's foreman and died on 4 December 1749. The Mr. Claessens referred to in the notice was likely the Peeter (Peter) Claessens who was registered as a pupil of Joannes (Jan) Veremans in the records of the Antwerp Guild of Saint Luke in the guild year 1711–1712, the same year in which <mask> <mask> was registered as a pupil in the Guild records. Claessens had moved to London probably before 1743 and became one of the foremen at Rysbrack's workshop, a position he held until his death on 4 December 1749. Notices placed by <mask> <mask> and Claessens in the Daily Advertiser in 1743 and 1744 invited the public to subscribe for copies cast in plaster of three statuettes of 17th century Flemish artists Rubens, <mask> Dyck and François Duquesnoy. These plasters were to be cast after the original terracottas by Rysbrack which were in the collection of the painter <mask> Aken, another Flemish resident in London. In 1747, the English diarist George Vertue noted that "Mr <mask> <mask>.Sculptor works for Mr Rysbrack. has done several heads portraits in Ivory.—very well. but not meeting with propper encouragement did not continue". Vertue's notes show that he held <mask> <mask> in high regard. <mask> <mask> continued to reside with his master on Vere Street, Oxford Road until 1766. Four of his

masks:
Hagen
van der
Hagen
van der
Hagen
Anthony van
Joseph van
Vander
Hagen
van der
Hagen
Van der
Hagen


texts:
 works were sold at the Rysbrack collection auction organized by Langford on 1 February 1767. One of the auctioned works was a Sacrifice to Hercules, which is likely the work which was auctioned by Christie's on 13 June 2002 and is now in the collection of the Yale Center for British Art.The work was based on a terracotta model by Rysbrack, which in turn was inspired by a relief on the Arch of Constantine in Rome. <mask> <mask> left the workshop of Rysbrack and moved to York in 1766. He seems to have spent his final years in poverty as in 1768 he appealed to the Society of Artists for support. He received four guineas from the Society. He died in York in 1769. As he was a lifelong bachelor, his sisters Isabella and Catherine (Harman), both living in Antwerp, administered his estate. They organized a sale of his works on 17 April 1771.The catalogue of the sale referred to <mask> <mask> as the 'principal assistant to the late Mr. Rysbrack,' and listed for sale 'several fine heads and figures in ivory, basso relievos in marble, books of prints, &c'. Work
<mask> <mask> was a sculptor in marble as well as an ivory carver. Most of his known work is attributed to him based on stylistic grounds as they are mostly unsigned. Some art historians have attributed small ivory portraits monogrammed 'VDHN', 'VAM', 'GVD', 'GVR' and 'G VDR' to <mask> <mask>. In the past some of his works have been erroneously attributed to an <mask> <mask>. A majority of his oeuvre is constituted by oval portrait

masks:
Van der
Hagen
van der
Hagen
Van der
Hagen
van der
Hagen
Alexander van
der Hagen


texts:
 reliefs carved in ivory. The sitters are usually portrayed as busts in profile, or presented in three-quarter view.These small-scale works were mostly carved after full-size busts made by Rysbrack and occasionally other artists such as Louis-François Roubiliac, an important competitor of Rysbrack. The ivory reliefs represent contemporary personalities as well as British Worthies, such as Newton, Milton, Shakespeare and Locke. In his time, ivory works were often displayed in cabinets, but also served as portable mementos, that people could keep with them when they travelled. Examples are the two almost identical relief portraits of Sir Isaac Newton, one of which is in the Walters Arts Gallery, Baltimore and the other in the Victoria and Albert Museum, London. There are two more versions, one in the Royal Society and the other in Kings College Library, Cambridge. The basis for the Newton portrait is probably the so-called Conduit marble bust of Newton and the terracotta bust in the Wren library, Trinity College, Cambridge of 1739, both created by Rysbrack. His small bust of the Duke of Cumberland (Victoria and Albert Museum, London) is a very secure, detailed and textured work made after a marble sculpture by Rybrack.It was made by <mask> <mask> around 1767. It is likely the ivory bust exhibited at the Free Society of Artists in 1767. References

External links

17th-century births
1769 deaths
17th-century Flemish sculptors
Flemish Baroque sculptors
Ivory carvers
Artists from

masks:
van der
Hagen


texts:
<mask> (April 13, 1929 – November 5, 1996) was an American attorney who rose to become an Associate Justice of the California Supreme Court from July 22, 1981, to August 31, 1991. Biography
Broussard was born in Lake Charles, Louisiana, the son of Clemire and <mask>. At the age of sixteen, he moved with his family to California, where his father was a longshoreman, and his mother worked as a seamstress. His parents were of Creole ancestry. As a young man, Broussard held various part-time jobs, including selling shoes and working in a canning plant. He financed his own education, first at San Francisco City College, then the University of California at Berkeley, and the Boalt Hall School of Law at Berkeley. At Boalt, he was vice-president of the Boalt Hall Law Students Association and a contributor to the California Law Review.After graduating in 1953, he served in the United States Army for two years. After completing Basic Army Administration school as a clerk typist, he became a Chaplain's assistant in Germany, where he served for 19 months. After leaving the Army, he became the research attorney for Raymond E. Peters, Presiding Justice of the California Court of Appeal, First District, Division One. In 1959, Broussard entered private practice with Wilson, Metoyer & Sweeny. Broussard was one of a group of influential African American leaders in East Bay politics, including Norvel Smith, and state Court of Appeal Justice Clinton White. He was part of a coterie that used to meet at the pharmacy of William Byron Rumford, along with Lionel Wilson. In 1972, Broussard was the first African American to be elected President of the California Judges Association.He also became Chairman of the Board of the Center for Judicial Education and Research. After retiring from the judiciary, Broussard served on the Oakland Port Commission, which involved visiting ports around the world, especially Asia. In 1987, he led a group of 72 lawyers, port officials including: port

masks:
Allen Edgar Broussard
Eugenia Broussard


texts:
 commissioner Carole Ward <mask>, and city officials on a 3-week long trip to China meeting the Mayor of Shanghai, Jiang Zemin. Shanghai is a "twin city" of San Francisco. Judicial career
Broussard was one of the first African-Americans to become a judge in California. In 1964, California Governor Edmund G. "Pat" Brown appointed Broussard as a judge of the Municipal Court for the Oakland-Piedmont (later Oakland-Piedmont-Emeryville) Judicial District. His record caught the attention of Democratic Governor Jerry Brown, who, in 1975, appointed Broussard as a judge of the Superior Court of Alameda County.He went on to serve as Presiding Judge of the Superior Court. In 1981 Governor Jerry Brown elevated Broussard to the California Supreme Court, where he served as Associate Justice until 1991. His term followed Wiley Manuel, who was on the bench 1977-1981. On the court, Broussard was a leading liberal in the court's majority, along with Chief Justice Rose Bird. He wrote the majority of opinions for the court at that time. By 1982, five of the seven justices on the court were Brown appointees, who were widely criticized as allegedly soft on crime and overly political. Even though the judges had different individual philosophies, they were lumped together by conservative politicians who derisively labeled them as "Jerry's Judges" and "Rosie & The Supremes."Critics repeatedly claimed that Broussard and other Brown appointees ruled on the basis of personal opinion and political bias rather than the law and the state Constitution. In 1982, Broussard was up for election reconfirmation. A campaign was waged against him and the other Brown appointees on the ballot that year (Cruz Reynoso and Otto Kaus), something that was unprecedented in California history. Broussard was reconfirmed to a 12-year term, as expected, with 56% of the vote, but that was below the typical confirmation vote. In 1986, three of his colleagues (Bird, Cruz Reynoso, and Joseph Grodin) were


texts:
 resoundingly voted off the court, and they were replaced by conservative justices. Broussard was disturbed by this development and expressed fear that the judiciary would become politicized. On August 31, 1991, Broussard retired from the court and Governor Pete Wilson appointed Ronald M. George to the seat.Personal life
As chairman of a civic organization called Men of Tomorrow, he contacted Odessa Monroe, the program director of the radio station KSAN, seeking free air time. He went on to marry her in 1959, and they had two sons, Keith and Craig. References

Selected publications

Papers and oral history
 A California Supreme Court justice looks at law and society, 1964–1996: <mask>. Broussard oral history transcript. (1997). Interview by Gabrielle Morris. Bancroft Library, Regional Oral History Office, via Calisphere. Allen Broussard Papers.California Judicial Center Library, Special Collections and Archives. Online Archives of California. External links
 In Memoriam: Honorable <mask><mask> (1929–1996). California Supreme Court Historical Society. California Supreme Court opinions authored by <mask>. Courtlistener.com. Past & Present Justices.California State Courts. Retrieved July 19, 2017. See also
 List of African-American jurists
 List of justices of the Supreme Court of California
 Wiley Manuel
 Lionel Wilson
 Carole Ward <mask>
 Janice Rogers Brown
 Jami Floyd
 Vaino Spencer

1929 births
1996 deaths
Politicians from Lake Charles, Louisiana
American jurists
African-American judges
African-American lawyers
City College of San Francisco alumni
University of California, Berkeley alumni
UC Berkeley School of Law alumni
20th-century American judges
Superior court judges in the United States
Justices of the Supreme Court of California
California Democrats
African-American people in California politics
Lawyers from Oakland, California
United States Army soldiers
African-American history in Oakland, California
20th-century American lawyers
20th-century

masks:
Allen E
Allen E
. Broussard
Allen Broussard
Allen


texts: <mask>-<mask> (; ; 17 June 181818 October 1893), usually known as <mask>, was a French composer. He wrote twelve operas, of which the most popular has always been Faust (1859); his Roméo et Juliette (1867) also remains in the international repertory. He composed a large amount of church music, many songs, and popular short pieces including his Ave Maria (an elaboration of a Bach piece), and Funeral March of a Marionette. Born in Paris into an artistic and musical family Gounod was a student at the Conservatoire de Paris and won France's most prestigious musical prize, the Prix de Rome. His studies took him to Italy, Austria and then Prussia, where he met Felix Mendelssohn, whose advocacy of the music of Bach was an early influence on him. He was deeply religious, and after his return to Paris, he briefly considered becoming a priest. He composed prolifically, writing church music, songs, orchestral music and operas.<mask>'s career was disrupted by the Franco-Prussian War. He moved to England with his family for refuge from the Prussian advance on Paris in 1870. After peace was restored in 1871 his family returned to Paris but he remained in London, living in the house of an amateur singer, Georgina Weldon, who became the controlling figure in his life. After nearly three years he broke away from her and returned to his family in France. His absence, and the appearance of younger French composers, meant that he was no longer at the forefront of French musical life; although he remained a respected figure he was regarded as old-fashioned during his later years, and operatic success eluded him. He died at his house in Saint-Cloud,

masks:
Charles
François Gounod
Charles Gounod
Gounod


texts:
 near Paris at the age of 75. Few of <mask>'s works remain in the regular international repertoire, but his influence on later French composers was considerable.In his music there is a strand of romantic sentiment that is continued in the operas of Jules Massenet and others; there is also a strand of classical restraint and elegance that influenced Gabriel Fauré. Claude Debussy wrote that Gounod represented the essential French sensibility of his time. Life and career

Early years

<mask> was born on 17 June 1818 in the Latin Quarter of Paris, the second son of François Louis <mask> (1758–1823) and his wife Victoire, née Lemachois (1780–1858). François was a painter and art teacher; Victoire was a talented pianist, who had given lessons in her early years. The elder son, Louis Urbain (1807–1850), became a successful architect. Shortly after <mask>'s birth François was appointed official artist to the Duc de Berry, a member of the royal family, and the Gounods' home in <mask>'s early years was at the Palace of Versailles, where they were allotted an apartment. After François's death in 1823, Victoire supported the family by returning to her old occupation as a piano teacher.The young Gounod attended a succession of schools in Paris, ending with the Lycée Saint-Louis. He was a capable scholar, excelling in Latin and Greek. His mother, the daughter of a magistrate, hoped Gounod would pursue a secure career as a lawyer, but his interests were in the arts: he was a talented painter and outstandingly musical. Early influences on him, in addition to his mother's musical instruction, were operas, seen at the Théâtre-Italien: Rossini's

masks: Gounod Gounod Gounod Charles Charles


texts:
 Otello and Mozart's Don Giovanni. Of a performance of the latter in 1835 he later recalled, "I sat in one long rapture from the beginning of the opera to its close". Later in the same year he heard performances of Beethoven's Pastoral and Choral symphonies, which added "fresh impulse to my musical ardour". While still at school Gounod studied music privately with Anton Reicha – who had been a friend of Beethoven and was described by a contemporary as "the greatest teacher then living" – and in 1836 he was admitted to the Conservatoire de Paris.There he studied composition with Fromental Halévy, Henri Berton, Jean Lesueur and Ferdinando Paer and piano with Pierre Zimmerman. His various teachers made only a moderate impression on Gounod's musical development, but during his time at the Conservatoire he encountered Hector Berlioz. He later said that Berlioz and his music were among the greatest emotional influences of his youth. In 1838, after Lesueur's death, some of his former students collaborated to compose a commemorative mass; the Agnus Dei was allocated to Gounod. Berlioz said of it, "The Agnus, for three solo voices with chorus, by M. <mask>, the youngest of Lesueur's pupils, is beautiful – very beautiful. Everything in it is novel and distinguished – melody, modulation, harmony. In this piece M. Gounod has given proof that we may expect everything of him".Prix de Rome
In 1839, at his third attempt, <mask> won France's most prestigious musical prize, the Prix de Rome for composition, for his cantata Fernand. In doing so he was surpassing his father: François had taken the second prize in the Prix de Rome for painting in

masks: Gounod Gounod


texts: 1783. The Prix brought the winner two years' subsidised study at the French Institute in Rome and a further year in Austria and Germany. For Gounod this not only launched his musical career, but made impressions on him both spiritually and musically that stayed with him for the rest of his life. In the view of the musicologist Timothy Flynn, the Prix, with its time in Italy, Austria and Germany, was "arguably the most significant event in [Gounod's] career". He was fortunate that the director of the institute was the painter Dominique Ingres, who had known François Gounod well and took his old friend's son under his wing. Among the artistic notables the composer met in Rome were the singer Pauline Viardot and the pianist Fanny Hensel, sister of Felix Mendelssohn.Viardot became of great help to Gounod in his later career, and through Hensel he got to know the music not only of her brother but also of J.S.Bach, whose music, long neglected, Mendelssohn was enthusiastically reviving. Gounod was also introduced to "various masterpieces of German music which I had never heard before". While in Italy, Gounod read Goethe's Faust, and began sketching music for an operatic setting, which came to fruition over the next twenty years. Other music he composed during his three years' scholarship included some of his best-known songs, such as "Où voulez-vous aller?" (1839), "Le Soir" (1840–1842) and "Venise" (1842), and a setting of the Mass ordinary, which was performed at the church of San Luigi dei Francesi in Rome. In Rome, Gounod found his strong religious impulses increased under the influence of the Dominican preacher Henri-Dominique


texts: Lacordaire and he was inspired by paintings in the city's churches. Unlike Berlioz, who had been unimpressed by the visual arts of Rome when he was at the Institute ten years earlier, Gounod was awed by the work of Michelangelo.He also came to know and revere the sacred music of Palestrina, which he described as a musical translation of Michelangelo's art. The music of some of his own Italian contemporaries did not appeal to him. He severely criticised operas by Donizetti, Bellini and Mercadante, composers he described as merely "vines twisted around the great Rossinian trunk, without its vitality and majesty" and lacking Rossini's spontaneous melodic genius. For the last year of his Prix de Rome scholarship, Gounod moved to Austria and Germany. At the Court Opera in Vienna he heard The Magic Flute for the first time, and his letters record his joy at living in the city where Mozart and Beethoven had worked. Count Ferdinand von Stockhammer, a leading patron of the arts in Vienna, arranged for Gounod's setting of the Requiem Mass to be performed. It was warmly received, and its success led Stockhammer to commission a second Mass from the composer.From Vienna, Gounod moved on to Prussia. He renewed his acquaintance with Fanny Hensel in Berlin and then went on to Leipzig to meet her brother. At their first encounter Mendelssohn greeted him, "So you're the madman my sister has told me about", but he devoted four days to entertaining the young man and gave him much encouragement. He arranged a special concert of the Leipzig Gewandhaus Orchestra so that his guest might hear the Scottish Symphony, and played him some of the works of


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 Bach on the organ of the Thomaskirche. Reciprocating, Gounod played the Dies Irae from his Viennese Requiem, and was gratified when Mendelssohn said of one passage that it was worthy to be signed by Luigi Cherubini. Gounod commented, "Words like this from such a master are a true honour and one wears them with more pride than many a ribbon". Rising reputation

Gounod arrived home in Paris in May 1843.He took up a post, which his mother had helped to secure, as chapel master of the church of the Missions étrangères. For a winner of the Prix de Rome it was not a distinguished position. The organ of the church was poor, and the choir consisted of two basses, a tenor and a choirboy. To compound Gounod's difficulties, the regular congregation was hostile to his attempts to improve the music of the church. He expressed his views to a colleague:

Despite his generally affable and compliant nature Gounod remained adamant; he gradually won his parishioners over, and served for most of the five-year term he had agreed to. During this period Gounod's religious feelings became increasingly strong. He was reunited with a childhood friend, now a priest, <mask>, and for a time he himself felt drawn to holy orders.In 1847 he began to study theology and philosophy at the seminary of St Sulpice, but before long his secular side asserted itself. Doubting his capacity for celibacy, he decided not to seek ordination and continued with his career as a musician. He later recalled:

The outset of Gounod's theatrical career was greatly helped by his reacquaintance with Pauline Viardot in Paris in 1849. Viardot, then at the peak of her fame, was able to


texts: secure for him a commission for a full-length opera. In this Gounod was exceptionally fortunate: a novice composer in the 1840s would usually, at the most, be asked to write a one-act curtain raiser. Gounod and his librettist, Emile Augier, created Sapho, drawing on Ancient Greek legend. It was intended as a departure from the three genres of opera then prevalent in Paris – Italian opera, grand opera and opéra comique.It later came to be regarded as the first of a new type, opéra lyrique, but at the time it was thought by some to be a throwback to the operas of Gluck, written sixty or seventy years earlier. After difficulties with the censor, who found the text politically suspect and too erotic, Sapho was given at the Paris Opéra at the Salle Le Peletier on 16 April 1851. It was reviewed by Berlioz in his capacity as a music critic; he found some parts "extremely beautiful … the highest poetic level of drama", and others "hideous, unbearable, horrible". It did not draw the public and closed after nine performances. The opera received a single performance at the Royal Opera House in London later in the same year, with Viardot again in the title role. The music received more praise than the libretto, and the performers received more than either, but The Morning Post recorded, "The opera, we regret to say, was received very coldly". In April 1851 Gounod married Anna Zimmerman (1829–1907), daughter of his former piano professor at the Conservatoire.The marriage led to a breach with Viardot; the Zimmermans refused to have anything to do with her, for reasons that are not clear. Gounod's biographer Steven Huebner refers to rumours


texts: about a liaison between the singer and composer, but adds that "the real story remains murky". Gounod was appointed superintendent of instruction in singing to the communal schools in the city of Paris, and from 1852 to 1860 he was director of a prominent choral society, the Orphéon de la Ville de Paris. He also frequently stood in for his elderly and often ill father-in-law, giving music lessons to private pupils. One of them, Georges Bizet, found Gounod's teaching inspiring, praised "his warm and paternal interest" and remained a lifelong admirer. Despite the brevity of Sapho'''s run, the piece advanced Gounod's reputation, and the Comédie-Française commissioned him to write incidental music for François Ponsard's five-act verse tragedy Ulysse (1852), based on the Odyssey. The score included twelve choruses as well as orchestral interludes.It was not a successful production: Ponsard's play was not well received, and the audience at the Comédie-Française had little interest in music. During the 1850s Gounod composed his two symphonies for full orchestra and one of his best-known religious works, the Messe solennelle en l'honneur de Sainte-Cécile. It was written for the St Cecilia's day celebrations of 1855 at Saint-Eustache, and in Flynn's view demonstrates Gounod's success in "blending the operatic style with church music – a task at which many of his colleagues tried and failed". As well as church and concert music, Gounod was composing operas, beginning with La Nonne sanglante (The Bloody Nun, 1854), a melodramatic ghost story with a libretto that Berlioz had tried and failed to set, and that Auber, Meyerbeer, Verdi and


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 others had rejected. The librettists, Eugène Scribe and Germain Delavigne, reworked the text for Gounod and the piece opened at the Opéra on 18 October 1854. The critics derided the libretto but praised the music and production; the work was doing well at the box-office until it fell victim to musical politics. The director of the Opéra, Nestor Roqueplan, was supplanted by his enemy, François-Louis Crosnier, who described La Nonne sanglante as "filth" and shut the production down after its eleventh performance.Operatic successes and failures
In January 1856 <mask> was appointed a knight of the Legion of Honour. In June of that year he and his wife had the first of their two children, a son Jean (1856–1935). (Their daughter Jeanne (1863–1945) was born seven years later.) In 1858 Gounod composed his next opera, Le Médecin malgré lui. With a good libretto by Jules Barbier and Michel Carré, faithful to the Molière comedy on which it is based, it gained excellent reviews, but its good reception was overshadowed for Gounod by the death of his mother the day after the premiere.<mask>, <mask>, Julien Tiersot and Theodore Baker. "Gounod's Letters", The Musical Quarterly, January 1919, pp. 48–49 At the time an initial run of 100 performances was considered a success; Le Médecin malgré lui achieved that and was revived in Paris and elsewhere during the rest of the 19th century and into the 20th.In 1893 the British Musical Times praised its "irresistible gaiety". Huebner comments that the opera does not deserve the relative neglect into which it has since fallen. With Barbier and Carré, Gounod turned from French comedy to German legend for

masks: Gounod Gounod Charles


texts: Faust. The three had worked on the piece in 1856, but it had to be shelved to avoid clashing with a rival (non-operatic) Faust at another theatre. Returning to it in 1858 Gounod completed the score, rehearsals began towards the end of the year and the opera opened at the Théâtre-Lyrique in March 1859. One critic reported that it was presented "under circumstances of uncommon excitement and expectation"; another praised the work but doubted if it would have enough popular appeal to be a commercial triumph. The composer later recalled that the opera "did not strike the public very much at first", but after some revision and with a good deal of vigorous promotion by Gounod's publisher, Antoine de Choudens, it became an international success.There were productions in Vienna in 1861, and in Berlin, London and New York in 1863. Faust has remained Gounod's most popular opera and one of the staples of the operatic repertoire. Over the next eight years Gounod composed five more operas, all with Barbier or Carré or both. Philémon et Baucis (1860) and La Colombe (The Dove, 1860) were opéras comiques based on stories by Jean de La Fontaine. The first was an attempt to take advantage of a vogue for mildly satirical comedies in mythological dress started by Jacques Offenbach with Orphée aux enfers (1858). The opera had originally been intended for the theatre at Baden-Baden, but Offenbach and his authors expanded it for its eventual first performance, in Paris at the Théâtre Lyrique. La Colombe, also written for Baden-Baden, was premiered there and later expanded for its first Paris production (1886).After these two moderate successes, Gounod


texts: had an outright failure, La Reine de Saba (1862), a grand opera with an exotic setting. The piece was lavishly mounted, and the premiere was attended by the Emperor Napoleon III and the Empress Eugénie, but the reviews were damning and the run finished after fifteen performances. The composer, depressed by the failure, sought comfort in a long trip to Rome with his family. The city enchanted him as much as ever: in Huebner's words "renewed exposure to Rome's close entwining of Christianity and classical culture energized him for the travails of his career back in Paris". <mask>'s next opera was Mireille (1864), a five-act tragedy in a Provençal peasant setting. Gounod travelled to Provence to absorb the local atmosphere of the various settings of the work and to meet the author of the original story, Frédéric Mistral. Some critics have seen the piece as a forerunner of verismo opera, although one that emphasises elegance over sensationalism.The opera was not a great success at first; there were strong objections from some quarters that Gounod had given full tragic status to a mere farmer's daughter. After some revision it became popular in France, and remained in the regular opéra comique repertoire into the 20th century. In 1866 <mask> was elected to the Académie des Beaux-Arts and was promoted within the Legion of Honour. During the 1860s his non-operatic works included a Mass (1862), a Stabat Mater (1867), twenty shorter pieces of liturgical or other religious music, two cantatas – one religious, one secular – and a Marche pontificale for the anniversary of the coronation of Pius IX (1869), later adopted as the official anthem


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 of the Vatican City. <mask>'s last opera of the 1860s was Roméo et Juliette (1867), with a libretto that follows Shakespeare's play fairly closely. The piece was a success from the outset, with box-office receipts boosted by the large number of visitors to Paris for the Exposition Universelle. Within a year of the premiere it was staged in major opera houses in continental Europe, Britain and the US.Other than Faust it remains the only Gounod opera to be frequently staged internationally.Huebner, Steven. "Roméo et Juliette", Grove Music Online, Oxford University Press, 2002. Retrieved 24 November 2019

London
After the outbreak of the Franco-Prussian War in 1870, Gounod moved with his family from their home in Saint-Cloud, outside Paris, first to the countryside near Dieppe and then to England. The house in Saint-Cloud was wrecked by the advancing Prussians in the build-up to the Siege of Paris. To earn a living in London, Gounod wrote music for a British publisher; in Victorian Britain there was a great demand for religious and quasi-religious drawing room ballads, and he was happy to provide them. Gounod accepted an invitation from the organising committee of the Annual International Exhibition to write a choral piece for its grand opening at the Royal Albert Hall on 1 May 1871. As a result of its favourable reception he was appointed director of the new Royal Albert Hall Choral Society, which, with Queen Victoria's approval, was subsequently renamed the Royal Choral Society."About the Royal Choral Society", Royal Choral Society. Retrieved 25 November 2019 He also conducted orchestral concerts for the Philharmonic Society and


texts: at the Crystal Palace, St James's Hall and other venues. Proponents of English music complained that Gounod neglected native composers in his concerts, but his own music was popular and widely praised. The music critic of The Times, J. W. Davison, rarely pleased by modern music, was not an admirer, but Henry Chorley of The Athenaeum was an enthusiastic supporter, and writers in The Musical World, The Standard, The Pall Mall Gazette and The Morning Post called Gounod a great composer. In February 1871, Julius Benedict, the director of the Philharmonic Society, introduced Gounod to a singer and music teacher called Georgina Weldon. She quickly became a dominant influence in Gounod's professional and personal life. There was much inconclusive conjecture about the nature of their relationship.Once peace was restored in France during 1871, <mask> returned home with her mother and children, but Gounod stayed on in London, living in the Weldons' house. Weldon introduced him to competitive business practices with publishers, negotiating substantial royalties, but eventually pushed such matters too far and involved him in litigation brought by his publisher, which the composer lost. Gounod lived in the Weldons' household for nearly three years. The French newspapers speculated about his motives for remaining in London; they speculated the more when it was suggested that he had declined the French President's invitation to return and succeed Auber as director of the Conservatoire. In early 1874 his relations with Davison of The Times, never cordial, descended into personal hostility. The pressures on him in England and the comments about


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 him in France brought Gounod to a state of nervous collapse, and in May 1874 his friend Gaston de Beaucourt came to London and took him back home to Paris. Weldon was furious when she discovered that Gounod had left, and she made many difficulties for him later, including holding on to manuscripts he had left at her house and publishing a tendentious and self-justifying account of their association.She later brought a lawsuit against him which effectively prevented him from coming back to Britain after May 1885. Later years

The musical scene in France had altered considerably during <mask>'s absence. After the death of Berlioz in 1869, <mask> had been generally regarded as France's leading composer. He returned to a France in which, though still well respected, he was no longer in the vanguard of French music. A rising generation, including members of the new Société Nationale de Musique such as Bizet, Emmanuel Chabrier, Gabriel Fauré and Jules Massenet, was establishing itself. He was not embittered, and was well disposed to younger composers, even when he did not enjoy their works. Of the later generation he was most impressed by Camille Saint-Saëns, seventeen years his junior, whom he is said to have dubbed "the French Beethoven".Resuming operatic composition, Gounod finished Polyeucte, on which he had been working in London, and during 1876 composed Cinq-Mars, a four-act historical drama set in the time of Cardinal Richelieu. The latter was staged first at the Opéra-Comique in April 1877, and had a mediocre run of 56 performances. Polyeucte, a religious subject close to the composer's heart, did worse when it was given at


texts: the Opéra the following year. In the words of Gounod's biographer James Harding, "After Polyeucte had been martyred on twenty-nine occasions the box-office ruled that enough was enough. He was never resuscitated." The last of <mask>'s operas, Le Tribut de Zamora (1881), ran for 34 nights, and in 1884 he made a revision of Sapho, which lasted for 30 performances at the Opéra. He reworked the role of Glycère, the deceitful villainess of the piece, with the image of Weldon in his mind: "I dreamt of the model … who was terrifying in satanic ugliness" Throughout these disappointments Faust continued to attract the public, and in November 1888 Gounod conducted the 500th performance at the Opéra.Away from opera <mask> wrote the large-scale Messe du Sacré-Coeur de Jésus in 1876 and ten other masses between then and 1893. His greatest popular successes in his later career were religious works, the two large oratorios La Rédemption (1882) and Mors et vita (1885), both composed for and premiered at the Birmingham Triennial Music Festival in England. The two were enthusiastically taken up by the British public and on the continent, and in their day were widely ranked with the oratorios of Handel and Mendelssohn. The Philharmonic Society in London unsuccessfully sought to commission a symphony from the composer in 1885 (the commission eventually went to Saint-Saëns); fragments of a third symphony exist from late in Gounod's career, but are thought to date from a few years later. Gounod's last years were lived at Saint-Cloud, composing sacred music and writing his memoirs and essays. On 15 October 1893, after returning home from playing the


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 organ for Mass at his local church, he suffered a stroke while working on a setting of the Requiem in memory of his grandson Maurice, who had died in infancy. After being in a coma for three days Gounod died on 18 October, at the age of 75.A state funeral was held at L'église de la Madeleine, Paris, on 27 October 1893. Among the pallbearers were Ambroise Thomas, Victorien Sardou and the future French President Raymond Poincaré. Fauré conducted the music, which at Gounod's wish was entirely vocal, with no organ or orchestral accompaniment. After the service, Gounod's remains were taken in procession to the Cimetière d'Auteuil, near Saint-Cloud, where they were interred in the family vault. Music
Gounod is best known for his operas – in particular Faust. Celebrated during his lifetime, Gounod's religious music became unfashionable in the 20th century and little of it is regularly heard. His songs, an important influence on later French composers, are less neglected, although only a few are well known.Michael Kennedy writes that <mask>'s music has "considerable melodic charm and felicity, with admirable orchestration". He adds that Gounod was "not really a master of the large and imposing forms, in this way perhaps being a French parallel to Sullivan". There is wide agreement among commentators that he was at his finest more often in the earlier decades of his career than later. Robert Orledge judges that in the 1850s and 1860s Gounod introduced to French opera a combination of "tender, lyrical charm, consummate craftsmanship, and genuine musical characterization", but his later works tend to "sentimentality and banality ... in his


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 quest for inspired simplicity". Cooper writes that as Gounod grew older he began to suffer from "what might be described as the same cher grand maître complex as infected Hugo and Tennyson". Huebner observes that the fact that Gounod's reputation began to wane even during his lifetime does not detract from his place among the most respected and prolific composers in France during the second half of the 19th century. Operas
Gounod wrote twelve operas, in a variety of the genres then prevailing in France.Sapho (1851) was an early example of opéra lyrique, smaller-scale and more intimate than grand opera but through-composed, without the spoken dialogue of opéra comique. Berlioz wrote of it, "Most of the choruses I found imposing and simple in accent; the whole third act seemed to me very beautiful ... But the quartet in the first act, the duet and trio in the second, where the passions of the principal characters break out with such force, absolutely revolted me". A more recent reviewer remarks on <mask>'s "genuine talent for music-drama ... exercised in the Quartet of Act 1 where each character has an independent part, making effective counterpoint in dramatic as well as musical terms". Gounod revised the work in 1858 and again, more radically, in 1884, but it was never a success. The one fairly well known number from the score, Sapho's "O ma lyre immortelle", is a reworking of a song he had composed in 1841.La Nonne sanglante (1854), a work on a larger scale than Sapho, suffers from a libretto that Huebner describes as an "unhappy blend of historico-political grand opera and the supernatural". He observes that in the traditions


texts: of grand opera it features processions, ballets, large ensemble numbers, and "a plot where the love interest is set against a more or less clearly drawn historical backdrop".Announcing a rare revival of the work in 2018, the Opéra-Comique described the score as "refined, sombre, and labyrinthine". A reviewer praised its "verve and imagination ... colourful and percussive music, well adapted to evoke the horror of the situations ... quite voluptuous in the arias (in a score that one can nevertheless find rather academic in parts)". Cooper classes Le Médecin malgré lui (1858) as one of Gounod's finest works, "witty, quick-moving and full of life". In complete contrast to its predecessor, it is a three-act comedy, regarded as a masterpiece by Richard Strauss and Igor Stravinsky. Cooper says of the score that Gounod seems to have learned more from Mozart than from Rossini or Auber, and to have "divined by instinct the great comic possibilities of what passed at that time for a ferociously 'learned' style, namely counterpoint." The piece held its place in the repertory during the latter part of the 19th century, but by the time Serge Diaghilev revived it in 1924 Gounod was out of fashion. In Stravinsky's words, "[Diaghilev's] dream of a Gounod 'revival' failed in the face of an indifferent and snobbish public who did not dare applaud the music of a composer not accepted by the avant-garde".For his revival Diaghilev commissioned Erik Satie to compose recitatives to replace the original spoken dialogue, and that version is sometimes used in the occasional modern productions of the piece, such as that by Laurent Pelly at the Grand


texts: Théâtre de Genève in 2016.Faust (1859) appealed to the public not only because of its tunefulness but also for its naturalness. In contrast with grand operas by Gounod's older contemporaries, such as Meyerbeer's Les Huguenots or Rossini's William Tell, Faust in its original 1859 form tells its story without spectacular ballets, opulent staging, grand orchestral effects or conventionally theatrical emotion. "The charm of Faust lay in its naturalness, its simplicity, the sincerity and directness of its emotional appeal" (Cooper). The authors labelled Faust "a lyric drama", and some commentators find the lyrical scenes stronger than the dramatic and supernatural ones. Among the best known numbers from the piece are Marguerite's "Jewel" song, the Soldiers' Chorus, Faust's aria "Salut! Demeure chaste et pure" and Méphistophélès' "Le Veau d’or" and Sérénade. Another popular song is Valentin's "Avant de quitter ces lieux", which Gounod, rather reluctantly, wrote for the first London production, where the star baritone required an extra number.Among the popular numbers from the score is the ballet music, written when the Opéra – where a ballet interlude was mandatory – took over presentation of the work in 1869. The ballet makes full use of the Opéra's large orchestral resources; it is now frequently omitted in live performances, particularly in productions outside France, but the ballet suite became a popular concert item, independent of the opera. The recitatives generally used instead of the original spoken dialogue were composed by Gounod in an early revision of the score. Writing of Philémon et Baucis, Huebner comments that there is


texts: little dramatic music in the score and that most of the numbers are "purely decorative accretions to the spoken dialogue". For the 1876 revival at the Opéra-Comique, which established the work in the repertory there until the Second World War, Gounod reduced it to two acts. For a revival by Diaghilev in 1924, the young Francis Poulenc composed recitatives to replace the spoken dialogue. The music critic Andrew Clements writes of La Colombe that it is not a profound work, but is "well filled with the kind of ingratiating tunes that Gounod could turn out so effectively".Although La Reine de Saba was a failure, it contains three numbers that gained moderate popularity: the Queen's big aria‚ "Plus grand dans son obscurité", King Solomon's "Sous les pieds d'une femme" and the tenor solo "Faiblesse de la race humaine".Mireille (1865) was a moderate success, and although it did not emulate Faust in becoming an international hit, it remained popular in France into the 20th century. The most famous number, the waltz-song "O légère hirondelle", a favourite display piece for many coloratura sopranos, was written to order for the prima-donna of the Théâtre Lyrique a year after the premiere. Another popular number is Ourrias's swaggering "Si les filles d'Arles" described by the critic Patrick O'Connor as an attempt by the composer to repeat the success of Méphistophélès' Veau d'or from Faust. Gounod revised the work, even giving it a happy ending, but in the 1930s Reynaldo Hahn and Henri Büsser prepared a new edition for the Opéra-Comique, restoring the work to its original tragic five acts. <mask>'s last successful opera was Roméo et


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 Juliette (1867). Gustav Kobbé wrote five decades later that the work had always been more highly regarded in France than elsewhere. He said that it had never been popular in England except as a vehicle for Adelina Patti and then Nellie Melba, and that in New York it had only featured regularly at the Metropolitan Opera when it was under the control of Maurice Grau in the late 19th-century.Some reviewers thought it inappropriate that Juliet was allotted a waltz song ("Je veux vivre, dans ce rêve"), but Romeo's "Ah! levè-toi, soleil" was judged one of Gounod's finest tenor arias. Although never as popular as Faust, Roméo et Juliette continues to hold the stage internationally. <mask> had no further success with new operas. His three attempts, Cinq-Mars (1877), Polyeucte (1878), and Le Tribut de Zamora (1881), were all taken off after brief runs, and have seldom been seen since. Orchestral and chamber music

The two symphonies, in D major and E-flat major, cannot be precisely dated. The first was completed at some time before 1855 and the second by 1856.Like many other composers of the mid-19th-century <mask> found Beethoven's shadow daunting when contemplating the composition of a symphony, and there was even a feeling among the French musical public that composers could write operas or symphonies but not both.Fifield, p. 8 The influence of Beethoven is apparent in Gounod's two symphonies, and the musical scholar Roger Nichols and the composer's biographer Gérard Condé also find a debt to Mendelssohn's Italian Symphony in the slow movement of the First. <mask>'s sometime pupil Bizet took the First as his model for his own Symphony

masks: Gounod Gounod Gounod


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 in C (1855). Late in life Gounod started but did not complete a Third Symphony. A complete slow movement and much of a first movement survive. Other orchestral works include the Funeral March of a Marionette (1879), an orchestration of an 1872 solo piano piece. The Petite Symphonie (1885), written for nine wind instruments, follows the classical, four-movement pattern, with a slow introduction to the sonata form first movement. The commentator Diether Stepphun refers to its "cheerfully contemplative and gallant wit, with all the experience of human and musical maturity".<mask>'s Ave Maria gained considerable popularity. It consists of a descant superimposed over a version of the first prelude of Bach's The Well-Tempered Clavier. In its original form it is for violin with piano; the words of the Hail Mary were added to the melody later. Religious music
Gounod's output of liturgical and other religious music was prolific, including 23 masses, more than 40 other Latin liturgical settings, more than 50 religious songs and part-songs, and seven cantatas or oratorios. During his lifetime his religious music was regarded in many quarters more highly than his most popular operas. Saint-Saëns wrote, "When, in the far-distant future, the operas of Gounod shall have been received into the dusty sanctuary of the libraries, the Mass of St Cecilia, the Redemption, and Mors et Vita, will still endure". In the 20th century views changed considerably.In 1916, Gustave Chouquet and Adolphe Jullien wrote of "a monotony and heaviness which must weary the best-disposed audience". In 1918, in a centenary tribute to Gounod, Julien Tiersot described La


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 Rédemption and Mors et Vita as "imbued with pure and elevated lyricism", but this view did not prevail. Other critics have referred to "the ooze of the erotic priest" and called the oratorios "the height of nineteenth-century hypocritical piety". Orledge judges the early masses as the best of Gounod's religious music. He comments that the composer moved away from "Palestrinian austerity" towards "a more fluid, operatic style" in his Messe solennelle de Sainte Cécile (1855). He comments that in general Gounod's work in the 1860s "became more Italianate, while retaining its French attributes of precision, taste, and elegance". Songs

Gounod's songs are by far the most numerous of his compositions: he wrote more than a hundred French secular songs and thirty more in English or Italian for the British market.The songs come from every stage of his career, but most of the best are generally considered to be from the earlier years. Maurice Ravel called Gounod "the true founder of the mélodie in France". The pianist and musical scholar Graham Johnson, quoting this, adds that although Berlioz might be thought to have a claim to that title, it was Gounod who brought the mélodie widespread popularity in France:

Johnson adds that Gounod brought to the mélodie "those qualities of elegance, ingenuity, sensibilité, and a concern for literature which together constitute the classic qualities of French song" in mélodies that display the composer's "melodic genius, his talent for creating long flowing lines (only surpassed by Fauré), and his instinct for the harmonic juste". From his earliest period, during and just after his time as a Prix de


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 Rome student, Gounod's songs include some of his best, in the view of both Huebner and Johnson.Johnson, p. 222 Examples include "Où voulez-vous aller?" (words by Gautier, 1839) – which challenged comparison with Berlioz, who had already set the poem in his Les Nuits d'été – and "Venice" (Musset), 1842, described by Johnson as "astonishingly evocative with its turbulent interludes painting that city's ability both to intoxicate and disturb". Other early songs such as "Le vallon" and "Le soir" (both to words by Lamartine, c. 1840) demonstrate Gounod's ability to cope with large-scale Romantic verse. The songs of Gounod's middle and later years are in the main judged less impressive.Johnson compares Gounod with Mendelssohn in terms of artistic decline, suggesting that their celebrity as establishment figures led them to adopt a style "suitable for the pomposities of gigantic music festivals." Nevertheless, Johnson observes that some of the songs written during Gounod's stay in England in the 1870s are excellent of their kind, such as "Oh happy home" (words by Edward Maitland, 1872), "If thou art sleeping, maiden" (Longfellow, 1872 or 1873) and "The Worker" (Frederic Weatherly, 1873). Gounod's time in Britain also produced arrangements of Scottish folk songs, and settings of poetry by Wordsworth, <mask>, Thomas Hood, Byron, Shelley and Francis Palgrave. Legacy
Although only a comparatively small amount of Gounod's music endures in the regular musical repertoire, his influence on later French composers was important. In Cooper's words, "he was more than an individual composer: he was the voice of a deep and permanent strain in the