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 large English force under the command of <mask> of Brittany. <mask> had taken up a position on Scawton Moor, between Rievaulx and Byland Abbey. To dislodge <mask> from his strong position on the high ground, Bruce used the same tactics that brought victory at the earlier Battle of the Pass of Brander. As Moray and Douglas charged uphill a party of Highlanders scaled the cliffs on the English flanks and charged downhill into <mask> of Brittany's rearguard. Resistance crumbled, and the Battle of Old Byland turned into a rout.<mask> himself was taken prisoner and given a tongue lashing by King Robert the Bruce for his treatment of the Scottish Queen while she was an English prisoner. <mask> remained in captivity until 1324, when he was released for a ransom of 14,000 marks. After his release, he continued his diplomatic activities in Scotland and France. Final years
In March 1325 <mask> of Brittany made a final return to France, where for the first time he made himself a clear opponent of Edward II. His lands in England were confiscated by the Crown. In France, <mask> aligned himself with Queen Isabella, Edward II's wife, who had been sent on a diplomatic mission to France, and had disobeyed her husband's orders to return to England. Later when Edward II was forced to abdicate and his son Edward III ascended to the English throne, <mask> of Brittany's English lands were restored.He spent his last years on his French estates, and he remained largely cut off from English political affairs. He died on 17 January 1334, and was buried in the church of the Franciscans in Nantes. <mask> of Brittany never married and as far as is known had no issue. He was succeeded as Earl of Richmond by his nephew <mask> (Arthur's son). Notes

References

Sources

Further reading

Earls of Richmond (1268)
1266 births
1334 deaths
Guardians of Scotland
House of Dreux
13th-century Breton people
English people of the Wars of Scottish Independence
13th-century English people
14th-century English

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<mask> (c. 1803 – 12 November 1888) was founder and principal of a school for girls in Carrington Street, Adelaide, one of the first in the Colony of South Australia. The school operated continuously from 1848 to 1878. History
<mask> (née Castleden) was a daughter of (Baptist) Rev. James Castleden (c. 1778 – 5 June 1854), of Hampstead, London. She married <mask> ( – after 1851), lived for a time in Yorkshire and had a small family. <mask>, <mask> and their four sons emigrated to Australia, arriving in Adelaide aboard Competitor in October 1848. She founded a school for girls in Carrington Street in that year.The fate of <mask> is as yet not known. <mask> advertised that she was prepared
"to receive and instruct Young Ladies in every branch of mental and elegant education. Vacancies for one or two Boarders." A year later her advertisements were more informative:
CARRINGTON HOUSE ESTABLISHMENT, South Adelaide.—Conducted by Mrs. WHITBY and qualified Assistants. In this long-established Seminary the various improved systems of Education are combined and modified, in order to unite the comforts of home with the strictest discipline in the development of the mental faculties. Terms, 40 guineas per annum. One or two Vacancies for Boarders.The Course of Instruction comprises—Ancient and Modern History, Grammar; Geography, Physical and Moral, with the use of the Globes; Composition, Writing and Arithmetic, Fancy Work in general. Drawing in Chalk and Pencil; Watercolour, Landscape, and Flower Painting; Music, Singing, Dancing, and the French and German Languages. In William Wyatt's 1851 survey of Government-approved and subsidised schools, of which there were 79 in South Australia, <mask> was receiving grants for 4 boys and 22 girls, and on the day of inspection she had 27 girls under instruction. Family
Her four sons were:
Joseph James <mask> (1838 – March 1875), generally known as J. J<mask>, was educated at Francis Haire's Academy on Hindmarsh

masks:
Elizabeth Whitby
Elizabeth Whitby
Joseph Whitby
Joseph Whitby
Elizabeth
Joseph Whitby
Whitby
Whitby
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. Whitby


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 Square, then entered the office of solicitors Bartley, Bakewell, & Stow, and remained there for ten years, in the latter period articled to William Bakewell, then to William Wren, of Boucaut & Wren. On Wren's death in 1864 <mask> served out his term with James Boucaut, and after being called to the bar entered into partnership with J. J. Bonnar at Mount Barker. After a year, having fallen out with Bonnar, he joined Boucaut, but only stayed with him for a year. He then carried on business on his own account, and had the reputation as sound and able lawyer.From around 1872 he was mostly involved in drafting Bills for the SA Government, work for which he showed particular aptitude. <mask> married Frances Jane "Fanny" Wyly (1842 – 17 September 1924) at Christ Church, North Adelaide on 2 May 1866. Their children include:
Geoffrey Castleden <mask> (26 Dec 1869 – 5 November 1953) married Lilian Rhoda Pickersgill on 30 April 1901, died in Perth
<mask> <mask> (2 Jun 1871 – 1916) died in Black Rock, County Dublin, Ireland
Henrietta Lilian <mask> (12 Feb 1873 – 27 May 1882)
<mask> accompanied Judge Wearing to the Northern Territory as Acting Crown Solicitor, and was one of those lost in the Gothenburg disaster. Frances followed her mother-in-law as headmistress of her own private school in North Adelaide, later in Prospect. After the death of her youngest daughter Henrietta in 1882 she returned to Ireland, most likely accompanied by her daughter Frances, and died in Black Rock, Dublin. Francis John "Frank<mask> (c. 1840 – 12 January 1909), generally referred to as Frank or F. J<mask>, was born in Yorkshire and, after arrival in Adelaide, was educated at Haire's academy and at Adelaide Educational Institution. His first employment was with James Robin & Co. of Grenfell Street, then entered the service of J. H. Angas, first at Collingrove, and when Angas took up Mount Remarkable, <mask> was employed there.He subsequently acted as manager of

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Whitby
Whitby
Whitby
Frances Elizabeth
Whitby
Whitby
Whitby
" Whitby
. Whitby
Whitby


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 Wirrealpa, Stewart's Creek, and many other of Angas's stations in the north. When the Willowie Land and Pastoral Association took over those properties, <mask> remained as manager of Willowie Station, Mount Remarkable and general overseer of other northern stations until 1889 (? elsewhere c 1898), when he retired. He was immensely popular among a wide circle of friends. Among his other activities were:
He was for many years chairman of the Port Germein District Council. He was appointed Justice of the Peace and was frequently called upon to act as magistrate at Mt. Remarkable, and after retirement sat on the Bench of the Adelaide Police Court.He was a lay reader of the Church of England at Melrose, and frequently conducted the services in the absence of the incumbent. After retirement from station management he made a trip to England, then settled at Glenelg. Subsequently be visited Europe, America, and Japan several times. He was regarded as one of the State's best authorities on sheep, and after he retired his advice on selection and purchase of flocks was often sought by station owners. <mask>, never married. George Downer, fellow student at Haire's Academy and lifelong friend, said of him:
"Mr. <mask> and I were little boys together 60 years ago, and he and his brothers and mother were always my very dear friends. In common with his brother he had the gift of warm geniality, of absolute homeliness of manner, and of being incapable of doing a tricky or wrong thing, and a sense of humour that was absolutely original.".Alfred Knight <mask> (c. 1844 – 29 July 1898) was a solicitor in the colony of South Australia, the subject of several sensational reports of altercations. He was educated at Adelaide Educational Institution. He was employed as a clerk in the Audit Office, and in August 1865 left to enter private practice. His friend Charles E. Aldridge (1858– ), who was with the Post Office, left his employment at the Post Office at the

masks: Whitby Whitby Whitby Whitby


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 same time, later to follow his brother James Henry Aldridge in the hotel business, taking the Crown and Sceptre Hotel on King William Street near the Railway Station in 1883. George Sydney Aldridge, another brother, was for many years Chairman of the Adelaide Stock Exchange. Clerk for Way in 1866? In August 1876 he was appointed Commissioner for taking affidavits in the Supreme Court.In March 1879 Charles Mann took him on as partner, styled as Mann & Whitby; <mask> representing the firm in Jamestown. <mask> is remembered for two his involvement in two quite public altercations:
It was reported that on the evening of Thursday 11 May 1882, solicitor A. K<mask> horsewhipped one E. J. Eyre, for sending a report to The Advertiser of Terowie Police Court proceedings in which <mask> was the defendant. The facts of the case were somewhat more prosaic: The Clerk of the Court, Edmund John Eyre, laid an information against <mask>, who was no teetotaller, for using indecent language, but before the case was heard, <mask> apologized to Eyre, who agreed to withdraw the information if Whitby paid the court costs. A few days later, a report appeared in The Advertiser, and <mask>, having found out that Eyre's son had furnished the report, procured a horsewhip, and "chastised him accordingly", young Eyre retaliating with his fists. Both men emerged from the affray little the worse for the encounter. Edmund John Eyre (14 March 1825 – 1 December 1892) was baptised in Strood, Kent, a son of Daniel Eyre (c. 1778– c. 1855) and arrived in South Australia c. 1851. He married Katherine Louisa Good ( – 1893) at Trinity Church in 1852.Their children included Edmund James Rendell Eyre (1854– ), Charles Frederick Eyre (1860–1932), Florence Eyre (1862– ) married Francis Bayes in 1898, Henry Vernon Eyre (1854– ), Katherine Louisa Eyre (1866–1893), Frances Eyre (1868–1956), Arthur Ernest Eyre (1871–1944), Emily Eyre (1874– ) married George Thom in 1921. He was publican,

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Whitby
Whitby
. Whitby
Whitby
Whitby
Whitby
Whitby


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 Northern Hotel, North Road in 1852. He lived on the Lefevre Peninsula, and was engaged as a shipping reporter for the South Australian Register (replaced by Richard Jagoe in March 1858). He also served as Health Officer 1855–1857. He then started in business as a flour merchant. His brother Daniel Eyre (died 1862) joined him in August 1857 by which time he was insolvent. Inundations of his Port Adelaide property resulted in substantial losses and his brother's illness took him away from the business and he was forced to plead insolvency.He was appointed Crown Lands Ranger sometime before June 1862. In 1874 he was appointed Clerk at the Local Court at Jamestown, which included duties at Peterborough and Terowie. In 1878 he was again forced to plead insolvency. He died at Peterborough while on Court business. One report has him distantly related to the famous explorer. D. C. F. Moodie and his wife Matilda, née Hunt, were at one stage on friendly terms with <mask>. In 1880 Moodie had become famous for having on 12 June 1880 thrashed A. T. Clark MLC, proprietor of the Williamstown Advertiser, for a libel on Queen Victoria published in his paper.On his return on 3 August 1880 he found that <mask> had given advice to Mrs. Moodie regarding separation from her husband, who was known to be violent towards her. Moodie 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 was fined £5. He died without fanfare: a week before he had become ill and he was taken to Miss Tibbits's Hospital, where he received all attention possible, attended by his lifelong friend Charles Aldridge, and died on Saturday morning at the age of 54. His remains were buried in the North-road Cemetery. E. B<mask>
Youngest brother Edward Ball <mask> (c. 1844 – 14 September 1866) also chose the life of a pastoralist; he died at Callanna Station. References

Australian headmistresses
1803

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Whitby
Whitby
. Whitby
Whitby


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<mask>  (May 3, 1932, Vancouver – June 9, 2005) was an academic and community leader whose work shaped the city and region of Vancouver. Professor Emeritus <mask>  was involved in public life in British Columbia at the civic, regional, provincial, national and international levels. His longest service to the Province was through his teaching and scholarship; he taught in the Department of Geography at the University of British Columbia(UBC) for over thirty years. He is the father of current Vancouver City Councilor <mask>. Academia: early years

As a young geography professor in 1962, Hardwick made news discussing the plight of students living in substandard conditions due to the city's zoning policy against secondary suites in the area adjacent to the University Endowment Lands. Based on survey data that nearly a quarter of UBC's students were living in that area, he recommend it be rezoned to accommodate them. He was part of a team of professors who assisted UBC President John B. Macdonald in the production of his influential report, "Higher Education in British Columbia and a Plan for the Future," published in 1962.<mask> had suggested Burnaby as the site of the future Simon Fraser University and later got into a public dispute with SFU's president on what the building cost should be; he stated that the target of the fundraising campaign was double what it needed to be. The B.C. Educational Research Council, a central agency to promote, finance and report on education research around the province, named <mask> as its first permanent director in 1964. With his brother David F<mask> he established Tantalus Research Ltd.

Civic planning and politics

Hardwick significantly shaped the city and metropolitan region of Vancouver. In 1964, he conducted the first survey of its kind on the reasons for success or failure of downtown businesses. The evidence he

masks:
Walter Hardwick
Hardwick
Colleen Hardwick
Hardwick
Hardwick
. Hardwick


texts: gathered indicated that freeways were not necessary in Vancouver, and he stated that the proponents of the freeway were using data that was years out of date. In a speech to a downtown business group, he outlined the steps needed to revitalize the city's failing core: expand office-type employment; increase residential density near the core; build facilities to attract tourists and conventions; create a climate favourable to the establishment of finance and banking head offices, stock exchanges and commercial enterprises.In the late 1960s, he helped to organize a successful movement against the proposed freeway through the Vancouver, a scheme planned in relative secrecy at the time by the City and the Province. Following the defeat of the freeway proposal, he was a founding member of "The Electors' Action Movement" (TEAM) and was elected to Vancouver City Council under that banner for three terms in 1968, 1970 and 1972. While at the city, he helped to transform its decision making processes with more public involvement for major planning decisions. Hardwick played a pivotal advisory role in the city's redevelopment of Granville Island.<mask> chaired the city committee planning the redevelopment of the south shore of False Creek from an industrial area to a residential district of about 10,000 people, with the emphasis on access by foot and transit rather than cars. Plans included a public marina to be run by the park board. The innovative model neighbourhood became world famous and has held steady to the present day. <mask> was both chair of the Urban Studies Committee at UBC and a Vancouver alderman when the city committed funds to the Inter-Institutional Policy Simulator (IIPS) project.He opposed it as a drain on university research funds and as a dangerous precedent for city planning which could present data to suit any bias. He won some concessions

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 at city hall including “a reappraisal of the entire project by all parties in 1972; open access to all data gathered, and a promise from the city administration that IIPS wouldn’t be used as an excuse to delay planning decisions.”

Despite an interest in politics and political processes, he decided not to run for a fourth term as alderman. After city council

In 1973 Hardwick published "Vancouver Urban Futures," a detailed survey for the Greater Vancouver Regional District that captured the opinions and interests of Greater Vancouver residents on a range of economic, social, mobility and lifestyle issues. The survey was instrumental in setting new Regional Growth planning policies. In 1990 he completed a similar follow up study "Creating Our Future" to compare the results and to offer policy makers further insight into the priorities and concerns of Greater Vancouver residents. In 1975, <mask> was appointed Director of Continuing Education at UBC, a post he relinquished in 1976 to serve as deputy to Minister of Education Pat McGeer in the Social Credit government of Bill Bennett. In that capacity, he ruled against Surrey School Board in its dispute with the Surrey Teachers Association, whose members opposed the establishment of a “value school,” citing the board’s lack of jurisdiction to do so under the School Act.A major focus as deputy minister was to expand post-secondary options in the province's interior. <mask> was appointed to head the board of the newly-created Knowledge Network of the West in 1980. “’Everything carried on the network must be backed up by study guides, texts and tutors offered by the post-secondary institutions or the Open Learning Institute,’ says Hardwick. ‘We’re an educational and instructional network, not public broadcasting.’”  Hardwick pushed for Vancouver to become headquarters of a Commonwealth-wide open university


texts:
 network. From 1986 to 1990 he served on, and chaired (1990), the National Capital Commission, with a mandate related to the planning of Canada's historic capital city of Ottawa, Ontario. Recognition

In 1977, <mask> was awarded the Order of British Columbia for his contributions on civic, regional, provincial, national and international levels. In 2000 he was recognized with an honorary degree from UBC.A UBC Urban Geography Award and scholarship was established in his name: The <mask><mask> Scholarship in Urban Studies. In 2006, a new east-west street in Vancouver's Olympic Village neighbourhood was named Walter Hardwick Avenue. In dedicating their 2007 book, City Making in Paradise: Nine Decisions that Saved Vancouver to Hardwick's memory, authors Mike Harcourt, Ken Cameron and Sean Rossiter wrote that "Harwick's presence permeated many of the decisions we identified as being critical to the Greater Vancouver region's livability". Other Publications

British Columbia: One Hundred Years of Geographic Change (with J. Lewis Robinson; Vancouver, B.C. : Talon Books, 1993)
Geography of the Forest Industry of Coastal British Columbia (Vancouver, B.C. : Published for the Canadian Association of Geographers, British Columbia Division, at the Dept. of Geography, University of British Columbia, by Tantalus c1963)
The Mobile Consumer: Automobile-Oriented Retailing and Site Selection (with R. James Claus; Don Mills, Ontario : Collier-Macmillan, 1972)
Shaping a Livable Vancouver Region (with Raymon Torchinsky & Arthur Fallick;  Vancouver, B.C.: Dept. of Geography, University of British Columbia, 1991)
Vancouver (Don Mills, Ont. : Collier-Macmillan Canada; New York : Macmillan Publishing Co., 1974)

References

Academics in British Columbia
1932 births
2005 deaths
Members of the Order of British Columbia
University of British Columbia faculty
Vancouver city

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Hardwick
Walter G
. Hardwick


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<mask> (born 26 August 1957) is a Portuguese physician and public health specialist who is the current Director-General of Health and inherently the chief medical officer and leading spokesperson on matters of public health in Portugal, since 2018. She has work published in the fields of vaccination, prevention and control of communicable diseases, public health emergencies, and health communication. Before her appointment to the Directorate-General, she served as Deputy Director-General under her predecessor Francisco George, and coordinated several public health programmes, most notably, since 1996, the Portuguese National Vaccination Programme. She is also a member of the Management Board of the European Centre for Disease Prevention and Control, of the World Health Organization Expanded Program on Immunization, among other international groups. Due to her prominent national role during the ongoing COVID-19 pandemic in Portugal, <mask> was included in Jornal de Negócios'''s list of 50 Most Powerful People of 2020., which included both Portuguese and international personalities. Early life and education
She was born in 1957, in Nova Lisboa (present-day Huambo), in Angola, which was at the time the Overseas Province of Angola, a territory under Portuguese rule. Her father was a civil servant in the Angolan public administration, and her mother a homemaker.By her own account, the figure of the health officer (delegado de saúde), which was very important in that territory, might have drawn her to public health; alternatively, she also recalls being influenced by two very good friends. Initially, she had considered a career in agriculture or silviculture, but her parents discouraged it due to it being uncommon to see women in agricultural engineering at the time; in her teenage years, she had also considered

masks:
Maria da Graça Gregório de Freitas
Graça Freitas


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 architecture. She enrolled in Medicine at the University of Luanda in 1974, the year of the Carnation Revolution. Angola achieved independence from Portugal the following year through the Alvor Agreement; in 1975, she departed for Portugal and concluded her studies in the Faculty of Medicine of the University of Lisbon in 1980. She specialised in public health in 1988, having conducted her postgraduate training in the Hospital de Santa Maria in Lisbon and, for eight months, in a community primary healthcare unit in Ponte de Sor, a rural municipality in Alentejo. Career
<mask> <mask> was a public health Assistente and an Assistente Graduada (consultant) in the Ajuda community health centre in 1990 and again between 1992 and 1996; she also worked as the chief health officer in Lisbon, and as member of the Group for the Guarantee of Quality of the Lisbon Regional Health Administration. During this time, she took a particularly interest in the vaccination of the people in Ajuda and Restelo, which she described as "a sort of a crusade".In 1990–1991, she worked for the Directorate of Health Services of Macau, where she was a chief health officer, the coordinator of the community health centres, and supervised the public health internship programme. After having collaborated with José Pereira Miguel in a research project, she was invited to become his assistant professor in the Faculty of Medicine of the University of Lisbon, and filled the position for over twenty years, from 1995 to 2017. She often delivered her lectures sitting beside her students in the amphitheatre, encouraging discussion. She did not, however, pursue an academic career, or enroll on a doctoral programme. From 2000 to 2004, she also taught at the University's Faculty of Dental Medicine. In 1996, at the invitation of Jorge Torgal, she joined the

masks: Graça Freitas


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 Directorate-General of Health as Head of the Division for Communicable Diseases, and Coordinator of the National Vaccination Programme. From 1998, she also Chaired the Technical Committee on Immunization.In 2005, she was first appointed Deputy Director-General and was entrusted with several different roles: she was responsible for Influenza Pandemic Contingency Plan (2006–2007), for the Services of Epidemiology and Health Statistics (2007–2012), for the Division of Disease Prevention and Control (2007–2009), for the functional axis for the prevention, containment and control of influenza pandemics (2009–2010), for the Services of Disease Prevention and Control (2009–2012), and for the Services of Disease Prevention and Health Promotion (2012–2017). In a 2018 interview, <mask> <mask> mentioned the 2003 SARS epidemic and the "profound anguish" until the causative agent, SARS-CoV, was identified, as the most complicated moment in her career at the Directorate-General of Health. She also recalled having cried as WHO Director-General Margaret Chan announced the start of the 2009 swine flu pandemic on live television, as it brought to mind the devastation of the 1918 flu pandemic. She stood by the "excessive" stockpiling of the antiviral Oseltamivir, as only in hindsight could it be known that the pandemic was to turn out to be much milder than expected. Director-General of Health
<mask> <mask> succeeded Francisco George as Director-General of Health in 2018, the second woman to fill the position, after Maria Luísa van Zeller in the 1960s; <mask> had already been filling the position in an interim capacity since George reached the age of retirement in October 2017. Immediately after replacing George, she had to deal with a small chickenpox outbreak; as Director-General she was also responsible for the response to two

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 legionellosis outbreaks, a measles outbreak, an influenza-related excess mortality and a heat wave. COVID-19 pandemic

Graça Freitas is taking a high-profile role during the ongoing COVID-19 pandemic, and has become a familiar face to the Portuguese public as she featured in daily televised updates on the pandemic, often alongside Marta Temido, Minister of Health, and António Lacerda Sales, Secretary of State for Health.She has received criticism for her January 2020 remarks that the disease was no cause for alarm as "there is the smallest chance of person-to-person transmission" and, for that reason, considered "there [was] not a great likelihood such a virus [could] get to Portugal, as even in China the outbreak [had] been contained", calling concerns about a pandemic "a little bit excessive". This was before the first evidence of human-to-human contagion outside China emerged, and before the World Health Organization started to acknowledge these dynamics of transmission in late January and early February. The first recorded cases of COVID-19 in the country were confirmed on 2 March. She would later say she was aware of the seriousness of the situation, but admitted not to have envisioned it to take such dramatic sanitary, economic, and social proportions. <mask> herself tested positive for COVID-19 on 1 December 2020, displaying only mild symptoms of the disease. In July 2021, it was reported that she was quarantining at home following a high-risk contact on 9 July, even after having been fully vaccinated, in strict compliance to the guidelines issued by the Directorate-General of Health. Awards and honours
For her accomplishments as coordinator of the National Vaccination Programme, <mask> <mask> was awarded with the Ministry of Health Distinguished Service Medal, Silver Grade, in 2005.In 2002, she received a

masks: Freitas Graça Freitas


texts:
 Commendation (Louvor) from the Minister of Health António Correia de Campos, "taking into account the quality of her work regarding transmissible diseases in general and, in particular, those preventable by vaccination." In 1985, she was similarly the recipient of a Commendation due to her work for Lisbon Regional Health Administration's Office for Epidemiology and Studies in containing the last diphtheria outbreak in the country. In 2002, she received a Certificate of Appreciation and medal from the World Health Organization Regional Office for Europe, for her contributions to the success of the eradication of indigenous poliomyelitis in Portugal and in Europe. Personal life
She is married, and has granddaughters. A smoker for over 20 years, she quit smoking in 2000 with the help of varenicline, motivated by Francisco George and by the increasing difficulty in climbing the steep incline of Alameda Dom Afonso Henriques to get to the offices of the Directorate-General of Health. She practices plant collecting as a hobby and grows camellias and her favourite flower, orchids. She also enjoys travelling to visit botanical gardens.An inveterate reader, her favourite book is V. S. Naipaul's A House for Mr Biswas, which was read to her at the age of four. Her favourite song is Estrela do Mar'', by Jorge Palma. She sleeps from 1 a.m. to half-past 5 a.m. The stress of overseeing all matters of public health in Portugal during the COVID-19 pandemic, which she described as "running a marathon on the Everest", made her lose 5 to 6 kilograms in the first month after the start of the outbreak in the country. References

1957 births
Living people
20th-century Portuguese physicians
21st-century Portuguese physicians
Portuguese civil servants
Portuguese people of Angolan descent
Portuguese public health doctors
Portuguese women


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<mask> (; c. 1911–1987) was one of the first women to be active in the Communist Party of India. She is best known for her Bengali-language memoir Shediner Kotha (published in English as In Search of Freedom: An Unfinished Journey), in which she describes her experiences as a woman activist during some of the most turbulent times in India's history. Early life
<mask> was born in Barisal in what is now Bangladesh, an area known for the activities of the nationalist jatra playwright Mukunda Das. Ashwini Kumar Dutta, a prominent nationalist leader and educationist, was a friend of the family and an early influence on her, as was Jagadish Chandra Mukhopadhyay, principal of Brajamohan College, then affiliated with the University of Calcutta, where <mask> got her BA degree; Mukhopadhyay especially encouraged her to develop her mind. <mask> met Gandhi when he visited Barishal in 1923, and was particularly impressed by the way he exhorted a group of prostitutes to work towards liberation. The family stopped wearing imported fabrics and patronised the Bangalakshmi Mills, owned and run by Indians and an icon of the nationalist movement. Barishal was then a hotbed of revolutionary politics, with the extremist Anushilan Samiti very active.<mask> took up teaching at a girls' school where she met Shantisudha Ghosh, a member of the Jugantar party, whose circle read and shared the writings of Marx and Lenin. Initially sceptical, <mask> became more and more influenced by their ideas, even more so when she saw Shantisudha Ghosh taken in for questioning and harassed by the police. <mask> persuaded her family to allow her to go to Calcutta to complete her studies and, she secretly hoped, to make contact with the Communist Party. Studenthood in Calcutta
At that time Hindu bhadralok communities in Bengal were more liberal about sending their daughters long distances to study further; <mask> found herself part of a group of young girls like herself living in the city for the first time. She stayed in a hostel and soon got over her initial awe at being in the big city. The conservatism and narrowmindedness of the established families she sometimes

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Manikuntala Sen
Manikuntala Sen
Manikuntala Sen
Sen
Sen
Sen
Sen
Sen


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 encountered rather disgusted her, and she also writes with remarkable frankness for her time about the harassment that she and her friends often faced from men. Through her friend Bimalpratibha Devi she became acquainted with leaders of the Mahila Shakti Sangha and several prominent Congress women; this nurtured her nascent feminism and inspired her to think about the need for change in women's position in society.She made contact with Soumyendranath Tagore's Revolutionary Communist Party of India. The 'real' Communist Party of India, part of the Third International was then underground, and after much searching she eventually discovered that its headquarters were in fact in Barishal. Early experiences as a communist
<mask>'s parents were initially ambivalent about her involvement with the party, as it was then regarded as a dangerous group of rebels wanted by the authorities, but shortly after she became a communist in 1939, <mask> took her mother to a meeting addressed by Biswanath Mukherjee, brother of Ajoy Mukherjee. His impassioned speech converted her mother to the cause and for a few days she could talk of nothing else. <mask> took the opportunity to ask that she be allowed to travel (alone in the company of young male activists) to another meeting. Reluctantly she was given permission. Living on a nominal party stipend, from 1942 <mask> began to travel the country, staying in small villages and addressing the people.She describes how the men would shun her because she was a woman, and the women, in purdah, stayed away because she was a 'leader' and the equivalent of a man. Much patience and tact were required to overcome this barrier. World War II and after
The year 1943 saw a devastating famine sweep over Bengal, caused by the loss of Burmese rice and the dislocations of war. A cyclone also devastated part of Midnapore district. <mask> began relief work there and spent most of the war years travelling the districts helping destitute women. In 1947 India attained Independence; a few months later the Communist Party of India was outlawed and <mask> was jailed in 1948. She remained in custody till 1951, and was released to

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 find the Party embroiled in controversy and her beloved Barishal now part of East Pakistan.She withdrew somewhat from the ideological debates dividing Indian communism and increased her work for various feminist organisations such as the Women's International Democratic Federation and the All India Women's Conference. She had come to realise that the Party had integral biases against women and that she would not rise in its hierarchy. Around this time she met her future husband, the Kashmiri Jolly Kaul, also a Party activist. She was elected to the West Bengal Legislative Assembly from the Kalighat constituency in 1952, campaigned for the Hindu Code Bill and clashed with rightwing leaders such as Shyama Prasad Mukherjee. War with China
The war with China in 1962 brought to a head the various disagreements in the Communist Party of India, and led to a split, with the Indian government conducting a short-lived crackdown on those who continued to support China. Kaul and <mask> were unable to bear the thought of choosing between the CPI and CPI(M). Kaul resigned, and though <mask> stayed within the party she withdrew from active participation.The couple moved to Delhi but returned within a few years to Calcutta, where <mask> died on 11 September 1987. Sources
<mask> <mask>, In Search of Freedom: An Unfinished Journey, (Calcutta: Stree, 2001). Translated from the Bengali by Stree. Original Bengali title Shediner Katha (Calcutta: Nabapatra Prakashan, 1982). References

Further reading

1910s births
1987 deaths
Women in West Bengal politics
Communist Party of India politicians from West Bengal
Female politicians of the Communist Party of India
Indian feminists
Bengali writers
Bengali-language writers
Indian independence activists from Bengal
People from Barisal
People from Barisal District
Indian feminist writers
Marxist feminists
Indian Marxist writers
Radical feminists
University of Calcutta alumni
20th-century Indian women writers
20th-century Indian biographers
Women Indian independence activists
Women writers from West Bengal
20th-century Indian women politicians
20th-century Indian politicians
Bengali politicians
Women

masks: Sen Sen Sen Manikuntala Sen


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<mask> (; 19 January 1747 – 23 November 1826) was a German astronomer known for his reformulation and popularisation of the Titius–Bode law. Bode determined the orbit of Uranus and suggested the planet's name. Life and career
<mask> was born in Hamburg. As a youth, he suffered from a serious eye disease that particularly damaged his right eye; he continued to have trouble with his eyes throughout his life. His early promise in mathematics brought him to the attention of <mask>, who allowed Bode to use his own library for study. He began his career with the publication of a short work on the solar eclipse of 5 August 1766. This was followed by an elementary treatise on astronomy entitled Anleitung zur Kenntniss des gestirnten Himmels (1768, 10th ed.1844), the success of which led to his being invited to Berlin by <mask> Lambert in 1772 for the purpose of computing ephemerides on an improved plan. There he founded, in 1774, the well-known Astronomisches Jahrbuch, 51 yearly volumes of which he compiled and issued. He became director of the Berlin Observatory in 1786, from which he retired in 1825. There he published the Uranographia in 1801, a celestial atlas that aimed both at scientific accuracy in showing the positions of stars and other astronomical objects, as well as the artistic interpretation of the stellar constellation figures. The Uranographia marks the climax of an epoch of artistic representation of the constellations. Later atlases showed fewer and fewer elaborate figures until they were no longer printed on such tables. Bode also published another small star atlas, intended for astronomical amateurs (Vorstellung der Gestirne).He is credited with the discovery of <mask>'s Galaxy (M81). Comet Bode (C/1779 A1) is named after him; its orbit was calculated by Erik Prosperin.

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Johann Elert Bode
Bode
Johann Georg Büsch
Johann Heinrich
Bode


texts: Asteroid 998 Bodea, discovered on 6 August 1923 by Karl Reinmuth at Heidelberg, was also christened in his honour, the letter 'a' added to its name to fulfil the convention that asteroids were given feminine names. His name became attached to the 'law' discovered by <mask> Titius in 1766. Bode first makes mention of it in the Anleitung zur Kenntniss des gestirnten Himmels in a footnote, and although it is often officially called the Titius–Bode law, it is also commonly just called Bode's law. This law attempts to explain the distances of the planets from the Sun in a formula although ironically it breaks down for the planet Neptune which was later discovered in Berlin. It was the discovery of Uranus at a position predicted by the law which aroused great interest in it.There was a gap (with no planet) between Mars and Jupiter, and Bode urged a search for a planet in this region which culminated in a group formed for this purpose, the so-called "Celestial Police". However before the group initiated a search, they were trumped by the discovery of the asteroid Ceres by Giuseppe Piazzi from Palermo in 1801, at Bode's predicted position. Latterly, the law fell out of favour when it was realised that Ceres was only one of a small number of asteroids and when Neptune was found not to be in a position required by the law. The discovery of planets around other stars has brought the law back into discussion. Bode himself was directly involved in research leading from the discovery of a planet – that of Uranus in 1781. Although Uranus was the first planet to be discovered by telescope, it is just about visible with the naked eye. Bode consulted older star charts and found numerous examples of the planet's position being given while being mistaken for a star, for example, John Flamsteed,


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 Astronomer Royal in Britain, had listed it in his catalogue of 1690 as a star with the name 34 Tauri.These earlier sightings allowed an exact calculation of the orbit of the new planet. <mask> was also responsible for giving the new planet its name. The discoverer William Herschel proposed to name it after George III which was not accepted so readily in other countries. Bode opted for Uranus, with the apparent logic that just as Saturn was the father of Jupiter, the new planet should be named after the father of Saturn. There were further alternatives proposed, but ultimately <mask>'s suggestion became the most widely used – however it had to wait until 1850 before gaining official acceptance in Britain when the Nautical Almanac Office switched from using the name Georgium Sidus to Uranus. In 1789, Bode's Royal Academy colleague Martin Klaproth was inspired by Bode's name for the planet to name his newly discovered element "uranium". [37]

From 1787 to 1825 Bode was director of the Astronomisches Rechen-Institut.In 1794, he was elected a foreign member of the Royal Swedish Academy of Sciences. In April 1789 he was elected a fellow of the Royal Society. <mask> died in Berlin on 23 November 1826, aged 79. Selected writings

 1768 (10th ed. 1844) Anleitung zur Kentniss des Gestirnten Himmels (The most famous of <mask>'s writings. In this work, he first announced <mask>'s law.) 1774–1957 Berliner Astronomisches Jahrbuch für 1776–1959 (The astronomical yearbook published by Berlin Observatory.)1776 Sammlung astronomischer Tafeln (3 vols.) 1776 (3rd ed. 1808) Erläuterung der Sternkunde, an introductory book on the constellations and their tales, which was reprinted more than ten times
 1782 Vorstellung der Gestirne ... des Flamsteadschen Himmelsatlas (Bode's revised and enlarged edition of

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 Fortin's small star atlas of Flamsteed.) Verzeichniss (Containing the above star atlas, and including 5,058 stars observed by Flamsteed, Hevelius, T. Mayer, de la Caille, Messier, le Monnier, Darquier and Bode himself.) 1801 Uranographia sive Astrorum Descriptio (A large star atlas illustrated with twenty copper plates.) Allgemeine Beschreibung und Nachweisung der Gestirne (A star catalogue listing 17,240 stars.) His works were highly effective in diffusing throughout Germany a taste for astronomy.References

Further reading
 - Acta Historica Astronomiae, Vol. 30 – A new, comprehensive biography and the source for some of the material on this page. External links

 AtlasCoelestis.com: Vorstellung der Gestirne by J.E. <mask>, 1782 – last. Retrieved 7 September 2007,
 AtlasCoelestis.com: Uranographia, Berlino 1801 – last. Retrieved 7 September 2007,
 Brief Biography of <mask>
 <mask>'s 'Complete Catalog of hitherto observed Nebulous Stars and Star Clusters,' 1779, with links to his deep sky observations and discoveries. Vorstellung der Gestirne, Berlin und Stralsand : Bey Gottlieb August Lange.1782. – Full digital facsimile, Linda Hall Library. Vorstellung der Gestirne, Berlin und Stralfund ; bey Gottlieb August Lange. 1805. – Full digital facsimile, Linda Hall Library. Vorstellung der gestirne da www.atlascoelestis.com
Uranographia, Berlino 1801, colorato a mano da www.atlascoelestis.com
Anleitung zur Kenntniss des Gestirnten Himmels, Berlin 1788  da www.atlascoelestis.com
Von dem neuen zwischen Mars und Jupiter entdeckten achten Hauptplaneten des Sonnensystems, Berlin, Himburg, 1802 da www.atlascoelestis.com

19th-century German astronomers
1747 births
1826 deaths
Fellows of the Royal Society
Members of the Royal Swedish Academy of Sciences
Scientists from Hamburg
18th-century

masks: Bode Bode Bode


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<mask> (born 13 November 1948 in Coonabarabran, Australia) is an Australian academic who works in the areas of literary theory, narrative theory, intellectual property law, and cultural studies. He is currently Professor of English at the University of Sydney. Career
<mask>’s research is situated at the boundary between the humanities and the social sciences, and ranges from quite technical work in literary theory and discourse analysis through to empirical and statistically-based sociology. His doctoral work and his first book, "Marxism and Literary History" (1986), sought to rework Marxist theory for a non-determinist account of literary systems. Drawing on Althusser and Foucault, as well as on Russian Formalist theory, German reception aesthetics, a critical engagement with post-structuralist theory, and on a broad range of literary texts, it theorized the relation between discourse and power, the relational structure of literary texts and systems, and the dynamics of literary change. All of <mask>uldian understanding of social and discursive power. "Cultural Studies and Cultural Value" (1995) undertook a critique of the hierarchy of value that sorts ‘high’ and ‘low’ culture into distinct domains, arguing that the field of culture now has multiple centres and multiple domains of value which are irreducible to a single scale.The book formulated an account of the ‘knowledge class’ of information workers and argued that it has specific interests in the field of culture. The central essay of "Time and Commodity Culture" (1997) theorized the distinction and the inter-dependence of gift and commodity economies as a way of analysing the encroachment of the commodity form on the commons in information; other essays in the book explored the temporality of capital as the basis for historical understanding and the

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John Frow
Frow
Frowca


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 technologies of memory. "Accounting for Tastes: Australian Everyday Cultures" (1999), written with Tony Bennett and Michael Emmison, is a study, based on a broad survey and the resulting quantitative analysis, of the cultural practices and preferences of Australians across a range of cultural areas. It sought to develop an account of social class in which cultural capital plays a central and formative role, and developed the concept of the regime of value to theorize the structural regularities it found. Books
<mask>’s most recent books have focused on questions of literary theory and its relation to cultural studies. "Genre" (2006; second revised edition 2015) explores the work of generic classification across a range of literary and cultural texts, understanding genres not as fixed frameworks but as dynamic processes of organization of social knowledge. "The Practice of Value" (2013) is a collection of essays on the relationship between literary and cultural studies.And "Character and Person" (2014) explores the nature of human personhood by setting models of the person in relation to models of fictional character in a number of distinct literary and cinematic systems. The book argues both for the specificity of the person and fictional character, and for the ways in which each of them depends upon and informs our understanding of the other. Its concepts are "formal enough to bring us back to history," and develop "an unprecedentedly systematic model for understanding both literary character and social person, which are always defined in relation to one another." Education
<mask> was educated at Wagga High School and the Australian National University. After working and travelling for two years in Buenos Aires and elsewhere in South America he undertook graduate studies in the Comparative Literature Department at

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 Cornell University (including a year as an exchange student at the University of Heidelberg). He received his PhD in 1977. Academic positions
After holding teaching positions at Knox College, Sydney, in 1969, the Universidad del Salvador in Buenos Aires in 1970, and Cornell University in 1974-5, <mask>’s first full-time academic position was at the newly created Murdoch University in Western Australia, where he worked from 1975 to 1988.He taught in the Comparative Literature Department at the University of Minnesota in 1988, and in 1989 took up a chair in the English Department at the University of Queensland. He moved to the University of Edinburgh as the Regius Professor of Rhetoric and English Literature in 2000, where he was also the director of the Institute for Advanced Studies in the Humanities; in 2004 he returned to Australia, taking up the chair of English Language and Literature at the University of Melbourne. He moved to his current position at the University of Sydney in 2013. <mask> has held visiting fellowships at Wesleyan University, the University of Chicago, New York University, and Goldsmiths College, University of London. He is a Fellow of the Australian Academy of the Humanities. Editorial positions
<mask> was a founding member of the "Australian Journal of Cultural Studies" (1983-1987) and of "Cultural Studies" (1987-). He was co-editor of the "Cultural Studies Review" from 2006 to 2012.He is a member of the Editorial Boards or Advisory Boards of "Textual Practice", "The Journal of Literary Criticism", "Australian Humanities Review", "Continuum", "ACH: The Journal of the History of Culture in Australia", the "Journal of Cultural Economy", "Law, Culture and the Humanities", the "Indian Journal of Law and Technology", "New Literary History", "Third Text", the "Genre Across Borders Web Resource",

masks: Frow Frow Frow


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 "Axon: Creative Explorations", "Humanities", "International Journal of Comparative Literature and Translation Studies", "Journal of Poetics Research", and "Persona Studies". He has been a consulting editor for "Social Semiotics", a member of the board of "m/c: A Journal of Media and Culture", and was the Australian Reviews Editor for "Cultural Studies" from 1987-1996. He is the Senior Editor for Literary Theory on the "Oxford Research Encyclopedia of Literature". Publications
<mask>row/CurriculumVitae}. Monographs
 "Marxism and Literary History" was published by Harvard University Press and Basil Blackwell in 1986, with a second edition in 1988."Cultural Studies and Cultural Value"  was published by the Clarendon Press in 1995. "Time and Commodity Culture" was published, again by the Clarendon Press, in 1997. "Accounting for Tastes: Australian Everyday Cultures" (co-authored with Tony Bennett and Michael Emmison) was published by Cambridge University Press in 1999. "Genre" was published by Routledge in its New Critical Idiom series in 2006, with a second revised edition in 2015. "The Practice of Value" was published by the University of Western Australia Press in 2013. "Character and Person" was published by Oxford University Press in 2014. Edited collections
 "Australian Cultural Studies: A Reader", edited with Meaghan Morris, was published by Allen and Unwin and the University of Illinois Press in 1993."The SAGE Handbook of Cultural Analysis", edited with Tony Bennett, was published by Sage in 2008. References

External links
<mask>'s profile at The University of Sydney
<mask> at ResearchGate
A selection of <mask>'s work

1948 births
Living people
University of Sydney faculty
Australian literary critics
Australian non-fiction writers
Fellows of the Australian Academy of the Humanities
Academics of the University

masks:
FrowF
John Frow
John Frow
John Frow


texts: <mask> (; 4 April 18751 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907. He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century. From 1917 to 1919 <mask> was the principal conductor of the French repertoire at the Metropolitan Opera in New York. He conducted the Boston Symphony Orchestra (1919–24), Amsterdam Concertgebouw Orchestra (1924–34), Orchestre Symphonique de Paris (1929–38) and San Francisco Symphony (1936–52). In 1961, aged eighty-six, he accepted the chief conductorship of the London Symphony Orchestra, a post which he held until his death three years later.Although known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms. He disliked recording, finding it incompatible with spontaneity, but he nevertheless made a substantial number of records. <mask> was well known as a teacher. In 1932 he began a conducting class in Paris, which he developed into a summer school that was later moved to his summer home in Les Baux in the south of France. After moving permanently to the US in 1942, and taking American citizenship, he founded a school for conductors and orchestral musicians in Hancock, Maine. Among his students in France and America who went on to

masks:
Pierre Benjamin Monteux
Monteux
Monteux


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 international fame were Lorin Maazel, Igor Markevitch, Neville Marriner, Seiji Ozawa, André Previn and David Zinman. The school in Hancock has continued since <mask>'s death.Life and career

Early years
<mask> was born in Paris, the third son and the fifth of six children of Gustave Élie <mask>, a shoe salesman, and his wife, Clémence Rebecca née Brisac. The <mask> family was descended from Sephardic Jews who settled in the south of France. The <mask> ancestors included at least one rabbi, but Gustave <mask> and his family were not religious. Among <mask>'s brothers were Henri, who became an actor, and Paul, who became a conductor of light music under the name <mask>-Brisac. Gustave <mask> was not musical, but his wife was a graduate of the Conservatoire de Musique de Marseille and gave piano lessons. <mask> took violin lessons from the age of six. When he was nine years old <mask> was admitted to the Conservatoire de Paris.He studied the violin with Jules Garcin and Henri Berthelier, composition with Charles Lenepveu, and harmony and theory with Albert Lavignac. His fellow violin students included George Enescu, Carl Flesch, Fritz Kreisler and Jacques Thibaud. Among the piano students at the Conservatoire was Alfred Cortot, with whom he developed a lifelong friendship. At the age of twelve, <mask> organised and conducted a small orchestra of Conservatoire students to accompany Cortot in performances of concertos in and around Paris. He attended the world premiere of César Franck's Symphony in February 1889. From 1889 to 1892, while still a student, he played in the orchestra of the Folies Bergère; he later said to George Gershwin that his rhythmic sense

masks:
Monteux
Pierre Monteux
Monteux
Monteux
Monteux
Monteux
Monteux
Paul Monteux
Monteux
Pierre
Monteux
Monteux


texts: was formed during the experience of playing popular dance music there. At the age of fifteen, while continuing his violin studies, <mask> took up the viola.He studied privately with Benjamin Godard, with whom he performed in the premiere of Saint-Saëns's Septet, with the composer at the keyboard. <mask> joined the Geloso Quartet as violist; he played many concerts with them, including a performance of Fauré's Second Piano Quartet with the composer at the piano. On another occasion he was the violist in a private performance of a Brahms quartet given before the composer in Vienna. <mask> recalled Brahms's remark, "It takes the French to play my music properly. The Germans all play it much too heavily." <mask> remained a member of the Geloso Quartet until 1911. With Johannes Wolff and Joseph Hollman he also played chamber music for Grieg.Years later, in his seventies, <mask> deputised with the Budapest Quartet without rehearsal or score; asked by Erik Smith if he could write out the parts of the seventeen Beethoven quartets, he replied, "You know, I cannot forget them." In 1893, when he was eighteen, <mask> married a fellow student, the pianist Victoria Barrière. With her he played the complete Beethoven violin sonatas in public. Neither family approved of the marriage; although the <mask> family were not religious, both they and the Roman Catholic Barrières were doubtful about an inter-religious marriage; furthermore, both families thought the couple too young to marry. There were a son and a daughter from the union. During his formative years <mask> belonged to a group which toured with the Casadesus family of musicians and the pianist Alfredo Casella.

masks: Monteux Monteux Monteux Monteux Monteux Monteux Monteux Monteux


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 The combination played supposed "ancient pieces", allegedly discovered in libraries by one or other of the Casadesus family; Marius Casadesus later revealed that he or his brother Henri had written the music.While still a student, in 1893 <mask> was successful in the competition for the chair of first viola of the Concerts Colonne, of which he became assistant conductor and choirmaster the following year. This gave him a link via the orchestra's founder, Édouard Colonne, to Berlioz. Colonne had known Berlioz, and through the older conductor <mask> was able to mark his scores with notes based on the composer's intentions. He was also employed on a freelance basis at the Opéra-Comique, where he continued to play from time to time for several years; he led the viola section at the 1902 premiere of Pelléas et Mélisande under the baton of André Messager. In 1896 he graduated from the Conservatoire, sharing first prize for violin with Thibaud. First conducting posts

<mask>'s first high-profile conducting experience came in 1895, when he was barely 20 years old. He was a member of the orchestra engaged for a performance of Saint-Saëns's oratorio La lyre et la harpe, to be conducted by the composer.At the last minute Saint-Saëns judged the player engaged for the important and difficult organ part to be inadequate and, as a celebrated virtuoso organist, decided to play it himself. He asked the orchestra if any of them could take over as conductor; there was a chorus of "Oui – Monteux!". With great trepidation, <mask> conducted the orchestra and soloists including the composer, sight-reading the score, and was judged a success. <mask>'s musical career was

masks: Monteux Monteux Monteux Monteux Monteux


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 interrupted in 1896, when he was called up for military service. As a graduate of the Conservatoire, one of France's grandes écoles, he was required to serve only ten months rather than the three years generally required. He later described himself as "the most pitifully inadequate soldier that the 132nd Infantry had ever seen". He had inherited from his mother not only her musical talent but her short and portly build and was physically unsuited to soldiering.Returning to Paris after discharge, <mask> resumed his career as a violist. Hans Richter invited him to lead the violas in the Bayreuth Festival orchestra, but <mask> could not afford to leave his regular work in Paris. In December 1900 <mask> played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl. In 1902 he secured a junior conducting post at the Dieppe casino, a seasonal appointment for the summer months which brought him into contact with leading musicians from the Paris orchestras and well-known soloists on vacation. By 1907 he was the principal conductor at Dieppe, in charge of operas and orchestral concerts. As an orchestral conductor he modelled his technique on that of Arthur Nikisch, under whose baton he had played, and who was his ideal conductor. Ballets Russes
For some time, <mask>'s marriage had been under strain, exacerbated by his wife's frequent absences on concert tours.The couple were divorced in 1909; <mask> married one of her former pupils, Germaine Benedictus, the following year. <mask> continued to play in the Concerts Colonne through the first decade of the century. In 1910 Colonne died

masks: Monteux Monteux Monteux Monteux Monteux Monteux


texts: and was succeeded as principal conductor by Gabriel Pierné. As well as leading the violas, <mask> was assistant conductor, taking charge of early rehearsals and acting as chorus master for choral works. In 1910 the orchestra was engaged to play for a Paris season given by Sergei Diaghilev's ballet company, the Ballets Russes. <mask> played under Pierné in the world premiere of Stravinsky's The Firebird. In 1911 Diaghilev engaged Nikolai Tcherepnin to conduct the premiere of Stravinsky's Petrushka.<mask> conducted the preliminary rehearsals before Tcherepnin arrived; Stravinsky was so impressed that he insisted that <mask> conduct the premiere. Petrushka was part of a triple bill, all conducted by <mask>. The other two pieces were Le Spectre de la Rose and Scheherazade, a balletic adaptation of Rimsky-Korsakov's symphonic suite of the same name. The three works were choreographed by Fokine. In later years <mask> disapproved of the appropriation of symphonic music for ballets, but he made an exception for Scheherazade, and, as his biographer John Canarina observes, at that stage in his career his views on the matter carried little weight. Petrushka was a success with the public and with all but the most diehard conservative critics. Following the Paris season Diaghilev appointed <mask> principal conductor for a tour of Europe in late 1911 and early 1912.It began with a five-week season at the Royal Opera House in London. The press notices concentrated on the dancers, who included Anna Pavlova as well as the regular stars of the Ballets Russes, but <mask> received some words of praise. The Times commented on the excellent unanimity he secured from the


texts: players, apart from "occasional uncertainty in the changes of tempo." After its season in London the company performed in Vienna, Budapest, Prague and Berlin. The tour was successful, artistically and financially, but was not without untoward incident. A planned visit to St Petersburg had to be cancelled because the Narodny Dom theatre burned down, and in Vienna the Philharmonic was unequal to the difficulties of the score of Petrushka. The illustrious orchestra revolted at the rehearsal for the first performance, refusing to play for <mask>; only an intervention by Diaghilev restored the rehearsal, by the end of which <mask> was applauded and Stravinsky given an ovation.In the middle of the tour <mask> was briefly summoned back to Paris by the Concerts Colonne, which had the contractual right to recall him, to deputise for Pierné; his own deputy, Désiré-Émile Inghelbrecht, took temporary musical charge of the Ballets Russes. In May 1912 Diaghilev's company returned to Paris. <mask> was the conductor for the two outstanding works of the season, Vaslav Nijinsky's ballet version of Debussy's Prélude à l'après-midi d'un faune, made with the composer's approval, and Fokine's Daphnis et Chloé to a score commissioned from Ravel. <mask> later recalled "Debussy was behind me when we played L'après midi d'un faune because he did not want anything in his score to be changed on account of the dancing. And when we came to a forte, he said 'Monteux, that is a forte, play forte'. He did not want anything shimmering. And he wanted everything exactly in time".In February and March 1913 the Ballets Russes presented another London season. As in 1911, the local orchestra


texts:
 engaged was the Beecham Symphony Orchestra. The orchestra's founder, Thomas Beecham, shared the conducting with <mask>. At the end of February Beecham had to take over Petrushka when <mask> suddenly hastened to Paris for four days to be with his wife on the birth of their daughter, Denise. The Rite of Spring
During the 1913 Ballets Russes season in Paris, <mask> conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; <mask> thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds".The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. <mask> had been appalled when Stravinsky first played the score at the piano:

Despite his initial reaction, <mask> worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Théâtre des Champs-Élysées to cope with the unfamiliar and difficult music <mask> held seventeen rehearsals, an unusually large number. <mask>'s real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now."However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". The dress rehearsal, with Debussy, Ravel, other musicians and critics among those


texts: present, passed without incident. However, the following evening the premiere provoked something approaching a riot, with loud verbal abuse of the work, counter-shouts from supporters, and fisticuffs breaking out. <mask> pressed on, continuing to conduct the orchestra regardless of the turmoil behind him. Stravinsky wrote "The image of <mask>'s back is more vivid in my mind today than the picture of the stage. He stood there apparently impervious and as nerveless as a crocodile.It is still incredible to me that he actually brought the orchestra through to the end." The extensive press coverage of the incident made <mask> "at age thirty-eight, truly a famous conductor". The company presented the Rite during its London season a few weeks later. The Times reported that although there was "something like a hostile reception" at the first London performance, the final performance in the season "was received with scarcely a sign of opposition". Before the 1913 London performances, <mask> challenged Diaghilev's authority by declaring that he, not the impresario, was the composer's representative in matters related to The Rite of Spring. <mask> believed that most of the anger aroused by the work was due not to the music but to Nijinsky's choreography, described by Stravinsky as "knock-kneed and long-haired Lolitas jumping up and down". With the composer's agreement <mask> presented a concert performance in Paris in April 1914.Saint-Saëns, who was present, declared Stravinsky mad and left in a rage, but he was almost alone in his dislike. At the end Stravinsky was carried shoulder-high from the theatre after what he described as "the most beautiful performance


texts:
 that I have had of the Sacre du printemps". That performance was part of a series of "Concerts Monteux", presented between February and April 1914, in which <mask> conducted the orchestra of the Théâtre des Champs-Élysées in a wide range of symphonic and concertante works, including the concert premiere of the orchestral version of Ravel's Valses nobles et sentimentales. His last notable engagement before the outbreak of war was as conductor of the premiere of Stravinsky's opera The Nightingale at the Palais Garnier. The Met and Boston

After the outbreak of the First World War <mask> was again conscripted into the army, serving as a private in the 35th Territorial Regiment, with which he saw action in the trenches at Verdun, Soissons and the Argonne. He later described much of this period as one of "filth and boredom", although he formed a scratch band to divert his fellow soldiers. After just over two years on active service he was released from military duties after Diaghilev prevailed on the French government to second Monteux to conduct the Ballets Russes on a North American tour.The tour took in fifty-four cities in the US and Canada. In New York in 1916 <mask> refused to conduct Nijinsky's new ballet Till Eulenspiegel as the music was by a German – Richard Strauss – so a conductor had to be engaged for those performances. At the end of the tour <mask> was offered a three-year contract to conduct the French repertoire at the Metropolitan Opera in New York, and received the permission of the French government to remain in the US. At the Met (as the Metropolitan Opera is generally called), <mask> conducted familiar French works such as Faust, Carmen


texts: and Samson and Delilah, with singers including Enrico Caruso, Geraldine Farrar, Louise Homer and Giovanni Martinelli. Of his first appearance, The New York Times said, "Mr. <mask> conducted with skill and authority. He made it evident that he had ample knowledge of the score and control of the orchestra – an unmistakably rhythmic beat, a sense of dramatic values." <mask> conducted the American premieres of Rimsky-Korsakov's The Golden Cockerel, and Henri Rabaud's Mârouf, savetier du Caire.The American premiere of Petrushka, in a new production by, and starring, Adolph Bolm, was in an unusual opera-ballet double bill with La traviata. <mask>'s performances were well received, but, though he later returned to the Met as a guest, opera did not loom large in his career. He said, "I love conducting opera. The only trouble is that I hate the atmosphere of the opera house, where only too often music is the least of many considerations, from staging to the temperaments of the principal singers." Nor was he drawn to further engagements as a ballet conductor: "it offers special problems of fitting in with the dances and the dancers, most of whom, I'm sorry to say, seem to have musical appreciation confined to an ability to count beats." Nonetheless he occasionally conducted ballet performances, and even in his concert performances of the ballet scores he had conducted for Diaghilev he said he always had the dancers in his mind's eye. In 1919 <mask> was appointed chief conductor of the Boston Symphony Orchestra.The orchestra was going through difficult times; its conductor, Karl Muck, had been forced by anti-German agitation to step down in 1917. Sir Henry Wood

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texts: turned down the post, and despite press speculation neither Sergei Rachmaninoff nor Arturo Toscanini was appointed. At least twenty-four players of German heritage had been forced out with Muck, and orchestral morale was low. Shortly before <mask> took up the conductorship the autocratic founder and proprietor of the orchestra, Henry Lee Higginson, died. He had steadfastly resisted unionisation, and after his death a substantial minority of the players resumed the struggle for union recognition. More than thirty players, including two important principals, resigned over the matter. <mask> set about rebuilding the orchestra, auditioning players from all kinds of musical background, some of whom had not played symphonic music before.By the end of his first season he had restored the orchestra to something approaching its normal complement. He trained the orchestra to a high standard; according to the critic Neville Cardus, <mask>'s musicianship "made the Boston Symphony Orchestra the most refined and musical in the world." <mask> regularly introduced new compositions in Boston, often works by American, English and French composers. He was proud of the number of novelties presented in his years at Boston, and expressed pleasure that his successors continued the practice. He was dismayed when it was announced that his contract would not be renewed after 1924. The official explanation was that the orchestra's policy had always been to appoint conductors for no more than five years. It is unclear whether that was genuinely the reason.One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with


texts:
 greater box-office appeal. Another is that the primmer members of Boston society disapproved of <mask>'s morals: he and his second wife had gradually drifted apart and by 1924 he was living with Doris Hodgkins, an American divorcée, and her two children. They were unable to marry until 1928, when Germaine <mask> finally agreed to a divorce. Amsterdam and Paris

In 1924, <mask> began a ten-year association with the Concertgebouw Orchestra of Amsterdam, serving as "first conductor" ("eerste dirigent") alongside Willem Mengelberg, its long-serving chief conductor. The two musicians liked and respected one another, despite the difference in their approach to music-making: <mask> was scrupulous in his adherence to a composer's score and straightforward in his performances, while Mengelberg was well known for his virtuoso, sometimes wilful, interpretations and his cavalier attitude to the score ("Ve vill make some changements", as an English player quoted him). Their preferred repertoire overlapped in some of the classics, but Mengelberg had his own favourites from Bach's St. Matthew Passion to Mahler symphonies, and was happy to leave Debussy and Stravinsky to Monteux. Where their choices coincided, as in Beethoven, Brahms and Richard Strauss, Mengelberg was generous in giving Monteux at least his fair share of them.While in Amsterdam <mask> conducted a number of operas, including Pelléas et Mélisande (its Dutch premiere), Carmen, Les Contes d'Hoffmann, a Lully and Ravel double bill of Acis et Galatée and L'Heure espagnole, Gluck's Iphigénie en Tauride (also brought to the Paris Opéra) and Verdi's Falstaff. Toscanini had been invited to conduct the last of


texts: these, but he told the promoters that <mask> was his dearest colleague and the best conductor for Falstaff. During the first eight years of his association with the Concertgebouw, <mask> conducted between fifty and sixty concerts each season. In his final two years with the orchestra other conductors, notably the rising young Dutchman Eduard van Beinum, were allocated concerts that would previously have been given to <mask>, who amicably withdrew from his position in Amsterdam in 1934. He returned many times as a guest conductor. In addition to his work with the Concertgebouw Orchestra, from 1929 <mask> conducted the Orchestre Symphonique de Paris (OSP), founded the previous year. The orchestral scene in Paris in the 1920s had been adversely affected by the "deputy" system, whereby any contracted orchestral player was at liberty, if a better engagement became available, to send a deputy to a rehearsal or even to a concert.In most other major cities in Europe and America this practice either had never existed or had been eradicated. Alongside the opera orchestras, four other Paris orchestras were competing for players. In 1928 the arts patron the Princesse de Polignac combined with the fashion designer Coco Chanel to propose a new orchestra, well enough paid to keep its players from taking conflicting engagements. With financial backing assured, they appointed a triumvirate of musicians – Cortot, Ernest Ansermet and Louis Fourestier – to assemble the OSP. The following year Cortot invited <mask> to become the orchestra's artistic director and principal conductor. Ansermet, its initial musical director, was not pleased at being supplanted by a conductor of


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 whom he was reportedly "ragingly jealous", but the composer Darius Milhaud commented on how much better the orchestra played for <mask> "since Ansermet has been sent back to his Swiss pastures". <mask> considered the OSP one of the finest with which he worked.He conducted it until 1938, premiering many pieces, including Prokofiev's Third Symphony in 1929. The orchestra's generous funding in the first years allowed for ample rehearsals and adventurous programming, presenting contemporary music and the lesser-known works of earlier composers as well as the classic repertoire. In his first season <mask> conducted an all-Stravinsky concert, consisting of the suite from The Firebird and complete performances of Petrushka and The Rite of Spring. The orchestra made European tours in 1930 and 1931, receiving enthusiastic receptions in the Netherlands and Germany. In Berlin the audience could not contain its applause until the end of the Symphonie fantastique, and in <mask>'s words "went wild" after the slow movement, the "Scène aux champs". He approved of spontaneous applause, unlike Artur Schnabel, Sir Henry Wood and Leopold Stokowski, who did all they could to stamp out the practice of clapping between movements. After 1931 the OSP suffered the effects of the Great Depression; much of its funding ceased, and the orchestra reformed itself into a co-operative, pooling such meagre profits as it made.To give the players some extra work <mask> started a series of conducting classes in 1932. From 1936 he held the classes at his summer home in Les Baux in Provence, the forerunner of the school he later set up in the US. San Francisco and the Monteux School
<mask>


texts: first conducted the San Francisco Symphony Orchestra (SFSO) in 1931, and in 1935 at the age of 60 he was offered the chief conductorship. He was doubtful about accepting, both on personal and on professional grounds. He did not want to leave the OSP, his wife did not want to live on the west coast of America, and the orchestra was so low in funds that it had been forced to cancel an entire season in 1934. Like most orchestras the SFSO had been badly hit financially by the depression, and it suffered the further difficulty that many of its former players had left for better-paid jobs in Hollywood studios. That problem was exacerbated by the insistence of the Musicians' Union that only local players could be recruited.<mask> nevertheless accepted the appointment. The SFSO concert season was never longer than five months a year, which enabled him to continue working with the OSP, and allowed him to conduct the inaugural concert of the NBC Symphony Orchestra on 13 November 1937. In The New York Times Olin Downes wrote that the new orchestra was "of very high rank" and that the broadcast concert had displayed <mask> "at the height of his powers." The Times said of <mask>'s time in San Francisco that it had "incalculable effect on American musical culture", and gave him "the opportunity to expand his already substantial repertory, and by gradual, natural processes to deepen his understanding of his art." <mask> consistently programmed new or recent music. He generally avoided, as he did throughout his career, atonal or serial works, but his choice of modern works nevertheless drew occasional complaints from conservative-minded members of the San Francisco


texts: audience. Among guest conductors with the SFSO during <mask>'s years were John Barbirolli, Beecham, Otto Klemperer, Stokowski and Stravinsky.Soloists included the pianists George Gershwin, Rachmaninoff, Arthur Rubinstein and Schnabel, the violinists Jascha Heifetz, Yehudi Menuhin and the young Isaac Stern, and singers such as Kirsten Flagstad and Alexander Kipnis. Almost all his seventeen San Francisco seasons concluded with Beethoven's Ninth Symphony. <mask>'s SFSO studio recordings were mainly made in the cavernous acoustics of War Memorial Opera House (without an audience) with the music transmitted over telephone wires to a Los Angeles studio and recorded on film there. Confined to the US for the years of the Second World War, in 1942 <mask> took American citizenship. <mask> wished to continue his work in helping young conductors: "Conducting is not enough. I must create something. I am not a composer, so I will create fine young musicians."In addition to his classes in Paris and Les Baux in the 1930s he had given private lessons to Igor Markevitch; later private students included André Previn, Seiji Ozawa, José Serebrier and Robert Shaw. Previn called him "the kindest, wisest man I can remember, and there was nothing about conducting he didn't know." After a performance conducted by Previn, <mask> said to him, "Did you think the orchestra was playing well? ... So did I. Next time don't interfere with them." Previn said that he never forgot this advice.<mask>'s best-known undertaking as a teacher was the Pierre Monteux School for conductors and orchestral musicians, held each summer at his home in Hancock, Maine from 1943 onwards. Internationally


texts: known alumni of the school include Leon Fleisher, Erich Kunzel, Lorin Maazel, Neville Marriner, Hugh Wolff and David Zinman. Other Monteux students included John Canarina, whose 2003 biography was the first full-length study of the conductor in English, Charles Bruck, one of <mask>'s first pupils in Paris, who became music director of the school in Hancock after <mask>'s death, and Emanuel Leplin. <mask> appeared as guest conductor with many orchestras; he commented in 1955, "I regret they don't have symphony orchestras all over the world so I could see Burma and Samarkand". His successor with the Boston Symphony Orchestra, Serge Koussevitzky, invited many guest conductors during his twenty-five years in charge; <mask> was never among them, probably, in Canarina's view, because of Koussevitzky's jealousy. In 1949 Koussevitzky was succeeded by Charles Munch, whose early career had been boosted by an invitation from <mask> to conduct the Orchestre Symphonique de Paris in 1933. Munch invited <mask> to Boston as a guest conductor in the 1951 season.The engagement was greeted with enthusiasm by the critics and the public, and Munch invited <mask> to join him the following year in heading the orchestra's first European tour. The high point of the tour was a performance under <mask> of The Rite of Spring at the Théâtre des Champs-Elysées, in the presence of the composer. <mask> returned annually to Boston every year until his death. For some time <mask> had felt that he should leave the SFSO. He had two main reasons: he believed that a conductor should not remain in one post for too long, and he wished to be free to accept more invitations to appear with other

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 orchestras. He resigned from the SFSO at the end of the 1952 season. He briefly reappeared on the podium at the War Memorial Opera House within a year, as co-conductor of the Boston Symphony Orchestra's coast-to-coast American tour, at Munch's invitation.Almost all the members of the SFSO were in the audience, and joined in the ovation given to their former chief. After an absence of thirty-four years, <mask> was invited to conduct at the Metropolitan Opera in New York in 1953. The opera chosen was Faust, which he had conducted at his debut at the house in 1917. The production had what Canarina calls "a stellar cast" headed by Jussi Björling, Victoria de los Ángeles, Nicola Rossi-Lemeni and Robert Merrill, but the critics, including Virgil Thomson and Irving Kolodin, reserved their highest praise for <mask>'s conducting. Between 1953 and 1956 <mask> returned to the Met for Pelléas et Mélisande, Carmen, Manon, Orfeo ed Euridice, The Tales of Hoffmann and Samson et Dalila. The Met at that time typecast conductors according to their nationality, and, as a Frenchman, <mask> was not offered any Italian operas. When his request to be engaged for La traviata in the 1956–57 season was refused he severed his ties with the house.London
Since his first visit to London with the Ballets Russes in 1911, <mask> had had a "love affair with London and with British musicians". He had conducted for the fledgling BBC in an orchestral concert at Covent Garden in 1924, where he conducted the first public performance of the BBC Wireless Orchestra, and for the Royal Philharmonic Society at the Queen's Hall in the 1920s and 1930s. In 1932 he was one of four conductors who took


texts: charge of the Hallé Orchestra in Manchester in the absence of its principal conductor; the other three substitutes were Sir Edward Elgar, Beecham and the young Barbirolli. The Hallé players were immensely impressed with Monteux, and said that his orchestral technique and knowledge easily beat those of most other conductors. In 1951 he conducted the BBC Symphony Orchestra in a concert of Mozart, Beethoven and Bartók in the new Royal Festival Hall, and made further appearances with London orchestras during the rest of the 1950s. He would have made more but for Britain's strict quarantine laws, which prevented the Monteuxs from bringing their pet French poodle with them; <mask> would not travel without the poodle, and Monteux would not travel without his wife. In June 1958 <mask> conducted the London Symphony Orchestra (LSO) in three concerts, described by the orchestra's historian Richard Morrison as "a sensation with players, press and public alike."The first concert included Elgar's Enigma Variations, in which Cardus judged <mask> to be more faithful to Elgar's conception than English conductors generally were. Cardus added, "After the performance of the 'Enigma' Variations, the large audience cheered and clapped <mask> for several minutes. This applause, moreover, broke out just before the interval. English audiences are not as a rule inclined to waste time applauding at or during an interval: they usually have other things to do." <mask> considered British concertgoers "the most attentive in the world", and British music critics "the most intelligent". However, a disadvantage of conducting a London orchestra was having to perform at the Festival Hall,

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 of which he shared with Beecham and other conductors an intense dislike: "from the conductor's rostrum it is impossible to hear the violins". <mask>'s later London performances were not only with the LSO.In 1960 he conducted Beecham's Royal Philharmonic Orchestra performing "feats of wizardry" in works by Beethoven, Debussy and Hindemith. The LSO offered him the post of principal conductor in 1961, when he was eighty-six; he accepted, on condition that he had a contract for twenty-five years, with an option of renewal. His large and varied repertoire was displayed in his LSO concerts. In addition to the French repertoire with which, to his occasional irritation, he was generally associated, he programmed Mozart, Beethoven, Brahms and Wagner, as well as later composers including Granados, Schoenberg, Scriabin, Shostakovich, Sibelius, Richard Strauss and Vaughan Williams. With the LSO, <mask> gave a fiftieth anniversary performance of The Rite of Spring at the Royal Albert Hall in the presence of the composer. Although the recording of the occasion reveals some lapses of ensemble and slack rhythms, it was an intense and emotional concert, and <mask> climbed up to Stravinsky's box to embrace him at the end. Players believed that in his few years in charge he transformed the LSO; Neville Marriner felt that he "made them feel like an international orchestra ...He gave them extended horizons and some of his achievements with the orchestra, both at home and abroad, gave them quite a different constitution." Last years
Although <mask> retained his vitality to the end of his life, in his last years he suffered occasional collapses. In 1962 he fainted during a


texts:
 performance of Beethoven's Fifth Symphony. In 1963 he collapsed again after being presented with the Gold Medal of the Royal Philharmonic Society, Britain's highest musical honour. The presentation was made by Sir Adrian Boult, who recalled that as they left the platform, "Monteux gave two little groans as we walked down the passage, and I suddenly found my arms full of violins and bows. The orchestra had recognized the signs. Their beloved chief was fainting."<mask> suffered another collapse the following year, and David Zinman and Lorin Maazel deputised for him at the Festival Hall. In April 1964 <mask> conducted his last concert, which was in Milan with the orchestra of Radiotelevisione italiana. The programme consisted of the overture to The Flying Dutchman, Brahms's Double Concerto and Berlioz's Symphonie fantastique. Unrealised plans included his debut at The Proms, and his 90th birthday concert, at which he intended to announce his retirement. In June 1964 <mask> suffered three strokes and a cerebral thrombosis at his home in Maine, where he died on 1 July at the age of 89. Personal life
<mask> had six children, two of them adopted. From his first marriage there were a son, Jean-Paul, and a daughter, Suzanne.Jean-Paul became a jazz musician, performing with artists such as Josephine Baker and Mistinguett. His second marriage produced a daughter, Denise, later known as a sculptress, and a son, Claude, a flautist. After <mask> married Doris Hodgkins he legally adopted her two children, Donald, later a restaurateur, and Nancie, who after a career as a dancer became administrator of the Pierre Monteux School in Hancock. Among <mask>'s numerous


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 honours, he was a Commandeur of the Légion d'honneur and a Knight of the Order of Oranje-Nassau. A political and social moderate, in the politics of his adopted homeland he supported the Democratic Party and was a strong opponent of racial discrimination. He ignored taboos on employing black artists; reportedly, during the days of segregation in the US, when told he could not be served in a restaurant "for colored folk" he insisted that he was coloured – pink. Music making

Reputation and repertoire
The record producer John Culshaw described Monteux as "that rarest of beings – a conductor who was loved by his orchestras ... to call him a legend would be to understate the case."Toscanini observed that <mask> had the best baton technique he had ever seen. Like Toscanini, <mask> insisted on the traditional orchestral layout with first and second violins to the conductor's left and right, believing that this gave a better representation of string detail than grouping all the violins together on the left. On fidelity to composers' scores, <mask>'s biographer John Canarina ranks him with Klemperer and above even Toscanini, whose reputation for strict adherence to the score was, in Canarina's view, less justified than <mask>'s. According to the biographical sketch in Grove Dictionary of Music and Musicians, <mask> "was never an ostentatious conductor ... [he prepared] his orchestra in often arduous rehearsals and then [used] small but decisive gestures to obtain playing of fine texture, careful detail and powerful rhythmic energy, retaining to the last his extraordinary grasp of musical structure and a faultless ear for sound quality." <mask> was extremely


texts: economical with words and gestures and expected a response from his smallest movement. The record producer Erik Smith recalled of <mask>'s rehearsals with the Vienna Philharmonic for Beethoven's Pastoral Symphony and Brahms's Second, "although he could not speak to the orchestra in German, he transformed their playing from one take to the next". The importance of rehearsal to Monteux was shown when, in 1923, Diaghilev asked him to conduct Stravinsky's new Les noces with no rehearsal, as the composer would already have conducted the first performance, <mask> following on from there.<mask> told the impresario "Stravinsky, 'e can do what 'e like, but I have to do what ze composer 'as written." <mask>'s self-effacing approach to scores led to occasional adverse comment; the music critic of The Nation, B. H. Haggin, while admitting that <mask> was generally regarded as one of the giants of conducting, wrote of his "repeatedly demonstrated musical mediocrity". Other American writers have taken a different view. In 1957 Carleton Smith wrote, "His approach to all music is that of the master-craftsman. ... Seeing him at work, modest and quiet, it is difficult to realize that he is a bigger box office attraction at the Metropolitan Opera House than any prima donna ... that he is the only conductor regularly invited to take charge of America's 'big three' – the Boston, Philadelphia and New York Philharmonic orchestras." In his 1967 book The Great Conductors, Harold C. Schonberg wrote of <mask>, "[A] conductor of international stature, a conductor admired and loved all over the world.The word 'loved' is used advisedly." Elsewhere, Schonberg wrote of <mask>'s

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texts: "passion and charisma". When asked in a radio interview to describe himself (as a conductor) in one word, <mask> replied, "Damned professional". Throughout his career <mask> suffered from being thought of as a specialist in French music. The music that meant most to him was that of German composers, particularly Brahms, but this was often overlooked by concert promoters and recording companies. Of the four Brahms symphonies, he was invited by the recording companies to record only one, the Second. Recordings of his live performances of the First and Third have been released on CD, but the discography in Canarina's biography lists no recording, live or from the studio, of the Fourth.The critic William Mann, along with many others, regarded him as a "supremely authoritative" conductor of Brahms, though Cardus disagreed: "In German music <mask>, naturally enough, missed harmonic weight and the right heavily lunged tempo. His rhythm, for example, was a little too pointed for, say, Brahms or Schumann." Gramophones reviewer Jonathan Swain contends that no conductor knew more than Monteux about expressive possibilities in the strings, claiming that "the conductor who doesn't play a stringed instrument simply doesn't know how to get the different sounds; and the bow has such importance in string playing that there are maybe 50 different ways of producing the same note"; In his 2003 biography, John Canarina lists nineteen "significant world premieres" conducted by Monteux. In addition to Petrushka and The Rite of Spring is a further Stravinsky work, The Nightingale. <mask>'s other premieres for Diaghilev included Ravel's Daphnis et Chloé and Debussy's Jeux. In


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 the concert hall he premiered works by, among others, Milhaud, Poulenc and Prokofiev. In a letter of April 1914 Stravinsky wrote "everyone can appreciate your zeal and your probity in regard to the contemporary works of various tendencies that you have had occasion to defend."<mask>'s biographer Jean-Philippe Mousnier analysed a representative sample of <mask>'s programmes for more than 300 concerts. The symphonies played most frequently were César Franck's D minor Symphony, the Symphonie fantastique, Beethoven's Seventh, Tchaikovsky's Fifth and Sixth, and the first two symphonies of Brahms. Works by Richard Strauss featured almost as often as those of Debussy, and Wagner's Prelude and "Liebestod" from Tristan und Isolde as often as The Rite of Spring. Recordings

<mask> made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathé with the tenor Albert Vaguet. It is possible that <mask> played in the Colonne Orchestra's 20 early cylinders recorded around 1906–07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929, with the OSP, judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive.Stravinsky, who also recorded The Rite in 1929, was furious that <mask> had made a rival recording; he made vitriolic comments privately, and for some time his relations with <mask> remained cool. <mask>'s final studio recordings were with the London Symphony Orchestra in works by Ravel at


texts: the end of February 1964. In the course of his career he recorded works by more than fifty composers. In <mask>'s lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of <mask> conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line." Many of <mask>'s recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras; Decca recordings with the Vienna Philharmonic; and Decca and Philips recordings with the LSO.Of Manon, one of his few opera recordings, Alan Blyth in Opera on Record states "<mask> had the music in his blood and here dispenses it with authority and spirit". He can be heard rehearsing in the original LP issues of Beethoven's Eroica Symphony with the Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with the London Symphony (Westminster, WST 234). Video recordings of <mask> are scarcer. He is seen conducting Berlioz's Roman Carnival Overture and


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 Beethoven's 8th symphony with the Chicago Symphony Orchestra, and Dukas' L'Apprenti sorcier with the London Symphony Orchestra in an "unshowy, deeply satisfying humane way". Notes and references
Notes

References

Sources

External links

<mask>ux Music Manuscripts at the Newberry Library

1875 births
1964 deaths
American conductors (music)
American male conductors (music)
Ballet conductors
Chevaliers of the Légion d'honneur
Conservatoire de Paris alumni
French classical violists
20th-century French male classical violinists
French conductors (music)
French male conductors (music)
French emigrants to the United States
Jewish classical musicians
London Symphony Orchestra principal conductors
Musicians from Paris
Officers of the Order of Orange-Nassau
People from Hancock, Maine
Royal Philharmonic Society Gold Medallists
19th-century French Sephardi Jews
20th-century American Sephardic