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Baarin (Mongolian ᠪᠠᠭᠠᠷᠢᠨ Baγarin, Chinese 巴林 Bālín) is a dialect of Mongolian spoken mainly in Inner Mongolia.
Location and classification
Baarin is spoken in the Baarin Right Banner, Baarin Left Banner, Ar Khorchin Banner and Ongniud Banner of Ulanhad and in the Jirin Banner of Tongliao in Inner Mongolia. It has been grouped together with Khorchin and Kharchin or as an intermediate variant between these two on the one hand and Chakhar, Khalkha and Ordos on the other hand. On the other hand, it is part of Southern Mongolian as far as its Standard language is concerned and has therefore been grouped into such a variety as well.
Phonology
Baarin has the short vowel phonemes /ɑ, ə, i, ɔ, ʊ, o, u, ɛ, œ, ʏ, y/ and the corresponding long vowels. The consonant phonemes are /m, n, ŋ, p, pʰ, t, tʰ, tʃ, tʃʰ, x, k, s, ʃ, l, j, r, w/. That is, as in Khalkha and Khorchin, the basic phonation contrast in plosives and affricates is based on aspiration, not on voicedness. This even includes /k/. In contrast to Khalkha and akin to Khorchin, palatalized consonants have already lost their phoneme status and conveyed it to the new vowel phonemes /ɛ, œ, ʏ, y/.
Morphology
The accusative takes the form /i/, e.g. /xəli/ 'language-Acc'. The genitive, on the other hand, tends to contain one /n/, but it is still based on /i/. Due to this, homophony with the accusative can occur in a few cases, e.g. ternə (accusative and genitive of the distal demonstrative), but not əni (proximal accusative) vs. ənni (proximal genitive). There is no allative and no cognate of the old sociative case, but an additional case in -tar < dotura 'inside' with fairly narrow meaning has been assumed.
References
Bibliography
Bayarmendü, Borǰigin (1997): Baγarin aman ayalγun-u sudulul. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Janhunen, Juha (2003): Mongol dialects. In: Juha Janhunen (ed.): The Mongolic languages. London: Routledge: 177–191.
Luvsanvandan, Š. (1959): Mongol hel ajalguuny učir. In: Mongolyn sudlal 1.
Sečenbaγatur et al. (2005): Mongγul kelen-ü nutuγ-un ayalγun-u sinǰilel-ün uduridqal. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Svantesson, Jan-Olof, Anna Tsendina, Anastasia Karlsson, Vivan Franzén (2005): The Phonology of Mongolian. New York: Oxford University Press.
|
subclass of
|
{
"answer_start": [
513
],
"text": [
"Southern Mongolian"
]
}
|
Baarin (Mongolian ᠪᠠᠭᠠᠷᠢᠨ Baγarin, Chinese 巴林 Bālín) is a dialect of Mongolian spoken mainly in Inner Mongolia.
Location and classification
Baarin is spoken in the Baarin Right Banner, Baarin Left Banner, Ar Khorchin Banner and Ongniud Banner of Ulanhad and in the Jirin Banner of Tongliao in Inner Mongolia. It has been grouped together with Khorchin and Kharchin or as an intermediate variant between these two on the one hand and Chakhar, Khalkha and Ordos on the other hand. On the other hand, it is part of Southern Mongolian as far as its Standard language is concerned and has therefore been grouped into such a variety as well.
Phonology
Baarin has the short vowel phonemes /ɑ, ə, i, ɔ, ʊ, o, u, ɛ, œ, ʏ, y/ and the corresponding long vowels. The consonant phonemes are /m, n, ŋ, p, pʰ, t, tʰ, tʃ, tʃʰ, x, k, s, ʃ, l, j, r, w/. That is, as in Khalkha and Khorchin, the basic phonation contrast in plosives and affricates is based on aspiration, not on voicedness. This even includes /k/. In contrast to Khalkha and akin to Khorchin, palatalized consonants have already lost their phoneme status and conveyed it to the new vowel phonemes /ɛ, œ, ʏ, y/.
Morphology
The accusative takes the form /i/, e.g. /xəli/ 'language-Acc'. The genitive, on the other hand, tends to contain one /n/, but it is still based on /i/. Due to this, homophony with the accusative can occur in a few cases, e.g. ternə (accusative and genitive of the distal demonstrative), but not əni (proximal accusative) vs. ənni (proximal genitive). There is no allative and no cognate of the old sociative case, but an additional case in -tar < dotura 'inside' with fairly narrow meaning has been assumed.
References
Bibliography
Bayarmendü, Borǰigin (1997): Baγarin aman ayalγun-u sudulul. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Janhunen, Juha (2003): Mongol dialects. In: Juha Janhunen (ed.): The Mongolic languages. London: Routledge: 177–191.
Luvsanvandan, Š. (1959): Mongol hel ajalguuny učir. In: Mongolyn sudlal 1.
Sečenbaγatur et al. (2005): Mongγul kelen-ü nutuγ-un ayalγun-u sinǰilel-ün uduridqal. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Svantesson, Jan-Olof, Anna Tsendina, Anastasia Karlsson, Vivan Franzén (2005): The Phonology of Mongolian. New York: Oxford University Press.
|
native label
|
{
"answer_start": [
43
],
"text": [
"巴林"
]
}
|
Arcade Classic is a series of five compilations of arcade games for Game Boy released in 1995. The first four were published by Nintendo, while the fifth was developed and published by Black Pearl Software. Each cartridge includes two games.
Arcade Classic No. 1: Asteroids / Missile Command
Arcade Classic No. 2: Centipede / Millipede
Arcade Classic No. 3: Galaga / Galaxian
Arcade Classic No. 4: Defender / Joust
Arcade Classics: Super Breakout / Battlezone
== References ==
|
publisher
|
{
"answer_start": [
128
],
"text": [
"Nintendo"
]
}
|
Arcade Classic is a series of five compilations of arcade games for Game Boy released in 1995. The first four were published by Nintendo, while the fifth was developed and published by Black Pearl Software. Each cartridge includes two games.
Arcade Classic No. 1: Asteroids / Missile Command
Arcade Classic No. 2: Centipede / Millipede
Arcade Classic No. 3: Galaga / Galaxian
Arcade Classic No. 4: Defender / Joust
Arcade Classics: Super Breakout / Battlezone
== References ==
|
platform
|
{
"answer_start": [
68
],
"text": [
"Game Boy"
]
}
|
Shannon Ravenel (born August 13, 1938), née Harriett Shannon Ravenel, is an American literary editor and co-founder of Algonquin Books of Chapel Hill. There she edited the annual anthology New Stories from the South from 1986 to 2006. She was series editor of the Houghton Mifflin annual anthology The Best American Short Stories from 1977 to 1990.
Early life
Ravenel was born in Charlotte, North Carolina, and raised in Charleston, South Carolina, as the daughter of Elias Prioleau Ravenel and Harriett (née Steedman) Ravenel. She entered Hollins College in Virginia as an English major in 1956. There she met Louis D. Rubin, Jr., who became chair of the English Department during her second year, and with whom she would later found and lead Algonquin Books of Chapel Hill.
Career
Ravenel graduated from Hollins in 1960 and moved to New York City, where she found a job as a copywriter for Holt, Rinehart & Winston. A year later she relocated to Boston, Massachusetts, where she joined Houghton Mifflin, initially as a secretary to the editorial staff and eventually becoming an editor of trade books. During her time at Houghton Mifflin, one of the editors whom Ravenel assisted was Martha Foley, who had edited the Best American Short Stories annual anthology since 1941. When Foley died in 1977 the publishing house offered the series to Ted Solotaroff, who agreed to edit the 1978 volume but declined the permanent position, suggesting instead that the publisher use a different editor for each subsequent year. Houghton Mifflin agreed and asked Ravenel, who by then had moved to St. Louis, to act as series editor, a position she held through the 1990 edition, working with annual editors including Ann Beattie, John Gardner, Stanley Elkin, John Updike, and Margaret Atwood, among others. As series editor, each year she read an estimated 1500 short stories in magazines and literary journals, selecting 120 to send to the annual editor, who then chose 20 to appear in the volume. In 1990 Ravenel edited her own Houghton Mifflin anthology, The Best American Short Stories of the Eighties, which collected 20 stories that had appeared in the annual during that decade.
Algonquin Books of Chapel Hill
In 1982 Louis Rubin wrote a letter to Ravenel proposing a new venture. "I am convinced (a) that publishing literary fiction is dying in NYC and (b) it can be done even so ... I am therefore toying with the idea of doing it myself." He closed the letter by asking if she would like to be involved in the enterprise and by Fall 1983 they had issued its first titles including a collection of short stories by Leon Driskell, Passing Through, and a memoir by Vermont C. Royster, My Own, My Country's Time. In 1986 Algonquin inaugurated its own annual anthology of short fiction, New Stories from the South, with Ravenel as editor.As a division of Workman Publishing Company in 2001, Algonquin Books of Chapel Hill launched an imprint bearing her name, Shannon Ravenel Books. With Algonquin, Ravenel edited books by Larry Brown, Jill McCorkle, Lee Smith, Clyde Edgerton, and Julia Alvarez, among others.
References
External links
Shannon Ravenel at Library of Congress, with 5 library catalog records
|
occupation
|
{
"answer_start": [
94
],
"text": [
"editor"
]
}
|
Shannon Ravenel (born August 13, 1938), née Harriett Shannon Ravenel, is an American literary editor and co-founder of Algonquin Books of Chapel Hill. There she edited the annual anthology New Stories from the South from 1986 to 2006. She was series editor of the Houghton Mifflin annual anthology The Best American Short Stories from 1977 to 1990.
Early life
Ravenel was born in Charlotte, North Carolina, and raised in Charleston, South Carolina, as the daughter of Elias Prioleau Ravenel and Harriett (née Steedman) Ravenel. She entered Hollins College in Virginia as an English major in 1956. There she met Louis D. Rubin, Jr., who became chair of the English Department during her second year, and with whom she would later found and lead Algonquin Books of Chapel Hill.
Career
Ravenel graduated from Hollins in 1960 and moved to New York City, where she found a job as a copywriter for Holt, Rinehart & Winston. A year later she relocated to Boston, Massachusetts, where she joined Houghton Mifflin, initially as a secretary to the editorial staff and eventually becoming an editor of trade books. During her time at Houghton Mifflin, one of the editors whom Ravenel assisted was Martha Foley, who had edited the Best American Short Stories annual anthology since 1941. When Foley died in 1977 the publishing house offered the series to Ted Solotaroff, who agreed to edit the 1978 volume but declined the permanent position, suggesting instead that the publisher use a different editor for each subsequent year. Houghton Mifflin agreed and asked Ravenel, who by then had moved to St. Louis, to act as series editor, a position she held through the 1990 edition, working with annual editors including Ann Beattie, John Gardner, Stanley Elkin, John Updike, and Margaret Atwood, among others. As series editor, each year she read an estimated 1500 short stories in magazines and literary journals, selecting 120 to send to the annual editor, who then chose 20 to appear in the volume. In 1990 Ravenel edited her own Houghton Mifflin anthology, The Best American Short Stories of the Eighties, which collected 20 stories that had appeared in the annual during that decade.
Algonquin Books of Chapel Hill
In 1982 Louis Rubin wrote a letter to Ravenel proposing a new venture. "I am convinced (a) that publishing literary fiction is dying in NYC and (b) it can be done even so ... I am therefore toying with the idea of doing it myself." He closed the letter by asking if she would like to be involved in the enterprise and by Fall 1983 they had issued its first titles including a collection of short stories by Leon Driskell, Passing Through, and a memoir by Vermont C. Royster, My Own, My Country's Time. In 1986 Algonquin inaugurated its own annual anthology of short fiction, New Stories from the South, with Ravenel as editor.As a division of Workman Publishing Company in 2001, Algonquin Books of Chapel Hill launched an imprint bearing her name, Shannon Ravenel Books. With Algonquin, Ravenel edited books by Larry Brown, Jill McCorkle, Lee Smith, Clyde Edgerton, and Julia Alvarez, among others.
References
External links
Shannon Ravenel at Library of Congress, with 5 library catalog records
|
given name
|
{
"answer_start": [
0
],
"text": [
"Shannon"
]
}
|
Shannon Ravenel (born August 13, 1938), née Harriett Shannon Ravenel, is an American literary editor and co-founder of Algonquin Books of Chapel Hill. There she edited the annual anthology New Stories from the South from 1986 to 2006. She was series editor of the Houghton Mifflin annual anthology The Best American Short Stories from 1977 to 1990.
Early life
Ravenel was born in Charlotte, North Carolina, and raised in Charleston, South Carolina, as the daughter of Elias Prioleau Ravenel and Harriett (née Steedman) Ravenel. She entered Hollins College in Virginia as an English major in 1956. There she met Louis D. Rubin, Jr., who became chair of the English Department during her second year, and with whom she would later found and lead Algonquin Books of Chapel Hill.
Career
Ravenel graduated from Hollins in 1960 and moved to New York City, where she found a job as a copywriter for Holt, Rinehart & Winston. A year later she relocated to Boston, Massachusetts, where she joined Houghton Mifflin, initially as a secretary to the editorial staff and eventually becoming an editor of trade books. During her time at Houghton Mifflin, one of the editors whom Ravenel assisted was Martha Foley, who had edited the Best American Short Stories annual anthology since 1941. When Foley died in 1977 the publishing house offered the series to Ted Solotaroff, who agreed to edit the 1978 volume but declined the permanent position, suggesting instead that the publisher use a different editor for each subsequent year. Houghton Mifflin agreed and asked Ravenel, who by then had moved to St. Louis, to act as series editor, a position she held through the 1990 edition, working with annual editors including Ann Beattie, John Gardner, Stanley Elkin, John Updike, and Margaret Atwood, among others. As series editor, each year she read an estimated 1500 short stories in magazines and literary journals, selecting 120 to send to the annual editor, who then chose 20 to appear in the volume. In 1990 Ravenel edited her own Houghton Mifflin anthology, The Best American Short Stories of the Eighties, which collected 20 stories that had appeared in the annual during that decade.
Algonquin Books of Chapel Hill
In 1982 Louis Rubin wrote a letter to Ravenel proposing a new venture. "I am convinced (a) that publishing literary fiction is dying in NYC and (b) it can be done even so ... I am therefore toying with the idea of doing it myself." He closed the letter by asking if she would like to be involved in the enterprise and by Fall 1983 they had issued its first titles including a collection of short stories by Leon Driskell, Passing Through, and a memoir by Vermont C. Royster, My Own, My Country's Time. In 1986 Algonquin inaugurated its own annual anthology of short fiction, New Stories from the South, with Ravenel as editor.As a division of Workman Publishing Company in 2001, Algonquin Books of Chapel Hill launched an imprint bearing her name, Shannon Ravenel Books. With Algonquin, Ravenel edited books by Larry Brown, Jill McCorkle, Lee Smith, Clyde Edgerton, and Julia Alvarez, among others.
References
External links
Shannon Ravenel at Library of Congress, with 5 library catalog records
|
languages spoken, written or signed
|
{
"answer_start": [
575
],
"text": [
"English"
]
}
|
Chářovice is a municipality and village in Benešov District in the Central Bohemian Region of the Czech Republic. It has about 200 inhabitants.
== References ==
|
country
|
{
"answer_start": [
98
],
"text": [
"Czech Republic"
]
}
|
Chářovice is a municipality and village in Benešov District in the Central Bohemian Region of the Czech Republic. It has about 200 inhabitants.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
43
],
"text": [
"Benešov District"
]
}
|
Chářovice is a municipality and village in Benešov District in the Central Bohemian Region of the Czech Republic. It has about 200 inhabitants.
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Chářovice"
]
}
|
Chářovice is a municipality and village in Benešov District in the Central Bohemian Region of the Czech Republic. It has about 200 inhabitants.
== References ==
|
historical region
|
{
"answer_start": [
75
],
"text": [
"Bohemia"
]
}
|
Saurita watsoni is a moth in the subfamily Arctiinae. It was described by Rothschild in 1911. It is found in Panama.
References
Natural History Museum Lepidoptera generic names catalog
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Saurita"
]
}
|
Saurita watsoni is a moth in the subfamily Arctiinae. It was described by Rothschild in 1911. It is found in Panama.
References
Natural History Museum Lepidoptera generic names catalog
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Saurita watsoni"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
instance of
|
{
"answer_start": [
100
],
"text": [
"film"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
director
|
{
"answer_start": [
117
],
"text": [
"Richard Oswald"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
genre
|
{
"answer_start": [
94
],
"text": [
"crime film"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
cast member
|
{
"answer_start": [
158
],
"text": [
"Werner Krauss"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
producer
|
{
"answer_start": [
117
],
"text": [
"Richard Oswald"
]
}
|
The House in Dragon Street (German: Das Haus in der Dragonerstrasse ) is a 1921 German silent crime film directed by Richard Oswald and starring Edmund Löwe, Werner Krauss and Lilly Flohr. The film premiered in Berlin on 24 June 1921.
Cast
Edmund Löwe as Der alte Uhl
Werner Krauss as Walter, sein Sohn
Lilly Flohr as Lia, seine Tochter
Paul Bildt as Zigarrenhändler Paulsen
Ellen Bargi as Martha, seine Frau
Eugen Jensen as Der Junggeselle
Aenne Ullstein as Ein Mädchen, Walters Freundin
Theodor Loos as Funke, Lias Bräutigam
References
Bibliography
Grange, William. Cultural Chronicle of the Weimar Republic.Scarecrow Press, 2008.
External links
The House in Dragon Street at IMDb
|
original language of film or TV show
|
{
"answer_start": [
28
],
"text": [
"German"
]
}
|
Sir Worley Bassett Edwards (5 September 1850 – 1 June 1927) was a New Zealand lawyer and judge.Edwards was born in London, England, the son of Charles Scatcherd Wilson Edwards and his wife Cornelia Allen (Waller). He went to the Otago region, New Zealand, with his parents in 1856. Having embraced the practice of the law he gained a leading position in the profession, and was appointed a judge of the native land court, with the position of a puisne judge of the Supreme Court of New Zealand, in 1890 by the Atkins Government. When the Ballance Cabinet came into power in 1891, they disputed the appointment as ultra vires, but the New Zealand Court of Appeal decided that the nomination was valid. The case was carried to the Privy Council, and in May 1892 the Judicial Committee gave a decision adverse to the legality of the appointment, on the ground that Parliament had not previously been asked to provide Judge Edwards's salary.
Edwards married Mary A. Cutten at Wellington in June 1886. He was knighted in the 1919 New Year Honours.
References
Mennell, Philip (1892). "Edwards, Worley Basset" . The Dictionary of Australasian Biography. London: Hutchinson & Co – via Wikisource.
|
country of citizenship
|
{
"answer_start": [
66
],
"text": [
"New Zealand"
]
}
|
Sir Worley Bassett Edwards (5 September 1850 – 1 June 1927) was a New Zealand lawyer and judge.Edwards was born in London, England, the son of Charles Scatcherd Wilson Edwards and his wife Cornelia Allen (Waller). He went to the Otago region, New Zealand, with his parents in 1856. Having embraced the practice of the law he gained a leading position in the profession, and was appointed a judge of the native land court, with the position of a puisne judge of the Supreme Court of New Zealand, in 1890 by the Atkins Government. When the Ballance Cabinet came into power in 1891, they disputed the appointment as ultra vires, but the New Zealand Court of Appeal decided that the nomination was valid. The case was carried to the Privy Council, and in May 1892 the Judicial Committee gave a decision adverse to the legality of the appointment, on the ground that Parliament had not previously been asked to provide Judge Edwards's salary.
Edwards married Mary A. Cutten at Wellington in June 1886. He was knighted in the 1919 New Year Honours.
References
Mennell, Philip (1892). "Edwards, Worley Basset" . The Dictionary of Australasian Biography. London: Hutchinson & Co – via Wikisource.
|
occupation
|
{
"answer_start": [
78
],
"text": [
"lawyer"
]
}
|
Sir Worley Bassett Edwards (5 September 1850 – 1 June 1927) was a New Zealand lawyer and judge.Edwards was born in London, England, the son of Charles Scatcherd Wilson Edwards and his wife Cornelia Allen (Waller). He went to the Otago region, New Zealand, with his parents in 1856. Having embraced the practice of the law he gained a leading position in the profession, and was appointed a judge of the native land court, with the position of a puisne judge of the Supreme Court of New Zealand, in 1890 by the Atkins Government. When the Ballance Cabinet came into power in 1891, they disputed the appointment as ultra vires, but the New Zealand Court of Appeal decided that the nomination was valid. The case was carried to the Privy Council, and in May 1892 the Judicial Committee gave a decision adverse to the legality of the appointment, on the ground that Parliament had not previously been asked to provide Judge Edwards's salary.
Edwards married Mary A. Cutten at Wellington in June 1886. He was knighted in the 1919 New Year Honours.
References
Mennell, Philip (1892). "Edwards, Worley Basset" . The Dictionary of Australasian Biography. London: Hutchinson & Co – via Wikisource.
|
family name
|
{
"answer_start": [
19
],
"text": [
"Edwards"
]
}
|
Sir Worley Bassett Edwards (5 September 1850 – 1 June 1927) was a New Zealand lawyer and judge.Edwards was born in London, England, the son of Charles Scatcherd Wilson Edwards and his wife Cornelia Allen (Waller). He went to the Otago region, New Zealand, with his parents in 1856. Having embraced the practice of the law he gained a leading position in the profession, and was appointed a judge of the native land court, with the position of a puisne judge of the Supreme Court of New Zealand, in 1890 by the Atkins Government. When the Ballance Cabinet came into power in 1891, they disputed the appointment as ultra vires, but the New Zealand Court of Appeal decided that the nomination was valid. The case was carried to the Privy Council, and in May 1892 the Judicial Committee gave a decision adverse to the legality of the appointment, on the ground that Parliament had not previously been asked to provide Judge Edwards's salary.
Edwards married Mary A. Cutten at Wellington in June 1886. He was knighted in the 1919 New Year Honours.
References
Mennell, Philip (1892). "Edwards, Worley Basset" . The Dictionary of Australasian Biography. London: Hutchinson & Co – via Wikisource.
|
given name
|
{
"answer_start": [
4
],
"text": [
"Worley"
]
}
|
IBM ThinkPad 310 was a notebook computer series introduced in 1997 by the IBM corporation into the market as part of their ThinkPad laptop series. It was succeeded by the ThinkPad 380 series.
Features
All models shipped with Windows 95 OSR2 but were capable of running up to Windows XP, if they have a sufficient RAM upgrade, as well as several Linux variations. They could also run older operating systems such as Windows 3.1.
All models featured a Socket 7 Intel Pentium I or MMX processor running at 133 to 166 MHz, a CT-65550 video chip with 1 MB of video memory, and a Yamaha YMF715 audio controller. The standard memory size was 16 MB, with up to 32 MB max if upgraded.
The ThinkPad models ending with a D included a CD-ROM drive, the rest included a 1.44 MB floppy disk drive. Ones that had a CD-ROM drive had a proprietary external floppy disk drive port on the back.
Models
IBM ThinkPad 310 — The base model released only in Europe, it featured an Intel Pentium I running at 133 MHz, 16 MB of soldered EDO RAM, standard 1.08 GB hard drive, and a non-removable 1.44MB floppy disk drive. It also had an 11.3" 800x600 DSTN display with the additional option of an 11.3" 800x600 TFT display. Other features included: NiHM battery, Trackpoint, (2) Type II CardBus slots or (1) type III.
IBM ThinkPad 310D — Released alongside the 310 but available worldwide, it had essentially the same specifications as the base 310 model, with the only difference of a CD-ROM drive over the 1.44 floppy disk drive. It also only had an 11.3" 800x600 DSTN display over the base 310's additional TFT display option.
IBM ThinkPad 310E — Made available late 1997, the E had a few new features. It featured an Intel Pentium MMX 166 MHz processor, 16 MB of soldered EDO RAM, 1.6 or 2.1 GB hard drive size options, and a 1.44 MB floppy disk drive. It came with a larger 12.1" 800x600 DSTN display with the additional option of an 11.3" 800x600 TFT display. It also came with a NiHM battery which could last up to 2.8 hours on one charge. Other features included: Trackpoint, (2) Type II CardBus slots or (1) type III.
IBM ThinkPad 310ED — The last model in the series also available late 1997, it was basically the same as the 310E, with the only difference of a CD-ROM drive and only offering a 12.1" 800x600 DSTN display option. The 310ED introduced the additional option to come standard with 32 MB of ram.
Comparison
References
External links
Thinkwiki.de - 310
Thinkwiki.org - 310
|
manufacturer
|
{
"answer_start": [
0
],
"text": [
"IBM"
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|
Christian Neidhart (born 1 October 1968) is a German football manager and former player who manages Waldhof Mannheim. He is the father of fellow footballer Nico Neidhart.
Managerial statistics
As of match played 3 May 2022
== References ==
|
child
|
{
"answer_start": [
156
],
"text": [
"Nico Neidhart"
]
}
|
Christian Neidhart (born 1 October 1968) is a German football manager and former player who manages Waldhof Mannheim. He is the father of fellow footballer Nico Neidhart.
Managerial statistics
As of match played 3 May 2022
== References ==
|
family name
|
{
"answer_start": [
10
],
"text": [
"Neidhart"
]
}
|
Christian Neidhart (born 1 October 1968) is a German football manager and former player who manages Waldhof Mannheim. He is the father of fellow footballer Nico Neidhart.
Managerial statistics
As of match played 3 May 2022
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Christian"
]
}
|
Christian Neidhart (born 1 October 1968) is a German football manager and former player who manages Waldhof Mannheim. He is the father of fellow footballer Nico Neidhart.
Managerial statistics
As of match played 3 May 2022
== References ==
|
languages spoken, written or signed
|
{
"answer_start": [
46
],
"text": [
"German"
]
}
|
Vilho Ilmari Pyykkö (born November 17, 1944) is currently a professor and the head of the Hearing and Balance Research Unit at Tampere University School of Medicine. He is a specialist in Oto-rhino-laryngology. Prof. Pyykko has been awarded numerous awards and grants for research including an Honor Award from the American Academy of Otolaryngology in 2000.
Education
Pyykkӧ attended the University of Helsinki and received his Licentiate of Medicine (1971) and later his Doctorate of Medical Sciences (1974). In 1981 he received the qualification of Docent in Oto-, Rhino-, and Laryngology from the University of Lund and again in 1984 from the University of Helsinki.
Work
Pyykkӧ began his career as a research associate at the University of Helsinki under the Department of Physiology from 1971-1973. From 1977-1983 he was a resident at the University Hospital of Lund where the later half of his time there was spent as a specialist and senior physician. Next he spent a year as a senior researcher at the Institute of Occupational Health. He held various positions with University Hospital of Helsinki from 1991-1995 including clinical teacher, professor, and Vc. Professor of Ear, Nose, and Throat Diseases. In 1995 he started working as a professor and the Head of the section of Otorhinolaryngology at Karolinska Institute in Stockholm and continued this position until 2002. During this time he acted as prefect of the Institute of Ear and Skin at Karolinska Institute from 1997-1999. In 2002 he accepted a position as professor in the Department of Ear, Nose and Throat Disease at Tampere University Hospital where he currently holds the position as head of the hearing and balance research unit.
He is a member of eight editorial boards and has supervised of 25 doctoral dissertations.
Research and publications
Prof. Pyykkӧ has been awarded numerous research grants and has published more than 500 scientific publications. His research range from surgery to rehabilitation. He is considered an expert in various areas including: vestibular assessment and management (specifically Meniere’s disease); applications of nanotechnology in hearing science; advanced imaging techniques in visualizing hearing and balance structures; and internet-based rehabilitation.
== References ==
|
educated at
|
{
"answer_start": [
390
],
"text": [
"University of Helsinki"
]
}
|
Vilho Ilmari Pyykkö (born November 17, 1944) is currently a professor and the head of the Hearing and Balance Research Unit at Tampere University School of Medicine. He is a specialist in Oto-rhino-laryngology. Prof. Pyykko has been awarded numerous awards and grants for research including an Honor Award from the American Academy of Otolaryngology in 2000.
Education
Pyykkӧ attended the University of Helsinki and received his Licentiate of Medicine (1971) and later his Doctorate of Medical Sciences (1974). In 1981 he received the qualification of Docent in Oto-, Rhino-, and Laryngology from the University of Lund and again in 1984 from the University of Helsinki.
Work
Pyykkӧ began his career as a research associate at the University of Helsinki under the Department of Physiology from 1971-1973. From 1977-1983 he was a resident at the University Hospital of Lund where the later half of his time there was spent as a specialist and senior physician. Next he spent a year as a senior researcher at the Institute of Occupational Health. He held various positions with University Hospital of Helsinki from 1991-1995 including clinical teacher, professor, and Vc. Professor of Ear, Nose, and Throat Diseases. In 1995 he started working as a professor and the Head of the section of Otorhinolaryngology at Karolinska Institute in Stockholm and continued this position until 2002. During this time he acted as prefect of the Institute of Ear and Skin at Karolinska Institute from 1997-1999. In 2002 he accepted a position as professor in the Department of Ear, Nose and Throat Disease at Tampere University Hospital where he currently holds the position as head of the hearing and balance research unit.
He is a member of eight editorial boards and has supervised of 25 doctoral dissertations.
Research and publications
Prof. Pyykkӧ has been awarded numerous research grants and has published more than 500 scientific publications. His research range from surgery to rehabilitation. He is considered an expert in various areas including: vestibular assessment and management (specifically Meniere’s disease); applications of nanotechnology in hearing science; advanced imaging techniques in visualizing hearing and balance structures; and internet-based rehabilitation.
== References ==
|
occupation
|
{
"answer_start": [
951
],
"text": [
"physician"
]
}
|
Vilho Ilmari Pyykkö (born November 17, 1944) is currently a professor and the head of the Hearing and Balance Research Unit at Tampere University School of Medicine. He is a specialist in Oto-rhino-laryngology. Prof. Pyykko has been awarded numerous awards and grants for research including an Honor Award from the American Academy of Otolaryngology in 2000.
Education
Pyykkӧ attended the University of Helsinki and received his Licentiate of Medicine (1971) and later his Doctorate of Medical Sciences (1974). In 1981 he received the qualification of Docent in Oto-, Rhino-, and Laryngology from the University of Lund and again in 1984 from the University of Helsinki.
Work
Pyykkӧ began his career as a research associate at the University of Helsinki under the Department of Physiology from 1971-1973. From 1977-1983 he was a resident at the University Hospital of Lund where the later half of his time there was spent as a specialist and senior physician. Next he spent a year as a senior researcher at the Institute of Occupational Health. He held various positions with University Hospital of Helsinki from 1991-1995 including clinical teacher, professor, and Vc. Professor of Ear, Nose, and Throat Diseases. In 1995 he started working as a professor and the Head of the section of Otorhinolaryngology at Karolinska Institute in Stockholm and continued this position until 2002. During this time he acted as prefect of the Institute of Ear and Skin at Karolinska Institute from 1997-1999. In 2002 he accepted a position as professor in the Department of Ear, Nose and Throat Disease at Tampere University Hospital where he currently holds the position as head of the hearing and balance research unit.
He is a member of eight editorial boards and has supervised of 25 doctoral dissertations.
Research and publications
Prof. Pyykkӧ has been awarded numerous research grants and has published more than 500 scientific publications. His research range from surgery to rehabilitation. He is considered an expert in various areas including: vestibular assessment and management (specifically Meniere’s disease); applications of nanotechnology in hearing science; advanced imaging techniques in visualizing hearing and balance structures; and internet-based rehabilitation.
== References ==
|
family name
|
{
"answer_start": [
13
],
"text": [
"Pyykkö"
]
}
|
Vilho Ilmari Pyykkö (born November 17, 1944) is currently a professor and the head of the Hearing and Balance Research Unit at Tampere University School of Medicine. He is a specialist in Oto-rhino-laryngology. Prof. Pyykko has been awarded numerous awards and grants for research including an Honor Award from the American Academy of Otolaryngology in 2000.
Education
Pyykkӧ attended the University of Helsinki and received his Licentiate of Medicine (1971) and later his Doctorate of Medical Sciences (1974). In 1981 he received the qualification of Docent in Oto-, Rhino-, and Laryngology from the University of Lund and again in 1984 from the University of Helsinki.
Work
Pyykkӧ began his career as a research associate at the University of Helsinki under the Department of Physiology from 1971-1973. From 1977-1983 he was a resident at the University Hospital of Lund where the later half of his time there was spent as a specialist and senior physician. Next he spent a year as a senior researcher at the Institute of Occupational Health. He held various positions with University Hospital of Helsinki from 1991-1995 including clinical teacher, professor, and Vc. Professor of Ear, Nose, and Throat Diseases. In 1995 he started working as a professor and the Head of the section of Otorhinolaryngology at Karolinska Institute in Stockholm and continued this position until 2002. During this time he acted as prefect of the Institute of Ear and Skin at Karolinska Institute from 1997-1999. In 2002 he accepted a position as professor in the Department of Ear, Nose and Throat Disease at Tampere University Hospital where he currently holds the position as head of the hearing and balance research unit.
He is a member of eight editorial boards and has supervised of 25 doctoral dissertations.
Research and publications
Prof. Pyykkӧ has been awarded numerous research grants and has published more than 500 scientific publications. His research range from surgery to rehabilitation. He is considered an expert in various areas including: vestibular assessment and management (specifically Meniere’s disease); applications of nanotechnology in hearing science; advanced imaging techniques in visualizing hearing and balance structures; and internet-based rehabilitation.
== References ==
|
given name
|
{
"answer_start": [
6
],
"text": [
"Ilmari"
]
}
|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
place of birth
|
{
"answer_start": [
227
],
"text": [
"Milwaukee"
]
}
|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
member of sports team
|
{
"answer_start": [
141
],
"text": [
"Detroit Lions"
]
}
|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
position played on team / speciality
|
{
"answer_start": [
65
],
"text": [
"linebacker"
]
}
|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
sport
|
{
"answer_start": [
47
],
"text": [
"American football"
]
}
|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
family name
|
{
"answer_start": [
8
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"text": [
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|
DeAndre Levy (born March 26, 1987) is a former American football linebacker. He played college football at Wisconsin, and was drafted by the Detroit Lions in the third round of the 2009 NFL Draft.
Early years
Levy was born in Milwaukee, Wisconsin, where he attended Vincent High School and was a letterman in football, basketball, and track. As a senior, he recorded 84 tackles, five sacks, and four forced fumbles as a linebacker and 12 receptions for 260 yards and three touchdowns as a tight end.
College career
Levy played college football at Wisconsin from 2005 to 2008. He finished his career with 211 tackles, 21 sacks, two interceptions, six forced fumbles, six fumble recoveries and a blocked kick.
In November 2006, Levy inadvertently collided with nearly 80-year-old Penn State coach Joe Paterno on the sideline during a game, fracturing Paterno's shin bone and damaging knee ligaments. Subsequent to the Penn State child sex abuse scandal, Levy now calls that incident "my proudest moment in college". In response, 21 former Penn State football players signed a letter condemning his comments.Levy was named second-team All-Big Ten in 2007. In 2008, he earned honorable mention All-Big Ten, and was also awarded the team's Tom Wiesner Award, given to a senior football player who most exemplifies the leadership and courage. In addition to twice winning the Big 10 Player of the Week, in 2008, he was also awarded the Bronko Nagurski National Defensive Player of the Week on September 13 for his performance against Fresno St.
Professional career
Levy was drafted by the Lions in the third round of the 2009 NFL Draft. As a rookie, Levy started 10 of 16 games for the Detroit Lions, recording 85 tackles and an interception.
In 2010, Levy was limited to only 11 games, missing Detroit's Week 1, 2, 4, 5, and 6 games. For the season, Levy recorded 72 tackles, 2 interceptions, and 4 pass-breakups. In Week 14, against the eventual Super Bowl Champion Green Bay Packers, Levy had 8 tackles and an interception of Packers QB Matt Flynn in the endzone in a 7-3 Lions win. In Week 16, against the Miami Dolphins, Levy returned an interception of Chad Henne 30 yards for the game-winning touchdown in a 34-27 win.
In his third season in 2011, Levy started all 16 games for the Lions, recording 109 tackles, a sack, an interception, and a forced fumble. In 2012, Levy started 13 games for the Lions, recording 82 tackles, and 1 interception. In 2013, Levy started all 16 games for the Lions, recording 119 tackles, and 6 interceptions. In 2014, Levy started all 16 games for the Lions, recording 151 tackles, 2.5 sacks, and 1 interception.On August 5, 2015, it was announced that Levy and the Detroit Lions agreed on a four-year extension. Levy only played 1 game in the 2015 season due to injury.
In 2016, Levy's playing time was limited due to a torn meniscus he suffered at the beginning of the 2016 season. On March 9, 2017, with two years left on his contract, he was released by the Lions. He filed an injury grievance against the Lions in August.
Personal life
Levy continues to reside in the Detroit metro area with his wife Desiré, whom he met in college and married in 2017. The couple has a one-year old daughter. Levy's father-in-law is NFL Executive Vice President of Football Operations, Troy Vincent and his brother-in-law, Taron Vincent, plays football at the Ohio State University.
Since retiring, and while still a player, he has been an advocate for victims of sexual assault. In April 2016, DeAndre wrote a column for The Players' Tribune encouraging men and especially professional athletes to take leadership in sexual assault prevention. Not only did players respond in support of his article, but victims also reached out and shared their stories.The couple commissioned a mural in Eastern Market in 2017 to encourage survivors of sexual assault and harassment to open up about their stories. They have also led fundraising efforts for related causes and organizations, such as Enough SAID (Sexual Assault in Detroit).In 2020, Levy appeared as a guest on Jada Pinkett Smith's Red Table Talk, along with Amber Rose and Rumer Willis to discuss sexual consent.
Levy also spoke out about the NFL's stance on the link between professional football and brain injuries in 2016, taking the NFL to task via a letter and various Instagram posts. He called for greater transparency about the risks of playing professional football, though he made it clear that he still wanted others to enjoy playing.
References
External links
Detroit Lions bio
|
given name
|
{
"answer_start": [
0
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"text": [
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|
John Clive (6 January 1933 – 14 October 2012) was an English actor and author, known internationally for his historical and social fiction, such as KG200 and Barossa.Clive was also an established British television and film actor. Beginning his career at the age of fourteen touring in rep, he went on to star on the West End stage, in plays such as Absurd Person Singular, The Wizard of Oz, Under Milk Wood, The Bandwagon at the Mermaid Theatre, The Winslow Boy, Young Woodley and Life with Father.
As a character actor he appeared in comic and straight acting roles in films, such as The Italian Job, Yellow Submarine, The Pink Panther Strikes Again, A Clockwork Orange and The Young Indiana Jones Chronicles. He was a member of the Carry On Team appearing in two of the Carry on series of comedy films; Carry On Abroad, and Carry On Dick Clive was initiated into the Grand Order of Water Rats in 1988.
Career
Acting
Other film appearances include the Ealing Studios comedy The Magnet, credited as Clive Kendall. In the Beatles' animated film Yellow Submarine he provided the voice of John Lennon. His television appearances also included Robert's Robots, Rising Damp, The Dick Emery Show, The Perils of Pendragon, The Sweeney, Great Expectations and The History of Mr Polly. He appeared in the first Wednesday Play, Wear a Very Big Hat, broadcast by BBC 1 in 1964. Clive also featured in Lady Windermere's Fan, One Way Out and The Ten Percenters. He featured in a 1970s advert for Jacob's Coconut Cream Biscuits.
Author
In 1977, he co wrote the historical novel KG 200 with J.D. Gilman, a story about a secret Luftwaffe unit during the Second World War. This book was an international best-seller. The Last Liberator, followed in 1980 and was well received by literary critics. Barossa also achieved critical acclaim. Broken Wings was published in 1983 and matched the international success of KG 200. Other fictional titles written by Clive followed including Ark co-written with Nicholas Headin, in 1986 which also received good reviews and The Lions' Cage which was published in 1988.
Death
John Clive died after a short illness on 14 October 2012 in England aged 79.
Bibliography
Clive, John and Gilman J. D. KG 200: The Force with no Face. Simon and Schuster (1977). ISBN 978-0-671-22890-3
Clive, John. The Last Liberator. Hamlyn (1980). ISBN 0-600-20022-1
Clive, John. Barossa. Delacorte Press (1981). ISBN 0-440-00433-0
Clive, John. Broken Wings. Granada (1983). ISBN 978-0-586-05582-3
Clive, John and Head, Nicholas. Ark. Penguin (1986). ISBN 978-0-14-007727-8
Clive, John. The Lions Cage. Penguin (1988). ISBN 978-0-14-009289-9
Filmography
Feature films
Credits include:
Television
Credits include:
Other credits
DocumentariesHamlet: The Video (1992)
The Adventures of Young Indiana Jones: Espionage Escapades (2007)Appearances in deleted scenesCarry On Henry / US: Carry on Henry VIII (1971) "Plotter"
Notes
External links
John Clive at IMDb
John Clive at AllMovie
|
place of death
|
{
"answer_start": [
2164
],
"text": [
"England"
]
}
|
John Clive (6 January 1933 – 14 October 2012) was an English actor and author, known internationally for his historical and social fiction, such as KG200 and Barossa.Clive was also an established British television and film actor. Beginning his career at the age of fourteen touring in rep, he went on to star on the West End stage, in plays such as Absurd Person Singular, The Wizard of Oz, Under Milk Wood, The Bandwagon at the Mermaid Theatre, The Winslow Boy, Young Woodley and Life with Father.
As a character actor he appeared in comic and straight acting roles in films, such as The Italian Job, Yellow Submarine, The Pink Panther Strikes Again, A Clockwork Orange and The Young Indiana Jones Chronicles. He was a member of the Carry On Team appearing in two of the Carry on series of comedy films; Carry On Abroad, and Carry On Dick Clive was initiated into the Grand Order of Water Rats in 1988.
Career
Acting
Other film appearances include the Ealing Studios comedy The Magnet, credited as Clive Kendall. In the Beatles' animated film Yellow Submarine he provided the voice of John Lennon. His television appearances also included Robert's Robots, Rising Damp, The Dick Emery Show, The Perils of Pendragon, The Sweeney, Great Expectations and The History of Mr Polly. He appeared in the first Wednesday Play, Wear a Very Big Hat, broadcast by BBC 1 in 1964. Clive also featured in Lady Windermere's Fan, One Way Out and The Ten Percenters. He featured in a 1970s advert for Jacob's Coconut Cream Biscuits.
Author
In 1977, he co wrote the historical novel KG 200 with J.D. Gilman, a story about a secret Luftwaffe unit during the Second World War. This book was an international best-seller. The Last Liberator, followed in 1980 and was well received by literary critics. Barossa also achieved critical acclaim. Broken Wings was published in 1983 and matched the international success of KG 200. Other fictional titles written by Clive followed including Ark co-written with Nicholas Headin, in 1986 which also received good reviews and The Lions' Cage which was published in 1988.
Death
John Clive died after a short illness on 14 October 2012 in England aged 79.
Bibliography
Clive, John and Gilman J. D. KG 200: The Force with no Face. Simon and Schuster (1977). ISBN 978-0-671-22890-3
Clive, John. The Last Liberator. Hamlyn (1980). ISBN 0-600-20022-1
Clive, John. Barossa. Delacorte Press (1981). ISBN 0-440-00433-0
Clive, John. Broken Wings. Granada (1983). ISBN 978-0-586-05582-3
Clive, John and Head, Nicholas. Ark. Penguin (1986). ISBN 978-0-14-007727-8
Clive, John. The Lions Cage. Penguin (1988). ISBN 978-0-14-009289-9
Filmography
Feature films
Credits include:
Television
Credits include:
Other credits
DocumentariesHamlet: The Video (1992)
The Adventures of Young Indiana Jones: Espionage Escapades (2007)Appearances in deleted scenesCarry On Henry / US: Carry on Henry VIII (1971) "Plotter"
Notes
External links
John Clive at IMDb
John Clive at AllMovie
|
occupation
|
{
"answer_start": [
219
],
"text": [
"film actor"
]
}
|
John Clive (6 January 1933 – 14 October 2012) was an English actor and author, known internationally for his historical and social fiction, such as KG200 and Barossa.Clive was also an established British television and film actor. Beginning his career at the age of fourteen touring in rep, he went on to star on the West End stage, in plays such as Absurd Person Singular, The Wizard of Oz, Under Milk Wood, The Bandwagon at the Mermaid Theatre, The Winslow Boy, Young Woodley and Life with Father.
As a character actor he appeared in comic and straight acting roles in films, such as The Italian Job, Yellow Submarine, The Pink Panther Strikes Again, A Clockwork Orange and The Young Indiana Jones Chronicles. He was a member of the Carry On Team appearing in two of the Carry on series of comedy films; Carry On Abroad, and Carry On Dick Clive was initiated into the Grand Order of Water Rats in 1988.
Career
Acting
Other film appearances include the Ealing Studios comedy The Magnet, credited as Clive Kendall. In the Beatles' animated film Yellow Submarine he provided the voice of John Lennon. His television appearances also included Robert's Robots, Rising Damp, The Dick Emery Show, The Perils of Pendragon, The Sweeney, Great Expectations and The History of Mr Polly. He appeared in the first Wednesday Play, Wear a Very Big Hat, broadcast by BBC 1 in 1964. Clive also featured in Lady Windermere's Fan, One Way Out and The Ten Percenters. He featured in a 1970s advert for Jacob's Coconut Cream Biscuits.
Author
In 1977, he co wrote the historical novel KG 200 with J.D. Gilman, a story about a secret Luftwaffe unit during the Second World War. This book was an international best-seller. The Last Liberator, followed in 1980 and was well received by literary critics. Barossa also achieved critical acclaim. Broken Wings was published in 1983 and matched the international success of KG 200. Other fictional titles written by Clive followed including Ark co-written with Nicholas Headin, in 1986 which also received good reviews and The Lions' Cage which was published in 1988.
Death
John Clive died after a short illness on 14 October 2012 in England aged 79.
Bibliography
Clive, John and Gilman J. D. KG 200: The Force with no Face. Simon and Schuster (1977). ISBN 978-0-671-22890-3
Clive, John. The Last Liberator. Hamlyn (1980). ISBN 0-600-20022-1
Clive, John. Barossa. Delacorte Press (1981). ISBN 0-440-00433-0
Clive, John. Broken Wings. Granada (1983). ISBN 978-0-586-05582-3
Clive, John and Head, Nicholas. Ark. Penguin (1986). ISBN 978-0-14-007727-8
Clive, John. The Lions Cage. Penguin (1988). ISBN 978-0-14-009289-9
Filmography
Feature films
Credits include:
Television
Credits include:
Other credits
DocumentariesHamlet: The Video (1992)
The Adventures of Young Indiana Jones: Espionage Escapades (2007)Appearances in deleted scenesCarry On Henry / US: Carry on Henry VIII (1971) "Plotter"
Notes
External links
John Clive at IMDb
John Clive at AllMovie
|
given name
|
{
"answer_start": [
0
],
"text": [
"John"
]
}
|
John Clive (6 January 1933 – 14 October 2012) was an English actor and author, known internationally for his historical and social fiction, such as KG200 and Barossa.Clive was also an established British television and film actor. Beginning his career at the age of fourteen touring in rep, he went on to star on the West End stage, in plays such as Absurd Person Singular, The Wizard of Oz, Under Milk Wood, The Bandwagon at the Mermaid Theatre, The Winslow Boy, Young Woodley and Life with Father.
As a character actor he appeared in comic and straight acting roles in films, such as The Italian Job, Yellow Submarine, The Pink Panther Strikes Again, A Clockwork Orange and The Young Indiana Jones Chronicles. He was a member of the Carry On Team appearing in two of the Carry on series of comedy films; Carry On Abroad, and Carry On Dick Clive was initiated into the Grand Order of Water Rats in 1988.
Career
Acting
Other film appearances include the Ealing Studios comedy The Magnet, credited as Clive Kendall. In the Beatles' animated film Yellow Submarine he provided the voice of John Lennon. His television appearances also included Robert's Robots, Rising Damp, The Dick Emery Show, The Perils of Pendragon, The Sweeney, Great Expectations and The History of Mr Polly. He appeared in the first Wednesday Play, Wear a Very Big Hat, broadcast by BBC 1 in 1964. Clive also featured in Lady Windermere's Fan, One Way Out and The Ten Percenters. He featured in a 1970s advert for Jacob's Coconut Cream Biscuits.
Author
In 1977, he co wrote the historical novel KG 200 with J.D. Gilman, a story about a secret Luftwaffe unit during the Second World War. This book was an international best-seller. The Last Liberator, followed in 1980 and was well received by literary critics. Barossa also achieved critical acclaim. Broken Wings was published in 1983 and matched the international success of KG 200. Other fictional titles written by Clive followed including Ark co-written with Nicholas Headin, in 1986 which also received good reviews and The Lions' Cage which was published in 1988.
Death
John Clive died after a short illness on 14 October 2012 in England aged 79.
Bibliography
Clive, John and Gilman J. D. KG 200: The Force with no Face. Simon and Schuster (1977). ISBN 978-0-671-22890-3
Clive, John. The Last Liberator. Hamlyn (1980). ISBN 0-600-20022-1
Clive, John. Barossa. Delacorte Press (1981). ISBN 0-440-00433-0
Clive, John. Broken Wings. Granada (1983). ISBN 978-0-586-05582-3
Clive, John and Head, Nicholas. Ark. Penguin (1986). ISBN 978-0-14-007727-8
Clive, John. The Lions Cage. Penguin (1988). ISBN 978-0-14-009289-9
Filmography
Feature films
Credits include:
Television
Credits include:
Other credits
DocumentariesHamlet: The Video (1992)
The Adventures of Young Indiana Jones: Espionage Escapades (2007)Appearances in deleted scenesCarry On Henry / US: Carry on Henry VIII (1971) "Plotter"
Notes
External links
John Clive at IMDb
John Clive at AllMovie
|
languages spoken, written or signed
|
{
"answer_start": [
53
],
"text": [
"English"
]
}
|
John Clive (6 January 1933 – 14 October 2012) was an English actor and author, known internationally for his historical and social fiction, such as KG200 and Barossa.Clive was also an established British television and film actor. Beginning his career at the age of fourteen touring in rep, he went on to star on the West End stage, in plays such as Absurd Person Singular, The Wizard of Oz, Under Milk Wood, The Bandwagon at the Mermaid Theatre, The Winslow Boy, Young Woodley and Life with Father.
As a character actor he appeared in comic and straight acting roles in films, such as The Italian Job, Yellow Submarine, The Pink Panther Strikes Again, A Clockwork Orange and The Young Indiana Jones Chronicles. He was a member of the Carry On Team appearing in two of the Carry on series of comedy films; Carry On Abroad, and Carry On Dick Clive was initiated into the Grand Order of Water Rats in 1988.
Career
Acting
Other film appearances include the Ealing Studios comedy The Magnet, credited as Clive Kendall. In the Beatles' animated film Yellow Submarine he provided the voice of John Lennon. His television appearances also included Robert's Robots, Rising Damp, The Dick Emery Show, The Perils of Pendragon, The Sweeney, Great Expectations and The History of Mr Polly. He appeared in the first Wednesday Play, Wear a Very Big Hat, broadcast by BBC 1 in 1964. Clive also featured in Lady Windermere's Fan, One Way Out and The Ten Percenters. He featured in a 1970s advert for Jacob's Coconut Cream Biscuits.
Author
In 1977, he co wrote the historical novel KG 200 with J.D. Gilman, a story about a secret Luftwaffe unit during the Second World War. This book was an international best-seller. The Last Liberator, followed in 1980 and was well received by literary critics. Barossa also achieved critical acclaim. Broken Wings was published in 1983 and matched the international success of KG 200. Other fictional titles written by Clive followed including Ark co-written with Nicholas Headin, in 1986 which also received good reviews and The Lions' Cage which was published in 1988.
Death
John Clive died after a short illness on 14 October 2012 in England aged 79.
Bibliography
Clive, John and Gilman J. D. KG 200: The Force with no Face. Simon and Schuster (1977). ISBN 978-0-671-22890-3
Clive, John. The Last Liberator. Hamlyn (1980). ISBN 0-600-20022-1
Clive, John. Barossa. Delacorte Press (1981). ISBN 0-440-00433-0
Clive, John. Broken Wings. Granada (1983). ISBN 978-0-586-05582-3
Clive, John and Head, Nicholas. Ark. Penguin (1986). ISBN 978-0-14-007727-8
Clive, John. The Lions Cage. Penguin (1988). ISBN 978-0-14-009289-9
Filmography
Feature films
Credits include:
Television
Credits include:
Other credits
DocumentariesHamlet: The Video (1992)
The Adventures of Young Indiana Jones: Espionage Escapades (2007)Appearances in deleted scenesCarry On Henry / US: Carry on Henry VIII (1971) "Plotter"
Notes
External links
John Clive at IMDb
John Clive at AllMovie
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"John Clive"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
place of birth
|
{
"answer_start": [
121
],
"text": [
"Croydon"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
occupation
|
{
"answer_start": [
57
],
"text": [
"singer"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Anthony Strong"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
family name
|
{
"answer_start": [
8
],
"text": [
"Strong"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
given name
|
{
"answer_start": [
0
],
"text": [
"Anthony"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
instrument
|
{
"answer_start": [
318
],
"text": [
"piano"
]
}
|
Anthony Strong (born 29 October 1984) is an English jazz singer, pianist, and songwriter.
Early life
Strong was born in Croydon, Surrey, England and educated at Whitgift School, the Royal Academy of Music, the Purcell School, and The Guildhall School of Music and Drama, where he received a bachelor's degree in jazz piano.
Career
During his final years as a music student, Strong worked as a sideman and session musician with Charlotte Church, Michael Bolton, Marti Pellow, and Jocelyn Brown, and appeared on television shows.
In 2009, Strong recorded his debut album, Guaranteed!, written with Guy Mathers and Jamie Pullen and featuring eight originals and a version of "I Won't Dance", with performances from singer Natalie Williams, vibraphonist Lewis Wright, and double bass player Tom Farmer of Empirical.
In 2011, he appeared on Friday Night Is Music Night with actors from the Royal Shakespeare Company and on BBC Radio 2's New Year's Eve special at the Savoy Ballroom, where he performed "Baby, It's Cold Outside" as a duet with Paloma Faith. He was the piano player for Adrien Brody in the 2011 Super Bowl commercial Stella Artois's "Crying Jean". Strong also took on an understudy role as Jerry Lee Lewis in the West End musical Million Dollar Quartet, during which time he released his second record, Delovely, a five-track EP of standards with one original by Strong and Mathers, "Going Nowhere". Strong and Mathers's songs are published as an occasional series in Areté.He is associated with the city of Paris, where he supported B.B. King at Le Grand Rex and played twelve shows at Le Duc des Lombards.In January 2013, it was announced that he had signed a recording contract with Parisian label Naïve Records, which released "Stepping Out" in 2013.
In 2015, he released his album On a Clear Day.
References
External links
Official site
|
languages spoken, written or signed
|
{
"answer_start": [
44
],
"text": [
"English"
]
}
|
Mordellistena conformis is a beetle in the genus Mordellistena of the family Mordellidae. It was described in 1883 by Smith.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Mordellistena"
]
}
|
Mordellistena conformis is a beetle in the genus Mordellistena of the family Mordellidae. It was described in 1883 by Smith.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Mordellistena conformis"
]
}
|
Hiroden-hatsukaichi is a Hiroden station on Hiroden Miyajima Line, located in Hatsukaichi, Hatsukaichi, Hiroshima.
Routes
From Hiroden-hatsukaichi Station, there is one of Hiroden Streetcar routes.
Hiroshima Station - Hiroden-miyajima-guchi Route
Connections
█ Miyajima Line
Sanyo-joshidai-mae — Hiroden-hatsukaichi — Hatsukaichi-shiyakusyo-mae (Hera)
Other services connections
JR lines
JR lines connections at JR Hatsukaichi Station
Around station
JR Hatsukaichi Station
Hiroden Hatsukaichi Transformer Substation
History
Opened as "Hatsukaichi-cho" on April 6, 1924.
Renamed to "Densya-hatsukaichi" on February 1, 1931.
Renamed to "Hiroden-hatsukaichi" on June 1, 1961.
Stopped the shuttle service during the morning rush hour since August 31, 1998.
Closed the station office on December 30, 2005.
See also
Hiroden Streetcar Lines and Routes
== References ==
|
connecting line
|
{
"answer_start": [
44
],
"text": [
"Hiroden Miyajima Line"
]
}
|
Hiroden-hatsukaichi is a Hiroden station on Hiroden Miyajima Line, located in Hatsukaichi, Hatsukaichi, Hiroshima.
Routes
From Hiroden-hatsukaichi Station, there is one of Hiroden Streetcar routes.
Hiroshima Station - Hiroden-miyajima-guchi Route
Connections
█ Miyajima Line
Sanyo-joshidai-mae — Hiroden-hatsukaichi — Hatsukaichi-shiyakusyo-mae (Hera)
Other services connections
JR lines
JR lines connections at JR Hatsukaichi Station
Around station
JR Hatsukaichi Station
Hiroden Hatsukaichi Transformer Substation
History
Opened as "Hatsukaichi-cho" on April 6, 1924.
Renamed to "Densya-hatsukaichi" on February 1, 1931.
Renamed to "Hiroden-hatsukaichi" on June 1, 1961.
Stopped the shuttle service during the morning rush hour since August 31, 1998.
Closed the station office on December 30, 2005.
See also
Hiroden Streetcar Lines and Routes
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
78
],
"text": [
"Hatsukaichi"
]
}
|
Hiroden-hatsukaichi is a Hiroden station on Hiroden Miyajima Line, located in Hatsukaichi, Hatsukaichi, Hiroshima.
Routes
From Hiroden-hatsukaichi Station, there is one of Hiroden Streetcar routes.
Hiroshima Station - Hiroden-miyajima-guchi Route
Connections
█ Miyajima Line
Sanyo-joshidai-mae — Hiroden-hatsukaichi — Hatsukaichi-shiyakusyo-mae (Hera)
Other services connections
JR lines
JR lines connections at JR Hatsukaichi Station
Around station
JR Hatsukaichi Station
Hiroden Hatsukaichi Transformer Substation
History
Opened as "Hatsukaichi-cho" on April 6, 1924.
Renamed to "Densya-hatsukaichi" on February 1, 1931.
Renamed to "Hiroden-hatsukaichi" on June 1, 1961.
Stopped the shuttle service during the morning rush hour since August 31, 1998.
Closed the station office on December 30, 2005.
See also
Hiroden Streetcar Lines and Routes
== References ==
|
Commons category
|
{
"answer_start": [
128
],
"text": [
"Hiroden-hatsukaichi Station"
]
}
|
Mohamed Abdel Monsef (Arabic: محمد عبد المنصف; born 6 February 1977) is an Egyptian professional footballer.
Career
Abdel Monsef started his career with Dina Farms, then he played for Zamalek for eleven years. Later on, he joined El Gouna, Al Ittihad, ENPPI and Wadi Degla. On 24 September 2020, he celebrated his 400th match in the Egyptian Premier League.
References
External links
Mohamed Abdel Monsef at National-Football-Teams.com
|
sex or gender
|
{
"answer_start": [
187
],
"text": [
"male"
]
}
|
Mohamed Abdel Monsef (Arabic: محمد عبد المنصف; born 6 February 1977) is an Egyptian professional footballer.
Career
Abdel Monsef started his career with Dina Farms, then he played for Zamalek for eleven years. Later on, he joined El Gouna, Al Ittihad, ENPPI and Wadi Degla. On 24 September 2020, he celebrated his 400th match in the Egyptian Premier League.
References
External links
Mohamed Abdel Monsef at National-Football-Teams.com
|
country of citizenship
|
{
"answer_start": [
75
],
"text": [
"Egypt"
]
}
|
Mohamed Abdel Monsef (Arabic: محمد عبد المنصف; born 6 February 1977) is an Egyptian professional footballer.
Career
Abdel Monsef started his career with Dina Farms, then he played for Zamalek for eleven years. Later on, he joined El Gouna, Al Ittihad, ENPPI and Wadi Degla. On 24 September 2020, he celebrated his 400th match in the Egyptian Premier League.
References
External links
Mohamed Abdel Monsef at National-Football-Teams.com
|
given name
|
{
"answer_start": [
0
],
"text": [
"Mohamed"
]
}
|
Mohamed Abdel Monsef (Arabic: محمد عبد المنصف; born 6 February 1977) is an Egyptian professional footballer.
Career
Abdel Monsef started his career with Dina Farms, then he played for Zamalek for eleven years. Later on, he joined El Gouna, Al Ittihad, ENPPI and Wadi Degla. On 24 September 2020, he celebrated his 400th match in the Egyptian Premier League.
References
External links
Mohamed Abdel Monsef at National-Football-Teams.com
|
languages spoken, written or signed
|
{
"answer_start": [
22
],
"text": [
"Arabic"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
taxon rank
|
{
"answer_start": [
22
],
"text": [
"family"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Cheiracanthiidae"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Cheiracanthiidae"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
taxonomic type
|
{
"answer_start": [
252
],
"text": [
"Cheiracanthium"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
taxon synonym
|
{
"answer_start": [
108
],
"text": [
"Eutichuridae"
]
}
|
Cheiracanthiidae is a family of araneomorph spiders first described by Vladimir Wagner in 1887. The synonym Eutichuridae was used for a long time, but Cheiracanthiidae has priority. The largest genus currently recognized as belonging to this family is Cheiracanthium, which has previously been placed in both the Clubionidae and the Miturgidae.
Taxonomy
It was recognized as a synonym of "Eutichuridae" in 2009, but was in danger of becoming obsolete until it was resurrected in 2011.The group was originally described as the subfamily Eutichurinae of the family Miturgidae by Pekka T. Lehtinen in 1967. The monophyly of the group is described as "reasonably uncontroversial", but it has been placed in either the Miturgidae or the Clubionidae. An analysis by Martín J. Ramírez in 2014 suggested that it was better considered as a separate family.
Genera
As of December 2021, the World Spider Catalog accepts the following genera:
== References ==
|
Australian Faunal Directory ID
|
{
"answer_start": [
0
],
"text": [
"Cheiracanthiidae"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
place of birth
|
{
"answer_start": [
153
],
"text": [
"Ferrara"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
country of citizenship
|
{
"answer_start": [
1717
],
"text": [
"Italy"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
occupation
|
{
"answer_start": [
964
],
"text": [
"writer"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
family name
|
{
"answer_start": [
6
],
"text": [
"Marani"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
given name
|
{
"answer_start": [
0
],
"text": [
"Diego"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
languages spoken, written or signed
|
{
"answer_start": [
31
],
"text": [
"Italian"
]
}
|
Diego Marani (born 1959) is an Italian novelist and European civil servant.
Biography
Born in Tresigallo, Marani attended the Liceo Ginnasio Ariosto in Ferrara till 1978 and graduated in interpretation and translation from the Scuola superiore di lingue moderne per traduttori e interpreti in Trieste in 1983. Upon graduation he worked as freelance interpreter and translation as well as freelance journalist for various local newspapers. Besides English and French, he later studied professionally Dutch, Finnish, Slovene and German languages.In 1985 Marani started working at the EU Council (DGT) as translator and revisor, a position he maintained until 2006, when he joined the European Commission's Directorate-General for Culture, and from 2010 the Directorate-General for Interpretation, working in particular on multilingualism policy, support to literary translation, lifelong learning and early language learning. In this period he also served as speechwriter for Leonard Orban, Manuel Barroso, Antonio Tajani, Androulla Vassiliou.
In 2014 he served as adviser to the Minister of Culture Dario Franceschini during the Italian Presidency of the EU Council. Since 2015 Marani works for the European External Action Service, coordinating cultural diplomacy initiatives.In 1996, while working as a translator for the Council of the European Union, he invented Europanto, a mock international auxiliary language. Marani has published different articles, short stories and video clips in Europanto.
Marani is also an essayist and novelist. His most famous novel, New Finnish Grammar (Nuova grammatica finlandese), has been translated into several languages and has received the Grinzane Cavour literary prize in Italy. His other novels include Las Adventures des Inspector Cabillot (1998, written in Europanto), L'ultimo dei Vostiach (Premio Campiello, Selezione Giurati) (The Last of the Vostiaks), L'interprete, Il compagno di scuola, and Enciclopedia tresigallese. As an essayist, Marani wrote A Trieste con Svevo and Come ho imparato le lingue. His book, La bicicletta incantata, was made into a movie by Elisabetta Sgarbi, editor in chief of Bompiani publishing house and art producer.
A more recent novel of Marani's, Il cane di Dio, was published 2012 and issued in English as God's Dog in that year as well. Lavorare manca was published in 2014.
Marani also regularly writes for the cultural page of the Italian daily Il Sole 24 Ore and is a blogger on eunews.it.
References
External links
Marani's European Commission Expolangues 2009 lecture (in French)
Cabillot und el Mysterio des Exotisches Pralinas (a short story by Diego Marani)
Further reading
Nicoletta Pireddu, "Scribes of a Transnational Europe: Travel, Translation, Borders." "The Translator" 12 (2), 2006: 345-69.
Nicoletta Pireddu, "Linguistic Transvestism and Transnational Identities in Diego Marani's _Nuova grammatica finlandese." Ed. Rossella Riccobono and Federica Pedriali. Ravenna: Longo, 2007: 31-41.
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Diego Marani"
]
}
|
DAAU (short for Die Anarchistische Abendunterhaltung) is a classical, jazz, experimental and multi-genre music group from Antwerp, Belgium. The band was founded in 1992 and borrowed its name from the novel Der Steppenwolf (1927) by Hermann Hesse.The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). Founding members Buni Lenski (violin) and Simon Lenski (cello) left the band in 2006 and 2013. In the course of DAAU's history, other musicians have joined the quartet for a limited period: Adrian Lenski (piano), Janek Kowalski (drums), Angélique Willkie (vocals), Fré Madou (upright bass) and Geert Budts (drums). On record, the band also collaborated with An Pierlé, Ya Kid K (Technotronic) and David Bovée (Think of One).
Career
In 1994 they debuted with their acoustic self-titled album on the label Jack&Johnny, which also released the first material by Zita Swoon (back then called A Beatband) and dEUS. For dEUS, DAAU also recorded a version of the cult-hit "Suds & Soda".
In 1996 Sony Classical signed the band, re-released the debut album, and released the follow-up We Need New Animals (1998). The album was recorded in the Spanish village Ronda and introduced vocals, electronics, drums and guitar to the sound of DAAU. The band was invited to support 16 Horsepower on tour in Europe. The record sold very few copies and Sony decided to shift the group to Columbia Records, which released their third album Life Transmission (2001) before sacking the group later that year. Even though record sales were once again below expectations, the group scored some small radio-hits and toured extensively in the Benelux and played for large crowds at Rock Werchter and Pukkelpop festivals.
In 2002 the band set up a record label of their own, titled Radical Duke, and released an EP of music they composed for a dance play Richard of York Gave Battle in Vain, also known as Colours. Later a compilation of outtakes and alternative versions was released, titled Ghost Tracks.
Two years later the group returned to the acoustic approach of its early days and released their fourth record Tub Gurnard Goodness, including a cover of Radiohead's "2+2=5". On tour, DAAU expanded itself to a sextet with a new rhythm section. Tub Gurnard Goodness was released in Europe and the group played many concerts in Germany, Czech Republic and in France with electro dub crew Ez3kiel. In Hungary they were present at the Sziget festival, in Denmark at Roskilde Festival.
In 2006 the band released their first record as a sextet, Domestic Wildlife. Shortly after, bass player Fré Madou decided to leave the band. In 2010 the band released The Shepherd's Dream, now as a quartet.
In 2011 Simon Lenski composed and recorded the soundtrack for the short movie Motor by Dutch movie maker Simone Bennett. For this musical piece a special electric twelve string violin was built for him by experimental luthier Yuri Landman. For their work in Last Winter, they received a Magritte Award nomination in the category of Best Original Score.
Line-up
Buni Lenski (violin) (1992–2006)
Simon Lenski (cello) (1992–2013)
Han Stubbe (clarinet) (1992–present)
Roel Van Camp (accordion) (1992–present)
Adrian Lenski (piano) (2001–2002)
Janek Kowalski (drums) (2001–2002)
Geert Budts (drums) (2004–2006)
Fré Madou (upright bass) (2004–2006)
Hannes D'Hoine (upright bass) (2006–present)
Jeroen Stevens (drums) (2013–present)
Discography
Die Anarchistische Abendunterhaltung (1995)
We Need New Animals (1997)
Life Transmission (2001)
Richard of York Gave Battle in Vain (2002)
Ghost Tracks (2004)
Tub Gurnard Goodness (2004)
Domestic Wildlife (2006)
The Shepherd's Dream (2010)
Eight Definitions (2013)
Hineininterpretierung (2017)
Side-projects
Simon Lenski with Bo Wiget
Bear Guts Quartet
Donkey Diesel
Kiss My Jazz
References
External links
Official website
|
country
|
{
"answer_start": [
131
],
"text": [
"Belgium"
]
}
|
DAAU (short for Die Anarchistische Abendunterhaltung) is a classical, jazz, experimental and multi-genre music group from Antwerp, Belgium. The band was founded in 1992 and borrowed its name from the novel Der Steppenwolf (1927) by Hermann Hesse.The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). Founding members Buni Lenski (violin) and Simon Lenski (cello) left the band in 2006 and 2013. In the course of DAAU's history, other musicians have joined the quartet for a limited period: Adrian Lenski (piano), Janek Kowalski (drums), Angélique Willkie (vocals), Fré Madou (upright bass) and Geert Budts (drums). On record, the band also collaborated with An Pierlé, Ya Kid K (Technotronic) and David Bovée (Think of One).
Career
In 1994 they debuted with their acoustic self-titled album on the label Jack&Johnny, which also released the first material by Zita Swoon (back then called A Beatband) and dEUS. For dEUS, DAAU also recorded a version of the cult-hit "Suds & Soda".
In 1996 Sony Classical signed the band, re-released the debut album, and released the follow-up We Need New Animals (1998). The album was recorded in the Spanish village Ronda and introduced vocals, electronics, drums and guitar to the sound of DAAU. The band was invited to support 16 Horsepower on tour in Europe. The record sold very few copies and Sony decided to shift the group to Columbia Records, which released their third album Life Transmission (2001) before sacking the group later that year. Even though record sales were once again below expectations, the group scored some small radio-hits and toured extensively in the Benelux and played for large crowds at Rock Werchter and Pukkelpop festivals.
In 2002 the band set up a record label of their own, titled Radical Duke, and released an EP of music they composed for a dance play Richard of York Gave Battle in Vain, also known as Colours. Later a compilation of outtakes and alternative versions was released, titled Ghost Tracks.
Two years later the group returned to the acoustic approach of its early days and released their fourth record Tub Gurnard Goodness, including a cover of Radiohead's "2+2=5". On tour, DAAU expanded itself to a sextet with a new rhythm section. Tub Gurnard Goodness was released in Europe and the group played many concerts in Germany, Czech Republic and in France with electro dub crew Ez3kiel. In Hungary they were present at the Sziget festival, in Denmark at Roskilde Festival.
In 2006 the band released their first record as a sextet, Domestic Wildlife. Shortly after, bass player Fré Madou decided to leave the band. In 2010 the band released The Shepherd's Dream, now as a quartet.
In 2011 Simon Lenski composed and recorded the soundtrack for the short movie Motor by Dutch movie maker Simone Bennett. For this musical piece a special electric twelve string violin was built for him by experimental luthier Yuri Landman. For their work in Last Winter, they received a Magritte Award nomination in the category of Best Original Score.
Line-up
Buni Lenski (violin) (1992–2006)
Simon Lenski (cello) (1992–2013)
Han Stubbe (clarinet) (1992–present)
Roel Van Camp (accordion) (1992–present)
Adrian Lenski (piano) (2001–2002)
Janek Kowalski (drums) (2001–2002)
Geert Budts (drums) (2004–2006)
Fré Madou (upright bass) (2004–2006)
Hannes D'Hoine (upright bass) (2006–present)
Jeroen Stevens (drums) (2013–present)
Discography
Die Anarchistische Abendunterhaltung (1995)
We Need New Animals (1997)
Life Transmission (2001)
Richard of York Gave Battle in Vain (2002)
Ghost Tracks (2004)
Tub Gurnard Goodness (2004)
Domestic Wildlife (2006)
The Shepherd's Dream (2010)
Eight Definitions (2013)
Hineininterpretierung (2017)
Side-projects
Simon Lenski with Bo Wiget
Bear Guts Quartet
Donkey Diesel
Kiss My Jazz
References
External links
Official website
|
located in the administrative territorial entity
|
{
"answer_start": [
122
],
"text": [
"Antwerp"
]
}
|
DAAU (short for Die Anarchistische Abendunterhaltung) is a classical, jazz, experimental and multi-genre music group from Antwerp, Belgium. The band was founded in 1992 and borrowed its name from the novel Der Steppenwolf (1927) by Hermann Hesse.The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). Founding members Buni Lenski (violin) and Simon Lenski (cello) left the band in 2006 and 2013. In the course of DAAU's history, other musicians have joined the quartet for a limited period: Adrian Lenski (piano), Janek Kowalski (drums), Angélique Willkie (vocals), Fré Madou (upright bass) and Geert Budts (drums). On record, the band also collaborated with An Pierlé, Ya Kid K (Technotronic) and David Bovée (Think of One).
Career
In 1994 they debuted with their acoustic self-titled album on the label Jack&Johnny, which also released the first material by Zita Swoon (back then called A Beatband) and dEUS. For dEUS, DAAU also recorded a version of the cult-hit "Suds & Soda".
In 1996 Sony Classical signed the band, re-released the debut album, and released the follow-up We Need New Animals (1998). The album was recorded in the Spanish village Ronda and introduced vocals, electronics, drums and guitar to the sound of DAAU. The band was invited to support 16 Horsepower on tour in Europe. The record sold very few copies and Sony decided to shift the group to Columbia Records, which released their third album Life Transmission (2001) before sacking the group later that year. Even though record sales were once again below expectations, the group scored some small radio-hits and toured extensively in the Benelux and played for large crowds at Rock Werchter and Pukkelpop festivals.
In 2002 the band set up a record label of their own, titled Radical Duke, and released an EP of music they composed for a dance play Richard of York Gave Battle in Vain, also known as Colours. Later a compilation of outtakes and alternative versions was released, titled Ghost Tracks.
Two years later the group returned to the acoustic approach of its early days and released their fourth record Tub Gurnard Goodness, including a cover of Radiohead's "2+2=5". On tour, DAAU expanded itself to a sextet with a new rhythm section. Tub Gurnard Goodness was released in Europe and the group played many concerts in Germany, Czech Republic and in France with electro dub crew Ez3kiel. In Hungary they were present at the Sziget festival, in Denmark at Roskilde Festival.
In 2006 the band released their first record as a sextet, Domestic Wildlife. Shortly after, bass player Fré Madou decided to leave the band. In 2010 the band released The Shepherd's Dream, now as a quartet.
In 2011 Simon Lenski composed and recorded the soundtrack for the short movie Motor by Dutch movie maker Simone Bennett. For this musical piece a special electric twelve string violin was built for him by experimental luthier Yuri Landman. For their work in Last Winter, they received a Magritte Award nomination in the category of Best Original Score.
Line-up
Buni Lenski (violin) (1992–2006)
Simon Lenski (cello) (1992–2013)
Han Stubbe (clarinet) (1992–present)
Roel Van Camp (accordion) (1992–present)
Adrian Lenski (piano) (2001–2002)
Janek Kowalski (drums) (2001–2002)
Geert Budts (drums) (2004–2006)
Fré Madou (upright bass) (2004–2006)
Hannes D'Hoine (upright bass) (2006–present)
Jeroen Stevens (drums) (2013–present)
Discography
Die Anarchistische Abendunterhaltung (1995)
We Need New Animals (1997)
Life Transmission (2001)
Richard of York Gave Battle in Vain (2002)
Ghost Tracks (2004)
Tub Gurnard Goodness (2004)
Domestic Wildlife (2006)
The Shepherd's Dream (2010)
Eight Definitions (2013)
Hineininterpretierung (2017)
Side-projects
Simon Lenski with Bo Wiget
Bear Guts Quartet
Donkey Diesel
Kiss My Jazz
References
External links
Official website
|
country of origin
|
{
"answer_start": [
131
],
"text": [
"Belgium"
]
}
|
DAAU (short for Die Anarchistische Abendunterhaltung) is a classical, jazz, experimental and multi-genre music group from Antwerp, Belgium. The band was founded in 1992 and borrowed its name from the novel Der Steppenwolf (1927) by Hermann Hesse.The current line-up consists of Roel Van Camp (accordion), Han Stubbe (clarinet), Hannes D'Hoine (upright bass) and Jeroen Stevens (drums, marimba). Founding members Buni Lenski (violin) and Simon Lenski (cello) left the band in 2006 and 2013. In the course of DAAU's history, other musicians have joined the quartet for a limited period: Adrian Lenski (piano), Janek Kowalski (drums), Angélique Willkie (vocals), Fré Madou (upright bass) and Geert Budts (drums). On record, the band also collaborated with An Pierlé, Ya Kid K (Technotronic) and David Bovée (Think of One).
Career
In 1994 they debuted with their acoustic self-titled album on the label Jack&Johnny, which also released the first material by Zita Swoon (back then called A Beatband) and dEUS. For dEUS, DAAU also recorded a version of the cult-hit "Suds & Soda".
In 1996 Sony Classical signed the band, re-released the debut album, and released the follow-up We Need New Animals (1998). The album was recorded in the Spanish village Ronda and introduced vocals, electronics, drums and guitar to the sound of DAAU. The band was invited to support 16 Horsepower on tour in Europe. The record sold very few copies and Sony decided to shift the group to Columbia Records, which released their third album Life Transmission (2001) before sacking the group later that year. Even though record sales were once again below expectations, the group scored some small radio-hits and toured extensively in the Benelux and played for large crowds at Rock Werchter and Pukkelpop festivals.
In 2002 the band set up a record label of their own, titled Radical Duke, and released an EP of music they composed for a dance play Richard of York Gave Battle in Vain, also known as Colours. Later a compilation of outtakes and alternative versions was released, titled Ghost Tracks.
Two years later the group returned to the acoustic approach of its early days and released their fourth record Tub Gurnard Goodness, including a cover of Radiohead's "2+2=5". On tour, DAAU expanded itself to a sextet with a new rhythm section. Tub Gurnard Goodness was released in Europe and the group played many concerts in Germany, Czech Republic and in France with electro dub crew Ez3kiel. In Hungary they were present at the Sziget festival, in Denmark at Roskilde Festival.
In 2006 the band released their first record as a sextet, Domestic Wildlife. Shortly after, bass player Fré Madou decided to leave the band. In 2010 the band released The Shepherd's Dream, now as a quartet.
In 2011 Simon Lenski composed and recorded the soundtrack for the short movie Motor by Dutch movie maker Simone Bennett. For this musical piece a special electric twelve string violin was built for him by experimental luthier Yuri Landman. For their work in Last Winter, they received a Magritte Award nomination in the category of Best Original Score.
Line-up
Buni Lenski (violin) (1992–2006)
Simon Lenski (cello) (1992–2013)
Han Stubbe (clarinet) (1992–present)
Roel Van Camp (accordion) (1992–present)
Adrian Lenski (piano) (2001–2002)
Janek Kowalski (drums) (2001–2002)
Geert Budts (drums) (2004–2006)
Fré Madou (upright bass) (2004–2006)
Hannes D'Hoine (upright bass) (2006–present)
Jeroen Stevens (drums) (2013–present)
Discography
Die Anarchistische Abendunterhaltung (1995)
We Need New Animals (1997)
Life Transmission (2001)
Richard of York Gave Battle in Vain (2002)
Ghost Tracks (2004)
Tub Gurnard Goodness (2004)
Domestic Wildlife (2006)
The Shepherd's Dream (2010)
Eight Definitions (2013)
Hineininterpretierung (2017)
Side-projects
Simon Lenski with Bo Wiget
Bear Guts Quartet
Donkey Diesel
Kiss My Jazz
References
External links
Official website
|
Last.fm ID
|
{
"answer_start": [
0
],
"text": [
"DAAU"
]
}
|
The 1979 Petatlán earthquake, also known as the IBERO earthquake occurred on March 14 at 05:07 local time in the Mexican state of Guerrero. The earthquake had a surface wave magnitude of Ms 7.6 or moment magnitude of Mw 7.4 and maximum Modified Mercalli intensity of VIII (Severe). The epicenter, onshore, was located 12 km south southeast of Vallecitos de Zaragoza.With a shallow hypocenter depth of 18.5 km, the earthquake caused extensive and widespread damage in Guerrero, including the near total destruction of campus buildings at Universidad Iberoamericana in Mexico City. Five people died and 35 others were injured due to the earthquake. The earthquake was felt in the states of Jalisco, Guerrero and Puebla, where damage was reported.
Tectonic setting
Mexico is one of the most seismically active regions in the world; located at the boundary of at least three tectonic plates. The west coast of Mexico lies at a convergent plate boundary between the Cocos Plate and North American Plate. The Cocos Plate consisting of denser oceanic lithosphere, subducts beneath the less dense continental crust of the North American Plate. Most of the Mexican landmass is situated on the North American plate moving westward. Because the oceanic crust is relatively dense, when the bottom of the Pacific Ocean meets the lighter continental crust of the Mexican landmass, the ocean floor subducts beneath the North American plate creating the Middle America Trench along the southern coast of Mexico. Occasionally, the contact interface or subduction zone megathrust release elastic strain during earthquakes. Large and sudden uplift of the seafloor can produce large tsunamis when such earthquakes occur.
Earthquake
The earthquake occurred as a result of thrust faulting due to a rupture on the subduction zone near the west coast of Mexico. The Ms 7.6 earthquake was the largest subduction zone thrust event in the region since 1943. The quake partially ruptured the Guerrero gap; a seismic gap on the subduction one that is capable of an earthquake of magnitude 8.0 or greater. Modelling of the finite fault suggest a rupture patch measuring 120 km by 120 km on the megathrust, involving two asperities. Slip on the megathrust occurred at depths ranging between 3–25 km. Inversion of P wave data revealed a limited area where the slip was 0.7 meters, while the peak slip was 1.19 meters. The rupture zone of the 1979 earthquake is located immediately southeast of that of the 1985 Mexico City earthquake. Another magnitude 7.6 quake, the aftershock of the 1985 quake, ruptured the shallow section of the megathrust, up-dip of the 1979 quake.
Tsunami
A weak tsunami with a maximum height of 1.3 meters was generated. The tsunami was also recorded on ocean bottom tide gauges in the Pacific Ocean near the epicenter of the quake.
Impact
Substantial damage was reported in the Mexico City. The earthquake severely damaged and collapsed two buildings in the Ibero-American University compound. Nine structures suffered serious damage and 25 had significant damage. Despite the collapse, there were no casualties as it did not occur during school hours. In total, 90% of structures in the university was affected by the tremor. At the time of the quake, an estimated 7,200 students were enrolled in the university. Scheduled lessons resumed on 22 March 1979 at the National Polytechnic Institute College of Engineering and Physical-Mathematic Sciences, which was undamaged. Water supply was disrupted by the earthquake, which left many residents without access to water for 48 hours. A total of 600 structures, including homes, cinemas, and other public infrastructures were damaged in the city.The earthquake had a maximum Mercalli intensity of VIII (Severe) recorded in Chilpancingo. The city suffered significant damage in the downtown area. A seven-story reinforced concrete building was demolished due to the severe damage it sustained during the quake. In Petatlán, Guerrero, the earthquake destroyed some adobe styled homes.
See also
List of earthquakes in 1979
List of earthquakes in Mexico
References
Further reading
"Some lessons from the March 14, 1979 earthquake in Mexico City. Proceedings of 7th world conference on earthquake engineering (part 1)" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
"RESPONSE OF TWO REINFORCED CONCRETE. BUILDINGS IN MEXICO CITY DURING THE. PETATLAN EARTHQUAKE OF MARCH 14, 1979" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
|
country
|
{
"answer_start": [
569
],
"text": [
"Mexico"
]
}
|
The 1979 Petatlán earthquake, also known as the IBERO earthquake occurred on March 14 at 05:07 local time in the Mexican state of Guerrero. The earthquake had a surface wave magnitude of Ms 7.6 or moment magnitude of Mw 7.4 and maximum Modified Mercalli intensity of VIII (Severe). The epicenter, onshore, was located 12 km south southeast of Vallecitos de Zaragoza.With a shallow hypocenter depth of 18.5 km, the earthquake caused extensive and widespread damage in Guerrero, including the near total destruction of campus buildings at Universidad Iberoamericana in Mexico City. Five people died and 35 others were injured due to the earthquake. The earthquake was felt in the states of Jalisco, Guerrero and Puebla, where damage was reported.
Tectonic setting
Mexico is one of the most seismically active regions in the world; located at the boundary of at least three tectonic plates. The west coast of Mexico lies at a convergent plate boundary between the Cocos Plate and North American Plate. The Cocos Plate consisting of denser oceanic lithosphere, subducts beneath the less dense continental crust of the North American Plate. Most of the Mexican landmass is situated on the North American plate moving westward. Because the oceanic crust is relatively dense, when the bottom of the Pacific Ocean meets the lighter continental crust of the Mexican landmass, the ocean floor subducts beneath the North American plate creating the Middle America Trench along the southern coast of Mexico. Occasionally, the contact interface or subduction zone megathrust release elastic strain during earthquakes. Large and sudden uplift of the seafloor can produce large tsunamis when such earthquakes occur.
Earthquake
The earthquake occurred as a result of thrust faulting due to a rupture on the subduction zone near the west coast of Mexico. The Ms 7.6 earthquake was the largest subduction zone thrust event in the region since 1943. The quake partially ruptured the Guerrero gap; a seismic gap on the subduction one that is capable of an earthquake of magnitude 8.0 or greater. Modelling of the finite fault suggest a rupture patch measuring 120 km by 120 km on the megathrust, involving two asperities. Slip on the megathrust occurred at depths ranging between 3–25 km. Inversion of P wave data revealed a limited area where the slip was 0.7 meters, while the peak slip was 1.19 meters. The rupture zone of the 1979 earthquake is located immediately southeast of that of the 1985 Mexico City earthquake. Another magnitude 7.6 quake, the aftershock of the 1985 quake, ruptured the shallow section of the megathrust, up-dip of the 1979 quake.
Tsunami
A weak tsunami with a maximum height of 1.3 meters was generated. The tsunami was also recorded on ocean bottom tide gauges in the Pacific Ocean near the epicenter of the quake.
Impact
Substantial damage was reported in the Mexico City. The earthquake severely damaged and collapsed two buildings in the Ibero-American University compound. Nine structures suffered serious damage and 25 had significant damage. Despite the collapse, there were no casualties as it did not occur during school hours. In total, 90% of structures in the university was affected by the tremor. At the time of the quake, an estimated 7,200 students were enrolled in the university. Scheduled lessons resumed on 22 March 1979 at the National Polytechnic Institute College of Engineering and Physical-Mathematic Sciences, which was undamaged. Water supply was disrupted by the earthquake, which left many residents without access to water for 48 hours. A total of 600 structures, including homes, cinemas, and other public infrastructures were damaged in the city.The earthquake had a maximum Mercalli intensity of VIII (Severe) recorded in Chilpancingo. The city suffered significant damage in the downtown area. A seven-story reinforced concrete building was demolished due to the severe damage it sustained during the quake. In Petatlán, Guerrero, the earthquake destroyed some adobe styled homes.
See also
List of earthquakes in 1979
List of earthquakes in Mexico
References
Further reading
"Some lessons from the March 14, 1979 earthquake in Mexico City. Proceedings of 7th world conference on earthquake engineering (part 1)" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
"RESPONSE OF TWO REINFORCED CONCRETE. BUILDINGS IN MEXICO CITY DURING THE. PETATLAN EARTHQUAKE OF MARCH 14, 1979" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
|
instance of
|
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The 1979 Petatlán earthquake, also known as the IBERO earthquake occurred on March 14 at 05:07 local time in the Mexican state of Guerrero. The earthquake had a surface wave magnitude of Ms 7.6 or moment magnitude of Mw 7.4 and maximum Modified Mercalli intensity of VIII (Severe). The epicenter, onshore, was located 12 km south southeast of Vallecitos de Zaragoza.With a shallow hypocenter depth of 18.5 km, the earthquake caused extensive and widespread damage in Guerrero, including the near total destruction of campus buildings at Universidad Iberoamericana in Mexico City. Five people died and 35 others were injured due to the earthquake. The earthquake was felt in the states of Jalisco, Guerrero and Puebla, where damage was reported.
Tectonic setting
Mexico is one of the most seismically active regions in the world; located at the boundary of at least three tectonic plates. The west coast of Mexico lies at a convergent plate boundary between the Cocos Plate and North American Plate. The Cocos Plate consisting of denser oceanic lithosphere, subducts beneath the less dense continental crust of the North American Plate. Most of the Mexican landmass is situated on the North American plate moving westward. Because the oceanic crust is relatively dense, when the bottom of the Pacific Ocean meets the lighter continental crust of the Mexican landmass, the ocean floor subducts beneath the North American plate creating the Middle America Trench along the southern coast of Mexico. Occasionally, the contact interface or subduction zone megathrust release elastic strain during earthquakes. Large and sudden uplift of the seafloor can produce large tsunamis when such earthquakes occur.
Earthquake
The earthquake occurred as a result of thrust faulting due to a rupture on the subduction zone near the west coast of Mexico. The Ms 7.6 earthquake was the largest subduction zone thrust event in the region since 1943. The quake partially ruptured the Guerrero gap; a seismic gap on the subduction one that is capable of an earthquake of magnitude 8.0 or greater. Modelling of the finite fault suggest a rupture patch measuring 120 km by 120 km on the megathrust, involving two asperities. Slip on the megathrust occurred at depths ranging between 3–25 km. Inversion of P wave data revealed a limited area where the slip was 0.7 meters, while the peak slip was 1.19 meters. The rupture zone of the 1979 earthquake is located immediately southeast of that of the 1985 Mexico City earthquake. Another magnitude 7.6 quake, the aftershock of the 1985 quake, ruptured the shallow section of the megathrust, up-dip of the 1979 quake.
Tsunami
A weak tsunami with a maximum height of 1.3 meters was generated. The tsunami was also recorded on ocean bottom tide gauges in the Pacific Ocean near the epicenter of the quake.
Impact
Substantial damage was reported in the Mexico City. The earthquake severely damaged and collapsed two buildings in the Ibero-American University compound. Nine structures suffered serious damage and 25 had significant damage. Despite the collapse, there were no casualties as it did not occur during school hours. In total, 90% of structures in the university was affected by the tremor. At the time of the quake, an estimated 7,200 students were enrolled in the university. Scheduled lessons resumed on 22 March 1979 at the National Polytechnic Institute College of Engineering and Physical-Mathematic Sciences, which was undamaged. Water supply was disrupted by the earthquake, which left many residents without access to water for 48 hours. A total of 600 structures, including homes, cinemas, and other public infrastructures were damaged in the city.The earthquake had a maximum Mercalli intensity of VIII (Severe) recorded in Chilpancingo. The city suffered significant damage in the downtown area. A seven-story reinforced concrete building was demolished due to the severe damage it sustained during the quake. In Petatlán, Guerrero, the earthquake destroyed some adobe styled homes.
See also
List of earthquakes in 1979
List of earthquakes in Mexico
References
Further reading
"Some lessons from the March 14, 1979 earthquake in Mexico City. Proceedings of 7th world conference on earthquake engineering (part 1)" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
"RESPONSE OF TWO REINFORCED CONCRETE. BUILDINGS IN MEXICO CITY DURING THE. PETATLAN EARTHQUAKE OF MARCH 14, 1979" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
|
earthquake magnitude on the Richter magnitude scale
|
{
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In mathematics, in the areas of order theory and combinatorics, Dilworth's theorem characterizes the width of any finite partially ordered set in terms of a partition of the order into a minimum number of chains. It is named for the mathematician Robert P. Dilworth (1950).
An antichain in a partially ordered set is a set of elements no two of which are comparable to each other, and a chain is a set of elements every two of which are comparable. A chain decomposition is a partition of the elements of the order into disjoint chains. Dilworth's theorem states that, in any finite partially ordered set, the largest antichain has the same size as the smallest chain decomposition. Here, the size of the antichain is its number of elements, and the size of the chain decomposition is its number of chains. The width of the partial order is defined as the common size of the antichain and chain decomposition.
A version of the theorem for infinite partially ordered sets states that, when there exists a decomposition into finitely many chains, or when there exists a finite upper bound on the size of an antichain, the sizes of the largest antichain and of the smallest chain decomposition are again equal.
Inductive proof
The following proof by induction on the size of the partially ordered set
P
{\displaystyle P}
is based on that of Galvin (1994).
Let
P
{\displaystyle P}
be a finite partially ordered set. The theorem holds trivially if
P
{\displaystyle P}
is empty. So, assume that
P
{\displaystyle P}
has at least one element, and let
a
{\displaystyle a}
be a maximal element of
P
{\displaystyle P}
.
By induction, we assume that for some integer
k
{\displaystyle k}
the partially ordered set
P
′
:=
P
∖
{
a
}
{\displaystyle P':=P\setminus \{a\}}
can be covered by
k
{\displaystyle k}
disjoint chains
C
1
,
…
,
C
k
{\displaystyle C_{1},\dots ,C_{k}}
and has at least one antichain
A
0
{\displaystyle A_{0}}
of size
k
{\displaystyle k}
. Clearly,
A
0
∩
C
i
≠
∅
{\displaystyle A_{0}\cap C_{i}\neq \emptyset }
for
i
=
1
,
2
,
…
,
k
{\displaystyle i=1,2,\dots ,k}
. For
i
=
1
,
2
,
…
,
k
{\displaystyle i=1,2,\dots ,k}
, let
x
i
{\displaystyle x_{i}}
be the maximal element in
C
i
{\displaystyle C_{i}}
that belongs to an antichain of size
k
{\displaystyle k}
in
P
′
{\displaystyle P'}
, and set
A
:=
{
x
1
,
x
2
,
…
,
x
k
}
{\displaystyle A:=\{x_{1},x_{2},\dots ,x_{k}\}}
.
We claim that
A
{\displaystyle A}
is an antichain.
Let
A
i
{\displaystyle A_{i}}
be an antichain of size
k
{\displaystyle k}
that contains
x
i
{\displaystyle x_{i}}
. Fix arbitrary distinct indices
i
{\displaystyle i}
and
j
{\displaystyle j}
. Then
A
i
∩
C
j
≠
∅
{\displaystyle A_{i}\cap C_{j}\neq \emptyset }
. Let
y
∈
A
i
∩
C
j
{\displaystyle y\in A_{i}\cap C_{j}}
. Then
y
≤
x
j
{\displaystyle y\leq x_{j}}
, by the definition of
x
j
{\displaystyle x_{j}}
. This implies that
x
i
≱
x
j
{\displaystyle x_{i}\not \geq x_{j}}
, since
x
i
≱
y
{\displaystyle x_{i}\not \geq y}
. By interchanging the roles of
i
{\displaystyle i}
and
j
{\displaystyle j}
in this argument we also have
x
j
≱
x
i
{\displaystyle x_{j}\not \geq x_{i}}
. This verifies that
A
{\displaystyle A}
is an antichain.
We now return to
P
{\displaystyle P}
. Suppose first that
a
≥
x
i
{\displaystyle a\geq x_{i}}
for some
i
∈
{
1
,
2
,
…
,
k
}
{\displaystyle i\in \{1,2,\dots ,k\}}
. Let
K
{\displaystyle K}
be the chain
{
a
}
∪
{
z
∈
C
i
:
z
≤
x
i
}
{\displaystyle \{a\}\cup \{z\in C_{i}:z\leq x_{i}\}}
. Then by the choice of
x
i
{\displaystyle x_{i}}
,
P
∖
K
{\displaystyle P\setminus K}
does not have an antichain of size
k
{\displaystyle k}
. Induction then implies that
P
∖
K
{\displaystyle P\setminus K}
can be covered by
k
−
1
{\displaystyle k-1}
disjoint chains since
A
∖
{
x
i
}
{\displaystyle A\setminus \{x_{i}\}}
is an antichain of size
k
−
1
{\displaystyle k-1}
in
P
∖
K
{\displaystyle P\setminus K}
.
Thus,
P
{\displaystyle P}
can be covered by
k
{\displaystyle k}
disjoint chains, as required. Next, if
a
≱
x
i
{\displaystyle a\not \geq x_{i}}
for each
i
∈
{
1
,
2
,
…
,
k
}
{\displaystyle i\in \{1,2,\dots ,k\}}
, then
A
∪
{
a
}
{\displaystyle A\cup \{a\}}
is an antichain of size
k
+
1
{\displaystyle k+1}
in
P
{\displaystyle P}
(since
a
{\displaystyle a}
is maximal in
P
{\displaystyle P}
). Now
P
{\displaystyle P}
can be covered by the
k
+
1
{\displaystyle k+1}
chains
{
a
}
,
C
1
,
C
2
,
…
,
C
k
{\displaystyle \{a\},C_{1},C_{2},\dots ,C_{k}}
, completing the proof.
Proof via Kőnig's theorem
Like a number of other results in combinatorics, Dilworth's theorem is equivalent to Kőnig's theorem on bipartite graph matching and several other related theorems including Hall's marriage theorem (Fulkerson 1956).
To prove Dilworth's theorem for a partial order S with n elements, using Kőnig's theorem, define a bipartite graph G = (U,V,E) where U = V = S and where (u,v) is an edge in G when u < v in S. By Kőnig's theorem, there exists a matching M in G, and a set of vertices C in G, such that each edge in the graph contains at least one vertex in C and such that M and C have the same cardinality m. Let A be the set of elements of S that do not correspond to any vertex in C; then A has at least n - m elements (possibly more if C contains vertices corresponding to the same element on both sides of the bipartition) and no two elements of A are comparable to each other. Let P be a family of chains formed by including x and y in the same chain whenever there is an edge (x,y) in M; then P has n - m chains. Therefore, we have constructed an antichain and a partition into chains with the same cardinality.
To prove Kőnig's theorem from Dilworth's theorem, for a bipartite graph G = (U,V,E), form a partial order on the vertices of G in which u < v exactly when u is in U, v is in V, and there exists an edge in E from u to v. By Dilworth's theorem, there exists an antichain A and a partition into chains P both of which have the same size. But the only nontrivial chains in the partial order are pairs of elements corresponding to the edges in the graph, so the nontrivial chains in P form a matching in the graph. The complement of A forms a vertex cover in G with the same cardinality as this matching.
This connection to bipartite matching allows the width of any partial order to be computed in polynomial time. More precisely, n-element partial orders of width k can be recognized in time O(kn2) (Felsner, Raghavan & Spinrad 2003).
Extension to infinite partially ordered sets
Dilworth's theorem for infinite partially ordered sets states that a partially ordered set has finite width w if and only if it may be partitioned into w chains. For, suppose that an infinite partial order P has width w, meaning that there are at most a finite number w of elements in any antichain. For any subset S of P, a decomposition into w chains (if it exists) may be described as a coloring of the incomparability graph of S (a graph that has the elements of S as vertices, with an edge between every two incomparable elements) using w colors; every color class in a proper coloring of the incomparability graph must be a chain. By the assumption that P has width w, and by the finite version of Dilworth's theorem, every finite subset S of P has a w-colorable incomparability graph. Therefore, by the De Bruijn–Erdős theorem, P itself also has a w-colorable incomparability graph, and thus has the desired partition into chains (Harzheim 2005).
However, the theorem does not extend so simply to partially ordered sets in which the width, and not just the cardinality of the set, is infinite. In this case the size of the largest antichain and the minimum number of chains needed to cover the partial order may be very different from each other. In particular, for every infinite cardinal number κ there is an infinite partially ordered set of width ℵ0 whose partition into the fewest chains has κ chains (Harzheim 2005).
Perles (1963) discusses analogues of Dilworth's theorem in the infinite setting.
Dual of Dilworth's theorem (Mirsky's theorem)
A dual of Dilworth's theorem states that the size of the largest chain in a partial order (if finite) equals the smallest number of antichains into which the order may be partitioned (Mirsky 1971). The proof of this is much simpler than the proof of Dilworth's theorem itself: for any element x, consider the chains that have x as their largest element, and let N(x) denote the size of the largest of these x-maximal chains. Then each set N−1(i), consisting of elements that have equal values of N, is an antichain, and these antichains partition the partial order into a number of antichains equal to the size of the largest chain.
Perfection of comparability graphs
A comparability graph is an undirected graph formed from a partial order by creating a vertex per element of the order, and an edge connecting any two comparable elements. Thus, a clique in a comparability graph corresponds to a chain, and an independent set in a comparability graph corresponds to an antichain. Any induced subgraph of a comparability graph is itself a comparability graph, formed from the restriction of the partial order to a subset of its elements.
An undirected graph is perfect if, in every induced subgraph, the chromatic number equals the size of the largest clique. Every comparability graph is perfect: this is essentially just Mirsky's theorem, restated in graph-theoretic terms (Berge & Chvátal 1984). By the perfect graph theorem of Lovász (1972), the complement of any perfect graph is also perfect. Therefore, the complement of any comparability graph is perfect; this is essentially just Dilworth's theorem itself, restated in graph-theoretic terms (Berge & Chvátal 1984). Thus, the complementation property of perfect graphs can provide an alternative proof of Dilworth's theorem.
Width of special partial orders
The Boolean lattice Bn is the power set of an n-element set X—essentially {1, 2, …, n}—ordered by inclusion or, notationally, (2[n], ⊆). Sperner's theorem states that a maximum antichain of Bn has size at most
width
(
B
n
)
=
(
n
⌊
n
/
2
⌋
)
.
{\displaystyle \operatorname {width} (B_{n})={n \choose \lfloor {n/2}\rfloor }.}
In other words, a largest family of incomparable subsets of X is obtained by selecting the subsets of X that have median size. The Lubell–Yamamoto–Meshalkin inequality also concerns antichains in a power set and can be used to prove Sperner's theorem.
If we order the integers in the interval [1, 2n] by divisibility, the subinterval [n + 1, 2n] forms an antichain with cardinality n. A partition of this partial order into n chains is easy to achieve: for each odd integer m in [1,2n], form a chain of the numbers of the form m2i. Therefore, by Dilworth's theorem, the width of this partial order is n.
The Erdős–Szekeres theorem on monotone subsequences can be interpreted as an application of Dilworth's theorem to partial orders of order dimension two (Steele 1995).
The "convex dimension" of an antimatroid is defined as the minimum number of chains needed to define the antimatroid, and Dilworth's theorem can be used to show that it equals the width of an associated partial order; this connection leads to a polynomial time algorithm for convex dimension (Edelman & Saks 1988).
References
Berge, Claude; Chvátal, Václav (1984), Topics on Perfect Graphs, Annals of Discrete Mathematics, vol. 21, Elsevier, p. viii, ISBN 978-0-444-86587-8
Dilworth, Robert P. (1950), "A Decomposition Theorem for Partially Ordered Sets", Annals of Mathematics, 51 (1): 161–166, doi:10.2307/1969503, JSTOR 1969503.
Edelman, Paul H.; Saks, Michael E. (1988), "Combinatorial representation and convex dimension of convex geometries", Order, 5 (1): 23–32, doi:10.1007/BF00143895, S2CID 119826035.
Felsner, Stefan; Raghavan, Vijay; Spinrad, Jeremy (2003), "Recognition algorithms for orders of small width and graphs of small Dilworth number", Order, 20 (4): 351–364 (2004), doi:10.1023/B:ORDE.0000034609.99940.fb, MR 2079151, S2CID 1363140.
Fulkerson, D. R. (1956), "Note on Dilworth's decomposition theorem for partially ordered sets", Proceedings of the American Mathematical Society, 7 (4): 701–702, doi:10.2307/2033375, JSTOR 2033375.
Galvin, Fred (1994), "A proof of Dilworth's chain decomposition theorem", The American Mathematical Monthly, 101 (4): 352–353, doi:10.2307/2975628, JSTOR 2975628, MR 1270960.
Greene, Curtis; Kleitman, Daniel J. (1976), "The structure of Sperner
k
{\displaystyle k}
-families", Journal of Combinatorial Theory, Series A, 20 (1): 41–68, doi:10.1016/0097-3165(76)90077-7.
Harzheim, Egbert (2005), Ordered sets, Advances in Mathematics (Springer), vol. 7, New York: Springer, Theorem 5.6, p. 60, ISBN 0-387-24219-8, MR 2127991.
Lovász, László (1972), "Normal hypergraphs and the perfect graph conjecture", Discrete Mathematics, 2 (3): 253–267, doi:10.1016/0012-365X(72)90006-4.
Mirsky, Leon (1971), "A dual of Dilworth's decomposition theorem", American Mathematical Monthly, 78 (8): 876–877, doi:10.2307/2316481, JSTOR 2316481.
Nešetřil, Jaroslav; Ossona de Mendez, Patrice (2012), "Theorem 3.13", Sparsity: Graphs, Structures, and Algorithms, Algorithms and Combinatorics, vol. 28, Heidelberg: Springer, p. 42, doi:10.1007/978-3-642-27875-4, ISBN 978-3-642-27874-7, MR 2920058.
Perles, Micha A. (1963), "On Dilworth's theorem in the infinite case", Israel Journal of Mathematics, 1 (2): 108–109, doi:10.1007/BF02759806, MR 0168497, S2CID 120943065.
Steele, J. Michael (1995), "Variations on the monotone subsequence theme of Erdős and Szekeres", in Aldous, David; Diaconis, Persi; Spencer, Joel; et al. (eds.), Discrete Probability and Algorithms (PDF), IMA Volumes in Mathematics and its Applications, vol. 72, Springer-Verlag, pp. 111–131.
External links
Equivalence of seven major theorems in combinatorics
"Dual of Dilworth's Theorem", PlanetMath, archived from the original on 2007-07-14
Babai, László (2005), Lecture Notes in Combinatorics and Probability, Lecture 10: Perfect Graphs (PDF), archived from the original (PDF) on 2011-07-20
Felsner, S.; Raghavan, V. & Spinrad, J. (1999), Recognition Algorithms for Orders of Small Width and Graphs of Small Dilworth Number
Weisstein, Eric W. "Dilworth's Lemma". MathWorld.
|
instance of
|
{
"answer_start": [
75
],
"text": [
"theorem"
]
}
|
In mathematics, in the areas of order theory and combinatorics, Dilworth's theorem characterizes the width of any finite partially ordered set in terms of a partition of the order into a minimum number of chains. It is named for the mathematician Robert P. Dilworth (1950).
An antichain in a partially ordered set is a set of elements no two of which are comparable to each other, and a chain is a set of elements every two of which are comparable. A chain decomposition is a partition of the elements of the order into disjoint chains. Dilworth's theorem states that, in any finite partially ordered set, the largest antichain has the same size as the smallest chain decomposition. Here, the size of the antichain is its number of elements, and the size of the chain decomposition is its number of chains. The width of the partial order is defined as the common size of the antichain and chain decomposition.
A version of the theorem for infinite partially ordered sets states that, when there exists a decomposition into finitely many chains, or when there exists a finite upper bound on the size of an antichain, the sizes of the largest antichain and of the smallest chain decomposition are again equal.
Inductive proof
The following proof by induction on the size of the partially ordered set
P
{\displaystyle P}
is based on that of Galvin (1994).
Let
P
{\displaystyle P}
be a finite partially ordered set. The theorem holds trivially if
P
{\displaystyle P}
is empty. So, assume that
P
{\displaystyle P}
has at least one element, and let
a
{\displaystyle a}
be a maximal element of
P
{\displaystyle P}
.
By induction, we assume that for some integer
k
{\displaystyle k}
the partially ordered set
P
′
:=
P
∖
{
a
}
{\displaystyle P':=P\setminus \{a\}}
can be covered by
k
{\displaystyle k}
disjoint chains
C
1
,
…
,
C
k
{\displaystyle C_{1},\dots ,C_{k}}
and has at least one antichain
A
0
{\displaystyle A_{0}}
of size
k
{\displaystyle k}
. Clearly,
A
0
∩
C
i
≠
∅
{\displaystyle A_{0}\cap C_{i}\neq \emptyset }
for
i
=
1
,
2
,
…
,
k
{\displaystyle i=1,2,\dots ,k}
. For
i
=
1
,
2
,
…
,
k
{\displaystyle i=1,2,\dots ,k}
, let
x
i
{\displaystyle x_{i}}
be the maximal element in
C
i
{\displaystyle C_{i}}
that belongs to an antichain of size
k
{\displaystyle k}
in
P
′
{\displaystyle P'}
, and set
A
:=
{
x
1
,
x
2
,
…
,
x
k
}
{\displaystyle A:=\{x_{1},x_{2},\dots ,x_{k}\}}
.
We claim that
A
{\displaystyle A}
is an antichain.
Let
A
i
{\displaystyle A_{i}}
be an antichain of size
k
{\displaystyle k}
that contains
x
i
{\displaystyle x_{i}}
. Fix arbitrary distinct indices
i
{\displaystyle i}
and
j
{\displaystyle j}
. Then
A
i
∩
C
j
≠
∅
{\displaystyle A_{i}\cap C_{j}\neq \emptyset }
. Let
y
∈
A
i
∩
C
j
{\displaystyle y\in A_{i}\cap C_{j}}
. Then
y
≤
x
j
{\displaystyle y\leq x_{j}}
, by the definition of
x
j
{\displaystyle x_{j}}
. This implies that
x
i
≱
x
j
{\displaystyle x_{i}\not \geq x_{j}}
, since
x
i
≱
y
{\displaystyle x_{i}\not \geq y}
. By interchanging the roles of
i
{\displaystyle i}
and
j
{\displaystyle j}
in this argument we also have
x
j
≱
x
i
{\displaystyle x_{j}\not \geq x_{i}}
. This verifies that
A
{\displaystyle A}
is an antichain.
We now return to
P
{\displaystyle P}
. Suppose first that
a
≥
x
i
{\displaystyle a\geq x_{i}}
for some
i
∈
{
1
,
2
,
…
,
k
}
{\displaystyle i\in \{1,2,\dots ,k\}}
. Let
K
{\displaystyle K}
be the chain
{
a
}
∪
{
z
∈
C
i
:
z
≤
x
i
}
{\displaystyle \{a\}\cup \{z\in C_{i}:z\leq x_{i}\}}
. Then by the choice of
x
i
{\displaystyle x_{i}}
,
P
∖
K
{\displaystyle P\setminus K}
does not have an antichain of size
k
{\displaystyle k}
. Induction then implies that
P
∖
K
{\displaystyle P\setminus K}
can be covered by
k
−
1
{\displaystyle k-1}
disjoint chains since
A
∖
{
x
i
}
{\displaystyle A\setminus \{x_{i}\}}
is an antichain of size
k
−
1
{\displaystyle k-1}
in
P
∖
K
{\displaystyle P\setminus K}
.
Thus,
P
{\displaystyle P}
can be covered by
k
{\displaystyle k}
disjoint chains, as required. Next, if
a
≱
x
i
{\displaystyle a\not \geq x_{i}}
for each
i
∈
{
1
,
2
,
…
,
k
}
{\displaystyle i\in \{1,2,\dots ,k\}}
, then
A
∪
{
a
}
{\displaystyle A\cup \{a\}}
is an antichain of size
k
+
1
{\displaystyle k+1}
in
P
{\displaystyle P}
(since
a
{\displaystyle a}
is maximal in
P
{\displaystyle P}
). Now
P
{\displaystyle P}
can be covered by the
k
+
1
{\displaystyle k+1}
chains
{
a
}
,
C
1
,
C
2
,
…
,
C
k
{\displaystyle \{a\},C_{1},C_{2},\dots ,C_{k}}
, completing the proof.
Proof via Kőnig's theorem
Like a number of other results in combinatorics, Dilworth's theorem is equivalent to Kőnig's theorem on bipartite graph matching and several other related theorems including Hall's marriage theorem (Fulkerson 1956).
To prove Dilworth's theorem for a partial order S with n elements, using Kőnig's theorem, define a bipartite graph G = (U,V,E) where U = V = S and where (u,v) is an edge in G when u < v in S. By Kőnig's theorem, there exists a matching M in G, and a set of vertices C in G, such that each edge in the graph contains at least one vertex in C and such that M and C have the same cardinality m. Let A be the set of elements of S that do not correspond to any vertex in C; then A has at least n - m elements (possibly more if C contains vertices corresponding to the same element on both sides of the bipartition) and no two elements of A are comparable to each other. Let P be a family of chains formed by including x and y in the same chain whenever there is an edge (x,y) in M; then P has n - m chains. Therefore, we have constructed an antichain and a partition into chains with the same cardinality.
To prove Kőnig's theorem from Dilworth's theorem, for a bipartite graph G = (U,V,E), form a partial order on the vertices of G in which u < v exactly when u is in U, v is in V, and there exists an edge in E from u to v. By Dilworth's theorem, there exists an antichain A and a partition into chains P both of which have the same size. But the only nontrivial chains in the partial order are pairs of elements corresponding to the edges in the graph, so the nontrivial chains in P form a matching in the graph. The complement of A forms a vertex cover in G with the same cardinality as this matching.
This connection to bipartite matching allows the width of any partial order to be computed in polynomial time. More precisely, n-element partial orders of width k can be recognized in time O(kn2) (Felsner, Raghavan & Spinrad 2003).
Extension to infinite partially ordered sets
Dilworth's theorem for infinite partially ordered sets states that a partially ordered set has finite width w if and only if it may be partitioned into w chains. For, suppose that an infinite partial order P has width w, meaning that there are at most a finite number w of elements in any antichain. For any subset S of P, a decomposition into w chains (if it exists) may be described as a coloring of the incomparability graph of S (a graph that has the elements of S as vertices, with an edge between every two incomparable elements) using w colors; every color class in a proper coloring of the incomparability graph must be a chain. By the assumption that P has width w, and by the finite version of Dilworth's theorem, every finite subset S of P has a w-colorable incomparability graph. Therefore, by the De Bruijn–Erdős theorem, P itself also has a w-colorable incomparability graph, and thus has the desired partition into chains (Harzheim 2005).
However, the theorem does not extend so simply to partially ordered sets in which the width, and not just the cardinality of the set, is infinite. In this case the size of the largest antichain and the minimum number of chains needed to cover the partial order may be very different from each other. In particular, for every infinite cardinal number κ there is an infinite partially ordered set of width ℵ0 whose partition into the fewest chains has κ chains (Harzheim 2005).
Perles (1963) discusses analogues of Dilworth's theorem in the infinite setting.
Dual of Dilworth's theorem (Mirsky's theorem)
A dual of Dilworth's theorem states that the size of the largest chain in a partial order (if finite) equals the smallest number of antichains into which the order may be partitioned (Mirsky 1971). The proof of this is much simpler than the proof of Dilworth's theorem itself: for any element x, consider the chains that have x as their largest element, and let N(x) denote the size of the largest of these x-maximal chains. Then each set N−1(i), consisting of elements that have equal values of N, is an antichain, and these antichains partition the partial order into a number of antichains equal to the size of the largest chain.
Perfection of comparability graphs
A comparability graph is an undirected graph formed from a partial order by creating a vertex per element of the order, and an edge connecting any two comparable elements. Thus, a clique in a comparability graph corresponds to a chain, and an independent set in a comparability graph corresponds to an antichain. Any induced subgraph of a comparability graph is itself a comparability graph, formed from the restriction of the partial order to a subset of its elements.
An undirected graph is perfect if, in every induced subgraph, the chromatic number equals the size of the largest clique. Every comparability graph is perfect: this is essentially just Mirsky's theorem, restated in graph-theoretic terms (Berge & Chvátal 1984). By the perfect graph theorem of Lovász (1972), the complement of any perfect graph is also perfect. Therefore, the complement of any comparability graph is perfect; this is essentially just Dilworth's theorem itself, restated in graph-theoretic terms (Berge & Chvátal 1984). Thus, the complementation property of perfect graphs can provide an alternative proof of Dilworth's theorem.
Width of special partial orders
The Boolean lattice Bn is the power set of an n-element set X—essentially {1, 2, …, n}—ordered by inclusion or, notationally, (2[n], ⊆). Sperner's theorem states that a maximum antichain of Bn has size at most
width
(
B
n
)
=
(
n
⌊
n
/
2
⌋
)
.
{\displaystyle \operatorname {width} (B_{n})={n \choose \lfloor {n/2}\rfloor }.}
In other words, a largest family of incomparable subsets of X is obtained by selecting the subsets of X that have median size. The Lubell–Yamamoto–Meshalkin inequality also concerns antichains in a power set and can be used to prove Sperner's theorem.
If we order the integers in the interval [1, 2n] by divisibility, the subinterval [n + 1, 2n] forms an antichain with cardinality n. A partition of this partial order into n chains is easy to achieve: for each odd integer m in [1,2n], form a chain of the numbers of the form m2i. Therefore, by Dilworth's theorem, the width of this partial order is n.
The Erdős–Szekeres theorem on monotone subsequences can be interpreted as an application of Dilworth's theorem to partial orders of order dimension two (Steele 1995).
The "convex dimension" of an antimatroid is defined as the minimum number of chains needed to define the antimatroid, and Dilworth's theorem can be used to show that it equals the width of an associated partial order; this connection leads to a polynomial time algorithm for convex dimension (Edelman & Saks 1988).
References
Berge, Claude; Chvátal, Václav (1984), Topics on Perfect Graphs, Annals of Discrete Mathematics, vol. 21, Elsevier, p. viii, ISBN 978-0-444-86587-8
Dilworth, Robert P. (1950), "A Decomposition Theorem for Partially Ordered Sets", Annals of Mathematics, 51 (1): 161–166, doi:10.2307/1969503, JSTOR 1969503.
Edelman, Paul H.; Saks, Michael E. (1988), "Combinatorial representation and convex dimension of convex geometries", Order, 5 (1): 23–32, doi:10.1007/BF00143895, S2CID 119826035.
Felsner, Stefan; Raghavan, Vijay; Spinrad, Jeremy (2003), "Recognition algorithms for orders of small width and graphs of small Dilworth number", Order, 20 (4): 351–364 (2004), doi:10.1023/B:ORDE.0000034609.99940.fb, MR 2079151, S2CID 1363140.
Fulkerson, D. R. (1956), "Note on Dilworth's decomposition theorem for partially ordered sets", Proceedings of the American Mathematical Society, 7 (4): 701–702, doi:10.2307/2033375, JSTOR 2033375.
Galvin, Fred (1994), "A proof of Dilworth's chain decomposition theorem", The American Mathematical Monthly, 101 (4): 352–353, doi:10.2307/2975628, JSTOR 2975628, MR 1270960.
Greene, Curtis; Kleitman, Daniel J. (1976), "The structure of Sperner
k
{\displaystyle k}
-families", Journal of Combinatorial Theory, Series A, 20 (1): 41–68, doi:10.1016/0097-3165(76)90077-7.
Harzheim, Egbert (2005), Ordered sets, Advances in Mathematics (Springer), vol. 7, New York: Springer, Theorem 5.6, p. 60, ISBN 0-387-24219-8, MR 2127991.
Lovász, László (1972), "Normal hypergraphs and the perfect graph conjecture", Discrete Mathematics, 2 (3): 253–267, doi:10.1016/0012-365X(72)90006-4.
Mirsky, Leon (1971), "A dual of Dilworth's decomposition theorem", American Mathematical Monthly, 78 (8): 876–877, doi:10.2307/2316481, JSTOR 2316481.
Nešetřil, Jaroslav; Ossona de Mendez, Patrice (2012), "Theorem 3.13", Sparsity: Graphs, Structures, and Algorithms, Algorithms and Combinatorics, vol. 28, Heidelberg: Springer, p. 42, doi:10.1007/978-3-642-27875-4, ISBN 978-3-642-27874-7, MR 2920058.
Perles, Micha A. (1963), "On Dilworth's theorem in the infinite case", Israel Journal of Mathematics, 1 (2): 108–109, doi:10.1007/BF02759806, MR 0168497, S2CID 120943065.
Steele, J. Michael (1995), "Variations on the monotone subsequence theme of Erdős and Szekeres", in Aldous, David; Diaconis, Persi; Spencer, Joel; et al. (eds.), Discrete Probability and Algorithms (PDF), IMA Volumes in Mathematics and its Applications, vol. 72, Springer-Verlag, pp. 111–131.
External links
Equivalence of seven major theorems in combinatorics
"Dual of Dilworth's Theorem", PlanetMath, archived from the original on 2007-07-14
Babai, László (2005), Lecture Notes in Combinatorics and Probability, Lecture 10: Perfect Graphs (PDF), archived from the original (PDF) on 2011-07-20
Felsner, S.; Raghavan, V. & Spinrad, J. (1999), Recognition Algorithms for Orders of Small Width and Graphs of Small Dilworth Number
Weisstein, Eric W. "Dilworth's Lemma". MathWorld.
|
named after
|
{
"answer_start": [
247
],
"text": [
"Robert P. Dilworth"
]
}
|
Sídlisko KVP is a borough (city ward) in the city of Košice, Slovakia, in the Košice II district. The borough is located in the Košice II district, at an altitude of roughly 309 metres (1,014 ft) above sea level, and is synonymous with the Sídlisko KVP (KVP Housing Estate) that covers most of its territory.
The name "KVP" stands for "Košický vládny program" ("Košice Government Program").
History
The borough was founded in 1980, along with the new housing estates being built here at the time. Large-scale construction of the borough lasted until 1989.
Statistics
Area: 1.78 square kilometres (0.69 sq mi)
Population: 23,864 (December 2017)
Population density: 13,000/km2 (December 2017)
District: Košice II
Mayor: Ladislav Lörinc (as of 2018 elections)
References
External links
Official website of the Sídlisko KVP borough
Article on the Sídlisko KVP borough at Cassovia.sk
Official website of Košice
|
country
|
{
"answer_start": [
61
],
"text": [
"Slovakia"
]
}
|
Sídlisko KVP is a borough (city ward) in the city of Košice, Slovakia, in the Košice II district. The borough is located in the Košice II district, at an altitude of roughly 309 metres (1,014 ft) above sea level, and is synonymous with the Sídlisko KVP (KVP Housing Estate) that covers most of its territory.
The name "KVP" stands for "Košický vládny program" ("Košice Government Program").
History
The borough was founded in 1980, along with the new housing estates being built here at the time. Large-scale construction of the borough lasted until 1989.
Statistics
Area: 1.78 square kilometres (0.69 sq mi)
Population: 23,864 (December 2017)
Population density: 13,000/km2 (December 2017)
District: Košice II
Mayor: Ladislav Lörinc (as of 2018 elections)
References
External links
Official website of the Sídlisko KVP borough
Article on the Sídlisko KVP borough at Cassovia.sk
Official website of Košice
|
located in the administrative territorial entity
|
{
"answer_start": [
53
],
"text": [
"Košice"
]
}
|
Sídlisko KVP is a borough (city ward) in the city of Košice, Slovakia, in the Košice II district. The borough is located in the Košice II district, at an altitude of roughly 309 metres (1,014 ft) above sea level, and is synonymous with the Sídlisko KVP (KVP Housing Estate) that covers most of its territory.
The name "KVP" stands for "Košický vládny program" ("Košice Government Program").
History
The borough was founded in 1980, along with the new housing estates being built here at the time. Large-scale construction of the borough lasted until 1989.
Statistics
Area: 1.78 square kilometres (0.69 sq mi)
Population: 23,864 (December 2017)
Population density: 13,000/km2 (December 2017)
District: Košice II
Mayor: Ladislav Lörinc (as of 2018 elections)
References
External links
Official website of the Sídlisko KVP borough
Article on the Sídlisko KVP borough at Cassovia.sk
Official website of Košice
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Sídlisko KVP"
]
}
|
Sídlisko KVP is a borough (city ward) in the city of Košice, Slovakia, in the Košice II district. The borough is located in the Košice II district, at an altitude of roughly 309 metres (1,014 ft) above sea level, and is synonymous with the Sídlisko KVP (KVP Housing Estate) that covers most of its territory.
The name "KVP" stands for "Košický vládny program" ("Košice Government Program").
History
The borough was founded in 1980, along with the new housing estates being built here at the time. Large-scale construction of the borough lasted until 1989.
Statistics
Area: 1.78 square kilometres (0.69 sq mi)
Population: 23,864 (December 2017)
Population density: 13,000/km2 (December 2017)
District: Košice II
Mayor: Ladislav Lörinc (as of 2018 elections)
References
External links
Official website of the Sídlisko KVP borough
Article on the Sídlisko KVP borough at Cassovia.sk
Official website of Košice
|
elevation above sea level
|
{
"answer_start": [
174
],
"text": [
"309"
]
}
|
Sídlisko KVP is a borough (city ward) in the city of Košice, Slovakia, in the Košice II district. The borough is located in the Košice II district, at an altitude of roughly 309 metres (1,014 ft) above sea level, and is synonymous with the Sídlisko KVP (KVP Housing Estate) that covers most of its territory.
The name "KVP" stands for "Košický vládny program" ("Košice Government Program").
History
The borough was founded in 1980, along with the new housing estates being built here at the time. Large-scale construction of the borough lasted until 1989.
Statistics
Area: 1.78 square kilometres (0.69 sq mi)
Population: 23,864 (December 2017)
Population density: 13,000/km2 (December 2017)
District: Košice II
Mayor: Ladislav Lörinc (as of 2018 elections)
References
External links
Official website of the Sídlisko KVP borough
Article on the Sídlisko KVP borough at Cassovia.sk
Official website of Košice
|
area
|
{
"answer_start": [
575
],
"text": [
"1.78"
]
}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
|
place of birth
|
{
"answer_start": [
18
],
"text": [
"Barcelona"
]
}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
|
country of citizenship
|
{
"answer_start": [
480
],
"text": [
"Spain"
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}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
|
instance of
|
{
"answer_start": [
3396
],
"text": [
"human"
]
}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
|
occupation
|
{
"answer_start": [
40
],
"text": [
"visual artist"
]
}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Francesca Llopis"
]
}
|
Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
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Francesca Llopis (Barcelona, 1956) is a visual artist from Barcelona. She began exhibiting in 1981. Her works are based and focused on her travels and on nature, mainly working on painting, drawing and video installations and collaborating with other artists such as Barbara Held and Robert Waytt. "Painting, drawing and image in movement are the basis and the main instrumental from which arises the system where I start any proposal".She has participated in some exhibitions in Spain, France, Switzerland, the United States, Italy, Germany, Korea, China, Colombia, Argentina, Brazil, Taiwan, and Japan.
Style
Her trajectory and pictorial work begins with the architecture and the influences of the Neo-expressionism movement of the 80s, which serve her to represent the urban culture. She is interested in the city for its urban planning, the city seen from above, and that is why she often uses the labyrinth as a metaphor for defining the city.
Her influences come, mainly, from the abstract expressionism of the American painting and from artists such as Louise Bourgeois, Judy Chicago, Meret Oppenheim, Nancy Spero and Eva Hesse.Her latest works, of a more poetic and political nature, are made to be the viewer who completes them.
Artistic and professional career
In 1976 Francesca Llopis enrolles at escola EINA where she meets Dani Freixes, América Sánchez, Albert Ràfols-Casamada, Maria Girona and Manel Esclusa, among others. Between 1979 and 1981 she shares an interior design studio with Josep Maria Civit and Ton Auquer and obtains an artistic residence grant at the Teater Studio in the Pałac Kultury in Warsaw. The inevitable and foreseeable coup d'etat transforms and creates a new pictorial imaginary to the artist, making her to question the lyrical abstraction of her first stage. From this inflection point, the "trip" will constitute a fundamental part of her process in the artistic work. Between 1983 and 1986, she begins her professional career: Història d'una temptació (History of a temptation) at MedaMOTHI in Montpellier, Barcelona trasbalsada (Barcelona overwhelmed) at Metronome and Els dits gèlids (The Frozen fingers) at Maeght gallery, in Barcelona, and Tráfico de efectos (Traffic of effects) at Montenegro gallery in Madrid. In 1988, she has an artist's residence at the Accademia di Roma and at the École des Beaux Arts of Nîmes, where Arnau Puig defines her painting as "semantic structuralism" in reference to her obsession with the built space and the meaning of words. In 2002 she presents her first video installation 2 habitacions amb vistes (2 rooms with views), a social portrait of Barcelona. In 2004 she develops ETC as a work in progress to discuss the absence of women artists in the history of art. In 2009, a new pictorial stage begins where inks and notebooks are assembled randomly, rising to different artistic artefacts, films and murals. In 2015, she participates in the Biennial of Noseden (Art line), in Japan, with Dealers of memory, which consists of two interventions: the video installation Apunts per un iceberg (Notes for an iceberg), in the Kurokawana school and the installation Llibre de llàgrimes (Book of tears) in the Myoken temple where she relates the intimate and the public, the original and the Universe. In 2016, in the SakaiArtePorto exhibition in Japan, she makes the installation Traction action from joining humanity to the Universe through an infinity made with pink pigmental footprints from the city's walkers. She makes a residence on performance at Art in Nature in Busan, Korea. In 2017, she presents the installation Llum! (Light!) with neon and glass at Montjuïc Castle in Barcelona, as a reflection of historical memory, the performance us & the state of things in Köln, Barcelona and other places, and Big Draw at Picasso Museum in Barcelona with Insecta'm and Enjardina't (Insect me and Garden yourself).
Individual and permanent exhibitions
(selection)
La societat és una flor carnívora, Sala Vinçon (Barcelona, Spain, 1993) and Westwerk (Hamburg, Germany, 1993)
Brot de Rauxa, installation, Pla de la Catedral de Barcelona, with collaboration from Barbara Held (music), Paloma Unzeta (trapeze), Festival “Dia de la terra” (Barcelona, Spain, 1995)
Paranys foscos, installation (Capella de sant Roc, Valls and El Roser, Lleida, Spain, 1996) and Un embolic magnífic, Espai (Girona, Spain, 1996)
Malaltes d'amor, installation at Kulturforum (Lübeck, Germany, 1999)
La via làctia, installation with Begoña Egurbide at Barcelona underground, Valldaura station (Barcelona, Spain, 2001)
2 habitacions amb vistes, video-installation, Centre d'Art Santa Mònica (Barcelona, Spain, 2002)
Artista!, Canal 33 (Barcelona, Spain, 2008)
Apunts d'un iceberg, video-installation, Creadors en Residencia, Institut Fort Pius (Barcelona, Spain, 2011)
7 murals, permanent work, Mercat de la Boqueria with Carme Pinós (Barcelona, Spain, 2011)
Nosaltres & l’estat de les coses, Museu Molí Paperer (Capellades, España, 2018)
Collective work and festivals
(selection)
Cinco chicas, Buades gallery (Madrid, Spain); Saló de tardor, Saló del Tinell (Barcelona, Spain, 1982)
Artur Cravant, performance with Carles Hac Mor, Ciento gallery (Barcelona, Spain); Casino, Miró Foundation (Barcelona, Spain, 1983)
6.8.89 Tian’anmen, Hospitalet-Art (Barcelona, Spain, 1989)
Les allumés (Nantes, France, 1990)
Enigma, Sala Montcada "la Caixa" Foundation (Barcelona, Spain, 1993)
Drums, desire, after summer "Z-A", video with Barbara Held, “Store front for art and architecture” (Nova York, EUA, 2007)
ETC and Eucaliptus, installation at ”Festival de cine de mujeres”, Saura Foundation, (Cuenca, Spain, 2010)
OSAKA 1, video-installation, CosmoCaixa, SCREEN Festival (Barcelona, Spain, 2012)
New iceberg, video-installation, “Guerrilha festival” (São Paulo. Brasil, 2012)
Ruidos silencio, Juan Naranjo (Barcelona, Spain, 2017)
Grants, prizes and editions
(selection)
Joan Miró International Drawing Prize, Fundació Miró (Barcelona, Spain, 1981)
Grant of the Ministry of Culture (Spain, 1981, 1996); Grant from the Generalitat de Catalunya (Spain, 1983, 1990, 2001, 2003, 2007)
Grant at the Acaddemia de Roma, Foreign Affairs Ministry (Spain, 1988); Grant at the l'École des Beaux-Arts de Nimes (France, 1989)
Prize of artistic trajectory, Institut de la Dona, Generalitat de Catalunya (Barcelona, Spain, 2002)
Art i futur, editing of lithographs (Barcelona, Spain, 2015)
Poster of the Passió d’Olesa (Barcelona, 2017)
Bibliography
David Hodges, Francesca Llopis, Luc Tuymans. Enigma. Barcelona, Fundació "La Caixa", 1994.
Francesca Llopis. Un Embolic magnífic. Fundació Espais, 1997.
Francesca Llopis. Duc un cuc al cap. Barcelona, Fundació Espais d'Art Contemporani, 2006.
Francesca Llopis. Paranys Foscos. Lleida, Ajuntament de Lleida; Valls: FAC, 1997.
== References ==
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given name
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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Sir Frederic Hymen Cowen (29 January 1852 – 6 October 1935), was an English composer, conductor and pianist.
Early years and musical education
Cowen was born Hymen Frederick Cohen at 90 Duke Street, Kingston, Jamaica, the fifth and last child of Frederick Augustus Cohen and Emily Cohen née Davis. His siblings were Elizabeth Rose Cohen (b. 1843); actress, Henrietta Sophia Cohen (b. 1845); painter, Lionel Jonas Cohen (b. 1847), and Emma Magnay Cohen (b. 1849).
At the age of four years Frederic was brought to England, where his father became treasurer to the opera at Her Majesty's Opera, now Her Majesty's Theatre, and private secretary to William Humble Ward, 11th Lord Ward (1817–1885). The family initially lived at 11 Warwick Crescent, London, in the area known as Little Venice. His first teacher was Henry Russell, and his first published composition, Minna-waltz, appeared when he was only six years old. He produced his first published operetta, Garibaldi, at the age of eight. With the help of the Earl of Dudley, he studied the piano with Julius Benedict, and composition with John Goss.His first public appearance as a pianist was as an accompanist in one of his own early songs sung by Mrs Drayton at a concert in Brighton in the early 1860s. His first genuine public recital was given on 17 December 1863 at the Bijou Theatre of the old Her Majesty's Opera House, and in the following year he performed Mendelssohn's Piano Concerto in D minor at a concert given at Dudley House, Park Lane, the London home of the Earl of Dudley. At the same venue a year later he premiered his Pianoforte Trio in A major with Joseph Joachim playing the violin part.
By Autumn 1865, it was the judgment of his instructors, Julius Benedict and John Goss, that they could do little more to further his musical education and recommended that he study in Germany. By coincidence the second competition for the Mendelssohn Scholarship was due to be held that gave its winner three years of tuition at the Leipzig Conservatorium. Cowen attended the examination and won the prize, but his parents intervened, as they were not prepared to give up control of him, as stipulated by the terms of the prize. Instead, they agreed to send him to the same institution, but as an independent student. Charles Swinnerton Heap was awarded the prize in his place. At Leipzig, overseen by Ernst Friedrich Eduard Richter, Cowen studied under Moritz Hauptmann (harmony and counterpoint), Ignaz Moscheles (piano), Carl Reinecke (composition) and Ferdinand David (ensemble work). He also came into contact with Salomon Jadassohn and Ernst Wenzel, and took some private piano lessons with Louis Plaidy. Cowen's fellow students and companions in Leipzig included Swinnerton Heap, Johan Svendsen, Oscar Beringer and Stephen Adams.In 1887, shortly after conducting his Scandinavian Symphony, he was taken ill with Scarlet fever and recovered at the specialist convalescent home of Mary Wardell in Stanmore.
Career
Returning home on the outbreak of the Austro-Prussian War, he appeared as a composer for the orchestra in an Overture in D minor played at Alfred Mellon's Promenade Concerts at Covent Garden on 8 September 1866. In the following autumn he went to Berlin, where he studied composition under Friedrich Kiel and Carl Taubert, and took piano lessons from Carl Tausig, enrolling at the academy created by Julius Stern, known as the Stern'sches Konservatorium. A symphony (his first in C minor) and a piano concerto (in A minor) were given in St. James's Hall on 9 December 1869, and from that moment Cowen began to be recognised as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards.His cantata, The Rose Maiden, was given at London in 1870, his Second Symphony in F major by the Royal Liverpool Philharmonic Society in 1872, and his first festival work, The Corsair, in 1876 at Birmingham. In that year his opera, Pauline, was given by the Carl Rosa Opera Company with moderate success. His most important work, his Symphony No. 3 in C minor, Scandinavian, which was first performed at St. James's Hall in 1880 and went on to establish itself for a decade as one of the most popular symphonic works in the repertoire, brought him some international recognition. Appearing in 1880, it proved to be the most regularly and widely performed British symphony until the arrival of Elgar's First. In 1884 he conducted five concerts of the Philharmonic Society of London, and in 1888, on the resignation of Arthur Sullivan, became the regular conductor of that society. His employment there came to an abrupt termination in 1892 when he apologised for any shortcomings in the orchestra's performance of Beethoven's Pastoral Symphony before they had rendered it, due to the lack of rehearsal time that he felt he had been given. The directors took umbrage at his remarks and did not renew his contract. In the year of his appointment to the Philharmonic Society, 1888, he went to Melbourne as the conductor of the daily concerts given in connection with the Exhibition there for the unprecedented sum of £5,000. In 1896, Cowen was appointed conductor of the Liverpool Philharmonic Society and of the Hallé Orchestra, succeeding Sir Charles Hallé. He was ousted from the Hallé after three years in favour of Hans Richter. In 1899, he was reappointed conductor of the Philharmonic Society of London. He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer.
Cowen's career, both as composer and conductor, is now unjustly forgotten. He was one of the first British-born professional conductors to have the respect of critics, orchestral musicians, and the public, and he held lengthy tenures with every major British orchestra active before 1900. In addition, his six-month engagement with the Melbourne Exposition made him the most highly-paid conductor in history up to that time. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea. His dance music, such as is to be found in various orchestral suites, is refined, original and admirably instrumented. Much of his more serious music is commendable rather than inspired and seldom successful in portraying the graver aspects of emotion. Indeed, his choral works, written for the numerous musical festivals around Victorian and Edwardian Britain, typify the public taste of his time. Of his 300 or so songs, they encompass everything from the popular ballad to the high art song, the latter of which led him to be described as the 'English Schubert' in 1898. Indeed, the vogue of his semi-sacred songs has been widespread.
Cowen received honorary doctorates from Cambridge and Edinburgh in 1900 and 1910 respectively, and was knighted at St. James's Palace on 6 July 1911. Cowen married Frederica Gwendoline Richardson at St. Marylebone Registry Office, London, 23 June 1908. She was 30 years his junior and they had no issue. He died on 6 October 1935 and was buried at the Jewish Cemetery, Golders Green. His wife died at Hove, Sussex, in 1971.
Autobiography
Cowen, Sir Frederic H. My Art and My Friends. London: Edward Arnold, 1913.Cowen's autobiography details his conducting and compositional career, and experiences with musical colleagues and ensembles. 314 pages, with frontispiece photographic portrait, and an index.
Works
Opera and operetta
1860 - Garibaldi, operetta (Maida Hill, London, 4 February 1860)
1874 - One Too Many, comedietta (St George's Hall, London, 24 June 1874)
1876 - Pauline, opera (Lyceum Theatre, London, 22 November 1876)
1890 - Thorgrim, opera (Drury Lane Theatre, London, 22 April 1890)
1893 - Signa, opera (in 3 Acts, Teatro dal Verme, Milan, 12 November 1893 and later reduced to 2 Acts, Covent Garden Theatre, London, 30 June 1894)
1895 - Harold or the Norman Conquest, opera (Covent Garden Theatre, London, 8 June 1895)
1918 - The Spirit of Carnival, operetta (unfinished)
1921 - Comedy-Opera, comedy opera (unperformed)
Incidental music
1871 - The Maid of Orleans (Brighton Festival, February 1871)
1922 - The Enchanted Cottage (Duke of York's Theatre, London, 1922)
Other stage works
1917 - Monica's Blue Boy, pantomime (New Theatre, London, 1918)
1917 - Cupid's Conspiracy, comedy ballet (Coliseum Theatre, London, 31 December 1917)
Orchestral
1866 - Overture in D minor (Covent Garden Theatre, London, 8 September 1866)
1869 - Symphony No. 1 in C minor (St James's Hall, London, 9 December 1869)
1872 - Festival Overture (Norwich Festival, 17 September 1872)
1872 - Symphony No. 2 in F (Philharmonic Hall, Liverpool, 8 October 1872)
1880 - The Language of Flowers, [first] suite de ballet (St James's Hall, London, 27 November 1880)
1880 - Symphony No. 3 in C minor, Scandinavian (St James's Hall, London, 18 December 1880)
1881 - Sinfonietta in A major (St James's Hall, London, 12 May 1881)
1881 - Niagara, characteristic overture in C major (Crystal Palace, London, 22 October 1881)
1883 - In the Olden Time, suite in D for strings (Crystal Palace, London, 17 March 1883)
1883 - Barbaric March (Albert Hall, London, 1883)
1883 - Deux Morceaux: Melodie and A l'espagne (Crystal Palace, London, 10 November 1883)
1884 - Symphony No. 4 in B flat minor, The Welsh (St James's Hall, London, 28 May 1884)
1886 - March (Folkestone Exhibition, Folkestone, May 1886)
1886 - Overture in D (Liverpool Exhibition, Liverpool, 11 May 1886)
1887 - Symphony No. 5 in F (Guildhall, Cambridge, 9 June 1887)
1896 - In Fairyland, suite de ballet (St James's Hall, London, 6 May 1896)
1896 - Four English Dances in the Olden Style (St James's Hall, London, 11 May 1896)
1897 - Symphony No. 6 in E, Idyllic (St James's Hall, London, 31 May 1897)
1901 - The Butterfly's Ball, concert overture (Queen's Hall, London, 2 March 1901)
1901 - A Phantasy of Life and Love, orchestral poem (Three Choirs Festival, Gloucester, 11 September 1901)
1902 - Coronation March (Queen's Hall, London, 29 March 1902)
1903 - Indian Rhapsody (Three Choirs Festival, Hereford, 9 September 1903)
1903 - Two Pieces: Childhood and Girlhood for small orchestra
1903 - Reverie (Edinburgh, December 1903)
1905 - A Suite of Old English Dances (City Hall, Candleriggs, Glasgow, 27 January 1906)
1912 - The Months, twelve sketches
1914 - The Language of Flowers, second suite de ballet (Queen's Hall, London, 19 September 1914)
1934 - The Magic Goblet – The Luck of Edenhall (BBC Studio, London, 9 June 1934)
1934 - Miniature Variations (Humoresque) (BBC Studio, London, 20 April 1935)
Instrumental soloist and orchestra
1869 - Piano Concerto in A minor (St James's Hall, London, 9 December 1869)
1897 - Concertstück, for piano and orchestra (Queen's Hall, London, 28 June 1900)
Oratorio and cantata
1870 - The Rose Maiden, cantata (St James's Hall, London, November 1870)
1876 - The Corsair, dramatic cantata (Birmingham Festival, 29 August 1876)
1878 - The Deluge, oratorio (Brighton Festival, 28 February 1878)
1881 - St. Ursula, sacred cantata (Norwich Festival, 13 October 1881)
1885 - Sleeping Beauty, cantata (Birmingham Festival, 25 August 1885)
1887 - Ruth, dramatic oratorio (Three Choirs Festival, Worcester, 8 September 1887)
1889 - St John's Eve, cantata (Crystal Palace, London, 14 December 1889)
1893 - The Water-Lily, cantata (Norwich Festival, 6 October 1893)
1895 - The Transfiguration, church cantata (Three Choirs Festival, Gloucester, 15 September 1895)
1898 - Ode to the Passions, cantata (Leeds Festival, 8 October 1898)
1900 - Jephthah, oratorio (unfinished)
1904 - John Gilpin, cantata (Cardiff Festival, 23 September 1904)
1910 - The Veil, ethical cantata (Cardiff Festival, 20 September 1910)
Other choral
1888 - A Song of Thanksgiving, commemoration ode for chorus and orchestra (Melbourne Centennial Exhibition, Melbourne, Australia, 1 August 1888)
1890 - In Memoriam Carl Rosa, ode for triple-quartet, chorus and orchestra (Liverpool, November 1890)
1891 - The Fairies' Spring, for female voices and piano
1893 - Village Scenes, for female voices and piano
1893 - Summer on the River, for female voices and piano
1893 - The Promise of Life, arrangement of song for tenor soloist, male chorus and piano
1894 - Christmas Scenes, for female voices and piano
1895 - The Rose of Life, for female voices and piano
1896 - A Daughter of the Sea, for female voices and piano
1897 - All Hail the Glorious Reign, commemoration ode for chorus and orchestra (Earl's Court, London, 24 May 1897)
1902 - Coronation Ode, ode for soprano, chorus and orchestra (Norwich Festival, 22 October 1902)
1907 - He Giveth His Belovèd Sleep for contralto, chorus and orchestra (Cardiff Festival, 27 September 1907)
1914 - What shall we dance?, arrangement of part-song for chorus and orchestra
Vocal soloist and orchestra
1897 - The Dream of Endymion, scena for tenor and orchestra (Queen's Hall, London, 17 June 1897)
Chamber music
1865 - Piano Trio No. 1 in A major (Dudley House, Park Lane, London, 22 June 1865)
1868 - Piano Trio No. 2 in A minor
1866 - String Quartet in C minor (Conservatorium, Leipzig, 14 January 1866)
Works for solo piano
1863 - Lied ohne worte (Her Majesty's Theatre, London, 17 December 1863)
1864 - Sonata
1912 - The Months, Twelve Sketches
Songs
The following are among over 300 songs written by Cowen:
Border Ballad
I will give you Rest
Buttercups and Daisies
When the Worlds is Fair
The Voice of the Father
The Swallows
Promise of Life
The Chimney Corner
The Reaper and the Flowers
The Better Land
Spinning
It was a DreamAt least two songs, It was a Dream and Almost, had lyrics by R. E. Francillon.
Scores and manuscripts
Most of Cowen's works were published in one form or another although several have been lost.
The following major scores were published: Novello, Ewer & Co., London, issued full orchestral scores of Symphony No.4, Sleeping Beauty, Ruth, Symphony No.5, Four English Dances in the Olden Style, The Butterfly's Ball, the Coronation March, the Two Pieces, Reverie, John Gilpin and A Suite of Old English Dances together with vocal scores of Sleeping Beauty, Ruth, A Song of Thanksgiving, St John's Eve, Thorgrim, The Water-Lily, Village Scenes, Summer on the River, Christmas Scenes, The Rose of Life, A Daughter of the Sea, All Hail the Glorious Reign, The Dream of Endymion, Ode to the Passions, the Coronation Ode, John Gilpin, He Giveth His Beloved Sleep, The Veil and What shall we dance?, together with several piano arrangements including The Months and a piano duet arrangement of Symphony No.4; Metzler & Co., London, issued full orchestral scores of the first The Language of Flowers suite, In Fairyland and the second The Language of Flowers suite together with the vocal score of Saint Ursula and a piano selection from Monica's Blue Boy; Boosey & Co., London, issued the full orchestral score of the Indian Rhapsody, together with vocal scores of Garibaldi, The Rose Maiden, The Corsair, Pauline, The Promise of Life and The Transfiguration; Breitkopf and Härtel, Leipzig, issued the full orchestral score of Symphony No.6; Joseph Williams, London, issued full orchestral scores of A Phantasy of Life and Love and the Concertstück together with the vocal score of Harold, a selection from One Too Many and a piano suite from Cupid's Conspiracy; E. Ascherberg & Co., London, issued the vocal score of Signa; Albert J. Gutmann, Vienna, issued the full scores of Symphony No.3 and Deux Morceaux together with a piano duet arrangement of Symphony No.3; Robert Cocks & Co., London, issued the vocal score of The Fairies' Spring.
Many of Cowen's unpublished orchestral manuscripts, together with the relevant orchestral performing material, are presumed lost including the Piano Concerto, the first two symphonies, the 1866 Overture, the Festival Overture, The Maid of Orleans, One Too Many, The Corsair, The Deluge, Saint Ursula, Pauline, the Sinfonietta, Niagara, In the Olden Time, the Barbaric March, the 1886 March, the 1886 Overture, A Song of Thanksgiving, St John's Eve, Thorgrim, the ode In Memoriam Carl Rosa, Signa, Harold, The Transfiguration, Jephthah and the complete version of The Magic Goblet - The Luck of Edenhall.
Several significant manuscripts have, however, survived: the full orchestral score of The Water-Lily is held by The British Library, London (Add.Ms 50767) together with the Comedy-Opera (Add.Ms 52426); the full orchestral scores of Four English Dances in the Olden Style, The Dream of Endymion, All hail the glorious reign, Ode to the Passions, The Butterfly’s Ball, the Coronation Ode, the Coronation March, John Gilpin, A Suite of Old English Dances, He Giveth His Beloved Sleep, The Veil, The Months and What shall we dance? are held by the Library of the Royal College of Music, London (Add.Mss 5058a-p) together with the full orchestral score of the Miniature Variations (Humoreque) (Add.Ms 9015) and the vocal score of the ode In Memoriam Carl Rosa (Add.Ms 7425); the full orchestral scores of The Enchanted Cottage (incomplete) and The Magic Goblet - The Luck of Edenhall (incomplete), together with thirteen numbers either in vocal or piano score from The Spirit of Carnival and a short score, drafts and sketches for the Miniature Variations (Humoresque) (all Mss Mus.b.45) are held by the Bodleian Library, Oxford; the full orchestral score of The Rose Maiden is held by the Thomas Fisher Rare Book Library, University of Toronto, Ontario, Canada (Music Mss 0028).
Notes
References
Frederic Cowen at AllMusic
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cowen, Frederic Hymen". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 346.
Further reading
Palmer, Fiona M. (2017). Conductors in Britain 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge, Suffolk: Boydell and Brewer. ISBN 978-1-783-27145-0.
External links
Free scores by Frederic Hymen Cowen at the International Music Score Library Project (IMSLP)
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 1. University of Durham.
Parker, Christopher J. (January 2007). The Music of Sir Frederic Hymen Cowen (1852–1935): A Critical Study (PDF) (PhD). Vol. 2. University of Durham.
Monica's Blue-Boy by Arthur Wing Pinero and Frederic Cowen on Great War Theatre
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