Liebesglut in Mexiko - mit dem Chef? (German Edition)

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We continued to see each other in England and Connecticut, where she ran a donkey sanctuary. Every time we spoke, she revealed something new and "unexpected" about her past that I had not heard before nor found in her two fascinating autobiographies, Early Havoc and More Havoc She was born Ellen Evangeline Hovick in Vancouver, Canada, though the family moved to Seattle when she was still a baby.

She made her professional debut, aged two, playing bits in silent film shorts. She remembered one film in which she had to cry in a courtroom. But in , just turned 16, she ran away with one of the boys in the show to get married. The marriage did not last and she went back into vaudeville until, in early s, hit by the Depression, vaudeville died. She survived by participating in dance marathons, vividly evoked in her Broadway play Marathon '33 , which she also directed.

In , aged 23, her child-star days behind her, Havoc started to appear in musical comedies on Broadway. Her success in Pal Joey, in which she had five songs, resulted in an invitation to Hollywood. She made her screen debut in Four Jacks and a Jill , in which she played a band-singer with a gangster boyfriend, played by Jack Durant, her co-star in Pal Joey. The following year, in Sing Your Worries Away, she played a stripper, taking off her clothes and her sister. She had another smallish part in My Sister Eileen , which starred Rosalind Russell, who would later play her mother in the screen version of Gypsy She continued in supporting roles in No Time for Love , starring Claudette Colbert, and in Brewster's Millions , the funniest of the six screen versions of the play.

Most of what she did was lightweight stuff until her role in Elia Kazan's Gentleman's Agreement , in which she was very effective as Elaine Wales, a Jew who has hidden her origins out of convenience. She followed this with another drama, Intrigue , which provided one of her best screen roles; she played Madame Baranoff, a blonde tiger-woman dressed in diamonds, the boss of a smuggling ring who is tracked down and made love to by George Raft.

But the parts were, on the whole, mediocre.

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If I had I wouldn't have been able to freelance all over the world. I wanted to have the freedom to accept a theatre job. I did 22 Broadway plays. In October , Havoc, with a group of actors and directors that included Kelly, Humphrey Bogart, Lauren Bacall and Danny Kaye, flew to Washington to make a formal protest against the House Un-American Activities Committe, and "its hysterical anti-communist witch-hunting, which affected all our lives.

Havoc continued to alternate between stage and screen, giving up the latter in , a short while after her marriage to financier William Spier, returning only sporadically after Spier's death in Estranged from Gypsy Rose for many years, she was reconciled with her sister before the latter's death from lung cancer in Apart from her return to Broadway as Miss Hannigan in the musical Annie, where she sang Little Girls with brilliant comic venom, and her one-woman show in the s, Havoc lived a tranquil life in Cannon Crossing, a historic village in Connecticut, where she was happy to talk about her colourful showbusiness past.

Her daughter April died in The scene made the Swedish-born Anita Ekberg, who has died aged 83, a sex symbol par excellence. The director Frank Tashlin once commented: Later, in Le Tentazioni del Dottor Antonio The Temptation of Dr Antonio , the Fellini episode from the omnibus film Boccaccio 70 , she was the gigantic model who comes down from her billboard promoting milk to pursue a puritan who has campaigned against the advert. Both Tashlin and Fellini had found a way of using the former Miss Sweden in erotic satire.

Larger dramatic roles followed in B-movies, including Screaming Mimi , a bizarre psychological thriller in which she performs striptease numbers at a sleazy nightclub called El Madhouse, and gets attacked while taking a shower — two years before Psycho. In Valerie , she appeared opposite Anthony Steel, whom she had married in There, he struggled to find much work and was often referred to by the tabloids as Mr Ekberg. Their stormy marriage ended in One of their public arguments, while being pursued by the paparazzi in Rome, was said to have inspired some scenes in La Dolce Vita.

After that film, Ekberg, never much of an actor, became a prisoner of her own image. After an unhappy second marriage, to the actor Rik Van Nutter, which lasted from to , Ekberg drank heavily and gradually gained a great deal of weight. She lived alone in a grand villa in the country near Rome, guarded by two Dobermans. After a fire and a break-in at her house, she moved into a care home and in sought financial assistance from the Fellini Foundation.

When invited to celebrate the 40th anniversary of La Dolce Vita she declined, but in agreed to appear in a BBC documentary. Previously, Fellini visited her in his film Intervista Interview, , in which there is a moving reunion between Mastroianni and Ekberg, who nostalgically watch their key scene from La Dolce Vita together. John Francis Lane writes: It could not afford to send its showbiz columnist to Florence so I went instead.

The wedding, at the Palazzo Vecchio, was attended by 50 members of the press. When we got back to the hotel, the luminaries rushed to their rooms to write their gilded prose, while I, knowing how unreliable the Italian phones were, thought it a good idea to ask the telephonist if there were problems getting through to London. She offered me a line immediately. I took a chance. Laboriously I started adlibbing the article, following my first instinct which had been to send it all up. I had only the pay-off in my head: What had I done?

I had dared to make fun of a goddess. It was the end of my hopes of becoming a foreign correspondent. I sipped my champagne and gulped desperately as I saw my illustrious colleagues fighting to get a line to London for what would certainly be their rapturous accounts of the fairytale we had been privileged to witness. Of course he was, yet I heard him console her affectionately: You are meant to be Ava Gardner!

In the conservative, pre-feminist days of s movies, women were broadly divided into the categories of "whore" and "madonna". Blonde and brassy Adele Jergens, who has died aged 84, was definitely in the former camp, more often than not playing what was euphemistically referred to as "good-time girls", ie saloon singers and gangster's molls.

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Even when posing for one of the favourite GI-boosting posters of the second world war in a scanty spangled two-piece costume, revealing long, shapely legs and a bare midriff, there was something "come hither" in her smile, unlike that of the more bland and more famous pin-up girl Betty Grable. As a result, she was mostly consigned to secondary roles or as a lead in B noirs.

Most characteristic was her portrayal of the sexy, duplicitous Yvonne, a burlesque queen in Richard Fleischer's tense thriller, Armored Car Robbery Her husband, afraid to lose her unless he finds some big dough, joins a gang planning the robbery of the title, while she's carrying on a secret affair. Jealous of a "good" girl, stripteaser Jergens suddenly does a slinky dance, pausing mid-grind to say to a male member of the assembled group, "What's my roentgen count?

Adele Jergens's life reads like a hackneyed rags-to-riches movie musical. She was born in Brooklyn, New York, to an unemployed father and an overworked mother. In her teens, to provide for her family, she became a chorus girl at the Brooklyn Fox Theatre and then at the Ziegfeld Follies, which claimed to "glorify the American girl". In the early s, Jergens understudied Gypsy Rose Lee, the celebrated ecdysiast - she was too much of a lady to be called a stripper - in the show Star and Garter.

While standing in for the ailing Gypsy Rose for two weeks, Jergens was spotted by a Columbia Studios talent scout and offered a contract. She saw out her Columbia contract in the next five years, getting little chance to light up the screen. However, as a freelance, she was able to let her blonde hair down, as in The Treasure of Monte Cristo , a vulgar updating of the Dumas tale.

Starring opposite her was the handsome but wooden Glenn Langan. They married the same year, and remained so until Langan's death in Much better was her leading role as a barroom gal singing "Oh, he looked like he might buy me wine" to a besotted Randolph Scott in the Western Sugarfoot The end of her career was marked by Girls In Prison , for which the ads promised "1, trapped women ripped from steel cages by a shattering earthquake! I have used another brand of feeder Little Giant for the past few years.

I liked them but the bottom rusted out. So when I found this one I thought it looked good and the reviews looked promising. First of all dont make the same mistake I did. I thought from reviews I had read that you could hook up a water hose up to this and it would let the water flow to a set level and then shut off. My mistake there is no such water shutoff. But that is not where my problem with this thing really lies. It is in the construction of this thing.

There is an inner divider that keeps the food up and away from the door. This divider lets only a certain amount of food down to where the dogs can get to it by pushing the door. It works well when that divider is in its place. But after a few warm days full of food the divider had slipped out of place allowing all the food to fall against the door.

That made the door impossible for the dogs to get to the food. I put the divider back in place thinking maybe it was not right the first time. Well 2 weeks later it happened again. But this time I did not notice it right away. My dogs 3 Golden Retrievers must of got upset about not being able to get to their food that they started to destroy the feeder.

They nearly chewed through the side and top. This could have been bad if I had been gone for a couple of days. I need something more reliable than that. I guess I will go back to the Little Giant. Some actors struggle for recognition in dozens of movies until one role puts them in the spotlight, then retreat back into the shadows. One such was Arthur Franz, who has died aged The role was as the mentally disturbed former soldier in The Sniper who, rejected by a woman he loves, cracks up and terrorises the streets of San Francisco by shooting women from buildings.

Franz's nervy, sweaty performance gave the thriller added force. It was directed by Edward Dmytryk, who had spent six months in jail after falling foul of the House UnAmerican Activities committee. Although Dmytryk recanted and named names, producer Stanley Kramer hired him to direct a few low-budget movies starting with The Sniper. Franz became a good friend to Dmytryk, who cast him in eight films, though never again with such prominence. Among the Dmytryk films in which Franz had supporting parts in uniform were The Caine Mutiny , as the navy prosecuting lawyer; The Young Lions and Anzio Unlike Wayne, Franz had served in the wartime armed forces.

Shot down over Romania, he escaped from a PoW camp. Other military roles were as a lieutenant under William Holden in Submarine Command , and a lieutenant-commander under Ronald Reagan in Hellcats of the Navy Born in New Jersey, Franz worked on stage and in radio before his film debut in Jungle Patrol , as one of a squadron stranded on a remote Pacific island during the second world war. Franz, playing it straight, was a prizefighter who swallows a serum that makes him invisible, so that Lou, a risible boxer, sees his opponents knocked flat.

Although Franz wasn't very visible in many of his other pictures, he made an impression in The Member of the Wedding as a young man whose upcoming marriage causes such pain to his adolescent sister Julie Harris and as the politically ambitious DA prosecuting innocent Dana Andrews in Fritz Lang's Beyond a Reasonable Doubt Franz gained some notoriety among aficionados of schlocky s sci-fi thrillers. The best was William Cameron Menzies' Invaders from Mars , in which Franz played an astronomer trying to cope with green monsters who obey a tentacled head in a transparent globe.

Franz played an astronaut in Flight to Mars , the first spaceship movie in colour, a cheap remake of the Russian film, Aelita, in which he falls for a Martian in a silver minidress with pointy shoulders. In Monster on the Campus , Franz was a college professor who studies a prehistoric fish. When he somehow gets some of the fish in his pipe and smokes it, he becomes an ugly neanderthal with an axe. His TV appearances dated back to and a Lone Ranger episode. Franz, whose third wife of 52 years, the actor Doreen Lang, died in , is survived by his fourth wife and three children.

British postcard by Astra. Alfred Hitchcock called her 'the best screamer in the business'. She attended Boldmere School and Highclare College. Her father was G. Court, a professional cricketer. Two years later, she met director Anthony Asquith in London, which won her a bit part in the musical film Champagne Charlie , Alberto Cavalcanti , made by Ealing Studios.

Her only line of dialogue was "I never drank champagne before". The film was based on a play that depicted the real life rivalry between 19th century English music hall performer George Leybourne Tommy Trinder , who first performed the song Champagne Charlie, and his colleague Alfred Vance Stanley Holloway. Court won a British Critics Award for her supporting role as a crippled girl in Carnival , Stanley Haynes about a ballet dancer of the Edwardian era, starring Sally Gray.

About the latter Hal Erickson writes at AllMovie: The Grand Hotel-like construction of the film allows for several colorful character vignettes. They co-starred together in the fantasy film Ghost Ship , Vernon Sewell as a young couple that acquires a yacht. The ship is haunted by the ghosts of a crew that had disappeared off the ship years before. Patricia Laffan starred as Nyah, an uptight, leather-clad female alien, armed with a ray gun and accompanied by a menacing robot. She arrives at a Scottish inn to collect men as breeding stock, while Court played a disillusioned fashion model who hides for a man who is following her.

Its worldwide success led to several sequels, and Hammer's new versions of Dracula and The Mummy However, she wanted to act in comedy films, and in the television season, she appeared in Dick and the Duchess, a CBS sitcom filmed in England. Court travelled back and forth between Hollywood and England, appearing in four episodes of the TV series Alfred Hitchcock Presents One of them showed her being transformed by her jealous husband Laurence Harvey into chicken feed.

Furie with Kieron Moore. In the first, Diffring played a sculptor who had found a way of stopping the ageing process so that he was around 70 years older than he looked. While posing for him, Court actually bared her breasts, a scene cut from the British and American releases and only used for the foreign film market. In Hollywood, she continued to appear in horror films, now for American International Pictures.

She knew how to project a smoldering sensuality in her roles, and it propelled her to a cult siren. The blog Cult Sirens notes: As Juliana, bride of Prince Prospero Vincent Price , her sex-appeal is at its peak and her tragic death a bit on the bloody side is one of the film's highlight. It brought her fan mail, even in her later years. Court had divorced Dermot Walsh in They had a daughter, Sally Walsh, who at the age of four had appeared with her mother in The Curse of Frankenstein They married in , and Court retired from the film business to concentrate on being a wife and mother.

They had a son, Jonathan, and a daughter, Courtney. She continued to do so and could be seen in Dr. Like in her first film, she was uncredited in this horror thriller and played a champagne drinking guest at a party. In addition to acting, she was also a painter and sculptress, and studied sculpting in Italy. Following her husband Don Taylor's death in , she appeared on the cult movie conventions circuit. One of Court's biggest fans is writer Stephen King who mentions her in various of his novels. Here is the third picture for the 52 week project. I tried to make it a bit more special with the background.

After hiking for a long while in those ancient woods I realised that I was lost. The hand drawn map I got from the old woman at the inn was so inaccurate that it had obviously led me astray. What an odd old woman. Not the old hag of camp-fire stories.

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What was it she said I can see a clearing up ahead.. I can see several tracks leading to that island of light up ahead. The wonderful smell of autumn woods I enter the clearing and stop cold in my tracks. What a strange place, the earth is trampled in a circular pattern.. I touch the ribbon and it is silky and cool to the touch I run laughing away from the tree as the reminder of the morning showers splash the ground.

I sit on a mossy stone and put my heavy Bergans to the ground. Those footprints around the ribbon are strange.. I mean everybody know of the old stories..

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After abut km on a mountain road we are close to the firs lake.. Track level, main and exit concourses, stair entrance. All the whining in the world about how unsightly, grimy, or whatever Penn Station was in its declining years all of which could have been dealt with by apportioning for its upkeep a fraction of the money that went into real-estate thugs' pockets in the transactions that led to its demise can't obscure the fact that a soaring, beautiful monument to the aspirations of man was replaced with a squalid, stunted, cheap and uncomfortable monument to greed and hubris.

The Sistine Chapel is reputed to be just awfully expensive to keep clean; why not spray acousti-tile over it and be done with the burden? When you stepped out of your train onto that platform, the astonishing and unexpected vastness of the space around you was a perfect metaphor for the possibilities of your future in America's greatest city. As I suppose the current incarnation is as well, in its own way, in this Age of the Bankster. It's amazing how much effort was put into letting natural light into this space. From the windows and skylights to the glass block floors they did everything they could to maximize it.

Unfortunately, with dirt and grime accumulating over time, it no doubt got more and more dark and foreboding. It's not something most would notice as it happened gradually, but that along with the inevitable dust and other detritus gathering on all that open steelwork I can only imagine how disgusting the place must have been in its twilight years. The lack of proper maintenance and utter disdain for classical architecture that prevailed in the mid 20th century certainly didn't help.

Many historic treasures have been restored to an amazing condition that few knew existed. Images like this show just how breathtaking some of these great old spaces that we see today as grungy and dark can be if they're properly restored. As many probably know, Penn Station was owned by the spiraling-towards-bankruptcy Pennsylvania Railroad. The Pennsy couldn't afford to keep this giant station operating when the air rights over the tracks were so lucrative the space over the tracks now Madison Square Garden.

Its destruction lead to the modern preservation movement. Many historic structures have been saved due to this building loss, and subsequent awareness of the value of significant buildings. This photograph shows the station when final construction and clean up was almost complete. The electrified third rails can be seen adjacent to the tracks. These powered some pioneering electric locomotives that would handle the trains between the west portal near North Bergan, NJ known as Manhattan Transfer and the station.

An excellent read on the construction of this station and the far bigger challenge of tunneling under the Hudson River is, "Conquering Gotham: A Gilded Age Epic: Every photo I see of the original Penn Station is like a little knife in my heart. As someone who didn't move to NYC until after its destruction, I feel like I've been deprived of something magical. Movie star who picked up his father's swashbuckling style and later cut a dash in high society and royal circles. Douglas Fairbanks Jr, who has died aged 90, carried his father's name proudly, though he had to overcome paternal neglect and the comparison with one of Hollywood's legendary stars.

Although an attractive and competent actor, he was also runner-up to similar dashing, well-spoken, romantic leads such as Errol Flynn, an exact contemporary, and Ronald Colman. Nevertheless, he managed to carve out a satisfactory career for himself in the movies, and become a prominent personality in other fields. Despite having all the advantages of a Hollywood kid, his childhood and adolescence were not propitious. Because there could be only one Douglas Fairbanks, his father and mother, Anna Beth Sully, a Rhode Island heiress, referred to their child as "the boy".

His Irish nurse pronounced it "bye', and from then on he was called Bye by his family and friends. Douglas Sr, always insecure despite his stardom, later confessed that he had "no more paternal feelings than a tiger in the jungle with his cub. This reserve and restraint rubbed off on the boy. Out of guilt, his father gave his son a pony, but one day the boy came home to find that his father had given it to Prince Hirohito of Japan.

His mother, on the other hand, tried to give him double helpings of love. He was brought up by her from the age of nine when his parents divorced. The young Fairbanks sculpted and painted from early youth, exhibiting at 13, and made his screen debut at the same age in Stephen Steps Out, an unsuccessful attempt by Jesse Lasky to exploit the magic of the Fairbanks name.

A few years later, when Doug Jr told his father, now married to Mary Pickford, that he wanted to become an actor and not go to Harvard, he threatened to disown his son, and cut him out of his will. Without his father's financial assistance, Fairbanks accepted bit parts and wrote titles for silent films. Gradually, he started to get juvenile leads, notably in Stella Dallas as Loise Moran's upper-class beau. In , he was set to star opposite Greta Garbo in Women Love Diamonds, but when the Swedish star went on strike for more pay, he got Pauline Starke instead.

However, the following year he was recompensed by being fourth-billed in Garbo's film A Woman of Affairs. In , he married up-and-coming star Joan Crawford. His father called her a cradle snatcher she was five years older than the groom and an opportunist who wanted to marry a famous name. Doug Jr and Joan appeared together as a married couple in Women Love Dia monds, but were divorced four years later after she had deceived him with Clark Gable. From to , Fairbanks was in great demand, playing, as he remarked, "big roles in little pictures, and little roles in big pictures.

The best of the smaller pictures were the screwball comedy Love is a Racket, the real-time one-location drama Union Depot, and the boxing melodrama The Life of Jimmy Nolan, with excellent varied performances from Fairbanks. In Morning Glory , he played a writer in love with actress Katharine Hepburn, an unrequited emotion he felt for her offscreen. Fairbanks coped well as the Tsar who loses his wits, while Bergner turned on her over-girlish charm, encouraged by the indulgent direction of Paul Czinna, her Hungarian husband.

Goebbels did not ban the film in Germany but got the Nazi press to call it a film "produced by and starring Jews". Fairbanks' paternal grandfather was a Jewish lawyer called Hezekiah Charles Ulman. In Fairbanks was living beyond his means, and immersed in an affair with Gertrude Lawrence with whom he starred as the Bohemian Rudolphe in the film Mimi, and in the West End in Moonlight is Silver. However, he managed to raise enough capital to set up his own English-based company, Criterion Productions. The Amateur Gentleman - the first and best of three pictures for Criterion, was set in Regency times.

He played an innkeeper's son who poses as a gentleman pugilist to gain entrance to the court of the Prince Regent. His father reconciled with his son arrived with Lord and Lady Louis Mountbatten at Elstree to watch the shooting. They were suitably impressed by the largest set built for a British film to date, a 13,sq ft reconstruction of the ballroom at Carlton House for the Prince Regent's ball. But the picture didn't do as well at the box-office as was hoped, and Criterion struggled on with two more lame productions.

Fairbanks was carrying on an affair with Marlene Dietrich, who used to smuggle him into her hotel room at Claridge's, when he met socialite Mary Lee Hartford at a party given by Merle Oberon. His wild oats sown, he married her in , a marriage that lasted for 50 years until her death. Meanwhile, back in Hollywood, Fairbanks had made a splendid Rupert of Henzau, the soldier-swordsman in The Prisoner of Zenda whose confrontation with the film's hero, Ronald Colman, provides the film's exciting climax. A number of good parts followed, in which he was able to put on his pukka accent and a pith-helmet in British colonial adventures.

In fact, his accent bore a striking resemblance to Ronald Colman's distinctive British tones. In George Stevens' Gunga Din Fairbanks was the gentleman soldier at the side of rough Victor McLaglen and cheeky Cary Grant, a devil-may-care trio fighting a murderous sect of religious fanatics in India.

It was filmed in Lone Pine, California. In the same year that his father died aged 56, Fairbanks made a conscious decision to emulate his celebrated swashbuckling style. He took the title roles in The Corsican Brothers , with year-olds Mario and Lucien Fairbanks was a young-looking 32 setting out to avenge their father's death. The picture was reminiscent of his father's Robin Hood, and after the second world war Doug Jr gave an acrobatic performance as Sinbad the Sailor , a reasonable attempt to rival his father's in The Black Pirate. In The Fighting O'Flynn , he portrayed a kind of Irish musketeer, scaling walls and leaping across roofs with reckless abandon.

During the war, as a lieutenant commander in the US Navy, Fairbanks had participated in several combined Anglo-American operations recalled in his memoirs, A Hell of a War and in he was made an Honorary Knight of the British Empire for "furthering Anglo-American amity. After retiring from the screen in the early s Fairbanks, an avid Anglophile, settled in London for many years with his wife and three daughters.

He thrived on eminent social and political connections, which included a close relationship with the royal family. I have some very good friends who happen to be in so-called Society; but Society as such is a bore and holds no fascination for me. However, whoever was invited to No 8 The Boltons in Kensington, from the highest in the land to the lowliest of hacks, was greeted with charm and impeccable courtesy.

During the s, he introduced and sometimes acted in a British TV drama series Douglas Fairbanks Presents, from which he made a lot of money to add to the fortune gained from the manufacture of popcorn, and from the rights to his father's films. In he and his wife sold their London home and settled in Palm Beach, Florida. In he appeared at the Phoenix Theatre in London in The Pleasure of his Company in a role that could have been written for him, that of a rich, witty and urbane globetrotter. In , Fairbanks married again at the age of 81 to Vera Shelton who survives him as do three daughters from his second marriage.

Two years later, he was named as the mysterious headless man in a photo used in the Duchess of Argyle divorce case of He always denied that it was he, though the Duchess was a close friend. By golly, what a life! I ended up picking the Belleza skin in the end. I decided the glam affair one just looked too much like my last main skin so I wanted a change!! The bottle stays quite securely in the base, and the walls of the base are high enough that my dogs generally dont spill the water out of it. Of course the entire unit can be tipped over, but overall its quite sturdy and stays upright unless pushed over quite hard e.

What I like best about the unit is its easy to fill in a regular sink, e. It appears the manufacturer sized the water container intentionally for this, as its pretty nearly a perfect fit in my sink to fill. It has a wide opening so looks like it will be easy to clean ifwhen I need to I havent yet. The water is controlled in coming out by a separate little caphole in the lid. With that open and the container in place on the base, the water trickles out into the water dish portion. The cap is very secure, but sometimes its a bit hard to get it aligned so it screws on tightly.

Overall, Im very happy with these units. Ive bought several of them for my rather large dogs. Ann Rutherford, who has died aged 94, was adept at portraying pluck and persistence. As Polly Benedict, Andy Hardy's ever-faithful girlfriend, in 13 of the 15 Hardy family film series made between and , she had to wait around for Mickey Rooney's accident-prone adolescent to return to her after some dalliance with another girl. Andy would seek advice on romance from his stern but wise and fair father, Judge Hardy Lewis Stone. Can a guy be in love with two girls at once?

The Hardy series, one of the most popular in screen history, was the archetypal idealisation of small-town America and apple-pie family values, with dark-haired Rutherford as the quintessential girl next door. But Rutherford, a contract player, got plenty of work as Polly and tons of fan mail. Born in Vancouver, she was the daughter of former Metropolitan Opera tenor John Rutherford and Lucille Mansfield, a silent-screen actor.

She was brought up in California, where she made her theatre debut at the age of six, in a production of Raggedy Ann, and started to appear in films from the age of In fact, she got used to the waiting game in the several B-westerns she made before MGM snapped her up in Warbling cowboy Gene Autry, in four of the genre, seemed more interested in his horse Champion and his comic sidekick Smiley Burnette than Rutherford. Even when she's kidnapped by baddies in The Singing Vagabond , he has time for a ballad or two. Up-and-coming John Wayne paid her a little more attention in The Oregon Trail, The Lawless Nineties and The Lonely Trail all , though there was hardly time for romance during the 70 minutes or so of action.

In between her on-and-off relationship with bouncy Rooney, Rutherford appeared as an ingenue in Dramatic School and Of Human Hearts, and as the spirit of Christmas past in A Christmas Carol all in This "nothing part", as Louis B Mayer dubbed it, initially as a reason for not loaning Rutherford out to Selznick's company, eventually made her proud.

In recent years, as one of the few surviving cast members of Gone With the Wind, she was a stalwart attendee at anniversary showings, where she was always besieged by autograph hunters. Chamberlain himself did not play, but his zeal for music is set outinsutcliffe Smith s The Story of Music in Birmingham m It was he who, in the thick of the First World War,ledthecampaignthatbrought us the City of Birmingham Symphony Orchestra, negotiating his way round political disappointments, luring Thomas Beecham and Elgar to conduct, and working hand-in-glove with composer Granville Bantock.

During the dark days of the Second Great War, Smith tells us, Chamberlain who died in November spoke of the need for fine concerts, and alluded to his own musical preferences, wherein French composers held an honoured place, and threw in hearty support to backing the necessity for better concert-accommodation. A timely political point, that French bit, but probably also true. They found it in the end and, now restored, it lives with that same granddaughter who was showered with gifts in She points out that her grandfather was the first to stand up to Hitler, taking his first flight,tomunich,attheageof69 and bravely doing what he could.

And if Peace for Our Time didn t last even for Chamberlain s brief remaining Time, it bought a year of preparation. It s a wonderful piece to play, but has a structure that makes it very difficult to keep flowing in the one breath, and yet he does it. He plays it so slowly, and starts the phrasing from the first note then keeps it going for the whole movement. He creates that sort of unique magic that you can only really ever get from music you feel nothing else matters. Q I recently saw a documentary called Searching for Sugar Man about a singer called Sixto Rodriguez who had a brief career in the US and then disappeared from view, leading to all sorts of rumours about what had happened to him in the documentary, they find him and organise a tour for him.

I have since found a recording with the song Sugar Man on it his style is slightly folky with touches of Bob Dylan to it. It s hard to describe! Q I m abig, big fanofjazzpianistart Tatum. Ialways laugh when, after concerts, people say that I sound like I ve got five or six hands but when you listen to Art Tatum you really do think he has more than ten fingers!

His sense of rhythm and harmony is amazing, and then there s the passion and devotion to the music. Runnicles had never conducted it, and only two members of the orchestra had even played it through.

War alles nur ein sinnlicher Traum? (Baccara) (German Edition)

Talking to them afterwards, it appeared their acquaintance with VW had been something of a revelation. Jeremy Pound Deputy editor Ever since listening to Baiba Skride record Nielsen s Violin Concerto in Tampere back in January see p54 , I ve been waiting for the release of the disc with all the anticipation of a child at Christmas. I ve not been disappointed.

From that gorgeous bassoon solo at the beginning, it s aperformance from both soloist and orchestra of poise, verve and, above all, charm. Schubert s Unfinished was on the timetable, though their performance was evidently already well polished. One moment in particular stood out: For me, this was a moment of musical perfection.

Piano Grand Master, containing lots of famous andnot-so-famous tracks,ifeelsoinspiredand motivated to practise. Q I love the singing of Tom Waits, and in particular the track Broken Bicycles which is on his album One from the Heart withcrystalgayle. I like the lyrics a lot, and there is something in his voice that is so touching I prefer listening to him in his younger days, though, because as he gets older you start to hear the effect of his cigars and whisky too much! I love the completely unromantic way that Harding approaches the work it s clean, precise and energetic, with some beautiful singing.

Bostridge is great as Quint, bringing just the right balance between honeyed romanticism and cold creepiness. Q When Daniel Harding conducted the Bavarian Radio Symphony Orchestra in Mahler s Sixth Symphony, they attached electrodes to him to chart his heart rate and brain activity through the various peaks and troughs. As someone who is fascinated in science and how it relates to music, it s a project that Ifind fascinating and want to learn more about. And the recording itself, which is just out now, is stunning. It s very charming. Basically, it s her with a guitar, but it s very interesting harmonically.

Her songs cover quite tough subject matter, and she singswith an almost operatic voice the wayshe uses her voice to express the things she s interested in is not always beautiful, but then when she does turn it on, it is very powerful. She certainly breaks the mould. The disc was recorded in the mids, but it sounds like big-band swing music from the sand 60s. Joneshasgot an incredible voice with real agility to it in the style of, say, Ella Fitzgerald while her band are formidably talented.

It s a nostalgic sound with amodern take onit,and is such a tonic. Histechnique and control of the emotional range were exceptional. Schiff is not a flashy player, but it was very deeply felt, and I was compelled. The atmosphere in the Albert Hall was extraordinary. The orchestraisinfineformatpresent,andiamvery taken by Karabits, who is very good news. I did not know the work particularly well before the concert Ihaveonly heard it a couple of times live before but this was a performance that not only had me on the edge of my seat with excitement but was very beautiful at times too.

Q Handel s Saul at Glyndebourne this year was wonderful. Commissioned in to mark the centenary of the infamous Peterloo Massacre in Manchester, the contrasts are extraordinary, as the tranquil main string theme is overridden by a surge of marching percussion and a cacophony of brass before the optimistic bellembellished finish. I find the marimba very soothing to listen to, but that s notto say it s boring. Well worth a listen. Christopher Purves was superb in Handel s oratorio well presenting an oratorio as an opera would work, but in fact the story was compellingly told.

As well as having singers of the calibre of Christopher Purves in the title role alongside Sophie Bevan and Iestyn Davies, the production itself macabre, uber- Baroque and immensely stylised was beautiful. It was my idea of exactly what an opera should be like. When it comes to swing, so many conductors don t quitegetitinthewaythat John does. It s amysticalexperienceandthemorei listen to these visionary composers, thedeeperi m drawn in. The scale and vision of these works takes my breath away.

Catherine Beddison Cranleigh Oliver Tarney s evocative Magnificat explores the wide spectrum of emotions that Mary may have experienced whilst coming to accept her calling from God. Commissioned in , the piece interweaves contemporary textures with plainsong influences to create an accessible and inspiring work for string orchestra, percussion, choir, string quartet and soloists.

Tarney composes with a fresh voice, combining complementary texts from the Bible and the Qur an and awakening a unique soundscape. And this year s festivalcontentwasspecial, with several works that are rarely played live because of the cost of gathering multiple soloists: Jaime Jean Mexico City, Mexico I play Nielsen s symphonies on a regular basis so, for a change, I have celebrated his th birthday listening to less popular works such as the four string quartets in the fine recording by the Oslo String Quartet, the piano music with Enid Katahn, and the Melos Ensemble s rendition of the Wind Quintet Op.

I enjoy Horner s luxurious orchestrations, especially when writing for strings and horns, and also his use of choral elements in his scores. As we go to press, the London s Tower Bridge is, for the very first time, set to host a concert by the Dockland Sinfonia in one of its bascule chambers. These, we are told, are the underground vaults into which the road s vast counterweights are lowered when the bridge is raised. Aimed at up-and-coming talent, the scheme will see up to five composers spending the season with the orchestra, each writing a ten-minute piece for it.

The best piece will then be programmed into the following RSNO season. There is no better or better known harpist in the world today, says Lloyd Webber. This is a clear indication of where Birmingham Conservatoire is heading. This year s competition requires amateur composers to set a specially commissioned poem by Roger McGough, and the best six will besung on air bythebbcsingers.

The closing date is 3 November.

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Thank you for the moosic Top tunes bring dairy contentment, say performers Among themanybenefitsofclassical music previously reported by BBC Music, one is that playing it to dairy cows significantly increases milk production listening to the right type of music has been shown to lower stress levels, and cows who produce less stress hormones also produce more andbetter-quality milk.

I started playing myself when I was about six. I m one of those people who has played almost everywhere on the pitch. At my best, I was representing North Harbour region, which involved training fivedaysaweek. It wasn t until the same decision came up again, when I was 19 and had had a bit of an injury to my neck, that I settled for music. There are elements of playing seriously that I miss the camaraderie and the discipline, for instance though I still chuck a ball about hoping to refine this knowledge by finding out which composers music brings the best results.

We don t know yet. But, if the evidence of the video on YouTube is to go by, theanimals seemedhappy enough. I also still spend a lot of time watching club rugby and involving myself in it, and know a number of All Blacks well, including captain Richie McCaw. In he became, at 21, the youngest organist to perform solo atthe BBC Proms. Having begun his career with an organ scholarship to St John s College, Cambridge, in he wonthe Manchester International Organ Competition and went on to perform extensively across the US, Europe and the Southern hemisphere.

In the same year as his Manchester success, Scott became assistant organistatstpaul scathedral, risingtoorganistanddirector f e made a series of exceptional recordings for the Hyperion label. He raised the choir to the same high level that he had achieved at St Paul s, and recently oversaw the design of a new organ, which when completed will be named in his honour. Astudent ofdramaattheuniversity of Vienna in the s, Lehnhoff becameassistantdirectoratdeutscheoperberlinshortly after graduating.

He achieved his directorial debut in with Strauss s Die Frau ohne Schatten. Lehnhoff always directed operas paying special attention to the instructions of their composers, but this did not stifle his creativity he secured his reputation in England, for instance, with his radical setting of Wagner s Parsifal in an underground bunker for ENO.

A former student of Wagner s grandson Wieland, Lehnhoff directed at many of the world s most famous opera houses, including La Scala and the New York Met. She received rave reviews for concerts at venues such as Wigmore Hall and Carnegie Hall, winning praise for her virtuosity and unshowy stagemanner. The statistician Claus Moser born was a tireless supporter of classical music.

He was made a life peer in Those vividly tuneful overtures were all recorded in Geneva s historic Victoria Hall. The music spans a fascinating period of some four decades of intensive compositional activity in the United States. After all, thepoorlass adevout secondcenturyvirginwhocommittedno crime more heinous than playing the organ was terribly treated by her inventive Roman executioners. According to some historical accountsshewasbarbecuedfor36 hours, but never so much as broke intoamild sweat.

Whereupon a swordsman attempted to decapitate her, but managed to make such a botched job that she lived for a further three days in what must have included some discomforting neck pains. Perhapsbecausethisfateso aptly symbolises how musicians havebeentreatedbyrulingclasses through the ages persecuted but allowed to linger in a traumatic half-life Cecilia became the patron saint of music. Her house intheromedistrict of Trastevere was turned intoachurchinthe fourth century, and her body allegedly discovered there in That would have been convenient, because by then a cult of Cecilia was in full swing.

A music festival in her honour, the firstofthousands,hadalready been established in Normandy in Not to be outdone, the Italians inaugurated an Accademia NazionalediSantaCecilia15years later in Rome. Its orchestra and chorus flourish still, now under the exuberant direction of Santa Antonio di Pappano. In England, Dryden andpopewroteodes;purcelland Handel supplied glorious music. That tradition was revived in the 20th century, notably by Benjamin Britten, who not only made the excellent career move of being born on St Cecilia s Day himself, but also collaborated with WH Auden onadelightful unaccompanied choral piece, Hymn to Saint Cecilia.

Less well known, but even more intriguing, arethe references to the saint in the oeuvres of PaulSimon heofsimonand Garfunkel fame. In a song called The Coast he depicts a family of musicians, apparently destitute, taking shelter for thenightina church of St Cecilia. The notion of the saint providing comfort for eternally insecure musicians is poignantly expressed: Of course, Simon also wrote a much more famous song actually called Cecilia.

It is generally interpreted as the cri de coeur of abesottedmanforacapricious woman. But Simon himself pointedoutthatthechoiceofthe woman s name was not accidental, andthatsuchlinesas Oh, Cecilia,I mdownonmyknees, I m begging you please to come home could actually be read as a despairing composer s plea for his inspiration to return. Given this extraordinary, millennia-spanning connection betweenmusiciansandcecilia, I wonder if the music world should be making a much bigger missionary statement on 22 November each year.

In recent times, there have beenfundraising concertsby musical charitieson that date, but what I envisage is more like the National Music Day It should remind us of how much joy and profundity is added by the gift of music that briefly fizzed, then fizzled out, a few years ago. It should be a day on which every musician, professional and amateur, youthful and venerable, makes an effort to reach out to the wider community, and when every aspect of national life frompublic events and broadcasting to daily routines in offices, schools, hospitals and shops incorporatessomesortof musical celebration.

It shouldn t be overtly political, but it should remind usofhow much joy and profundity is added to human existence by the gift of music. And its chief focus should be on increasing exponentially the number of people who make music whether in choirs, orchestras, jazz ensembles, pub combos, brass bands or folk clubs.

But, you might say, in the modern world we already get bombarded by music everywhere we go. Yes, that s true. We often demote music to the status of ubiquitousbackground moodsoother in shopping malls, restaurants and our own homes. That swhy,afewyearsago, thesatiricalpopmusicianbill Drummond instituted a briefly successful No Music Day on 21 November symbolically the eve ofstcecilia sday.

The trouble is that his satirical gesture is now too close to reality. In too many schools acrosstheuk,everydayisa no music day. No,let sharnessthenameof Cecilia, and the talents of every musician in the land, to celebrate thegreatestofartformssolustily on 22 November each year that, fromwestminster to the most deprived housing estates of our inner cities, people feel compelled to join in the merry chorus. There s a lovely line in Dryden s A Song for St Cecilia s Day inwhichan angel hears music being played, and straight appear d, mistaking Earth for Heaven.

Once a year, atleast,let sgive everyone the chance to mistake 21st-century Britain for heaven. Spring incorporates birdsong recordings as well as someone whispering tweet, tweet and what sounds like a loud snore but could be something more flatulent.

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Summer seems to have recruited an entire farmyard as a backing chorus. Autumn has rustic wrong notes and hunting horns, while a soupy piano melody and Hendrix-style electric-guitar breaks have been added to Winter. Yes, Nigel Kennedy, the incurable bad-boy of classical music, has returned to Vivaldi s most celebrated concertos, 26 years after making his famous, or infamous, recording for EMI. I could package them together as The Eight Seasons, he quips. If that recording raised the hackles of purists, this new one for Sony Classical is likely to send them crashing through the ceiling.

I haven t even mentioned the ubiquitous drum track courtesy of Damon Reece from the British pop band Massive Attack , or the poems Kennedy s translations of Vivaldi s original movement headings sung to the violinist s own interpolated music. I just give them a musical backing. I don t know, he replies. Vivaldi isn t even my favourite composer. But even the Aston Villa fans, when I m going into the ground, mimic someone playing the violin and go der rumpum-pum diddle-um.

It lends itself to improvisation and collaboration almostinajazzsense. You can feel the enjoyment of the people listening, and that makes it a pleasure to play. Even so, with the whole violin repertoire available, why return to a piece that he has already recorded? What I did all those years ago was contemporary for its time, Kennedy replies. But it sounds a bit old hat now.

I never listen to it unless it s being played in the lifts atthefourseasonshotel. Poland is where Kennedy is now based. It s literally at the end of the road, he says, his eyes gleaming. Thenatureiswildandbeautiful, and there are bears and wolves all around us. The wolves have already killed four sheep this year. And that part of the world still has all those types of species that you and I saw in England before chemical farming came in. As that comment suggests, Kennedy is now fairly rampantly green. Well, he says, I m not very ecologically correct, but I don t eat McDonald s and I try to put the garbage in the right bins.

In fact, he cares passionately about the environment. In Jaworki he has built his own green house. It s completely wooden, with strawinsulation, hesaysproudly. There sno concrete involved at all. I conceived it myself, andithasahugemusicroominwhichican getachamberorchestra. And because it s completely wooden it has a beautifully warm sound.

Kennedy takes the mic from Terry Wogan at Proms in the Park the middle of Europe, that Kennedy generates his new projects especially the toursthat involve his largely Polish jazz-musician friends. There s a littleclub inthevillage whereistartthingsoff,then we play quite a few concerts elsewhere in Polandbefore hitting the road abroad, he says. One recent project originated even closer to home.

Lastyear hiswife translated Chekhov s Three Sisterss from Russian to English because a geezer called David Mamet wouldn t letususe histranslation, Kennedy says , then produced astagingofthe drama in which she played the central role, Masha, aswell. It was a lovelyproject, Kennedysays. I never thought Iwould have any sympathy for therussianbourgeois characters in Chekhov, but his study of psychology and motives is fascinating, whatever thesocial class of the people.

And I guess it was helpful to have lived in Eastern Europe so long,inacountrythat was so dominated by the Russian ethos. Kennedy smusicwasoriginally just for himself and a guitarist. We were improvising a lot, and I found that taking part in the whole run, over five or six nights, was very educational and inspiring. Now he has expanded the score for orchestra and it will beincludedonhisnextalbum, due out in January. Rather confusingly, perhaps, that will be called English Collection. It s because peoplethinkthatalotofthemelodiesi write sound very English, he says. Could be something to do with where I grew up.

That Kennedy composes music as well as playing it will come as news to some. In fact, when he was a boy studying at the Yehudi Menuhin School in Surrey and later at the Juilliard School in New York he put pen to manuscript quite often. Yes, I composed a lot untiliwas The people advising metherealwayssaid waittill next year. The slow movement is sublime. Simon Foster, the general manager of EMIClassicsat the time and now a director of Avie Records, suspects a contributing factor may have been the nature of the work itself atalittle over 40 minutes long, The Four Seasons contains 12 movements of just a few minutes apiece.

It was, in effect, the perfect classical pop album. The recording sessions took place in in the church of St John-at-Hackney in the east end of London where, Foster remembers, the rain was pouring through theroof. It all went very well, with a lot of humour, but it took three years for the recording to be released because Nigel wanted to tinker with those extraordinary cadenzas which he didn t doatthe recording itself. He wanted to add thoseinlater.

Nigel s performance was, let s say, Kennedy wanted to go for the land speed record in Winter willful It was full on, and Nigel was embellishing with his own ornaments in between movements and in his own words, he wantedtogofor the land speed record in the final movement of Winter. It was almost athletic. McCannhashistheoriesof why a recording of Baroque concertos should sell in such astonishing numbers. Kennedy was coming off the back of the Elgar Concerto for which he d won plaudits, so the Vivaldi recording was made in the time before he became the Nigel we know today.

This was the first flush of him stepping out with his new persona. Sales, McCann recalls, were modest to begin with. And then, astroke of luck The then director of the BBC Proms, John Drummond, publicly referred to Kennedy as a Liberace for the nineties the day before the violinist was due to play at the Albert Hall.

Nigel came on stage in his evening dress, says McCann. It was all Velcroed together, so Nigel ripped it off, revealing his tramp Charlie Chaplin outfit. The place went wild, and we made the front pages. The idea was that music was music, and it didn t need to be stuffy. That, it transpires, isn t hisonlygrudge against his erstwhilerecordlabel. Idida recording of thebergviolin Concerto with Edo de Waartand the Minnesota Orchestra that never got released, heexclaims, because I could never agree with EMI about what to couple itwith.

Kennedy wanted it released in tandem with aconcertoby David Heath. It s not thesamegenrebut it s also not incompatible. But EMI had a different wisdom Kennedygivesasardonic laugh sointheendisaid sod off andtheberg recordinggotputinthevaults. In any case, Kennedysayshehas no great desire to record more concertos. I ve done most of the warhorses, he says. And there snoneedfor me to record things like the Shostakovich concertoswhen Maxim Vengerov has done wonderful versions of them. I doaconcertowhen I think Icanbring somethingdifferent to thework.

Admittedlythat was mainly becausei couldn t slip any Aston Villa names past my first wife s radar. So Sark was named after theisland, because Mervyn Peakeisoneof my favourite writers and Mr Pye is set there. YveswastheFrenchspellingof my first wife s name. It didn t work. And has Sark Yves Amadeus Kennedy lived up to his musical ancestry?

He s studying studio engineering at Hereford College and is very much into creating rhythmtracksandso forth, Kennedy laughs. So hemightbevery useful to me as cheaplabour! Kennedy dons his Aston Villa strip IfMozartisofftheKennedyradar,another great 18th-century figure is very much in his mind.

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Next year I am concentrating on music I play every day anyway and that s Bach, he says. The first thing I do in the morning, every morning of my life, is pick up the violin and play JSB. I have a very intense relationship with him, and I think the time has come to embach ifimightbedroll onrecording all the solo sonatas. It s what I want to leave behind: And my big wooden room in the Polish mountains is the perfect place to do it.

For years Kennedy has been touring Bach in programmes that mix his music with great keyboard improvisers from the jazz era. Will his recording incorporate any element of that? No, those touring programmes were just a way of stopping me being a lonely sod, he replies. But the recording will be just Bach, though I might do it like Kreisler did first the kosher way, then with some accompaniments of my own.

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I ve had a lot of fun putting his melodies above reggae beats, so there may be some kind of shit like that. Kennedy also wants to release the recordings on YouTube, one movement a Every morning of my life, I pick up the violin and play Bach week. Listening to all six sonatas at once is too much, he says. Solo violin music is asevereartform. Kennedy was taught by Yehudi Menuhin, who himself was taught by George Enescu, the great Romanian violinist and composer who championed Bach s solo-violin works when they were still virtually unknown.

Havethesefamousmentorsaffectedhow he plays Bach? Menuhin played Bach to us a lot, and I performed thedoubleviolinconcertowithhimona fairfewoccasions. You can t just wallow around. In the past Kennedy has been highly critical ofsomeaspectsoflifeattheyehudimenuhin School when he was there.

His general view is still that an unhealthy hero-worship of star teachers by their pupils was a big factor in the historic abuse cases now being uncovered at some top music institutions. Instrumental teachers are revered in a way that academic teachers aren t, he says. So they can get away withalot. I was lucky; I wasn t subjected to abuse. ButIwassopleasedtogettoJuilliardand studywithdorothydelay,whowasn tinto perfunctory obedience at all.

She loved having debates about the music. Kennedy admits that his experience of the Juilliardwaslimited becauseineverused togetupinthemorning. Could he have left classical music completely and gone into jazz? Ifoundalotmorejoyinit, more self-expression, more respect between the musicians. Particularly compared with a school like Juilliard where everyone was learning monkey-tricks on the violin. But then the offers of gigs I got were all from the classical world, so that s the direction I went.

Now that he s closing in on 60 in December next year , has he thought of joining a conservatoire himself and passing on the fruits of his eclectic experience to a newgeneration? Iwouldliketo, hereplies, but I try to persuade every student I meet to leave college! So that wouldn t be very helpful for the institution employing me. There are too many teachers in those places telling all their students to learn the same bits of repertoire because it s more convenient for the teacher.

So I am the voice of the devil whispering quit, quit, quit in the students ears. I say to them: That s a learning experience far more valuable than you will ever get in a college. Iaskher how it hadfelt. Shesimplysmiles, her facecreasingintothe girlish grin that s so characteristic and which comes to her so often in thecourse of aconversation. I don t know why, but I think it does. She sounds likeaninnocentyoung player who s perhaps taken to the stage on onlya few occasions, andhas been trying theplace out.

She has played with every top orchestra, graced all the great recital rooms, and seems able at everyperformance to summon up awarmth and passion that gives her playing the richness that you might expectfrom someone much older. That younggirl s grinconcealsan astonishinglymaturemusical mind. Ibragimova, aged 12 Early years: Born on 28 September , she began studying the violin aged four. In anyone without her talent you might call it naivety, a kind of deliberate openness and un-stuffiness that belies all the subtlety of her musicianship.

Istartbyasking about her instrument, because sometimes with soloists it s a good way of starting to explore their personalities. The player and instrument are, after all, best friends. This one turns outtoberather interesting,because it was first thought to have been made by Pietro Guarneri in Venice around his name s inside, so that s not surprising. I ask Ibragimova to describe it. She thinks for sometimeasifsheisworriedaboutgetting it wrong. It shardtodescribe,butiwouldsayit is very warm. Ihavecometoknow it very well.

In the ten years she s been playing it, she has stamped her own personality on the repertoire, particularly in the Baroque works that were the centrepieces of her early career, and of which she s still such an enthusiastic and celebrated exponent. We are, of course, bound to talk aboutbach. Bach is the composerwho,forme,is different. With everyone else you know the music is there and you try to understand it, to play it as well as you can.

You feel he is allaround you, and you are just entering something that s complete. It s very hard to describe, but the feeling isreal. She feels his presence when she played the music? That isn t quiteit, shesays. I m just aware that this is music of a different kind,and that being involved with it gives you an experience that, for me anyway, is particular to him. Again, her style in conversation is spare. There s no gushing, and she comesacross as a musician who has such asteely inner confidence that she is spared theemotional ups and downs that some others experience.

That control an innate professionalism was instilled in her at an earlyage. Ibragimovacomesfrom a supremely talented family. She was born in Polevskoy in Russia, near Ekaterinburg, in , and moved to London ten years later when her father, Rinat, was appointed principal doublebassist inthelondon Symphony Orchestra.

Her mother taught the violin at the Menuhin School,where Alinaenrolled. Bythetime she was 12,she says,she feltcomfortable in the knowledge that her career would be with theviolin, theinstrumentshe dfirst picked up when she was four. She grew up under the influence of a disciplined Russian tradition of study and practice. My mother taught me that we should all aim high. I ve always followed that advice. At the Menuhin School shewould regularly work and practise for and even hour days, because the understanding there was thesameasher mother s code: Even in the s there was still an expectationthat Bach s solo violin works the sonatas andpartitas she performed at the Proms would have a touch of romantic overlay.

She was more interested in stripping them down, before applying her own fiery touch. The consequence, when she recorded them, was a reading of the pieces technically demanding for any player that seems utterly fresh and teeming with life. It wasn t the consequence of instruction, but instinct. It s how she wants to play. As a child she would listen to recordings of great players the styles of Jascha Heifetz and Vadim Repin were familiar to her from a young age anditseemsclearthat evenbeforehermovetolondon and the Menuhin School her own expectation was that she would try to follow them.

She talks about discipline and ambition without any drama: It s therefore not at all surprising,when we turn to talk about audiences, that she saysshefindsit easy to forget they are there. The real worry is that she might be tired, which is dangerous. That s when it gets scary. A feeling that you re not ready. But with audiences I m fine. The distinctive quality that she produces on stage can be heard in her last recording: In Ibragimova s case, the result is dazzling.

The delicacy and intimacy of her playing, interspersed with passages brimming with fieryvirtuosity,isthrilling capturingall the complex personality of the music, from the moody to the playful. You sense in her performanceaspiritthat,despiteallthe discipline that s such a part of her character, wantstobefree.

Ihaveplayedalotof contemporary music, of course, but I want to play more. Julia Gold Band 80 German Edition. Julia Collection Band German Edition. Julia Best of Band German Edition. Julia Gold Band 81 German Edition. Kindle Edition File Size: Amazon Media EU S. Customer reviews There are no customer reviews yet. Share your thoughts with other customers.

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