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The same shape and size as every other classical guitar on the planet.
This one recovered from the dump, bought for a couple of quid, oiled and cleaned and is perfectly playable.
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
clickeventonline.com/event/cultura/141207-MusicalMemories...
The Cuban Research Institute at Florida International University
presents
Classically Cuban: Musical Memories of Cuba (Memorias musicales de Cuba) with Enrique Chía
December 7, 2014
5:00 PM
Wertheim Performing Arts Center Concert Hall
MUSICAL MEMORIES OF CUBA
MEMORIAS MUSICALES DE CUBA
Enrique Chía, Piano
Orlando Forte, Violin
Ramsés Colón, Bass
René Lorente, Flute
Mario Del Monte, Trumpet
Tim Devine, Keyboards
Rubén (Tuty) Jiménez, Drums
Alberto Palenzuela, Percussion
Laura Martínez León, Vocalist
PROGRAM
1.Siempre en mi corazón (bolero, Ernesto Lecuona, 1942)
2.Habanera tú (habanera, Eduardo Sánchez de Fuentes, 1892)
3.Mírame así (habanera, Eduardo Sánchez de Fuentes, 1925)
4.Corazón (canción, Eduardo Sánchez de Fuentes, 1926)
5.Si llego a besarte (bolero, Luis Casas Romero, 1921)
6.Las perlas de tu boca (bolero, Eliseo Grenet, 1932)
7.La tarde (bolero, Sindo Garay, 1913)
8.Como arrullo de palmas (criolla, Ernesto Lecuona, 1936)
9.Siboney (danzón, Ernesto Lecuona, 1927)
10. Olvido (bolero, Miguel Matamoros, 1928)
11. Lágrimas negras (bolero-son, Miguel Matamoros, 1931)
12. Sones: Son de la loma (Miguel Matamoros, 1928) / A la loma de Belén(Juana González de Cabrera, 1925) / Yenyere Gumá (anonymous)
13. Nosotros (bolero, Pedro Junco, 1943)
14.Tú me acostumbraste (bolero, Frank Domínguez, 1956)
15. Chachachás: La engañadora (Enrique Jorrín, 1953) / Silver Star(Enrique Jorrín, 1953) / Poco pelo (Antonio Sánchez, Jr., 1955)
INTERMISSION
16.Quizás, quizás, quizás (bolero, Osvaldo Farrés, 1947) / Mis cinco hijos(guajira-son, Osvaldo Farrés, 1939)
17. Toda una vida (bolero, Osvaldo Farrés, 1943)
18.Quiéreme mucho (bolero, Gonzalo Roig, 1911)
19. Cómo fue (bolero, Ernesto Duarte, 1953)
20. La gloria eres tú (bolero, José Antonio Méndez, 1947)
21. Cerezo rosa (mambo, Dámaso Pérez Prado, 1953)
22. Guajiras: Al vaivén de mi carreta (Antonio Fernández, 1939) / Amor demi bohío (Julio Brito, 1937) / Amorosa guajira (Jorge González Allué,1937) / Guantanamera (Joseíto Fernández, 1928)
23. Lamento cubano (son, Eliseo Grenet, 1932)
24. Cuando salí de Cuba (bolero, Luis Aguilé, 1967)
The outstanding National Archaeological Museum was founded in 1829. Its current building, designed in the neo-classical style by Ludwig Lange and Ernst Ziller, was erected between 1866 and 1889. In it are displayed more than 11,000 items. They include this bronze statue of a youth, from the Antikythera shipwreck, which was retrieved in 1900-01. Dating from 40 to 330 BC, it is part of the museum's Metalwork Collection. According to its website, 'the figure is identified either with Perseus holding the head of Medusa in his right hand or more possibly with Paris holding the Apple of Discord to give it to the most beautiful of the goddesses, Aphrodite'.
Light created by combustion such as the fire of gas lanterns has low luminescence and creates a romantic atmosphere.
Light Sources by Melissa Adams
DSCN6578c
The name Kathak is derived from the Sanskrit word katha meaning story, and 'katthaka' in Sanskrit means s/he who tells a story, or to do with stories.
With dance, music and mime these storytellers would bring to life the great scriptures and epic so ancient times, especially the great Indian epics the Mahabharata and the Ramayana and the Puranas of Sanskrit literature.
Kathak is one of the classical dance forms of India (originally from North India). It is a narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of expression (bhav) in the performance (abhinaya).
The picture shows a Kathak performance in progress - Performed by Gitanjali Lal and troupe at the Purana Qila, New Delhi, India on 15th Oct 2007 during the 'Ananya' dance festival.
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Pretty Portraits Ballerina Dancer Maroon Leotard! Beautiful Professional Ballerina Dancing Ballet in Santa Barbara! Nikon D810 70-200mm VR2 F2.8 Nikkor Zoom! Fine Art Classical Ballet in Pointe Shoes Slippers Leotard Tutu Photography! High Res Ballet Model!
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Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
The above Famous Classical Oil Paintings can be reproduced on canvas by DayDayPaint.com. 100% handmade, Museum Quality and Affordable Price. Please contact us at email: daydaypaint@gmail.com for details.
Photos by Natasha Marco
"Classical Jam" artist residency presented by The Forum for their 2012-2013 Season in St. Thomas, US Virgin Islands
"Classical Jam" is a unique ensemble innovative for bringing together performances of the highest caliber in combination with engaging presentations.
MEMBERS:
Cyrus Beroukhim, violin/viola
Wendy Law, cello
Marco Granados, flute
Justin Hines, percussion
Guest Artist: Kyle Ambrust
"Classical Jam" perform regularly with “Musicians from Marlboro”, Chamber Music Society of Lincoln Center, and Fireworks. Individually, they have soloed with the Boston Symphony Orchestra, the New York Philharmonic, the Singapore Symphony, the Juilliard Orchestra, the Oregon Symphony, and the Virginia Symphony, among others. They have performed in venues throughout Europe, Asia, the Americas, and the Middle East. Along with their dedication to highly coveted individual musical careers, members of Classical Jam are teaching artists at such leading organizations as the Lincoln Center Institute, the New York Philharmonic, the 92nd St. Y, and Young Audiences.
"Classical Jam" members have won awards such as the Pablo Casals award for Educational Outreach, Grand Prize at the Fischoff Chamber Music Competition, the McGraw-Hill Company’s Robert Sherman Award for Music Education and Community Outreach, as well as recognition from the National Society of Arts and Letters. CJ was recently selected by Concert Artists Guild to receive the Cary Trust Fund for Contemporary Music Projects, in commissioning composer Randall Woolf for a new work for the ensemble. "Classical Jam" musicians are graduates of the Juilliard School, the Oberlin Conservatory of Music, the New England Conservatory, and Indiana University.
"Classical Jam" was created because they saw the need to reach out to diverse audience in terms of age, cultural and social backgrounds. They are interested in developing a deeper and more personal relationship between seasoned concertgoers and classical music. They are also interested in promoting Classical Music to people who feel that they cannot relate to it, or for one reason or another, are not exposed to it.
They truly believe that Classical Music is something that anyone can relate to, and enjoy. They believe that the success of "Classical Jam" is that they are able to engage any audience, and also be able to connect at a very personal level. They do so by adding some fun to our concerts while retaining the integrity of their art. On an even more personal level, sharing the process of discovery with listeners is an incredibly moving experience for everyone.
Their diverse backgrounds reflect the very audience that they are trying to reach. The chemistry of the group produces a result appealing to music connoisseur and new audiences alike. They really enjoy performing together, and the listeners can hear that love, dedication...creativity really is the language that we are all speaking. "Classical Jam" connects, inspires, and uplifts.
I was in Boracay again this tail-end of summer for a full-production on-location fashion pictorial. This is one of the outtakes from that photo shoot. Model: Lenard Bolivar. Fashion Designer: Dong Omaga-Diaz. Hair & Makeup Artist: Victor Ortega. Venue: Paradise Garden Resort Hotel (Boracay). Event Organizer: Bess Tonel. Thanks to Mr. Jochen Buskowitz of Paradise Garden Resort Hotel, Mr. Esteban S.F. Madrona Jr. of MBRS Lines, Mr. Niño Libosada of Philippine Beverage Partners Inc., and, Ms. Annie Convocar of Boracay Tropics. [Photographed by Dominique James of The Dominique James Photography Studio. Copyright © 2007. All rights reserved. For authorized use only. For more information, visit the official blog of The Dominique James Photography Studio at www.dominiquejames.com or email studio@dominiquejames.com for inquiries and bookings.]
The Custom House.
An elegant classical building designed by Henry Bell. Built in 1683 and opened as a merchants exchange in 1685.
Henry Bell’s Custom House of 1685 is a gem of a building. It uses the grammar of classical architecture perfectly with two orders of pilasters, Doric below and Ionic above and very fine carving of garlands and grotesques. There is a statue of Charles II over the entrance, a hipped roof and dormers and gallery surmounted by a tall and graceful cupola. It was built as a merchants’ exchange with all the arcading originally open except on the eastern side which were filled in 1742.
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Customs House including north bank of Purfleet Quay, Purfleet Quay, King's Lynn, Norfolk, PE30 1HP
Grade: I listed
List Entry Number: 1195414
Customs House built in 1683 to the designs of Henry Bell.
MATERIALS: ashlar limestone from Ketton quarry with stone dressings and plain clay tile roof below a lead-covered flat centre section.
PLAN: it is located on the north bank of Purfleet Quay and is almost square on plan.
EXTERIOR: the building is in the classical style, originally in the form of an open arcade, with a first floor and attic under a hipped roof with an acanthus modillion eaves cornice. The north and south elevations are of five bays, and the east and west of four, all broadly similar. The arcade bays (blocked in the C18) are separated by Roman Doric pilasters supporting a plain Doric entablature and have keystones in the form of different masks, including that of Bacchus, the god of wine, and Ceres, the goddess of agricultural fertility, representing two of King’s Lynn’s main trading goods: wine and grain. The end bays have two blind recessed panels, vertically placed, except for the upper panel on the right hand side of the south elevation which is glazed with leaded lights. The first floor is lit by mullioned and transomed cross casements with leaded lights in the middle bays, and a single-light transomed casement in the end bays. The bays are divided by Ionic pilasters with garlanded capitals.
The north elevation has a broken-forward central bay with a heavy double-leaf panelled door. The entablature above bears a cartouche with the coat of arms of John Turner, and a plaque dedicated to commercial and nautical business with the inscription: Mercaturx Reicp Nauticx Hoc posuit Johannes Turner Anno dom CDDCLXXXIII Arm. Above on the first floor is an arched niche with the statue of Charles II on a fluted semi-circular pedestal flanked by a pair of Corinthian pilasters. There is a shallow pediment over this bay. The arcades on the east elevation are filled in, as are those on the south elevation except for the central bay which has a double-leaf door with flush panels beneath a semicircular fanlight with radiating glazing bars, and HL hinges on the internal side. This provided access to the landing platform for the Customs’ cutter. On the west elevation the arcade bays are glazed with leaded lights which have radial glazing bars, possibly of C19 date.
The north and south roof slopes are lit by two pedimented dormers separated by a segmental-headed dormer. The east and west slopes have two pedimented dormers, all with two-light casements and wholly within the roof space. Resting on the flat centre section is a timber lantern of Greek cross plan composed of four arches each carrying a pediment with angle pilasters and Corinthian capitals. This is surmounted by a hexagonal lantern with an ogee cap. The flat centre section has a turned balustrade with square corner piers, the eastern two being disguised chimney flues. INTERIOR: the ground floor was originally open, as already described, with four bridging beams running north-south and one running east-west, at the junctions of which were four entactic Doric columns resting on octagonal bases, of which the two western ones survive. The room in the north-east corner, once known as the King’s Warehouse, has a wide panelled door with strap hinges and a lock case. The oak staircase and bolection moulded panelling was installed in 1718 but the lower flights were remade in the 1930s in the same style. The C18 upper flight has a closed and moulded string, dumb-bell balusters, and a heavy handrail supported on square newels with flat square caps.
On the first floor the Long Room, which occupies the western side, has large framed panelling, probably of 1741, with a dado rail and narrow horizontal panels along the top. On the cornice there is a mark indicating the former partition that was removed to create one large room. On the east wall are two fireplaces, that on the left has a pulvinated frieze, moulded overmantel and stone flagged hearth; and that on the right, now blocked up, has a simple moulded surround with a plain central panel. To the right of the fireplaces are built-in cupboards; that on the left retains HL hinges. The cupboard to the left of the right fireplace has been knocked through to create access to the Surveyor’s Room which occupies the north-east corner. This has smaller-framed fielded panelling, probably dating to 1718, with a moulded dado rail and cornice. The room also retains panelled window jambs, two-panelled doors and a fireplace composed of moulded stone jambs and entablature set directly into the panelling. The small room to the south of the staircase was used for storing wood for fires in the C18 and retains some lead pipework.
The attic has been subdivided into small rooms, most of which have modern doors. The roof structure has principal rafters with butt purlins, and the cupola is supported on four cross-braced trusses.
SUBSIDIARY FEATURES: the quay was probably a loading point of the Purfleet from the C13, and certainly a lime and stone quay existed in 1547. The present brick structure, laid in English bond with limestone dressings, is a result of continuous repair and rebuilding, the earliest identifiable elements being of C17 date. The listed section begins at the south-east corner of the Customs House and runs 60m west along the north bank of the Purfleet, including the brick retaining wall, its stone capping and the stone steps leading down to the quay.
Fragments from the colossal cult statue of the Emperor Domitian from his temple in Ephesus. Only his head and left forearm are preserved and displayed in the Ephesus Museum in Selcuk (returned in the last few years from the Archeological Museum in Izmir)
The tyrannical Domitian is portrayed here in a peculiar and somewhat grotesque manner, his thickset features are almost those of an infant on an adult body!
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Classical Eminönü Square - Klasik Eminönü Meydanı
Sanatın Ustaları ~ Masters of Art
One 1stanbul Photo Album, Eminönü, Fatih District, Istanbul, TR
SUGRAPHIC ~ Always Under The Light of Your Love ...
SUpport ISTANBUL 2020 Summer Olympics and Paralympics, BRIDGE TOGETHER
ISTANBUL 2020 Yaz Olimpiyatları ve Paralimpiksleri için Destekle, BİRLİKTE KÖPRÜLER KURALIM ...
Here are my 2 electric classical guitars. On the left is my Vantage and on the right is my new Cordoba. You can see the differences in the cuts at the 12th fret and the colors.
Classical Guitar by Marc Friedlander
HDRI
3 photos RAW with camera in hand.
Nikon D7000
Nikkor AF-S 17-35mm 2.8D
A choir (from left: Nathalie Cruz, Bill Book, Dave Ruark and Catherine Vaughn Mobley) warn Darrin Gowan of his wife Cindy Phillips' perilous emotional state at not finding her gloves to wear to the fireworks display in the "Classical Menopause"segment of Mid-Life! The Crisis Musical now on stage at Theatre on the Square. The hilarious send-up of the aging process with a look at mammograms, prostate checks, kids who won't leave home, biological clocks and aging jocks plays Fridays and Saturdays at 8:00 P.M. and Sundays at 5:00 P.M. Tickets are $ 30 for adults and $ 20 for seniors 62 and over, full-time students and military personnel. Group rates are also available. For reservations and information phone 685-8687 or go on line at www.tots.org. Click on the Theatre on the Square My Space link for a preview of the production.
Was lucky enough to have beautiful natural light during yesterdays visit to the little known Museum of Classical Archaelogy in Cambridge
Located in downtown Washington, D.C., the memorial honors Martin Luther King, Jr.'s legacy and the struggle for freedom, equality, and justice.
The Martin Luther King, Jr. Memorial is located in West Potomac Park at 1964 Independence Avenue, S.W., referencing the year the Civil Rights Act Of 1964 became law. The memorial’s official dedication date was supposed to be August 28, 2011, the 48th anniversary of the March on Washington for Jobs and Freedom, though the ceremony was postponed until October 16 due to Hurricane Irene.
The Foundation held a design competition. In 2000, the judges selected ROMA Design Group’s plan for a stone with Dr. King’s image emerging from a mountain. The plan’s theme referenced a line from King’s 1963 “I Have a Dream” speech, “With this faith, we will be able to hew out of the mountain of despair a stone of hope.” The final design includes a massive carved mountain with a slice pulled out of it, symbolizing the “Stone of Hope” being hewn from the “Mountain of Despair.” Reinforcing this motif, the edges of the Stone of Hope and the Mountain of Despair incorporate scrape marks to symbolize the struggle and movement, as well as an engraving of the words “Out of the mountain of despair, a stone of hope.” Visitors may enter the memorial through the Mountain of Despair and tour the memorial reflecting on the struggle that Dr. King faced during his life, approaching the plaza where the Stone of Hope stands. In the stone, a carving of Dr. King gazes to the horizon and encouraging citizens to strive for equality and justice.
To create the likeness of Dr. King, the Foundation searched for a sculptor. Their search led them to St. Paul, MN where an international collection of sculptors were creating public artwork to be installed throughout the city. After approaching all 15 artists, they found that four of them recommended the Chinese artist Master Lei Yixin. After the Foundation interviewed him in Washington D.C., and examined his work in China, Master Lei Yixin became the official sculptor in 2007.
Lei filled the walls of his studio with hundreds of photographs of Dr. King, and studied them until he held the essence of the man’s spirit firmly in his mind. He created a three-foot scale model of the sculpture amongst other sculpture models, before sculpting the 30 foot final version. Along the way, Lei worked closely with the Foundation and the King family to choose the material - shrimp pink granite - and to generate the likeness reflected in the final product. A 30 foot fiberglass replica of the entire sculpture served as a reference for the stone sculpture. The sculpture and the mountain are composed of 159 granite blocks that were transported to Master Lei’s studio in Changsha, China, where he assembled and sculpted 80 percent of the artwork. It was then disassembled and transported by ship to Baltimore, and reassembled at the memorial. Master Lei completed the last 20 percent of the sculpting on site in Washington, D.C.
The words engraved in the memorial were done by Nick Benson and his team. Benson, a third generation stone carver, spent more than two years on the project. His company, The John Stevens Shop, is located in Newport, Rhode Island. He is both a designer and a carver, with distinctive architectural lettering that is an original font drawing on both classical Greek forms and contemporary sans serif script. He has worked not only on the Martin Luther King, Jr. Memorial, but on the World War II Memorial, the Franklin D. Roosevelt Four Freedoms Park on Roosevelt Island, National Gallery of Art, among other works.
The existing interior of the 673-seater Concert Hall with the Corinthian columns and classical ornamentation.
Pretty Portraits Ballerina Dancer Maroon Leotard! Beautiful Professional Ballerina Dancing Ballet in Santa Barbara! Nikon D810 70-200mm VR2 F2.8 Nikkor Zoom! Fine Art Classical Ballet in Pointe Shoes Slippers Leotard Tutu Photography! High Res Ballet Model!
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me my good friends!
Facebook: geni.us/A0Na3
Instagram: geni.us/QD2J
Golden Ratio: geni.us/9EbGK
45SURF: geni.us/Mby4P
Fine Art Ballet: geni.us/C1Adc
Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.