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enjoying the view from the #Octave at #Marriott #Sukhumvit rooftop bar, #Bangkok
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Josef K
'Postcard' :
Josef K
Sorry For Laughing
Les Disques Du Crépuscule
TWI023
7" Single Sleeve 1981 (Detail)
Design . Jean - François Octave
CD :
Paul Haig
At Twilight
Les Disques Du Crépuscule
TWI1154
Photography . Charles Van Hoorick
Design . Benoît Hennebert
Use Hearing Protection
GMA
Rack: This may be behind a pay wall (to the attached NYT link). I think of you in the same breath as all of these people, and indeed in a higher octave because the work is so raw and pure, and I lived with it during impossible days and it helped to save me.
Glad you’re getting back to your first loves. They will help arm you.
Have been strangely happy and perhaps embarking on a whole new chapter that I’m reluctant to elucidate for fear of the evil eye.
And have been enjoying summer more than I remember doing so. It may be that I’ll just take any old season now. ‘I’ll take the lot,’ to quote Mr. Creosote.
Hope you’re well and that the work goes well.
Ruin: No, I could see it. We have a 'New York Times' account. Of course, there is a conjoined bitter/sweet reaction to this article, this late re-evaluation of Aids-related art, these new collectors and talk of inspiring the auction houses to re-think their value. But that’s it really, it is about the market, almost all of the artists being dead, and those of us who are still here have been dealing with disbanding what we have made for fear of it bankrupting ourselves, all that storage, all that preservation. Thankfully we have words still, and these can be collected without much self-sacrifice. Actually, they are the opposite of that, they are a source of some joy, and even a centering device, so that the normal unravelling, that compounding of years and the influence of the disease, becomes neither here nor there. It can supply that urgency to ‘kick against the pricks’, that “embarking on a whole new chapter”, you speak of. I say fuck that evil eye. My impetus is to drag those twin buggers across the coals too, until they give out, like everything else. Bring on your best, bring on your worst, I am ready.
I find the unravelling to be sweet, as it would happen.
There was a lot of saving each other in those early days in New York. I felt as cack-handed as I have always managed to be, there’s very little sophistry there, I know. It was the best I could do at the time, the most honest way I could honour us. Manhattan was liberating, especially after the covert ‘anti-Irish’ racism of London. I say covert, but it wasn’t always so. Sometimes, it was profoundly explicit. I noted somewhat of a change in the 90s, when being Irish became somewhat trendy, but I had left by that time.
You were clever enough to fly over that small island and head towards that other small island, on the east coast of the USA. My first trip to Manhattan was in 1979. I spent three months there, ending with a Joni Mitchell concert in ‘Forest Lawns’. I was hooked, on New York I mean (and Joni). It was also, on the flight back to London, that I read Octavio Paz’s book on Marcel Duchamp, my undoing. London was really over for me, from that point forward, but it would take another 7 years before I could project myself back to the ‘Big Apple’.
I like things taking their own sweet time.
Yes, I am beginning to look again at Boris Vian, Raymond Roussel, Alfred Jarry, and of course Duchamp, but all, somewhat, through the influence of David Shields. The other usual suspects will be there too, of course, Joyce, Goya and others, including the hapless Marcus Sarjeant, who took pot-shots at the queen during the trooping of the guard in 1981, with a starting pistol. This somewhat motley crew will take me towards the idea, this description of us evolving from those edges of sexual expression, called homosexuality, through gender dysphoria and fluidity towards the neutered self, possibly as a byproduct of endocrine disruptors. This will also evolve out of a story called ‘Rack & Ruin’, two more hapless spectators, who themselves might be barking mad.
This writer, Rob Baker, wrote two very nice pages about my work in this book, putting me alongside Sue Coe and others. He was one of the earliest writers to recognise what was going on there, relative to the scourge and the making of art.
Did I mention that a lot of this description might take 'email' and 'Immediate Message' form, and even include comments left on this very organ?
Mr. Creosote's "take the lot" sounds like good advice. I am there with you. I am somewhat aware that I am making this thing very complicated, but what can I say? The nature of the beast, and all that, in a try to say it all, and see how far you get, sort of way.
It's sort of becoming a culmination of everything I have been thinking about, making art about, and writing about for the past 40 years. I am not going to worry if it is 'right' or 'wrong'. Shoot one's wad and have done with it, seems to be the recipe for whatever this turns out to be. I will leave the 'double blind' testing to the science bods, in a 'proof of the pudding' sort of way.
www.nytimes.com/2022/08/17/t-magazine/collectors-gay-arti...
Pontifical Votive Mass of the Blessed Sacrament, celebrated by His Eminence, Vincent Cardinal Nichols
© Mazur/cbcew.org.uk
Fantasy and Science Fiction / Magazin-Reihe
- George Alec Effinger / Opening Night
- Barry N. Malzberg / Blait House
- B. L. Keller / Flora
- Ron Goulart / Blockbuster [Jose Silvera]
- Bruce Holland Rogers / The Krishman Cube
- Isaak Asimov / Four Hundred Octaves
- Richard Mueller / The Chains of the Sea
- Charles Sheffield / The Devil of Malkirk
cover: Ron Walotsky
(Cover illustrates "The Devil of Malkirk")
Editor: Edward L. Ferman
Mercury Press Inc. (Cornwall / USA; 1982)
ex libris MTP
en.wikipedia.org/wiki/The_Magazine_of_Fantasy_%26_Science...
Exposition au Grand Palais "Moi, Auguste, empereur de Rome" (19 mars 2014-13 juillet 2014)
Début ou milieu de l'époque d'Auguste
Marbre
The Octave of Easter, known as Low Sunday, Quasimodo Sunday, has also come to be known in more recent times as "Divine Mercy Sunday." It was through St. John Paul II that the Octave of Easter received this new title in the Church's calendar. Drawing inspiration from the diary of Sister Faustina, the Octave of Easter has received a renewed emphasis on the mercy of God.
In a beautiful homily delivered on this day by St. Augustine of Hippo, he declared to the newly baptized, "You have been buried with Christ by baptism into death in order that, as Christ has risen from the dead, you also may walk in newness of life." For it was traditionally on this day that the Church received her newly baptized catechumens with maternal delight. Holy Mother Church rejoiced over her new children, all of which is made possible by the mercy of God in calling us to Himself while we were yet sinners.
St. Faustina recorded these words from our Lord Himself: "I desire that the Feast of Mercy be a refuge and shelter for all souls, and especially for poor sinners. On that day the very depths of My tender mercy are open. I pour out a whole ocean of graces upon those souls who approach the fount of My mercy." May we turn with trust to the Divine Mercy of Almighty God and seek Him in all things.
Ukrainian Divine Liturgy - Hieromartyr Anthimus & Venerable Theoctistus, celebrated by Rt Revd Mitred Archpriest Mykola Matwijiwskyj
© Mazur/cbcew.org.uk
Keedie has a fantastic voice
Keedie Green (born Keedie Babb, 21 October 1982, Wolverhampton) is a British classical crossover soprano,[1] with three octaves in her voice that reaches a top A above a top E.[2]
Background
She was baptised as Keedie because her father is a fan of Kiki Dee.[3]
The family moved to Torquay when she was three years old and she subsequently attended White Rock Primary school in Paignton.[4]
Her father had an intermittent work as a painter and decorator, paying for his daughter's vocal lessons while narrowly avoiding bankruptcy, until one Christmas when bankruptcy made the family temporarily homeless.
Keedie left school when she was 14 years old to pursue a singing career, signing her first record contract when she was 16 years old, but soon became disillusioned and left to pursue her career alone.[5]
Career[edit] 2003-2005
In 2003 Keedie appeared in a local Torquay talent show, "Stairway to the Stars"; this appearance brought her to fame.[6] On 30 November 2003, Keedie performed at a World AIDS Day event at the Coronet theatre in London together with Liberty X in aid of Crusaid.[7]
In 2004, Keedie signed a seven figure music deal with EMI Classics,[8] after she duetted with former Blue member Duncan James, on "I Believe My Heart", the soundtrack to the Andrew Lloyd Webber Musical, The Woman in White. The single reached number two in the UK Singles Chart.[9] She also performed at the Miami and Washington Film Festivals.[5]
Her second single, a cover version of the hymn "Jerusalem", was released as a charity single in the UK on 18 December 2005, and entered the UK chart at #19.[9]
The single featured the victorious English cricket team who had just won the Ashes Test Series. Proceeds of the single were split equally between the Save the Children’s "Children in Emergencies Appeal" and two cricket charities.[10]
Her debut album I Believe My Heart was released on 18 November 2004, and met with positive reviews. It includes a variety of contemporary tracks and arrangements, and also featured the title theme "My Reason", from the film Modigliani; the video for which Keedie filmed on location in Bucharest.
The album includes two pop covers: Madonna's "You'll See" and Enya's "Only Time", seven original songs and nine arias. After her album was released, Keedie went on to record Puccini's Nessun Dorma.
[edit] 2005-2006Keedie parted ways with her record company, EMI classics, at the end of 2005. During this time she was able to secure gigs at sporting events and celebrity private parties, such as Michael Parkinson and Anthea Turner.[citation needed]
On 4 September 2005, she appeared at the Grand Finale of the Kent Music Festival along with Katherine Jenkins and G4.[11]
On 26 February 2006, Keedie sang the National Anthem at the Carling Cup final at the Millennium Stadium in Cardiff.[12] In May 2006, Keedie was asked to sing "Time To Say Goodbye" at former Newcastle United footballer Alan Shearer's testimonial at St James' Park.
She performed the song after the game during the finale, and also performed earlier before the game.[13]
[edit] 2007-presentIn 2007 Keedie performed alongside Tina Turner in a one-off concert, The Bedrock Ball, in aid of the charity, Caudwell Children, at the National History Museum.
It was the first live concert Tina Turner had performed in seven years. Keedie was the only artist to support Turner at the charity gig and she performed in front celebrities such as Richard Hammond, Tara Palmer Tompkinson and David Gest.[4]
Keedie said after landing the gig[4]:
“ It was probably one of the most amazing nights I have ever seen. It was mind-blowing. I have never seen anything like it. There was so many celebrities there. When I performed I had a standing ovation and Tina's bouncer told me she had been watching me and had said I was phenomenal. It was really nerve-wracking. ”
Keedie was then invited to sing before David Beckham's first match for LA Galaxy in the United States.[citation needed] She was also booked for a private party for George Clooney and another charity gig in Moscow which was organised by Nelson Mandela.[citation needed]
In May 2007, a special charity album entitled KN21 was released in aid of Children's Hospice South-West. The album consisted of live recordings of Keedie and her sister Nadine from 1993 - when they were 11 and 10 years old, and called themselves KN21 - a name using the first initials of their names plus their combined age at the time. The tracks are mainly covers from the 1960s which were recorded during the girls "Swinging Sixties" show at the Great Western Hotel in Paignton. The album also has two exclusive bonus tracks which Keedie recorded in 2005 - "Nessun Dorma" and "Would I Know", an original song penned by American songwriter, Diane Warren, and previously used in the Charlotte Church film I'll Be There.[14] Diane Warren, is said to be in the process of writing a song for Keedie to sing on a forthcoming album.[4]
In 2010, it was revealed Keedie had auditioned for The X Factor under her marital name of Keedie Green.[15]
[edit] AlbumsI Believe My Heart (2004)
[edit] Singles"I Believe My Heart" (2004) (duet with Duncan James) - UK #2[9]
"Jerusalem" (2005) (& the England Cricket Team) - UK #19[9]
[edit] References1.^ "Seven-figure deal for Keedie". Birmingham Mail. 2004-11-04. icbirmingham.icnetwork.co.uk/0100news/0100localnews/tm_ob.... Retrieved 2007-08-27.
2.^ "Keedie". Last FM. www.last.fm/music/Keedie. Retrieved 2007-08-27.
3.^ Lynskey, Dorian (2004-12-09). "Rock me, Verdi". London: The Guardian. arts.guardian.co.uk/features/story/0,11710,1369683,00.html. Retrieved 2007-08-27.
4.^ a b c d "Like Tina, Keedie is "Simply the best"". Torquay Herald Express. 2007-05-22. www.thisissouthdevon.co.uk/displayNode.jsp?nodeId=134844&.... Retrieved 2007-08-27.
5.^ a b "Keedie". Classic FM TV. 2005. www.classicfm.co.uk/Article.asp?id=251315. Retrieved 2007-08-27.
6.^ "Herman's Habits - Page the Songbird". Elton John World. 2004-10-29. www.eltonjohnworld.com/coranto/herman/200410.html. Retrieved 2007-08-27.
7.^ "Liberty X to play the Coronet at World AIDS Day event". London SE1 community website. 2003-10-30. www.london-se1.co.uk/news/view/697. Retrieved 2007-08-27.
8.^ "Singer Keedie signs classical album deal". BBC Entertainment. 2004-11-07. news.bbc.co.uk/1/hi/entertainment/3982257.stm. Retrieved 2007-08-27.
9.^ a b c d Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 297. ISBN 1-904994-10-5.
10.^ ECB.co.uk
11.^ "Gigs and concerts coming to Kent". BBC Entertainment. 2005. www.bbc.co.uk/kent/entertainment/music/events.shtml. Retrieved 2007-08-27. [dead link]
12.^ "Carling Cup final clockwatch". BBC Sport. 2006-02-26. news.bbc.co.uk/sport1/hi/football/league_cup/4752806.stm. Retrieved 2007-08-27.
13.^ "Keedie sings for the testimonial game". Newcastle United F.C.. 2006. www.nufcpics.com/pictures_232390/Keedie-sings-for-the-Tes.... Retrieved 2007-08-27.
14.^ "Keedie's classic charity effort". Torquay Herald Express. 2007-05-16. www.thisissouthdevon.co.uk/displayNode.jsp?nodeId=134844&.... Retrieved 2007-08-27.
15.^ "Keedie Green impresses The X Factor judges". TellyMix. 2010-06-17. xfactor.tellymix.co.uk/2010/news/14321-keedie-green-impre.... Retrieved 2010-06-17.
Recently added: Paradox Effects (@paradox_effects) (PRDX-DEF003) Defibrillator * * * bit.ly/2dahkx7 * * * #paradoxeffects #paradox #defibrillator #octave #octavepedal #octafuzz #octavefuzz #fuzz #fuzzpedal #effectsdatabase #fxdb #guitarpedals #guitareffects #effectspedals #pedals #guitarfx #fxpedals #pedalporn #guitarporn #gearporn #pedalboard #guitar #guitarist #guitargear #geartalk, via Instagram: bit.ly/2cDipQV
The Go-Betweens
Book :
Rodin
Hatje Cantz
2020
Rodin . Femme Accroupie (Plâtre) . Porte De L'Enfer (Détail) . 1882
CD :
From Brussels With Love
Les Disques Du Crépuscule
TWI 007
Compiled . Michel Duval & Annik Honoré
Artwork . Jean-François Octave . Claude Stassart . Benoît Hennebert
Use Hearing Protection
GMA
Church of the Sacred Heart of Jesus in Krakow (Copernicus Street)
Jesus - Conventual Church of the Jesuits
Distinctive emblem for cultural property.svg A- 299, 5 July 1966 [1 ]
Minor Basilica • suitable title since July 1, 1960
Pope John XXIII
Call of the Sacred Heart of Jesus
Liturgical memorial Friday after the octave of Corpus Christi
Earth 50 ° 03'43 " N 19 ° 56'55 " E
The interior of the church
Church of the Sacred Heart of Jesus - Roman Catholic Jesuit convent church, which is located in Krakow, in Quarter II, the Merry Street Copernicus 26
Modernist architecture of the building represents the Young Poland and is one of the greatest works of Polish religious art from the first quarter of the twentieth century.
History
At this point, the Jesuits settled in 1868, and two years later erected the first chapel, which quickly proved to be insufficient. In 1903 it was decided to build a new, magnificent temple. The implementation of the adopted project by architect Francis Mączyński.
Originally it housed a large reality belonging to Peter Joseph Szyryna, that included the so called fruit and vegetable garden. English palace complex of smaller buildings and bungalows. The Jesuits acquired the property for $ 16 thousand guilders. Makeshift chapel in the 30s it was decided to put the building on the today Copernicus street. In June 1869, proceeded to demolish the house, leaving only the foundation and load-bearing walls. The left wall sacristy was added to the upper chapel (St. Aloysius) and the women's gallery and a new roof. In 1870, the floor was laid with plates made of Belgian marble and were built arched arcades separating the two side aisles of the nave. Then carefully shaped barrel vault and semicircular founded colorful windows in iron fittings. The completed building was 21 meters long, 11 meters wide and 9 meters high. Inside the chapel there is an altar with the image of Belarus brought from the Heart of Jesus and the two side altars dedicated to Our Lady and St. Joseph (Image by Antoni Reichenberg). In 1889 was founded a new, larg, richly carved altar and side altars images replaced with sculptures by Mayer of Munich. Later the chapel was built more extensive room where pomieszczono (mixed up) additional chapel and sacristy for clergy. Consecration of the Chapel of the Sacred Heart of Jesus took place August 28, 1870, the temple served the faithful for 42 years. Last service in the chapel was held on 20 May 1912 and transferred the Blessed Sacrament in the walls of a new building next to the church. The chapel began to undress on May 21.
November 1, 1909 , Bishop Suffragan Bishop of Cracow Anatol Nowak blessed the cornerstone of the new church. Construction lasted until 1912, but the equipment and decoration of the church because of the war were firmly extended Finally, the official consecration took place on 29 May 1921, the Bishop of Anatol Nowak made her in the company of 24 other bishops, who lived then in Krakow, the Polish Episcopal Conference.
In 1960, Pope John XXIII granted the title of minor basilica church, and since 1966 it is registered as monument. In 1960 it was decorated a chapel in the church of adoration of the Blessed Sacrament, which is October 29 of that year, consecrated by Bishop Karol Wojtyla.
Art
Architecture
The architect of the church appealed not only to modernism, but to practice the tradition of Romanesque, Gothic and Baroque. The church tower is 68 meters high and is one of the highest in Krakow. The church walls are made of red bricks, window frames and detail of gray stone. In the middle in the final of each window there is a mosaic-arms of the cities that contributed to the construction of the church.
Above the portal, the tower is a mosaic "Puncture the side of Christ", made and designed by John Bukowski, a little higher sculpture designed by Xawery Dunikowskiego. The figure of Christ in Odkuł-stone by Charles Hukan, the side of the lead characters were cast in 1913. They symbolize the suffering humanity and seeking comfort in the heart of God.
Outside the sacristy, on the east wall of the church, there is a memorial temple of artist Francis Mączyński in 1912 , by Xawery Dunikowskiego. Statue cast in bronze offered Jesuits architect 's widow in 1953.
Interior
The interior of the basilica is divided into three naves. Vaults, first in Krakow, made of reinforced concrete. The floor mimics the patterns of early Christian churches. In the years 1914-1918 polychrome vaults made and designed by John Bukowski. Mosaic of the nave in 1922, designed by Leonard Strojnowski, benches designed by Francis Mączyński a backdrop confessionals John Bukowski. Stations of the Cross purchased in France in 1937 by the Jesuits, for the purpose of churches in Kołomyja, but in 1946 it was brought to Krakow and installed in 1959.
The high altar, built between 1915-1920, is the work of Francis Mączyński. Frieze of mosaic in the chancel was designed in 1913 by Peter Stachiewicz, and executed by the company Gianese Angelo in Venice. The church was placed in 1921. Mosaic is 30 meters long, is a tribute to Christ by the holy and blessed Polish led by St . Stanislaus and the Polish nation, famed for Jesus by Queen Jadwiga Andegawenkę and her husband, King Wladyslaw Jagiello.
The six side altars made in stucco placed between 1920-1930 sculptures by Charles Hukana. Attention is drawn in particular altar of Our Lady of the Angels, who, according to art historians, is one of the most valuable works of sacred art in Poland in the interwar period . Virgin Mary is presented as Queen of the crown, adored by a group of eight angels.
Authorities
Authorities were purchased in 1928 in the well-known firm of brothers Riegerów Jägerndorf (opus 2317). Then repaired several times (most recently in 2007), now have 47 votes and tracker power. Decorated in a romantic style sonic characteristic of organ building late nineteenth and early twentieth century.
The church is located on the route of the Malopolska Way of St James from Sandomierz to Tyniec.
pl.wikipedia.org/wiki/Ko%C5%9Bci%C3%B3%C5%82_Naj%C5%9Bwi%...(ul._Kopernika)
It's a tiny glass prism, in fact just a pair of facets of a prismatic convex faceted "crystal" designed to spray tiny rainbow beams like this around the room when the sunlight hits it.
It's possible to change the appearance of this image a lot by mucking around with exposure etc. in post processing. None of them look quite like what I see with my eyes. This adjustment semed to give the closest approximation to what I can see while exposing the important diferences between what the camera sees and what I see. My eyes can't pick up the dim purple and magenta shades at the end of the blue which are just barely visible here, but I might be ble to see them if the room was darker. The dark grey background is actually a white wall.
The other strange difference is that each pool of a primary colour seems to be an oval, such as the red oval and the green oval, with the secondary colours formed by their intersections, such as the yellow formed where the red and green intersect. Whereas my eyes see more like bands of colour with straighter boundaries, like the illustrations in textbooks.
Isaac Newton, the inventor of the cat flap, spent a lot of time investigating colours, and decided that there were seven, red, orange, yellow, green, blue, indigo, violet. Why those? I find it much easier to see a few different greens than a few different blues. And why seven? Seems to me you could just as well argue for six or eight. Did Newton choose seven for mystical reasons? We can for example see nearly an octave of light, roughly the span of a dimished seventh, the original harmonically lowered version of the modern equally tempered diminished seventh. If sight went round in tonal circles of octaves like sound (as we hear it) then the next note past the diminished seventh of violet would be red again, or red an octave up. As the colour wheel of artists suggests.
So is it coincidence that the harmonically adjusted diminished seventh of our equaly tempered scale, at the blue end of the spectrum, is called a blue note? Is there more to synaesthesia than electrical leakage in the nervous soup of the brain?
Original: DSC03737_1X
missing two of my Octave dividers to repair. Notice the incorrect knobs on the Octave Divider on the left. They do not make the "D" style POTs to my knowledge anymore. If they do, I need to aquire two. Digital delay also in for repair.
Vienna Concert House (2006)
The Wiener Konzerthaus was opened in 1913. It is on the 3rd Viennese district road (Lothringerstraße) at the edge of the Inner City between Schwarzenberg Square and City Park .
Architectural History
Ludwig Baumann planned Olympion Art Show 1908, the main building Concert Hall, detail
1890 for a planned house music festivals should be considered as multi-purpose building to address a broader public than the just 200 meters away traditional Viennese Musikverein. The design by architect Ludwig Baumann for a Olympion contained several concert halls except an ice rink and a Bicycleclub. In addition, an open-air arena should offer 40,000 visitors. The skating rink and its adjacent buildings were realized in 1899 by Baumann plans, the Art Nouveau ensemble but fell in 1960 to a construction of the InterContinental Hotels Group to the victim. The Vienna Ice Skating Club is located on the then reduced by about a third place today. The popular freestyle wrestling at the Haymarket took place here.
Organised by Gustav Klimt and his friends art exhibition Vienna 1908 was held in a temporary exhibition building on the undeveloped site of the later concert hall. The Wiener Konzerthaus was finally built 1911-1913 by the Europe-wide Viennese theater architects Ferdinand Fellner and Hermann Helmer Younger (Office Fellner & Helmer ) in collaboration with Ludwig Baumann.
The theme of the concert hall was:
A facility for the care of fine music, a collection of artistic aspirations, a home for music and a house for Vienna.
On 19 October 1913 the Concert Hall in the presence of Emperor Franz Joseph I with a gala concert of the Vienna Concert Society was opened (now the Vienna Symphony Orchestra ). Richard Strauss composed this be Festive Prelude Op 61. Was combined with this modern work Beethoven's 9th Symphony - the juxtaposition of tradition and modernity should be so much in the first concert of the house.
The disintegration of Austria-Hungary brought tremendous social upheaval and financial crises - and thus flexibility and versatility was also necessary for lack of money. In addition to classical repertoire, there were in the 1920s and 1930s, important world premieres (including Arnold Schoenberg and Erich Wolfgang Korngold ), concerts with jazz and pop songs, speeches from science to spiritualism and poetry readings (including Karl Kraus ). Dance and ballroom events, some large conferences and world championships for boxing and fencing completed the program.
After the annexation of Austria to the German Reich in 1938, the program for impoverished "non- degenerate entertainment operation ", to many artists remained only the emigration.
After 1945, the concert hall also had the secondary task , " prop up " the bruised Austrian self-confidence in a musical way. In addition to the standard repertoire of classical and romantic and the Viennese Waltz , there were still premieres (eg Schoenberg's oratorio The Jacob's Ladder 1961) and international jazz and pop concerts. From May 1946 spaces for recording studios and administration at the German and in Vienna living music producer Gerhard Mendelson were rented, who is considered one of the most important pop producers in Austria in the postwar period.
After several modifications that changed the original Art Nouveau decoration slightly , the house was restored from 1972 to 1975 to the only slightly altered original plans. From 1998 to 2001 the house was renovated by architect Hans Puchhammer and expanded to include a new concert hall (New Hall) .
From 1989 to 2002 the Vienna Kathreintanz also took place in the concert hall .
Building
Saw the concert at the House of Lorraine Street (Lothringerstraße), the Schwarzenbergplatz
The floor plan approximately 70 x 40 meters large concert hall with the main entrance at the Lothringerstraße and other inputs in the Lisztstraße includes Haymarket (Heumarkt) since the opening three concert halls:
Large hall with 1865 seats
Mozart Hall with 704 seats
Schubert Hall with 366 seats
The new hall (with 400 seats) was not established until the general renovation of 1998 to 2002. The new hall was renamed at the start of the 2009/2010 season in Berio-Saal.
On the home front, the right and left of the entrance, is the inscription
Honor your German Masters, then you are storing good spirits.
Here is a quote from the final chorus for the opera Die Meistersinger von Nürnberg by Richard Wagner.
In all rooms the same time can take place, since they do not affect each other acoustically different concerts.
Inside stands in the foyer of the original model created in 1878 by Kaspar von Zumbusch Beethoven Monument, which is situated opposite the Concert Hall at the Beethoven place. At the staircase there is a relief homage to Emperor Franz Joseph (1913 ) by Edmund Hellmer . Furthermore, a bust of Franz Liszt by Max Klinger to mention in 1904.
The complex of the concert hall and the building is part of the K. K Academy of Music and Dramatic Art (now the University of Music and Dramatic Art). Adjoining rooms for academic teaching purposes this part of the building also contains the Academy theater with 521 seats, which is used as a secondary stage of the Burgtheater world premieres among other modern plays.
Great Hall and Organ
The Great Hall has a capacity of 1116 visitors (ground floor) and additional 361 balconies and boxes, and 388 in the gallery. The auditorium is 750 m2 and 170 m2 of the podium. In the 1960s the hall was optimized by Heinrich Keilholz.
The organ was built in 1913 in the Great Hall of the Rieger organ (Rieger-Orgel) (Jägerndorf, Silesia) built. The instrument is located on the end wall of the big room, but has no visible Prospectus. The organ is located behind a grid and is thus hidden from the visitors. The cone-chest-116 instrument has five registers on manual and pedal works and is the largest organ in Austria. The special features of the organ counts, firstly, that the four manual divisions are swellable. In addition, the organ comprises a (swellable ) remote work with separate pedal. Stylistically, the organ is "Alsatian Organ reform " aimed at the so-called ideal of where along the lines of major instruments of Aristide Cavaillé -Coll, the strong voices are divided into two manuals. The tracker action is electro-pneumatic. For the inauguration of the instrument Strauss had the " Festive Prelude " for organ and orchestra composed. In 1982 the instrument was restored.
I Hauptwerk C
Principal 16 '
16 drone '
Principal 8 '
Gedackt 8 '
Flute hollow 8 '
Harmonique Flûte 8 '
Fugara 8 '
Gemshorn 8 '
Dulciana 8 '
Nasatquinte 51/3 '
Octave 4 '
Reed flute 4 '
Viola 4 '
Superoctave 2 '
Noise Quinte II 22 /3 '
Cornet III-V 8 '
Mixture V 22 /3 '
III cymbals 2 '
Trumpet 16 '
Trumpet 8 '
Clarino 4 '
Manual II ( swellable ) C-
Viola 16 '
Quintatön 16 '
Principal 8 '
Bourdon 8 '
Flauto Traverso 8 '
Clara Bella 8 '
Viola da Gamba 8 '
Salicional 8 '
Unda Maris 8 '
Octave 4 '
Octaviante Flûte 4 '
Gemshorn 4 '
Quintatön 4 '
Waldflöte 2 '
Sesquialtera II 22 /3 '
Progress . harm. III - V 22 /3 '
Mixture IV 22/3 '
8 'Clarinet
Krummhorn 8 '
Glockenspiel
tremulant
III . Manual ( swellable ) C-
Lovely - Gedackt 16 '
Violin Principal 8 '
Reed flute 8 '
Still Covered 8 '
Vienna Flute 8 '
Quintatön 8 '
Echo Gamba 8 '
Aeoline 8 '
Vox coelestis 8 '
Octave 4 '
Octaviante Flûte 4 '
Delicate flute 4 '
Aeolsharfe 4 '
Gemsquinte 22/3 '
Flautino 2 '
Third, 13/5 '
Larigotquinte 11/3 '
Seventh 11/7 '
Piccolo 1 '
Harmonia aetherea IV 22/3 '
Basson 16 '
Harmonique Trompette 8 '
Oboe 8 '
Vox Humana 8 '
Harmonique Clairon 4 '
tremulant
IV solo work C
16 drone '
Clarinophon 8 '
Double - Gedackt 8 '
Concert Flute 8 '
Solo Gamba 8 '
Fifth tube 51/3 '
Octave 4 '
Solo Flute 4 '
Quinte 22/3 '
Superoctave 2 '
Wholesale Cornett III - V 22 /3 '
Tuba mirabilis 8 '
Ophicleide 8 '
Harmonique Clairon 4 '
V Fernwerk ( swellable ) C-
Delicately Gedackt 16 '
Horn 8 'Principal
Lovely - Gedackt 8 '
Reed flute 8 '
Viola d' amore 8 '
Vox Angelica 8 '
Gemshorn 4 '
Flute 4 '
Piccolo 2 '
Mixture IV 22/3 '
Shawm 8 '
Vox Humana 8 '
tremulant
C- pedal
Principalbaß 32 '
Principalbaß 16 '
Violon 16 '
Subbass 16 '
Echobaß 16 '
Salicetbaß 16 '
Quintbaß 102/3 '
Octavbass 8 '
Gedacktbaß 8 '
Bass flute 8 '
Cello 8 '
Dulcianbaß 8 '
Octave 4 '
Flauto 4 '
Campana III 102/3 '
Mixture IV 51/3 '
Bombard 32 '
Trombone 16 '
Bassoon 16 '
Trumpet 8 '
Basset 8 '
Clarino 4 '
C- pedal distance
Subbass 16 '
Octavbass 8 '
Pairing :
Normal coupling : II / I, III / I , IV / I , V / I, P / I , III / II , IV / II , V / II, I / II , IV / III , V / P, I / P, II / P III / P IV / P
Superoktavkoppeln : II / I, III / I , IV / I , V / I , III / I , IV / I , III / II , IV / II , IV , V, I / P , IV / P.
Suboktavkoppeln : III / II .
Game Help: Free combinations (5 banks by 1000 = 5000 general memories ), storage rack (roll on, Pair of roller coupling to IV of roller, Manual 16 ' down, Reeds off (as buttons ), the main pedal off, remote pedal off (as flip switches ), Einzelzungenabsteller ), Tutti (push button), principal pedal down, Fernwerk pedal from, sills V in expression pedal II coupled (toggle button), kicks, interact with flip switches (switching I-IV of P, normal couplers II-IV to I, roll off ) Registercrescendo (roller for the organist, coupled with a second roller for the registrant ) .
Program
The concert hall is the main venue of the Vienna Symphony , the Vienna Chamber Orchestra and the Vienna Sound Forum. Since 1913 the Vienna Academy of Music has its permanent home of the Konzerthaus. In separate events at the Wiener Konzerthaus other international orchestras, soloists and chamber ensembles in addition to the Vienna Philharmonic regular guest. In addition, there are also numerous other events organizer at the Konzerthaus. So for example the Bonbon Ball, but also concerts in jazz and world music.
The program of the Vienna Konzerthaus also includes some festivals , such as
the Early Music Festival in January resonances
the Vienna Spring Festival
the International Music Festival
Wien Modern in autumn
Between 2003 and 2006, gave the series with the latest music generator .
From 2008, a year early in the season with a festival held focus " on a particular region or cultural community " [2 ] . The first event in September 2008, the two-day festival Spot On : Yiddishkeit , in which a cross section is presented by the diversity of Jewish music creation.
de.wikipedia.org/wiki/Wiener_Konzerthaus
Atmos, a Green-Ringer-based octaver with extra LED clipping.
Sound clips in my octaver pedal shootout.
R4 is a 390 Ohm resistor and a 5 K pot to ground.
R14 can also be a 50 K pot for a variable high-pass filter.
hFE of the transistors I used was approximately 500, 600, 500.
One idea was to get as much of the signal to the first clipping stage as possible (large capacitor values), then cut some bass before the rectification to make the signal more uniform and make it "glue together" better (smaller capacitor values) and then use larger capacitor values again to keep the subharmonics.
The 2.2 pF value for C3 was chosen to move the distortion outside the bass and the lower mid range. 1 pF also works but is not as crunchy. Higher values might also sound good.
Read Dan Armstrong "Green Ringer" /// Clone and Mods for the components that should be matched.
· Octave ·
My mind was blown when I discovered an octave has twelve notes, not eight! I find that very confusing, since the latin root for “octave” means “eighth.”
I’ve been reading a music theory book so that I can better understand music and jam with my band mates. Eventually, I want to be able to look at a guitar chord notation and know what keys to press on the keyboard. Understanding how a song is structured also helps when I reverse engineer musical breaks onto the keyboard.
Shirt, Forever 21 (thrifted). Skirt, Urban Coco. Bag, A+ by Aldo. Bag strap, Paxmate. Boots, Seychelles.
enjoying the view from the #Octave at #Marriott #Sukhumvit rooftop bar, #Bangkok
If you are interested in licensing photos, please contact me via joepdeumes@gmail.com
theft will be billed
www.stvincent.edu | The Saint Vincent College March of the Bearcats Drumline was invited to perform with the Pittsburgh Steelers official drumline prior to the Steelers pre-season game with the Philadelphia Eagles. That same evening, Saint Vincent College assistant professor of music Thomas Octave sang the national anthem
Bain News Service,, publisher.
Tom Sopwith
[ca. 1910]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Photo shows English aviator Thomas Octave Murdoch Sopwith (1888-1989) in the Howard Wright biplane. (Source: Flickr Commons project, 2009)
Forms part of: George Grantham Bain Collection (Library of Congress).
Subjects:
Air pilots
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.09259
Call Number: LC-B2- 2203-16
Extraction of a Songbird (The Boy Who Spoke in Octaves), 2019.
From The Sialia Marbles, my first solo show which ran at MMX Gallery, London, 5th December 2019 - 15th February 2020.
The Sialia Marbles contains over 40 original hand-coloured prints, which together create an anthology of fractured tales inspired by the scared energy of traditional sculpture halls. A wing of my own Le Musee Imaginaire, an idea initially proposed by Andre Malraux, which can be defined as, 'the personal or cultural mental storehouse of images of the noblest works of art’ (Haley, 2002). These tableaus are cast in a form of fictional rigour mortis, through the symbolic reference to the weight and endurance of marble sculpture.