As many of you know, Left4dead 2 came out about a week ago, ive been playing this game for a while and recommend it for hours and hours of fun. But Left4dead 2??? Its basically the same concept of the first game with new zombies, a few new weapons and new levels, other than that, its the same game!!

Honestly, would you spend another 50 bucks for almost the same game? Don’t get me wrong, the first one was great, but the second one… I don’t think so. Some of the new zombies look pretty interesting though, I looked all around and haven’t been able to find out anything about the new special infected, so im posting it here for you guys:

Charger: Some people say its like a second tank, the charger is a new special infected that’s able to grab a human survivor and seperate him from his teammates but dragging him in his right arm into a wall or a solid object, after that the Charger continues to pound them into the ground until an ally is able to free them. The Charger is supposed to do massive damage.

Jockey: Ok this one made me laugh, its called the Jocket, it kind of looks like Gollum from Lord of the Rings, that aside, its able to jump on to the survivors head and attack them while giving control as to which direction to move the human survivor, its great for separating the survivors apart.

Spitter: This new infected looked kind of lame to me, nothing really interesting and not much strategy involved, but its main goal is to spit a acid phlegm bomb onto the survivors, this works especially well when the survivors are cornered. When the Spitter dies, it leaves a puddle that does the same amount of damage as her spit bomb. She is very useful when it comes to igniting gas cans when the survivors are near them, but other than that, shes done.

Wandering Witch: Ok this is pretty cool, the Witch that always sat and cried and sometimes glitched when the survivors would get near her is back and this time with a vengeance, she gets to wander around in this game during the day and can sneak up on the survivors at any given moment, she also cries less and im told that she can sing?? uhh oookay… This way the survivors will have a harder time killing her.

The other 4 old infected characters still remain as Smoker, Hunter, Tank and Boomer. There is also some new survivors which include Coach, Ellis, Nick, and Rochelle. The up side to this game is, you get a new selection of zombies which can put u in some great positions and it doesn’t get tiring playing the same old 4 infected anymore, here you have variety and alot of cool new stuff.

I just wanna play the new infected, but other than that, its the same game.. Stay tuned.

The following is the contents of the 1964 Programme, held by Bayan Northcott and photographed when I visited him.

[p 1]

Wardour Castle

Concerts and Lectures

16–22 August 1964

President Michael Tippett

Musical Director Harrison Birtwistle

Price 5’-

[p 2]

[map of Tisbury]

[p 3]

Contents

Acknowledgements                        4

The Composers and Artists            5

Programmes

16 August            Lecture            13

Concert            13

17 August            Recital            19

Concert            19

18 August            Lecture            25

Concert            25

19 August            Recital            31

Discussion            31

20 August            Recital            37

Lecture            37

21 August            Concert            41

22 August            Concert            41

[p 4]

Acknowledgements

We would like to thank the Headmistress, Miss C. B. Galton, and the Governors of Cranborne Chase School for kindly allowing us to use the Castle, both for the Concerts and the Summer School; and the following people for their invaluable assistance:

Mrs. M. I. Mackintosh

Honorary Secretary

Mr. H. O. Young

Honorary Treasurer

Miss G. Selby-Smith

Honorary Librarian

Mrs. T. Hetherington

Miss Caroline Philips

Mrs. R. Porteous

Mr. Michael Thomas

for the loan of organ and harpsichord

The Revd. C. J. Godfrey

for the use of Donhead St. Andrew parish church

The Ministry of Works

for the permission to use the grounds of the Old Castle

Cover Design and Book            Anthony Denning

Programme Notes                        Anthony Gilbert

[p 5]

Notes on the Composers and Artists

[p 6/7]

Harrison Birtwistle

was born in 1934; he studied at the Royal Manchester College of Music and subsequently at the Royal Academy of Music. He is now teaching music at Cranborne Chase School. His works include: Refrains and Choruses, performed 1959 Cheltenham Festival; Music for Sleep, a work for children; Chorales for Orchestra; The World is Discovered, performed at this year’s I.S.C.M. Festival; Entr’acts and Sappho Fragments, performed at this year’s Cheltenham Festival; and Three Movement with Fanfares, commissioned by The Worship Company of Musicians for this year’s City of London Festival

Peter Maxwell Davies

was born in Manchester in 1934, and studied  1952-57 at Manchester University, and Manchester College of Music; 1957-58, Italian Government Scholarship; studied composition with Petrassi in Rome. Director of Music at the Grammar School, Cirencester, and for the past 18 months he has been at Princeton, New Jersey. His works include: Sonata for Trumpet and Piano, 1955; Five Piano Pieces, 1956; Alma Redemptoris Mater, 1957; St. Michael, for wind instruments first performed at the Cheltenham Festival, 1957; Prolation, for orchestra, 1958; Five Motets for a capella choir, 1959; O Magnum Mysterium, for choir, instruments and organ, 1960. His Sinfonia was presented at the Cheltenham Festival by the English Chamber Orchestra in 1962

Anthony Gilbert

was born in London in 1934. He started to study music in 1958; harmony and counterpoint with Anthony Milner; composition briefly with Mátyás Seiber; then since 1959 with Alexander Goehr. Works include: a Duo for Violin and Viola, a Serenade for Six Instruments (commissioned by the S.P.N.M.); and a recently completed Mass for choir and brass.

Alexander Goehr

was born in 1932 in Berlin. Son of the conductor Walter Goehr. Was brought to England as a baby and educated. Studied composition at Royal Manchester College of Music with Richard Hall, and in 1954 was awarded a French Government Scholarship and student at the Paris Conservatoire with Olivier Messiaen and Yvonne Loriod. For some years taught at Morley College and now works part time at the B.B.C., and its chairman of the Society for the Promotion of New Music. Principal works include: Sonata for Piano, The Deluge; Cantata after Leonardo da Vinci; Suters Gold; Cantata on a text by Eisenstein; Violin Concerto; and Little Symphony.

Michael Tippett

was born in 1905, and at the age of 18 entered the Royal College of Music where he studied composition with Charles Wood and R. O. Morris, and conducting with Sir Adrian Boult and Sir Malcolm Sargent. In the early ‘forties he was the Musical Director of Morley College and was closely associated with Walter Goehr, who have many first performances of his music from this period. Works from this period were: Concerto for Double String Orchestra; an Oratorio; A Child of Our Time; and the First Symphony. In 1953 Covent Garden gave the first performance of his first opera, A Midsummer Marriage. In 1953 his second opera, King Priam, was given its first performance in Coventry, late at Covent Garden. This Piano Sonata to be played tonight was written shortly after “King Priam” and was given its first performance by Margaret Kitchin.

Hugh Wood

was born near Wigan in Lancashire in 1932. He started to study music when he was 22; academic work with Dr. Lloyd Webber and later with Anthony Milner; composition with Iain Hamilton and then with Mátyás Seiber. His compositions include: a set of variations for viola and piano; instrumental songs to texts by Christopher Logue; a trio for flute, viola and piano; quartets, the second of which was commissioned by the B.B.C. for the 1962 Cheltenham Festival. Several of these pieces have been broadcast. He has taught at Morley College for five years and also, latterly, at the Royal Academy of Music. He is married to the pianist Susan McGaw.

[p. 8/9]

Richard Adeney

wad born in London in 1920. He studied music at Dartington Hall and the Royal College of Music. He is now the principal flute of the London Philharmonic Orchestra and English Chamber Orchestra. Hs is unmarried and keenly interested in photography.

Lucy Berthoud

was born in Hertfordshire in 1942. Three years later she went to live in New York and there, at the age of 11, started to learn the flute with Ruth Freeman of the Julliard School of Music. When she was 17 she came to England and studied at the Royal Academy of Music with Derek Honner; in 1963-64 she went to Paris to study with Fernand Caratgé

John Carewe

was born in 1934 and studied with Roger Desormiere, Walter Goehr and Olivier Messiaen. For several years assisted John Pritchard with the Musica Viva Concerts in Liverpool, and has appeared as conductor with principal orchestras in this country. Is particularly interested in performance of new music and has given many first performances of works by young English composers.

Lamar Crowson

was born in American but completed his musical training with Arthur Benjamin at the Royal College of Music, with he is now professor of the piano. Among the many awards he has won are the Chappell Gold Medal, the Harriet Cohen International Medal and two first prizes for chamber music at the Munich International Competition. His is will known for his solo and chamber music productions.

Barbara Elsie

was born in Yorkshire in 1938 and at the age of 16 won a three-year Scholarship to the Guildhall School of Music in London. Her teacher was Winifred Radford, with whom she still works. Her oratorio repertoire is extensive and she performs regularly with principal choral societies in Great Britain. Since her first important engagement at York Minister in 1959 she has broadcast a cantata for her, and consequently she was invited to take part in the first performance of his opera “English Eccentrics,” which had u

Osian Ellis

was born in Flintshire. He started to play the harp at the age of 10 and at 17 he won scholarships which took him to the Royal Academy of Music, where he is now a professor. He has brought the harp into great prominence with his concert appearances, recitals and broadcasts, and he has taken part in most of the major European festivals. His performance of Ravel’s Introduction and Allegro with the Melos Ensemble was awarded a Premier Prix in 1962 by the French Society of Authors and Editors of Music. Ossian Ellis is an authority on Welsh Folk Music.

Emanuel Hurwitz

was born and educated in England. At the age of 14 he won the Bronislaw-Hubermann Scholarship for the Royal Academy of Music which was adjudicated by Hubermann in person. In 1939 he became the youngest member of the London Philharmonic Orchestra; he has played solos and obligatos with his orchestras and has always been singled out by the critics for his excellent performances. Since the war he has been leader of the Jacques Orchestra and is now leader of the English Chamber Orchestra. In 1954 he formed a string ensemble which has gained considerable success playing music of the seventeenth-eighteenth centuries. He has been a member of the Melos Ensemble since 1955.

[p 10/11]

Margaret Kitchin

was born in Switzerland and studied with Jacqueline Blancard. She has played all over Europe, giving recitals and as a soloist with all the leading orchestras, playing classical and many modern works in which she specialises. She has given many first performance of modern works, including the Piano Sonata by Alexander Goehr, and work by Ian Hamilton, Peter Maxwell Davies, Peter Racine Fricker, etc.

Susan McGaw

studied at the Royal Academy of Music where she son the Liszt Scholarship and many other prizes. On leaving she won a Caird Scholarship and one from the French Government, and studied in Paris for two years with Yvonne Lefébure Since returning she has played regularly in London and the provinces. She is a frequent broadcaster. He husband is Hugh Wood. They have a son and daughter.

Gervase de Peyer

was a scholar at the Royal College of Music and completed his studying under Frederick Thurston in 1958. He has played for many of the London symphony and chamber orchestras and is at present principal clarinet in the London Symphony Orchestra. He is well known as a soloist and has performed with nearly all the major orchestras in the country under many well known conductors. He has also appeared at many festivals, including Edinburgh and Holland. He has made records for Decca, H.M.V., l’Oiseau Lyre and Parlophone.

Neill Sanders

was born in London in 1923, son of violinist, and has a brother who plays the flute. He won an open scholarship to the Royal College of Music in 1939, after which he did a season with the Scottish Orchestra before becoming principal horn with the L.S.O. He spent seven years with Denniss Brian in the Philharmonia Orchestra and is at present co-principal in the B.B.C. Symphony Orchestra.

Michael Thomas

is at present recording concerts and making permanent recordings of music of keyboard instruments of exceptional historical importance on the continent and in England and Ireland. During the past few years he has recorded recitals on most of the famous old harpsichords, organs and clavichords. He is a person who has made the most thorough study of the technique, phrasing and ornamentation of old music and has, through his long experience and experiments with old instruments, learned how these techniques may best be applied to the old instruments that were used in historical times.

Terence Weil

studied at the Royal Academy of Music, where he won numerous prizes for Chamber Music including the Sir Edward Cooper prize. He was a member of the Hurwitz String Quartet until it disbanded in 1951. He has been principal ‘cello of many chamber orchestras but is at present free-lancing. He is a founder member of the Melos Ensemble.

[p 12]

[advertisement, Universal Edition, for the path to the new music by Anton Webern]

[p 13]

Sunday 16th August

5.0 p.m. Lecture

in the Assembly Room

8.30 p.m. Concert

in the Assembly Room

[p 14/15]

Music in Our Time

Lecture 5.0 p.m.

ALEXANDER GOEHR will lecture on certain aspects of contemporary music with particular reference to works being performed in the evening concert.

Concert 8.30 p.m.

Introduced by MICHAEL TIPPETT

A concert of contemporary English Music

Promoted by: Institute of Contemporary Arts.

Society for the Promotion of New Music

Barbara Elsie            Soprano

Margaret Kitchin            Pianoforte

Peter Maxwell Davies            Pianoforte

Richard Adeney            Flute

Gervase de Peyer            Clarinet

Neill Sanders            Horn

Osian Ellis            Harp

Emmanuel Hurwitz            Violin

Terence Weil            ‘Cello

John Carewe            Conductor

Three Piano Pieces, op.5            Hugh Wood

These pieces were written for my wife to play, the first for a Wigmore Hall recital in January 1961, and the whole set for a midday recital at the 1963 Cheltenham Festival. the first, Lento, consists of a long tune with rises to a climax, after which some introductory material is heard again. The second, Energico, is the longest of the three, a rondo with episodes and an introduction; the first episode features constant trills, the second is lyrical, in a slower tempo. The main theme appears in a different register each time. The third piece, Calmo, is very short, reminiscent in its materials, valedictory in its nature.

[p 16]

Monody for Corpis Christi Harrison Birtwistle

[lyrics reproduced in original]

The first movement is a simple arch whose main member is the vocal line (to which all other parts are embellishments and from which they may be said to stem). Its rise and descent are emphasized by the gradual addition of instruments from the beginning and their subtraction towards the end, and by the gradually increasing complexity of the instrumental episodes separating the couplets.

This movement leads without a break into an instrumental fantasia Quasi fanfara in contrasting sections, at first very short and static, then longer and more flowing, the whole serving as a transition between the different levels of tension of the two movements for voice.

The third movement follows without interruption and again the overall form is very simple. Each stanza grows in intensity towards its end; in between the two there is a brief instrumental episode ending with a flute cadenza.

Sonata for Piano Anthony Gilbert

This sonata was written in 1961-62 and was first performed by Margaret Kitchin at the S.P.N.M. Cheltenham Festival concert in 1962. There are three movements:

1. Vivace. The overall shape is that of classical sonata form with two contrasting subject-groups, a bipartite section of development in which each group is treated in accordance with its individual character, and an elliptical reprise and coda.

2. Cantilena is a simple, song-type movement in three sections of continuous variation. The middle section, characterized by a pedal, forms a central point of repose for the whole sonata, while the third part recalls the other two and has the function of a coda.

[p 17]

3. Scherzo. This opens with two contrasting motifs and the first part of the movement is concerned with their development and gradual integration. As they become more completely combined the section reaches a climax which triggers off Trio 1, a set of short variations on a rhythmic motif. After a short link using first-section material there follows Trio 2, which is free and rhapsodic in character, and has echoes of the first and second movements. The final section is a telescoped and varied version of the first.

Sonata No.2 for Piano Michael Tippett

This Sonata was written early in 1962 and first performed by Margaret Kitchin at the

Edinburgh Festival of that year. It is in one continuous movement.

Composed very shortly after the completion of “King Priam,” the sonata derives form from the dramatic structure of at opera, and some of its materials from the orchestral piano part. It constitutes a complete departure from normal sonata procedure in that there is virtually no development; the sonata grows by statement – the constant addition of new material and by variation and repetition of material previously given. Constant use is made of new materials and by variation and repetition of material previously given. Constant use is made of contrasts: contrasts of texture, contrasts of tempi and timbres and contrasts between static and dynamic. Towards the end the phrases and motifs get shorter and tension grows until the final page, which is a coda concerned with the elimination of the principal motifs.

INTERVAL (25 minutes)

Five Little Pieces Peter Maxwell Davies

(first performance)

The five little piano pieces were composed between 1960 and 1962.

Suite, op. 11            Alexander Goehr

This work was commissioned by the Aldeburgh Festival Committee for the Melos Ensemble who gave its first performance in June, 1961. The object was to produce a piece of light, serenade-like character with an important part for flute and harp. There are five movements.

The first is a quick movement in three main sections. The first and second of these alternate two sharply distinguished types of material in continually varied forms; the third in contrast is a flowing section for solo flute with string accompaniment. There are two repeats: the first section is played again immediately, and the second again after the third.

The second movement is an Intermezzo for harp in improvisatory style. The structural principle is the note-by-note changing of two superimposed chords by pedal shifts.

The third movement is a Scherzo. This is very lightly scored, being almost all in one part over a pedal. Of its two main motifs, the first on the ‘cello is recognisable as the clarinet motif from the first movement in equal notes. Its “head” is used throughout the movement as a sort of punctuation mark dividing sections. The Trio comes right at the end and is for the three stringed instruments only; finally there is an eight-bar coda on scherzo material.

The fourth movement is an Arietta for solo flute, backed by a horn pedal of three notes, with brief answering figures on viola, ‘cello and harp.

The finale is a true Quodlibet in which short blocks of material from all the previous movements are juxtaposed mosaic-wise. There are two cadenzas: one for flute on Scherzo material, and one for harp on Trio material. The whole is held together by a horn-call which recurs like a rondo-theme, and whose origins are revealed to the sharp ear on its final appearance.

[p 18]

[Advertisement for UE composers Harrison Birtwistle and Hugh Wood]

[p 19]

Monday, 17th August

5.0 p.m. RECITAL

in the Old Kitchen

8.30 p.m. CONCERT

in the Assembly Room

[p 20/21]

Early Organ Music            Recital 5.0 p.m.

Peter Maxwell Davies will introduce and play early music on a newly restored Snitzler organ. Works by: Dunstable, Taverner, Byrd, Tomkins, Gabrielli, Scheidt, Zipoli etc.

The Organ

The organ belongs to Peter Maxwell Davies and was made by Snitzler in 1768.

Snitzler’s soundboards have little pallets directly under the keys which are operated by a pin on the underside of the key, thus giving an extremely light and responsive touch. The disadvantage of this method is that the wind channels are small, so that it is only possible to play three or four rows of pipes at once.

This organ originally possessed an ordinary stopped Diapason 8’, and open Diapason 8’ which contrasted with it, a Dulciana with tongues and beards, and a very small scale, also 8’, and small Dulciana Principle: the effect was rather soft and lacked virility. The pipes were therefore transposed to give a stopped Diapason and Principle, and the Dulcianas became the 12th and 15th. In this way the incisive Snitzler tone was immediately regained.

Chamber Concert            8.30 p.m.

Melos Ensemble

Lamar Crowson            Piano

Gervase de Peyer            Clarinet

Emmanuel Hurwitz            Violin

Neill Sanders            Horn

Terence Weil            ‘Cello

Pianoforte Trio in F sharp minor Haydn

Haydn’s Piano Trios belong rather to his piano music than to that for string ensemble. The keyboard plays a dominant part in all of them and the use of the violin, and particularly the ‘cello, is held by some authorities to be optional. The first editions describe them as “Sonatas pour le piano-forte avec accompagnement de violon et violoncello,” and the violin rarely goes above 2nd position, the ‘cello merely duplicating the bass of the piano.

This interesting work is one of a group of three composed in or before 1795 and dedicated to his English friend, Mrs. Schroeter.

There are three movements, the first of which, a sonata allegro, is notable for its wealth but as it reaches the dominant cadence it acquires a minor flavour, providing an excuse to plunge straight into A for the middle section. The procedure in reverse brings back the tonic towards the end.

The Finale is a Minuet in F-sharp minor of great beauty, with a trio consisting of the same material transplanted to the tonic major. Without going beyond the canons of Haydn’s normal minuet procedure, it provided a most satisfactory ending to the work.

[p 22]

Six Little Piano Pieces, op. 19            Schoenberg

Light, tender

Slow.

Very slow.

Quick, but light.

Somewhat quick.

Very slow.

The first five of these pieces were written on 19th February, 1911; the sixth was written in June, just four weeks after the death of Mahler, to whom it constitutes a kind of epitaph.

Around this time perhaps more than at any other period Schoenberg was preoccupied with problems of form – particularly of finding more appropriate vessels for his rapidly evolving atonality. There is no doubt that he was struck by the aphoristic manner of Webern’s op. 6, and particularly of the violin pieces op. 7, to the extent of being impelled to see what possibilities the very short form held for himself.

In addition, in these little pieces we find him for the first time calling into question the traditional relationship between melody and accompaniment, and investigating the possibility of more interesting functions for the latter. So, for example, in Nos. 1, 2 and 4 it becomes merely an extension or feature of the melody, serving to heighten its expressiveness in various ways, and No. 6, the strangest piece of all, is concerned with the almost elimination of both elements.

Seven Sketches, op. 9            Bartok

These piano pieces were composed between 1908-10, and are, in a way, a diary of Bartók’s development as a composer in these years. The first ones reflect his early preoccupation with western mannerisms – particularly impressionism; the later ones show his growing interest in the folk-idioms of his own land.

1. Portrait of a Young Girl: to wit, Marta Ziegler, its dedicatee, whom he married in 1909. A short piece in ternary form, betraying the influence of, surprisingly enough, Busoni in its harmonic style and its treatment of material.

2. A Swing. Two motifs are used in alternation: the first a rocking, polytonal figure, the second a bagpipe tune in not quite a whole tone scale.

3. is dedicated to Mr. and Mrs. Z. Kodály. The lack of title emphasizes Bartòk’s abandonment of impressionism; the piece is simply a rhapsodic melody unfolded in rubato-parlando style over an accompaniment of major tenths.

4. is another rhapsodic piece. After an 11-bar introduction a Hungarian-style melody is presented in varied forms over a florid accompaniment.

5. A Rumanian Folk Melody, and 6., a dance in the Valachian manner, are still closer to popular sources, and foreshadow the Bartók of Mikrokosmos.

7. In this piece, perhaps the most interesting of all the Sketches, brief modal phrases succeed one another with striking juxtapositions of tonality; there is a gradual metamorphosis to irregular rhythms and whole-tone scales, and in the long code to note-clusters.

Première Rhapsodie for clarinet and piano            Debussy

This piece was written in 1910 as a test piece for clarinet competitions at the Conservatoire at which it was Debussy’s duty to adjudicate. It was subsequently orchestrated (the style of the accompaniment seems to indicate that this was his intention all along) and in this form is said to have been regarded by Debussy as one of the most pleasing pieces he had written.

It is freely constructed (as befits a Rhapsody) from static blocks of contrasting material in three main categories: slow and dreamy, poco mosso and scherzando, sharply juxtaposed or joined by brief linking passages.

Four Pieces for clarinet and piano, op.5             Berg

These pieces were written in the summer of 1913, and are dedicated to Schoenberg’s “Society for Private Performances,” under whose auspices they were first played more than six years later. Their epigrammatic style is an untypical of Berg as Schoenberg’s op. 19, their obvious model, is of him.

1. The clarinet’s opening six-note figure is a skilful simultaneous exposition of all the motivic elements of the piece, which in any case all spring from the single governing principle of intervallic expansion. Its form is very simple – the piano and clarinet move in opposite directions to the central climax which is held for two bard and then quickly falls away to a code of static harmonies.

2. This utilizes the same motivic elements as No. 1 in a pianissimo conflict between two kinds of ostinato accompaniment in the piano and a simple melodic line in the clarinet. The climax is expressed without rising above p, simply being the point at which the conflict resolves in favour of one of the ostinati.

3. Another very quiet piece, falling into four sharply contrasted sections, the first two quick and nervous, the third slow and flowing and the fourth an elliptical reprise and headlong code to be played as quickly and quietly as possible.

4. This piece takes farther the idea inherent in No. 3. The contrasted sections, each characterized by a different ostinato, are again present (though the speeds are the reverse of those in No. 3); likewise the sonata-like reprise before the code. Now, however, in spite of the ostinato, the piece is not static: it is aimed at the explosive climax which ends the first part of the code. The coda proper is simply three bars of echo.

INTERVAL (25 minutes)

[p 24]

Fantasia in C minor, K475            Mozart

This piece, written in 1875 for his gifted pupil Thérèse von Trattner, is one of four Fantasias for the piano composed in Mozart’s later years. It was customary for him to precede performances of his sonatas with an improvised introduction in the same key; the present Fantasia, published by Mozart as a prelude to the Sonata K457, may be taken as a fairly close indication of the nature of these improvisations.

It is made up of five contrasted open-ended sections: the first Adagio, the second a D major episode in the same tempo, the third a stormy Allegro in two halves, linked by a brief cadenza to the fourth, Andantino in B-flat; the fifth is another stormy Allegro. The whole is rounded off by a recapitulation and code on first-section material.

The organization of keys is interesting. The first, third and fifth sections are unstable and constantly modulating, any affirmations of the home (or any) key being rigorously avoided. The second and fourth are anchor sections firmly in keys two removes [sic] from home on the dominant and the subdominant sides respectively – so that the acute ear may sense an implied tonic midway between. However, not until the final section is the home key reached and established.

Trio for Piano, Violin and Horn, op.40            Brahms

This is one of a group of works composed after Brahms’ resignation in 1864 as Director of the Vienna Choral Society. It is a very much a horn trio; the horn part is as it were the backbone of the work, and the character of all the melodic material is determined by its appropriateness to that instrument.

The first movement is an Andante of unusual design, with boldly planned key relationships. There are two balancing sections, each in two contrasting parts, organised as follows: Andante in E-flat (2/4 time); poco più animato in C minor and G minor (9/8); Andante in E-flat; poco più animato in E-flat minor and B-flat minor, leading to a final Andante in G-flat which modulates back to the home key at the final climax.

The Scherzo begins with a long (12-bar) upbeat to the principal motif, whose four bars of 2/4 rhythm in 3 contrast strikingly with the overall 3/4 pulse.  The whole of the first section is built up from the material of these first 16 bars – a secondary motif given out by the horn on the next page plays little part in the growth of the movement. The Trio in the subdominant minor is less exuberant and decisive in character; the melody owes its outline to the “upbeat” motif of the previous section. After 76 bars uninterrupted by any form of full cadence the Scherzo is given de capo.

In the third movement, Adagio mesto in E-flat minor, there are four sections whose exact symmetry and the economy of whose material are belied by the flowing, almost rhapsodic manner in which the music unfolds.

The Finale is a lively movement in sonata form, through whose many modulations the horn is handled with such adroitness that accidentals seldom appear in the part.

[p 25]

Tuesday, 18th August

5.0 p.m. Lecture

in the Assembly Room

8.30 p.m. Concert

in the Assembly Room

[p 26/27]

Quartet for the End of Time            Lecture 5.0 p.m.

Olivier Messiaen, the Man and His Music

given by Hugh Wood

Concert 8.30 p.m.

Members of the Melos Ensemble

Emmanuel Hurwitz            Violin [viola]

Gervase de Peyer            Clarinet

Terence Weil            Violoncello

Lamar Crowson            Pianoforte

Clarinet Trio in E flat K498            Mozart

Andante;

Menuetto;

Rondo – Allegretto

The year 1786 was a trying one for Mozart. He was heavily in debt, his newly completed Marriage of Figaro had been withdrawn after only nine performances, and he had lost his third son. Nevertheless in the space of only six months he managed to turn out eight masterpieces, of which this Trio is one. It was written for his friends Francisca Jacquin and Anton Stadler with Mozart himself playing the viola part.

The unusual choice of instruments gives a mellow, closely-knit ensemble capable of considerable expressive power, and it was no doubt with this possibility in mind that Mozart made the first movement an andante rather than an allegro, almost – but not quite – discarding the sonata in favour of the song-form. The movement grows continuously from the motif in the first bar, and very little other material is introduced,

The second movement is a vigorous Minuet with a Trio effectively contrasting the timbres of the clarinet and viola in dialogue.

The theme of the final Rondo springs from a fragment of the “2nd subject” in the first movement. Little important music is given to the viola in the first section, in order to heighten the effect of its striking C-minor entry in the second episode. Save for a few bars of A-flat melody in the central part, its rôle is secondary until nearly the end, during a final brilliant reworking of the Rondo theme.

[p 28]

Four Impromptus, op. 142            Schubert

This is the style under which, mainly for commercial reasons. Schubert published the first of four piano sonatas written during the last 10 months of his life. And although undeniably a sonata of sorts, there is a certain looseness about its construction which suits its new name better.

For instance, in the first movement, Allegro moderato, there is an F-minor first subject and an A-major second subject, but where we might expect a development there is a longish passage of new material which moves into all sorts of interesting keys but does not grow. This innovation is taken a step further when the passage is reintroduced in the recapitulation, and at last Schubert’s scheme – a simple binary form – becomes apparent.

The second movement, Allegretto, is a Sarabande and trio going hand in hand with the first movement in key and character.

The third, Andante, is a set of variations on a tune from Rosamunde.

The finale, Allegro Scherzando, is in clearly defined ABA form, but the manner of organising the material in the outer sections gives it certain Rondo characteristics. It is perhaps the most imaginative of the movement. Cross-rhythms abound, the harmonic structure is striking, and the lead back from the central to the final section is magical.

INTERVAL (25 minutes)

Quatuor pour la fin du temps Olivier Messiaen

“And I saw another might angel come down from heaven, clothed with a cloud, and a rainbow was on his head, and his face was as the sun, and his feet were as pillars of fire… and he set his right foot upon the sea, and his left foot upon the earth… and standing upon the sea and upon the earth, lifted up his head to heaven; and he swore by him that liveth for ever… that time shall be no longer; but in the days of the voice of the seventh angel, when he shall begin to sound the trumpet, the mystery of God shall be finished…” (Apocalypse of St. Jonn, Chapter X).

Conceived and written during my captivity, the Quatuor pour la fin du temps was first performed in Stalag Villa on 15th January, 1941, by Jean le Boulaire (violin), Henri Akoka (clarinet), Etienne Pasquier (‘cello) and myself on the piano. It was directly inspired by the above quotation from the Apocalypse. Its musical language is essentially immaterial, spiritual, catholic. Modes which, melodically and harmonically, realize a kind of tonal ubiquity, being the listener nearer to eternity in space or the infinite. Special rhythms, not bound by regular metre, powerful serve to put the temporal at a distance. (All this is but mere tentative stammering if one thinks of the overwhelming grandeur of its subject).

This “Quartet” is in eight movements. Why so? Seven is the perfect number, the six days of creation sanctified by the divine Sabbath; the seven of rest extends into eternity and becomes the eight of undecaying light, of unalterable peace.

1. “Liturgy of Crystal.” Between three and four in the morning, the birds awaken: a blackbird or solo nightingale improvises, surrounded by a fine sprinkling of sound, a halo of trills lost high in the treetops. Transfer this to the religious place, and you have the harmonious silence of heaven.

2. “Vocalise, for the Angel who announces the end of Time.” The first and third parts (very short) evoke the power of this mighty angel arrayed in cloud with a rainbow upon his head, who places one foot upon the sea and the other foot upon the land. The “middle section” depicts the impalpable harmonic of heaven. Gentle cascades of orange-blue chords on the piano surround with their distant carillon quasi-plainchant recitatives on violin and ‘cello.

3. “Abyss of the birds.” Clarinet solo. The abyss is Time, with its sadness, its wearinesses. The birds are the opposite of Time; they are our desire for light, stars, rainbows and paeans of jubilation.

4. “Interlude.” A Scherzo, more extrovert in character than the previous movement, but linked with them, nevertheless, by a number of melodic “reminders.”

5. “Praise to the Eternity of Jesus.” Jesus is considered here as the Word. A long ‘cello phrase, infinitely slow, magnifies with love and reverence the eternity of this might and gently Word, “whose years shall never be exhausted.” Majestically the melody spreads out, into the tender and sovereign distance. “In the beginning was the Word, and the Word was with God and the Word was God.”

6. “Dance of fury for the seven trumpets.” Rhythmically, this is the most characteristic piece of the set. The four instruments playing in unison take on the sound of gongs and trumpets (the first six trumpets of the apocalypse following by various catastrophes, the trumpet of the seventh angel announcing the consummation of the mystery of God. Use is made of added values, augmented or diminished rhythms, and non-retrogradable rhythms. Stone music, formidable granitic sound; the irresistible movement of steel, enormous blocks of purple fury, glacial drunkenness. Listen above all to the terrible fortissimo augmentation of the theme with its notes all changed in register which comes towards the end of the piece.

7. “A confusion of rainbows, for the Angel who announced the end of Time.” Certain passages for the second movement return here. The almighty Angel appears, and so, particularly, does the rainbow which he wears (the rainbow, symbol of peach, goodness, and of all vibration in light and sound). In my dreams I hear and see groups of chords and melodies, known colours and shapes; then after this transitory phase I move into the unreal and experience with ecstasy a whirling and mingling together of superhuman sounds and chords. These fiery swords, these torrents of blue-orange lava, these sudden starts: these are confusions, these are rainbows.

8. “Praise to the Immortality of Jesus.” A broad violin solo, acting as pendant  to the ‘cello solo of the 5th movement. Why this second praise? It is addressed more particularly to the second aspect of Jesus, to Jesus the Man, to the Word made flesh, returning immortal to give us His life. It is all love. Its slow climb to the heights is the ascension of man towards his God, of the child of God towards its Father, of the beatified creatures towards Paradise.

– And I say again what I said above: “all thus us but mere tentative stammering if one thinks of the overwhelming grandeur of its subject.’

(Notes translated from score by Anthony Gilbert)

[p 30]

At the age of 56, Olivier Messiaen is almost certainly the most distinguished composer working in Europe today. He was born in 1908 at Avignon, song of a Shakespearean scholar and a poetess. He entered the Paris Conservatoire when he was only 11, and there studied the organ under Marcel Dupré, theory under Maurice Emmanuel and composition under Paul Dukas. At 18 he won the first prize for counterpoint and fugue, and he went on to win first prizes for piano accompaniment, organ playing, improvisation, music history and composition. His first mature work was, like so much of his later output, for the organ: Le Banquet Céleste, written in 1928. The Eight Preludes for piano followed in 1929: it was on the recommendation of Dukas that they were published. In 1931 he was appointed organist at the Great Organ of Holy Trinity, Paris. Other works of these years include Les Offrandes oubliées, L’Ancension, the Theme and Variations for Violin and Piano, and the Nativité du Seigneur cycle for organ. In 1936 he appeared as the leader of a group of young musicians calling themselbes “La Jeune France,” the other being André Jolivet, Daniel Lesur and Yves Baudrier. In this year also he was appointed professor at the Ecole Normale and at the Schola Cantorum. Works 1936-39: Poemes pour Mi, Chants de terre et de ciel, and the Corps glorieué for organ.

Messiaen enlisted at the beginning of the war and was taken prisoner during the fall of France in 1940. It was in a German prison camp in Silesia that he wrote the Quatuor pour la fin du temps (1941). This work was the harbinger of the most prolific period of his career. He was repatriated to occupied France and then wrote the Visions de l’Amen for two pianos, for Trios petites liturgies de la Présence Divine (the first work of his to become widely known after the war), the immense piano work Vignt regards sur l’Enfant Jésus, the similarly large-scale song-cycle Harawi, and then his chef d’oeuvre the Turangalila Symphony. This was written in 1946-48 and has been performed many times all over Europe and in America since its first performance in Boston in 1949. In 1953 and 1954 two performance took place in London, conducted by Walter Goehr. The work has recently been recorded.

On his return to France, Messiaen had been appointed professor of harmony at the Conservatoire, and before the end of the war a lively group of young pupils had gathered themselves round him, including the 19-year-old Pierre Boulez. The title of his appointment was changed in 1947 to that of Professor of Aesthetics, rhythmic studies and of the analysis class; a wider range of pupils now included Karheinz Stockhausen, Jean Barraque, Yannis Xenakis and Gilbert Amy. During the years 1947-53 Messiaen gave classes at various musical centres, including Budapest, Sarrebruck, Tanglewood and Darmstadt. His Quatre Etudes de rhythme for piano was begun on Darmstaft in 1949, and this work has had a great influence on composers of the Darmstadt circle. Other works of this time: Canteyodjaya for piano; the Cinq Rechants for choir; the Messe de la Pentecote for organi; Le Merle Noir for flute and piano; and the Livre d’orgue.

During the last 10 years Messiaen’s name has become well-known all over the world and his importance recognised as one of the sources of new musical thought. Latterly his works are even to be heard in England, where in particular his organ music now received regular performances. A recent group of works springs from the composer’s lifelong preoccupation with bird-song: the Réveil des oiseaux (1953) for piano and orchestra; the Oiseaux exotiques (1956) for piano, wind ensemble and percussion, and the piano work Catalogue d’oiseaux (1959). More recent still is Chronochromie (1960), an important work for large orchestra, and the Haikai for piano and clarinet solo and chamber ensemble (1962).

Hugh Wood

[p 31]

Wednesday, 19th August

5.0 p.m. Recital

in the Old Kitchen

8.30 p.m. Discussion

in the Assemble Room

[p 32/33]

Flute and Harpsichord

Recital 5.0 pm

Lucy Berthoud            Flute

Michael Thomas            Harpsichord

Suite in D Major            Rameau

Sonata in B Minor            J. S. Bach

Ordre in B Minor            Couperin

Sonata No. 6 in E Minor            J. S. Bach

Rameau and Couperin

Couperin (Le Grand), 1668-1733. His music for clavecin was called “Ordres,” another name for suite. They were published between 1713-30 with varying numbers of movements, some with 10 or 15 and the longest 23. He was a master of a musical miniature and pieces include portrait studies and nature sketches, e.g. Les Tricoteuses and Les Petits Moulins a Vent.

Rameau, 1683-1764. He was the most prominent figure of his day in French opera but won fame in all musical arts including writing for the clavecin in which he followed Couperin. Picturesque titles of his music for harpsichord include La Poule and Les Tourbillons.            G.S.S.

Flute Sonatas J.S. Bach

Bach wrote six flute sonatas, the first three have a fully written up part for the right hand of the harpsichord and can, therefore, be regarded as trio sonatas with the harpsichord playing the solo melodic part as well as the base. No. 1 in B minor has a long first movement marked andante in which the flute and the harpsichord alternate in a long melodic line and, of course, often play the two subjects against each other. Indeed both subjects are played together in the very first line. The faster semiquaver subject can really be regarded as two parts in quavers, as is so common in much of Bach’s music, which looks like a single part. It contains no harmony but tonic and dominant till the third bar. The harmony changes abruptly when a chromatic movement is introduced. This is, of course, developed in the course of the movement. The middle section of the movement is a much lighter subject in quick moving triplets. This is perhaps the longest and one of the most beautiful movements in all the Bach sonatas. The 2nd movement, a largo, is really a development form the siciliano but considerable complications and additions have arisen in the rhythm by the second bar. The 3rd movement is a short movement marked presto and starts with a canon with the harpsichord following the flute nine bars later. This time there is a chromatic climbing movement. The movement is in the form of a fughetta without cadence to the end. The last movement is a jig but of the highly developed type and note suitable for dancing in so far as the first beat of the three semiquavers instead of being an articulated down beat is actually a sustained syncopation in the very first bar. Again this contains a canon but it is at the unison pitch instead of at the 5th, the harpsichord entering in the fourth bar. Bach’s flute sonata No. 6 begins with an adagio but which is a completely expressive work and it would be difficult to say that it was closely related to any of the dance movement but bears more resemblance to a slow movement by Quantz. The 2nd movement is allegro in straight-forward binary form and in the Italian style. The 3rd movement is again a siciliano. The 4th movement is allegro again in binary form.

[p 34/35]

The Harpsichord

While engaged in restoring harpsichords, Michael Thomas became interested in two types of this instrument, which seemed to him to be particularly fine: one being the Italian and the other the French type.

After much experimenting independent of any specific model, Michael Thomas constructed this instrument in which he has sought to incorporate the best qualities of each type.

He uses the light construction and small bridge found in the Italian model, thus giving it simultaneously a deep hollow resonance and an enormous harmonic range; and by bending the wood of the curved side only as far as it will naturally and easily go, he has obtained the depth of tone of the French instrument. A clear attack on each note is achieved by the use of quills for plucking the harpsichord.

Opera Today            Discussion 8.30 p.m.

Alexander Goehr, Peter Maxwell Davies, Michael Tippett

Chairman: Harrison Birtwistle

Opera Today

Michael Tippett’s activities in the operatic field are already well known to all. His two works for the stage, dating from 1952 and 1961 respectively, for which in both cases he was his own librettist, are among the most striking and original contributions to opera this century.

Peter Maxwell Davies has for the past two years been working on his first opera, based on the life of John Taverner, and now nearing completion.

Alexandr Goehr began, and abandoned, his first opera some years ago. Its subject was the Women of Troy, and a fragment survives in the orchestral work Hecuba’s Lament. His activities in recent months as musical director of various stage productions at the Mermaid Theatre have resulted in his increasing absorption with music on the stage, and he has recently been commissioned to write an opera on the play Arden of Feversham.

[p 36]

[advertisement for Schott’s composers: Banks, Blomdahl, Davies, Franciax, Fricker, Gilbert, Goehr, Hamilton, Hartman, Henze, Hindemith, Huber, Nono, Orff, Rainier, Schoenberg, Schuller, Searle, Seiber, Stravinsky and Tippett.]

[p 37]

Thursday, 20th August

5.0 p.m. Recital

in the Assembly Room

8.30 p.m. Lecture

in the Assembly Room

[p 38/39]

Matinee for Erik Satie            Recital 5.0 p.m.

Susan McGaw            Piano

Four songs without words Mendlessohn

F sharp minor op. 19, no. 5

B minor op.67, no. 5

F minor op. 62, no. 3

A minor op. 38, no. 5

1st Gymnopedies Satie

3rd Gnossiemme Satie

Vieux sequins et Vielles Cuirasses Satie

Passion Sonata no. 6, A major            C. P. E. Bach

Allegro

Adagio

Allegro

Pieces friod 1st set            Satie

Airs a faire fuire Satie

Three songs without words Mendelssohn

G major op. 62, no. 1

D major op. 85, no. 4

A major op. 102, no. 5

Erik Satie: 1866-1925

The amount of discussion of a non-musical nature aroused by Satie’s eccentricities led people for many years almost to forget he was a musician; now, with the arrival of new eccentrics on the musical scene, most people have even forgotten Satie the lunatic. Even when, at the age of 54, he suddenly found himself hailed as leader of the Parisian avant-garde, it was less as a musician than as High Priest of a new aesthetic cult devised by Cocteau that he was worshipped, and rarely at any period since his death have any but a dwindling number of devotees taken the trouble to disregard the funny words and listen simply to his music.

This is a pity, because although undeniably a most interesting character in many ways, it is in the light of his contribution as a composer pure and simple that he new deserves to be considered.

Maybe he never produced a large-scale masterpiece, and maybe his influence is not as profound or as far-reaching as other influences this century; nevertheless, musically he is a true original, and the best of his work has a timeless quality that puts it in another category altogether from all the bizarrerie.

His was a fairly prolific composer, the bulk of his output being for the piano, either solo or duet, and this portion of his work contains his best and most characteristic pieces. Few of them are long; most are in groups, generally of three; and quite often, like the Gymnopédies and the Sarabandes, they are just three ways of looking at the same idea.

He had a way of anticipating points of technique in other composers by some 15 or 20 years. In his earlier piano pieces are to be found harmonic innovations used much later by Debussy and Ravel; slightly later pieces gave Stravinsky his mechanical accompaniment figures, and in later ones still, in particular the “3 Valses du Précieux Dégoûté” and the 20 “Sports et Divertissements,” his masterpiece, we find utilizes Messiaen’s techniques of incantatory repetition and the systematic juxtaposition of brief unrelated phrases.

The groups of pieces we are to hear this afternoon are among his best-known and least-known works. The Gymnopédies were published in 1887 and quickly achieved popularity; Vieux Séquins et Vielles Cuirasses (1914) belongs to a period of advanced buffoonery through which Satie went during the years following his celebrated return to the Schola Cantorum

[p 40/41]

Lecture 8.30 p.m.

Musical Characterization in Mozart Opera

with particular reference to Don Giovanni

Stephen Pruslin, Princeton University

Friday, 21st August

8.30 p.m. Concert

at Old Wardour Castle

Saturday, 22nd August

8.30 p.m. Concert

at Donhead St. Andrew Parish Church

[p 42/43]

Concert 8.30

Nocturnal

A concert in the open air* of English and Italian echo-music from the sixteenth and seventeenth centuries for brass and voices.

Given by: Gabrieli Ensemble and Choir conducted by Peter Maxwell Davies, Alexander Goehr.

Music by: Maschera, Isaac, A. and G. Gabrieli, Locke, etc.

* Under cover if wet

Concert 8.30 p.m.

Participants Concert

A concert given by the participants of the summer school

Conductors: John Carewe, Michael Tippett

Morgengesang C. P. E. Bach

Symphony Haydn

Sequentia Sanctia Evangeli Secundam Lucan, in illo Tempore XXII 14-20 Peter Maxwell Davies

(first performance written for the summer school)

Fantasias Gibbons

For these concerts a more comprehensive programme will be available on the day.

“The interpretation of dreams is the royal road to knowledge of the unconscious activities of  the mind.”

Sigmund Freud

“Dreams are just repetitions of the crap you’re telling yourself during the day. They are hardly the royal road to the unconscious but seem to be rather distorted and muddled representations of the same kind of thinking and feeling that the individual tends to do during his waking life”.

Albert Ellis

So… Freud and Ellis didn’t have the same opinion about dreams. You’ve got to love Ellis for his bluntness So I can imagine the following scene: Freud and Ellis in heaven (although I think they were both pretty much atheists ).

Freud: Al, last night I had the most awkward of dreams.

Ellis: Damn it, Sigi! We’ re dead. Dead don’t dream. And there’s no night in heaven.

Freud: Still… I am quite convinced that it was a dream.

Ellis: Where’s the evidence for your claim?

Freud: Whatever …. Have you checked your irrational beliefs lately?

Ellis:  So you’re turning the tables, eh? You’re no fun, Sigi.

Freud: Watch out, that’s overgeneralization

Ellis: Can’t mess with the Sigmeister (sighs). But dreams are still crap!

Even if they’re not all about sex and agressiveness as Freud claimed,  I do think dreams can be pretty interesting though. Paraphrasing both Ellis and Freud, I’d say they are the muddy path to the conscious. I guess now and then one has to get dirty anyway

]]> http://futureconsiderationsdotca.wordpress.com/2009/11/24/alzner-carlson-play-musical-chairs-hickey-out-4-months/ Wed, 25 Nov 2009 01:59:09 +0000 Aaron Vickers http://futureconsiderationsdotca.wordpress.com/2009/11/24/alzner-carlson-play-musical-chairs-hickey-out-4-months/

In a game of musical chairs, Hershey Bears defenseman Karl Alzner has been recalled by the Washington Capitals, while fellow first round pick John Carlson will be sent down. (CSN Washington)

Thomas Hickey, selected one pick before Alzner in the 2007 NHL Entry Draft (fourth overall for those scoring at home), is out of commission for the next four months. Hickey suffered a shoulder injury that will require surgery, keeping the current Manchester Monarch out of the lineup until Mid-March. (LA Kings Insider)

Like John Tavares, Evander Kane and Ryan Ellis before him and Steven Stamkos before them, Taylor Hall will attempt to represent Team Canada at the World Junior Championships as an underager. Hall seems like a lock, while Tyler Seguin and Brandon Gormley have a shot as well. So who does that leave on the outside looking in for this year’s draft class? (Coming Down The Pipe)

Sault Ste. Marie Greyhounds forward James Livingston has been held out of the lineup with what doctors are describing as an increased heart rate. Livingston, who has 18 points in 21 games this season, is evidently being monitored closely. (Andy Strickland – Hockey Buzz)

Favorite Ellis Quote … so far [Left4Dead2]



[just before the bridge lowers in Parish: Lift Bridge]

• Coach: Alright alright alright! We’re gonna stroll across that bridge, and the Army’s gonna take care of us
• Nick: Or, They’re gonna line us up against the wall and shoot us.
• Coach: Well, you’re free to make a new life for yourself right here in this room, Nick.
• Nick: Alright, Let’s go.
• PapaGater: Whiskey 7 this is Papa Gator. OVER
• Whiskey 7: This is Whiskey 7 over
• PapaGator: What is your repair status, Whiskey 7?
• Whiskey 7: Repair ETA in 10 minutes, over
• Coach: They sound like soldiers.
• PapaGator: Did not copy, Say again Whiskey 7
• Ellis: Hello There!
• PapaGator: Whiskey 7!
• Whiskey 7: That’s coming from the bridge!
• Whiskey Seven: That’s coming from the bridge … Bridge, who is this?
• Ellis: well shit, i’m Ellis. i got Rochelle with me … Coach. and Nick.
• Whiskey7: Bridge – ARE you IMMUNE?
• Ellis: i ain’t sick.
• Whiskey 7: Negative, Bridge, Are you IMMUNE? have you encountered the infected?
• Ellis: We fought Zombies, yEAh!
• PapaGator: Whiskey7 are you equipped for carriers
• Whiskey 7: Aaa-Ffirmative, PapaGator.
• PapaGator: Bridge, that sector is clear of friendlies – your only remaining pick up is on the east bank of the bridge. Our last chopper is leaving in 10 minutes. You need to lower the span and get across to the east.
• Ellis: Okay. We’ll see you soon. [aside to his party] - they just said we oughtta lower the bridge to get across – but once we lower it we gotta be careful because there’s zombies. heh, i guess they didn’t know we’ve been like fight’n zombies all through the city … and the swamps, & the river, & shit – EVERYWHERE. Man, we’re like fight’n zombie-machines & shit!
• Rochelle: Let’s Move!

–Jiggskc 20:16, November 24, 2009 (UTC)

“What you had better do is relatively simple- but it’s not easy to do. And that is- you’ve already done parts of what needs to be done. You have changed some of your fundamental philosophies- particularly referring to religion- which is a big change for a human to make.

But you haven’t changed enough of your philosophies, you still believe some basic dogmas. Most people- wether Jew, Catholic or Protestant- believe certain dogmas. The main dogmas are that: we should devote ourselves to others before ourselves, we must be loved, accepted and adored by others, especially by members of our own family and that we must do well, we must achieve greatly, succeed, do right. And you firmly believe these major ideas. You’d better get rid of them!

How do I do that?

By seeing, first of all, that every single time you get upset… you told yourself some superstitious creed- some bullshit. That for example, you’re no good because you’re not succesful at something; or that you’re a louse because you are unpopular, or are selfish or are not as great as you should be. Then, when you see that you have told yourself this kind of nonsense, you have to ask yourself the question:

Why should I have to be succesful? Why should I always be accepted and approved? Why should I be utterly loved and adored? Who said so? Jesus Christ? Who the hell was he?”

Albert Ellis

]]> http://thehiphopconsultant.wordpress.com/2009/11/21/heather-ellis-escapes-prison-in-walmart-line-cutting-case/ Sat, 21 Nov 2009 12:39:46 +0000 TheHipHopConsultant http://thehiphopconsultant.wordpress.com/2009/11/21/heather-ellis-escapes-prison-in-walmart-line-cutting-case/

Heather Ellis has reached a plea deal with the state of Missouri.  As previously reported, Ellis, a young college student was facing up to 15 years in prison after an altercation at a local Walmart that started from cutting the line.

After the dust settled, Heather was arrested and charged with trespassing, disturbing the peace, and two felony counts of assaulting a police officer. These charges  delayed her education and cost her potential employment opportunities.   Black activist Boyce Watkins also held a march and protests to help bring light to this case.

When Heather refused to sign a plea deal (she insists upon her innocence), prosecutor Stephen Sokoloff chose to prosecute Heather for the original felony counts. If convicted, she could have faced up to 15 years in prison. When Heather protested her trial publicly, she was threatened by the Ku Klux Klan.

From reports we’ve received from this region of the country (Rush Limbaugh was born roughly 100 miles away), the treatment of African- Americans in the criminal justice system is abominable.

Under the new plea deal, Ellis will serve a year of unsupervised probation, attend an anger management course and serve four days in jail before the end of the year.  If she remains out of trouble for a year, the charges will be sealed and the arrest will be abolished from her permanent record.

Speaking after the trial, the young sister still held her ground and  seemed pleased with the settlement.  She stated,

“I didn’t break the line, she actually broke in front of us.  We also found out that I was shoved first and that I didn’t yell or curse.  I was speaking in a loud tone  as I do always.   And i still think that it’s important that my story got out and that people understood the truth and heard it.  If I would have signed a plea bargain or anything before, I wouldn’t have had the opportunity to let the world know now and let the jurors know what actually happened.”

We’ll take a victory however we can get it because it’s apparent this was about to be modern day lynching.

Check out Rebel Starr and Circa 95 this Sunday!

Monta Ellis of the Golden State warrior has been unhappy with the warriors.Sources say the veteran guards agent would meet with the front office later on this week. As a Knicks fan, i wouldnt mind seeing him in a New York orange and blue.

Heather Ellis, a school teacher, is possibly facing 15 years in prison for an incident that took place at a Walmart in Kennett, Louisiana (Dunklin County) over two years ago.  Witnesses said she supposedly “cut the line”, shoving people’s items.  With the NAACP being involved, some are calling the situation racist.  Whatever the case may be about “cutting the line”, 15 years in jail seems like an unjust punishment.  Here’s an article about the situation.  Until next time Georgette speaks…

This Wal-Mart line-cutting case became so racial that even the Ku Klux Klan made threats:

‘Trial is set to begin in a case of Wal-Mart line-cutting that has turned into a racially charged media circus. Heather Ellis was arrested almost three years ago after an incident that began when she switched checkout lines at a Missouri store—to join her cousin in a faster queue, she says. Witnesses and police say the young black woman shoved other shoppers’ merchandise out of the way and then, when confronted, became belligerent. She gave one cop a kick in the chin and another a split lip, they say. She says she was called racial slurs and “jumped on” even though she wasn’t resisting. ‘The case has inspired rallies in the town, accusations of prejudice, and supposed threats from the Ku Klux Klan.“This is not a matter of justice,” Ellis’ father tells the AP. “It’s a vendetta.” A former mayor is saddened by the attention. “We’re a small country town with greater problems than racism. Our problems are economic.” And Wal-Mart is studiously mum. Ellis, who faces 15 years, is now a school teacher in Louisiana engaged to a state trooper.’ -AP

I saw this kicking around on a few blogs over the weekend but didn’t get around to watching it until now. Anyway, witness the re-telling of Dock Ellis’ LSD no-hitter and enjoy it as much as I did.

(Courtesy of No Mas)

“Hubris or grandiosity mainly stems from the thought, “I should be special and in many important ways run the goddamned universe! Therefore I must do well, you have to treat me nicely, and conditions under which I live absolutely should be fine and enjoyable!”

Emotional disturbance is largely childish grandiosity and virtually all humans think in this autistic fashion throughout their entire lives. (…)

And, I hypothesize, this same hubris is the main element in anxiety, hostility and depression.”

Albert Ellis

Изображение по мотивам грядущей игры Left 4 Dead 2 в стилистике мультсериала South Park.

Everyone has been asking what’s Neo Quantum Retro Music….what does Rebel Starr sound like…who is Rebel Starr??? Everyone wants to know. Well, the time has finally arrived.

It has been rumored that the airbending trio has been seen making aye okay strides by assembling beautiful creations with x-men and a host of musicians. Not to mention they’ve fumble through the good book a few times, because the road has been a rocky journey. You can’t ig‘ them, they’ve bounce back several times like spalding. Reigning supreme like queens and kings…the Starrlem representatives are finally have made leeway, and are ready to leak a couple tracks and lyrics right in time for their upcoming stage date with Talib Kweli’s Idle Warship.

Be sure to get the full single release on November 28, 2009 @ South Paw….

Check out the leak of their lead off single “About Ta Monkey” featuring Lyric Jones on Rise Up Radio tonight on WBAI Radio.

Dock Ellis and the LSD No No?
The story is now legendary, back in the seventies Dock Ellis pitched a no hitter while under the influence of LSD.
Nobody can tell the story like him, and the awesome soundtrack and animation doesn’t hurt either.