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.

Cambié mis gafas de ñoño por otras gafas de ñoño (pero creo que me quedan un poco mejor) con el aumento actualizado (-2,75 , -2,25)

Tin Man – Wizard of Oz

Hajime Sorayam’s sexy robots

Reality

Bender – Futurama

Transformers

R2D2 & C-3PO – Starwars

Daft Punk’s Guy-Man – Working with Sebastien Tellier

Goldorak

Aibo – Sony

Astro

Nono – Ulysse 31

Oh no! Me descubrieron!

Hoy fui al oftalmologo para que me vean por una molestia que tenía en el ojo izquierdo, parece que tenía una inflamación en los párpados y eso causaba la molestia. El problema es que por unos días no puedo usar lentes de contácto, y yo estoy tan acostumbrado a usarlas durante todo el día que hace años que no me hago anteojos. Por eso, tuve que buscar unos que me había hecho hace 9 años (que no usaba hace 4 años ) y que ni siquiera están actualizados en el aumento, pero bueno… aunque ya no me gusta nada usar anteojos, peor es andar por la vida sin ver nada.

Fumar daña la salud

“Soy sexy y barrigón”

“SE VIENE EL GORDO DE FIN DE AÑO DE LOTERÍA NACIONAL!”

“Lo mejor del comunismo cubano son sus puros”

“Ni la liposucción podrá conmigo”

“Extraño Chesterfield y los Benson & Hedges largos, pero no hay nada mejor que un buen cigarro po guasú”

“VOS FUMÁ!”

“El Rally gané de onda!”

“Alfrebabe, el chanchito caliente”

“Soy el Señor Barriga, ¡Págueme la renta don Lugo!”

“Pabilo Rojas es mi socio”

“Mi próxima movida es anexar Valle Lorito con Villarica”

“Ah… qué feliz fui en ésa casita“

Saque sus conclusiones, querido lector. O escríbalas ahí abajo.

Não é a cara do vô?

Doesn't seem too friendly to me

Hey fellow phailosophy readers! How’s it been? Bad you say? Well, sucks…doesn’t it? We all have to go through it sometime in our life. Well, you know, except me. Only because Ive been such a good boy that karma just doesn’t even bother anymore…AAAANywho:

It seems that japan did something crazy yet again. This time though, for somethng less…socially awkward (unless you count what I say next socially awkward, in which case: it’s probably you who is socially awkward to begin with). There’s been a lot of suicides down in the east and japan finally had it, so what did they do? What any reasonable person would do: install blue LED lights near train stations to soothe the passengers.

East Japan Railway Co. will install blue lighting, thought to have an emotionally calming effect, on Tokyo’s Yamanote Line in the hope it will make suicidal people think twice about jumping in front of trains.

The japanese say that blue is a very calming color, which is best suited for a working environment. Well, not to say that I don’t work in a depressing working space…because I totally am. It’s just me and this coffee in this very dark room.

Nevermind…the coffee commited suicide.

Thanks to CartoonLeap

Después de una larga ausencia, he regresado con este post, es acerca de un proyecto que me dejaron para redes de datos, buscando mucho por internet no encontré un método que me funcionara al 100% para crear una PAN sobre Linux. En este tuto (que mas bien es un extracto del trabajo escrito del proyecto) digo como armar una red punto a punto, es decir una PANU-PANU, pero de la misma manera en que yo realizé la configuracón PANU-PANU, se puede sealizar la GN, o la NAP, los pasos son los mismos, excepto la configuración de los archivos hcid.conf y /etc/default/bluetooth, pronto haré un post describiendo el proceso que se debe seguir para realizar tales conexiones.

Objetivo
Lograr la conexión a través de TCP/IP entre dos hosts con sistema operativo GNU/Linux usando una infraestructura Bluetooth.

Herramientas

Físicas

Adaptador Belkin USB
Rango: Clase 1 (100m)
Versión de bluetooth: 1.1
Velocidad de transferencia: 723/57,6 Kbps
Frecuencia operacional: 2,4 – 2,4835 GHz
Adaptador genérico
Rango: Clase 1 (100m)
Versión de bluetooth: 2.0
Velocidad de transferencia: 3mbps

Host A
Sistema operativo: gOS (Variante de Ubuntu para netbooks)
Modelo: Acer Aspire One

Host B
Sistema operativo: gOS (Variante de Ubuntu para netbooks)
Modelo: Acer Aspire One

De software

Para ambos hosts, paquetes utilizados:
bluez-utils, bluez, bluetooth, bluetooth-applet
Modulos del kernel necesarios
bnep

Configuración

Dado que se trata de una conexión punto a punto, fue necesario realizar una configuración PANU – PANU en los hosts, dado que sólo se requería conectar dos computadoras. En caso de que fuera necesario conectar más computadoras, se optaría por usar una configuración de tipo GN en un host servidor y PANU en todos los clientes.
Los pasos que deben de realizarse para lograr una configuración PANU – PANU son las siguientes:

• Conectar ambos adaptadores a las máquinas

• Comprobar que el sistema detectó el adaptador bluetooth

• Verificar que el demonio /etc/init.d/bluetooth se encuentre corriendo

• Verificar que la salida del comando hciconfig -a muestre la direccion de hardware del adaptador y sus detalles, además comprobar que la interfaz hciX se encuentre activa, de no estarlo se levanta así hciconfig hciX up

• Cargar el módulo bnep. modprobe bnep

• Realizar el emparejamiento de los dispositivos usando la herramienta gráfica del sistema operativo, (realmente se puede usar cualqueir software que permita emparejamiento, de hecho puede realizarse también por línea de comandos pero es más cómodo con el applet). Este paso se puede obviar, ya que al momento de realizar la conexión, el mismo software pide las claves PIN para el emparejamiento.

• Para realizar la conexión es necesario hacer algunos cambios a los archivos de funcionamiento del bluetooth

• Para el caso de PANU-PANU, no se necesita cambiar nada del /etc/bluetooth/hcid.conf ya que ningún dispositivo va a actuar como master, en caso de una configuración GN, cambiar lm accept; por lm accept, master; para el host que actuará como master.

• AMBOS HOSTS: En el archivo /etc/default/bluetooth cambiar la línea PAND_ENABLED=0 por PAND_ENABLED=1, con lo cual activamos la creación y conexión a redes PAN, necesitamos también definir un rol para el host, el cual , para el caso de PANU, habremos de cambiar la línea: PAND_OPTIONS=”” por PAND_OPTIONS=”–listen –role PANU”

• Reiniciar el demonio del bluetooth


/etc/init.d/bluetooth restart

• Obtener la dirección de hardware del otro dispositivo, con los comandos

hcitool scan

hcitool inq

• Para comprobar que podemos realizar la conexión, hacemos una conexión de bluetooth (nada de red aún)

hcitool cc <Hardware Adress>

l2ping <Hardware Adress>

• Si tenemos respuesta, la conexión puede ser realizada, para llevarla a cabo

pand --connect <Hardware adress>-n

La conexión creada puede ser vista con:

pand --show

• En ambos hosts, se debe haber creado una interfaz llamada bnep0, lo cual se puede corroborar con el comando ifconfig -a, lo habitual es que la red no se encuentre activa y que carezca de dirección física, para lo cual hacemos lo siguiente:

ifconfig bnep0 up

ifconfig bnep0 <direccion IP>

• Se debe tener la red activa y ambos hosts deberían tener comunicación

• Posteriormente se puede definir la interfaz de red en el script usado por Network Manager para levantar las interfaces de red, para que al momento de realizar la conexión, la red se autoconfigure.

Problemas habituales

• Que no se encuentren los dispositivos al ejecutar hcitool scan, lo cual puede ser solucionado reiniciando el demonio, o bien desconectando y conectando el adaptador, o bien verificar que la opcion de PSCAN e ISCAN esten habilitadas en la interfaz, dicha información la obtenemos con hciconfig en caso de no estarlo, con el mismo comando se pueden activar.

• Que no se pueda levantar la interfaz de red bnep 0, con el comando ifconfig bnep0 up, se requiere de un adaptador que permita la conexión a redes PAN. Al menos yo no pude levantar la PAN con adaptadores que tuvieran direcciones físicas como 11:11:11:11:11:11, yo recomiendo las marcas que usé, Belkin, y Sea Digital (En la plaza de la computación salieron en 150 y 70 varitos, llevelo llevelo!, yo pensé que ahí gentilmente me iban a probar el adaptador para mostrarme su dirección de hardware, pero cuando les pregunte eso, casi me agarran a golpes :S)

• Cabe resaltar que la interfaz bnep0 sólo existe cuando tenemos una conexión activa.
  Apartir del momento en que se levanta TCP/IP, la cantidad de servicios que pueden usarse son los que permita el mismo TCP/IP
• Si al momento de realizar la conexión sale un error de “input/output error” se trata de un problema de emparejamiento, el cual puede ser arreglado, re-emparejando los dispositivos o eliminando la seguridad.
• En ocasiones no se puede realizar la conexión debido a que la interfaz bluetooth no está levantada, checar ese dato.
• Y un último dato, yo no logré hecharlo a andar en el ubuntu Karmic Koala 9.10 , al momento que realizaba la conexión PAN, la máquina a la cual me conectaba, le ocurría un ligero… Kernel Panic, el módulo de bnep no es compatible, mandé mi bug a launchpad n_n.

The Nono chair designed by Stefano Soave, which allows for several seating configurations. Looking more like a 3-legged stool which is meant to to be a conception of how people use various objects to recline, this forms the basis of thought behind the ‘Nono’ chair. Made out of polypropylene and looks like it only comes in white.

I Digg.

Check more flicks below.

]]> http://hirofarepote.wordpress.com/2009/10/28/une-classe-politique-polynesienne-en-plein-desarroi/ Wed, 28 Oct 2009 02:59:55 +0000 hirofarepote http://hirofarepote.wordpress.com/2009/10/28/une-classe-politique-polynesienne-en-plein-desarroi/

Pendant que la Ministre Armelle MERCERON, bien esseulée, “monte au front” pour réanimer dans l’urgence  le “soldat PSG”, le Président du Pays  joue les courants d’air en essayant d’amuser la galerie par des ballons d’essai qui valent leur pesant de cacahuettes. Après l’indépendance par le noni, “l’agriculture bio” est le nouveau dada du moment. Il est clair qu’avec le dossier de la salade un peu trop chargée en produits chimiques, il faut redorer le blason d’une agriculture polynésienne laissée complètement à elle-même.

Des décennies et des décennies de lycée agricole, de formation permanente, de vulgarisation se sont perdues dans les sables. Un récent reportage de RFO nous a fait froid dans le dos quant au dosage à la louche opéré par certains planteurs de pastèques et de melons. La crise de confiance en la qualité de nos produits agricoles est à prendre au sérieux, tant nombre de nos concitoyens avouent ne plus consommer de produits agricoles locaux dangereux pour leur santé.

De là à faire croire que notre agriculture passera du moyen âge au XXI è siécle par des incantations de “tahua”, il y un fossé qu’il ne faut pas franchir. Déjà, passer de l’agriculture déraisonnable à “l’agriculture raisonnée” serait une formidable avancée.

En effet, convertir massivement nos agriculteurs au bio et éloigner du chômage nos jeunes en les orientant vers l’agriculture est une vue de l’esprit. Notre milieu tropical insulaire est tellement propice aux attaques de nuisibles en tous genres qu’il est illusoire de se fixer cet objectif. Perte de productivité, surcoûts pour nos agriculteurs et prix excessifs pour les consommateurs sont au bout du chemin. Sans compter qu’il faut un temps de conversion  incompressible des sols et des organismes de certification dignes de ce nom pour assurer la “traçabilité” des produits bio. Il serait, en effet, trop tentant pour certains agriculteurs de faire croire qu’ils sont “bio” pour profiter de la nouvelle mode bio lancée au sommet de la pyramide politique locale. Les belles paroles ne suffisent pas, il faut des preuves irréfutables.

Les pays les plus avancés dans le domaine du bio ont réussi à convertir entre 5 et 15 % de leurs surfaces agricoles. Nous qui partons de rien, serions bien inspirés de nous fixer des objectifs raisonnables, de l’ordre de 2à 3 % de nos surfaces agricoles à un horizon de 3-5 ans. Encore faut-il déterminer une stragégie et un programme d’actions à tenir pour ce faire…

Et c’est là que le bât blesse. Croire qu’il suffit de lancer une idée géniale pour qu’elle se réalise est pure illusion. Et les polynésiens ne veulent plus vivre d’illusion. Avec les dizaines de milliards qui sont prélevés dans leur poche, ils veulent du concret, du tangible, des réalisations. Or, ils sont comme soeur Anne, ils ne voient rien venir.

L’actuelle préparation budgétaire en est une nouvelle illustration. Le débat d’orientation budgétaire est un théâtre d’ombres. Les dossiers sont étudiés au compte-gouttes dans le cadre d’une “concertation” chaotique. Les marchands de tous bords sortent leur tapis et les accouchements de “décisions consensuelles” se font au forceps. La pirogue polynésienne coule dans la crise, mais la palabre hypocrite bat son plein.

Le ministre des finances essaie de colmater les énormes brêches de la pirogue annoncées pour 2010, observant avec compassion les efforts démesurés de sa collègue de la solidarité pour surmonter les obstacles corporatistes. A l’exception du ministre de la pêche et de la perliculture qui esquisse une stratégie sectorielle pour sortir ces deux secteurs de la catastrophe, les autres ministres en sont réduits à préparer dans leur secteur respectif l’austérité annoncée. Les belles promesses électorales se sont envolées depuis bien longtemps.

Ils diront en choeur : “c’est la faute à la crise” et “la crise est partout”. Prétexte tout trouvé pour masquer l’absence de vision, de stratégie et de volonté “d’aller au charbon” pour redresser sérieusement la barre. A l’heure de l’austérité généralisée, la société civile polynésienne en vient à s’interroger à voix haute sur l’utilité d’une telle superstructure politique qui coûte au moins 6 milliards de F CFP par an. Et là, les gisements d’économie sont très importants. Mais a-t-on vu quelque part une classe politique se faire hara kiri ? Même pas au Japon, c’est vous dire !

Valentino Rossi è il nuovo campione del mondo della Moto GP. Il pesarese si è aggiudicato il nono titolo mondiale della sua strepitosa carriera. Nel GP della Malesia, Valentino si è “accontentato” del terzo posto, davanti al compagno di squadra Jorge Lorenzo, quarto a oltre 6 secondi. Questa volta, alla fine della corsa è spuntata la “Gallina Vecchia” (che succede al “Pollo Osvaldo” degli esordi) che ha rimandato il suo appuntamento con il brodo, confezionando il nono uovo d’oro della sua lunga vita. Valentino che ha dichiarato “di non pensare al ritiro, di voler ancora correre con le moto”. Ha definito il sorpasso all’ultima curva a Barcellona su Lorenzo “ il più bello dell’ultima stagione, forse delle ultime in generale”. Per la cronaca della corsa: dominio Ducati con Stoner che chiude primo con oltre 15 secondi su Pedrosa, secondo. La gara è stata posticipata per un violento temporale che si è abbattuto sul circuito.Rossi terzo e Lorenzo quarto. Congratulazioni Vale!

Hulk89

Los pasados días 25 y 26 de Abril se festejó en Coahuila La Carnage, evento al cual me invitaron junto con excelentes colegas del medio cosplayero:  Alin & Tersa de Monterrey e Inglaterra de México DF.  Tenía tiempo de querer conocer la ciudad y su comunidad otaku; me lleve una grata sorpresa al ver con cuanta energía y pasión los cosplayers efectúan sus presentaciones.

Alin - Pepe - Isabel Martiñon - Inglaterra - Horspw - Paty - Tersa

Muchas gracias al staf de La Carnage que nos trato muy bonito, también al Ñoño Team y a todas las personitas que me reconocieron. Lo más maravilloso de este hobby tan genial es conocer gente y hacer amigos.

Los invito a disfrutar de la galería de La Carnage en la sección de conventions.

Súper mega cool! Llegue a la ciudad de México gracias al tradicional Ñoño Tour lleno de viejos conocidos del medio otaku. Esta TNT fue muy cansada para mi, ya que me hice la firme convicción de cubrir los eventos de cosplay  lo más completo posible, sin dejar a un lado el concurso mas importante de esta edición: Wold Cosplay Summi México. Que tuvo como resultado las siguientes posiciones:

Felicidades a todos ellos y mucho power para Sabina y Abigail quien representaran a México en Japon.

Sabina - Paty - Abigail

Una de las cosas más satisfactorias de esta TNT fue conocer en persona a dos fantásticas cosplayers, Nadia de Italia y  Elsh de Alemania quienes junto con Tohiko de Japon fueron los invitados especiales del cosplay, quienes sorprendieron con todos los trajes que portaron durante el evento.

Paty - Elsh

Paty - Nadia

Alina, encargada del cartel en el salón de cosplay, me invito a formar parte de una conferencia acerca de los primeros portales de cosplay en México, esto se llevo a cavo el Lunes a las doce del día en el salón del cosplay dentro de TNTgt3. Fue una experiencia totlamente fantástica para mi hablar de patycosplay.com junto a colegas de muchos años, quienes dedican su tiempo y esfuerzo a contribuir con material para vivir este hoobie al maximo: Chanyto (chanyto.com), Vic (X-tudio H) y Quetzal (idolcosplay.com).

Chanyto - Vic - Paty - Quetzal

Sock and Awe

Click here to play this game

Casas del Huaico: siete casas ubicadas en un valle del faldeo de las Sierras Grandes invitan al más placentero descanso.

Casas del Huaico ofrece al viajero amplias propiedades para alojarse, con parques exclusivos y vistas plenas a las Altas Cumbres y al valle de Traslasierra, dos panoramas de privilegiada belleza en las sierras de Córdoba.

Es posible alojarse en cinco casas y dos cabañas con capacidad de hasta 8 personas, con vastos servicios y comodidades: piscinas, TV satelital, videoteca, biblioteca, juegoteca, desayuno y mucama.

Las cenas y almuerzos se sirven en el restaurante exclusivo para los huéspedes, con cocina de autor inspirada en la carta internacional. Dispone de buena bodega, arte, ambiente celta y un hermoso jardín. Los sábados a la noche y en temporada hay espectáculos en vivo. También se preparan ocasiones especiales en Nochebuena, Reveillon del 31 de diciembre, St. Valentin´s Day, Carnaval y Fiesta de San Patricio. Hay comidas especiales para vegetarianos, macrobióticos y celíacos.

Las casas se encuentran enclavadas en un pequeño valle que goza de un microclima excepcional. 360 días de sol, añosos bosques, senderos bordeados de arroyos cristalinos y las cumbres de Achala que suelen mostrar un paisaje singular con las esporádicas nevadas de otoño, invierno y primavera. En los largos veranos que favorecen al lugarse disfrutan días calurosos y noches frescas. En invierno hay que vivir sus cálidos soles y el rescoldo de los hogares a leña que pueblan de romanticismo a la estadía

Como servicios opcionales se pueden contratar cabalgatas cortas por la zona

También hay salidas, no tan cortas, a las Altas Cumbres o al cerro Champaquí. Hay guías de trekking y mountain bike, avistaje de cóndores y birdwatching en general en un ambiente rico en flora y fauna rampante, con la presencia de más de 80 variedades de pájaros.

Si usted gusta de la observación de flora y fauna, sepa que hay zorros, liebres y vizcachas que viven en libertad en un monte autóctono poblado de algarrobos, molles, chañares, tintitacos y otras especies. Puede observarse abundancia de yuyos serranos y aromáticos.

Cerca hay maravillosos balnearios naturales, como lo son Paso de las Tropas, Los Remansos, río Los Sauces, Niña Paula, Baño de los Dioses, Toro Muerto y Nido del Águila.

Para quienes deseen del golf, a mil metros está el club La Quebrada. Se puede practicar pesca de trucha y pejerreyes, y deportes náuticos sin motor en el lago La Viña, a 5000 mts. Parapente en la ladera de los cerros, escalada y rapel y excursiones exclusivas en 4×4: a Los Túneles, Talampaya, Circuito Estancias Jesuíticas, Patrimonio de la Humanidad, Pampa de Achala, Parque Nacional Quebrada del Condorito y Museo Rocsen.

Se dispone la contratación de transfer desde el Aeropuerto Córdoba o Mina Clavero, ciudad a la cual se puede llegar en transporte terrestre con servicios de cama total-suite, ejecutivo y semicama. En la última ciudad hay actividades nocturnas, teatros, dance, casino Mina Clavero.

El Huaico se encuentra cerca de numerosos sitios de interés. Hay un criadero de truchas a 300 metros y a menos de un kilómetro se encuentra el campo de golf La Quebrada. Sólo bastan hacer 8 kilómetros para llegar al conocido balneario Paso de las Tropas o 10 kilómetros para estar en Nono.

Para más información:

Casas del Huaico en Hideout Argentina

Picaflor y zorzales de Entreloma: Casas del Huaico, Traslasierra, Sierras de Córdoba

Descanso profundo en Traslasierra

¿A quién no le gusta disfrazarse? (Pues si no, qué haces viendo una entrada con el título “disfraces”?!) y si ya te cansaste del tipíco vampiro, bruja, fantasma,etc,etc; pues aquí hay recomendaciones de disfraces …oh, pero como no todos pueden comprarse un disfraz, también hay consejos sobre…Cómo crear tu propio disfraz!

• Conector
  Bien, este es sencillo: con cartulina/ropa negra y blanca, ya la hiciste.
  Si lo quieres comprar en Amazon, cuesta $46.98.

• CAZAFANTASMA
  Da click en la imagen para ver el tutorial de cómo hacer tu propio disfraz de cazafantasma con todo y pistola…wow.
  En Amazon esta a $41.39.
  
• Lavadora…
  Click en la imagen y verás unos sencillos pasos con todo y dibujos para crear este …original disfraz.
  Oh, en Amazon esta a $59.99.
• ÑOÑO
  Ha ha ha, pues yo creo que algunas personas no necesitan cambiarse nada para salir así a pedir dulces.
  En fin, ya sabes que hacer para acceder al tutorial. Amazon lo tiene a $26.99.
• COMIDA
  En el tutorial aparece un sandwich, pero también puedes hacer desde pizzas a tacos!
  En Amazon, el disfraz de taco esta a $34.95.Y qué tiene que ver todo esto con el cine? Mmmm…mucho, sólo digo que no hay límites para la imaginación (pero para el café internet sí)…
  A ver, aquí va una: si quieren un vampiro diferente, disfracensen de Batman.

There’s some crazy shit happening right now in H!P factory, (Miracles kicked out, flat chested girls given PBs, former members showing off their asscracks etc.) and as a coping mechanism I decided to find some relief in the past. No, I don’t mean Elder Club. Sheesh, I thought they would never leave. I have in mind sweet sweet Aibon and the other girl with monstrous ribbons XD  I watched their musical – ‘W – Fushigi Shojo Tantei Cara&Mel – Ma no Violin Tonan Jiken’  (also known as ‘Kago and the other girl – Random fun magical Cara&Mel – some crazy violin’) without subtitles and it was…well..how shall I put it…hm… a major ROFL. I read a general description of a plot but nothing else. You can find this musical here: http://www.hello-online.org/index.php?act=tracker&CODE=details&torrent=21072.   The following description slash comments slash snarky snark will be my own interpretation of the storyline. Prepare for randomness

Stage looks fairly small. I can already smell the excitement. Oh I miss the stage. I think that in about 1 week we’ll gave a rehearsal. Good times, good times.

Actors enter the room and walk down the aisles beckoning the crowd to clap (Minna tebyoushi CHACCHACCHA CHACCHA~!!! Playing in my head).Look closely at the audience. That’s a cultural difference. American guys prefer watching a match on TV with a beer (the same with Polish guys) while Japanese guys go to theatres. Sophisticated? Not really. They watch some under-age girls playing around and some pathetic ‘actors’ fighting to earn some cash to feed the kids at home.

I bet that the fourth person from the seventh row thinks at the moment :’WTF?! I want my fucking money back!’ and I can end my review right now as the aforementioned thoughts of  a random viewer pretty much summarized the whole musical before the very start of the plot. The majority of people in the room are male and over thirties. But does it mean that those ppl are retarded?! They surely look retarded but it’s not the point XD The opening song is supposed to be at least decent. You need to capture the audience, make it hum the song throughout next scenes, make it wanna learn the dance done on stage.

And what next? Stub your nose while doing an imaginary basketball match?! Hmm, that’s highly probable. I’ve seen these costumes somewhere…

…oh here they are XD Oh Tsunku, you thought I wouldn’t notice. Tsk, tsk.

*shrugs*

Oh c’mon, there must be some positive aspects of the opening song. *ponders upon it in silence* I’ve got it! There must be some hot chicks to distract us from the massacre of a performance! Lets have a closer look on those delicious…

*chokes on my own saliva*

Sweet Jezus Almighty in Heaven! What’s THAT?! Surely, there is a bunch of lovely girls able to dance and sing and do a little acting available in H!P, right?!  Isn’t it the core of H!P?! Isn’t it the reason that middle aged guys fap in MaiMai’s towel?!

Back to the ‘plot’. What a surprise! Red light appears accompanied by some horror movies score. Actors are alarmed and flouncing on stage real time. Half of the audience shitted their pants. THEN,  a bunch of imaginary zombies enter the stage and start eating  the aristocratic looking ppl’s brains! (well, it looks like that XD) Holy shit!

The cameraman is also under attack as he tries to fight the zombies and at the same time record the musical. He holds the camera with his left hand and we see some shaky glimpses of ppl on stage tossing and holding their heads! Imaginary blood splutters the audience, invisible intestines are kicking around on the floor – RUN FOR YOUR LIFE!!!!

But it’s too late. After a couple of exciting moments, we see the defeat of aristocracy and arise of the zombies. Now, the brainless aristocrats are no longer in control of their bodies while the mysterious shadow of the imaginary zombie king appears on stage. The fourth person from the seventh row looks more or less like this:

Pussy. It’s just a beginning, mate XD

Lights go off and…

…after a short pause we can see a colourful room which again seems strangely familiar.. Hm.. a bit of Berryz ‘Rival’ cardboard heaven but still it’s not it. oh, yes, here it is…..

Give me crayons! There are too many empty places on the curtains! What’s with the rectangular pattern on the walls?! It’s IRREGULAR! Gr… my sense of balance is broken.  But overall, cute is cute and no discussions here. Plastic food (perhaps done better in SEISHUN Love Lunch) plus Nono and her gigantic ribbon is just a part of this ‘make it fucking cute’ plan.  Fine to me. With some limits.

Oh, Aibon *sigh* My sweet, sweet virgin Aibon.  Those yummy legs, uber cute uniform, girly pigtails…. OMFG NAKAZAWA YUKO QUEEN OF HADES WHAT THE FUCK IS THAT FURRY MONSTER NEXT TO NONO?!!!!!! Geez, it scared the living shit out of me. Please, dear God, let this mistake of evolution stay on the ground motionless.

Nono tried to eat the plushy cake alone but Aibon being the sneaky little devil suspected something nasty from her fellow detective. Note to myself. Don’t trust girls with gigantic ribbons.

Aibon noticed that Nono’s mouth was full of something. When asked what it is, Nono gave a rather ..hm.. bold excuse expressed with gestures…

My, my. Nono, my dear child, you must have been really desperate to resolve to this excuse. Fortunately, Kago is a pro in these matters (or will be in very near future *wink wink*)and knows that in these circumstances Nono’s face expression would be different. More delighted and less neutral.

She starts chasing Nono. The audience rub their hands together in anticipation of some perverted BDSM action with Kago getting Nono over her knee, pulling her panties down slowly, spreading her legs just a little….  (the fourth person from the seventh row drools all over their shirt)…

And then the girls did the mistake of their lives (well, Kago’s mistake of her life will come  a bit later…). They trod on the Furry Monster…

OW NOES! It’s alive!!!! And moving! RUN, BITCHez, RUUUUUUUN!!! Luckily, the phone rung and the furry beast calmed down a bit.

Nono seems disappointed that Aibon lost interest in the chase. I got the feeling that the whole intrigue with eating the cake was just as fake as the cake itself and she just hoped for some hot ass whooping.

BAAACK, to the khem,khem story. Something bad happened and girls need to discuss it.

What’s with this frigging DOG?! My back hurts when I see this actor kneeling all the time and my pride aches when I see him making a fool of himself.

For fuck’s sake, this creature seriously creeps me out!!!!!

But yey it’s about time for a song! \(^o^)/ Nono is introduced as Mel and Aibon as Cara with a catchy, energetic and fun song I still hum under my nose. Some old ppl dressed as detectives replace Hello!Project Eggs. Tsunku, you’re a genius.

TSUNKU: Really?

ME: No.

Miss random detective back dancer, I understand you’re overwhelming desire to guffaw when seeing Nono’s gigantic ribbon. Screw the choreography, just give in to the feeling of utter amusement XD

Tsunku got really thrifty with the musical. He employed some actors wannabes, used cardboard props and even recycled old H!P moves into the dance. Luckily, he used good moves so I don’t mind

When everybody’s attention is on Kago’s legs, some bald pedo wearing a hat enters the stage.

Again, the audience expects some juicy illegal action. Will it be the case? Who is he? Stay tuned XD

ladybird

Listening to: V-u-den ‘Kuchibiru Kara Ai wo Choudai’

]]>