text:
Peter Ustinov

Sir Peter Alexander Ustinov (born Peter Alexander Freiherr von Ustinov; 16 April 1921 – 28 March 2004) was a British actor, writer and director. An internationally known raconteur, he was a fixture on television talk shows and lecture circuits for much of his career. Ustinov received numerous accolades including two Academy Awards, a BAFTA Award, three Emmy Awards, and a Grammy Award.

Ustinov received two Academy Awards for Best Supporting Actor for his roles in Spartacus (1960), and Topkapi (1964). He also starred in notable films such as Quo Vadis (1951), The Sundowners (1960), Billy Budd (1962), and Hot Millions (1968). He portrayed Hercule Poirot in Death on the Nile (1978) and Evil Under the Sun (1982). He voiced Prince John and King Richard in the Walt Disney Animated film Robin Hood (1973).

He also displayed a unique cultural versatility which frequently earned him the accolade of a Renaissance man. Miklós Rózsa, composer of the music for Quo Vadis and of numerous concert works, dedicated his String Quartet No. 1, Op. 22 (1950) to Ustinov.

An intellectual and diplomat, he held various academic posts, and served as a goodwill ambassador for UNICEF and president of the World Federalist Movement (WFM). In 2003, Durham University changed the name of its Graduate Society to Ustinov College, in honour of the significant contributions Ustinov had made as chancellor of the university from 1992 until his death.

Early life and education
Peter Alexander Freiherr von Ustinov was born on 16 April 1921 at 45 Belsize Park, London. His father, Jona Freiherr von Ustinov, was of Russian, German, Polish, Ethiopian, and Jewish descent. Ustinov's paternal grandfather was Baron Plato von Ustinov, a Russian noble, and his grandmother was Magdalena Hall, of mixed German-Ethiopian-Jewish origin. Ustinov's great-grandfather Moritz Hall, a Jewish refugee from Kraków and later a Christian convert and colleague of Swiss and German missionaries in Ethiopia, married into a German-Ethiopian family. Ustinov's paternal great-great-grandparents (through Magdalena's mother) were the German painter Eduard Zander and the Ethiopian aristocrat Court-Lady Isette-Werq of Gondar.

Ustinov's mother, Nadezhda Leontievna Benois, known as Nadia, was a painter and ballet designer of French, German, Italian, and Russian descent. Her father, Leon Benois, was an Imperial Russian architect and owner of Leonardo da Vinci's painting Benois Madonna. Leon's brother Alexandre Benois was a stage designer who worked with Stravinsky and Diaghilev. Their paternal ancestor Jules-César Benois was a chef who had left France for St. Petersburg during the French Revolution and became a chef to Emperor Paul I of Russia.

Jona (or Iona) worked as a press officer at the German Embassy in London in the 1930s and was a reporter for a German news agency. In 1935, two years after Adolf Hitler came to power in Germany, Jona von Ustinov began working for the British intelligence service MI5 and became a British subject, thus avoiding internment during the war. The statutory notice of his application for citizenship was published in a Welsh newspaper so as not to alert the Germans. He was the controller of Wolfgang Gans zu Putlitz, an MI5 spy in the German embassy in London, who furnished information on Hitler's intentions before the Second World War. (Peter Wright mentions in his book Spycatcher that Jona was possibly the spy known as U35; Ustinov says in his autobiography that his father hosted secret meetings of senior British and German officials at their London home.)

Ustinov was educated at Westminster School and had a difficult childhood because of his parents' constant fighting. While at school, Ustinov considered anglicising his name to Peter Austin, but was counselled against it by a fellow pupil who said that he should "Drop the 'von' but keep the 'Ustinov. In his late teens he trained as an actor at the London Theatre Studio. While there, on 18 July 1938 he made his first appearance on the stage at the Barn Theatre, Shere, playing Waffles in Chekhov's The Wood Demon, and his London stage début later that year at the Players' Theatre, becoming quickly established. He later wrote, "I was not irresistibly drawn to the drama. It was an escape road from the dismal rat race of school".

Career

In 1939, he appeared in White Cargo at the Aylesbury Rep, where he performed in a different accent every night. Ustinov served as a private in the British Army during the Second World War, including time spent as batman to David Niven while writing the Niven film The Way Ahead. The difference in their ranks—Niven was a lieutenant-colonel and Ustinov a private—made their regular association militarily impossible; to solve the problem, Ustinov was appointed as Niven's batman. He also appeared in propaganda films, debuting in One of Our Aircraft Is Missing (1942), in which he was required to deliver lines in English, Latin and Dutch. In 1944, under the auspices of Entertainments National Service Association, he presented and performed the role of Sir Anthony Absolute, in Sheridan's The Rivals, with Dame Edith Evans, at the theatre in Larkhill Camp, Wiltshire, England.

After the war, he began writing; his first major success was with the play The Love of Four Colonels (1951). He starred with Humphrey Bogart and Aldo Ray in We're No Angels (1955). His career as a dramatist continued, his best-known play being Romanoff and Juliet (1956). His film roles include Roman emperor Nero in Quo Vadis (1951), Lentulus Batiatus in Spartacus (1960), Captain Blackbeard in the Disney film Blackbeard's Ghost (1968), and an old man surviving a totalitarian future in Logan's Run (1976). Ustinov voiced the anthropomorphic lions Prince John and King Richard in the 1973 Disney animated film Robin Hood. He also worked on several films as writer and occasionally director, including The Way Ahead (1944), School for Secrets (1946), Hot Millions (1968), and Memed, My Hawk (1984).

In half a dozen films, he played Agatha Christie's detective Hercule Poirot, first in Death on the Nile (1978) and then in 1982's Evil Under the Sun, 1985's Thirteen at Dinner (TV movie), 1986's Dead Man's Folly (TV movie), 1986's Murder in Three Acts (TV movie), and 1988's Appointment with Death.

Ustinov won Academy Awards for Best Supporting Actor for his roles in Spartacus (1960) and Topkapi (1964). He also won a Golden Globe award for Best Supporting Actor for the film Quo Vadis (he set the Oscar and Globe statuettes up on his desk as if playing doubles tennis; the game was a love of his life, as was ocean yachting). Ustinov was also the winner of three Emmys and one Grammy and was nominated for two Tony Awards.

During the 1960s, with the encouragement of Sir Georg Solti, Ustinov directed several operas, including Puccini's Gianni Schicchi, Ravel's L'heure espagnole, Schoenberg's Erwartung, and Mozart's The Magic Flute. Further demonstrating his great talent and versatility in the theatre, Ustinov later undertook set and costume design for Don Giovanni. In 1962 he adapted Louis O. Coxe and Robert H. Chapman's critically successful Broadway play Billy Budd into a film; penning the screenplay, producing, directing, and starring as Captain Vere. In 1968, he was elected the first rector of the University of Dundee and served two consecutive three-year terms.

His autobiography, Dear Me (1977), was well received and had him describe his life (ostensibly his childhood) while being interrogated by his own ego, with forays into philosophy, theatre, fame, and self-realisation. From 1969 until his death, his acting and writing took second place to his work on behalf of UNICEF, for which he was a goodwill ambassador and fundraiser. In this role, he visited some of the neediest children and made use of his ability to make people laugh, including many of the world's most disadvantaged children. "Sir Peter could make anyone laugh", UNICEF Executive Director Carol Bellamy is quoted as saying. On 31 October 1984, Ustinov was due to interview Prime Minister of India Indira Gandhi for Irish television. She was assassinated on her way to the meeting.

Ustinov served as president of the World Federalist Movement (WFM) from 1991 until his death. He once said, "World government is not only possible, it is inevitable, and when it comes, it will appeal to patriotism in its truest, in its only sense, the patriotism of men who love their national heritages so deeply that they wish to preserve them in safety for the common good".

He was the subject of This Is Your Life on two occasions, in November 1977 when he was surprised by Eamonn Andrews at Pinewood Studios on the set of Death on the Nile. He was surprised again in December 1994, when Michael Aspel approached him at the United Nations headquarters in Geneva. A car enthusiast since the age of four, he owned a succession of interesting machines ranging from a Fiat Topolino, several Lancias, a Hispano-Suiza, a preselector gearbox Delage, and a special-bodied Jowett Jupiter. He made records like Phoney Folklore that included the song of the Russian peasant "whose tractor had betrayed him" and his "Grand Prix of Gibraltar" was a vehicle for his creative wit and ability at car-engine sound effects and voices.

He spoke English, French, Spanish, Italian, German and Russian fluently, as well as some Turkish and modern Greek. He was proficient in accents and dialects in all his languages. Ustinov provided his own German and French dubbing for some of his roles, both of them for Lorenzo's Oil. As Hercule Poirot, he provided his own voice for the French versions of Thirteen at Dinner, Dead Man's Folly, Murder in Three Acts, Appointment with Death, and Evil under the Sun, but unlike Jane Birkin, who had dubbed herself in French for this film and Death on the Nile, Ustinov did not provide his voice for the latter (his French voice being provided by Roger Carel, who had already dubbed him in Spartacus and other films). He dubbed himself in German as Poirot only in Evil under the Sun (his other Poirot roles being undertaken by three actors). However, he provided only his English and German voices for Disney's Robin Hood and NBC's Alice in Wonderland.

In the 1960s, he became a Swiss resident. He was knighted in 1990 and was appointed chancellor of Durham University in 1992, having previously been elected as the first rector of the University of Dundee in 1968 (a role in which he moved from being merely a figurehead to taking on a political role, negotiating with student protesters). Ustinov was re-elected to the post for a second three-year term in 1971, narrowly beating Michael Parkinson after a disputed recount. He received an honorary doctorate from the Vrije Universiteit Brussel.

Ustinov was a frequent defender of the Chinese government, stating in an address to Durham University in 2000, "People are annoyed with the Chinese for not respecting more human rights. But with a population that size it's very difficult to have the same attitude to human rights." In 2003, Durham's postgraduate college (previously known as the Graduate Society) was renamed Ustinov College. Ustinov went to Berlin on a UNICEF mission in 2002 to visit the circle of United Buddy Bears that promote a more peaceful world between nations, cultures, and religions for the first time. He was determined to ensure that Iraq would also be represented in this circle of about 140 countries. Ustinov also presented and narrated the official video review of the 1987 Formula One season and narrated the documentary series Wings of the Red Star. In 1988, he hosted a live television broadcast entitled The Secret Identity of Jack the Ripper. Ustinov gave his name to the Foundation of the International Academy of Television Arts and Sciences for their Sir Peter Ustinov Television Scriptwriting Award, given annually to a young television screenwriter.

Personal life

Ustinov was married three times—first to Isolde Denham (1920–1987), daughter of Reginald Denham and Moyna Macgill. The marriage lasted from 1940 to their divorce in 1950, and they had one child, daughter Tamara Ustinov. Isolde was the half-sister of Angela Lansbury, who appeared with Ustinov in Death on the Nile.

His second marriage was to Suzanne Cloutier, which lasted from 1954 to their divorce in 1971. They had three children: two daughters, Pavla Ustinov and Andrea Ustinov, and a son, Igor Ustinov.

His third marriage was to Helene du Lau d'Allemans, which lasted from 1972 to his death in 2004.

Ustinov was a secular humanist. He was listed as a distinguished supporter of the British Humanist Association, and had once served on its advisory council.

Ustinov suffered from diabetes and a weakened heart in his last years.

In 1999, Sir Peter and his son Igor Ustinov founded the Sir Peter Ustinov Stiftung (Sir Peter Ustinov Foundation) in the city of Munich in Germany. The foundation is now based in Frankfurt am Main.

Death
Ustinov died on 28 March 2004 of heart failure in a clinic in Genolier, near his home in Bursins, Switzerland, aged 82. He had suffered from diabetes and heart disease.

Ustinov found his final resting place at the cemetery. His ledger stone bears a cross, despite his self-description as a secular humanist, and the inscription: « SIR PETER USTINOV

1921-2004

Writer-Actor-Humanist

Musicien-Membre de l'Institut »

Globalism
Ustinov was the president of the World Federalist Movement (WFM) from 1991 to 2004, the time of his death.

Until his death, Ustinov was a member of English PEN, part of the PEN International network that campaigns for freedom of expression.

Television

 * What's My Line? (1957—1966) – gameshow, 9 episodes
 * I've Got a Secret (1960) – gameshow, 1 episode
 * Barefoot in Athens (1966) – TV film, as Socrates
 * Klapzubova jedenáctka (1968) – TV serial, episode 12: "Muži z Ria", as television commentator
 * Parkinson (1971—1972) – talk show, 3 episodes
 * Clochemerle (1972) – 9 episodes, as narrator
 * The Muppet Show (1976) – 1 episode, as himself
 * Kein Abend wie jeder andere (1976) – TV film, as owner of Billy's artstore
 * Jesus of Nazareth (1977) – miniseries, as Herod the Great
 * Doctor Snuggles (1979) – 13 episodes, as Doctor Snuggles
 * Einstein's Universe (1979) – documentary film, as himself
 * Nuclear Nightmares (1979) – documentary film, as himself
 * Omni: The New Frontier (1981)
 * Overheard (1984) – TV film, as Comrade Kuruk
 * Thirteen at Dinner (1985) – TV film, as Hercule Poirot
 * Dead Man's Folly (1986) – TV film, as Hercule Poirot
 * Murder in Three Acts (1986) – TV film, as Hercule Poirot
 * Peter Ustinov's Russia (1986) – documentary miniseries, as himself
 * The World Challenge / Le défi mondial (1986)
 * An Audience with Peter Ustinov (1988)
 * The Secret Identity of Jack the Ripper (1988) – documentary
 * Around the World in 80 Days (1989) – miniseries, as Detective Wilbur Fix
 * Peter Ustinov on the Orient Express (1991)
 * Wings of the Red Star (1993) – documentary series, 13 episodes, as narrator
 * Celebrating Haydn with Peter Ustinov (1994) – documentary
 * The Old Curiosity Shop (1995) – TV film, as Grandfather
 * Paths of the Gods (1995) – documentary series, 8 episodes, as himself
 * Sir Peter Ustinov's Mendelssohn (1997) – documentary
 * Alice in Wonderland (1999) – TV film, as Walrus
 * Animal Farm (1999) – TV film, as Old Major (voice)
 * Victoria & Albert (2001) – TV serial, as King William IV
 * Winter Solstice – Hughie McLellan

Nonfiction

 * Apropos: portrait painting
 * Dear Me
 * Generation at Jeopardy: Children in Central and Eastern Europe and the Former Soviet Union
 * (introduction by Peter Ustinov) (UNICEF)

 * Klop and the Ustinov Family (with Nadia Benois Ustinov) 1973
 * My Russia

 * Niven's Hollywood (introduction by Peter Ustinov)

 * Quotable Ustinov
 * Still at Large
 * Ustinov at Eighty
 * Ustinov at Large
 * Ustinov in Russia
 * Ustinov Still at Large
 * Ustinov's diplomats
 * We Were Only Human.

Fiction

 * Abelard and Heloise
 * Add a Dash of Pity and Other Short Stories
 * Beethoven's Tenth
 * Blow Your Own Trumpet (1943 play)
 * Brewer's Theatre (with Isaacs, et al.)
 * The Comedy Collection
 * Disinformer: Two Novellas
 * Frontiers of the Sea (reprinted as Life is an Operetta and Other Short Stories)
 * God and the State Railways
 * A Grand Knight Out
 * Halfway Up the Tree
 * The Indifferent Shepherd
 * James Thurber (with James Thurber)
 * Krumnagel (novel)
 * The Laughter Omnibus
 * The Loser (novel)
 * The Love of Four Colonels
 * The Methuen Book of Theatre Verse (with Jonathan and Moira Field)
 * Monsieur Rene
 * The Moment of Truth
 * No Sign of the Dove (play c. 1952)
 * The Old Man and Mr. Smith: A Fable
 * Photo Finish
 * Romanoff and Juliet
 * The 13 Clocks with James Thurber
 * The Unicorn in the Garden and Other Fables for Our Time
 * The Unknown Soldier and His Wife

Discography

 * Grand Prix of Gibraltar (1960) (spoken word comedy)
 * The Creatures of Prometheus (Ludwig van Beethoven), a musical narration – RCA Red Seal 74321 82163 2 (2001)
 * Der Burger als Edelmann (After Moliere, adapted by Ustinov, incidental music by Richard Strauss), Koch Classics 3-6578-2 (1998)

Honorary accolades

 * 1992: Britannia Award
 * 1993: London Critics' Award
 * 1994: Bambi
 * 1997: German Video Prize of the DIVA Award
 * 1998: Bavarian Television Award
 * 2001: Golden Camera (Goldene Kamera, Berlin)
 * 2002: Planetary Consciousness Award of the Club of Budapest
 * 2004: Bavarian Film Award (Bayerischer Filmpreis)
 * 2004: Rose d'Or Charity Award with UNICEF (posthumously)

Other

 * 1974: Golden Camera Award for Best Actor for the Exchange of Notes
 * 1978: Prix de la Butte for Oh my goodness! Messy memoirs
 * 1981: Karl Valentin Order (Munich)
 * 1987: Golden Rascal (Goldenes Schlitzohr)

State honours and awards

 * 1957: Benjamin Franklin Medal of the Royal Society of Arts (London)
 * 1961: Honorary key to the city of Washington DC (USA)
 * 1974: Order of the Smile (Poland)
 * 1975: Commander of the Order of the British Empire (CBE) (United Kingdom)
 * 1978: UNICEF International Prize for outstanding services
 * 1985: Commander of the Ordre des Arts et des Lettres (France)
 * 1986: Istiqlal Order (Hashemite Kingdom of Jordan)
 * 1987: Order of the Yugoslav Flag
 * 1987: Elected to the Académie des Beaux-Arts
 * 1990: Gold Medal of the City of Athens
 * 1990: Medal of the Hellenic Red Cross
 * 1990: Knight Bachelor (United Kingdom)
 * 1991: Medal of Charles University in Prague
 * 1994: Knight of the National Order of the Southern Cross (Brazil)
 * 1994: German Culture Prize (Deutscher Kulturpreis)
 * 1995: International UNICEF Prize for Outstanding Services
 * 1998: Order of Merit of the Federal Republic of Germany (Bundesverdienstkreuz)
 * 2001: Austrian Cross of Honour for Science and Art, 1st class
 * 2002: Siemens Life Award (Austria)
 * 2004: Hanseatic Bremen Prize for International Understanding (Bremer Hansepreis für Völkerverständigung)

Honorary degrees
Ustinov received many honorary degrees for his work.

title: Peter Ustinov


text:
Talk:Lists of encyclopedias

Merge and other discussions
This needs to be merged with the list in encyclopedia. --Eloquence 15:47 Jan 11, 2003 (UTC)

I'm in the process of moving the list out of encyclopedia, which is currently just a list of external links, and onto this page. As soon as I create homes for those links (ie, stub articles), I'll remove the list from encyclopedia. -- Stephen Gilbert 17:54 Jan 11, 2003 (UTC)

 * Disagree strongly with merging the list of from encyclopedias here.  These are / should be primarily current, to illustrate various subject, national, etc. encyclopedias.  The list in encyclopedia is largely historical encyclopedias; including it here would entirely obscure the historical element, the timeline, as well as the national organization.  I will look for ways to reformat the list in encyclopedia. flux.books 10:16, 19 October 2005 (UTC)

 * Both lists revised to address this issue and reflect those concepts. Hopefully that makes a clear distinction for the two lists and how they would be used. flux.books 14:16, 19 October 2005 (UTC)

I say merge the list in the encyclopedia article into this one and just have a link. An article on encyclopedias should not be its own almanac. HereToHelp (talk) 14:20, 5 November 2005 (UTC)

- 2005/9/27 - My friend L'il Abner tells me he favahs havin' a sep'rate otticle to list encyclopeediahs on accoun' o' how wun day each elemen' o' the list will be fleshed out an' it'll all look like a real otticle. Bless y'all and come enjoy some Dogpatch ham wid us soon. -- PingPongBoy - Eloquence, how do you determine the order if you rank by popularity? I see several problems, not the least of which is cultural bias. The most popular encyclopedia in China will likely have more readers than Britannica.

Alphabetical ordering may not convey much information about the encyclopedias themselves, but it allows people to find scan the list easily and place new links, which is more useful than a vague popularity/volume order. As the list expands, I'd like to see a topical organization develop, which would be more useful than straight alphabetical. -- Stephen Gilbert 19:08 Jan 20, 2003 (UTC)

Encyclopedias that need articles:

 * Catholic Encyclopedia
 * Jewish Encyclopedia (Published 1901-1906. Original full 12 volumes)
 * Encyclopedia Judaica (Published 1972-1991.Original full 26 volumes. Available on CD-ROM)
 * Talmudic Encyclopedia (Ongoing hard-copy publication and translation into English)

 * I moved them to the article. In the Talk page these useful links are just cleverly hidden.--Keichwa 08:41 May 4, 2003 (UTC)

That's the idea. List pages like this provide links to Wikipedia articles, not external pages. The best thing to do would be to write up small articles for each of these encyclopedias and include the external links there. If you don't feel like it, don't worry. It's on my to do list. :) -- Stephen Gilbert 15:44 May 5, 2003 (UTC)

Can we use the text of http://www.newadvent.org/cathen/10092a.htm in Wikipedia? The copyright notice says: ''The Catholic Encyclopedia, Volume X. Copyright © 1911 by Robert Appleton Company. Online Edition Copyright © 2002 by Kevin Knight''. olivier 03:25 Jan 14, 2003 (UTC)

Yeah, I think the copyright protection term already expired. But the problem is "Online Edition Copyright 2002". Can we really use it? -- Taku 03:44 Jan 14, 2003 (UTC)

This has come up before. If I remember right we chose to accept the 2002 copyright at face value since the quality of their text isn't worth a fight. But there is no harm at all in asking. See Boilerplate request for permission. --mav 08:23 Jan 15, 2003 (UTC)

The Catholic Encyclopedia is highly biased. Please do not dump their material in Wikipedia. --Eloquence 08:36 Jan 15, 2003 (UTC)

 * I disagree. Wikipedia should envy the Catholic Encyclopedia. I am an atheist, and I know that George Smith, author of Atheism: The Case Against God has a similar opinion of the Catholic Encyclopdia.  Obviously if we copy their statement that all Christians are obliged to obey the pope, that violates NPOV.  But many of their articles on philosophy, geography, history, comparative religion, and, in a few cases, science, are good. Michael Hardy 01:40 Jan 26, 2003 (UTC)

 * I'm in the middle. I've never really studied the Catholic encyclopedia, so I don't know if is biased or not. If it isn't, use the data and paraphrase it (don't cut and paste even if it IS in the PD). If it is...it's still a good source to look at. HereToHelp (talk) 14:20, 5 November 2005 (UTC)

EncycloZine
Wik, is there any reason you keep removing EncycloZine from this page? As there is an article on EncycloZine, I can't see what your objection is. Angela 20:09, Oct 26, 2003 (UTC)

 * It is not an encyclopaedia. --Wik 20:22, Oct 26, 2003 (UTC)

 * If it's not an encylopaedia, what is it? Mintguy

 * A bookshop. --Wik 20:32, Oct 26, 2003 (UTC)

 * It contains over 1000 encyclopedia articles and calls itself an encyclopedia. Just because it happens to list books as well does not mean it can not be included. Your personal POV that it is junk is irrelevant. Angela 20:35, Oct 26, 2003 (UTC)

 * It is not just my POV that it is junk as an encyclopaedia. Of course people may still enjoy it as a bookshop, or as a website. But words have meanings. What is really irrelevant is what it calls itself. If it called itself an elephant, would we write that in the article? Those 1,000 articles are clearly only cheap instruments to drive traffic to the site, whose basic purpose is selling books. --Wik 20:43, Oct 26, 2003 (UTC)

 * I take your point, and agree with it - It's primary purpose is to sell books and posters. But then the Guinness Book of Records primary purpose it to market the name Guinness and sell more beer, the primary reason for the creation of the Pears Cyclopaedia was to sell more soap, etc.. Mintguy 20:50, 26 Oct 2003 (UTC)

 * .. A link to Amazon suggests it's a bookshop but it has encylopaedic articles such as http://kosmoi.com/Health/Medicine/Anatomy/ and http://artzia.com/History/Mythology/ and even has some articles which cite Wikipedia as a source. It looks remarkably like it qualifies as an encylopaedia to me. Mintguy 20:37, 26 Oct 2003 (UTC)

 * A link to Amazon is probably just a means of generating revenue for the site. Linking to Amazon and being an encyclopedia are not mutually exclusive. Mintguy is right that the articles do make it an encyclopedia. Angela 20:46, Oct 26, 2003 (UTC)

 * "A" link? Have you actually looked at the site? I see this as primarily a bookshop, with accompanying articles. It seems absurd to place trivialities like this in a list together with the most monumental scholarly works, considering that websites that could be described as encyclopaedias by your definition are a dime a dozen, and if all were added the real ones would be hardly discernible in the junk. I will not revert the page again if I'm in the minority, but I'd like to put this up for a vote. --Wik 22:25, Oct 26, 2003 (UTC)

It seems like it's violating GFDL as well. I don't think we need to give it any traffic, unless it's from an article specifically mentioning the violation of the license. Dori 22:52, Oct 26, 2003 (UTC)

 * So we should punish them for breaking the GFDL by making this article less complete? Anyway, the pages I looked at all said "This article is licensed under the GNU Free Documentation License, which means that you can copy it and modify it so long as the entire work remains under this license. It uses material from the Wikipedia article WikiWiki, so they appear to be adhering to the licence. Angela 23:05, Oct 26, 2003 (UTC)

 * My mistake. I saw some articles that did not have the notice and some that did, and I assumed that all that content was coming from Wikipedia. In light of this, I am going neutral. Dori 23:26, Oct 26, 2003 (UTC)

On Wikipedia:Announcements it says that Romanian Wikipedia and Hebrew Wikipedia have both reached 1,000 articles. Does that mean that they are not worthy of being called encyclopaedias? The fact that it is advertising wares as well as providing information is irrelevant, most commercial TV stations do the same. Mintguy 23:27, 26 Oct 2003 (UTC)

The semantical dispute on what should be called an encyclopaedia misses the point. We have also a List of people and it goes without saying that it is supposed to be a list of notable people. Random people who add their own name there are routinely removed. And similarly I think this should be a list of notable encyclopaedias, not just anything that somehow could be called an encyclopaedia. Given that most of it is copied from public-domain materials, the little original content of EncycloZine is of minimal importance. As usual with stuff like this, the article EncycloZine and its entry in this article were added by no one else but the creator of EncycloZine himself (Alan Richmond). I'm sure no one else would ever have done so. This is just another case of Boyeristic self-promotion. --Wik 00:17, Oct 27, 2003 (UTC)

 * It is notable. There is an article on it. Only people without an article would be removed from the List of people. Angela 01:18, Oct 27, 2003 (UTC)

 * Are you reading me? The article was put up by the EncycloZine creator himself. Or are you getting technical now, and suggesting I have to get the article deleted first? I thought it was easier to start with this entry here. Boyer was also deleted from the List of people while his article was still being discussed. --Wik 01:32, Oct 27, 2003 (UTC)

EncycloZine describes itself as an encyclopedia, and I see no grounds to dispute this description. Plus, a few other respectable sources like it, such as New Scientist and BUBL. -- Stephen Gilbert 10:30, 27 Oct 2003 (UTC)

I founded EncycloZine in 1998 as an exercise in XHTML (it was the web's first XHTML site), and as an encyclopedia comprising articles I'd written on astronomy and web development, and later, articles Lucy and I wrote or commissioned. My motivation (not that it should be relevant) was always primarily intellectual. The commercial aspect became necessary when we lost most of our capital (from the sale of WDVL.com) in the tech crash. We added Amazon books not only to generate revenue, but also to add value for our users - i.e. to help them identify books relevant to specific topics. We *never* started with the notion of creating websites for commercial gain. Contrary to opinions expressed, it's primarily a labor of love, that we happen to make some money from. I've worked on it full time since 1998, and I'm very pleased that several respectable sources, and librarians, educators, and students appreciate it. Most of our traffic is to our original articles; many are linked from educational/school sites. Before I added it to Wikipedia, I checked out the other entries, and I was quite satisfied that EncycloZine stood up well against some of the other entries. We're not Britannica, but then, we don't require subscription (and I think younger folks and others find us easier to use). It is *not* mostly Wikipedia articles - I would guess they make up about half the total. Our most popular articles contain very few from Wikipedia. And I see us as adding value with the recommended books and our classification structure. BTW we've added GFDL links to all the pages we could find that omitted it. Also, I have a list of subject encyclopedias that might be useful for this list. -- Alan Richmond

 * I add Alan's statement to my argument for inclusion. We should assume good faith until proven otherwise. Also, add another source that considers EncycloZine an encyclopedia: the Librarians' Index to the Internet  -- Stephen Gilbert 23:35, 4 Nov 2003 (UTC)

 * It's an encyclopedia of encyclopedias. I don't know which way to go on this one, but I'll lean towards keep because Wikipedia is not a paper encyclopedia so space isn't much of an issue. HereToHelp (talk) 14:24, 5 November 2005 (UTC)

Include EncycloZine in List of encyclopedias vote
Yes: No: Neutral:
 * 1) Angela
 * 2) Ellmist - mention that it has about 1,000 articles and numerous affiliate links
 * 3) Mintguy
 * 4) Fred Bauder 05:29, 27 Oct 2003 (UTC)
 * 5) Stephen Gilbert
 * 6) Alan Richmond
 * 7) Patrick
 * 8) HereToHelp (talk), but only mildly so. Wikipedia is not a paper encyclopedia so we don't need to save space--but that's about all of my argument.
 * 1) Wik
 * 2) Apwoolrich Not as this EncycloZine list stands. The reason why the WP list is divided by centuries and subjects is that it enables readers to target titles more easily. If a merger is done then the EncycloZine list needs to be sorted to account for this. The present form of the WP list was done after all these votes were cast.
 * No, as it's not a useful suggestion to a user of wikipedia, in the way the other works are. The point of wikipedia is not simply to be a huge list of everything that might be includable under some topic list.  (Machines can do that far better than we, that's what Yahoo etc. are for.)  It's meant to be a useful reference of knowledge, in a structured and edited format.  Open, yes, but not incoherent and not a rote list of sites.   Whereas, someone might actually find it useful to turn up an obscure site on (for example) gun identification (moved from the encyclopedia artice) - though I'm personally not fond of it, thats the sort of thing wiki can do that the britannica and americana can't do. flux.books 14:26, 19 October 2005 (UTC)
 * 1) filthy_swine I don't see any other encyclopedias marketing posters about an article one has just read.  You can call it creative financing, but I call it the whole reason for the site.
 * 1) Dori

Where from here?
This list is a mess, regardless of all previous discussion :), things are not easily retrievable, there is no proper alpha sort under some headins, and so on. someone needs to either clean up the 'others' or the point of either being an example or comprehensive falls flat! User:SatuSuro 04:23, 16 December 2005 (UTC)

Bibliotheke
The article that the book from the list links to appears to be a different book of the same name.--Filthy swine 21:35, 11 February 2006 (UTC)

Where to add?
Where should I add the recently-released Encyclopedia of Domestic Animation, if anywhere? Esn 07:39, 20 April 2007 (UTC)

List → Lists
Found the article through Category:Lists of lists, where it stuck out for using the singular "list." It appears this was indeed a list of encyclopedias but was broken down into several sub-lists, making this a list of lists. Moved appropriately. Hope this is uncontroversial. --—  Rhododendrites talk  |  14:18, 3 April 2014 (UTC) Self Description: It doesn't matter where you move from or to, you always take yourself with you. I do believe that a person is alive if he or she has a dream, otherwise it's just existence without any point. I am a mature woman, who knows what a real life is and how it's hard sometimes to overcome hardships alone, despite my young age I already know what it means to lose and to win! As a woman I'm passionate, romantic and feminine. I'm the giver and for the sake of love I'm ready to give a lot. I don't wear rosy glasses and I know how difficult life can be sometimes but I am sure that when you feel support of your beloved, you are able to overcome all problems and troubles. I really want to be inspiration to my husband. I want to create a place that we will both call our love nest and to surround it with love. If you feel that I could be the woman you are looking for, write to me and maybe that very moment you notice me among others will be the moment of our beginning. I am active ! person, I began to work as travel guide when I was a student and since that time traveling is my biggest passion.

Am new here need 25$ PLEASE — Preceding unsigned comment added by 41.218.213.202 (talk) 04:44, 28 March 2023 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Lists of encyclopedias


text:
Pittsburgh Symphony Orchestra

The Pittsburgh Symphony Orchestra (PSO) is an American orchestra based in Pittsburgh, Pennsylvania. The orchestra's home is Heinz Hall, located in Pittsburgh's Cultural District.

History
The Pittsburgh Symphony Orchestra is an American orchestra based in Pittsburgh, Pennsylvania. The orchestra's home is Heinz Hall for the Performing Arts, located in Pittsburgh's downtown Cultural District. The current music director is Austrian Manfred Honeck, who joined the orchestra in 2008, and the current president and CEO is Melia Tourangeau.

The Pittsburgh Symphony Orchestra has had a history of touring both domestically and internationally since 1900. The orchestra currently counts more than 36 international tours, including 20 to Europe, eight trips to the Far East, and two to South America. The Pittsburgh Symphony was the first American orchestra to perform at the Vatican for a pope, which it did in January 2004 for the late Pope John Paul II as part of the Pontiff's Silver Jubilee celebration.

The orchestra was founded by the Pittsburgh Arts Society with conductor Frederic Archer in 1895, who brought with him a number of musicians from the Boston Symphony Orchestra and led the PSO in its first concert the following year.

1898–1910: Victor Herbert and Emil Paur
In 1898, Victor Herbert was chosen to lead the orchestra. Victor Herbert was beginning to be known as a man of the theater and had composed four comic operas, but at the time Pittsburgh engaged him, he was better known as an ensemble and solo cellist, serious composer, and conductor (he was assistant to Anton Seidl of the New York Philharmonic Orchestra and leader of the internationally celebrated band of the 22nd Regiment N.Y.S.N.G., popularly known as "Gilmore's Band" after its founder Patrick Sarsfield Gilmore). He was born in Ireland and educated in Germany. Andrew Carnegie financed the trip. The Orchestra traveled at a more frequent rate under Herbert's tenure, performing in Boston, Chicago, Washington, D.C., and Canada. Its personnel included some important musicians: Luigi von Kunits, later the first conductor of the Toronto Symphony Orchestra, as concertmaster; Frederick William Stahlberg in the first violins and John Stepan Zamecnik in the second violins; Gaston Borch as assistant principal cello; Paul Henneberg as first flute; and Leon Medaer as first clarinet.

Herbert composed two substantial orchestral works that the Pittsburgh Orchestra premiered: his Suite romantique op. 31 (which he also dedicated to the orchestra) and the tone poem Hero and Leander op. 33. Under Herbert's direction, the Pittsburgh Orchestra played as part of the Pan-American Exposition at the 1901 World's Fair in Buffalo, New York, for which Herbert had also composed an original work for the exhibition titled "Panamericana: Morceau Characteristique" for the Orchestra to perform.

He ended his appointment with the Pittsburgh Symphony Orchestra in 1904 because of increasingly strident disagreements with the orchestra's manager, George H. Wilson, who disliked Herbert's populist manner and personally despised him. When Herbert left the orchestra in 1904, the Symphony Society chose as his successor Austrian conductor Emil Paur.

Paur took an intellectual approach to his work and avoided theatrics. Trained as a violinist, he had served as conductor of both the Boston Symphony Orchestra and the New York Philharmonic, as well as guest conductor throughout Europe, and held the Pittsburgh Orchestra to the same exacting standards. Paur's programs emphasized the classical repertoire and included a heavy dose of Johannes Brahms, whose music was considered too challenging for most audiences at that time. Additionally, Paur clashed with many of the orchestra's musicians when he prohibited them from accepting outside performing engagements and continued to hire mainly European musicians. Manager George H. Wilson resigned in disgust over Paur on December 24, 1906, shortly after the beginning of Paur's third season, saying that his tenure, pride, and pleasure with the orchestra "have all constrained me during the past two years to bear with the personal idiosyncracies, the superficiality of his musical faith, the narrowness of his musical horizon, his indifference to the success of the out-of-town concerts, the hazard (to the orchestra business) of an uncontrolled temper, the frequent distrust of my motives, and the peculiar and ever-shifting focus of the stupidity of the present conductor...these things are characteristic of the man, not passing symptoms." Paur remained at the head of the orchestra until it disbanded in 1910.

The orchestra attracted a number of prominent guest conductors during these early years, including Edward Elgar and Richard Strauss.

1910–1926: Hard times
In the interim, concert promoter May Beegle founded the Pittsburgh Orchestra Association to bring other musical performers to the city.

1926–1938: The New Pittsburgh Symphony Orchestra
Antonio Modarelli, an American conductor and composer, became conductor of the Pittsburgh Symphonic Orchestra in 1930. A German newspaper described his conducting as "forceful, authentic, modern music", and he was invited to conduct in Moscow. He had taught at Duquesne University and been a band leader in the Navy prior to his work in Europe and with the Symphony.

This program of frequent guest conductors was made in an effort to restore the symphony to its "golden years," but in effect demoted Modarelli, who was finally asked by the Board to resign in 1936.

Otto Klemperer is responsible for bringing in much new talent while working with the Musicians' Union to hire both local and imported performers. Since then, the orchestra has experienced ongoing growth and development, including building a substantial endowment fund.

1938–1948: The Reiner years
The Pittsburgh Symphony enjoyed 10 prolific years with Fritz Reiner as music director. Native to Hungary, Reiner studied with Hungarian composer Béla Bartók and interpreted many of his pieces in Symphony performances.

Females joined the orchestra for the first time during World War II. Eighteen joined in 1942, and 24 more joined in 1944. The PSO had more female performers than any other major American symphony during the war.

De Sabata came to Pittsburgh in 1948, in part because of the urgings of his colleague Vladimir Bakaleinikoff, whom he had conducted in Cincinnati in 1927. Ticket sales exploded with de Sabata at the helm. He was so popular with local audiences that around 1,200 people attended a concert he conducted at the Syria Mosque during one of Pittsburgh's worst snowstorms. He returned to conduct the orchestra in 1949, 1950, and 1951. The orchestra established a Guest Conductor Chair in his name in 2010.

1952–1976: The Steinberg years
During the early part of the 1950s, the Symphony played a number of "industry concerts". These concerts were conducted by Steinberg and sponsored by area industries, specifically the United Steelworkers of America. The sponsorship offset costs for industry workers, and the Symphony performed in more convenient locations throughout Pennsylvania, Ohio, and West Virginia. The Symphony continued to bring music to smaller communities in partnership with Manufacturers Heat and Light Company and Columbia Gas during the Steinberg era.

The Pittsburgh Symphony Orchestra performed for audiences in Warsaw, Madrid, Berlin, Zagreb, Reykjavik, and 15 other locations throughout Europe and the Middle East during the State Department tour.

Many of the orchestra's earlier recordings were made in the Syrian Mosque with labels such as Capitol Records and Columbia Records. The Pittsburgh Symphony performed at the Syria Mosque from 1926 until 1971. The building was torn down in 1992.

William Steinberg and the Pittsburgh Symphony made a number of highly acclaimed recordings for the Command label starting in 1962. These recordings were made at the Soldiers and Sailors Memorial Hall in Pittsburgh. The technical superiority of the Command recordings was aided by the company's use of 35mm film as the recording medium.

Steinberg conducted his final Pittsburgh Symphony Orchestra concerts as music director in 1976, after which he returned to conduct occasionally as Music Director Emeritus.

1976–1984: The Previn years
Previn had a collegial working style with symphony musicians and even formed a chamber music trio with Herbert Greenberg, associate concertmaster, and principal cellist Anne Martindale Williams around 1979. In 1981, Previn renewed his contract with the symphony orchestra.

During this time, Victoria Bond served as an affiliate conductor of the Pittsburgh Symphony Orchestra from 1978 to 1980. Bond was the first woman to earn a doctoral degree in orchestral conducting from the Juilliard School and is a prolific composer. While at the Pittsburgh Symphony, she also served as the music director of the Pittsburgh Youth Symphony and the New Amsterdam Symphony in New York City.

Previn often brought jazz to the concert hall. In February 1977, the Pittsburgh Symphony Orchestra and Previn made their national debut on PBS with eight specials, Previn and the Pittsburgh. The Alcoa Foundation sponsored the Emmy-nominated program, which ran for three years. Guests on the program included John Williams, Ella Fitzgerald, and Oscar Peterson.

Previn left the Pittsburgh Symphony Orchestra in 1984, but is credited with "renewing the stature of the orchestra, expanding its position in the community, and giving the city a positive image internationally…"

1984–1996: The Maazel years
Maazel announced in 1995 that he would be leaving his post as music director of the Pittsburgh Symphony Orchestra in 1996. He explained that his departure would give him more time to work on composition. In addition to developing his compositional work, Maazel went on to direct and conduct the New York Philharmonic, along with several orchestras abroad. After his death in July 2014, the Pittsburgh Symphony performed memorial pieces for Maazel as well as created a multimedia exhibit featuring Symphony archival materials related to the late director.

Marvin Hamlisch served as principal pops conductor beginning in 1995 until his death in 2012.

1995–2004: The second century
A capital campaign was launched in 1993 to increase the Pittsburgh Symphony's endowment by $70 million.

On April 10, 1995, the orchestra announced the appointment of Mariss Jansons to succeed Maazel in 1996 as its eighth music director. Latvian–born Jansons was well received by critics and audiences in Pittsburgh, who applauded the "warmth and humanity" that he brought to the ensemble. In addition to directing the Pittsburgh Symphony Orchestra, Jansons also served as an influential music director for the Oslo Philharmonic Orchestra in Norway until 2002. With Jansons, the Pittsburgh Symphony toured all over the world, introducing it to new audiences, and recorded extensively. During this time, the Symphony was "innovative in drawing new elements of the Pittsburgh region’s population to concerts in Heinz Hall and elsewhere." Jansons conducted his last year as music director of the Symphony during the 2003–2004 season, after which he began acting as director of the Bavarian Radio Symphony Orchestra in Munich.

The Pittsburgh Symphony was joined by the London Philharmonic Choir, Kraków Philharmonic Choir, Ankara Polyphonic Choir, and members of the Mendelssohn Choir of Pittsburgh in a program that included the world premiere of "Abraham," a sacred motet by John Harbison, and Mahler Symphony No. 2 "Resurrection. The event, which was attended by the Pontiff, Rav Elio Toaff, Imam Abdulawahab Hussein Gomaa, and 7,000 invited guests, was telecast on RAI, on PBS, and throughout the world, and released on DVD by WQED Multimedia, Pittsburgh. Subsequent to this concert, at Levine's impetus, the Pittsburgh Symphony founded a series of concerts entitled "Music for the Spirit." He led the first two of these performances of the Haydn "Creation and Mahler Symphony No. 3 in Pittsburgh in 2006.

2005–2007: The team for the times
In 2005, the PSO entered a new era with the 2005–2006 season, introducing its innovative model for artistic leadership. During this time, a new collective bargaining agreement was in effect, which gave the musicians increased authority over matters of running the orchestra, such as the hiring of musicians and choice of repertoire. Starting in 2005, Sir Andrew Davis served as the PSO artistic advisor, with Yan Pascal Tortelier as principal guest conductor and Marek Janowski holding the "endowed guest conductor chair."

Sir Andrew Davis, while providing overall programming input regarding the entire season and leading the orchestra in a variety of styles, paid special attention to the music of British and American composers. Davis had been an organ scholar before becoming a conductor. Under his direction, the Symphony performed many symphonic, operatic, and choral works ranging from baroque to contemporary. Davis, a Knight Bachelor of Great Britain and music director of the Lyric Opera of Chicago, had previously led the Pittsburgh Symphony several times as a guest conductor between 1977 and 1990.

Davis was originally scheduled to step down after the 2007–2008 season, but in October 2007, Davis and the Pittsburgh Symphony mutually agreed to terminate his contract early and for him not to conduct his scheduled concerts in the 2007–2008 season because of increased demands on Davis' schedule. The contracts of Tortelier and Janowski also expired in 2008. Janowski now holds the Otto Klemperer Guest Conductor Chair with the PSO.

2008 to the present: Manfred Honeck
In a change of conductor leadership format, returning to the traditional music director hierarchy, the PSO announced on January 24, 2007, that with the 2008–2009 season, the Austrian conductor Manfred Honeck would become the PSO's ninth music director. Honeck first conducted the symphony in May 2006 and returned for another guest appearance in November 2006. His initial contract was for three years. In September 2009, the PSO announced the extension of Honeck's contract to the 2015–2016 season. In February 2012, the PSO announced the further extension of Honeck's contract through the 2019–2020 season. In June 2007, the orchestra announced the appointment of American conductor Leonard Slatkin as the orchestra's principal guest conductor for the 2008–2009 season.

In November 2006, the PSO announced a pledge of $29.5 million from the Richard P. Simmons family as the start of a capital challenge for the orchestra to address long-standing financial concerns. In December 2006, the PSO announced the launch of an $80 million capital fund-raising drive after the initial $29.5 million boost from the Simmons family. In March 2009, the PSO announced the discontinuation of its chamber orchestra series after the 2008–2009 season, along with staff reductions of 9 positions.

In September 2009, the Pittsburgh Symphony and Honeck agreed to extend his contract through the 2015–2016 season. In 2013, his contract was extended to the 2019–2020 season.

In May 2010, Honeck and the Pittsburgh Symphony completed a remarkable tour of Europe. The 12-concert BNY Mellon 2010 European Tour included concerts at Vienna's famed Musikverein, as well as performances in Switzerland, Germany, Luxembourg, France, the Czech Republic, Hungary, and Slovenia. In September 2010, the Pittsburgh Symphony and Honeck announced the creation of the Victor de Sabata Guest Conductor Chair for conductor Gianandrea Noseda for four years, beginning with the 2010–11 season.

In August and September 2013, Honeck and the Pittsburgh Symphony Orchestra returned to Europe, this time for a European Festivals tour that included Grafenegg, Lucerne, Beethovenfest in Bonn, and several others.

Musicians
Source:

Music Director First Violin Second Violin Viola Cello Bass Harp Flute Piccolo Oboe English Horn Clarinet E-Flat Clarinet Bass Clarinet Bassoon Contrabassoon Horn Trumpet Trombone Bass Trombone Tuba Timpani Percussion Keyboard Librarians
 * Manfred Honeck
 * David McCarroll, Concertmaster; Rachel Mellon Walton Chair
 * Kelsey Blumenthal
 * Justine Campagna
 * Ellen Chen-Livingston: Selma Wiener Berkman Memorial Chair
 * Irene Cheng: Dr. & Mrs. William E. Rinehart Chair
 * Sarah Clendenning: Lois R. Brozenick Memorial Chair
 * Alison Peters Fujito
 * Marta Krechkovsky: Snapp Family First Violin Chair
 * Dylan Naroff
 * Jennifer Orchard
 * Susanne Park: Dr. Alan & Marsha Bramowitz Chair
 * Christopher Wu: Nancy & Jeffery Leininger Chair
 * Kristina Yoder
 * Jeremy Black: G. Christian Lantzsch & Duquesne Light Company Chair (Principal)
 * Louis Lev: The Morrison Family Chair (Associate principal)
 * Dennis O'Boyle (Assistant principal)
 * Laura Motchalov: William & Sarah Galbraith Chair
 * Andrew Fuller
 * Lorien Benet Hart: Arlyn Gilboa Chair
 * Yeokyung Kim
 * Boxianzi Vivian Ling
 * Claudia Mahave: Alice Victoria Gelormino Chair
 * Cecee Pantikian
 * Regi Papa
 * Carolyn Semes
 * Yingchen Zhang
 * Tatjana Mead Chamis: Jon & Carol Walton Associate Principal Viola Chair (Acting principal)
 * Joen Vasquez (Acting Associate principal)
 * Marylène Gingras-Roy (Acting assistant principal)
 * Penny Anderson Brill: Michael & Carol Bleier Chair
 * Laura Fuller
 * Sean Juhl
 * Erina Laraby-Goldwasser
 * Aaron Mossburg
 * Stephanie Tretick
 * Andrew Wickesberg: Mr. & Mrs. Martin G. McGunn Chair
 * Anne Martindale Williams: Pittsburgh Symphony Association Chair (Principal)
 * David Premo: Donald I. & Janet Moritz and Equitable Resources, Inc. Chair (Associate Principal)
 * Adam Liu: George & Eileen Dorman Chair (Assistant Principal)
 * Mikhail Istomin: Susan Candace Hunt Chair
 * Bronwyn Banerdt
 * Will Chow
 * Michael De Bruyn
 * Alexandra Lee: William Block Memorial Chair
 * Michael Lipman: Jane & Rae Burton Chair
 * Charlie Powers: HaleyFesq Cello Chair
 * Karissa Shivone
 * Nicholas Myers (Principal)
 * Brandon McLean (Associate principal)
 * Joseph Campagna
 * Jeffrey Grubbs: Michael & Carol Bleier Chair
 * Peter Guild
 * Micah Howard: Stephen & Kimberly Keen Chair
 * John Moore
 * Aaron White
 * Gretchen Van Hoesen: Virginia Campbell Chair (Principal)
 * Lorna McGhee: Jackman Pfouts Flute Chair (Principal)
 * Austin Brown (Associate principal)
 * Jennifer Steele: Hilda M. Willis Foundation Chair
 * Rhian Kenny: Frank & Loti Gaffney Chair (Principal)
 * Cynthia Koledo DeAlmeida: Dr. William Larimer Mellon Jr. Chair (Principal)
 * Max Blair (Associate principal)
 * Kyle Mustain (Principal)
 * Michael Rusinek: Mr. & Mrs. Aaron Silberman Chair (Principal)
 * Victoria Luperi (Associate principal)
 * Ron Samuels: Sidney Stark Jr. Memorial Chair
 * Victoria Luperi (Principal)
 * Jack Howell: Mr. and Mrs. Willard J. Tillotson Jr. Chair (Principal)
 * Nancy Goeres: Mr. & Mrs. William Genge And Mr. & Mrs. James E. Lee Chair (Principal)
 * David Sogg (Co-principal)
 * Philip A. Pandolfi
 * James Rodgers (principal)
 * William Caballero: Anonymous Donor Chair (Principal)
 * Stephen Kostyniak (Associate principal)
 * Zachary Smith: Thomas H. & Frances M. Witmer Chair (Assistant principal)
 * Mark Houghton
 * Robert Lauver
 * Micah Wilkinson: Martha Brooks Robinson Principal Trumpet Chair (Principal)
 * Charles Lirette (Co-principal)
 * Neal Berntsen
 * Chad Winkler: Susan S. Greer Memorial Chair
 * Peter Sullivan: Tom & Jamee Todd Chair (Principal)
 * James Nova: Ann McGuinn Trombone Chair
 * Cooper Cromwell-Whitley: Paul J. Ross Fellow
 * Jeffrey Dee: William & Jacqueline Herbein Principal Bass Trombone Chair (Principal)
 * Craig Knox: Dr. Mary Ann Craig Chair (Principal)
 * James Benoit: Barbara Weldon Chair (Principal)
 * Christopher Allen (Associate principal)
 * Andrew Reamer: Albert H. Eckert Chair (Principal)
 * Jeremy Branson (Associate principal)
 * Christopher Allen
 * Rodrigo Ojeda: Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair
 * Lisa Gedris: Jean & Sigo Falk Chair (Principal)
 * Sheryl Hadeka: Assistant Librarian

Tour history
1947 Tour of Mexico

Fritz Reiner conducted the Pittsburgh Symphony Orchestra during its 1947 tour of Mexico. During the six-week tour, the Pittsburgh Symphony performed 37 concerts in 27 cities in the southern United States and Mexico. The symphony played six concerts in Mexico City at the Palacio de las Bellas Artes and one concert in Monterrey. While on tour, Reiner played the role of ambassador of the arts for the United States.

1964 Tour of Europe and the Near East

William Steinberg conducted the Pittsburgh Symphony Orchestra during its 1964 tour of Europe and what was then referred to as the Near East. This tour marked the symphony's first international tour outside of North America. The State Department funded the 11-week tour from August 10 to November 1, which included performances in Rome, Athens, Beirut, Baalbeck, Tehran, Lucerne, Edinburgh, Luxembourg, Frankfurt, Berlin, Warsaw, Kraków, Katowice, Lodz, Belgrade, Sarajevo, Ljubljana, Zagreb, Munich, Turin, Florence, Bilbao, Madrid, Barcelona, Lisbon, Oporto, and Reykjavik. Soloists included pianists Jerome Lowenthal and Byron Janis, violinists Manoug Parikian and Charles Treger, Pittsburgh Symphony principal flautist Bernard Z. Goldberg, and baritone Dietrich Fischer-Dieskau. The Pittsburgh Symphony was one of the last American orchestras to perform in Iran to date.

1973 Tour of Japan, Alaska, and Oregon

William Steinberg and Associate Conductor Donald Johanos conducted the Pittsburgh Symphony Orchestra on its 1973 tour of Japan, Alaska, and Oregon from April 7 to 26. While in Japan, the orchestra participated in the 1973 Osaka Music Festival and also performed in Tokyo, Nagoya, and Yahata. Performances in Osaka were aired on television and national radio.

1978 European Tour

Andre Previn conducted the Pittsburgh Symphony Orchestra on its 1978 tour of Europe from May 21 to June 10. The three-week tour saw the orchestra perform in Austria (Vienna, Linz, Innsbruck), Germany (Munich, Stuttgart, Bonn, Frankfurt, Berlin, Hanover), Sweden (Goteborg, Stockholm), Bergen, Norway, and London, England. The orchestra was sent off with a festive ceremony of dance performances and well wishes at the Heinz Hall Plaza.

1980 Mexico City

The Pittsburgh Symphony Orchestra toured in Mexico from August 25 to 31 under the direction of Andre Previn. Eduardo Mata and Rafael Fruhbeck de Burgos conducted the orchestra. The symphony was performed in Mexico City at three venues: the Sala de Conciertos Nezahualcóyotl (August 26 and 28), the Teatro de la Ciudad (August 27 and 29), and the Auditorio Nacional (August 30). Soloists included Horacio Gutierrez, Nathaniel Rosen, and Guadalupe Parrondo.

1982 European Tour

Andre Previn conducted the Pittsburgh Symphony Orchestra on its 1982 tour of Europe from May 23 to June 13. The orchestra visited Bonn, Linz, Vienna, Zurich, Munich, Stuttgart, Frankfurt, Düsseldorf, Paris, Brussels, Berlin, and London.

1984 Hong Kong Festival

Andre Previn and Sir Michael Tippett conducted the Pittsburgh Symphony at the 1984 Hong Kong Arts Festival. Soloists included pianist Ken Noda, violinist Yuzuko Horigome, and violist Randolph Kelly. 1984 Casals Festival in Puerto Rico

Herbert Blomstedt of the Dresden State and Swedish Radio orchestras conducted the Pittsburgh Symphony Orchestra in four concerts at the Casals Festival in Puerto Rico in June 1984. The symphony performed four concerts with piano soloists Antonio Meneses and Garrick Ohlsen. This tour marked the symphony's first appearance at the Casals Festival.

1985 European Tour

Lorin Maazel conducted the Pittsburgh Symphony Orchestra during its 1985 European Tour from August 14 to September 8. The tour included performances at music festivals in Salzburg and Edinburgh. The symphony was also performed in Dublin, Cork, London, Bristol, Zurich, Lucerne, Montreux, Bonn, Düsseldorf, Berlin, Brussels, Antwerp, and Paris.

1987 Far East Tour

Lorin Maazel conducted the Pittsburgh Symphony Orchestra during its 1987 Far East Tour of China and Japan. from April 14 to May 4. The symphony was one of only a few U.S. orchestras to have visited China at the time. The orchestra toured in Beijing, Hong Kong and several cities in Japan including Tokyo, Yokohama, Osaka, Nagoya and Matsudo. Pianist Patricia Prattis Jennings performed Gershwin's Concerto in F with the Pittsburgh Symphony to high acclaim at festivals in Hong Kong, Osaka and Tokyo.

1987 Edinburgh Festival

Lorin Maazel and Michael Tilson Thomas conducted the Pittsburgh Symphony at the Edinburgh Festival in August 1987. The orchestra was the first U.S. orchestra to ever be designated the resident orchestra of the festival. Pianist Patricia Prattis Jennings performed Gershwin's Concerto in F with the symphony to high acclaim at the festival.

1989 Tour of Soviet Union, Poland and Western Europe

Lorin Maazel conducted the Pittsburgh Symphony Orchestra on its 1989 tour of the Soviet Union, Poland and Western Europe. This tour marked the European premieres of Marc Neikrug's Flute Concerto and George Rochberg's Symphony No. 6. The orchestra performed in Leningrad, Moscow, Warsaw, Geneva, Paris, Milan, Rome, Amsterdam, Cologne, Berlin, Hamburg, Hanover and London.

1991 Tour of Japan, Hong Kong and Taiwan

Director Lorin Maazel conducted the Pittsburgh Symphony on its tour of Japan, Hong Kong and Taiwan from May 14 to June 5, 1991. This tour marked the symphony's debut in Taiwan. The Pittsburgh Symphony Orchestra performed in Tokyo, Omiya, Osaka, Musashino, Hong Kong and Taipei.

1992 European Tour to Major Music Capitals

Director Lorin Maazel conducted the Pittsburgh Symphony Orchestra on its tour of major European music capitals, May 18 to June 9, 1992. The orchestra performed in Hamburg, Munich, Frankfurt, Paris, Madrid, Barcelona, Vienna, Stuttgart, Bonn, Brussels, Birmingham and London.

1992 European Tour to Major Summer Music Festivals

Lorin Maazel conducted the Pittsburgh Symphony on its European tour of summer music festivals from August 5–29, 1992. The symphony performed at the Festival Internacional de Santander in Seville, Spain, and at music festivals in Mérida, Pollensa, Wiesbaden, Frankfurt, Montreux, Stresa, Verona, Lecce, Catania and Torino.

1993 Tour to California & Mexico

Director Lorin Maazel conducted the Pittsburgh Symphony on its tour of California and Mexico, April 25 to May 9, 1993. The orchestra performed the opening concerts of the Chivas Regal Latin American Tour in Mexico City.

1993 Tour to South America

Director Lorin Maazel conducted the Pittsburgh Symphony on its first-ever tour of South America, May 24 to June 9, 1993. The orchestra performed in Brazil, Venezuela and Argentina.

1995 Casals Festival

Director Lorin Maazel conducted the Pittsburgh Symphony in the 1995 Casals Festival in Puerto Rico.

1995 Tour of Japan and Korea

Director Lorin Maazel conducted the Pittsburgh Symphony Orchestra on its tour of Japan and Korea, May 16 to June 4, 1995. This tour marked the symphony's first visit to Korea. The symphony performed a benefit concert in Japan's Kobe Green Arena for victims of the January 1995 earthquake. The 11-concert tour brought the orchestra to Tokyo, Nagoya, Osaka, Seoul, Kita-Kryushu and Kobe.

1996 International Centennial Tour

Director Lorin Maazel conducted the Pittsburgh Symphony Orchestra on its International Centennial tour, January 29 to February 22. The orchestra performed 15 concerts in 12 cities as part of the orchestra's 100th anniversary celebrations. The symphony was invited to participate in the city of Jerusalem's 3,000th anniversary with the Israeli premiere of "Magreffa," a work by Israeli composer Ari Ben-Shabetai and commissioned by the symphony. There were additional concerts in Vienna, Frankfurt, Madrid, Barcelona, Paris, Amsterdam and London. The Pittsburgh Symphony also made debut performances in the Canary Islands.

1998 Tour of Japan

Director Mariss Jansons conducted the Pittsburgh Symphony Orchestra on its tour of Japan from May 12 to 28, 1998. This tour marked Jansons' inaugural tour with the symphony. The orchestra performed seven concerts in Sapporo, Nagoya, Himeji, Osaka and Tokyo.

1998 U.S. and Canada Tour with Andrea Bocelli

The PSO performed in the U.S. and Canada with soloist Andrea Bocelli. Steven Mercurio conducted the orchestra during concerts in New York and New Jersey.

1999 European Festivals Tour

Director Mariss Jansons conducted the Pittsburgh Symphony Orchestra on its tour of European Festivals from August 12 to September 5, 1999. This tour marked the symphony's first European tour with Jansons. The symphony performed a total of 15 concerts in Dublin, Edinburgh, Salzburg, Copenhagen, London, Frankfurt, Wiesbaden, Lucerne, Baden-Baden, Stuttgart, Cologne, Berlin and Düsseldorf.

2000 European Residency Tour

Director Mariss Jansons conducted the Pittsburgh Symphony on its European Residency tour, May 15 to June 4, 2000. The symphony performed three concerts at the Musikverein in Vienna and performed 11 more concerts in Madrid, Valencia, Amsterdam, Brussels, London and Birmingham.

2001 South American Tour

Director Mariss Jansons conducted the Pittsburgh Symphony Orchestra on its second tour to South America in July 2001. The orchestra played five concerts in São Paulo, Montevideo, and Buenos Aires. The tour was hampered by financial and logistical problems, causing the orchestra to drop three concerts and a previously planned stop in Rio de Janeiro.

2002 Far East Tour

Director Mariss Jansons conducted the Pittsburgh Symphony Orchestra during its tour of the Far East from February 18 to March 9, 2002. This tour marked the symphony's first foray into Malaysia and Australia. The orchestra performed in Osaka, Tokyo, Yokohama, Kuala Lumpur, Sydney and Melbourne. The tour was sponsored by FreeMarkets.

2003 Mellon Pittsburgh Symphony European Tours

Conductor Mariss Jansons led the Pittsburgh Symphony Orchestra on two tours of Europe in 2003 sponsored by the Mellon Financial Corporation. During the spring leg of the tour (April 3–13), the symphony performed in Valencia, Madrid, Vienna, Amsterdam and London. During the summer leg of the tour (August 21–30), the symphony performed in Lucerne, Salzburg, Ludwigsburg and London, with the final performance at the Royal Albert Hall. The orchestra performed 14 concerts in total.

January 17, 2004 The Pontiff's Silver Jubilee Celebration

Gilbert Levine conducted the Pittsburgh Symphony Orchestra during the Pontiff's Silver Jubilee celebration, also referred to as the Papal Concert of Reconciliation, commemorating Pope John Paul II's 25th election anniversary on January 17, 2004. The symphony was the first U.S. orchestra to perform for a Pope at the Vatican. Sponsored by the Knights of Columbus, the Pittsburgh Symphony performed Mahler's Symphony No. 2 and the world premiere of John Harbison's motet, "Abraham." The concert was broadcast by PBS both online and on television and was also broadcast internationally.

2006 European Tour

The symphony went on tour in Europe from August 22 to September 6, 2006. Leonard Slatkin conducted the orchestra during the first half of the tour with performances in Dublin, Cardiff, at the BBC Proms in London, and in Patras, Greece. Hans Graf conducted the second half of the tour with performances in Hanover, Dortmund, Cologne and Düsseldorf. The tour was sponsored by the Mellon Financial Corporation, LANXESS and U.S. Steel Kosice S.R.O.

2008 250 Ambassador Tour of Europe

In celebration of the city of Pittsburgh's 250th anniversary, the Pittsburgh Symphony Orchestra toured Europe in January and February 2008. The Allegheny Conference accompanied the symphony to conduct corporate promotion of Pittsburgh. The orchestra performed in Spain, The Netherlands, Germany, Austria, Hungary and Croatia. The tour was sponsored by BNY Mellon, PPG Industries, LANNXESS and Meyer, Unkovic & Scott.

2009 Asia Tour

The Pittsburgh Symphony Orchestra's 2009 Asia Tour marked conductor Manfred Honeck's first international tour as music director and the orchestra's debut in Shanghai and Kaohsiung, Taiwan. The orchestra traveled to China and Taiwan from May 11 to 21, 2009, performing four concerts altogether, two at Beijing's National Centre for the Performing Arts, one at the Shanghai Oriental Arts Center, and one at the Kaohsiung Main Stadium. The tour was funded by the Henry L. Hillman Foundation and Westinghouse.

2009 European Festivals Tour

Director Manfred Honeck conducted the Pittsburgh Symphony on his first European tour from September 12–20, 2009. The orchestra performed in Essen, at Beethovenfest in Bonn, and at the Lucerne Summer Music Festival.

2010 European Tour

Director Manfred Honeck conducted the symphony during its European tour from May 12–30, 2010. The orchestra visited Switzerland, Luxembourg, Germany, France, the Czech Republic, Hungary, Slovenia and Austria with concerts in Basel, Stuttgart, Paris, Frankfurt, Luxembourg, Prague, Dresden, Vienna, Budapest and Ljubljana. The tour was sponsored by BNY Mellon and Westinghouse.

2010 Lanaudière Festival

Manfred Honeck conducted the Pittsburgh Symphony at the 2010 Lanaudière Festival in Montreal. The program included works by Beethoven, Mahler, Richard Strauss and Wagner.

2011 European Festivals Tour

Director Manfred Honeck conducted the symphony during its European Festivals tour from August 22 to September 12, 2011. The orchestra performed at festivals in Germany, Austria, Switzerland and England, and gave concerts in Paris and Vilnius, Lithuania. The festivals included the Rheingau Musik Festival in Wiesbaden, the Schleswig-Holstein Music Festival in Hamburg, Beethovenfest in Bonn and Musikfest in Berlin, as well as the BBC Proms in London, the Grafenegg Festival and the Lucerne Festival. The tour was sponsored by BNY Mellon.

2012 Lanaudière Festival

Manfred Honeck conducted the Pittsburgh Symphony at the 2012 Lanaudière Festival in Montreal. The orchestra performed works by Dvorak, Glinka and Tchaikovsky and featured cellist Johannes Moser.

2012 European Residency Tour

Director Manfred Honeck conducted the Pittsburgh Symphony Orchestra during its European Residency Tour from October 26 to November 10, 2012. During the tour, the orchestra took up a four-concert residency at the Musikverein in Vienna. The Pittsburgh Symphony is one of the few American orchestras to be honored with a residency at the Musikverein. The tour also included performances in Barcelona, Madrid, Paris, Cologne, Frankfurt, Stuttgart and Luxembourg. The program included works by Dvorak, Mahler, Mozart, Sibelius and Tchaikovsky.

2013 European Festivals Tour

Music Director Manfred Honeck returned with the Pittsburgh Symphony Orchestra to Europe for a tour of European Festivals. Concerts took place in Grafenegg, Berlin, Bucharest, Paris, Düsseldorf, Frankfurt, Lucerne and Bonn, and included soloist Anne-Sophie Mutter, Martin Grubinger and Yuja Wang.

Broadcasts
Previn and the Pittsburgh

Launched in 1977, "Previn and the Pittsburgh" was a series of specials produced by WQED-TV. The Alcoa Foundation sponsored the programs, which ran for three years and became the highest rated classical music series on PBS. The program showcased the diversity of Music Director Andre Previn's musical interests, talents and friends. The first program explored Mozart, with Previn and the Pittsburgh Symphony's Patricia Prattis Jennings playing four-handed piano sonatas. Others featured guest artists John Williams, conducting his music from "Star Wars" and "E.T.," Ella Fitzgerald, Yo-Yo Ma, Pittsburgh Symphony principal cello Nathaniel Rosen (the first American cellist to win the gold medal at the Tchaikovsky International Competition), composer Stephen Sondheim and violinist Itzhak Perlman. Composer Miklos Rosza appeared as a guest to hear the Pittsburgh Symphony play his Oscar-winning score for the movie "Ben-Hur." Previn displayed his considerable talent as a jazz pianist in a duet with his friend Oscar Peterson, the man Duke Ellington dubbed "the maharajah of the keyboard." When cameras came into Heinz Hall to film the Pittsburgh Symphony Orchestra rehearsing in their shirtsleeves, audiences saw a relaxed maestro in bellbottoms who obviously liked and respected the musicians. The first show aired on February 27, 1977, and within two days the Pittsburgh Symphony sold more than 2,500 additional seats.

Pittsburgh Symphony Radio

Launched in 1982, the Pittsburgh Symphony Radio program is hosted by Jim Cunningham of WQED-FM. It is a complete two-hour concert with Music Director Manfred Honeck and guest artists heard on over 100 PRI and NPR stations across the country. The Pittsburgh Symphony was first broadcast in 1936 when NBC Blue Network began a series of 26 half-hour radio broadcasts over the NBC Blue Network of more than 90 stations. The broadcasts were sponsored by Pittsburgh Plate Glass Company.

Heinz Hall history
A $10-million reconstruction of the theater took place between 1967 and 1971. Although much of the structure and décor remained the same, a new five-story wing was added to the back of the building. This wing expanded the stage and rehearsal space along with the music library and dressing rooms.

Several concerts took place before the remodel and reopening of the Hall in 1971, including a performance of works by Berlioz, Beethoven and Brahms by the Leonard Rose, Isaac Stern and Eugene Istomin Trio for the 1969 pension fund concert. Questionnaires filled out by symphony followers were collected after the concert and reflected an overwhelming support of the new venue.

Heinz Hall was dedicated in September 1971. The inaugural concerts took place on September 10 and 11 with William Steinberg conducting Beethoven's "Consecration of the House" overture and Mahler's Symphony No. 2 ("Resurrection") with a combined chorus of Pennsylvania State University choirs. The New York Times published an outstanding review of the performances, citing the improvement of the acoustics over previous Symphony venues saying, "Pittsburghers at last have the opportunity to hear (the orchestra) as it ought to sound."

The Garden Plaza and a four-story addition to the Hall were completed in 1982 by the firm of MacLachlan, Cornelius & Filoni. The plaza included a waterfall and sculpture by London-based artist Angela Connor. The addition to the Hall included two bar/lounge spaces as well as a dining and meeting room. In addition, some public areas were refurbished into reception facilities in 1988.

A $6.5-million renovation began in 1995 with funding provided by the Howard Heinz Endowment and Commonwealth of Pennsylvania Strategy 21 program funds. The renovation improved the acoustical, technical and aesthetic qualities of the Hall and was carried out by Architect Albert Filoni, of MacLachlan, Cornelius & Filoni, along with acoustician R. Lawrence Kirkegaard. The Hall reopened with a ribbon cutting ceremony by Governor Tom Ridge and Teresa Heinz.

title: Pittsburgh Symphony Orchestra


text:
Grace note

A grace note is a kind of music notation denoting several kinds of musical ornaments. It is usually printed smaller to indicate that it is melodically and harmonically nonessential. When occurring by itself, a single grace note indicates either an acciaccatura when notated with an oblique stroke through the stem, or an appoggiatura when notated without. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending on interpretation. For percussion, such as drums, a related concept are ghost notes — supportive snare-hits at a lower volume.

Notation
In notation, a grace note is distinguished from a standard note by print size. A grace note is indicated by printing a note much smaller than an ordinary note, sometimes with a slash through the note stem (if two or more grace notes, there might be a slash through the note stem of the first note but not the subsequent grace notes). The presence or absence of a slash through a note stem is often interpreted to indicate the intention of an acciaccatura or an appoggiatura, respectively.

The works of some composers, especially Frédéric Chopin, may contain long series of notes printed in the small type reserved for grace notes simply to show that the amount of time to be taken up by those notes as a whole unit is a subjective matter to be decided by the performer. Such a group of small printed notes may or may not have an accompanying principal note, and so may or may not be considered as grace notes in analysis.

Function
A grace note represents an ornament, and distinguishing whether a given singular grace note is to be played as an appoggiatura or acciaccatura in the performance practice of a given historical period (or in the practice of a given composer) is usually the subject of lively debate. This is because we must rely on literary, interpretative accounts of performance practice in those days before such time as audio recording was implemented, and even then, only a composer's personal or sanctioned recording could directly document usage.

As either an appoggiatura or an acciaccatura, grace notes occur as notes of short duration before the sounding of the relatively longer-lasting note which immediately follows them. This longer note, to which any grace notes can be considered harmonically and melodically subservient (except in the cases of certain appoggiaturas, in which the ornament may be held for a longer duration than the note it ornaments), is called the principal in relation to the grace notes.

A grace note or notes may sometimes be noted in terms of exactly half of the principal note. Where they are multiple, an uncommon view is that their notation must always equal exactly half of the principal note. (i.e. If the principal note is a quarter-note the grace note must be notated as an eighth- note, two sixteenth notes, four thirty-second notes, or eight sixty-fourth notes, etc.)

Grace notes, unlike what are referred to as cue-notes, never affect the rhythmic subdivision, or musical "count" of the bar in which they are contained - and therefore, do not require other notes to be dropped from the bar to keep the time signature intact.

Use in music
In bagpipe music there is extensive use of grace notes. Indeed, because the chanter is not tongued but supplied by a continuous air source from the bag, grace notes are sometimes the only way to differentiate between notes. For example, inserting a grace note between two crotchets (quarter notes) played at the same pitch is the only way to indicate them as opposed to them sounding like a single minim (half note). Various multiple grace note ornaments are formalised into distinct types, such as doublings, throws, and birls. A single grace note is played on the beat as is the first grace note of a complex ornament such as a doubling. Some complex ornaments, such as taorluath can be played starting or ending on the beat. Grace notes are typically played as short as possible by lifting the fingers quickly and a short distance off the chanter.

In modern editions of Western classical works, editors often seek to eliminate the potential for different interpretations of ornamental symbology, of which grace notes are a prime example, by converting a composer's original ornamental notation into literal notation, the interpretation of which is far less subject to variation. Most modern composers, although by no means all of them, have followed this trend in the prima facie notation of their works.

In the context of Indian classical music (Hindustani (North Indian), Carnatic (South Indian)) some specific forms of notes (swara-s) fulfill the technique of playing a note (swara). Such ornaments in Indian Classical Music are important for the proper rendition and essential to create the beauty of a raga. Some notes are linked with its preceding and succeeding note; these linked notes are called Kan-swars (grace notes). Kan-swars deal with so called 'touch notes' ('sparsh' means "touch" in Hindi (Devanagari). These grace notes (acciaccatura) are often referred to as sparsh-swars. Kan-swars or sparsh-swars can be executed vocally and on instruments in three ways: In a book on sitar compositions, Kaṇ has been defined as 'fast deflection which can be approached while descending or ascending'. The act of Kaṇ being repeated twice, thrice or four times in a single stroke of mizrāb is called Krintan.
 * 1) using a swift short glide (meend or ghaseet),
 * 2) as a Sparsh (technique of playing a note on a plucked stringed instrument, the movement of notes is ascending) and
 * 3) as a Krintan (the opposite of a Sparsh, movement of notes is descending).

title: Grace note


text:
Talk:Grace note

Bagpipe music
This page says (for bagpipe music):

"All of these are played before the beat, while grace notes on other instruments tend to be played on the beat"

I think this is wrong. They are also played *on beat* for the bagpipe (except the toarluath) —Preceding unsigned comment added by 03:53, 6 April 2009 (talk) OC

 * Grace notes can be played in a variety of places and can even displace the notes they're attached to. It is a matter of taste and interpretation, so long as there is concensus as to what's being done among the musicians performing. This is true for any instrument; it is a stylistic choice. I don't know the exact science, but there is definitely literature on it. Greg Ravn (talk) 08:26, 5 December 2009 (UTC)

Within highland pipe music. If you study this use, especially studying the performances of players, you will find that there are actually two distinct uses of 'grace notes' in bagpipe music, those used as articulations, and those used as ornaments. Single ones placed before a note generally indicate 'articulation' and are placed on the beat. The complex groupings of multiple notes indicate embellishments or ornaments and only loosely indicate how they are played. Depending on the embellishment and player, they may come either before or after the sub-beat of the parent note.

There are two different ways of fingering the notes which crop up in grace note blocks, 'proper' fingerings and what I will call 'cut' fingerings. Proper fingerings are the same as those used to play notes 'usually', while 'cut' fingerings simply involve lifting any closed finger to sound a higher pitch. The exact pitch of a cut does not matter as, when well played, the duration is too short for the pitch to be heard.

When an embellishment is performed, some of the notes are played using 'proper' fingerings, while others are performed with cut fingerings and there is no indication of which is used within the notation. As far as I can tell, the notation is interpreted as an instruction like 'play a birl', and the player just knows how to perform one.

This is not just my opinion as "The highland bagpipe and its music" by roderic D cannon states "The term 'grace note' is a borrowing from classical music terminology, and is perhaps not quite appropriate, since the simplest possible grace note, as I have just described it, is not an ornamental flourish or 'grace' added to the music, but an essential part of the technique. An older and better name is 'cut'".

It is also worth noting that 'cuts' are also used on most, if not all, bagpipes and not just the highland pipe. This use of sounds as articulation has been adopted from pipes to many other instruments in many kinds of folk music, and I believe this use differs from the typical interpretation of them in classical music. Also see "The essential guide to Irish flute and tin whistle".

These 'cuts' essentially have constant duration regardless of tempo, as the effect where the mind perceives them as a articulation instead of a note only happens when they are very short. — Preceding unsigned comment added by 2A00:23C4:3426:7D00:872:F6E6:D829:2B8B (talk) 16:52, 31 January 2019 (UTC)

Metaphorical use
Not to be harsh, but does this section really need to exist? Ask me, using the term grace note this way is kind of like calling a party foul a Bush administration. Or, more accurately, like calling the Iraq war a comma. Greg Ravn (talk) 08:26, 5 December 2009 (UTC)

Additional citations
Why and where does this article need additional citations for verification? What references does it need and how should they be added? Hyacinth (talk) 22:47, 4 November 2011 (UTC)

title: Talk:Grace note


text:
Talk:Anarchism and violence

Untitled
This page has a lot of unique content not contained in the anarchism page. Redirection is being done for polictical reasons

Could do with with stuff on

 * Structural violence I tried to tie it in at the onset, but feel a new section is needed that deals with anarchist definitions of violence: that direct action should be seen as self-defense rather than terrorism.
 * Nechayev (who wrote Catechism of a Revolutionary
 * Ravachol (big influence on Bakunin
 * Alexander Berkman (Propaganda by deed, tried to assasinate Henry Clay Frick (I think, or was it one of the Hearst family?) failed and ended up spending most of his life in prison. And he was Emma Goldman's lover..

 * Yes, Berkman tried to assasinate Frick; he spent 14 years in prison, and committed suicide at age 66. But don't forget the European tyrannicides from the same period -- IIRC, the rulers of Spain (don't remember his name), Italy (King Umberto I of Italy), and a few other countries were assasinated around that time. -- bpt 03:30 May 7, 2003 (UTC)

what about Valerie Solanas and her SCUM Manifesto as a more recent example of violence & anarchism? havn't got time to write it myself, or indeed if I can remeber enough- I've got Nechayev's Catechism somewhere, I'll try & dig it out sometime quercus robur 16:10 Jan 11, 2003 (UTC)

Also, You Can't Blow Up A Social Relationship. -- Sam

According to Emma Goldman, she never supported the tactic of assasination itself; she only supported some assasins. (cf. The Psychology of Social Violence) -- bpt 20:48 May 4, 2003 (UTC)\

Un-Sourced Statements
What exactly is the source for "In this climate, some anarchists began to advocate and practice terrorism (i.e., attacks on civilians)" ? It sounds like a POV edit to me, and needs to be changed. 206.124.94.150 12:15, 16 January 2007 (UTC)

Anarcho-capitalists
What is this about Anarcho-capitalists opposing violence except for self defense, yet supporting the American Revolution? Of course they support the American Revolution, it was self defense. Americans did not go to England and start shooting people, the British came to America and started shooting Americans. I am removing this, it is an obvious bias against anarcho-capitalists by someone who does not understand the American Revolution or self-defense. —Preceding unsigned comment added by Xiamcitizen (talk • contribs) 19:50, 3 November 2007 (UTC)

Ummmm, I think you need to take another look at the history books regarding the American War of Independence. The causes and rationale for the conflict are a lot more complex than you're implying. As a result, the action of removing items in the article is questionable. Cashcleaner (talk) 08:29, 26 November 2007 (UTC)

Image copyright problem with Image:ZangaraMugshot.jpg
The image Image:ZangaraMugshot.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --11:30, 5 November 2008 (UTC)

Nietzsche and history of Anarchist terror
The image of the anarchist as terrorist must be considerably earlier than the McKinley Assassination, and probably ahve a European origin because Nietzsche wrote his aphorism that "No more than anarchists harm princes. Only because the latter are shot at do they once more sit securely on their thrones."·ʍaunus·snunɐw· 05:30, 21 January 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Anarchism and violence. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20130518071734/http://www.anarchiststudies.org/node/292 to http://anarchiststudies.org/node/292

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:00, 4 July 2017 (UTC)

title: Talk:Anarchism and violence


text:
Talk:Editing

EIC
You reach this page if you search for "EIC". But EIC means "East India Company" as well. Can anyone edit a page which mentions this and leads to "EIC" and "East India Company" ?

Semi-protected edit request on 6 June 2017
Haunted monsters is magical creature, witches of master blue flames pyro lured candle glowed her summon servant fairytales demon all together, folklore now the transformed half demon lich rise beast, forces of evil, destroyer live her nightmare witchcraft friendly darkness. Story and cartoon and script and digital and comaker and unanimated YouTube and style and picture and photoshop and MS paint and art and animated/comic and illustrated by Me Terrin Auh script dialog log created meets MBS/Unity unanimated YouTube is making meets cartoon photoshop Korea comic read MS paint true story comic/animated from created origin inspired by Kazue Kato, inspired origin by Andrew Hussie, creator picture world of Magic Village, series August 2015/June 2016, coming read story short rise good dialog log, never before developed by What Pumpkin?/Touchstone.

title: Talk:Editing