text:
Talk:The Bloodhound Gang (TV series)

Untitled
I wrote the initial content for this page over at Bloodhound Gang. Maximus Rex, 08:44, 16 Mar 2004 (UTC)

Fair use rationale for Image:Bloodhound Gang Title.png
Image:Bloodhound Gang Title.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 04:58, 12 February 2008 (UTC)
 * Done DMacks (talk) 14:57, 12 February 2008 (UTC)

When should I add this content and how should I cite to the source of the information?
While my father, Jerry Benjamin, was a grad student at the Ed School at Harvard, he participated in workshops at the CTW. One workshop was to brainstorm about children's television programming aimed at science and math education. The breakout group my father was in came up with the idea of a children's detective agency that would use science and math to solve mysteries. They thought about calling it Brother can you Paradigm, but eventually landed on The Bloodhound Gang. My father has lost touch with the other folks who were in the breakout group so I reached out to SesameWorkshop to see if they have the records from CTW. If I get my hands on the archives, how would I add something like that, which I don't believe is published online, as a source for the page? --Arielzusya (talk) 00:40, 16 March 2017 (UTC)

Episode guide needed
I think that this article needs a detailed episode guide.Malcolmlucascollins (talk) 23:41, 2 April 2019 (UTC)

Merging this content back to 3-2-1 Contact
Considering that The Bloodhound Gang doesn't even have a separate entry in IMDb, it does not appear that this is considered a separate TV "program" – instead, it looks to be just a segment within 3-2-1 Contact. And there is zero independent sourcing at the article, and hasn't been since its creation in 2004, which would tend to indicate the subject is not independently notable. As such, it does not appear that this merits a standalone article.

So I propose that the relevant content from this article be merged back to 3-2-1 Contact. --IJBall (contribs • talk) 06:34, 9 February 2020 (UTC)

title: Talk:The Bloodhound Gang (TV series)


text:
Battle of Mount Tumbledown

The Battle of Mount Tumbledown was an engagement during the Falklands War. The engagement was an attack by the British Army and the Royal Marines on the heights overlooking Stanley, the Falkland Islands capital. Mount Tumbledown, Mount William and Sapper Hill lie west of the capital. Due to their proximity to the capital, they were of strategic importance during the 1982 War. They were held by the Argentine 5th Naval Infantry Battalion (BIM 5), a reinforced, cold weather trained and equipped Marine battalion.

The assaulting British forces were the 2nd Battalion, Scots Guards, 42 Commando, Royal Marines Mortar platoon and four light tanks of the Blues and Royals. The 1st Battalion, 7th Duke of Edinburgh's Own Gurkha Rifles were held in reserve.

One of a number of night battles that took place during the British advance towards Stanley, the battle led to British troops capturing all the heights above the town, allowing the town's capture and the surrender of the Argentine forces on the islands.

Overview
On the night of 13–14 June 1982 the British launched an assault on Mount Tumbledown, one of the highest points near the town of Stanley, the capital, and succeeded in driving Argentinian forces from the mountain. This close-quarters night battle was later dramatized in the BBC drama Tumbledown.

The attacking British forces consisted of the 2nd Battalion, Scots Guards (2SG), mortar detachments from 42 Commando, Royal Marines and the 1st Battalion, 7th Duke of Edinburgh's Own Gurkha Rifles (1/7 GR), as well as support from a troop of the Blues and Royals equipped with two Scorpion and two Scimitar armoured vehicles.

The Argentinian forces defending the mountains were Commander Carlos Hugo Robacio's 5th Marine Infantry Battalion (BIM 5). In Argentine shelling directed by Marine Second Lieutenant Marcelo De Marco of the 5th Marines from his observation post on Tumbledown Mountain, four members of the 3rd Battalion, Parachute Regiment and one REME craftsman had been killed on Mount Longdon and another seven paratroopers wounded.

Prior to the British landings, the Argentine Marines battalion had been brought up to brigade strength by a company of the Amphibious Engineers Company (CKIA), a heavy machine-gun company of the Headquarters Battalion (BICO), a battery of the 1st Marine Field Artillery Battalion (BIAC), and three Tigercat SAM/Hispano-Suiza 30mm anti-aircraft gun batteries of the 1st Marine Anti-Aircraft Regiment, as well as a 2nd Marine Infantry Battalion platoon, a 3rd Marine Infantry Battalion platoon, a military police platoon and a canine platoon.

As part of the British plan, 1/7 GR was given the task of capturing the sub-hill of Mount William held by O Company, the 5th Marine Battalion's reserve, and then allowing the Welsh Guards through to seize Sapper Hill, the final obstacle before Stanley. The attack was supported by naval gunfire from HMS Active's 4.5 inch gun.

At the time of the battle, Marine Teniente de Navio (Ship-of-the-Line Lieutenant) Eduardo Villarraza's N Company held Mount Tumbledown. Mount William was just south of Tumbledown and the Marine battalion's O Company under Marine Captain Ricardo Quiroga was on its lower slopes. Major Oscar Ramon Jaimet's B (Bravo) Company, 6th Army Regiment was in reserve behind N Company. Marine Captain Rodolfo Oscar Cionchi's M Company occupied Sapper Hill. The Argentinian defenders held firm under the British 'softening up' bombardment, which began at 7:30 local time. Major Jaimet later recalled:

"I heard the cries of the wounded calling for their comrades, twelve men wounded before nightfall. We thought we had suffered before, but what luxury and comfort compared to this."

During the battle, the 5th Marines Command Post took five direct hits, but Commander Robacio emerged unscathed.

Tumbledown defenders
Captain Eduardo Villarraza's N Company from the 5th Marine Battalion, would defend Mounts Tumbledown and William.
 * The 1st Platoon, under by Marine Second Lieutenant (Guardiamarina or Midshipman) Carlos Bianchi, was dug in on Mount William.
 * The 2nd Platoon, led by Marine Second Lieutenant Marcelo Oruezabala, was dug in between Tumbledown and William.
 * The 3rd Platoon, under Marine Sergeant (Suboficial or Chief Petty Officer) Jorge Lucero, was dug in on the northern slopes of Tumbledown, overlooking Moody Brook.
 * The 4th Platoon, led by Sub-Lieutenant Carlos Daniel Vázquez, was dug in near the summit of Tumbledown, covering the western approaches to the peak.
 * The 5th Platoon, led by Lieutenant Héctor Omar Miño, was positioned behind the 4th Platoon, facing north in support of Lucero's men.
 * Browning 12.7mm heavy machine gun teams and German Shepherd Dog squads (from the Puerto Belgrano-based Headquarters Battalion) were also present on Mount Tumbledown and Sapper Hill.
 * Marine Tigercat Surface-to-Air Missile (SAM) launchers and Anti-Tank gun and missile teams were also part of the defences, with one anti-tank team located on Mount William in support of Bianchi's men and another anti-tank team supporting Lucero's men. The Marine SAM Platoon equipped with British Blowpipe and Russian SA-7 shoulder-launched missiles were positioned on Sapper Hill.
 * The 60mm Mortar Platoon was split in two parts on Tumbledown, with the mortar men positioned near the summit (under Marine Sergeants David Ramos and Lucio Monzón) in support of Vázquez's 4th Platoon.

Early moves
On the morning of 13 June, the Scots Guards were moved by helicopter from their position at Bluff Cove to an assembly area near Goat Ridge, west of Mount Tumbledown. The British plan called for a diversionary attack south of Mount Tumbledown by a small number of the Scots Guards, assisted by the four light tanks of the Blues and Royals, whilst the main attack came as a three-phase silent advance from the west of Mount Tumbledown.

In the first phase, G company would take the western end of the mountain. In the second phase, Left Flank (company) would pass through the area taken by G company to capture the centre of the summit. In the third phase, Right Flank would pass through Left Flank to secure the eastern end of Tumbledown.

A daytime assault was initially planned, but was postponed at the British battalion commander's request. In a meeting with his company commanders the consensus was that the long uphill assault across the harsh ground of Tumbledown would be suicidal in daylight.

Diversion
At 8:30 p.m. on 13 June the diversionary attack began. The 2nd Bn Scots Guards' Reconnaissance Platoon, commanded by Major Richard Bethell (a former SAS officer), and supported by four light tanks of the 'Blues & Royals', clashed with the Argentine Marine O Company under Marine Captain Quiroga in a blocking position on the lower slopes of Mount William. On William's southern slopes, one of the tanks was taken out of action by a booby trap.

The initial advance was unopposed, but a heavy firefight broke out when British troops made contact with Argentinian defences. The Argentinians opened fire, killing two British soldiers and wounding four others. After two hours of hard fighting, the Argentinian company withdrew to its main defences on William and the British secured the position. Marine First Class Private José Luis Fazio fought against Bethell's force:

"At about 2230 hours our battalion had its first intensive gun battle with British companies which appeared out of nowhere. I heard Private Roberto Barboza yell 'The English are here!' ... I remember our Operations Officer requested the artillery to assist at 23.00 with star shells. The close quarter battle was such that the Argentine artillery was unable to drop shells on to the British attackers. I was shooting, doing my work. I don't know if I killed anyone. We just fired our rifles, that's all. Contact was maintained for over an hour before battalion headquarters ordered Obra Company to fall back ... What we did not realise at the time was that at least a wounded Marine made his way to the amphibious engineer platoon position and hurled a grenade wounding a Major. Simultaneously the Major opened fire, killing him."

Fearing a counter-attack, the British platoon withdrew into an undetected minefield, and were forced to abandon their dead. Two men were wounded covering the withdrawal and four more were wounded by mines. The explosions prompted the Argentine Marine Major Antonio Pernías to order the 81 mm mortar platoon on Mount William and the longer-ranged 120 mm mortars attached to 'C' Company, 3rd Infantry Regiment on Sapper Hill to open fire on the minefield and the likely withdrawal route of anyone attacking Mount William. The barrage lasted for about forty minutes and more British casualties would have been inflicted if the mortar bombs had not landed on soft peat, which absorbed most of the power of the explosions.

In 2007, Guardsmen Steven William Duffy and Peter Alexander MacInnes from the Pipes & Drums Platoon recounted their experiences, claiming that some Argentinian Marines were in hot pursuit during the British withdrawal, with Bethell's force suffering a total of 2 killed and 16 wounded.

Night attack

At 9 p.m., half an hour after the start of the diversionary attack, Major Iain Dalzel-Job's G Company started its advance of nearly two miles. Reaching its objective undetected, the company found the western end of the mountain undefended and occupied it easily, but later came under heavy shellfire that wounded Major Dalzel-Job in the head. Major John Kiszely's Left Flank passed through them and reached the central region of the peak unopposed, but then came under heavy fire.

The Argentinians, later learned to be of company strength, directed mortar, grenade, machine gun and small arms fire from very close range at the British company, killing three British soldiers. Marine Sub-Lieutenant Héctor Mino's 5th Platoon (1st Amphibious Engineer Company), held the rocks behind Sub-Lieutenant Carlos Vázquez's 4th Platoon, N Company. In the centre of the 4th Marine Platoon position were the remnants of Second Lieutenants Óscar Silva's and Marcelo Llambías-Pravaz's RI 4 platoons as well as the remnants of Second Lieutenants Celestino Mosteirín's and Marcelo Dorigón's RI 12 platoons, which had recently fought on Two Sisters, Goat Ridge and Mount Harriet.

For four or five hours, a mixed bag of Marine/Army defenders representing six platoons of Argentinian infantry, engineers and one platoon of mortar men on Tumbledown pinned the British down. To help identify the bunkers, the Guardsmen fired flares at the summit. The Guardsmen traded 66 mm rockets and 84 mm anti-tank rounds with the Argentinians, who were armed with anti-tank rifle grenades and protected in their rock bunkers. The Argentinians refused to budge; the Guardsmen could hear some of them shouting obscene phrases in English and even singing the March of the Malvinas as they fought.

Meanwhile two Royal Navy frigates, HMS Yarmouth and Active, were pounding Tumbledown with their 4.5 inch guns. At one stage Lieutenant Colonel Michael Scott, Commanding Officer of 2 SG, thought the battalion might have to withdraw and attack again the next night, "The old nails were being bitten a bit, if we had been held on Tumbledown it might have encouraged them to keep on fighting".

Left flank
The fighting was hard going for Left Flank. The Argentinians had well dug-in machine guns and snipers. At 2:30 a.m., however, a second British assault overwhelmed the men of the 4th and 12th Regiments but the survivors of Vazquez's 4th Platoon would continue fighting till about 7:00 am. The British troops swarmed over the mountaintop and killed, wounded or captured several of the RI 4 and RI 12 defenders, at times fighting with fixed bayonets. Marine Private Jorge Sanchez recalled:

"The fighting was sporadic, but at times fierce, as we tried to maintain our position. By this time we had ten or twelve dead including one officer [Second Lieutenant Oscar Silva, Argentine Army]. I hadn't fired directly at a British soldier, as they had been too hard to get a clear shot at. I can remember lying there with all this firing going over my head. They were everywhere. The platoon commander [Marine Sub-Lieutenant Carlos Daniel Vazquez] then called Private Ramon Rotela manning the 60 millimetre mortar and Rotela fired it straight up into the air so that the bombs landed on ourselves. At this point I had been up and in actual combat for over six hours. It was snowing and we were tired. Some of the guys had surrendered, but I didn't want to do this. I had only twenty rounds left and I decided to continue the fight from Mount William. I popped up, fired a rifle grenade in the direction of 8 to 10 British soldiers to keep their heads down, and then ran for the 2nd Platoon. I can remember saying some type of prayer hoping the British wouldn't shoot me in the back."

Major Kiszely, who was to become a senior general after the war, was the first man into the 4th Platoon position, personally shooting two Argentinian conscripts and bayoneting a third, his bayonet breaking in two. Seeing their company commander among the Argentinians inspired 14 and 15 Platoons to make the final dash across open ground to get within bayoneting distance of the remaining 4th Platoon Marines. Kiszely and six other Guardsmen suddenly found themselves standing on top of the mountain, looking down on Stanley which was under street lighting and vehicles could be seen moving along the roads. The Argentinians, in the form of Second Lieutenant Augusto La Madrid's platoon from Major Jaimet's B Company and Marine Lieutenant Hector Miño's amphibious engineer platoon (rallied by Marine Lieutenant Waldemar Aquino and Marine Second Lieutenant De Marco), now counter-attacked and a burst of machine gun fire from La Madrid's men wounded three Guardsmen, including Lieutenant Alasdair Mitchell (commander of 15 Platoon). A bullet also passed through the compass secured on the belt of the Left Flank Company commander, injuring Major Kiszely. For his bayonet charge Kiszely was awarded the Military Cross. According to Guardsman Mark Cape, another three Guardsmen defending the summit were also wounded in this action, when Miño, De Marco and Privates Oscar Poltronieri and Carlos Muela attacked their position with hand grenades.

Counterattack
By 6 a.m., Left Flank's attack had clearly stalled and had cost the British company seven men killed and 18 wounded. On the eastern half of the mountain the platoons of conscripts of La Madrid and Miño platoon, were attempting to renew their advance, having already wounded six Guardsmen, so Colonel Scott ordered Right Flank to push on to clear the final positions. Second Lieutenant La Madrid later described the fighting:

"I went forward to make a reconnaissance and could see that the British had two machineguns and a missile launcher in action. I went through another gap in the rocks and was surprised by three men speaking in English behind and above me and firing over the top of me. I could see them with my night binoculars ... I took a rifle grenade and fired at where I had seen the first three men. I heard it explode and some shouts and cries of pain ... I ran back to my position and ordered my men to open fire. We stopped them, but they thinned out and came round our flanks ... They also engaged us with light mortars and missile launchers. This went on for a long time, and we suffered heavy casualties ... We started to run short of ammunition ... Also, I could see that we were outflanked, with the British behind us, so we were cut off from my company ... I reorganized and found that I was down to sixteen men. I started to retire ... I left six men in a line with one machinegun to cover our retreat, but really we were fighting all the time; we could not break contact. They came on us fast, and we fell back ... We eventually got through to Stanley, through what I would like to say was a perfect barrage fired by the Royal Artillery. We had to wait for breaks in the firing, but I still lost a man killed there."

Major Simon Price sent 2 and 3 Platoons forward, preceded by a barrage of 66 mm rockets to clear the Argentine reinforcements. Major Price placed 1 Platoon high up in the rocks to provide fire support for the assault troops.

Lieutenant Robert Lawrence led 3 Platoon around to the right of the Argentinian platoons, hoping to take the Argentinians by surprise. They were detected, however, and the British were briefly pinned down by gunfire before a bayonet charge overwhelmed the Argentinian defenders. Lance-Corporal Graham Rennie of 3 Platoon later described the British attack:

"Our assault was initiated by a Guardsman killing a sniper, which was followed by a volley of 66 mm anti-tank rounds. We ran forward in extended line, machine-gunners and riflemen firing from the hip to keep the enemy heads down, enabling us to cover the open ground in the shortest possible time. Halfway across the open ground 2 Platoon went to ground to give covering fire support, enabling us to gain a foothold on the enemy position. From then on we fought from crag to crag, rock to rock, taking out pockets of enemy and lone riflemen, all of whom resisted fiercely."

As La Madrid and Miño withdrew after reportedly suffering five killed in the Argentine counterattack, the platoons under Second Lieutenant Aldo Franco and Guillermo Robredo moved in from the eastern edge of the mountain to try to help La Madrid and Miño. Advancing out of the central region of Tumbledown Mountain, the British again came under heavy fire from the Argentinians, but by advancing in pairs under covering fire, they succeeded in clearing those Bravo Company platoons as well, gaining firm control of the mountain's eastern side.

Right Flank had achieved this at the cost of five wounded, including Lieutenant Lawrence. However, Left Flank had lost two men killed and several wounded during the Argentine counterattack, when mortar fire controllers on Mount William targeted British wounded and stretcher bearers in error. In his moment of victory on the eastern slopes, Lawrence was almost killed when a bullet fired by an Argentine stay-behind sniper tore off the side of his head. He was awarded the Military Cross for bravery, but he spent a year in a wheelchair and was almost totally paralyzed. The Argentinian sniper (in fact Private Luis Jorge Bordón or Walter Ignacio Becerra, according to La Madrid ), armed with a FAL rifle, had helped cover the Argentinean retreat, firing shots at a Scout helicopter evacuating wounded off Tumbledown and wounding two men (including Guardsman Kenny Mains). The Scots Guards eventually mortally wounded him in a hail of gunfire, but not before the Argentine soldier generated more confusion, resulting in the wounding of the Forward Observation Officer (FOO, Captain Swinton) attached to the Gurkhas, while clearing the positions of Marine Sergeant Jorge Lucero's 3rd Platoon before advancing on to take Mount William.

Fall of Tumbledown
By 9:00 a.m., the Scots Guards had gained the high ground east of Tumbledown Mountain and the Gurkhas commenced deploying across the heavily shelled saddle from Tumbledown south to Mount William, which they took with the loss of 8 wounded. The 2nd Battalion Scots Guards had lost eight dead and 43 wounded. According to Sergeant Thomas MacGuinnes from 13 Platoon, who had been instrumental in rolling up the Argentine defences, another 20 or 30 Guardsmen from Left Flank Company lay motionless, suffering from concussion caused by Argentine artillery, mortar and rifle-grenades or after taking a bad fall among the wet rocks in the middle of the protracted gun-battle. The Welsh Guards had lost one dead, the Royal Engineers had also lost one dead, and the Gurkhas had sustained altogether 13 wounded, including the artillery observation officer, Captain Keith Swinton. According to Dhanbahadur Rai, a Gurkha:

"The Scots Guards were to attack Tumbledown, with the Gurkhas following behind. We were supposed to finish the attack and they would give us covering fire from Tumbledown ... During the night we followed the Scots Guards and then our CO told us to stop. The ground was like a valley when we stopped and afterwards the shelling started ... The headquarters and A Company had twelve wounded ... The next morning we started to move. The CO sahib and the anti-tank Milan Platoon commander and the FOO were just going up and they got a rifle shot. Our commanding sahib was shouting. He said, 'Look, Goli Ayo!' 'Get down! Someone fired!' Then the FOO was standing and looking and the second shot hit him in the chest."

The Guards took 30 prisoners, several of them RI 6 soldiers from Bravo Company. The bodies of 30 Argentine Army and Marine soldiers were found in and around the 5th Marine Battalion perimeter. Reaching the rear positions of N Marine Company, Second Lieutenant Franco took the time to set free several German Shepherds left behind in the Argentine retreat from Tumbledown.

During the battle, Guardsman Philip Williams was knocked unconscious by an explosion, and left for dead. When he came to, the rest of the British soldiers had gone. Williams' parents were informed that he had died and a memorial service was held for him. When he returned to civilization after seven weeks, he was accused of desertion by the media and fellow soldiers.

Relevant deployments
While the bulk of the 5th Marine Battalion was deployed on Mounts Tumbledown and William, M Company were stationed along the Sapper Hill slopes, along with supporting Tigercat SAM launchers and Hispano Suiza 30 mm guns from the 1st Marine Anti-Aircraft Battalion, plus extra security in the form of 5 canines (Ñaro, Nego, Vogel, Warner and Xuavia, their handlers, and accompanying riflemen) of the Marine Dog Platoon (Puerto Belgrano-based, under Sub-Lieutenant Miguel Paz). (In all, 18 German Shepherds under Sub-Lieutenant Paz were deployed in and around Stanley.)

Also present on Sapper Hill were 155 mm guns from the 101st Artillery Group, the 120mm Heavy Mortar Platoon from Captain Ramón Alberto Varela's C Company, and the Reconnaissance Platoon (under Lieutenant Norman Osvaldo Reynoso) from the 3rd General Manuel Belgrano Mechanized Infantry Regiment. An Air Force mobile Westinghouse AN/TPS-43 long-range radar had been positioned on Sapper Hill in April.

On 1 May, a Royal Navy bombardment of Sapper Hill killed Private Daniel Cabiglioli (from M Company). The Westinghouse radar was also damaged, and would remain out of service for several days. That night, patrolling near Sapper Hill, a five-man squad (under Sergeant Miguel Angel Martinez) from the 3rd Regiment Recce Platoon discovered an abandoned rubber boat. The next day, the 1st Assault Section (under First Lieutenant José Martiniano Duarte) from the 601st Commando Company checked the boat for hidden explosives, then brought it back to Port Stanley for closer examination.

In June, Lieutenant Reynoso's Recce Platoon reportedly exchanged small arms fire with a British patrol (possibly G Squadron from the SAS, who had commandeered a yacht at Bluff Cove Settlement to operate behind Tumbledown and had also sent men forward in a helicopter ) infiltrated near Sapper Hill, prior to the final land battles.

On 7 June, the Westinghouse radar reportedly detected the British landings at Fitzroy; the next day, Skyhawk fighter-bombers attacked the British troopships Sir Galahad and Sir Tristram with bombs.

A British Harrier was claimed to be hit by concentrated fire from M Company, on 7 June. According to Private José Luis Fazio:"My companions from M Company opened fire on a Sea Harrier, with rifles. They had been waiting for it, it had passed several times through a sort of air corridor to the airport. They fired all around it so that it would run into the bullets, it tilted, began to smoke and was lost at sea. We felt a big explosion."

No Harriers were shot down on 7 June.

On 12 June, Harrier XW919 was hit by shrapnel, possibly from a Tigercat missile, and seriously damaged while dropping CBUs on an artillery position near Sapper Hill. During the recovery, the aircraft caught fire on Hermes flight deck, owing to a fractured reaction pipe. Argentine sources claim that the aircraft was hit by AAA immediately after the attack. A 155 mm howitzer was lightly damaged and six soldiers injured. (The Harrier had extensive repairs and, though still operational, it was ultimately transferred to the School of Flight Deck Operations at Culdrose, and was eventually donated to the Polish Aviation Museum of Kraków. )

On 13 June, a Welsh Guards messenger (Lance Corporal Chris Thomas), bringing forward food supplies to Major Christopher Drewrywe's Number 2 Company (1WG), was killed when his motorbike ran over a mine or was hit by mortar fire.

Last Stand
After first light on 14 June, Major Phillip Neame's D Company of 2 PARA in the final stages of the Battle of Wireless Ridge reported seeing hundreds of Argentinians regrouping on Sapper Hill. Argentine artillery and Second Lieutenant La Madrid 6th Regiment platoon was still in action, firing on Neame's company and losing another two killed (Privates Horacio Echave and Horacio Balvidares ) on Sapper Hill. While taking up new positions on Sapper Hill, Sergeant Víctor Hugo Juárez from 5th Marine Battalion HQs, Private Vicente Antonio Díaz from the 1st Amphibious Engineers Company and Private Ricardo Ramírez from the 81mm Mortar Platoon on Mount William are also killed in the fierce British bombardment and long-range retaliatory machinegun and small-arms fire from Neame's company on Wireless Ridge.

On the night of the 13/14 June, the Welsh Guards/Royal Marine Battalion were on standby to help in the British attacks on Mounts Tumbledown and William. Their orders were to move towards Sapper Hill only after these objectives were taken. During the advance, they became bogged down in a minefield, which took them a very long and frustrating time to extract themselves from, after coming under fire from heavy mortars on Sapper Hill. Meanwhile, the men of the 1st Battalion 7th Gurkha Rifles had been spotted and shelled from Argentine mortar fire controllers and artillery officers on Sapper Hill, suffering eight wounded. Earlier on, a Mountain and Arctic Warfare Cadre patrol under Sergeant David Lazenby had penetrated the frozen minefield to secure a landing zone for the British helicopters. Major Drewrywe's Welsh Guards eventually reached the base of Sapper Hill, only to discover that the Argentine M Company was still in position. The Guardsmen were forced to withdraw, protected by the early morning fog, this time avoiding the minefield. Due to this delay, it was decided that 45 Commando should move forward from Two Sisters to occupy Sapper Hill. While 45 Commando were marching towards Sapper Hill, Alpha and Charlie Companies from 40 Commando had escaped from the attention of the Argentine defenders on Sapper Hill and they were picked up by helicopters. They were eventually landed on the slopes of Sapper Hill just as 45 Commando were approaching, so both units attacked and captured the hill.

Argentine Retreat
Unwilling to abandon Tumbledown, Commander Carlos Robacio on Sapper Hill was planning to counter-attack and drive back the Guardsmen. Only the personal intervention of Colonel Félix Aguiar, the 10th Brigade Chief of Staff, brought the fighting to an end in the Tumbledown sector. The 5th Marines worked their way back into Stanley, leaving the 2nd Platoon of Marine Second Lieutenant Marcelo Davis and 3rd Platoon of Marine Second Lieutenant Alejandro Koch of M Company to cover the retreat. The Argentine Marine companies withdrew safely, although pursued by artillery fire and hit by a laser-guided bomb dropped by Flight Lieutenant Mark Hare in XZ133 killing two of the Marine canines, Negro and Ñaro. Argentine Panhard armoured cars were moved forward to the edge of Stanley to cover the retreating Argentine Marines.

Marine Privates Roberto Leyes, Eleodoro Monzón and Sergio Ariel from M Company were killed protecting the Argentine retreat from Sapper Hill. Six Royal Marines were wounded by mines and small-arms fire  securing Sapper Hill, including four Marines from 40 Commando, one Sapper from Condor Troop and a forward officer (Major Brian Armitage) from 3 Commando Brigade HQs.

The Royal Marines in Second Lieutenant Carl Bushby's 9 Troop protecting the landing zone successfully defended their position when the Argentine Marines under Davis launched a counter-attack, the last one of the ground campaign. Two parked British Sea Kings within range from Koch's Marines sustained minor damage from Sergeant Miguel Angel Vaca's machine-gun and rifle-grenades fired by Corporal Carlos Jorge Sini , but both remained operational.

At the foot of the hill, there was an enormous minefield. Lieutenant Paul Allen and Marine Wayne McGregor of 7 Troop were both wounded activating anti-personnel mines. A group of Sappers from Condor Troop went ahead to clear a path through the mines, losing Sergeant Peter Thorpe badly wounded in the process. Tanks of the Blues & Royals moved forward, to provide covering fire if necessary. During the helicopter evacuations of the wounded, Captain Sam Drennan of No. 656 Squadron would win the Distinguished Flying Cross for rescuing a wounded Gurkha and Guardsman from the middle of a minefield. However, when the Royal Marines and Welsh Guardsmen advanced they found Sapper Hill abandoned. The delay caused by the mines probably saved many lives. The Argentine Marine companies had been deeply entrenched and were well equipped with heavy machine guns. To Guardsman Tracy Evens, the Sapper Hill positions looked impregnable:

"We were led to an area that the company would rest at for the night, I still took in the fact the Argies had prepared Sapper Hill well, they had depth positions that would have made the task of taking it very hard."

As the Guardsmen and Royal Marines consolidated their positions, the British lost a Volvo Bv 202 tracked vehicle to an anti-tank mine planted in the Sapper Hill sector.

"We ran over a mine. I went up through the roof and the vehicle went up and was turned right round by the explosion, recalled Major Brian Armitage who was shortly evacuated to receive medical treatment."

After the battle, Corporal Krishnakumar Rai of the Queens Gurkha Engineers would be killed whilst engaged in clearing the Mount William sector.

Military recognition
For the courage displayed in the attack, men from 2 SG were awarded one Distinguished Service Order, two Military Crosses, two Distinguished Conduct Medals (one posthumously) and two Military Medals. Men from 9 Para Squadron, Royal Engineers, were awarded two Military Medals and Captain Sam Drennan, the Army Air Corps Scout pilot who had picked up the injured soldiers under fire and a former Scots Guards NCO, received the Distinguished Flying Cross.

Carlos Robacio, BIM5 commander, was awarded the Argentine Nation to the Valour in Combat Medal and the battalion itself was decorated by the Argentine Congress in 2002.

Due to his actions on both Two Sisters and Tumbledown, Private Oscar Ismael Poltronieri of La Madrid's platoon was awarded the Argentine Nation to the Heroic Valour in Combat Cross, Argentina's highest military decoration. He is the only conscript soldier in his nation's recent history who has received this honour.

After the battle, Pipe Major James Riddell of 2 SG stood near the top of the mountain and played his bagpipes. He played a quick march he had composed "on the back of a fag packet" [cigarette pack] during the battle, following a long tradition in which Pipe Majors were encouraged "to write tunes to commemorate any actions in which their regiments have been engaged". He named the tune The Crags of Tumbledown Mountain. It was released as a single by the Pipes and Drums of 2SG a year later.

Tumbledown after the war
The film Tumbledown, directed by Richard Eyre, premiered on 30 May 1988. It is based on the experiences of Lieutenant Robert Lawrence, who was severely wounded during the battle. The film won several awards including the RTS Television Award 1989 for best male actor for Colin Firth's performance in the role of Lieutenant Lawrence.

In 2012, Argentine journalist Nicolás Kasanzew wrote a tango called "Carlos Daniel Vazquez's Thermopylae", which is sung by Carlos Longoni.

A cross has been erected at the summit of the mountain as a memorial to the soldiers who died in the battle.

Two British artists have depicted the battle in painting, Mark Churms and Terence Cuneo, the latter commissioned by the Scots Guards.

In the UK a Tumbledown Veterans And Families Association was created.

There is a pipe march written by James Riddell of the 2nd Battalion Scots Guards It is called The Crags Of Tumbledown Mountain.

An ode was written in honour of the fallen:

In April 2019, a memorial was unveiled in front of Tumbledown Mountain and Mount William in memory of Lance-Corporal Budhaparsad Limbu and Corporal Krishnakumar Rai from the Gurkhas killed while clearing enemy booby-traps shortly after the Argentine surrender.

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

title: Battle of Mount Tumbledown


text:
The Amber Spyglass

The Amber Spyglass is the third and final novel in the His Dark Materials trilogy by Philip Pullman. Published in 2000, it won the 2001 Whitbread Book of the Year award, the first children's novel to do so. It was named Children's Book of the Year at the 2001 British Book Awards, and was the first children's book to be longlisted for the Booker Prize.

In 2022, the novel was adapted as the third series of the joint BBC-HBO television series His Dark Materials.

Setting
The novel is set in a number of worlds dominated by the Magisterium, a theocracy which actively suppresses heresy. In some of these worlds, humans' souls naturally exist outside of their bodies in the form of sentient "dæmons" in animal form. Important plot devices are the alethiometer, a truth-telling symbol reader; the subtle knife, capable of cutting windows between worlds; and the amber spyglass, a device for viewing the form of consciousness known as Dust.

Plot
Having learned of the witches' prophecy that Lyra Belacqua is the second Eve, the Magisterium decides she must be killed to prevent a new fall. Lyra's ambitious and hardhearted mother, Mrs Coulter, hides her in a remote cave. In her drugged sleep, Lyra dreams of meeting her friend Roger in the land of the dead, and promises to help.

In the world of Cittàgazze the angels Balthamos and Baruch try to persuade Lyra's friend Will to take the subtle knife to Lord Asriel, whose army is preparing to fight the Magisterium, but Will insists on finding Lyra first. They are attacked by the archangel Metatron but escape to another world just in time with the help of the subtle knife. The angels explain that the very first angel to condense out of Dust had falsely claimed to be the creator, and had acquired great power as the Authority. Now aged, he dwells in an isolated citadel and has delegated most of his powers to his regent Metatron.

The physicist Mary Malone finds herself in a world of sapient creatures called mulefa. The trees they rely on have been dying, and she uses lacquer from their sap to construct a spyglass that allows her to see Dust. She discovers that it is streaming rapidly away, no longer able to provide the trees with nourishment.

Will meets Iorek Byrnison. Together they find Lyra's cave, arriving at the same time as the forces of the Magisterium. Will wakes Lyra and uses the knife to escape into another world, but when he loses concentration the knife breaks. Iorek uses his metalworking skills to repair it.

Lyra and Will travel to the world of the dead. Visitors are forced to leave their dæmons behind, causing Lyra and her dæmon Pantalaimon enormous pain. Will's dæmon, previously internal, now becomes visible. After finding Roger, they persuade the harpies that control the world to allow them to open a window so the dead can leave. The dead step through and joyfully dissolve, their atoms becoming one with the universe.

Asriel's army and the forces of the Magisterium join battle. Mrs Coulter, who has allied herself with Asriel, enters the Authority's citadel, tempts Metatron, and then betrays him. Mrs Coulter, Asriel and Metatron fall into an abyss and are destroyed. Lyra and Will free the Authority from a crystal litter in which he is being carried, and find him demented and powerless – so feeble that mere exposure to the wind causes his form to dissolve.

Lyra and Will escape with their dæmons to the mulefa world, where Mary tells them of her own past. Before becoming a physicist she had been a nun, but had lost her faith when she had fallen in love and realised that the nun's heaven was empty. Hearing her words, Lyra experiences new and strange sensations of her own. The next day, Lyra and Will set off to picnic in the wood. The couple kiss and confess their love for each other, and the Dust envelops them.

The witch Serafina Pekkala explains that each opened window between worlds creates a new spectre, and it is through those windows that Dust has been escaping. All existing windows must be closed, apart from the one leading from the world of the dead. Lyra and Will are devastated to learn that they must return to their respective worlds, as they cannot survive for long in any other. They promise each other that they will go to a bench in their respective Oxford Botanic Gardens every midsummer's day to remember.

They return, and the witches set about closing the windows. Will deliberately destroys the subtle knife. In her own world, Lyra finds that she has lost the ability to intuitively read her alethiometer. She decides to take up the academic study of alethiometry and, together with Pantalaimon who has now taken the permanent form of a pine marten, she resolves to build the Republic of Heaven.

Changes to US edition
Pullman's publishers have primarily marketed the His Dark Materials series to young adults, but Pullman also intended to speak to adults. The Amber Spyglass is partly a re-evaluation of the Biblical tale of Adam and Eve. Pullman said Lyra's sexual awakening "is exactly what happens in the Garden of Eden … Why the Christian Church has spent 2,000 years condemning this glorious moment, well, that's a mystery. I want to confront that, I suppose, by telling a story that this so-called original sin is anything but. It's the thing that makes us fully human."

The North American edition alters passages describing Lyra's incipient sexuality. The text in the UK edition includes this passage in the chapter "Marzipan":

"As Mary said that, Lyra felt something strange happen to her body. She found a stirring at the roots of her hair: she found herself breathing faster. She had never been on a roller-coaster, or anything like one, but if she had, she would have recognised the sensations in her breast: they were exciting and frightening at the same time, and she had not the slightest idea why. The sensation continued, and deepened, and changed, as more parts of her body found themselves affected too. She felt as if she had been handed the key to a great house she hadn't known was there, a house that was somehow inside her, and as she turned the key, deep in the darkness of the building she felt other doors opening too, and lights coming on. She sat trembling, hugging her knees, hardly daring to breathe, as Mary went on..."

This is amended in the US edition to:

"As Mary said that, Lyra felt something strange happen to her body. She felt as if she had been handed the key to a great house she hadn't known was there, a house that was somehow inside her, and as she turned the key, she felt the other doors opening deep in the darkness, and lights coming on. She sat trembling as Mary went on..."

Other passages have also been modified in the US edition.

Chapter headings
Each chapter carried at the beginning a quotation from one of Pullman's favourite authors, including Milton (Paradise Lost), William Blake and Emily Dickinson. Before His Dark Materials first came out the publisher had asked Pullman to produce his customary drawings for the head of each chapter, his drawings first appeared in the Lantern Slide editions of the books.

Critical reception
The Amber Spyglass won critical acclaim and became the first children's book to win the Whitbread Book of the Year. It was generally well-received among British press. The book was also generally well-received amongst American press. According to Book Marks, the book received "rave" reviews based on 6 critic reviews with 3 being "rave" and 3 being "positive". It also won the British Book Awards, Children's book of the year, American Library Association Best Book for Young Adults, Parents' Choice Good Book Award, Horn Book Fanfare Honor Book, New York Public Library Book for the Teen Age and ABC Children's Booksellers' Choice, and became a New York Times Bestseller.

Michael Dirda praised The Amber Spyglass as "an expertly paced and orchestrated novel." He notes Pullman's allusiveness: "In his acknowledgments Philip Pullman admits he has stolen material 'from every book I have ever read.' Besides finding hints of Paradise Lost and Blake's poetry, the astute will pick up echoes of the following: Christ's harrowing of hell, Jewish Kabbalah (the legend of the godlike angel Metatron), Gnostic doctrine (Dust, our sleeping souls needing to be awakened), the 'death of God' controversy, Perelandra, the Oz books (the Wheelers), Wagner's Ring of the Nibelungs (Siegfried's mending of the sword), Aeneas, Odysseus and Dante in the Underworld, the Grail legend and the wounded Fisher King, Peter Pan, Wordsworth's pantheistic 'Immortality Ode', the doctrine of the hidden God and speculation about the plurality of worlds, situational ethics (actions, not people, being good or bad), the cessation of miracles, Star Wars...and even Pullman's own early novel for adults, Galatea." He concludes by writing that "His Dark Materials is a novel of electrifying power and splendor, deserving celebration, as violent as a fairy tale and as shocking as art must be."

In 2019, it was ranked sixth in The Guardian 's list of the 100 best books since 2000.

TV adaptation
The third series of the joint BBC-HBO television adaptation of His Dark Materials, released in December 2022, mainly covers The Amber Spyglass.

Audiobook
An audiobook version narrated by Pullman and with a full cast was released in 2001.

title: The Amber Spyglass


text:
Henri Marteau

Henri Marteau (31 March 1874 – 3 October 1934) was a French violinist and composer.

Life and career
Marteau's debut was made when he was 10 at a concert given by the Vienna Philharmonic Society conducted by Hans Richter. A tour through Switzerland and Germany followed. A year later Charles Gounod selected him to play the obbligato of Vision de Jeanne d'Arc, composed for the Joan of Arc Centenary Celebration at Reims, where he also performed, before an audience of 2500 people, his teacher Léonard's Violin Concerto No. 5.

Marteau was an advocate of chamber music. On 13 April 1894, he, pianist Ami Lauchame, a violist named Koert, and a cellist named Hegner were reported to have given their second invitation chamber music concert in New York, performing works of Camille Saint-Saëns and Gabriel Fauré; a third concert was scheduled for the following week. By 1906, Marteau was leading a string quartet that broke up in a dispute over a work by Max Reger. In Berlin, he formed another string quartet with his student Licco Amar as second violinist and Hugo Becker as cellist; later, Becker's student George Georgescu would take over the cello position.

Marteau died in Lichtenberg, Bavaria, at the age of 60.

Selected works

 * Stage
 * Meister Schwalbe, Musical Comedy in 1 act (1922)

 * Concertante
 * Andante for violin and orchestra (1891)
 * Fantaisie in E major for violin and orchestra, Op. 3
 * Cadenza for the Violin Concerto in D Major, Op. 77 by Johannes Brahms (1904)
 * Concerto in B♭ major for cello and orchestra, Op. 7 (1905)
 * Suite in A major for violin and orchestra, Op. 15
 * Concerto in C major for violin and orchestra, Op. 18 (1919)

 * Chamber music
 * Berceuse for violin and piano, Op. 1 (1902)
 * Berceuse for violin and piano, Op. 2 No. 1
 * Feuillet d'Album in D minor for viola and piano, Op. 2 No. 2
 * Andantino in A minor for violin and piano, Op. 2 No. 3
 * String Quartet No.1 in D♭ major, Op. 5
 * Chaconne in C minor for viola and piano, Op. 8 (1905)
 * String Quartet No.2 in D major, Op. 9 (1905)
 * Trio in F minor for violin, viola and cello, Op. 12 (1907)
 * Quintet in C minor for clarinet and string quartet, Op. 13 (1908)
 * Études d'archet (Bowing Studies) for violin with violin accompaniment, Op. 14 (1910)
 * String Quartet No.3 in C major, Op. 17 (1921)
 * Études de gammes (Scale Studies) for violin, Op. 19 (1916)
 * Sérénade for 2 flutes, 2 oboes, 2 clarinets, bass clarinet and 2 bassoons, Op. 20 (1922)
 * 24 Caprices d'execution transcendante for violin and piano, Op. 25 (1919)
 * Fantaisie for organ and violin, Op. 27 (1910)
 * Terzetto for flute, violin and viola, Op. 32 (1924)
 * Sonata Fantastica for violin solo, Op. 35 (1927)
 * Partita for flute and viola, Op. 42 No. 2
 * Divertimento for flute and violin, Op. 43 No. 1

 * Keyboard
 * Trois Compositions for organ, Op. 23 (1918)

 * Vocal
 * Ave Maria for voice, violin, harp (piano) and organ (harmonium), Op. 4 No. 1
 * 8 Songs for voice and string quartet, Op. 10 (1906)
 * Huit mélodies, Op.19c 1. "Pluie" ("Il pleut. J'entends le bruit égal des eaux" Victor Hugo), 2. "À Douarnenez en Bretagne" ("On respire du sel dans l'air" Sully Prudhomme), 3. "Ritournelle" ("Dans la plaine blonde et sous les allées" François Coppée) 4. "Matin d'octobre" ("C'est l'heure exquise et matinale" Coppée) 5. "Chanson de mer" ("Ton sourire infini m'est cher" Sully Prudhomme) 6. "Vitrail" ("Sur un fond d'or pâli, les saints rouges et bleus" Coppée) 7. "Pitié des choses"  (Coppée) 8. "Dans la rue, le soir" ("Neuf heures. On entend la retraite aux tambours." Coppée)
 * Acht Gesänge, Op.28 1. "Stille Fahrt" ("Ich stand an einem dunklen Meer" de:Hans Benzmann) 2 "Die Eichbäume" ("Aus den Gärten komm' ich zu euch, ihr Söhne des Berges!" Friedrich Hölderlin, 3. "Abendlied" ("Die Nacht ist niedergangen" Otto Bierbaum), 4. "Empor!" ("Nun breite stolze Schwingen aus" de:Adolf Holst), 5. "Gipfelndes Glück" ("Ein Duft weht überall" Carmen Sylva) 6. "Regenlied" ("Walle, Regen, walle nieder" Klaus Groth) 7. "Hütet Euch" ("Wo am Herd ein Brautpaar siedelt" Emanuel Geibel), 8. "Liebesnacht" ("O weile, süßer Geliebter! Martin Greif)
 * Drei geistliche Gesänge (Three Sacred Songs) for medium voice and organ, Op. 29 (1923)
 * Fünf Schilflieder for baritone, viola and piano, Op. 31; words by Nikolaus Lenau 1. "Drüben geht die Sonne scheiden" 2. "Trübe wird's, die Wolken jagen" 3. "Auf geheimem Waldespfade" 4. "Sonnenuntergang; Schwarze Wolken zieh'n" 5. "Auf dem Teich, dem Regungslosen"
 * 2 Ballades for voice and piano, Op. 34 (1924)

 * Choral
 * Drei Lieder (Three Songs) for mixed chorus, Op. 33 (1924)
 * La voix de Jeanne d'Arc, Cantata for soprano, chorus and orchestra

CD Releases

 * Henri Marteau: Concerto in C major for violin and orchestra, Op. 18 and Serenade Op. 20 - Nicolas Koeckert and the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern (Solo Musica SM 299)
 * Henri Marteau: Huit mélodies, Op. 19c and Op. 28 - Vesselina Kasarova and Fünf Schilflieder for baritone, viola and piano, Op. 31 - Dietrich Fischer-Dieskau (Solo Musica SM 263)
 * Henri Marteau: Quintet in C minor for clarinet and string quartet, Op. 13 and Serenade, Op. 20 - Mark Lieb and the Phoenix Ensemble (with Alexander v. Zemlinsky's Trio, Op 3) (Navona Records NV 6076), Feb. 2017
 * Henri Marteau: Quintet in C minor for clarinet and string quartet, Op. 13 - Praetorius Quartett and String Quartet No.2 in D major, Op. 9 - Marteau Quartett (Solo Musica SM 282)
 * Henri Marteau: Discovery of a Romanticist (Solo Musica SM 229)
 * Henri Marteau: string quartets, Vol. 1 - Isasi Quartet (CPO 555 128-2)

title: Henri Marteau


text:
David Popper

David Popper (June 16, 1843 – August 7, 1913) was a Bohemian cellist and composer.

Life
Popper was born in Prague, and studied music at the Prague Conservatory. His family was Jewish. He studied the cello under Julius Goltermann (1825–1876) and soon attracted attention. He made his first tour in 1863; in Germany he was praised by Hans von Bülow, son-in-law of Franz Liszt, who recommended him as Chamber Virtuoso in the court of Prince von Hohenzollern-Hechingen in Löwenberg. In 1864, he premiered Robert Volkmann's Cello Concerto in A minor, Op. 33, with Hans von Bülow conducting the Berlin Philharmonic. He lost this job a couple of years later due to the prince's death.

He made his debut in Vienna in 1867, and was made principal cellist at the Hofoper. From 1868 to 1870 he was also a member of the Hellmesberger Quartet. In 1872, he married pianist Sophie Menter, a pupil of Liszt who later joined the staff at the St. Petersburg Conservatory. In 1873, Popper resigned from his post at the Hofoper so as to continue his tours with his wife on a larger scale, giving concerts throughout Europe. Popper's and Menter's marriage was dissolved in 1886.

That year, Liszt recommended Popper for a teaching position at the newly opened string department at the Conservatory at Budapest. In Budapest, he participated in the Budapest Quartet with Jenő Hubay. He and Hubay performed chamber music on more than one occasion with Johannes Brahms, including the premiere of Brahms's Piano Trio No. 3 in Budapest, on December 20, 1886.

Popper died in Baden, near Vienna.

Among his notable students were Arnold Földesy, Jenő Kerpely, Mici Lukács, Ludwig Lebell and Adolf Schiffer (teacher of János Starker).

David Popper was one of the last great cellists who did not use an endpin. An 1880 drawing of Popper playing in a string quartet shows that although he started his cello career without using an endpin, he adopted it later in his life. An old edition of the Grove Dictionary of Music and Musicians described him thus: "His tone is large and full of sentiment; his execution highly finished, and his style classical."

Works
Popper was a prolific composer of cello music, writing four concertos (or five, since Joseph Haydn's fifth cello concerto is written by David Popper), a Requiem for three cellos and orchestra (1891) and a number of smaller pieces which are still played today, including the solo piece Tarantella. His shorter showpieces were written to highlight the unique sound and style of the cello, extending the instrument's range with pieces such as Spinnlied (Spinning Song), Elfentanz (Dance of the Elves), or the Ungarische Rhapsodie (Hungarian Rhapsody), which was published by the Friedrich Hofmeister Musikverlag. He also wrote instructional pieces. Popper is also known for his High School of Cello Playing (Op. 73), a book of cello études that is widely used by advanced cello students.
 * Op. 2, Five Songs for Soprano
 * Op. 3, Scenes From a Masked Ball, cello and piano
 * No. 1, Arlequin (Harlequin) in F Major
 * No. 2, Warum? (Why?) in A Major
 * No. 3, Erzählung (Story) in E Major
 * No. 4, Papillon (Butterfly) in D Major
 * No. 5, Begegnung (Meeting) in F Major
 * No. 6, Lied (Song) in G Major
 * Op. 5, Romance, cello and piano
 * Op. 8, Concerto No. 1 in D minor, cello and orchestra
 * Op. 10, Pieces for cello and piano
 * No. 1, Sarabande
 * No. 2, Gavotte, in D minor
 * No. 3, Trio-Pastoral
 * Op. 11, Pieces for cello and piano
 * No. 1, Widmung
 * No. 2, Humoreske
 * No. 3, Mazurka in G minor
 * Op. 12, Mazurka in D minor, cello and piano
 * Op. 14, Polonaise de concert, cello and piano
 * Chanson d'autrefois, cello and piano
 * Op. 16, Suite for two cellos
 * March for two cellos
 * Op. 18, Sérénade orientale, cello and piano
 * Op. 22, Nocturne in G major, cello and piano
 * Op. 23, Pieces for cello and piano
 * No. 1, [n. d.]
 * No. 2, Gavotte in D major
 * Op. 24, Concerto No. 2 in E minor, for cello and orchestra
 * Op. 27, Preludes for cello solo
 * No. 1, Andante serioso; [n. d.]
 * Op. 28, Concert-Polonaise No. 2 in F major, cello and piano
 * Op. 32, Pieces for cello and piano
 * No. 1, Nocturne
 * No. 2, Mazurka in A major
 * Op. 33, Tarantella, cello and piano
 * Op. 35, Four Mazurkas, cello and piano
 * Op. 38, Barcarolle in G major, cello and piano
 * Op. 39, Dance of the Elves, cello and piano
 * Op. 40, Three Songs (for Soprano or Tenor)
 * Op. 41, Nocturne, cello and piano
 * Op. 42, Three Nocturnes, cello and piano
 * Op. 43, Fantasy on Little Russian Songs, cello and piano
 * Op. 46, 2 Transcriptions for Cello and Piano
 * No. 1, Schlummerlied aus der “Mainacht" by Rimsky-Korsakov
 * No. 2, Träurmerei aus den “Kinderszenen” by Schumann
 * Op. 47, Nocturne No.4 in B Minor for cello and piano
 * Op. 48, Menuetto in D major, cello and piano
 * Op. 49, Kaiser-Marsch zur Krönung Seiner Majestät Kaiser Alexander III. for Orchestra
 * Op. 50, Im Walde, Suite for cello and orchestra
 * No. 1, Eintritt (Entrance)
 * No. 2, Gnomentanz (Gnomes Dance)
 * No. 3, Andacht (Devotion)
 * No. 4, Reigen (Round Dance)
 * No. 5, Herbstblume (Autumn Flower)
 * No. 6, Heimkehr (Homecoming)
 * Op. 51, Six Mazurkas, cello and piano
 * Op. 54, Spanish Dances, cello and piano
 * No. 1, Zur Gitarre
 * No. 2, Serenade
 * No. 3, Spanische Tänze
 * No. 4, L'Andalouse
 * No. 5, Vito
 * Op. 55, Pieces for cello and piano
 * No. 1, Spinning Song
 * No. 2, Hunting Piece
 * Op. 59, Concerto No. 3 in G major, cello and orchestra
 * Op. 60, Walzer Suite, cello and piano
 * Op. 62, Pieces for cello and piano
 * No. 1, La Mémoire
 * No. 2, La Chanson villageoise (Village Song)
 * No. 3, La Berceuse
 * Op. 64, Pieces for cello and piano
 * No. 1, Wie einst in schöner’n tagen (Once in Fairer Days)
 * No. 2, Tarantelle, in A major
 * No. 3, Wiegenlied (Lullaby)
 * Op. 65, Pieces for cello and piano
 * No. 1, Adagio
 * No. 2, Menuetto
 * No. 3, Polonaise
 * Op. 66, Requiem, for three cellos and piano (originally for three cellos and orchestra)
 * Op. 67, Pieces for cello and piano
 * No. 1, Largo
 * No. 2, Gavotte in D minor
 * No. 3, [n. d.]
 * No. 4, Gavotte in D minor
 * Op. 68, Hungarian Rhapsody, cello and piano
 * Op. 69, Suite for cello and piano
 * Largo à l'ancienne mode
 * Op. 71, Scottish Fantasy, cello and piano
 * Op. 72, Concerto No. 4 in B minor, cello and orchestra
 * Op. 73, High School of Cello Playing (Hohe Schule des Violoncellospiels): Forty Études for Cello Solo
 * Op. 74, String Quartet in C minor
 * Op. 75, Serenade, cello and piano
 * Op. 76, Zehn mittelschwere große Etüden [a/k/a Studies (Preparatory to Op. 73)]
 * Op. 76a, Fünfzehn leichte melodisch-rhythmische Etüden
 * Op. 81, Gavotte in A Major for Cello and Piano

Works with unknown or no opus number
 * Joseph Haydn: Cello Concerto No. 5 in C-Major, Hob. VIIb:5 (This work is not written by Haydn, and is in fact written by David Popper)
 * Cadenzas for cello
 * Joseph Haydn: Cello Concerto in D major
 * Camille Saint-Saëns: Concerto in A minor, Op. 33
 * Robert Volkmann: Cello Concerto in A minor
 * Robert Schumann: Cello Concerto in A minor, Op. 129
 * Molique, B.: Cello Concerto in D major
 * Romance in G major for cello and piano, originally for violin and piano
 * Chant du soir, cello and piano

Arrangements and transcriptions for cello and piano
 * Bach, J.S., Arie aus der D-dur Suite
 * Chopin, Nocturne, Op. 9, No. 2
 * Campioni, Minuet Pastoral
 * Cherubini, Ave Maria
 * Giordani, Caro mio ben
 * Handel, Largo; Sarabande
 * Jámbor, Nocturne, Op. 8, No. 1
 * Jensen, Murmelndes Lüftchen, Op. 21, No. 4
 * Mendelssohn, Auf Flügeln des Gesanges; Reiselied, Op. 19, No. 6
 * Pergolesi, Nina (Tre giorni)
 * Purcell, Aria
 * Rubinstein, Mélodie, Op. 3, No. 1
 * Schubert, Du bist die Ruh’; Ave Maria, Op. 52, No. 4; Der Neugierige; Sei mir gegrüsst; Litanei auf das Fest "Allerseelen"; An die Musik
 * Schumann, Träumerei, Op. 15, No. 7; Abendlied, Op. 85, No. 12; Schlummerlied, Op. 124, No. 16
 * Svendsen, Romance in G-major, op. 26
 * Tchaikovsky, Song Without Words, Op 2, No. 3; Chanson triste, Op. 40, No. 2; Barcarolle, Op. 37, No. 6; Perce-Niegre, Op. 37, No. 4; Chant d’automne, Op. 37, No. 10''

title: David Popper


text:
Lyra's Oxford

Lyra's Oxford is a 2003 novella by Philip Pullman depicting an episode involving the heroine of His Dark Materials, Pullman's best-selling trilogy. Lyra's Oxford is set when Lyra Belacqua is 15, two years after the end of the trilogy.

The book consists mainly of an illustrated short story, "Lyra and the Birds". A fold-out map of "Oxford by Train, River and Zeppelin" is bound in the book, a fictional map of Oxford that exists in Lyra's world. It also includes some advertisements for books and travellers' catalogues. Two pages from a Baedeker published in Lyra's world (including entries for the Eagle Ironworks, the Oxford Canal, the Fell Press and the Oratory of St Barnabas the Chymist, all in the Jericho area of Lyra's Oxford), a postcard from the character Mary Malone, and a brochure for the cruise ship Zenobia are also included. The postcard contains four images of sites in the His Dark Materials trilogy: the physics lab in which Mary Malone works, the house occupied by Lord Boreal, the row of hornbeam trees where Will first discovered a window between the worlds, and the bench where Lyra and Will have pledged to visit each other in spirit once a year.

The preface by Pullman begins:

"'This book contains a story and several other things. The other things might be connected with the story, or they might not; they might be connected to stories that haven't appeared yet. It's hard to tell.'"

"Lyra and the Birds" plot summary
Lyra is looking at a flock of birds from the tower of Jordan College in her Oxford, when she notices that the birds are attacking what turns out to be a dæmon in the shape of a fellow bird. This dæmon must be a witch's because there is no human near. Lyra saves the dæmon, called Ragi, from the flock, and he urges Lyra to help him find a man called Sebastian Makepeace. Lyra cleverly figures out where to find him and that he is the last remaining alchemist, and promises Ragi to bring him to the alchemist after school. In the evening, Lyra escapes from St Sophia's School and leads Ragi from outside Jordan College (Turl Street) to Juxon Street where Sebastian Makepeace lives. Ragi flies above Lyra and hides on roofs to avoid suspicion. On the way, Ragi is attacked by some pigeons, but manages to save himself. Ragi also tells Lyra why he needs Sebastian Makepeace's help: his witch, Yelena Pazhets, is seriously ill. This new illness causes witches to die while not affecting their dæmons, leaving them alive and lonely after their witch's death. Lyra is shocked by this.

Reaching Makepeace's house at the end of Juxon Street, near the Oxford Canal, Lyra's dæmon Pantalaimon manages to look through Makepeace's window without being noticed by Ragi. Pan sees the alchemist lying on the floor and witch's instruments nearby. Sensing something is wrong, Lyra continues walking, past Makepeace's house, at which Ragi cries for his witch. Lyra realises it was a trap and now finds herself being attacked by the witch. She moves towards the canal and decides to fight the witch, because this is what Will would do.

When Yelena charges, a swan rushes past Lyra and attacks her. Yelena dies shortly after. Lyra carries the swan back to the canal, after which a recovered Sebastian Makepeace takes her into his house and explains that Yelena wanted to kill Lyra and blame him for the murder: Yelena was once Sebastian's lover and their son died in the war that was waged in The Amber Spyglass. Yelena blamed Lyra for her son's death. The dead witch Yelena in the middle of the street caused some consternation; Sebastian helps Lyra to get away unnoticed. Lyra returns to St Sophia's. Back home, Lyra and Pan contemplate the day's events: the birds were actually helping her, and, looking for some meaning behind the events, Lyra feels that Oxford is protecting her.

title: Lyra's Oxford


text:
(35396) 1997 XF11

' (provisional designation ') is a kilometer-sized asteroid, classified as a near-Earth object, Mars-crosser and potentially hazardous asteroid of the Apollo group.

Description
Three months after its discovery on 6 December 1997 by James V. Scotti of the University of Arizona's Spacewatch Project, the asteroid was predicted to make an exceptionally close approach to Earth on 28 October 2028. Additional precovery observations of the asteroid from 1990 were quickly found that refined the orbit and it is now known the asteroid will pass Earth on 26 October 2028, at a distance of 929000 km. During the close approach, the asteroid should peak at about apparent magnitude 8.2, and will be visible in binoculars.

measures between 0.7 and 1.4 kilometers in diameter.

This asteroid also regularly comes near the large asteroid Pallas.

IAU Circular
On 11 March 1998, using a three-month observation arc, a faulty International Astronomical Union circular and press information sheet were put out that incorrectly concluded "that the asteroid was 'virtually certain' to pass within 80% of the distance to the Moon and stood a 'small...not entirely out of the question' possibility of hitting the Earth in 2028." But by 23 December 1997, it should have been clear that XF11 had no reasonable possibility of an Earth impact. Within hours of the announcement, independent calculations by Paul Chodas, Don Yeomans, and Karri Muinonen had calculated that the probability of Earth impact was essentially zero, and vastly less than the probability of impact from as-yet-undiscovered asteroids. Chodas (1999) concurs with Marsden (1999) that based on the 1997 data alone there was about 1 chance in a hundred thousand that XF11 could have been on an Earth-impact trajectory—that is, until the 1990 precovery observations eliminated such possibilities. During the October 2002 close approach, the asteroid was observed by the 70-meter Goldstone radar dish, further refining the orbit.

title: (35396) 1997 XF11


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Josef Rheinberger

Josef Gabriel Rheinberger (17 March 1839 – 25 November 1901) was an organist and composer from Liechtenstein, residing in Bavaria for most of his life. As court conductor in Munich, he was responsible for the music in the royal chapel. He is known for sacred music, works for organ and vocal works, such as masses, a Christmas cantata and the motet Abendlied; he also composed two operas and three singspiele, incidental music, secular choral music, two symphonies and other instrumental works, chamber music, and works for organ.

Life and career
Rheinberger was born on 17 March 1839 in Vaduz as the son of Johann Peter Rheinberger and his mother Elisabeth Carigiet as one of eleven children, including his brother Peter Rheinberger.

When only seven years old, he was already serving as organist at the Vaduz parish church, and his first composition was performed the following year. In 1849, he studied with composer Philipp M. Schmutzer (31 December 1821 – 17 November 1898) in Feldkirch, Vorarlberg. In 1851, his father, who had initially opposed his son's desire to embark on the life of a professional musician, relented and allowed him to enter the Munich Conservatorium. Not long after graduating, he became professor of piano and of composition at the same institution. When this first version of the Munich Conservatorium was dissolved, he was appointed répétiteur at the Court Theatre, from which he resigned in 1867.

Rheinberger married his former pupil, the poet and socialite Franziska "Fanny" von Hoffnaass in 1867. They had no children. Franziska wrote the texts for much of her husband's vocal work.

The stylistic influences on Rheinberger ranged from contemporaries such as Brahms to composers from earlier times, such as Mendelssohn, Schumann, Schubert and, above all, Bach. He also painted for literature in English and German.

In 1877, he was appointed court conductor, responsible for the music in the royal chapel. He was subsequently awarded an honorary doctorate by Ludwig Maximilian University of Munich. A distinguished teacher, he numbered many Americans among his pupils, including Horatio Parker, William Berwald, George Whitefield Chadwick, Bruno Klein, Sidney Homer and Henry Holden Huss. Other students of his included important figures from Europe: Italian composer Ermanno Wolf-Ferrari, Serbian composer Stevan Stojanovic Mokranjac, and German composers Engelbert Humperdinck and Richard Strauss and the conductor (and composer) Wilhelm Furtwängler. When the second (and present) Munich Conservatorium was founded, Rheinberger was appointed Royal Professor of organ and composition, a post he held for the rest of his life.

On 31 December 1892, after a long illness, his wife died and two years later poor health led him to give up the post of Court Music Director.

His religious works include twelve masses (one for double chorus, three for four voices a cappella, three for women's voices and organ, two for men's voices and one with orchestra), a Requiem and a Stabat Mater. His other works include several operas, symphonies, chamber music, and choral works.

Today Rheinberger is remembered above all for his elaborate and challenging organ compositions; these include two concertos, 20 sonatas in 20 different keys (of a projected set of 24 sonatas in all the keys), 22 trios, and 36 solo pieces. His organ sonatas were once declared to be

"undoubtedly the most valuable addition to organ music since the time of Mendelssohn. They are characterized by a happy blending of the modern Romantic spirit with masterly counterpoint and dignified organ style."

Rheinberger died in 1901 in Munich, and was buried in the Alter Südfriedhof. His grave was destroyed during World War II, and his remains as well as those of his wife were moved to his home town of Vaduz in 1950.

Compositions
This list only mentions works that were assigned an opus number by Rheinberger himself.
 * Sacred vocal works
 * Cantatas, including the Christmas cantata Der Stern von Bethlehem (The Star of Bethlehem), Op. 164
 * 14 masses, including the 1881 Mass in A major, Op. 126, 3 requiem settings, 2 settings of the Stabat Mater
 * Motets, hymns, lieder
 * among others, Abendlied (Op. 69, Nr. 3) after Luke 24,29 ("Bleib bei uns")
 * Dramatic works
 * 2 operas (Die sieben Raben, Op. 20, after the Grimm fairy tale The Seven Ravens, Türmers Töchterlein, Op. 70)
 * 3 Singspiele
 * 2 pieces of incidental music
 * Secular choral music
 * Choir ballads
 * Choral pieces with and without accompaniment
 * Works for mixed choir
 * e.g., Waldblumen (Op. 124) – eight songs after texts by
 * Works for female and male choirs
 * 12 lieder for Voice and Piano
 * Orchestral music
 * 2 symphonies
 * 3 overtures
 * Piano concerto in A-flat, Op. 94 (1877)
 * 3 other concertos for instruments with orchestra (including two concertos for organ and orchestra)
 * Chamber music
 * String quartets, string quintets, piano trios, sonatas for solo instruments and piano
 * e.g., Clarinet Sonata, Op. 105 in A major
 * 4 piano sonatas
 * Works for organ
 * 2 organ concertos
 * 20 organ sonatas
 * 12 Fughettas, Op. 123
 * 12 Monologues, Op. 162
 * 12 Meditations, Op. 167
 * Preludes, trios, character pieces
 * Works for solo instruments (violin and oboe) with organ

Recordings

 * Rheinberger: Missae et Cantiones, Wolfgang Schäfer Choir Director, Edgar Krapp Organ, Klaus Mertens Baritone, Frankfurter Kantorei, Carus-Verlag 1998
 * Rheinberger: Organ Sonatas Nos. 2, 3, 4, 5, 6, 8, 11, 12, 16, 17, 19, 20: Bruce Stevens, organ; Raven Recordings; 4 CDs
 * Josef Gabriel Rheinberger: Motets, Masses and Hymns, Elizabeth Patterson, Director; Gloriae Dei Cantores; Paraclete Recordings 2011
 * Rheinberger: Geistliche Vokalmusik, Stuttgart Chamber Choir; Carus; 10 CDs
 * Rheinberger: Klavierwerke, Jürg Hanselmann; Carus; 10 CDs; 2011
 * The Complete Organ Sonatas of Josef Rheinberger – Roger Sayer plays The Organ of The Temple Church, London, Roger Sayer organ; Priory Records; 6 CDs; 2018
 * Rheinberger: Music for Voice and Organ, Patrick Parker, organ, Katie Pollorena, mezzo-soprano, Seven Eight Records, 2019.
 * Rheinberger: Sacred Choral Works, Phoenix Bach Choir, Kansas City Chorale, Charles Bruffy, conductor; Chandos Records, 2007.

Free scores

 * e-Partitions Newly edited and typeset organ scores.
 * e-Partitions Newly edited and typeset organ scores.

Commercial publishers

 * Carus Verlag – complete works
 * Editions Silvertrust – chamber music only

Free recordings

 * Free recordings by Umeå Academic Choir:
 * Kyrie
 * Gloria
 * Rheinberger: Music for Voice and Organ, Patrick Parker, organ, Katie Pollorena, mezzo-soprano

title: Josef Rheinberger


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Aloha Tower

The Aloha Tower is a retired lighthouse that is considered one of the landmarks of the state of Hawaii in the United States. Opened on September 11, 1926, at a cost of $160,000 ($2,805,206 in 2024), the Aloha Tower is located at Pier 9 of Honolulu Harbor. It has been, and continues to be, a guiding beacon welcoming vessels to the City and County of Honolulu. Just as the Statue of Liberty greeted hundreds of thousands of immigrants each year to New York City, the Aloha Tower greeted hundreds of thousands of immigrants to Honolulu. At 10 stories and 184 feet (56 m) of height topped with 40 feet (12 m) of flag mast, for four decades the Aloha Tower was the tallest structure in Hawaii. It was built in the Hawaiian Gothic architectural style.

Attack on Pearl Harbor
When the attack on Pearl Harbor came on December 7, 1941, Coast Guardsmen from the USCGC Taney (WHEC-37) were ordered to take up defensive positions around Aloha Tower and protect it from being occupied. The Aloha Tower was painted in camouflage to disappear at night.

Redevelopment
In 1981, the Governor of Hawaii and the Hawaii State Department of Business, Economic Development and Tourism established the Aloha Tower Development Corporation. The public corporation was charged with developing the land around the Aloha Tower to benefit the state's commercial trade industry based at Honolulu Harbor while at the same time providing the residents of Hawaii with ample access to the downtown waterfront. The entire Aloha Tower Complex, as defined by the public corporation, was identified as Piers 5 and 6, Piers 8 through 23, and portions of Nimitz Highway and Iwilei.

Museum marketplace
In 1982, the Hawaii Maritime Center was opened near the Aloha Tower in an old royal pier to present the history of Honolulu Harbor and the relative industries it served. In 2002, the Hawaii Maritime Center became an incorporated institution of the Bishop Museum. The center was closed to the public on May 1, 2009 and was later converted into a Hawaii Pacific University dormitory in 2015.

Docked at the royal pier is the Falls of Clyde, a historic shipping vessel.

Recent developments
Aloha Towers adjacent Nimitz Highway has been thrown around with various proposals of projects to make it more efficient. In addition to this, proposals are being thrown around regarding redevelopment surrounding Aloha Tower.

Highway tunnel proposal
In 2004, a controversial proposal was made to construct an underground highway tunnel beneath the complex.

Future Skyline service
Proposals involving introducing rail transit near the Aloha Tower have been thrown around for years. Initially, this included the re-establishment of streetcars, but was changed to a Light Metro system once the Skyline Project was announced. This will result in the Kuloloia (Downtown) Skyline station being built near the Aloha Tower. As of 2024, this station is under construction and is expected to open in 2031.

Proposed redevelopment of adjacent areas
As part of the adjacent Skyline Station's transit oriented development plan, the parking lot fronting the Aloha Tower and the adjacent decommissioned Hawaiian Electric power plant, would be demolished for various mixed-use developments. In addition to this, the surrounding commercial offices would be converted into residential mixed-use condos. In fact, the first conversion: the Modea condo is already expected to be completed in 2025.

Hawaii Pacific University
in 2015, the Hawaii Pacific University has taken over the former Aloha Tower Marketplace and converted the facility into a expansion of its campus, including 78 student housing units for 278 students.

Security concerns following September 11, 2001 attacks
In consideration of heightened security measures after the September 11, 2001 terrorist attacks, public access to the observation deck was restricted, but has since been reopened.

Concerts
American hard rock band Skid Row performed in concert at Aloha Tower Stage on October 10, 1992.

title: Aloha Tower


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Valery Burati

Valery Burati (1908–1988) was a union organizer in the United States and the acting chief of the Labor Division of Supreme Commander of the Allied Powers (SCAP) from 1948 to 1951 during the US occupation of Japan, played an important role in the formation of Sohyo (General Council of Trade Unions of Japan), the predominantly public sector union confederation.

title: Valery Burati


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Hugo Riemann

Karl Wilhelm Julius Hugo Riemann (18 July 1849 – 10 July 1919) was a German musicologist and composer who was among the founders of modern musicology. The leading European music scholar of his time, he was active and influential as both a music theorist and music historian. Many of his contributions are now termed as Riemannian theory, a variety of related ideas on many aspects of music theory.

Biography
Riemann was born at Grossmehlra, Schwarzburg-Sondershausen.

His first musical training came from his father Robert Riemann, a land owner, bailiff and, to judge from locally surviving listings of his songs and choral works, an active music enthusiast. Hugo Riemann was educated by Heinrich Frankenberger, the Sondershausen Choir Master, in Music theory. He was taught the piano by August Barthel and Theodor Ratzenberger (who had once studied under Liszt). He graduated from the gymnasiums at Sondershausen and Arnstadt.

Riemann studied law and finally philosophy and history at Berlin and Tübingen. After participating in the Franco-Prussian War he decided to devote his life to music, and studied accordingly at the Leipzig Conservatory. He then went to Bielefeld for some years as a teacher and conductor, but in 1878 returned to Leipzig as a visiting professor ("Privatdozent") at the University.

As a much-desired appointment at the Conservatory did not materialize, Riemann went to Bromberg in 1880, but 1881–90 he was a teacher of piano and theory at Hamburg Conservatory. After a short time at the Sondershausen Conservatory, he held a post in the conservatory at Wiesbaden (1890–95). He eventually returned to Leipzig University as lecturer in 1895. In 1901, he was appointed professor, and in 1914 he was made Director of the Institute of Musicology.

Eight days before he would have turned 70, he died of jaundice.

Writings
Riemann is one of the most influential music theorists. In his publications and lectures he coined various terms which are still in everyday use, such as the harmonic function theory (therein popular terms such as the tonic, the dominant, the subdominant and the parallel). In addition, the term and theory of the metric and rhythmic phrase, a basic element of today's music education, originate in Riemann.

Among his best-known works are the Musik-Lexikon (1882; 5th ed. 1899; Eng. trans., 1893–96), a complete dictionary of music and musicians, the ''Geschichte der musiktheorie im IX.-XIX. jahrhundert(1898), a history of music theory in Europe through the 19th century, the Handbuch der Harmonielehre, a work on the study of harmony, and the Lehrbuch des Contrapunkts'', a similar work on counterpoint, all of which have been translated into English.

The Geschichte was widely used among lecturers of music for around half a century after it was written. In his book, he meticulously documented the development of polyphonic theory from the ancient times to the 16th century. With this, he concluded that common intervals heard in polyphonic music were used intuitively in folk practices due to the ostensibly "natural" element of these intervals. As he developed as a theorist, he focused more and more on human nature, using psychology as the basis of his ideas. His philosophical background exposed him to Pitagorean musical philosophy, which states that the natural harmony of the macrocosmos, or the world outside, is reflected in the microcosmos, or the world inside. The feelings generated by sounds and chords are just an intuitive rediscovery of a reality, a mathematical harmony, that is already there in the human being. Thus, what humans feel when hearing music is alike the acoustical phenomenon of sympathetic resonance.

Another form in which his classical Greek philosophical education is visible, in this case monism, is the innovative notation in his harmony book "Harmony simplified" (1887). Riemann notes the major chord, born out of the harmonics 4, 5, and 6 (or 3), (given as example is a C Major chord) as the note C with a + under it, and the minor chord, born out of the theoretical (but inexistent) negative harmonics, the exact mirror opposite of normal harmonics, not as C -, as it would be logical, but as C 0. This comes as a subtle reflection of monistic thinking that postulates that dualistic perception is an illusion and that there is a single, self-governing, self-defining, omnipresent, and omniscient principle or being that represents "Existence" or "Reality". In trying to explain it the awnser is: It is what it is. It is self-explanatory. In monistic thinking this principle is associated with good. Riemann associates the positive emotional qualities of the major chord with good and the fact that it comes from a real, non-theoretical, acoustical phenomenon with its quality of "beeing", of existing. In contrast to existence, or good, comes non-existence, or evil, the mirror opposite of existence. It manifests in the real world, in existence, after a theoretical mirroring, a manipulation of the first. ""There are only three directly intelligible intervals: octave, (major) third, and (perfect) fifth" (Moritz Hauptmann). All other intervals are to be explained musically and mathematically as the results of multiplication and evolution of these three" ( Harmony simplified, 1887) Monism postulates that, since non-existence/evil has its origin in existence/good, it cannot be truly opposite but is complementary to it, part of it. As such, the notation of the minor chord is C 0, not C−, the opposite of C+.

He was an advocate of harmonic dualism, and his theory of harmonic function is the foundation of harmonic theory as it is still taught in Germany. He also elaborated a set of harmonic transformations that was adapted by the American theorist David Lewin, and eventually evolved into a significant strain of neo-Riemannian theory. Another pillar of modern neo-Riemannian theory, the Tonnetz, was not Riemann's own invention, but he played an important role in popularizing and disseminating it.

He authored many works on many different branches of music. His pupils included the German composer, pianist, organist, and conductor Max Reger and the musicologist and composer Walter Niemann.

Compositions
He wrote many pieces for piano, songs, a piano sonata, six sonatinas, a violin sonata, and a string quartet.

title: Hugo Riemann


text:
Sōhyō

The General Council of Trade Unions of Japan (日本労働組合総評議会), often abbreviated to Sōhyō (総評), was a left-leaning union confederation. Founded in 1950, it was the largest labor federation in Japan for several decades.

Origins
In the immediate aftermath of Japan's defeat in World War II, the United States-led Allied Occupation of Japan issued directives legalizing labor unions, which were then protected by the new Constitution of Japan promulgated in 1947. In the early postwar years, numerous labor unions formed in industries throughout Japan, many of which were under the influence of the Japan Communist Party. However in 1950, following the advent of the global Cold War, and taking advantage of the sense of crisis precipitated by the sudden outbreak of the Korean War, conservative Japanese government and business leaders launched, with the tacit approval of US Occupation authorities, a "Red Purge" to remove communists and suspected communists from government and private-sector jobs. As part of the purge, Japanese conservatives fomented "democracy cells" within the established, Communist Party-dominated labor unions. As these unions collapsed amid the purge, the cells emerged and joined with some affiliates of the Japanese Federation of Labour to form a new labor federation, the General Council of Trade Unions of Japan, or Sōhyō.

Early militancy
Conservatives hoped that the new federation would be more moderate than the federations controlled by the Communist Party, which had been extremely militant. However, Sōhyō rapidly fell under the sway of the Japan Socialist Party and took the lead in organizing an escalating series of increasingly large and contentious labor actions over the course of the 1950s, and increasingly became involved in political protests as well.

On May 1, 1952, Sōhyō spearheaded a nationwide day of protest against the perceived one-sided nature of the Peace Treaty ending the Occupation of Japan. Although most of these activities were peaceful, a violent clash between protesters and police outside the Imperial Palace in Tokyo led to several deaths and injuries and became remembered as "Bloody May Day."

Over the rest of the 1950s, Sōhyō became actively involved in a number of political and social movements, including movements to ban nuclear weapons and against US military bases in Japan. It also led a large number of strikes for higher wages across many different industries. Sōhyō's period of militancy culminated in 1960 when it took a leading role in the massive Anpo protests against revision of the US Japan Security Treaty, as well as the large-scale strike at the Miike Coal Mine in northern Kyushu. As part of the anti-Security Treaty Struggle, Sōhyō organized a nationwide general strike that involved 6.4 million workers and remains the largest recorded strike in Japanese history. However, both these efforts ended in disastrous defeats, and thereafter Sōhyō increasingly retreated from contentious strikes in favor of more moderate workplace actions.

Merger to form Rengo
A large portion of Sōhyō merged with the more conservative Japanese Confederation of Labor (Domei) and other unions to form Rengo in 1987. Rengo was formally launched in 1989. Some elements of Sōhyō instead joined one of two new federations: the National Confederation of Trade Unions (Zenroren), and the National Trade Union Council (Zenrokyo).

Affiliates
The following unions were affiliated:

Presidents

 * 1950: Takeo Muto
 * 1953: Totaro Fujita
 * 1956: Yukitaka Haraguchi
 * 1958: Ōta Kaoru
 * 1966: Toshikatsu Horii
 * 1970: Makoto Ichikawa
 * 1978: Motofumi Makieda
 * 1983: Takeshi Kurokawa

General Secretaries

 * 1950: Zengoro Shimagami
 * 1951: Minoru Takano
 * 1955: Akira Iwai
 * 1970: Shogo Oki
 * 1976: Mitsuo Tomizuka
 * 1983: Eikichi Makoto

title: Sōhyō


text:
Talk:David Popper

Untitled
When looking for his date of death via google, I noticed that several site listed 1843 as his date of birth. Maximus Rex, 09:04, 16 Mar 2004 (UTC)

 * The Penguin and Grove Concise dictionaries of music both give 1843, so I'm going to change it to that. --Camembert

high school of cello playing
I do not think that "incredibly difficult" is the right way to describe Popper's book of cello etudes. Does anyone agree with me, or am I just underevaluating their difficulty? —The preceding unsigned comment was added by TrogdorPolitiks (talk • contribs) 02:37, 6 January 2007 (UTC).

I think it is generally accepted that the High School of Cello Playing is very difficult. Keegan 22:39, 22 March 2007 (UTC)

I think that, while difficult, Popper's etudes are not so difficult as to be inaccessible to the average student. "Incredibly difficult" may be something of an overstatement but, then again, the difficulties of many works are exaggerated on their respective pages. 71.163.134.169 (talk) 00:35, 27 April 2009 (UTC)

Popper's 40 studies (the 'High School') are pretty well regarded as a staple of Conservatoire level cello training. They appear 'incredibly difficult' at first to most students at approx. grade 8 level. However, a phrase like 'incredibly difficult' is relative (a more advanced cellist may consider the Popper etudes quite basic) and as such is inappropriate here without qualifier. Watching Joshua Roman play these (YouTube - Popper Project) is an education in itself - Roman manages to make them look easy. Popper intended these etudes to fill a gap that he perceived in music training at that time, to prepare orchestral players to be able to play the late romantic music being written and performed. As such, he probably considered them basic. It should also be noted that music technique has advanced, and these studies are no longer a comprehensive survey of cello technique. They remain however a mainstay of a professional level cellist's training. (PM) — Preceding unsigned comment added by 31.50.184.79 (talk) 22:31, 18 November 2013 (UTC)

Diambig needed
David H. Popper - US Ambassador to Cyprus ~ender 2008-03-30 14:19:PM MST

Date of birth
Some cites show his date of birth as 9 December 1843 –, , , etc. (This cite gives both dates of birth!!!)  Our article used to say 9 December, but it was changed to 16 June by this edit, with no edit summary or citations. So, where do we stand? Which is the correct date? And how would we decide between the 2 competing dates? -- JackofOz (talk) 07:54, 30 April 2008 (UTC)

This appears to be a continuing saga. I have seen a number of credible references citing both December 9 and June 16, 1843. Grove's Encyclopedia confirms June 16th, as do the All Music Guide, the Brockhaus Riemann Musiklexikon and several Hungarian sources. The 1996 Harvard Biographical Dictionary of Music lists December 9th, while the 2002 Oxford Companion to Music cites both dates. Since Grove's is the most normative, I have taken their date. Hollomis (talk) 02:46, 18 March 2009 (UTC)

 * Thanks, Hollomis. I missed your reply at the time.  Grove's 5th edition (1954) said 9 December, but the 1961 Supplementary Volume changed it to 16 June, with the footnote "Not 9 Dec., as in Riemann and elsewhere".  From what you say, it seems Riemann has since changed its tune, also to 16 June.  So we seem to have a consensus among the major references now.  That's good.  But rather than just asserting one particular date, as if no other candidates had ever existed, I think we need to acknowledge what some earlier sources had to say.  It would be good to get to the bottom of how the wrong date got into the literature in the first place.  --   Jack of Oz    ... speak! ...   00:19, 28 August 2010 (UTC)

title: Talk:David Popper


text:
Marcello Gandini

Marcello Gandini (26 August 1938 – 13 March 2024) was an Italian car designer, widely known for his work with the Italian car design house, Bertone, where his work included designing the Alfa Romeo Carabo and Montreal, Lancia Stratos Zero, Maserati Khamsin, Ferrari GT4, Fiat X1/9, and several Lamborghinis, including the Bravo, Miura, Marzal, Espada, Urraco, and Countach. Gandini himself said his design interests prioritised vehicle architecture, construction, assembly and mechanisms over styling.

Car Design News awarded Gandini the magazine's first Lifetime Achievement Award in 2012, and said his stature within the industry could not be overstated. Flavio Manzoni, chief design officer at Ferrari, said Gandini was "probably the greatest car designer ever".

Life and career
Gandini was born in Turin on 26 August 1938 into a "family steeped in classical music". His father was a former orchestral conductor and composer and wanted his son to become a pianist. Gandini, however, developed an early and intense interest in cars and mechanical engineering. He was sent to a classical lyceum and studied the piano, but continued to have "a passion for engines, mechanics and technology" and left school at 18, which resulted in his being rejected by his parents. In 1964, he approached Nuccio Bertone, head of the Gruppo Bertone company, who was impressed by his zeal and wanted to apprentice him to Giorgetto Giugiaro, his chief designer. The following year Giorgetto left to start his own studio, and at the age of 27, Gandini was hired to take his place. He designed the Lamborghini Miura, from first sketch to finished prototype, in three months, and remained with the company for fourteen years.

Gandini created the 'Stile Bertone' styling house in Caprie. Turin, working as its general manager as well as designing concept cars, and managing the construction of prototype automobiles for the many car makers who hired Bertone, often specifically Gandini.

Gandini is most known for his designs for many Lamborghini sports cars, beginning with the groundbreaking rear mid-engined Lamborghini Miura in the mid 1960s with a transversely mounted V12. He went onto design the Espada, Urraco, Countach, and the original design proposal for the Diablo, as well as a number of Lamborghini concept cars.

Gandini also designed practical mass-production cars, including sub-compacts, such as the Innocenti Mini and the first generation Volkswagen Polo, as well as midsize family cars, such as the first-generation BMW 5 Series and Citroën BX.

The Lancia Stratos rally sportscar, featuring a seamless semi-elliptic windshield and door glass combination, is also a Gandini design.

Gandini left Bertone in July 1979 to set up his own design house, Clama, pursuing freelance automotive, industrial, and interior design, and worked exclusively for Renault for the first five years, resulting in the second generation Renault 5 (the 'Supercinq') and the Renault Magnum truck. He later worked with Maserati, Nissan, Toyota and Subaru, as well as returning to Lamborghini to work on the Diablo in the 1990s.

Gandini also worked in other areas, including home architecture, the design of a nightclub interior, and the body styling of the Heli-Sport CH-7 helicopter.

In January 2024, Gandini was recognised by the Polytechnic University of Turin with an honorary degree in mechanical engineering.

Gandini died on 13 March 2024, at the age of 85.

Designs
Car designs that Gandini was involved in include:

 * Alfa Romeo Montreal concept and production version
 * Alfa Romeo 33 Carabo
 * Alfa Romeo Navajo
 * Audi 50
 * Autobianchi A112
 * Autobianchi A112 Runabout
 * BMW 2800 Spicup (final design)
 * BMW 2200 TI Garmisch
 * BMW 5 Series (E12) (with Paul Bracq)
 * Bugatti EB 110 (prototypes)
 * Citroën BX
 * Citroën GS Camargue (with Marc Deschamps)
 * Cizeta-Moroder V16T
 * De Tomaso Biguà (Qvale Mangusta)
 * De Tomaso Pantera SI
 * De Tomaso Pantera 2000 (aka Prossima Generazione)
 * Dino/Ferrari 308 GT4
 * Ferrari Rainbow
 * Fiat 125 Executive (1967)
 * Fiat 127 Village (1974)
 * Fiat 128 Coupé (1969)
 * Fiat 132
 * Fiat Dino Coupé (final design)
 * Fiat X1/9
 * Fiat Visitors Bus (1975)
 * Innocenti Mini
 * Iso Lele
 * Iso Grifo 90
 * Iso Grifo 96
 * Jaguar FT Coupé (1966, Bertone)
 * Jaguar Pirana
 * Jaguar Ascot (1977)
 * Lamborghini Bravo
 * Lamborghini Countach
 * Lamborghini P140
 * Lamborghini Diablo (initial design proposal)
 * Lamborghini P147 Acosta
 * Lamborghini Espada
 * Lamborghini Jarama
 * Lamborghini Miura
 * Lamborghini Urraco
 * Lamborghini Marzal
 * Lancia Stratos Zero
 * Lancia Stratos
 * Lancia Sibilo
 * Maserati Khamsin
 * Maserati Ghibli II
 * Maserati Quattroporte II (1974–1978) & IV (1994–2001)
 * Maserati Shamal
 * Maserati Chubasco
 * 1st and 2nd Maserati Biturbo facelifts
 * Nissan AP-X
 * NSU Trapeze
 * Perodua Kancil (facelift)
 * Porsche 911 Roadster by Bertone (1966)
 * Reliant FW11
 * Renault 5 Turbo (with Marc Deschamps; interiors)
 * Renault 5 Supercinq
 * Renault Magnum
 * Stola S81 Stratos
 * Stola S86 Diamante
 * TaMo Racemo (Moflex chassis technology only)
 * Volkswagen Polo Mk1
 * Volvo Tundra

title: Marcello Gandini