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Kathleen Battle

Kathleen Deanna Battle (born August 13, 1948) is an American operatic soprano known for her distinctive vocal range and tone. Born in Portsmouth, Ohio, Battle initially became known for her work within the concert repertoire through performances with major orchestras during the early and mid-1970s. She made her opera debut in 1975. Battle expanded her repertoire into lyric soprano and coloratura soprano roles during the 1980s and early 1990s, until her eventual dismissal from the Metropolitan Opera in 1994. She later has focused on recording and the concert stage. After a 22-year absence from the Met, Battle performed a concert of spirituals at the Metropolitan Opera House in November 2016, and again in May 2024.

Early years and musical education
Battle was born in Portsmouth, Ohio, the youngest of seven children. Her father was a steelworker, and her mother was an active participant in the gospel music of the family's African Methodist Episcopal church. Battle attended Portsmouth High School, where her music teacher and mentor was Charles P. (Phil) Varney. In a 1985 Time Magazine interview, Varney recalled the first time he heard the eight-year-old Battle sing, describing her as "this tiny little thing singing so beautifully." "I went to her later", Varney recalled, "and told her God had blessed her, and she must always sing." In that same interview, music critic Michael Walsh described Battle as "the best lyric coloratura in the world".

Battle was awarded a scholarship to the University of Cincinnati – College-Conservatory of Music, where she studied voice with Franklin Bens and also worked with Italo Tajo. She majored in music education, and proceeded to a master's degree in Music Education. In 1971 she began a teaching career at an inner-city public school in Cincinnati, continuing to study voice privately while teaching 5th and 6th grade music. Later, she studied singing with Daniel Ferro in New York.

1970s
In 1972, her second year as a teacher, a friend and fellow church choir member phoned her and informed her that the conductor Thomas Schippers was holding auditions in Cincinnati. At her audition Schippers engaged her to sing as the soprano soloist in Brahms' German Requiem at the 1972 Festival dei Due Mondi in Spoleto, Italy. Her performance there on July 9, 1972 marked the beginning of her professional career. During the next several years, Battle would go on to sing in several more orchestral concerts in New York, Los Angeles, and Cleveland. In 1973 she was awarded a grant from the Martha Baird Rockefeller Fund for Music to support her career. William Mullen, managing director of the Santa Fe Concert Association was on the panel of judges who made the award. In 2004 he recalled: We would meet monthly, listen to up-and-coming concert artists and give money to deserving artists for further study. A very young Kathleen Battle sang for us. The other judges thought her voice was too small, but I thought she had an incredible ability to communicate through music. I talked the other judges into giving her a grant.

Thomas Schippers introduced Kathleen Battle to his fellow conductor James Levine who selected Battle to sing in Mahler's Symphony No. 8 at the Cincinnati Symphony Orchestra's May Festival in 1974. This was the beginning of a friendship and close professional association between Battle and Levine that would last for 20 years and resulted in several recordings and performances in recital and concert performances, including engagements in Salzburg, Ravinia, and Carnegie Hall. Battle made her professional operatic debut in 1975 as Rosina in Rossini's The Barber of Seville with the Michigan Opera Theatre in Detroit. She made her New York City Opera debut the following year as Susanna in Mozart's The Marriage of Figaro, and in 1977 made both her San Francisco Opera debut as Oscar in Verdi's Un ballo in maschera and her Metropolitan Opera debut as the Shepherd in Wagner's Tannhäuser. The latter performance was conducted by James Levine. Battle made her Glyndebourne Festival debut (and UK debut) singing Nerina in Haydn's La fedeltà premiata in 1979.

1980s
Throughout the 1980s, Battle performed in recitals, choral works and opera. Her work continued to take her to performance venues around the world. In 1980 she made her Zürich Opera debut as Adina in Donizetti's L'elisir d'amore. In 1982, she made her Salzburg Festival debut in Così fan tutte, followed three days later by an appearance in one of the Festival's Mozart Matinee concerts. In 1985, she was the soprano soloist in Mozart's Coronation Mass at St. Peter's Basilica in the Vatican, conducted by Herbert von Karajan. That same year she made her Royal Opera debut as Zerbinetta in Ariadne auf Naxos. In 1987 Karajan invited Battle to sing Johann Strauss' Voices of Spring for the Vienna New Year's Day concert. In opera she sang a variety of roles including Oscar at Lyric Opera of Chicago and a highly acclaimed Semele at Carnegie Hall. She returned to Salzburg various times to sing Susanna, Zerlina, and Despina, Mozart roles which she also sang at several other opera houses during that period. Battle became an established artist at the Metropolitan Opera in the 1980s, singing more than 150 performances with the company in 13 different operas, including the Met's first production of Handel's Giulio Cesare. Other opera houses where she performed include San Francisco Opera, English National Opera, Grand Théâtre de Genève, Vienna State Opera, and Deutsche Oper Berlin.

During this period, she received three Grammy awards for her recordings: Kathleen Battle Sings Mozart (1986), Salzburg Recital (1987), and Ariadne auf Naxos (1987). Battle's 1986 collaboration with guitarist Christopher Parkening entitled Pleasures of Their Company was nominated for the Classical Album of the Year Grammy award. She also received the Laurence Olivier Award (1985) for her stage performance as Zerbinetta in Ariadne auf Naxos at the Royal Opera House, London. Critical response to Battle's performances had rarely varied throughout the years following her debut. In 1985, Time Magazine pronounced her "the best lyric coloratura soprano in the world".

1990s
The 1990s saw projects ranging from a concert program and a CD devoted to spirituals to a recording of baroque music, from performances of complete operas to recitals and recordings with jazz musicians.

In 1990, Battle and Jessye Norman performed a program of spirituals at Carnegie Hall with James Levine conducting. In the same year, she returned to Covent Garden to sing Norina in Don Pasquale and performed in a series of solo recitals in California, as well as appearing at the Hollywood Bowl with the Los Angeles Philharmonic. Battle's Carnegie Hall solo recital debut came on April 27, 1991 as part of the hall's Centennial Festival. Accompanied by pianist Margo Garrett, she sang arias and songs by Handel, Mozart, Liszt, Rachmaninoff, Gershwin and Richard Strauss, as well as several traditional spirituals. The contralto Marian Anderson, who had ended her farewell tour with a recital at Carnegie Hall in April 1965, was in the audience that night and Battle dedicated Rachmaninoff's "In the Silence of the Secret Night" to her. The recording of the recital earned Battle her fourth Grammy award. Another first came in January 1992 when Battle premiered André Previn's song cycle Honey and Rue with lyrics by Toni Morrison. The work was commissioned by Carnegie Hall and composed specifically for Battle.

In December 1993 she was joined by Martin Katz and Kenny Barron on piano and Grady Tate (drums), Grover Washington Jr. (saxophone) and David Williams (bass) at Carnegie Hall for a concert featuring the music of Handel, Haydn, and Duke Ellington as well as Christmas spirituals. During this time she also collaborated with other musicians including trumpeter Wynton Marsalis in a recording of baroque arias entitled, Baroque Duet; violinist Itzhak Perlman on an album of Bach arias; and flautist Jean-Pierre Rampal for a recital at Alice Tully Hall (also released on CD). In May 1993 Battle added pop music to her repertoire with the release of Janet Jackson's album Janet, lending her vocals to the song "This Time". An album of Japanese melodies, First Love, followed in November 1993.

On the opera stage, she performed in a variety of Mozart, Rossini and Donizetti operas. Between 1990 and 1993, she performed in several productions at the Metropolitan Opera: Rosina in The Barber of Seville (1990), Pamina in The Magic Flute (1991 and 1993), and Adina (with Luciano Pavarotti as Nemorino) in L'elisir d'amore (1991, 1992, and the Met's 1993 Japan Tour). She also won her fifth Grammy Award in 1993, singing the title role of Semele on the Deutsche Grammophon recording conducted by John Nelson.

Although Battle gave several critically praised performances at the Metropolitan Opera during the early 1990s, her relationship with the company's management showed increasing signs of strain during those years. As Battle's status grew, so did her reputation for being difficult and demanding. In October 1992 when she opened the Boston Symphony Orchestra season, she reportedly banned an assistant conductor and other musicians from her rehearsals, changed hotels several times, and left behind what a report in The Boston Globe called "a froth of ill will". In February 1994, during rehearsals for an upcoming production of La fille du régiment at the Metropolitan Opera, Battle was said to have subjected her fellow performers to "withering criticism" and made "almost paranoid demands that they not look at her." General Manager Joseph Volpe responded by dismissing Battle from the production for "unprofessional actions" during rehearsals. Volpe called Battle's conduct "profoundly detrimental to the artistic collaboration among all the cast members" and indicated that he had "canceled all offers that have been made for the future." Any input that Metropolitan Opera music director James Levine (Battle’s close friend and collaborator for 20 years) may have had is shrouded in mystery. Battle was replaced in Donizetti's La fille du régiment by Harolyn Blackwell. At the time of her termination from the Met, Michael Walsh of Time magazine reported that "the cast of The Daughter of the Regiment applauded when it was told during rehearsal that Battle had been fired." After she sang with the San Francisco Opera at this time, several backstage workers wore T-shirts that read: "I survived the Battle".

In a statement released by her management company, Columbia Artists, Battle said: "I was not told by anyone at the Met about any unprofessional actions. To my knowledge, we were working out all of the artistic problems in the rehearsals, and I don't know the reason behind this unexpected dismissal. All I can say is I am saddened by this decision." Since then, Battle has not performed in opera.

For the remainder of the decade, she worked extensively in the recording studio and on the concert stage. She was a featured guest artist on the May 1994 album Tenderness, singing a duet, "My Favorite Things", with Grammy-winning jazz vocalist Al Jarreau. In 1995 she presented a program of opera arias and popular songs at Lincoln Center with baritone Thomas Hampson, conductor John Nelson, and the Orchestra of St. Luke's. She also released two albums in 1995: So Many Stars, a collection of folk songs, lullabies, and spirituals (with accompanying live concert performances) with Christian McBride and Grover Washington Jr. (with whom she had performed in Carnegie Hall the previous year); and Angels' Glory, a Christmas album with guitarist Christopher Parkening, a frequent collaborator. In 1997 came the release of the albums Mozart Opera Arias and Grace, a collection of sacred songs. In October 1998, she joined jazz pianist Herbie Hancock on his album Gershwin's World in an arrangement of Gershwin's Prelude in C♯ minor. December 1999 saw the release of Fantasia 2000, on which she is the featured soprano in Elgar's Pomp and Circumstance Marches performed by the Chicago Symphony Orchestra and Chicago Symphony Chorus and conducted by long-time collaborator James Levine. In solo recitals she performed in cities including Los Angeles, New York, Cincinnati, and Chicago in programs that featured art songs from a variety of eras and regions, opera arias, and spirituals.

2000–present
Battle has continued to pursue a number of diverse projects including the works of composers who are not associated with traditional classical music, performing the works of Vangelis, Stevie Wonder, and George Gershwin.

In August 2000, she performed an all-Schubert program at Ravinia. In June 2001, she and frequent collaborator soprano Jessye Norman performed Vangelis' Mythodea at the Temple of Olympian Zeus in Athens, Greece. In July 2003 she performed at the Ravinia Chicago Symphony Orchestra Gala with Bobby McFerrin and Denyce Graves. In 2006 she and James Ingram sang the song They Won't Go When I Go in a Tribute to Stevie Wonder and she began including Wonder's music in her recitals. In July 2007 she debuted at the Aspen Music Festival performing an all-Gershwin program as part of a season benefit. In October 2007, at a fundraiser for the Keep a Child Alive Charity, Kathleen Battle and Alicia Keys performed the song Miss Sarajevo written by U2's Bono. On April 16, 2008, she sang an arrangement of the Lord's Prayer for Pope Benedict XVI on the occasion of his papal visit to the White House. This marks the second time she sang for a pope. (She first sang for Pope John Paul II in 1985 as soprano soloist in Mozart's Coronation Mass.) Later that year, she performed "Superwoman" on the American Music Awards with Alicia Keys and Queen Latifah. Since that time she has appeared in the occasional piano-voice recital, including a recital of works by Schubert, Liszt, and Rachmaninoff in Costa Mesa, California accompanied by Olga Kern (February 2010) and a recital in Carmel, Indiana, accompanied by Joel A. Martin (April 2013).

After a 22-year absence from the Metropolitan Opera House, Battle performed a concert of spirituals at the Met in November 2016. Battle later performed a recital of spirituals at the Metropolitan Opera on May 12, 2024.

Major debuts

 * Professional debut: soprano soloist in Brahms' Ein Deutsches Requiem, Festival dei Due Mondi, Spoleto, Italy, July 9, 1972.
 * Broadway debut: Treemonisha in Scott Joplin's Treemonisha (Gunther Schuller, conductor), (Wednesday and Saturday matinee performances), Uris Theatre, New York City, October 1975.
 * Operatic debut: Rosina in The Barber of Seville, Michigan Opera Theatre, 1975.
 * New York City Opera company debut: Susanna in The Marriage of Figaro, 1976.
 * San Francisco Opera company debut: Oscar in Un ballo in maschera (Kurt Herbert Adler, conductor), November 12, 1977.
 * Metropolitan Opera company debut: Shepherd in Tannhäuser (James Levine, conductor), December 22, 1977.
 * UK debut and Glyndebourne Festival Opera debut: Nerina in La fedeltà premiata, July 15, 1979.
 * Lyric Opera of Chicago company debut: Oscar in Un ballo in maschera (John Pritchard, conductor), November 26, 1980.
 * Salzburg Festival debut and Salzburg opera debut: Despina in Così fan tutte (Riccardo Muti, conductor), July 28, 1982.
 * Salzburg Festival solo recital debut: August 25, 1984.
 * Royal Opera, London company debut: Zerbinetta in Ariadne auf Naxos, June 17, 1985.
 * Carnegie Hall solo recital debut: April 27, 1991.

Repertoire
Choral and symphonic

Major oratorio, choral, and symphonic works in which Battle has performed as a soloist:

 * (Bach) Cantata No. 202 (Wedding Cantata)
 * (Bach) Cantata No. 51 Jauchzet Gott in allen Landen, BWV 51
 * (Alban Berg) Lulu Suite
 * (Brahms) A German Requiem
 * (Fauré) Requiem
 * (Haydn) The Creation
 * (Handel) Messiah
 * (Mendelssohn) A Midsummer Night's Dream
 * (Mahler) Symphony No. 2 Resurrection
 * (Mahler) Symphony No. 4
 * (Mahler) Symphony No. 8

 * (Mozart) Exsultate, jubilate
 * (Mozart) Great Mass in C Minor
 * (Mozart) Mass in C Major Coronation
 * (Mozart) Requiem
 * (Orff) Carmina Burana
 * (Poulenc) Gloria
 * (Poulenc) Stabat Mater
 * (André Previn) Honey and Rue
 * (Vangelis) Mythodea

Opera

Battle has portrayed the following roles on stage:

 * Blonde in Die Entführung aus dem Serail (Mozart)
 * Konstanze in Die Entführung aus dem Serail (Mozart)
 * Zerlina in Don Giovanni (Mozart)
 * Pamina in Die Zauberflöte (Mozart)
 * Despina in Così fan tutte (Mozart)
 * Susanna in Le nozze di Figaro (Mozart)
 * Adina in L'elisir d'amore (Donizetti)
 * Marie in La fille du régiment (Donizetti)
 * Norina in Don Pasquale (Donizetti)
 * Zdenka in Arabella (Richard Strauss)
 * Sophie in Der Rosenkavalier (Richard Strauss)
 * Zerbinetta in Ariadne auf Naxos (Richard Strauss)

 * Rosina in Il barbiere di Siviglia (Rossini)
 * Elvira in L'italiana in Algeri (Rossini)
 * Cleopatra in Giulio Cesare (Handel)
 * Semele in Semele (Handel)
 * Oscar in Un ballo in maschera (Verdi)
 * Nanetta in Falstaff (Verdi)
 * Sophie in Werther (Jules Massenet)
 * Nerina in La fedeltà premiata (Haydn)
 * The Angel in Saint François d'Assise (Olivier Messiaen)
 * Treemonisha in Treemonisha (Scott Joplin)
 * Shepherd in Tannhäuser (Wagner)

Concert and recital

Battle's concert and recital repertoire encompasses a wide array of music including classical, jazz, and crossover works. Her jazz and crossover repertoire includes the compositions of Duke Ellington, George Gershwin, Leonard Bernstein, André Previn, Rodgers and Hammerstein, and Stevie Wonder among others. She is known for her performances of African-American spirituals.

Major collaborations
Among the conductors with whom Battle has worked are Herbert von Karajan, Riccardo Muti, Zubin Mehta, Seiji Ozawa, Claudio Abbado, Georg Solti, Carlo Maria Giulini, and Battle's fellow Ohioan James Levine, music director at New York's Metropolitan Opera. She has performed with many orchestras, including the New York Philharmonic, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, the Philadelphia Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, the Berlin Philharmonic, the Vienna Philharmonic, and the Orchestre de Paris. She has also appeared at the Salzburg Festival, Ravinia Festival, Tanglewood Festival, Blossom Festival, the Hollywood Bowl, Mann Music Centre Festival and the Caramoor Festival, and at Cincinnati May Festival.

In recital, she has been accompanied on the piano by various accompanists including Margo Garrett, Martin Katz, Warren Jones, James Levine, Joel Martin, Ken Noda, Sandra Rivers, Howard Watkins, Dennis Helmrich, JJ Penna, and Ted Taylor. Collaborations with other classical artists include flautist Jean-Pierre Rampal, soprano Jessye Norman, mezzo-sopranos Frederica von Stade and Florence Quivar, violinist Itzhak Perlman, baritone Thomas Hampson, tenors Luciano Pavarotti and Plácido Domingo, trumpeter Wynton Marsalis and guitarist Christopher Parkening.

Away from the classical side, she has worked with vocalists Al Jarreau, Bobby McFerrin, Alicia Keys, and James Ingram, jazz saxophonist Grover Washington Jr., jazz pianists Cyrus Chestnut and Herbie Hancock. Battle also lent voice to the song "This Time" on Janet Jackson's album Janet and sang the title song, "Lovers", for the 2004 Chinese action movie, House of Flying Daggers. She also performs the music of Stevie Wonder.

Awards and honors

 * Grammy, Best Classical Vocal Soloist Performance for Kathleen Battle Sings Mozart, 1986.
 * Grammy, Best Classical Vocal Soloist Performance for Salzburg Recital, 1987.
 * Grammy, Best Opera Recording for Richard Strauss: Ariadne Auf Naxos, 1987.
 * Laurence Olivier Award, Best Performance in a New Opera Production for Zerbinetta in Ariadne auf Naxos, Royal Opera, London, 1985.
 * Grammy, Best Classical Vocal Soloist Performance for Kathleen Battle at Carnegie Hall (Handel, Mozart, Liszt, Strauss, etc.), 1992.
 * Emmy, Outstanding Individual Achievement – Classical Music/Dance Programming – Performance for the Metropolitan Opera Silver Anniversary Gala, 1992.
 * Candace Award from the National Coalition of 100 Black Women, 1992.
 * Grammy, Best Opera Recording for Handel: Semele, 1993.
 * Golden Plate Award of the American Academy of Achievement, 1993.
 * Battle is the recipient of six honorary doctorates from American universities. They include: the University of Cincinnati, Westminster Choir College, Ohio University, Xavier University, Amherst College, and Seton Hall University.
 * NAACP Image Award – Hall of Fame Award, 1999.

title: Kathleen Battle


text:
Second Battle of Zurich

The Second Battle of Zurich (25–26 September 1799) was a key victory by the Republican French army in Switzerland led by André Masséna over a Russian force commanded by Alexander Korsakov near Zürich. It broke the stalemate that had resulted from the First Battle of Zurich three months earlier and led to the withdrawal of Russia from the Second Coalition. Most of the fighting took place on both banks of the river Limmat up to the gates of Zürich, and within the city itself. The same days saw a battle between Hotze's Austrians and Soult's French at the River Linth. It was arguably the most significant French victory of 1799–1800.

Background
After the First Battle of Zurich Masséna had consolidated to a defensive line behind the lower reaches of the Aare River. At this time his entire army in Switzerland consisted of around 77,000 combatants, positioned as:
 * 1st Division (Tharreau) in the Upper Valais and the Simplon Pass.
 * 2nd Division (Lecourbe) in the St Gotthard and the valley of the Reuss.
 * 3rd Division (Soult) Right wing near Glarus, centre on the left bank of the Linth, the left near Adliswil on the Sihl.
 * 4th Division (Mortier) on the Uetliberg.
 * 5th Division (Lorge) on the left bank of the Limmat between Altstetten and Baden.
 * 6th Division (Ménard) from Baden to the confluence of the Aare with the Rhine.
 * 7th Division (Klein) formed the Reserve in the Frick-thal.
 * 8th Division (Chabran) at Basel.

Following the overall strategic plan, the Austrian army under the Archduke Charles was to be augmented by the 25,000 man Russian command of Korsakov, newly arrived at Schaffhausen after a 90-day march.

Masséna meanwhile was preparing an offensive on his right flank against the Austrian positions in the Alps. On 15 and 16 August General Claude Lecourbe with 12,000 men drove the forces of Gottfried von Strauch and Joseph Anton von Simbschen from the St. Gotthard, Furka and Oberalp Passes in a series of violent assaults. As a distraction, on 14 August French forces under Soult made demonstrations across the Sihl below Zürich.

On the night of 16/17th Archduke Charles supported by Korsakov's troops launched a surprise attack over the river Aare at Gross-Döttingen using boats and pontoon bridges, but his engineers misjudged the strength of the current and depth of the river, the pontoon bridge was unable to be secured and eventually after serious fighting the attack was called off. Archduke Charles and Korsakov planned no further joint action however, as following the strategic plans of the Austrian Hofkriegsrat under Baron Thugut, Charles had been ordered to move his main command north into southern Germany. Reluctantly following these instructions, he left behind a column of 29,000 men under Friedrich von Hotze, and Korsakov's command with the Swiss in the Austrian service. The plan for these two commands was to wait for the arrival of the Russian column of Suvorov penetrating north from Italy over the Alpine passes and trap Masséna in a 3-point encirclement.

French Troops
The French troops which took part in the battle included:

 * 23éme Régiment de Chasseurs à Cheval (Légion de Ardennes)
 * 9éme Régiment de Hussards (la Liberté)
 * 2éme Demi-Brigade d'Infanterie de Ligne
 * 37éme Demi-Brigade d'Infanterie de Ligne
 * 46éme Demi-Brigade d'Infanterie de Ligne (Deuxieme Formation)
 * 57éme Demi-Brigade d'Infanterie de Ligne
 * 102éme Demi-Brigade d'Infanterie de Ligne
 * 10éme Demi-Brigade d'Infanterie de Ligne

Initial situation
On 22 August Korsakov and Hotze agreed that the Russians with 22,000 men would line the lower reaches of the River Limmat (Aare), and Hotze with 20,000 men would occupy the Obersee region below Lake Zürich from the Linth to Glarus.

On 28 August the bulk of the troops of Archduke Charles departed Switzerland. Korsakov himself arrived in Zürich the following day, quickly displaying a vain over-confidence in the capabilities of his troops and disregard both for the French and his allies the Austrians: "The presumption and arrogance of Korsakoff were carried to such a pitch, that in a conference with the Archduke Charles, shortly before the battle [of Zürich], when that great general was pointing out the positions which should in an especial manner be guarded, and said, pointing to the map, 'Here you should place a battalion.' – 'A company, you mean,' said Korsakoff – 'No,' replied the Archduke, 'a battalion.' – 'I understand you,' rejoined the other; 'an Austrian battalion, or a Russian company'"

At the end of August the Allied army stood as follows.

Korsakov with 33,000 men around Zürich and the Lower Limmat, distributed as: Brigades of General-Major Tuchkov (6,314 men) and General-Major Essen (2,237 men) at Wollishofen. Total with gunners 10,330 men.
 * Division Lieutenant-General Gorchakov (Korsakov's main body in the Camp of Sihlfeld, between the Uetliberg and Limmat):

Brigade of General-Major Markov in a camp before Weiningen opposite Dietikon (2,000 grenadiers and 300 cossacks) Brigade of General-Major Pushchin in a camp at Würenlos and in front of the village of Wettingen: 2,500 infantry, 1,000 cossacks (8 battalions, 10 squadrons). Along the right banks of the Limmat from Baden to the Rhine (1,000 men). Total with gunners 7,052 men.
 * Division of Lieutenant-General Durasov:

 * The cavalry and cossacks (3,000 men) under Major-General Gudovich were distributed on the Rhine along the line of the road from Zürich to Baden.
 * Reserve Division Lieutenant-General Sacken, 5,700 men initially in a camp at Regensdorf, then along the north bank of Lake Zürich connecting to Hotze.

Nauendorf, with 5,400 Austrians, on the right bank of the Rhine between Waldshut and Basel.

Hotze with 25,000 Austrians, including 3,000 Swiss, from Uznach to Chur and Disentis.

Suvorov with 28,000 Russians on the march from Italy through the Alps.

Shortly before the battle Korsakov detached Osten-Sacken's 5,000 man Reserve Division to Rapperswil to reinforce Hotze in anticipation of Suvorov's approach, consequently weakening his defensive line along the Limmat before Zürich and exposing his line of communications.

The departure of Archduke Charles gave the French a momentary superiority in numbers, Masséna was determined to exploit this and the redistribution of Austrians and Russians. His aim was to beat Korsakov and Hotze before any intervention by Suvorov. On 30 August he attempted to cross the Aare and push back the enemy before Zürich. This river crossing was unsuccessful, and Masséna now planned a crossing near Dietikon with a subsequent attack on Korsakov in Zürich.

On 19 September, Masséna revealed his plan to his division commanders. Lorge's Division and part of Ménard's would cross the Limmat from Dietikon and attack Korsakov in Zürich. The remainder of Ménard's command would occupy the enemy by demonstrating at Vogelsang. At the same time Mortier's Division was to hold the attention of Korsakov's main body in front of Zürich by attacking Wollishofen. Klein was to cover the Alstetten road, while the Division of Soult was to cross the Linth at Bilten and prevent Hotze from assisting the Russians. All the boats available for transportation were assembled at Brugg, while a pontoon bridge was constructed at Rottenschwil to mislead the enemy as to the point of crossing. Since June, French boats had been gathered from different waters and transported over land and water. By September, 37 boats of different types were gathered in secret near Dietikon. Under cover of the night of 23/24 September Artillery General Dedon dismantled the pontoon bridge at Rottenschwil and transported it by convoy across the mountain to Dietikon.

On 24 September news came that Suvorov's troops had finally conquered the Gotthard Pass (see Battle of Gotthard Pass). This delayed success for the Russians made the joint attack of Korsakov, Hotze and Suvorov impossible, but it persuaded Masséna to bring forward his attack from 26 to 25 September.

The Crossing of the Limmat
On the evening of 24 September Masséna's troops concentrated at Dietikon amounted to more than 8,000 men of Lorge's infantry division and 26 guns, all laying silently in the vicinity of the river. On the other side of the Limmat between Würenlos and Wipkingen they were faced by only 2,600 Russians under Major General Markov, including 1,100 men under Markov himself in Oetwil Würenlos, 290 men and 2 guns of the Misinov Cossack regiment between the rise of the monastery drive and the pine woods, 220 men of a Grenadier Battalion on the western edge of the pine woods and four squadrons of dragoons, with 550 men under Colonel Dmitry Dmitrievich Shepelev at Wipkingen.

On 25 September at 04:45 as boats were rapidly launched across the Limmat the alarm was raised, and initial shots fired by a battalion of Gazan's Advance Guard Brigade signalled the beginning of the attack. With prompt efficiency approximately 600 men in 37 boats crossed the Limmat and formed a bridgehead on the opposite bank. The crossing of the boats alerted the weak Russian outposts on the opposite bank, but despite several rounds of musketry and artillery not a single boat was sunk, or a man drowned. At this point the Limmat sweeps back in a wide arc to the south, allowing Masséna's artillery to fire from both sides of the river bend on the landing and deeper beyond the bridgehead. 25 shots hit various buildings of the monastery. As more French crossed, firing from the left bank ceased in fear of hitting their own men, and all effort was placed into traversing the river.

At 05:00 Dedon directed the erection of the pontoon bridge. The French bridgehead was exposed to Russian artillery fire from the heights of Kloster-Fahr and the pine woods. This plateau, defended by seven guns and Markov's reserves was forthwith attacked, and after hard fighting by 06:00 the Russians were driven back, Markov wounded and taken prisoner. Barely an hour after the first shots the French had crossed 800 men and were in possession of the pine wood and the Russian camp. Behind them the pontoon bridge was rapidly assembled and completed at 07:30. By 09:00 the entire division of Lorge was on the right side of the Limmat with 8,000 men and a total of 26 guns.

Masséna aimed to prevent the Russian right wing under Durasov joining their left at Zürich, and now quickly sent Bontemps with his brigade to gain the slopes of the mountains of the Glatt and cut the communications between Regensberg and Zürich. Bontemps' left was covered by 2 battalions of Quétard's brigade on the Wurenlos road. All the other troops, some 15,000 men including the advance guard under Gazan, followed chief of staff Nicolas Oudinot in the direction of Höngg.

Mortier's attack
Meanwhile, at 05:00 Mortier's Division had launched its feint attacks against Korsakov's main command. His left under Brunet advanced to the small plateau at Wiedikon where they were soon pinned down by superior forces. His right under Drouet drove the Russians from Wollishofen, but were soon counter-attacked by Gorchakov's six battalions, assisted by William's flotilla of gunboats, and pushed back towards the Uetli.

Gorchakov however, not satisfied with merely repulsing the enemy attack, pursued the French to the Uetliberg and succeeded in capturing some batteries. This gain was however to contribute to the day's disaster, as the French success on the right bank, together with Klein's advance from Alstetten onto the Sihlfeld plane enfiladed the right of the Russian corps, obliging Korsakov to withdraw it at 13:00. "The Russians fought with their accustomed bravery, but they were not well directed, and it was pathetic to see them charging up the slopes of the Albis expecting to see Suvároff at the top and calling on his name" Closely pursued as they retreated, Gorchakov's men suffered considerable loss.

Ménard's feint
The river crossing over the Limmat was successful as the Russians were too weak in their front section, and because they had been distracted away from Dietikon with feints by Mortier's Division at Wollishofen and Ménard's Division at Vogelsang. Ménard had succeeded in completely outwitting the Russians with his attack and also demonstrations against Brugg. From daybreak he had opened a barrage of artillery fire with all his guns in the vicinity of Baden and at the confluence of the Aare and Limmat against Durasov's forces, spread his remaining brigade out in full view of the enemy, and put into motion the remaining boats on the river. Durasov was completely duped by this, and stationed his troops nearly the entire day between Freyenwyl and Wurenlingen. By the time he realised his mistake and marched to rejoin troops on the heights of Oetlikon he found the passage barred by Bontemp's brigade, and had to make a substantial detour to Zürich, where he arrived late at night.

At Vogelsang Ménard succeeded in throwing a small detachment over the Limmat on boats transported overland from the Aare while under fire, this enabled him to re-establish a flying bridge, with which he crossed part of his command the next morning.

Battle closes on Zürich
In Zürich, Korsakov had felt his position secure to the extent that he had not made a single inspection of the line, nor had he removed his baggage or hospitals to a safe distance; instead, everything was left jumbled up in the city. Roused by the cannonade, he rode out to Höngg with a small detachment of troops and learned of Markov's defeat. Nevertheless, he was convinced that the crossing of the Limmat was merely a demonstration, and that the main threat came from Mortier's attack on Wollishofen.

By 10:00 the French were advancing on both banks of the Limmat supported by a heavy artillery barrage. Oudinot seized Höngg and the Wipkingen Heights from the weak detachment left by Korsakov, then, joined by part of the Reserve, at shortly before 15:00 he began attacking the Zürichberg, held by several Russian battalions. Gazan marched to Schwamendingen to cut the road to Winterthur. By this time Korsakov had finally become aware of his dangerous situation and withdrew troops from the right bank through Zürich to face the advancing Oudinot, however they could only do this by filing through the narrow streets of the town, jammed with wounded and baggage. A barrage of howitzer shells from the French further increased the confusion and impeded the Russians even more. By the time they had cleared Zürich it was too late, the French had gained the mountain on that side of town and on the plains took possession of the Beckenhof country house. The Russians attacked bravely, but could make no impression on the troops of Lorges, supported by the Helvetian Legion. In the meantime four Russian battalions sent back to Zürich by Hotze arrived, Korsakov put himself at their head and with the help of Bachmann's Swiss Legion drove back the French to the foot of the Heights of Wipkingen. Gazan however, held on at Schwamendingen. The Russian counterattacks against the Zürichberg, though incredibly brave, were inadequate in number and "instead of gaining the heights, the troops kept fighting before the gate, and charging the enemy with the bayonet among the vines and hedges, in a ground which did not admit of such an operation".

As night drew on Korsakov shut himself up in Zürich, having conceded the plains to the French. Masséna summoned the town but received no answer.

Soult's Attack against Hotze
While all this was going on around Zürich, at the eastern end of Lake Zürich the Austrian corps of Hotze faced the French division of Jean-de-Dieu Soult in the channels and marshes around the lower Linth and the Walensee. For days beforehand Soult had dressed himself in an ordinary infantryman's uniform and performed outpost duty to observe the Austrian positions. The Battle of Linth River began at 2:30 am on the 25th when a small group of soldiers, stripped to their underclothes, with pistols and ammunition tied above their heads and swords in their teeth, swam across the channel near Schänis. They were able to pull up rafts with ropes, and under the darkness and a thick mist which lingered all day, a whole battalion was ferried across before the alarm was raised. Similar crossings were made at Grynau Castle and Schmerikon. At 4.00 Hotze was awakened by the noise of artillery fire and rode out to find his troops fighting bravely at Schänis. He then rode with his chief of staff towards Weesen to reconnoitre, but in the fog they ran into French troops concealed in a wood. As the two Austrians turned to flee they opened fire and both men were shot dead. News of the death of Hotze spread quickly and the dismayed Austrians now under the hapless command of Franz Petrasch fell back towards Lichtensteig, abandoning their small flotilla of boats at Rapperswil.

Further east on Soult's right flank, Gabriel Jean Joseph Molitor's brigade had been attacked by the Austrian far left flank columns under Franz Jellacic and Friedrich von Linken on the upper Linth. The two Austrians were unaware of the fate of Hotze's and Korsakov's forces and out of touch with each other. The French 84th Line Infantry demi-brigade held on behind the Linth all through 25 September, then counter-attacked on the following day. Encouraged by the defeat of Hotze, Molitor's men drove Jellacic's Austrians back towards Walenstadt. On the 25th, Linken's column appeared in the Sernftal, surprising and capturing two battalions of the French 76th Line Infantry. Linken's troops, which consisted of Joseph Anton von Simbschen's brigade, soon found themselves opposed by a battalion of the 84th Line. By 27 September, Molitor attacked Linken after being reinforced by two of Soult's battalions, but the fighting was inconclusive. On 29 September after more skirmishing, Linken gave the order to retreat to the Rhine valley after receiving a misleading note from a double agent and not getting any other news from Suvorov or Hotze.

Actions on 26 September
During the night Korsakov was finally joined by Durasov's troops, and by the corps returned by Hotze from the Linth. Now mustering 16 battalions Korsakov was determined to hold his position at Zurich until he could be joined by Suvorov. That morning he received the news of the death of Hotze.

Facing the Russians, Oudinot assembled all the troops on the right bank to attack the Zürichberg – Bontemp's brigade was to block the Winterthur road on the left. Lorge was to march along the Limmat to connect with the attacks of Klein and Mortier, who in their turn would advance by the Sihlfeld with Masséna at their head. By cutting the retreat of the Russians they would be driven into the lake.

At dawn the Russians launched a powerful attack against Lorge's Division in two lines which succeeding in driving back Bontem's brigade and re-taking the Winterthur Road, thus foiling the plan to drive them into the lake. This was very fortunate for Korsakov, as at that moment Klein and Mortier were bombarding Klein Zürich, and Oudinot's ordinance breaking in the Höngg gate. Terrible confusion reigned in the confines of the town, Korsakov proposed a parley, but no one paid any attention. Instead the Russians began a general retreat, leaving only a weak rearguard in the town. Though he made no effort to prevent the withdrawal, Masséna advanced Dedon's light artillery to successive positions to fire on the left flank of the retreating column, which spread complete disorder through their ranks. Masséna then ordered Lorge, Bontems and Gazan to charge the centre of the Russians, who defended themselves with desperation. Generals Sacken and Likotsuchin were severely wounded, the troops fought in isolated pockets without cohesion of any sort.

At the same time Oudinot broke through the Limmat gate, still defended by the Russian rearguard, while Klein stormed through Klein Zürich with the Reserve.

There was no pursuit and the Russians were able to retreat without further interference, however Korsakov determined to continue withdrawing with undiminished speed as far as the Rhine, and beyond. Wickham claims that the greater part of the Russian command were able to reach Eglisau unmolested by the French. Nevertheless, of an original force of more than 25,000 men, Korsakov finally reached the Rhine with 10,000 remnants via Bülach and Eglisau, having lost his baggage train, guns and military chest and records.

Assessment
The defeat of Korsakov came about through a combination of careful planning by the French and poor leadership on the part of the Russians. On his arrival at the front Korsakov had made no personal reconnaissances, but gave himself over to comfortable existence in Zürich and relied entirely on a misplaced faith in the superiority of his troops to all others. Masséna described him as "more of a courtier than a soldier". Equally, the very rigid linear style of fighting the Russians had developed in their wars against the Ottoman Empire stood against them in this terrain against the more fluid French. Accustomed as they were to seize victory by aggressive bayonet advances to their front, it never occurred to them that they might be outflanked. Korsakov and Petrasch have also been strongly criticised for their rapid withdrawal over the Rhine despite very little pursuit by the French and in full knowledge that Suvorov was struggling to join them from the south.

The Republican victory was undoubtedly Masséna's greatest triumph, however he too has been criticised for failing to fully exploit his success. Rocquancourt, Jomini and the Archduke Charles question why Masséna on the evening of the 25th, when it became clear the Russians were concentrating against Oudinot, did not move up all of Klein's reserve and the remains of Ménard's Division to support the left wing and hence surround the Russians. Nevertheless, the action remains a brilliant feat of arms for the French.

Aftermath
Masséna, aware of Suvorov's advance toward St. Gotthard, quickly shifted his troops southward. Lecourbe's division had already defeated by Suvorov's troops, who successfully forced Rouss. After the battle, Massena was confident of his victory, telling the Russian officers in captivity, "I will soon bring Suvorov and Grand Duke Konstantin to you». Suvorov realized the situation was extremely dangerous, the number of Massena's troops was 4 times greater than his, the troops were tired and without artillery, and the French, after catastrophic defeats, settled in the mountains, from where no one could get them. Suvorov divided his troops, some remained in the Mutenskaya valley, while others went to fight their way out of the encirclement. A series of battles ensued, which ended in a heavy defeat for the Republicans. After the battles, Klentalsky Lake turned red The French were again blocked in the mountains, from where the Russians could not get them, meanwhile Massena attacked another part of the army, surprisingly, having new fresh troops, numerical superiority and artillery, he was defeated and almost captured. At the same time, Massena was forced to throw a lot of trophies, artillery and banners. After a series of failures, the French did not try again to interfere with the Russians, however, nature continued to interfere with them, Suvorov passed through impassable passages, people got tired, but continued to believe in their general, and finally reached Germany. Masena, having defeated Korsakov, tried to destroy Suvorov's army, but lost, unable to take advantage of such an advantage that nature and circumstances gave him. Suvorov lost about 5,000 people during the entire campaign. However, the French losses were no less, in one Mutenskaya valley they suffered 60% of all Suvorov's losses. Nevertheless, the battle had a decisive impact on the course of the campaign and on 15 October the last Coalition troops left Swiss territory, which therefore returned to the control of the Helvetic Republic. The heroic actions of Suvorov's army to save its soldiers did not go unnoticed and Pavel 1 rewarded Suvorov with the words: "Having conquered everywhere and everywhere all your life, you have not yet tried to conquer nature, But even she lost to you. Having struck once again the enemies of our faith, they trampled down with them the machinations of their accomplices, armed with malice and greed against you. Now, in rewarding you, as much as I am grateful, and placing you on the highest degree of honor and heroism, I am sure that I am rewarding the most famous commander of this and other times."

After the French victory Russia pulled out of the Second Coalition. The French extended their control of the territory of the Confederation and created favourable conditions for the attack on Austria. Under accusations of looting Masséna requisitioned enormous quantities of food, livestock and feed as well as soldiers and money. Want and misery dominated in the war-affected areas. The Second Coalition War had greatly weakened the Helvetic Republic, the consequent loss of popular support led ultimately to the 1803 Act of Mediation.

On the Zürichberg up a short forest trail and a monument to Masséna and the French. On the monument in the forest both battles of Zürich are briefly described. There is another commemorative memorial at Langnau am Albis south of Zürich to the defence of the Albis pass. In Paris the village names of Dietikon and Muta Thal are chiselled on the Arc de Triomphe. In Schöllenenschlucht (near the Devil's Bridge) is a monument to the Alpine crossing of the Russians under Suvorov.

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

title: Second Battle of Zurich


text:
Talk:Power Mac G5

Steve Job's promise
I think that someone mention how's Steve Jobs promise related to the switch to Intel (or rather that this is supposed). -User:Wfisher

Apple no longer uses the "Macintosh" trademark to describe it's products. No model since the Power Macintosh G3 has borne that name. The correct name, at least as far as Apple Marketing is concerned, is Power Mac. That, therefore, is the correct terminology for this article. -Astrovan
 * Folks no longer make with the "it's" misspelling to write out the ownsome of it. No one but unreadfuls hold to that word.  The straight word, at least as far as English-speakers are mindful, is its.  That, therefore, is the straight wording for this talk. lysdexia 04:43, 28 Oct 2004 (UTC)
 * Dude, this is a talk page, not a doctoral dissertation. I made a typo. It happens. And, for the record, you should have a comma after "folks." Or something like that.-Astrovan
 * I know, miss, but I wasn't addressing the users as folks, so no. How did you typo its? lysdexia 06:14, 14 Jan 2005 (UTC)
 * Obviously, then, your statement is incorrect, as folks such as myself still do. As for how, it's easy: add or omit the apostrophe, as inappropriate. -Astrovan

I find this a rather interesting dialogue. On the one hand, one should not correct another’s English in Pidgin English. On the other hand, “it’s” does mean “it is”, and it's not grammatically correct for use in the possessive case. One should have learned that in English 101 :^). Also, there should be no comma after the word “[f]olks.”   However,  when one gets to the bottom line, it’s all moot.

G5 not the first "desktop-class computer" to "implement 64-bit technology"
I removed the following sentence:
 * This processor is the first "desktop-class computer" to implement 64-bit technology; the AMD Opteron shipped as a 64-bit computer several months before, and DEC Alpha created a 64-bit chip in 1994.

Because it is not factually correct. See, at the very least, the MIPS Magnum (with particular reference to the Magnum 4000-PC model, marketed to run Windows NT Workstation around 1994) or DEC Jensen motherboard with EISA slots and the Alpha 21064 CPU, also sold to run Windows NT in 1994. Moreover, all MIPS-based computers of at least R4000 vintage, such as the SGI Indy (or the even earlier SGI Iris Indigo with a R4000 processor) are fully 64-bit in every sense that the G5 is today, since at least 1990 when the R4000 was released. Most would describe the Indy as a "desktop-class" machine, and even the later Sun Ultrasparc systems were 64-bit by the mid-1990s. --Ryanaxp 23:21, Feb 10, 2005 (UTC)
 * Yes, the Indy was a charming little ~$10k desktop system, perfect for those budget-minded folks that couldn't spring the ~$30k for a midrange “desktop-class” computer like an Indigo². :-p
 * Seriously though, the RISC versions of Windows NT were all sold for unaffordable workstations (Windows PPC didn't boot on Macs ;-) at the very minimum, and all required that their software be compiled specifically to run on that ISA, which most Windoze software obviously wasn't. Even in the case of 80x86-64, the Wikipedia article itself notes that Windows didn't do 64-bit on the Opteron until years after OS X did on the G5. That meant the Opteron “desktops” that “competed” with the G5 were exotic workstations or deskside servers running Linux, or in other words, the exact same sort of thing that had been around for decades. 72.235.10.209 (talk) 20:27, 19 March 2009 (UTC)

 * The Powermac G5 is definitely not the first "desktop-class computer" to "implement 64-bit technology". The first one was the SGI Indigo R4000, which came out in 1991(?), and which with IRIX 6.1 (1995) got a true full 64bit operating system. Then there are the already mentioned Alpha Workstations, some of which were even in the same price range as a high end PC or Mac. Windows for AXP was a 32bit version but there were 64bit OSes as well (Tru64, OpenVMS). Windowsxp is available as true and full 64bit version (64bit kernel, true 64bit memory addressing, full 64bit application support) since 2001 when it came out as "Windowsxp Professional 64bit Edition" for the Itanium (IA64) platform. It ran on machines like the HP i2000, Dell Precision 730 or SGI 750 (all of which were available to good cosutomers since 1999) which were true "desktop-class computers" with "64-bit technology", and which shortly after have been replaced by the HP zx2000 and zx6000 workstations.
 * It is also true that Windowsxp x64 came out a few weeks later than the first "64bit" Mac OS version (10.4), however, unlike Mac OS X it was a full and true 64bit OS while 10.4 had very rudimentary 64bit support, without 64bit memory adressing and without the capability to run any graphical 64bit applications, things that could 64bit Windows right from the start. It took Apple until 10.5 to provide the capability for graphical 64bit applications, and even today with Mac OS X 10.6 only the Xserve gets a true 64bit kernel with true 64bit addressing by default (the other Macs generally are still installed with 32bit kernel with 36bit PAE memory addressing scheme). Sorry, but Apple is no 64bit leader, in fact it is rather late to the 64bit arena. --bgawert 06:26, Dec 10, 2009 (UTC)

 * Ah, but Benjamin - the article doesn't say it was the first 64-bit personal computer; only that it was widely hailed as the first 64-bit desktop personal computer. Hailed by whom ? The stooges in marketing, of course :-) 116.231.83.44 (talk) 10:05, 11 December 2016 (UTC)

still for sale
its still for sale http://store.apple.com/1-800-MY-APPLE/WebObjects/AppleStore.woa/wo/27.RSLID?mco=5AE5F520&nclm=PowerMac

no its not, look again --Mitch Strand Nov. 15, 2006

Trivia
Now, I'm not going to report my own original research, since the section probably doesn't belong at all, but I count 4508 holes on the front of my machine. Yeah, I counted, what's it to you? 149.169.125.202 (talk) 09:17, 21 April 2008 (UTC)
 * I believe, you missed at least one hole or two. Please, try counting once more... — Preceding unsigned comment added by 178.42.86.41 (talk) 10:55, 7 November 2015 (UTC)

Last Apple Desktop to use a PowerPC Processor?
According to Wikipedia the Mac mini is a desktop machine and, depending on how you are counting, could be considered the last Apple desktop to use a PowerPC chip. The Mac mini (G4) was released in 2005, compared with 2003 for the Power Mac G5, however, the Mac mini was lasted updated with a PowerPC chip in either September or October 2005, depending on who you ask, compared with the more concrete (and later) October, for November delivery, for the PowerMac G5. jtjacques (talk) 23:59, 30 December 2008 (UTC)

No mention of designer
Jonathan Ive, the designer behind all the modern Apple devices hasn't been mentioned in any one of the articles associated with the Apple devices he created, you could argue that Ive is the reason Apple is so famous today, I can only assume it's either due to ignorance or deliberate.Gone ahead and mentioned Ive whose recognition is long overdue.Twobells (talk) 15:10, 25 August 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Power Mac G5. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20080424162510/http://www.forbes.com:80/technology/2008/04/23/apple-buys-pasemi-tech-ebiz-cz_eb_0422apple.html to http://www.forbes.com/technology/2008/04/23/apple-buys-pasemi-tech-ebiz-cz_eb_0422apple.html

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at Sourcecheck).

Cheers.—cyberbot II  Talk to my owner :Online 04:13, 28 February 2016 (UTC)

Metal plate = memory controller?
"A common problem amongst single processor G5s was that the plate of metal soldered to the Logic Board connecting all eight of the RAM slots would, over time, expand and contract in such a way that the computer could not boot properly, as it would not detect any RAM. The only way known to fix this problem is for someone to re-solder the plate themselves or expose the other side of the Logic Board to heat from a Heat Gun. The latter of these two options is far easier, as to access the plate of metal one would have to totally take out the Logic Board of the computer, whereas all one has to do to expose the other side is remove a fan."

The only thing approximating a metal plate on the back of the DIMM slots in a G5 is the memory controller, which is a surface mounted component connected via BGA (ball grid array). While I'm personally aware of anecdotal reports of the memory controller breaking & cracking its solder points leading to system failure (like many BGA connected surface mount components - the 360's red ring of death is one well known example), my concern is that this isn't a metal plate, it's an integrated circuit.

Should this paragraph be rewritten to be technically accurate? Or, since it's based on anecdotal reports from owners & hobbyists maintaining these aging systems, should it be removed entirely? That paragraph is unattributed. 97.78.116.118 (talk) 00:44, 1 March 2017 (UTC)

PCI-X info not quite accurate for PowerMac7,3
I just bought a PCI-X card for my 1.8 GHz DP Power MAC G5, and it gets detected as this in OpenBSD:

ppb1 at pci3 dev 4 function 0 "Pericom PI7C21P100 PCIX-PCIX" rev 0x01

The card was inserted at slot 4 (highest) and this seems to indicate that it's operating at 133 MHz...a pcidump -v does also show the PCI-X flag capability.

I just want to mention it becuase I was sweating about seemingly having PCI-X slots but the graph on this page showed that the 1.8 GHz DP on has only 64 bit PCI slots at 33 MHz. While I can't find a definite indication that the speed is at 133 MHz neither in Mac OS X nor in OpenBSD this ppb1 device seems to give hope that it is 133 MHz. Any thoughts? — Preceding unsigned comment added by 2003:CB:3FFF:A93:0:0:0:5 (talk) 08:00, 17 July 2019 (UTC)

 * The graph is a bit of a mess - it splits the machines into vertical columns, but the PCI/PCI-X information into horizontal rows. As both yourself and EveryMac points out the short-lived "generation one and a bit" dual-1.8ghz model had PCI-X sockets. The graph also mentions an M9494 model that doesn't seem to exist. -Ashley Pomeroy (talk) 21:43, 4 November 2023 (UTC)

title: Talk:Power Mac G5


text:
Wikipedia:Articles for deletion/Scott Stapp

Um...delete. Speedily, if you would. - Lucky 6.9 03:58, 14 May 2004 (UTC)
 * It's been speedy deleted, and I've removed it from VfD. --Ben Brockert 16:48, May 14, 2004 (UTC)


text:
Oskaloosa

Oskaloosa may refer to a place in the United States:

 * Oskaloosa, Iowa
 * Oskaloosa, Kansas
 * Oskaloosa, Missouri

title: Oskaloosa


text:
User:Astrovan

Astrovan.

title: User:Astrovan


text:
Hands Across the Sea (march)

"Hands Across the Sea" is an American military march composed by John Philip Sousa in 1899.

History
The march was written in 1899. When the march premiered the same year at the Academy of Music in Philadelphia, the audience insisted that it be repeated three times. The march is "addressed to no particular nation, but to all of America's friends abroad."

In 1901, John Philip Sousa heard the Virginia Tech Regimental Band (The Highty-Tighties) playing "The Thunderer" at the Pan-American Exposition in Buffalo, New York. Sousa was so impressed that he dedicated a performance of his latest march, "Hands Across the Sea", to the band.

Sousa prefaced the sheet music's score with a quotation from the English diplomat John Hookham Frere: "A sudden thought strikes me; let us swear eternal friendship." The march was composed in the wake of the Spanish–American War and is idealistic, in addition to patriotic, in nature.

"Hands Across the Sea" remains one of Sousa's more popular marches and is still performed widely by bands.

Composition
One reviewer describes the march this way: "Hands Across the Sea opens with a jaunty, carefree theme, the wind sonorities light and generally in their middle and upper ranges. An equally attractive march appears midway through, its manner initially mellow and nonchalant. It gradually turns more animated and colorful, the piccolo dancing merrily above suave wind sonorities. The work closes with this spirited theme playing proudly, the brass flamboyant, the cymbals crashing, and the whole brimming with festivity and vivid color. For band music enthusiasts and Sousa mavens, this three-minute gem will have great appeal."

title: Hands Across the Sea (march)


text:
Canadice Lake

Canadice Lake is the smallest Finger Lake of western New York. The lake is located approximately 30 mi south of Rochester. The name is derived from the Iroquois word ska-ne-a-dice, meaning long lake. The lake is part of the Genesee River watershed.

Description
Canadice Lake is 3 mi long and 0.3 mi wide at its widest point. The lake has a surface area of 649 acres and a maximum depth of 95 ft. The lake drains out into Canadice Outlet, which merges with water from the neighboring Hemlock Lake.

In 1873, the city of Rochester, New York was authorized to begin using the lake as a source of drinking water along with Hemlock Lake. A legal dispute with residents near the lake was resolved in favor of the city in 1886, and a conduit line was constructed which brought water from the lake to the city beginning in 1919. A treatment plant for the lake's water was opened in 1993.

Recreation
The lake is still used as a water source for Rochester today. To protect the water quality, no houses are permitted on its shore and boats are limited to 17 ft in length and a must have a 10-horsepower engine or less. Swimming, camping and contamination of the water are prohibited. Previously, a free permit was required to fish or boat on the lake, but that permit system has been discontinued and they are no longer required.

Canadice Lake features several trout species for recreational fishing, including lake trout, brown trout and rainbow trout. All three trout species are annually stocked in the lake by the New York State Department of Environmental Conservation. Landlocked Atlantic salmon are occasionally stocked as well.

An unimproved gravel boat ramp is available for launching boats on the lake's east side, and a cartop launch is available at the south end of the lake.

title: Canadice Lake


text:
Sanchuniathon

Sanchuniathon (Ancient Greek: ; probably from, "Sakkun has given"), also known as Sanchoniatho the Berytian, was a Phoenician author. His three works, originally written in the Phoenician language, survive only in partial paraphrase and a summary of a Greek translation by Philo of Byblos recorded by the Christian bishop Eusebius. These few fragments comprise the most extended literary source concerning Phoenician religion in either Greek or Latin: Phoenician sources, along with all of Phoenician literature, were lost with the parchment on which they were written.

The author
All knowledge of Sanchuniathon and his work comes from the Praeparatio Evangelica of Eusebius (I. chs ix-x), which contains some information about him, along with the only surviving excerpts from his writing, as summarized and quoted from his purported translator, Philo of Byblos.

Eusebius quotes neo-Platonist writer Porphyry as stating that Sanchuniathon of Berytus (Beirut) wrote the truest history because he obtained records from Hierombalus priest of Ieuo (Ancient Greek: Ἰευώ), that Sanchuniathon dedicated his history to Abibalus (Abibaal) king of Berytus, and that it was approved by the king and other investigators, the date of this writing being before the Trojan War (around 1200 BC) approaching close to the time of Moses, "when Semiramis was queen of the Assyrians." Thus Sanchuniathon is placed firmly in the mythic context of the pre-Homeric Greek Heroic Age, an antiquity from which no other Greek or Phoenician writings are known to have survived to the time of Philo.

Sanchuniathon claims to have based his work on "collections of secret writings of the Ammouneis discovered in the shrines", sacred lore deciphered from mystic inscriptions on the pillars which stood in the Phoenician temples, lore which exposed the truth—later covered up by allegories and myths—that the gods were originally human beings who came to be worshipped after their deaths and that the Phoenicians had taken what were originally names of their kings and applied them to elements of the cosmos (compare euhemerism), worshipping forces of nature and the sun, moon, and stars. Eusebius cites Sanchuniathon in his attempt to discredit pagan religion based on such foundations.

This rationalizing euhemeristic slant and the emphasis on Beirut, a city of great importance in the late classical period but apparently of little importance in ancient times, suggests that the work itself is not nearly as old as it claims to be. Some have suggested it was forged by Philo himself or assembled from various traditions and presented within an authenticating pseudepigraphical format to give the material a patina of believability. Philo may have translated genuine Phoenician works ascribed to an ancient writer known as Sanchuniathon but in fact written in more recent times. This judgment is echoed by the Encyclopædia Britannica Eleventh Edition, which described Sanchuniathon as "belong[ing] more to legend than to history."

Not all readers have taken such a critical view:

However that may be, much of what has been preserved in this writing, despite the euhemeristic interpretation given it, turned out to be supported by the Ugaritic mythological texts excavated at Ras Shamra (ancient Ugarit) in Syria since 1929; Otto Eissfeldt demonstrated in 1952 that it does incorporate genuine Phoenician elements that can now be related to the Ugaritic texts, some of which, as shown in extant versions of Sanchuniathon, remained unchanged since the second millennium BC. The modern consensus is that Philo's treatment of Sanchuniathon offered a Hellenistic view of Phoenician materials written between the time of Alexander the Great and the first century BC, if it was not a literary invention of Philo.

The work
In surviving fragments of the text, it can be difficult to ascertain whether Eusebius is citing Philo's translation of Sanchuniathon or speaking in his own voice. Another difficulty is the substitution of Greek proper names for Phoenician ones and the possible corruption of some Phoenician names that do appear.

Philosophical creation story
A philosophical creation story traced to "the cosmogony of Taautus, whom Philo explicitly identifies with the Egyptian Thoth—"the first who thought of the invention of letters, and began the writing of records"—which begins with Erebus and Wind, between which Eros 'Desire' came to be. From this was produced Môt 'Death' but which the account says may mean 'mud'. In a mixed confusion, the germs of life appear, and intelligent animals called Zophasemin (probably best translated 'observers of heaven') formed together as an egg. The account is not clear. Then Môt burst forth into light and the heavens were created and the various elements found their stations.

Allegorical culture heroes
Various descendants are listed, many of whom have allegorical names but are described in the quotations from Philo as mortals who first made particular discoveries or who established particular customs.

According to the text, the wind Colpias and his wife Baau (translated as Nyx 'Night') give birth to mortals Aeon, who discovered food from trees, and Protogonus 'firstborn'); The immediate descendants of these were Genus and Genea, who dwelt in Phoenicia; "and ... when droughts occurred, they (Genus and Genea) stretched out their hands to heaven towards the sun; for him alone (he says) they regarded as god the Lord of Heaven, calling him Beelsamen, which is in the Phoenician language 'lord of heaven', and in Greek 'Zeus.'" (Eusebius, I, x). Genus and Genea give birth to hôs, Pûr, and Phlox.

The history of the gods
The work includes a genealogy and history of various northwest Semitic deities who were widely worshipped. Many are listed in the genealogy under the names of their counterparts in the Greek pantheon, Hellenized forms of their Semitic names, or both. The additional names given for some of these deities appear usually in parentheses in the table below. Only equations made in the text appear here, but many of the hyperlinks point to the northwest Semitic deities that are probably intended. See the notes below the table for translations of the unlinked and several other names.

Translations of Greek forms: arotrios, 'of husbandry, farming', autochthon (for autokhthon) 'produced from the ground', epigeius (for epigeios) 'from the earth', eros 'desire', ge 'earth', hypsistos 'most high', pluto (for plouton) 'wealthy', pontus (for pontos) 'sea', pothos 'longing', siton 'grain', thanatos 'death', uranus (for ouranos) 'sky'. Notes on etymologies: Anobret: proposed connections include ʿyn = "spring", by Renan ("Memoire", 281), and to ʿAnat rabbat = "Lady ʿAnat" by Clemen (Die phönikische Religion, 69–71); Ieoud/Iedud: perhaps from a Phoenician cognate of Hebrew yḥyd = "only" or of Hebrew ydyd = "beloved".

According to the text, as in the Greek and Hittite theogonies, Sanchuniathon's El/Elus/Ilus/Cronus overthrows his father Sky or Uranus and castrates him, and surrounded his habitation with a wall, and founded Byblos, the first city of Phoenicia. However, Zeus Demarûs (that is, Hadad Ramman), who is the father of Melqart/Melicarthus (Heracles), purported son of Dagon but actually son of Uranus. When Uranus made war against Pontus, Zeus Demarûs invaded Pontus and joins with Uranus, although he (Zeus Demarûs) later vowed a sacrifice for his escape and Pontus put him to flight.

To El/Cronus is attributed the practice of circumcision. Twice we are told that El/Cronus sacrificed his own son: called Ieoud, Idoud, or Iedod in variant manuscripts. (Olyan says they reflect *yahid, "only son" or *yadid, "beloved." )

According to the text, El/Cronus, having laid an ambuscade for his father Uranus in a certain place situated in the middle of the earth, when he had got him into his hands dismembered him over against the fountains and rivers. There Uranus was consecrated, and his spirit was separated, and the blood of his parts flowed into the fountains and the waters of the rivers; and the place, which was the scene of this transaction, is shewed even to this day.

At some point, peace is made, and Zeus Adados (Hadad) and Astarte reign over the land with Cronus' permission. An account of the events is written by the Cabeiri and by Asclepius (Eshmun), under Thoth's direction.

About serpents
A passage about serpent worship follows in which it is not clear what part is from Sanchuniathon and what part from Philo of Byblus:

On the Phoenician Alphabet
A further work of Sanchuniathon noted by Eusebius (P.E. 1.10.45) is a treatise On the Phoenician Alphabet.

English translations

 * Tertullian.org: Eusebius Praeparatio, Book 1, chapters ix-x (Search on Sanchuniathon).
 * Sacred Texts: Ancient Fragments, ed. and trans. I. P. Cory, 1832: "The Theology of the Phœnicians from Sanchoniatho"

title: Sanchuniathon


text:
Talk:Power Mac G4 Cube

Untitled
The correct name for this model is "Power Mac G4 Cube" and not "Power Macintosh G4 Cube." Apple no longer uses the "Macintosh" trademark in its model names. -Astrovan

 * Good catch, but next time please use the "Move this page" feature to transfer the entire article with its edit history to the new name. Because you moved the page manually, an admin will now have to delete this page and remove the page properly.  (Hey sysops, please do that!).  —Ed Cormany 04:18, 14 May 2004 (UTC)

Wasn't there a G3 cube as well? I think mine is a G3 cube. Notinasnaid 14:36, 21 Oct 2004 (UTC)
 * No, not that they ever sold, AFAICT. (Why do you think yours is a G3?)

I stand corrected. More research correctly my flawed memory. Notinasnaid

Remove this Line?
I was reading the Power Mac G4 Cube article and I came across this line of text that put up some red flags in my mind. "'Apple's previous statement indicated that there was a slim possibility of Cube production being resumed in the future, and it would appear that the Mac mini has succeeded the Cube as a small, screenless computer. If this is true, it would be another example of Apple creating a product before its time like the Newton PDA.'" I for one find this sentence to be irreverent and self promoting. It has no real purpose other than to shine some lime light on Apple and how they are "before their time". I for one do not see how them popularizing the silent computer is ahead of their time. Thank you. Kenta 04:12, 6 September 2006 (UTC)
 * Agreed. its not that it was 'before its time', its that it was over-priced. the mac mini sold well because it was the cheapest mac ever. the cube was more than an equivilant system that had a screen. yeah i'm removing that line. Bungalowbill 15:21, 9 December 2006 (UTC)

The cat anecdote ...
Anybody have source material on that?
 * I don't, but let's google. --Roeme 20:21, 20 March 2006 (UTC)
 * Just some information that the power switch could be a little too trigger-happy: http://www.macminute.com/cgi-bin/wwwthreads/showflat.pl?Cat=&Board=general&Number=3020&page=20&view=collapsed&sb=6&o=0&part= --Roeme 20:23, 20 March 2006 (UTC)
 * In 2000 I got through three of these Cubes within the year -- all but the last one succumbed to the overly-sensitive power button issue, whereby the machine kept switching on/off. In the end I upgraded to a G4 tower -- noisier, but more reliable. I think some of the AppleStudio monitors also had problems with their similarly designed supplementary power button that was in the casing of the monitor and eventually Apple released a version of OSX that enabled users to disable these in System Preferences. Ricadus (talk) 02:32, 18 September 2009 (UTC)

NPOV
Hey, the Cube has some advantages, Point "Inconviniences" should be renamed accordingly and balanced out with conviniences. Even though there already some outlined in the text. --Roeme 20:21, 20 March 2006 (UTC)

I would add that the whole section is idiotic. Clearly added by a moron with no idea about computers, let alone the Cube. You forgot about the inconvenience of sticking your fingers in the power socket. Also don't forget the inconvenience of throwing the Cube at people; it can really hurt. Oh and you can see through the casing which is an inconvenience if you're only partially sighted, because you don't get to enjoy it like able-bodied persons.

Great work everyone.

Design
> References in Culture ==

I renamed the section to summarize what the paragraph is actually talking about--a list of random TV shows and a novel in which the G4 Cube appears. The quote from the book was also entirely unnecessary. What did any of this have to do with the history, motivation, or other decisions behind design of the cube? 100DashSix (talk) 15:16, 3 March 2008 (UTC)

 * I think this section must go to the bottom of the article. --Stormwatch (talk) 00:55, 11 July 2009 (UTC)
 * Cube as distinctive-looking staus symbol. Ricadus (talk) 02:34, 18 September 2009 (UTC)

Awards
Almost every article about the Cube describes it as "award-winning", which sounds plausible enough, but the details tend to peter out at that point. Which awards did it win, and were they notable? A bit of detective work unearths a Popular Mechanics 2001 Design & Engineering Award here, but are there more? From artier organisations than Popular Mechanics? -Ashley Pomeroy (talk) 15:27, 23 January 2010 (UTC)
 * Best desktop system by PC Magazine's Technical Innovation Awards in 2000 . Jonathan Ive may have won awards for the design as well. An "artier" design award would be given to the designer, not the product

Citation link to press statement does not contain quoted text
n July 2001 Apple issued a short and slightly unusual press release announcing the product was to be put "on ice." The accompanying citation link does not contain any reference to ice. —Preceding unsigned comment added by 137.190.248.36 (talk) 20:48, 8 February 2011 (UTC)

Mac World online
Says the Mac G4 Cube is a flop - citing cosmetics as a main reason.

I agree totally with the cosmetics and marketing concern: customers are fickle and hitting the market squarely and having it all ready on the shelf before it's "old news" is essential.

However at the time the G4 sold very well in the laptop form factor, infact, meaning that customers were simply seeking to get away from desktops of any kind whatsoever.

The lack of "upgradability" is fine: it was a top of line product not needing upgrade. Apple products hit the market using specific hardware and (in general) cannot use "pc store add-ons" unless made for Mac. It is Mac's excellent and TIMELY (on-shelf, out of box) support of the specific hardware inside and TIMELY software that utilizes it (meaning, good multimedia) that both make Mac a great consumer product and inhibit generic add-ons.

The cost: was to be compared to Mac Book or iPhone upgrade. Mac always gets a premium over other brands - although in 2015 they have offered Mac Mini which is affordable by "less worldly consumers" seeking a good brand.

The lack of fan was good: a fan failures/noise are bad for consumers (and batteries) and can be avoided at a price. — Preceding unsigned comment added by 72.219.201.25 (talk) 15:01, 14 September 2015 (UTC)

Reversion of edits by Wingwatchers
I reverted the edits because they were not an improvement. Wingwatchers changed:
 * "Designed by Jonathan Ive, the Cube was born from Apple CEO Steve Jobs' interest in a powerful, miniaturized desktop computer" to "It was designed by Jonathan Ive, and was inspired by Apple CEO Steve Jobs' interest in a powerful and miniaturized desktop computer." The original is an example of a stylish appositive, which introduces the sentence and restates the upcoming grammatical subject and Jobs' role was much more than providing inspiration.
 * " Apple's designers developed new technologies and production techniques to create the product, a 7.7 in cubic computer housed in clear acrylic glass" to "The Cuvbe [sic] was was a 7.7 in cubic computer housed in clear acrylic glass."
 * "Apple positioned the Cube in the middle of its product range, between the consumer iMac G3 and the professional Power Mac G4" to "The Cuvbe [sic] was was a 7.7 in cubic computer housed in clear acrylic glass and stood in the middle of its product range between the consumer iMac G3 and the professional Power Mac G4." The use of "and stood" does not convey the same depth of meaning as "positioned".
 * "The Cube won awards and plaudits for its design upon release, but reviews noted the high cost of the machine in comparison to its power, its limited expandability, and cosmetic defects" to "The Cube received numerous awards and critical plaudits for its design upon release, but have [sic] been criticize  [sic] for the high cost of the machine in comparison to its power, its limited expandability, and cosmetic defects."
 * "The Cube was a rare failure for the company under Jobs, after a successful period that brought the company back from the brink of bankruptcy" to "It was a rare failure for the company under Jobs, who after successful period brought the company back from the brink of bankruptcy." There is a missing indefinite article before "period".
 * "The Cube influenced the design of future Apple products from the iPod to the Mac mini." to "The Cube influenced many future lineup of Apple products ranging from the iPod to the Mac mini." The expression "many future lineup" is not idiomatic English.

I reverted Wingwatchers' edits but they started a potential edit war here, which was thankfully stopped in its tracks by a FA Coordinator here. This article is at WP:FAC and should not have been edited in such a cavalier fashion and without prior discussion. Lastly, is out of order in adding their names as a co-nominator at the FAC. This is out of process and should be removed. Graham Beards (talk) 06:58, 18 September 2021 (UTC)

 * I have minimized every strand of stressfulness just to be free of fundamental disputes, I admitted that the prose doesn't quite flow well, but please do prevent any future pings for its too distributing to deal with such hatred and stressfulness. There was one thing, in particular, that was out of self-limitation, "Lastly, Wingwatchers (talk · contribs) is out of order in adding their names as a co-nominator at the FAC. This is out of the process and should be removed", consultation does not indicate that I have personally added to the official roles. @Dr Graham Beards Wingwatchers (talk) 23:01, 23 September 2021 (UTC)

Portals?
Would it be a good idea to add a portal par for this article? Tyrone Madera (talk) 17:46, 13 December 2021 (UTC)

Do we know the cost?
The page never seems to say what the cost was.

71.166.47.13 (talk) 09:53, 9 January 2022 (UTC)
 * I noticed the same. in the FAC says "I'm following WP:NOTSALE, which recommends against pricing unless it's integral to the subject in sources, and in general I didn't find that to be the case in coverage". but clearly the price is very important, integral, to the subject; it's very weird to see repeated mentions of it being a failure due the high price while what exactly the price was is never specified.  separately, I find the lack of details about the monitor unusual. from the image it looks like the set was sold with a monitor, but the first two sections only mention details about the CPU and the single sentence about monitors only mentions connectors, together implying the computer came without a monitor like a home gaming console. nevermind, checking the Ars Technica source, it's clear it doesn't come with a monitor. regards, TryKid [dubious – discuss] 13:00, 9 January 2022 (UTC)
 * Add me to the list of people who find the constant harping about its high price really confusing as there is no indication as to what that price might have been. This is an obvious flaw in what is supposed to be a Featured Article. Especially so since it is highly visible in the TFA slot. --User:Khajidha (talk) (contributions) 13:12, 9 January 2022 (UTC)
 * The fact that the computer was too highly priced for its day is very important to the subject; I don't believe the actual price is, given that the number as presented is contextless without also detailing the average selling prices of computers from 20 years ago and the starting prices of the rest of the Mac lineup, to say nothing of inflation and the change in general pricing of home computers since. Der Wohltemperierte Fuchs  talk 19:36, 9 January 2022 (UTC)
 * the legacy section contains this sentence: "[i]n comparison to the high price of the Cube, the Mini retailed for $499 and became a successful product that remains part of Apple's lineup"; the context is already kinda there, not having the price of the original only makes it more confusing (and dizzying to read as it goes on about high prices without ever giving a number). most other old computer articles seem to have the price listed, I would think that is context enough; and there are tools available to convert prices through time, if people don't have a rough idea anyway. regards, TryKid [dubious – discuss] 00:09, 10 January 2022 (UTC)

According to Apple, themselves, it was $2,299. 71.166.47.13 (talk) 18:09, 10 January 2022 (UTC)

Everymac
People keep adding Everymac to cite specifications; it is not a reliable source, certainly not a high-quality one as required by featured article criteria. Der Wohltemperierte Fuchs talk 16:01, 10 November 2022 (UTC)

title: Talk:Power Mac G4 Cube


text: Talk:Merck Group

title: Talk:Merck Group


text:
List of United States state legislatures

This is a list of United States state legislatures. Each state in the United States has a legislature as part of its form of civil government. Most of the fundamental details of the legislature are specified in the state constitution. With the exception of Nebraska, all state legislatures are bicameral bodies, composed of a lower house (Assembly, General Assembly, State Assembly, House of Delegates, or House of Representatives) and an upper house (Senate). The United States also has one federal district and five non-state territories with local legislative branches, which are listed below. Among the states, the Nebraska Legislature is the only state with a unicameral body. However, three other jurisdictions – the District of Columbia, Guam, and the U.S. Virgin Islands – also have unicameral bodies.

The exact names, dates, term lengths, term limits, electoral systems, electoral districts, and other details are determined by an individual state's laws.

Party summary
Note: A party with a numerical majority in a chamber may be forced to share power with other parties due to informal coalitions or may cede power outright because of divisions within its caucus.

State legislatures


text: User talk:68.81.198.162

title: User talk:68.81.198.162


text:
Talk:Seventh chord

More typical
Furrykef I have to disagree that the names and abbreviations/symbols you added are "more typical". They may be common, and some of them may be the most common, but a dominant seventh/major minor seventh is most commonly X7, not XMm7. Of course we may include both options, but I thought I would "talk" as you removed some. Hyacinth 04:20, 14 May 2004 (UTC)

Hmm? I'm confused as to what you mean.

--Furrykef 07:59, 14 May 2004 (UTC)

Sorry, chronology screwed up. What I meant to say was I don't think Δ7 is "more typical" than M7, which you removed. Thanks. Hyacinth 08:20, 14 May 2004 (UTC)

Hmm, that's a major seventh, not dominant seventh. Anyway, that would be true, but I'd think maj7 is the most common of all. However, I'll add M7 back (and Mm7 as well) since it's probably still common; if removing it might be dubious, it's probably not a good idea. I'll also add the minor-major seventh (it's rare but still a seventh chord) and note that the half-diminished is commonly written m7b5. :)

--Furrykef 09:10, 14 May 2004 (UTC)

Thinking of a half-diminished chord as an m7b5 is more accurate. People tend to say 'diminished 7th' and 'half diminished 7th' when in fact those terms are entirely incorrect. The terms 'diminished' and 'half diminished' don't need to be qualified with a '7th'.

--Adambisset 17:28, 21 Oct 2004 (UTC)

You mention that "The other three possible seventh chords – the minor/major seventh (also m/maj7, m/M7), the augmented/major seventh, and the augmented/augmented seventh – are rarely seen in western music". But m/maj7 is quite common in jazz, which is western music, last I checked :) Also, there are other interesting seventh chords that pop up a lot in jazz, like the alt chord.  Would it be appropriate to mention jazz uses of seventh chords here, or should there be a separate topic for jazz chord theory?  (It would be weird to bifurcate every single theory topic into a "classical version" and a "jazz version", I think.)--Rictus 7 July 2005 07:52 (UTC)

I agree, you will see a decent number of major 7 chord with an augmented fifth in modern jazz compositions. Its a really dissonant sort of chord, but thats why it is so loved, and fits the symmetrical augmented scaled (alternating minor 3rds and half steps) very nicely, as well as the third modes of the harmonic and melodic minors. The minor 7 chord with the sharpened fifth, however, would never be seen (with the possible exception of a line cliche, like in the James Bond theme), because the ear wouldn't be able to distinguish it in any meaningful manner from a major chord in first inversion with a ninth on it.Havic5 07:15, 3 October 2007 (UTC)

The chord that is compared to the diminished 7th at the end of the article is incorrectly labelled a minor 9th. Although not completely obvious by the name, "minor 9th chord" refers to a minor triad with a major 9th from the root, and sometimes a minor 7th. The chord shown is a dominant 7th chord with a minor 9th, G7(b9). I don't know how to edit the picture but someone should, or I'll take it off. -Bob (Nov 19 2006)

Diatonic and chromatic
The article uses the term "diatonic", but without adequate explanation. This term, along with "chromatic", is the cause of serious uncertainties at several other Wikipedia articles, and in the broader literature. Some of us thought that both terms needed special coverage, so we started up a new article: Diatonic and chromatic. Why not have a look, and join the discussion? Be ready to have comfortable assumptions challenged! –  Noetica ♬♩ Talk 01:36, 4 April 2007 (UTC)

"Happy Birthday to You"

 * "A well-known example of the harmonic seventh chord is the ending of the modern addition to the song "Happy Birthday to You", with the words "and many more!" The harmony on the word "more" is typically sung as a harmonic seventh chord (Mathieu, pg. 126)."

I've never heard of this supposedly "well-known" modern addition, and I'm pretty sure the tune I know doesn't have any seventh chords in it. Does everyone else know what this is talking about? If it's just me, and the rest of the world knows it, then fine... Matt 01:42, 12 October 2007 (UTC)

yeah i know what he is talking about. —Preceding unsigned comment added by 129.63.96.46 (talk) 16:57, 14 April 2008 (UTC)

 * It's something some people throw in at the end (and less likely to embarrass an older person than "Are ya one, are ya two, are ya three..."). I'm not sure you could say for certain what the harmony should be, though, because IME most large group tend to turn Happy Birthday into a polytonal, dissonant mess anyway. Everybody pick a key and start singing! — Gwalla | Talk 22:23, 14 April 2008 (UTC)

Explanation: The sentiment of the song is "Happy birthday". Sometimes at the end people sing, "and many more". This means, "we hope you have 'many more' 'happy birthdays'". Hyacinth (talk) 22:10, 22 July 2008 (UTC)

Requested audio
I have added some audio examples to the article. Hyacinth (talk) 07:17, 27 July 2008 (UTC)

Incorrect definition
"Dominant seventh" is correctly used in reference to the V7 chord. A major-minor seventh chord may be built using accidentals on other scale degrees, but can only occur naturally when built on the dominant. Confusion arises when we refer to non-dominant functioning chords in the same manner "Cdom7". "Dominant" is not referring to the major-minor structure, but to the fact that the chord is acting in a dominant function and most often as the dominant of the key (so a Cdom7 implies a tonic of F). I would recommend specifying this in the introduction. The information is otherwise correct; in fact anytime you encounter an unspecified seventh chord, major-minor is understood because it is the most commonly used in western classical tradition. Also, only the first 5 types of seventh chords listed in your chart would be considered common in western tradition.

"A dominant seventh chord is a chord built upon the dominant of a major diatonic scale, containing a dominant (major) triad and an additional minor seventh (for example G-B-D-F in C major). It is typically denoted G7."

"The chord is often called the dominant 7th because it is built on the dominant. By this term we are referring both to the type of chord and to the function of a chord in a harmonic context. As a diatonic chord in a major key, the 7th can only be found in this position. All other diatonic 7th chords will be other kinds of 7ths."

http://music-theory.ascensionsounds.com/harmony-undertanding-seventh-chords/|work=Learning and Loving Music Theory|accessdate=7/20/2013 http://en.wikipedia.org/wiki/Dominant_%28music%29|work=Wikipedia|accessdate=7/21/2013 http://www.torvund.net/guitar/chords/index.php?page=7th

Jlope014 (talk) 00:30, 22 July 2013 (UTC)

Quote in frequency-of-use diagram needs a 'C' ?
The diagram below the 1st paragraph in the article contains quoted text that reads: "A ranking by frequency of the seventh chords in major would be approximately that shown."[1].

I think 'C ' is missing just before the word 'major'. Maybe a nit, but the sentence doesn't make sense without it. Might even be clearer by inserting 'the key of C ' before 'major'.

I didn't change the article, because the text is apparently quoted verbatim from the 3rd addition of footnoted publication [1]: ''Kostka; Payne (1995). Tonal Harmony (3rd ed.). p. 225. ISBN 0-07-300056-6''. I'm not sure if this was an oversight in the 3rd edition of Tonal Harmony (which currently has an 8th edition), or a cut'n'paste booboo when porting it to the article.Wikieveryman123 (talk) 22:51, 23 February 2019 (UTC)

Seventh chords py pattern
This page describes tertian and common non-tertian chords. However, it does not specify a pattern for determining which subset of the 64 seventh chords get credit.

I suggest the following pattern: any 7th that can be constructed by   -  a. a min or maj 3th - b. a dim, perfect or aug 5th - c. a min or maj 7th

This gives us the 12 permutations below. 2 limits (dim7 and aug-aug7) are added to get a total of 14 chords. 12 of these chords are already mentioned (8 tertian and 4 non-tertian). However, 2 are being left out: min7(#5) and min-maj7(#5). I believe they deserve their place in the list of non-tertian chords.

What do you guys think?

-id	       3th	5th	triad	alt triad	7th	tetrad	        alt tetrad	i(1-3)	i(3-5)	i(5-7) -0,3,6,9    min	dim	dim		        dim	dim7		                min	min	min -0,3,6,10	min	dim	dim		       min	half-dim7	min7(b5)	min	min	maj -0,3,6,11	min	dim	dim		       maj	dim-maj7	min-maj7(b5)	min	min	aug -0,3,7,10	min	perfect	min		       min	min7		                min	maj	min -0,3,7,11	min	perfect	min		       maj	min-maj7		        min	maj	maj -0,3,8,10	min	aug		min(#5)	       min		        min7(#5)	min	aug	dim -0,3,8,11	min	aug		min(#5)	       maj		        min-maj7(#5)	min	aug	min -0,4,6,10	maj	dim		maj(b5)	       min		        dom7(b5)	maj	dim	maj -0,4,6,11	maj	dim		maj(b5)	       maj		        maj7(b5)	maj	dim	aug -0,4,7,10	maj	perfect	maj		       min	dom7		                maj	min	min -0,4,7,11	maj	perfect	maj		       maj	maj7		                maj	min	maj -0,4,8,10	maj	aug	aug		       min	aug7	        dom7(#5)	maj	maj	dim -0,4,8,11	maj	aug	aug		       maj	aug-maj7	maj7(#5)	maj	maj	min -0,4,8,12   maj     aug     aug                     aug     aug-aug7                        maj     maj     maj

title: Talk:Seventh chord


text:
Electrostatic levitation

Electrostatic levitation is the process of using an electric field to levitate a charged object and counteract the effects of gravity. It was used, for instance, in Robert Millikan's oil drop experiment and is used to suspend the gyroscopes in Gravity Probe B during launch.

Due to Earnshaw's theorem, no static arrangement of classical electrostatic fields can be used to stably levitate a point charge. There is an equilibrium point where the two fields cancel, but it is an unstable equilibrium. By using feedback techniques it is possible to adjust the charges to achieve a quasi static levitation.

Earnshaw's theorem
The idea of particle instability in an electrostatic field originated with Samuel Earnshaw in 1839 and was formalized by James Clerk Maxwell in 1874 who gave it the title "Earnshaw's theorem" and proved it with the Laplace equation. Earnshaw's theorem explains why a system of electrons is not stable and was invoked by Niels Bohr in his atom model of 1913 when criticizing J. J. Thomson's atom.

Earnshaw's theorem holds that a charged particle suspended in an electrostatic field is unstable, because the forces of attraction and repulsion vary at an equal rate that is proportional to the inverse square law and remain in balance wherever a particle moves. Since the forces remain in balance, there is no inequality to provide a restoring force; and the particle remains unstable and can freely move without restriction.

Levitation
The first electrostatic levitator was invented by Dr. Won-Kyu Rhim at NASA's Jet Propulsion Laboratory in 1993. A charged sample of 2 mm in diameter can be levitated in a vacuum chamber between two electrodes positioned vertically with an electrostatic field in between. The field is controlled through a feedback system to keep the levitated sample at a predetermined position. Several copies of this system have been made in JAXA and NASA, and the original system has been transferred to California Institute of Technology with an upgraded setup of tetrahedra four beam laser heating system.

On the Moon the photoelectric effect and electrons in the solar wind charge fine layers of Moon dust on the surface forming an atmosphere of dust that floats in "fountains" over the surface of the Moon.

title: Electrostatic levitation


text:
Protease inhibitor (pharmacology)

Protease inhibitors (PIs) are medications that act by interfering with enzymes that cleave proteins. Some of the most well known are antiviral drugs widely used to treat HIV/AIDS, hepatitis C and COVID-19. These protease inhibitors prevent viral replication by selectively binding to viral proteases (e.g. HIV-1 protease) and blocking proteolytic cleavage of protein precursors that are necessary for the production of infectious viral particles.

Protease inhibitors that have been developed and are currently used in clinical practice include:

 * Antiretroviral HIV-1 protease inhibitors—class stem –navir
 * Amprenavir
 * Atazanavir
 * Darunavir
 * Fosamprenavir
 * Indinavir
 * Lopinavir
 * Nelfinavir
 * Ritonavir
 * Saquinavir
 * Tipranavir
 * Hepatitis C virus NS3/4A protease inhibitors—class stem –previr
 * Asunaprevir
 * Boceprevir
 * Grazoprevir
 * Glecaprevir
 * Paritaprevir
 * Simeprevir
 * Telaprevir
 * 3-chymotrypsin-like protease (including, but not limited to, severe acute respiratory syndrome coronavirus 2) inhibitors—class stem –trelvir
 * Ensitrelvir
 * Nirmatrelvir
 * Simnotrelvir

Given the specificity of the target of these drugs there is the risk, like with antibiotics, of the development of drug-resistant mutated viruses. To reduce this risk, it is common to use several different drugs together that are each aimed at different targets.

In addition to those non-human proteases listed above, inhibitors of human proteases may be used to treat cancer. See the articles matrix metalloproteinase inhibitor (–mastat) and proteasome inhibitor (–zomib).

Antiretroviral protease inhibitors
Antiretroviral protease inhibitors act by binding to the catalytic site of HIV protease, preventing cleavage of viral polyprotein precursor proteins into functional viral proteins required for viral replication. Most ARPIs are peptide-like molecules which resemble the substrate of the viral protease.

Protease inhibitors were the second class of antiretroviral drugs developed. The first members of this class, saquinavir, ritonavir, and indinavir, were approved in late 1995–1996. Within 2 years, annual deaths from AIDS in the United States fell from over 50,000 to approximately 18,000 Prior to this the annual death rate had been increasing by approximately 20% each year.

Non-antiretroviral antiviral activity
A drug combination targeting SARS-CoV-2, Paxlovid, was approved in December 2021 to treat COVID-19. It is a combination of nirmatrelvir, a protease inhibitor targeted to the SARS-CoV-2 3C-like protease, and ritonavir, which inhibits the metabolism of nirmatrelvir, thereby prolonging its effect.

Side effects
Protease inhibitors can cause a syndrome of lipodystrophy, hyperlipidemia, diabetes mellitus type 2, and kidney stones. This lipodystrophy is colloquially known as "Crix belly", after indinavir (Crixivan).

title: Protease inhibitor (pharmacology)