text:
Cello Sonata No. 3 (Beethoven)

The Cello Sonata No. 3 in A major, Op. 69, is the third of five cello sonatas by Ludwig van Beethoven. He composed it in 1807–08, during his productive middle period. It was first performed in 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann, a student of Beethoven. Published by Breitkopf & Härtel the same year, it was dedicated to Freiherr Ignaz von Gleichenstein, Beethoven's friend and an amateur cellist. The sonata was successful with audiences from the beginning.

An early print of the composition titled it "Sonata / per il / Clavicembalo con Violoncello / composta / dal Sig=r / Luigi van Beethoven". Beethoven's two early sonatas were, as usual at the time, virtuoso concert pieces for the piano, with the string instrument playing a supporting role. The third sonata has been described as the first cello sonata to give the two instruments equal importance. A model for later compositions in the genre, it has been performed and recorded often, including versions with period instruments.

History
Over the course of his life, Beethoven composed five cello sonatas, two of them early as his Op. 5. These two sonatas, composed when Beethoven was age 25, were highly virtuoso concert pieces showing off the pianist, with a cello part of less weight. Beethoven performed them with cellist Jean-Pierre Duport in Berlin in 1796, and dedicated them to Frederick William II of Prussia who was an amateur cellist himself.

Beethoven composed his third cello sonata in A major in Vienna during his middle period, a productive time when he also composed works such as the Piano Trios Op. 70, the Choral Fantasy, as well as his Fifth and Sixth Symphonies. It was a time when Beethoven faced increasing deafness. He had to end his career as a pianist with the concert on 22 December 1808 in which he premiered the two symphonies, the Choral Fantasy and other vocal and choral music, as well as his Fourth Piano Concerto. First sketches for the sonata appeared alongside those for the Fifth Symphony and the Violin Concerto in a sketchbook dated September 1807 to early in 1808. Beethoven's sketches show that he continuously revised passages, and further altered his first autograph manuscript, while the finished composition sounds like the result of spontaneous inspiration. He completed the composition in 1808.

Beethoven dedicated the sonata to Freiherr Ignaz von Gleichenstein, his friend and an amateur cellist, who also assisted the composer in financial matters. The previous year he had arranged an annuity for Beethoven from a group of sponsors which included Archduke Rudolf of Austria, a pupil of Beethoven. The composer had planned to dedicate his Fourth Piano Concerto to Gleichenstein, but felt that he had to honour the Archduke with the dedication instead, because he had shown particular interest in the Concerto. Beethoven explained to Gleichenstein his regret but announced: "... another work is appearing in which you will be given what is due to your – and our friendship".

The sonata was first performed on 5 March 1809 as part of a benefit concert for the cellist Nikolaus Kraft, who performed it with pianist Dorothea von Ertmann, a student of Beethoven. Kraft, known for "technical mastery" and a "clear, rich tone", was the cellist for whom Beethoven had written his Triple Concerto, published in 1804, and Beethoven's first work to use advanced cello techniques. A performance of the cello sonata in 1816 was played by Joseph Linke, the cellist in the Razumovsky Quartet, and Carl Czerny. The pianist wrote in metronome markings, regarded as approved by the composer, and noted that a slight rubato playing would increase interest and expressiveness.

Breitkopf & Härtel published the cello sonata first in Leipzig. The first edition had many mistakes, including the opus number misprinted as 59. Beethoven was annoyed, but the mistakes could be corrected only in a later edition. The work appeared the same year also printed by Artaria, entitled "Sonata / per il / Clavicembalo con Violoncello / composta / dal Sig=r / Luigi van Beethoven". A critical edition was published in 1971 by Henle Verlag, edited by Bernard van der Linde, based on the edition of Beethoven's complete works by the Beethoven Archive the same year. These editions relied on the earlier prints, the autograph manuscript even if regarded as still a work in progress, as well as the correspondence of Beethoven and his first publisher regarding errors.

The sonata is formally the most expansive of Beethoven's cello sonatas, but also the most melodic one, and was successful with audiences from the beginning. A performance takes about 25 minutes. Violinist Mark Kaplan noted: "In general, the writing in op. 69 is thinner than in the early cello sonatas ... greater compositional technique allowed Beethoven the possibility of using fewer notes with confidence." Cellist Steven Isserlis described the work as the first cello sonata in history to give the two instruments equal importance. It has remained a model in the genre, for works by Mendelssohn, Brahms, Debussy and Shostakovich.

Structure and music
The sonata is structured in three movements, with an 18-bar slow introduction to the third movement:
 * 1) Allegro ma non tanto
 * 2) Scherzo. Allegro molto (in A minor)
 * 3) Adagio cantabile – Allegro vivace

Beethoven noted on the autograph manuscript "Inter lacrymas et luctus" (Amid tears and sorrows). However, the work's character has been described as "positive in attitude", and "radiating serenity, humour and joy", similar in mood to some works by Franz Schubert. The sonata is a classical work with measured proportions and elements of symmetry. Throughout the composition, the two instruments are treated as equal partners, not as solo and accompaniment as in the early cello sonatas.

Allegro ma non tanto
The first movement is in alla breve time and marked Allegro ma non tanto (fast but not too much). It is written sonata form, and opens with an expansive melody introduced by the cello alone.

Beethoven composed an opening by the string instrument alone also as a feature in violin sonatas. The piano then enters with cadenza-like flourish, which leads into a repetition of the opening theme played in octaves by the piano. The melody consists of several motifs to be used as material for further development. A bridge passage follows, leading to a second subject played, as John Mangum noted, in "organic relationship" with "the cello and piano interweaving, each gently decorating and elaborating the other's part". The development gives greater emphasis to the first theme. In the recapitulation, the first cello is accompanied by running triplets of the piano.

One of the motifs is similar to the first motif in Bach's aria "Es ist vollbracht" (All is fulfilled) from his St John Passion, introduced there by the viol. It is unclear if the similarity is intended, but would match the inscription "inter lacrymas". The movement has moments of stillness and introspection both before the recapitulation and before the "final flourish".

Allegro molto
As in some of Beethoven's piano sonatas, there is no slow movement. The second movement is a scherzo in the tonic minor, A minor, with a contrasting trio in A major; the scherzo is played three times, alternating with the trio played twice. The scherzo makes prominent use of off-beat accents, in "rhythmic sharpness and thematic brevity". The trio's character was described by a reviewer as "gruff humour".

Adagio cantabile – Allegro vivace
The finale begins with a slow introduction in time, marked Adagio cantabile (slow and singing), in the dominant key, E major. A slow introduction appears also in other Beethoven works of the period, such as the Waldstein Sonata. Here, it "creates a wholly individual atmosphere, one that is broadly lyrical and tinged with a sort of dignified sorrow", as Mangum noted. The short section has been described as sublime and "emotionally charged".

The finale, in alla breve time and marked Allegro vivace (fast and lively) is again in sonata form. The cello plays both the first subject and a contrasting second subject. The first subject dominates the development. The finale ends with an expressive coda. The movement has been described as contrasting episodes of "bravura" and others of "gentle repose", ending in a "joyous conclusion".

Cellist Jan Vogler summarised that the sonata "is an aristocratic, temperamental piece, full of musical expression and imagination. Its form is perfect, and it shows Beethoven's great taste."

Recordings
The sonata has been recorded often, especially in sets of all cello sonatas by Beethoven, or all music by him for cello and piano which includes also several sets of variations. Pablo Casals recorded the five cello sonatas in the 1930s, the Third with pianist Otto Schulhoff. In 1950, the sonata was recorded, together with the second by Maurice Gendron and composer Jean Françaix as the pianist. A recording of all cello sonatas was made by Mstislav Rostropovich and Sviatoslav Richter in 1963, which has been regarded as one of the greatest collaborations ever. Pierre Fournier and Wilhelm Kempff recorded the works in 1965, followed by Casals and Mieczysław Horszowski, Jacqueline du Pré and Daniel Barenboim, Yo-yo Ma and Emanuel Ax, Jean-Guihen Queyras and Alexander Melnikov, Daniel Müller-Schott and Angela Hewitt, and Mischa Maisky and Martha Argerich. The five sonatas were recorded in 2014 by cellist Maja Weber and pianist Per Lundberg. Steven Isserlis and the musicologist Robert Levin played the sonatas on historic instruments, with forte-piano instead of a modern concert grand, to ensure the balance of sound Beethoven had in mind. They used a new critical edition by the musicologist Jonathan Del Mar. Jacqueline du Pré also made an earlier, critically well-received version with Stephen Kovacevich.

title: Cello Sonata No. 3 (Beethoven)


text: User talk:83.70.42.95

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

title: User talk:83.70.42.95


text:
User talk:LePiddler~enwiki

Continued vandalism under this new name. Previous accounts: Same type of vandalism, same page.
 * Pella Kenshett
 * BlikSplik
 * Phoolio

- Stoph 22:18, 19 Apr 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called LePiddler. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name LePiddler~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:17, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 15:20, 22 April 2015 (UTC)

title: User talk:LePiddler~enwiki


text: Category:British Columbia electoral districts


text: Category:Saskatchewan electoral districts


text:
Talk:Ewens's sampling formula

No mention of the coalescent?
I cannot believe this (very good!) entry has made it in, without a page entitled The Coalescent.--DJO 22:19, 19 Apr 2005 (UTC)

 * Thank you. I wrote this less than a week after hearing of the Ewens sampling formula for the first time.  I've come across the word coalescent but I am not at this point able to write such an article.  The Coalescent would be an incorrect title, I think; it ought to be just coalescent, and if the word the must be included in the article's title, then coalescent should have a lower-case initial c.  Michael Hardy 22:26, 19 Apr 2005 (UTC)

title: Talk:Ewens's sampling formula


text:
11th Dalai Lama

Khedrup Gyatso (1 November 1838 – 31 January 1856) was the 11th Dalai Lama of Tibet.

He was recognised as the Eleventh Dalai Lama in 1840, having come from the same village as Kelzang Gyatso, the seventh Dalai Lama, had in 1708. In 1841, Palden Tenpai Nyima, 7th Panchen Lama, gave him the pre-novice ordination, cut his hair and gave him the name Khedrup Gyatso.

In 1842, he was enthroned in the Potala Palace and, in 1849, at the age of eleven, he took the novice vows of monkhood from Palden Tenpai Nyima, 7th Panchen Lama

He was enthroned on 25 May 1842 and assumed full power on the request of his government on 1 March 1855. However, he died less than one year later, thus becoming the third successive Dalai Lama who died at too young an age to consolidate his power.

 * "During the period of the short-lived Dalai Lamas—from the Ninth to the Twelfth incarnations—the Panchen was the lama of the hour, filling the void left by the four Dalai Lamas who died in their youth."

He wrote a book of stanzas, Story of the Monkeys and Birds (Bya sprel gyi gtam-rgyud). It is an allegory of the war at the end of the 18th century between the Tibetans and the Gurkhas ('birds' and 'monkeys' respectively).

During the life of Khedrup Gyatso, wars over Ladakh weakened the lamas' power over the Tibetan Plateau and the First and Second Opium Wars as well as the Taiping Rebellion simultaneously weakened Qing Empire's influence on Tibet. In the last years of his reign the Nepalese invaded Tibet, but were defeated in the Nepalese-Tibetan War (1855–1856).

He died suddenly in the Potala Palace, Lhasa, Tibet, on 31 January 1856.

title: 11th Dalai Lama


text:
User talk:Nowhither

Please don't use needless underscores in links
Hello. When you write connected (with an underscore character) instead of  connected (without the underscore), I fear you may lead some users to think that the underscore is actually needed, and then they will start writing connected_space where connected space will suffice, and that is visually unappealing and also affects the locations of line breaks. Michael Hardy 01:27, 21 May 2005 (UTC)

 * Humbly acknowledged. -- Nowhither 03:01, 23 May 2005 (UTC)

connected
Hello again. I've started fixing links to connected. It does seem almost as absurd as linking to Abel and expecting that to be an article about the mathematician of that name. Michael Hardy 03:04, 21 May 2005 (UTC)

Taking God's name in vain
That comment is so old I can't really remember which article it was in, so I'm not sure how to put this in context. But anyways, we need to point out that that was the meaning at one point in time, even if it wasn't the original meaning, and that it may have been the original meaning. -- LGagnon 03:57, May 23, 2005 (UTC)

Genesis on egg
Re: Genesis on egg:

First, I should identify myself as the photographer of the image in question. I was, indeed, suspicious of the fact that the entire book of Genesis could be written in rather large miniscule on an egg. But, I never questioned my initial reading of the plaque (which probably said something like "Genesis on an egg"). By the way, the photo was put on Wikipedia more than two years after the trip where I took it, and my memory isn't what it used to be (that was sarcastic). After reading your comment on the talk page re: it not being the book of Genesis, I relooked at the photo, and, I must agree with you. On the hi-res version, I can clearly make out the second half of verse 25 of chapter one about 2/3 of the way down. So, I feel that it is most probably the first chapter of Genesis (the first 31 verses). And in my defence, it was not my intention to mislead the Wikipedian community by making them think that it was possible to write the book of Genesis on an egg; in fact it was an error in translation. The word in Hebrew for the book of Genesis is the same word as the one for the first section (Hebrew: parashah) of Genesis. Here's my recreation of the translating incident: the caption of the egg in the museum (which was in Hebrew) said something like "Breishit (aleph) shenichtevet 'al beitzah " which I interpreted to mean "Genesis (the first book) on an egg" but could also mean "Chapter one of Genesis on an egg". It was an honest mistake in translation, and I will correct all the captions of the photo in its myriad varations as soon as possible.

 * Glad this is resolved. — Nowhither 00:32, 4 August 2005 (UTC)

Peer review/Funkstörung/archive1
Hi! I read your comments, and have replied to them. Afterwards, I noticed the bit about context on your page and it seemed oddly appropriate ;). -- grm_wnr Esc  21:53, 13 August 2005 (UTC)

Disclaimer discussion
Hi! You might wish to repeat or expand on your comments from here to here. Thank you for your help! -- Sitearm | Talk 21:22, 2005 August 17 (UTC)
 * Thanks for the suggestion. It's done. — Nowhither 14:33, 18 August 2005 (UTC)
 * I'm glad that you responded to Sitearm's suggestion, because I had not seen your comments at the Village pump. I have started some thoughts in a working page in my userspace, and if you have suggestions, I would welcome them. Perhaps we could collaborate there on a draft of the short piece you propose on "who writes Wikipedia" and unveil it at the same time as my proposal that we put a link to a clearly-worded disclaimer for students and newcomers in the navigation block on the lefthand side of each Wikipedia page? My thoughts are at this page.Mamawrites 15:51, 18 August 2005 (UTC)

 * Sounds good. Comments posted on User:Mamawrites/ProposalForMoreProminentDisclaimerLink. — Nowhither 11:05, 19 August 2005 (UTC)

 * So, I was bold, and created Who writes Wikipedia, and made links to it from Wikipedia, Help:Contents, and collaborative writing. Check it out! Mamawrites 09:05, 23 August 2005 (UTC)

WP:AQ
Looks like you have a consensus of the interested parties for your suggested new page design. Please go ahead with it. Thanks for your interest. hydnjo talk 15:11, 18 August 2005 (UTC)
 * Done. — Nowhither 15:18, 18 August 2005 (UTC)

 * Well that didn't take long for someone to screw-up! How about adding (with your eloquent style of course) something at the bottom suggesting that YOU DON'T ASK YOUR QUESTION HERE - YOU ARE SUPPOSED TO GO TO ONE OF THE LINKS ABOVE. ;-)

 * Discussion continued on Wikipedia talk:Ask a question. — Nowhither 11:47, 19 August 2005 (UTC)

If you'll excuse some thoughts on 'The 100 page challenge'
I found this very interesting and a useful way to think about Wikipedia. But I have a more positive outlook: I feel the relevant question is 'how does anything of worth, sometimes even excellence, come out of such chaotic, free-for-all editing?' It seems to me that there are at least two things that are responsible for the successes of Wikipedia. First, the majority of people will only edit something if they believe they can make it better (an admittedly smaller majority are correct when they believe this). Second, the better an article is, the less likely it is that vandals or crazed editors will touch it - old warehouses get smashed while stain-glass windows remain perfect for centuries. The result is that, although there are many bad articles and bad edits, the tendency over time is for Wikipedia to improve.

True, it will be the central cluster of popular articles that improve the fastest (the more collaborators, the better the article), but the more obscure articles will still, on average, improve over time, at a slower rate. True again, the outer circle of less read and lower quality articles will itself grow over time, but not at the same rate: at some point it is going to be only really obscure articles that need writing and, eventually, few articles will remain to be written. So my prediction is that, unlike the web, which has no guiding remit, we will find high quality information in Wikipedia become more widespread than your 30% and tend towards, if never reach, 100%.

(The same test on the Encyclopeadia Britannica would be interesting: I very much doubt it would be perfect)--Dast 01:56, 19 August 2005 (UTC)

 * "If you'll excuse some thoughts ..."? Well, I'll excuse them this time. But in the future, I'd better not catch anyone doing any thinking about the stuff I write.
 * [ End of joke ]
 * A few more thoughts. First, let's distiguish between quality of writing and quality of information. I was mainly addressing the former in my post. The latter is much more difficult to judge; my guess is that the quality of information found on Wikipedia tends to be rather high. But, of course, the standards should be higher for information. Just about anyone can recognize bad writing. Bad information is more insidious.
 * Second, your question is a very good one: "How does anything of worth, sometimes even excellence, come out of such chaotic, free-for-all editing?" And I think your answers are pretty much on target. There is always a tension between "vandalism is easy" and "vandalism is boring". The latter is why there isn't much of it. The former is why it is such a pain. As long as we have a large and growing community committed to fighting vandalism, Wikipedia will improve.
 * Third ... but how will it improve? Will the average Random article get better over the years? I said "no", due to Wikipedia's never-ending spreading, with work done by poor writers. You said "yes", due to a limit on Wikipedia's breadth. So the next question is, "Will Wikipedia's breadth reach natural limits relatively soon?" And I don't know the answer. But consider a traditional encyclopedia. The best of these, in their day, were thought to be exceedingly broad. But Wikipedia beats them all easily. We have articles on every named character in a number of fictional universes, a separate article for each individual year, going back for centuries, and every date within the year, articles on gobs of obscure topics in highly technical fields, etc. We have a continuing downward trend in how notable you have to be to get listed. Wikipedia is nothing if not broad. Could it be that what comes next (which might be just a later evolution of Wikipedia) will be so broad that, with our current mindset, it would amaze us .... I don't know. But it's interesting to think about.
 * — Nowhither 12:13, 19 August 2005 (UTC)

RAW Comsic Triggers
Thanks for tidying those up, they are much improved by your edits. Alf 12:39, 25 August 2005 (UTC)
 * You're welcome. :-) — Nowhither 17:44, 26 August 2005 (UTC)

Problem with Squadron 111 badge
Hello. I've provided the source information for the badge on Help desk. Both that RAF Marham website and the official RAF listing for the squadron show the badge with numerical "111s" and not roman numerals. As it seems to be Andrew M. Ockenden's or the RAF's error I've suggested he contact them. Mark83 09:54, 29 August 2005 (UTC)
 * Thanks! — Nowhither 10:05, 29 August 2005 (UTC)

Connected
Couldn't resist tarting it up :) Alf 11:20, 29 August 2005 (UTC)
 * And you did a fine job. — Nowhither 01:49, 31 August 2005 (UTC)
 * No prob Now', least I could do to return your efforts on RAW's Cosmic Triggers. Alf 07:09, 31 August 2005 (UTC)

It's as a genitive
Haha, touché, Nowither, you are right, It's can be a genitive, for characters or people so imaginatively called It. I liked your story, despite stories employing It as a character being my bête-noire (how they mess up divine grammatical rules so! Seeing 'It's' as a justified genitive is truly traumatic!). However, my statement was not that It's was never a genitive, but that it's is not one. Unfortunately, autofix changed it. Perhaps I should add a technical limitations sign above, to clarify my standpoint ;D. iINAG ;) 09:20, 30th August 2005 (UTC)
 * Glad you liked it. :-) — Nowhither 01:49, 31 August 2005 (UTC)

Timeline Standard
Thank you for your comments on Wikiproject Years. I too hope to get things moving along. I wrote the survey to solidify the proposals and am pushing for an update to the standard to be ready by the end of the month at the latest. I'd appreciate your thoughts, and if you'd check out the survey and make any edits you feel are warranted to the example year I think we can get the standards improved substantially in very little time. Thanks again - Trevor MacInnis (Talk | Contribs) 00:58, 5 September 2005 (UTC)
 * Will do. — Nowhither 18:59, 5 September 2005 (UTC)

Persian Gulf States
Please stop reverting this page. The link to the Persia page is quite useful, as it is quite likely a person reading that page might want to know the various meanings of Persia. Having two links to Iran one after the other, is helpful to no one. - SimonP 19:58, September 11, 2005 (UTC)
 * See User talk:SimonP. — Nowhither 20:12, 11 September 2005 (UTC)

Acharya S
Acharya S and Talk:Acharya S are drawing some fire. I've tried to ask this question in the talk page, but keeps censoring the name "".  Where did you find her real name?  I couldn't find it in a websearch.  Thanks. — Phi beta 21:05, 12 September 2005 (UTC)
 * Answered on Talk:Acharya S. — Nowhither 00:01, 13 September 2005 (UTC)

 * Voteing is not disscussion. While on the odd occastion it can be a useful way to bring matters to a head on this occastion this is not the case. At this time disscussion appears to be vaguely useful. If it ceases to be we can go to RFC. As the survivor and observer of many edit wars I can say polls solve nothing (although in this case it would be tempted to see james lose hevily that isn't quite enough of a reason to go on).Geni 01:56, 18 September 2005 (UTC)

Kunětice Mountain Castle
I'd changed the name of the article. The original one "Pardubice Castle" is different building inside city of Pardubice. The source you used the information uses invalid naming. Pavel Vozenilek 21:57, 19 September 2005 (UTC)
 * Okay, thanks. (further comments on User talk:Pavel Vozenilek) — Nowhither 00:59, 20 September 2005 (UTC)
 * Picture fixed. The link was indeed to something else, I replaced it. Pavel Vozenilek 01:36, 20 September 2005 (UTC)

Blub
Where were you able to find Blub? I found no references to him anywhere when searching Google. Let's talk on the discussion page. jp3z 02:16, 23 September 2005 (UTC)

Acharya againb...
OK< Ive contacted other admins here. I need to knwo how my aruilc eis bias, and James si not, or at elats why its sseen this way.

Can you help? PM Me on my page.

Above unsigned comment by ZAROVE 14:05, 27 September 2005

Please comment on this proposal at the Village Pump:
Village pump %28proposals%29

Thanks in advance! Mamawrites 11:20, 9 October 2005 (UTC)

Gotta love your reply to Carson/Johnson law
On Wikipedia_talk:Help_desk, when someone wrote "The Carson/Johnson law of human behaviour: 80% of all questions that begin with the word 'why' can be answered with the simple sentence 'people are stupid'", I almost couldn't resist replying "Why do people quote the Carson/Johnson law?". Then I read your list of answers, and I'm relieved to see that "can" does not mean "can only". Common Man 16:52, 11 January 2006 (UTC)

Moses
There is as much evidence that Moses ever exsisted as there is that the Red Sea parted. In other words, there is none.

dolceedallineare@yahoo.com

Makuta
Another editor has added the "prod" template to the article Makuta, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but the editor doesn't believe it satisfies Wikipedia's criteria for inclusion, and has explained why in the article (see also What Wikipedia is not and Notability). Please either work to improve the article if the topic is worthy of inclusion in Wikipedia or discuss the relevant issues at its talk page. If you remove the prod template, the article will not be deleted, but note that it may still be sent to Articles for deletion, where it may be deleted if consensus to delete is reached. BJBot (talk) 03:44, 19 January 2008 (UTC)

AfD nomination of Makuta
An editor has nominated Makuta, an article on which you have worked or that you created, for deletion. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not").

Your opinions on whether the article meets inclusion criteria and what should be done with the article are welcome; please participate in the discussion by adding your comments at and please be sure to sign your comments with four tildes ( ~ ).

You may also edit the article during the discussion to improve it but should not remove the articles for deletion template from the top of the article; such removal will not end the deletion debate. Thank you. BJBot (talk) 21:16, 19 January 2008 (UTC)

Unreferenced BLPs
Hello Nowhither! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to insure verifiability, all biographies should be based on reliable sources. if you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 19:52, 8 January 2010 (UTC)
 * 1) André Briend -

The Hexer of Two Evils
I thought your blurb on Talk:Anniversary about Greek hex- versus Roman sex- was wise and well-worded. Bob Stein - VisiBone (talk) 01:02, 24 March 2011 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:00, 23 November 2015 (UTC)

title: User talk:Nowhither


text:
Wikipedia:Articles for deletion/Allison Prosser

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Postdlf 00:40, 1 May 2005 (UTC)

Allison Prosser
Not notable, probable vanity. (Delete). — Asbestos | Talk  22:23, 19 Apr 2005 (UTC)

 * Delete. Support . Vanity page.  --Coneslayer 22:20, 2005 Apr 19 (UTC)
 * ...assume this means "delete". — Asbestos | Talk  22:26, 19 Apr 2005 (UTC)
 * Yes--I support the deletion! At least I didn't not use no double negatives. -- Coneslayer 22:29, 2005 Apr 19 (UTC)
 * Delete. Looks like a memorial to a departed friend. ---Isaac R 00:17, 20 Apr 2005 (UTC)
 * Delete Vanity Dsmdgold 13:08, Apr 21, 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: User talk:81.79.42.216

title: User talk:81.79.42.216


text: Category:Quebec electoral districts

title: Category:Quebec electoral districts


text:
Umschlagplatz

Umschlagplatz (collection point or reloading point) was the term used during The Holocaust to denote the holding areas adjacent to railway stations in occupied Poland where Jews from ghettos were assembled for deportation to Nazi death camps. The largest collection point was in Warsaw next to the Warsaw Ghetto. In 1942 between 254,000 – 265,000 Jews passed through the Warsaw Umschlagplatz on their way to the Treblinka extermination camp during Operation Reinhard, the deadliest phase of the Holocaust in Poland. Often those awaiting the arrival of Holocaust trains, were held at the Umschlagplatz overnight. Other examples of Umschlagplatz include the one at Radogoszcz station - adjacent to the Łódź Ghetto - where people were sent to Chełmno extermination camp and Auschwitz.

In 1988, a memorial was erected in Warsaw to commemorate the deportation victims from the Umschlagplatz. The monument resembles a freight car with its doors open. It is located on the corner of Stawki Street.

Usage
Umschlagplatz is a German word that technically denotes a place where all goods for rail transport are handled. The term was corrupted by the Nazis who used it as the euphemism for the location where people would be deported to the death camps. Like the use of Sonderbehandlung ("special treatment"), Umschlagplatz dehumanized the activity. It also disguised - through ambiguous language - what the purpose of the collection point was ultimately for, sending hundreds of thousands of people to their deaths. In January 1943 Heinrich Himmler received the Korherr Report, a statistical calculation on how many Jews remained in Europe; it made clear that people passed through the Umschlagplatz and that no other terminology would be employed.

Warsaw Ghetto
During the Grossaktion Warsaw, which began on 22 July 1942, Jews were deported in crowded freight cars to Treblinka twice daily, in the early morning, often after an overnight wait, and in mid-afternoon. On some days as many as 10,000 Jews were deported. An estimated 300,000 Jews were taken to the Treblinka gas chambers; some sources describe it as the largest killing of a community in World War II. The mass deportation action ended on 21 September 1942, although trains to Treblinka continued to depart from 19 April 1943 until the end of the Warsaw Ghetto Uprising in 1943.

The Warsaw Umschlagplatz was created by fencing off a western part of the Warszawa Gdańska freight train station that was adjacent to the ghetto. The area was surrounded by a wooden fence, later replaced by a concrete wall. Railway buildings and installations on the site, as well as a former homeless shelter and a hospital were converted into a prisoner selection facility. The rest of the train station served its normal function for the rest of the city during the deportations.

The railway leading to the square was originally constructed in 1876, as a side rail to the city's main line. Warehouses and other buildings were built between 1921 and 1935.

After the German invasion of Poland in September 1939, and the occupation of the country, the square came under the administration of a dedicated German institution, the Transferstelle ("Transfer Bureau"). Originally its purpose was to oversee the flow of goods between the newly established Warsaw Ghetto and the "Aryan Side" of Warsaw. At the time the ghetto's inhabitants referred to the square as "Umschlag". At the end of January 1942, the southern portion of the square was incorporated into the ghetto.

Deportations to Treblinka
Starting in July 1942 the buildings located around the square began to be used by the Germans as places of selection. Jews were gathered and held there before deportation to the Treblinka death camp. The headquarters of the SS units responsible for the selections and deportations were located in the building of the old elementary school on Stawki Street. The Umschlagplatz was divided into two parts. The southern part, which was located within the walled ghetto, was the gathering point where those destined for transport awaited the arrival of the trains. The northern part included the rail and station where people were physically loaded onto the trains for Treblinka.

Initially, the roundups for the Umschlagplatz were supervised by the Jewish Ghetto Police. Houses or entire blocks were cordoned off and then all the inhabitants were forced to gather in a controlled spot, such as a closed off street or a tenement's courtyard. After a check of documents, the individuals were forced, under escort, to proceed to the Umschlagplatz. Emptied buildings were searched and those found hiding were either killed on the spot or joined with those proceeding to the square. Some young men were moved to the so-called Dulag, a temporary internment camp, from which some were sent to labor camps rather than death camps.

The order in which the ghetto's blocks were emptied was organized by the Germans. Beginning in August, German-run workhouses and factories (szopas) and the offices of the Judenrat were also cordoned off, and the personnel sent to the Umschlagplatz as well. Famed Polish pianist, Władysław Szpilman, would survive the ordeal by being pulled out of the crowds that were being loaded onto a train heading towards Treblinka. Szpilman was pulled from the line after being recognized by a Jewish policeman, who happened to stand guard at the Umschlagplatz. Szpilman's survival is described in his autobiography, The Pianist, which was made into a motion picture by Director Roman Polanski. Polanski, as well as his family, would also be affected by the Holocaust. Most of the people arriving in the Umschlagplatz were taken there via Zamenhof Street.

Memorial
On 18 April 1988, on the eve of the 45th anniversary of the outbreak of the Warsaw Ghetto Uprising, a stone monument resembling an open freight car was unveiled to mark the Umschlagplatz. The inscription on four commemorative plaques in Polish, Yiddish, English and Hebrew reads:

"Along this path of suffering and death over 300 000 Jews were driven in 1942-1943 from the Warsaw Ghetto to the gas chambers of the Nazi extermination camps."

The 400 most popular Jewish-Polish first names, in alphabetical order from Aba to Żanna, are engraved on the monument. Each one commemorates 1,000 victims of the Warsaw Ghetto. The gate is surmounted by a syenite grave stone (donated by the government and society of Sweden) with a motif of a shattered forest – a symbol of the extermination of the Jewish nation.

The selection and sequence of colours of the monument (white with the black stripe on the front wall) refer to the Jewish ritual clothing. The monument was created by architect Hanna Szmalenberg and sculptor Władysław Klamerus. It replaced a commemorative plaque unveiled in the late 1940s. In 2002 the monument site and the adjacent school buildings were listed in the Register of Historic Monuments.

title: Umschlagplatz


text: Category:New Brunswick electoral districts


text:
Larry Coryell

Larry Coryell (born Lorenz Albert Van DeLinder III; April 2, 1943 – February 19, 2017) was an American jazz guitarist.

Early life
Larry Coryell was born in Galveston, Texas, United States. He never knew his biological father, a musician. He was raised by his stepfather Gene, a chemical engineer, and his mother Cora, who encouraged him to learn piano when he was four years old.

In his teens, he switched to guitar. After his family moved to Richland, Washington, he took lessons from a teacher who lent him albums by Les Paul, Johnny Smith, Barney Kessel, and Tal Farlow. When asked what jazz guitar albums influenced him, Coryell cited On View at the Five Spot Cafe by Kenny Burrell, Red Norvo with Strings, and The Incredible Jazz Guitar of Wes Montgomery. He liked blues and pop music and tried to play jazz when he was eighteen. He said that hearing Wes Montgomery changed his life.

Coryell graduated from Richland High School, where he played in local bands the Jailers, the Rumblers, the Royals, and the Flames. He also played with the Checkers from Yakima. He then moved to Seattle to attend the University of Washington.

Career
In September 1965, Coryell moved to New York City, where he attended Mannes School of Music. After moving to New York, he listened to classical composers such as Bartók, Debussy, Ravel, Stravinsky, and Shostakovich.

He replaced guitarist Gábor Szabó in Chico Hamilton's quintet. In 1967–68, he recorded with Gary Burton. During the mid-1960s he played with the Free Spirits, his first recorded band. His music during the late-1960s and early-1970s combined rock, jazz, and eastern music, including an appearance as a guest musician on the 1969 psychedelic rock album by the Head Shop.

In the 1970s, he led the group Foreplay with Mike Mandel, a friend since childhood, although the albums of this period, Barefoot Boy, Offering, and The Real Great Escape, were credited only to Larry Coryell. He formed The Eleventh House in 1973. Several of the group's albums included drummer Alphonse Mouzon.

He recorded two guitar duet albums with Philip Catherine. In 1979, he formed The Guitar Trio with John McLaughlin and Paco de Lucia. The group toured Europe briefly, releasing a video recorded at Royal Albert Hall in London entitled Meeting of the Spirits. In early 1980, Coryell's drug addiction led to his being replaced by Al Di Meola. In 1985, he recorded Together with fellow guitarist Emily Remler, who died in 1990. Starting in 2010, Coryell toured with a trio that included pianist John Colianni. Since 2008, Coryell toured in a duo with fusion guitarist Roman Miroshnichenko.

Personal life
Coryell was first married to writer-actress Julie Nathanson (1947–2009), daughter of actress Carol Bruce. She appeared on the covers of several of his albums (including Lady Coryell, Larry Coryell at the Village Gate and The Lion and the Ram) and later wrote the book Jazz-Rock Fusion, which was based on interviews with many of Coryell's peers, including Chick Corea and John McLaughlin. She also sang intermittently with Coryell, including one track on the 1984 album Comin' Home. The couple had two sons (Murali Coryell (b. 1969) and Julian Coryell (b. 1973), both professional guitarists, before divorcing in 1985. Thereafter, he had a brief romance with fellow jazz guitarist and artistic collaborator Emily Remler.

In 1988, he remarried to Connecticut native Mary Schuler; they divorced in 2005. Two years later, he married his last wife, Tracey Lynn Piergross, in Orlando, Florida, where he resided until his death in 2017.

After overcoming his alcohol and heroin addictions in 1981, Coryell began practicing Nichiren Buddhism.

In November 2016, Coryell condemned Donald Trump following his election to the presidency of the United States. "This is an unacceptable situation", he said to Bill Milkowski of DownBeat. "We cannot let all the work we've done as jazz musicians to help relationships between people … we can't let all that go to hell. And that's what this election is going to do. It'll take us back to the Dark Ages and people will think that it’s OK to be prejudiced again. Well, I don't accept it. We have to stand up. … [Trump is] an impostor, a huckster, and he's got to go. And because I'm a Buddhist I'm going to chant about it and try to turn poison into medicine, and just get deeper and deeper into my music."

Shortly after these comments were published, Coryell wrote to Downbeat to apologize and retract: "I am no longer angry about the election; I accept it. I have musician friends who did not vote my way. I have no place implying, as I did in the article, that their votes were insincere or illegitimate... Also—and this is very important—I believe that I have a responsibility to transcend politics, focusing instead on finding ways to touch people’s hearts through music. I never want to forget all the great players who mentored me in the art of demonstrating restraint regarding hot-button issues; these men and women advised me to exercise discretion, and to behave with exemplary humanity. ...My comments did nothing to further the cause of our music. I apologize."

Death
Coryell died of heart failure on Sunday, February 19, 2017, in a New York City hotel room at the age of 73. He had performed at the Iridium Jazz Club in Manhattan on the preceding two days.

Coryell's last opera, based on Leo Tolstoy's novel Anna Karenina, was presented at the 2017 World of Guitar opening, featuring the Moscow Symphony along with Roman Miroshnichenko, Serbian classical guitarist Nenad Stephanovich, and Slovenian opera soloists. The world premiere was dedicated to Coryell, the "godfather of fusion," who died in New York in February of that year. The opera was completed by Miroshnichenko and Stephanovich after the death of Coryell.

As leader

 * Lady Coryell (Vanguard Apostolic, 1969)
 * Coryell (Vanguard Apostolic, 1969)
 * Spaces (Vanguard Apostolic, 1970)
 * Barefoot Boy (Flying Dutchman, 1971)
 * Fairyland (Mega, 1971)
 * Larry Coryell at the Village Gate (Vanguard, 1971)
 * Offering (Vanguard, 1972)
 * The Real Great Escape (Vanguard, 1973)
 * Introducing Eleventh House with Larry Coryell (Vanguard, 1974)
 * Level One (Arista, 1975)
 * Planet End (Vanguard, 1975)
 * The Restful Mind (Vanguard, 1975)
 * The Lion and the Ram (Arista, 1976)
 * Basics (Vanguard, 1976)
 * Aspects (Arista, 1976)
 * Back Together Again with Alphonse Mouzon (Atlantic, 1977)
 * Two for the Road with Steve Khan (Arista, 1977)
 * Twin House with Philip Catherine (Elektra, 1977)
 * At Montreux with Eleventh House (Vanguard, 1978)
 * European Impressions (Arista Novus 1978)
 * Better Than Live with the Brubeck Brothers (Direct-Disk Labs, 1978)
 * Standing Ovation: Solo (Mood, 1978)
 * Difference (Egg, 1978)
 * Splendid with Philip Catherine (Elektra, 1978)
 * Return (Vanguard, 1979)
 * Tributaries with John Scofield, Joe Beck (Arista Novus, 1979)
 * Live! with Philip Catherine, Joachim Kühn, (Elektra, 1980)
 * Boléro (String, 1981)
 * The Larry Coryell/Michael Urbaniak Duo (Keytone, 1982)
 * Scheherazade (Philips, 1982)
 * L'Oiseau de Feu, Petrouchka (Philips, 1983)
 * Le Sacre Du Printemps (Philips, 1983)
 * Facts of Life with Michał Urbaniak (SWS, 1983)
 * Just Like Being Born with Brian Keane (Flying Fish, 1984)
 * A Quiet Day in Spring with Michał Urbaniak (Steeplechase, 1984)
 * Comin' Home (Muse, 1984)
 * Together with Emily Remler (Concord Jazz, 1985)
 * Equipoise (Muse, 1986)
 * Dedicated to Bill Evans and Scott La Faro with Miroslav Vitous (Jazzpoint, 1987)
 * Toku Do (Muse, 1988)
 * Air Dancing (Jazzpoint, 1988)
 * Dragon Gate (Shanachie, 1989)
 * Visions in Blue: Coryell Plays Ravel & Gershwin (Little Major, 1989)
 * Shining Hour (Muse, 1989)
 * American Odyssey (DRG, 1990)
 * Don Lanphere/Larry Coryell (Hep, 1990)
 * Twelve Frets to One Octave (Shanachie, 1991)
 * Live from Bahia (CTI, 1992)
 * Fallen Angel (CTI, 1993)
 * I'll Be Over You (CTI, 1995)
 * Sketches of Coryell (Shanachie, 1996)
 * Spaces Revisited (Shanachie, 1997)
 * Private Concert (Acoutic Music Records, 1998)
 * Cause and Effect with Steve Smith, Tom Coster, (Tone Center, 1998)
 * Monk, Trane, Miles & Me (HighNote, 1999)
 * From the Ashes with L. Subramaniam (Water Lily Acoustics, 1999)
 * New High (HighNote, 2000)
 * The Coryells (Chesky, 2000)
 * The Power Trio Live in Chicago (Highnote, 2001)
 * Moonlight Whispers (Pastels, 2001)
 * Count's Jam Band Reunion with Steve Marcus, Steve Smith, Kai Eckhardt (Tone Center, 2001)
 * Inner Urge (HighNote, 2001)
 * Cedars of Avalon (HighNote, 2002)
 * Three Guitars with Badi Assad, John Abercrombie (Chesky, 2003)
 * Tricycles (In+Out, 2003)
 * Electric with Victor Bailey, Lenny White (Chesky, 2005)
 * Traffic with Victor Bailey, Lenny White (Chesky, 2006)
 * Laid Back & Blues (Rhombus, 2006)
 * Impressions: The New York Sessions (Chesky, 2008)
 * Earthquake at the Avalon (In-Akustik, 2009)
 * Larry Coryell with the Wide Hive Players (Wide Hive, 2011)
 * Montgomery (Patuxent Music, 2011)
 * Duality with Kenny Drew Jr. (Random Act, 2011)
 * The Lift (Wide Hive, 2013)
 * Heavy Feel (Wide Hive, 2015)
 * Barefoot Man: Sanpaku (Purple Pyramid, 2016)
 * Seven Secrets with Eleventh House (Savoy, 2016)
 * Last Swing with Ireland (Angel Air, 2021)
 * Live at the Sugar Club (Angel Air, 2022)

As member
The Free Spirits
 * Out of Sight and Sound (ABC, 1967)
 * Live at the Scene (Sunbeam, 2011)

Fuse One
 * Fuse One (CTI, 1980)
 * Ice (Electric Bird, 1984)

As sideman
With Gary Burton
 * Duster (RCA Victor, 1967)
 * Lofty Fake Anagram (RCA Victor, 1967)
 * Gary Burton Quartet in Concert (RCA Victor, 1968)
 * A Genuine Tong Funeral (RCAVictor, 1968)

With Paco de Lucia
 * Castro Marín (Philips, 1981)
 * Entre Dos Aguas (Philips, 1983)

With Teo Macero
 * Impressions of Charles Mingus (Palo Alto, 1983)
 * Acoustical Suspension (Doctor Jazz, 1985)

With Leslie Mándoki
 * Children of Hope (Gong, 1986)
 * Out of Key... with the Time (Sony, 2002)

With Herbie Mann
 * Memphis Underground (Atlantic, 1969)
 * Memphis Two-Step (Embryo, 1971)
 * Mellow (Atlantic, 1981)

With Steve Marcus
 * Tomorrow Never Knows (Vortex, 1968)
 * Count's Rock Band (Vortex, 1969)

With Charles Mingus
 * Three or Four Shades of Blues (Atlantic, 1977)
 * Me Myself An Eye (Atlantic, 1979)
 * Something Like a Bird (Atlantic, 1980)

With Don Sebesky
 * Don Sebesky & the Jazz Rock Syndrome (Verve, 1968)
 * The Distant Galaxy (Verve, 1968)
 * I Remember Bill (RCA Victor, 1998)

With L. Subramaniam
 * Blossom (Crusaders, 1981)
 * Spanish Wave (Milestone, 1983)
 * Mani & Co. (Milestone, 1986)

With Leon Thomas
 * Blues and the Soulful Truth (Flying Dutchman, 1973)

With Michal Urbaniak
 * Fusion III (CBS, 1975)
 * Miles of Blue (Sony, 2009)

With Kazumi Watanabe
 * Dogatana (Better Days, 1981)
 * One for All (Polydor Japan, 1999)

With others
 * The 5th Dimension, Earthbound (ABC, 1975)
 * Laurindo Almeida, Sharon Isbin, 3 Guitars 3 (Pro Arte, 1985)
 * Jon Anderson, 1000 Hands: Chapter One (Opio Media 2019)
 * Chet Baker, Chet Baker / Wolfgang Lackerschmid (Sandra, 1980)
 * Bob Baldwin, Cool Breeze (Shanachie, 1997)
 * Randy Brecker, Score (Solid State, 1969)
 * Charlie Byrd, Herb Ellis, Mundell Lowe, The Return of the Great Guitars (Concord Jazz, 1996)
 * Royce Campbell, Six by Six (Paddle Wheel/King, 1994)
 * Ron Carter, In Memory of Jim (Somethin' Else, 2014)
 * Billy Cobham, By Design (Fnac Music, 1992)
 * Tom Collier, Across the Bridge (Origin, 2015)
 * Wolfgang Dauner, Knirsch (MPS, 1972)
 * Joey DeFrancesco, Wonderful! Wonderful! (HighNote, 2012)
 * Al Di Meola, Super Guitar Trio and Friends (TDK, 2001)
 * Roman Miroshnichenko, Surreal (7Jazz, 2013)
 * Tim Eyermann, Now & Then (Living Tree, 1998)
 * Tal Farlow, All Strings Attached (Verve, 1987)
 * Ricky Ford, Future's Gold (Muse, 1983)
 * David Garfield, Jazz Outside the Box (Creatchy, 2018)
 * Art Garfunkel, Up 'til Now (Columbia, 1993)
 * Stu Goldberg, Solos-Duos-Trios (MPS, 1978)
 * Stephane Grappelli, Young Django (MPS, 1979)
 * Stefan Grossman, Friends Forever Guitar Collaborations (2008)
 * Chico Hamilton, The Dealer (Impulse!, 1965)
 * Roland Hanna, Gershwin Carmichael Cats (CTI, 1982)
 * Donald Harrison, The Power of Cool (CTI, 1991)
 * Jazz Composer's Orchestra, The Jazz Composer's Orchestra (JCOA, 1968)
 * Fumio Karashima, Round Midnight (Full House, 1983)
 * Ithamara Koorax, Ithamara Koorax Sings the Luiz Bonfa Songbook (Paddle Wheel 1996)
 * Bireli Lagrene, & Special Guests (In-Akustik, 1986)
 * Arnie Lawrence, Look Toward a Dream (Project 3, 1968)
 * Bob Moses, Love Animal (Amulet, 2003)
 * Michael Mantler, Movies (WATT Works, 1978)
 * John McLaughlin, Paco de Lucia, Meeting of the Spirits (Alpha Centauri 1982)
 * Alphonse Mouzon, The Sky Is the Limit (Tenacious, 1996)
 * Mark Murphy, September Ballads (Milestone, 1988)
 * Chico O'Farrill, Nine Flags (Impulse!, 1966)
 * Anca Parghel, Jazz, My Secret Soul (Intercont Music, 1994)
 * Jim Pepper, Pepper's Pow Wow (Embryo, 1971)
 * Sonny Rollins, Don't Ask (Milestone, 1979)
 * Sigi Schwab, Solo's Duo's and Trio's (Keytone, 1982)
 * Dylan Taylor, One in Mind (Blujazz, 2017)
 * Bob Thompson, Wilderness (Intima, 1989)
 * Brian Tarquin, Orlando in Heaven (Purple Pyramid 2017)
 * Eddie Cleanhead Vinson, You Can't Make Love Alone (Mega/Flying Dutchman, 1971)
 * Jack Walrath, Out of the Tradition (Muse, 1992)
 * Jimmy Webb, And So: On (Reprise, 1971)
 * Lenny White, Venusian Summer (Nemperor, 1975)
 * Kazuhito Yamashita, The Four Seasons (BMG, 2004)
 * Larry Young, Spaceball (Arista, 1976)
 * Steve Smith, The Best of Steve Smith (ToneCenter, 2009)

Videography

 * L. Subramaniam Violin From the Heart (1999) – directed by Jean Henri Meunier (includes a scene of Coryell performing with L. Subramaniam)
 * Meeting of the Spirits /1979 (2003) – live performance in London featuring Coryell, John McLaughlin, and Paco de Lucia
 * Super Guitar Trio and Friends in Concert /1990 (2005) – live performance featuring Coryell, Al Di Meola, and Biréli Lagrène
 * Super Guitar Trio: Live in Montreux /1989 (2007) – live performance featuring Coryell, Al Di Meola, and Biréli Lagrène
 * Three Guitars: Paris Concert /2004 (2012) – live performance featuring Coryell, Badi Assad, and John Abercrombie

title: Larry Coryell


text: Category:Newfoundland and Labrador electoral districts


text:
Journal of Fluid Mechanics

The Journal of Fluid Mechanics is a peer-reviewed scientific journal in the field of fluid mechanics. It publishes original work on theoretical, computational, and experimental aspects of the subject.

The journal is published by Cambridge University Press and retains a strong association with the University of Cambridge, in particular the Department of Applied Mathematics and Theoretical Physics (DAMTP). Until January 2020, volumes were published twice a month in a single-column B5 format, but the publication is now online-only with the same frequency.

The journal was established in 1956 by George Batchelor, who remained the editor-in-chief for some forty years. He started out as the sole editor, but later a team of associate editors provided assistance in arranging the review of articles. Detlef Lohse is the author who has most papers (169 times) appeared in this journal.

Editors
The following people have been editor (later, editor in chief) of the Journal of Fluid Mechanics:
 * 1956–1996: George Batchelor (DAMTP)
 * 1966–1983: Keith Moffatt (DAMTP)
 * 1996–2000: David Crighton (DAMTP)
 * 2000–2006: Tim Pedley (DAMTP)
 * 2000–2010: Stephen H. Davis (Northwestern University)
 * 2007–2022: Grae Worster (DAMTP)
 * 2022–present: Colm-cille P. Caulfield (DAMTP)

title: Journal of Fluid Mechanics