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They Make Beer Commercials Like This

They Make Beer Commercials Like This is the third EP released by the band Minus the Bear on the Arena Rock Recording Co. After being remastered, it was re-released on June 3, 2008, through Suicide Squeeze Records with an added track, "Houston, We Have Uh-Oh". This song was originally released on the compilation, In Honor: A Compilation To Beat Cancer.

Reception
Reviews for the EP have been mixed. AllMusic praised its complexity and "constantly shifting, tricky rhythms". Both AllMusic and Pitchfork commented on the band's pattern of creating playfully odd titles for songs that are completely serious, but Pitchfork considered this a negative, and additionally criticized the lack of any progression in the band's music over their years of existence. They marked "Dog Park" and "Pony Up" as strong tracks, and concluded "The prevalence of so much filler on a six-song EP is discouraging, and marks this EP as just another placeholder in a career long sustained primarily by placeholder EPs."

Personnel

 * Minus the Bear
 * Jake Snider - Vocals & Guitar
 * Dave Knudson - Guitar
 * Erin Tate - Drums
 * Cory Murchy - Bass
 * Matt Bayles - Electronics

 * Other personnel
 * Additional vocals from Heather Duby on the track "I'm Totally Not Down With Rob's Alien"
 * Recorded and Mixed by Matt Bayles
 * Mastered by Ed Brooks

Trivia

 * The song title "Houston, We Have Uh-Oh" was taken from an episode of Sealab 2021 titled "Vacation."
 * Some copies bore a sticker on the cover that stated "Pronounced with an 'Umpty'".

title: They Make Beer Commercials Like This


text:
User:Karl Stroetmann

I am teaching computer science at the Berufsakademie Stuttgart, where I also have a home page containing further information. My main interests are algorithms, computer architecture, formal methods, mathematics, and physics.

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

title: User:Karl Stroetmann


text:
Battle of Cape Passaro

The Battle of Cape Passaro, also known as Battle of Avola or Battle of Syracuse, was a major naval battle fought on 11 August 1718 between a fleet of the British Royal Navy under Admiral Sir George Byng and a fleet of the Spanish Navy under Rear-Admiral Antonio de Gaztañeta. It was fought off Cape Passaro, in the southern tip of the island of Sicily of which Spain had occupied. Spain and Britain were at peace, but Britain was already committed to supporting the ambitions of the Emperor Charles VI in southern Italy.

The battle was fought without a formal declaration of war but once the Spanish fired on the nearest British ships, this gave Byng his excuse to attack. The British were superior in numbers. The battle was the most significant naval action of the War of the Quadruple Alliance and resulted in a decisive victory for the British fleet, which captured or burned sixteen Spanish ships of line and frigates and several small vessels. Some of the Spanish ships were taken in the main action and some taken or burnt by their crews, who fled to the coast of Sicily. Both Castañeta and Chacón were captured. As a result of the battle the Spanish army in Sicily were thus isolated and cut off from outside help. Four months later the War of the Quadruple Alliance was formally declared.

Background

On 11 April 1713, after the War of the Spanish Succession, the Treaty of Utrecht was signed between France and the Kingdom of Great Britain, the United Provinces, the Kingdom of Prussia, the Kingdom of Portugal and the Duchy of Savoy. It marked the end of the Spanish Empire in Europe, as the Spanish Netherlands, the Kingdom of Naples, the Duchy of Milan and Sardinia were ceded to Austria, the Kingdom of Sicily to Savoy, Prussian Guelders to the Kingdom of Prussia, and Minorca and Gibraltar to Great Britain. France had succeeded in placing a king of her own royal house on a neighbouring throne, but the ambitions expressed in the wars of Louis XIV had been defeated and the European system based on the balance of power largely directed by Britain was preserved.

The British gains at the expense of the French and Spanish allowed it to strengthen her naval power. Gibraltar and Port Mahon in the Mediterranean and the colonies of Nova Scotia and Newfoundland in North America proved useful to extend and protect British trade. In comparison, the Spanish Navy was old and many of their ships needed refitting. Philip ordered more shipbuilding to commence in the American and Spanish shipyards. The major political figure Cardinal Giulio Alberoni, who had come from the Duchy of Parma proceeded to reorganise the royal administration. Alberoni had promised Philip to put Spain in a strong position to recover Sicily and Naples if there were five years of peace. Alberoni was even willing to help Philip V to overthrow the Regent of France, Philip of Orleans, and alienate that country in order to grant trade benefits to Britain with the aim of isolating Austria.

The British monarch George I, who was also Elector of Hanover, felt threatened by Alberoni who thought he would undermine the power of Emperor Charles VI. Alberoni on hearing this withdrew all claims. This, together with Philip's claims over the French throne, turned Great Britain and France against Spain. Both countries, jointly with the United Provinces, had formed the so-called Triple Alliance a year before to maintain the balance of power in the continent. Meanwhile, both Austria and Spain were at loggerheads over Sicily. The British statesmen preferred the island to be ceded to their former ally rather than Spain. France, under the weakness of Philip of Orleans agreed, and it was proposed to modify the Treaty of Utrecht and force Victor Amadeus II of Savoy to exchange Sicily for Sardinia. The detention of the Spanish Grand Inquisitor José Molinés at Milan however by orders of the Emperor gave Spain a pretext to initiate military hostilities in Italy.

Prelude
On 22 July 1717, a large Spanish fleet set sail from Barcelona with an army led by the Flemish nobleman Lieutenant General Jean François de Bette, Marquis of Lede. This force then captured the island of Sardinia. At the same time negotiations had ensued between Austria, Spain, and France in order to avoid a war. The British and French envoys at the same time offered Philip V the Duchies of Parma and Tuscany, and also to renounce Charles VI's claim to the Spanish throne, if Philip abandoned Sicily and accepted Sardinia. In view of Alberoni's negatives, even Gibraltar was offered. The Cardinal was strengthening Spain's position in Europe by forming an alliance with Russia and Sweden, with the aim of restoring the House of Stuart to the British throne.

Byng sent to the Mediterranean

In the early months of 1718 a large number of Royal Naval vessels began to be commissioned and refitted; this alarmed the Spanish ambassador, the Marquis of Monteleon. Admiral George Byng, a man of long experience, was appointed Commander-in-Chief of the Mediterranean on 24 March. He was, upon his arrival there to inform the King of Spain, the Viceroy of Naples (at that time Count Wirich Philipp von Daun) and the Governor of Milan (the Prince Maximilian Karl of Löwenstein–Wertheim), that he had been sent to settle the differences between Spain and Austria.

Byng set sail from Spithead on 15 June with a fleet of twenty ships of line, two fireships, two bomb vessels, a store ship, a hospital ship and two tenders. On 30 June he arrived at Cádiz and sent a letter to the British ambassador at Madrid, William Stanhope, informing Philip V of the presence of the British fleet. Alberoni wrote Byng that if he attacked the Spanish fleet he should prepare for a humiliating defeat. Stanhope replied that Britain was acting only as a mediator. Nine days later, Alberoni wrote to Stanhope that Byng would execute his sovereign's orders.

Byng resumed his voyage and by 8 July the British fleet was rejoined off Cape Spartel by the two ships with news of the Spanish fleets departure from Barcelona on 18 June. Byng was joined by Vice-admiral Charles Cornwall with a small division of two ships from Gibraltar, HMS Argyll and HMS Charles Galley. On 23 July Byng anchored off Port-Mahon and while reinforcing the garrison there was told that the Spanish fleet had been seen on 30 June off Naples. Two days later, the British fleet set sail, arriving at the Bay of Naples on 1 August.

Spanish invasion of Sicily
On 18 June a Spanish expedition sailed from Barcelona consisting of twelve ships of line, seventeen frigates, seven galleys, two fireships, and two bomb vessels, plus 276 transports and 123 tartanes commanded by Admiral Antonio de Gaztañeta and the General Quartermaster of the Spanish Navy, José Patiño Rosales. This fleet carried aboard 36,000 infantrymen and 8,000 horse, along with artillery, supplies, and ammunition again under the command of Marquis of Lede. Their objective was the island of Sicily. On 30 June, having embarked reinforcements at the Bay of Cagliari between 25 and 27 June, the Spanish fleet came in sight of the city of Palermo. The Austrian force, surprised by Spanish numbers, evacuated Palermo. A month later, most of the island had fallen to the Spaniards with little or nor resistance, with the exception of Messina and a few coastal fortresses.

As Victor Amadeus II of Savoy had agreed to surrender Sicily to the Emperor, the Austrian Viceroy of Naples, Wirich Philipp von Daun, asked Byng to transport 2,000 German infantry under General Wetzel to the citadel of Messina. Byng agreed and sailed from Naples on 6 August, while the Spanish fleet was anchored off Paradiso.

Byng also proposed a "cessation of arms" in Sicily for two months, but Lede declined. With this offer rejected, Byng was left with no choice but to help the Imperialists and Savoyards resist Spanish attack. The British fleet arrived at Messina but were discovered by a Spanish felucca on 8 August, heading to the point of the Faro. The Marquis of Mari warned Gaztañeta and Patiño of the inferiority of the Spanish fleet, and the Irish-born Squadron Chief George Cammock, a former officer in the British Royal Navy, proposed that the fleet anchor in the Paradiso roadstead where it could be assisted with shore batteries. This defensive position would, according to Cammock, favour the Spanish ships, as the strong currents of the Faro would throw Byng over them, thus avoiding a feared long-range cannonade. Gaztañeta and Patiño, however, were confident of the peaceful intentions of Byng due to Alberoni's letters, and they decided to sail to Malta to join forces with Baltasar de Guevara.

Fight against the Spanish rear

The Spanish fleet sailed from the Faro Point in disorder. No defensive disposition was taken by Gaztañeta, except to leave behind two frigates to follow the British fleet at a distance. As Byng stood in off Faro Point, both ships were detected. At the same time, a felucca from the Calabrian coast informed the British admiral that the Spanish fleet had been seen from the hills laying in. Byng dispatched German troops they were carrying to Reggio under escort of two of his ships while he headed to Faro point and sent scouts ahead. At noon they discovered the Spanish fleet, drawn into a line of battle: 27 ships of the line and frigates, two fireships, four bomb-vessels, seven galleys, and several storeships. Byng followed them during the rest of the day. A Spanish account of the battle said that, on the morning of 10 August, the Spanish ships saluted the British ones as they approached, not showing, therefore, any sign of belligerence. The night passed with fair weather; small winds and sometimes calm. The following morning the Spanish fleet was dispersed, with ships divided into three large groups separated from each other. Gaztañeta tried then to form a line of battle by towing his ships of the line with the galleys, but had no time.

The Marquis of Mari, who commanded the Spanish rear, had under his command various warships: the ship of line El Real, the frigates San Isidro, Tigre, Águila de Nantes, two bomb-vessels, a fireship, and some storeships, besides the galley squadron. Mari had lagged behind and was near the shore off Avola. The British vessels were close to them, and Byng dispatched Captain George Walton of HMS Canterbury (1693) with five more vessels to chase them. HMS Argyll fired two shots near De Mari's El Real, while Canterbury fired three more. Then, Mari's ship returned fire and the battle ensued with British at an advantage. The Marquis, having his ship badly mauled by the British gunfire, resolved to drive his squadron ashore, and later set fire to the ships to avoid capture. His own ship sustained fifty casualties, killed and wounded, and had her rigging severely damaged. She was run aground and her crew escaped inland, but the ship was refloated by her British captors. Two of the Spanish frigates were completely burned; their crews also escaped. Sorpresa, under Captain Miguel de Sada, was the only ship which offered battle, but were forced to surrender, having sustained heavy damage and casualties. The other Spanish vessels struck their colours after a brief engagement, following which the British took possession of them.

Attack on the Spanish centre

With the Spanish rear now severed from the main fleet, Byng committed most of his vessels in pursuing Gaztañeta's squadron, which continued its way towards Cape Passaro. The Spanish admiral had with him six ships of the line and four frigates, but had not succeeded in forming a line of battle. HMS Oxford and HMS Grafton were the first two British ships of the line to engage Gaztañeta's centre. At 10 am, as they approached, the disorganised Spanish vessels opened fire. The two British ships returned fired, having been ordered by Byng not to fire until the Spaniards repeated their firing. Oxford fell upon the 64-gun Santa Rosa and took her after a murderous cannonade, supported by other British ships in the distance. The 60-gun San Carlos struck her colours to Captain Thomas Matthews' HMS Kent, having made little resistance. Captain Nicholas Haddock's Grafton, meanwhile, confronted Príncipe de Asturias (formerly HMS Cumberland), together with HMS Breda and HMS Captain. Príncipe de Asturias was left almost shattered by Grafton and had most of her crew killed or injured, including Chacón, who was wounded in the face by splinters. The ship surrendered to Breda and Captain while Grafton moved to engage another Spanish ship of sixty guns on his starboard.

At 1 pm, Gaztañeta's flagship, the 74-gun San Felipe, was attacked by Kent and soon after by Superb, from which she received two broadsides. A running fight took place for two hours between the Spanish admiral's ship, supported by three others, and Byng's division of seven ships of line and a fireship. Gaztañeta held off his pursuers until Kent, bearing down under his stern, fired a broadside and fell to the leeward while Superb fell simultaneously on his weather-quarter. San Felipe, which could only return fire with her after guns, was left dismasted and had its hull severely mauled, but Gaztañeta was unwilling to surrender. Byng's HMS Barfleur came close to San Felipe, and Byng demanded that Gaztañeta strike his colours or Byng would dispatch one of his fireships against San Felipe. Gaztañeta refused and responded with a broadside. The British fired back and he received a shot which pierced his left leg and wounded his right heel. Volante, commanded by Captain Antonio Escudero, attempted to relieve San Felipe. staying close to her with the aim to attract some of the British fire upon herself. Pierced by the fire of three British ships, she struck to HMS Montague and HMS Rupert at nightfall. San Felipe, having 200 men out of action, amongst them flag captain Pedro Dexpois, who had been hit by the shattered bones of a sailor cut in half by a cannonball, also surrendered. Of the remaining ships of Gaztañeta's squadron, Juno meanwhile had been taken by HMS Essex after a three-hour fight.

Guevara's arrival and retreat
In almost total darkness, Gaztañeta's San Felipe struck her colours. Baltasar de Guevara, in San Luis with another ship of line, came in sight of the Spanish flagship, which had been alerted by the gunfire. Guevara's two ships bore down windward of them and exchanged a broadside with Byng's Barfleur. Told that San Felipe had surrendered, Guevara charged upon the wind and committed himself to collect the few Spanish ships still fighting on. The frigate Perla under Captain Gabriel Alderete, was relieved and allowed to escape from the three British ships. Together with another frigate, San Juan el Chicho, they left the battle, and headed towards Malta. Byng pursued them for some time, but given the fading light and low wind, he decided to stay with his fleet. George Cammock, convinced of the defeat, set sail to the Venetian island of Corfu with his flagship San Fernando and a frigate.

Francisco Grimau's seven galleys, taking advantage of favourable winds, retired to Palermo. The ships which managed to escape were, besides the galleys, four ships of the line, nine frigates, a bomb galley, and one of Pintado's ships. The 64-gun Santa Isabel, under Captain Andrea Reggio, was pursued all through the night and surrendered the next morning to Rear Admiral George Delaval. The British, in contrast, sustained trifling damage with no more than 500 killed or wounded all told. Of Byng's fleet, the ship which suffered the most damage was Grafton; but she had engaged and disabled several Spanish vessels. The necessary repairs of the Royal Navy ships, mostly in the rigging, and those relating to prizes taken, were done over the following days. On 18 August Byng received a letter from Captain Walton:

"Sir, We have taken and destroyed all the Spanish ships and vessels which were upon the coast, the number as per margin."

- Captain George Walton

End of the battle
Walton had succeeded in capturing, by his own account, four men-of-war, a bomb vessel and a storeship in addition to burning four other men-of-war. Having repaired his damaged ships, Byng entered the port of Syracuse, then held by Savoyard troops under the Count of Maffei and blockaded by the Spanish army. From there Byng dispatched five captured Spanish ships of the line and four Spanish frigates to Port-Mahon under a heavy escort. One of his ships, Gaztañeta's San Felipe, took fire accidentally and blew up with most of his crew; 160 British and 50 Spaniards. According to Spanish accounts, shortly after the action, a captain of the British fleet made a complaint to the Marquis of Lede in the name of Byng, stating that the Spaniards had fired first. Gaztañeta and his officers were dispatched to Augusta in a felucca, having taken an oath not to take up arms against the Habsburg armies for four months. Of the haul of Spanish prisoners taken – 2,600 who were wounded or sick, were also freed. Of the Spanish ships which escaped to Malta, where the Sicilian galleys under the Marquis of Rivaroles were still anchored. The Grand Master of the Knights Hospitaller, the Catalan Ramon Perellos y Roccaful, was a sympathiser of the House of Habsburg and refused entry to the Spanish.

Aftermath

Having achieved his goal of destroying or capturing the bulk of Spanish fleet, Byng, then anchored at Malta. He was resolved to commit all his efforts to lift the Siege of Messina but to his surprise, even though German reinforcements broke through to the citadel, the Marquis d'Andorno surrendered on 29 September. The Marquis of Lede then held all of Sicily except the towns of Syracuse, Melazzo, and Trapani, held by considerable Savoyard garrisons for the following months. Byng detached four of his ships to eliminate Cammock's surviving ships and blockade the Spanish army. In the harbour of Augusta, the British attacked a convoy of small vessels and forced the Spaniards to burn a bomb vessel and a fireship. Off Palermo, HMS Grafton captured two Genoese vessels which had sailed from Porto Longone with a corps of Swiss mercenaries, munitions, and gunpowder. A third vessel ran aground when approached by HMS Lennox near Castellammare del Golfo and was set on fire, though its crew managed to land 240 men, 700 flintlocks and some gunpowder.

As Byng's attack had virtually destroyed the Spanish fleet at Cape Passaro, the Spanish situation at Sicily considerably worsened over the months following the battle. Their army was isolated on the island, so the War Ministry informed Lede that they couldn't send troops or supplies. The blow was felt so severe by Alberoni that he banned the circulation of any information on the expedition and took measures against Great Britain, although he did not immediately declare war. He requested that ambassador Monteleone was to leave London and gave orders to issue letters of marque to privateers and to seize all British vessels and goods in the ports of Spain. This was a task in which Baltasar de Guevera played a major role when he entered the port of Cádiz with his few surviving ships. In the meantime, Byng sent his eldest son to England with a full account of the battle. When he was at Naples in November, he received a letter written personally by Emperor Charles VI:

"Admiral Sir George Byng, I have received with a great deal of joy and satisfaction, by the bearer of this, yours of the 18th of August. As soon as I knew you was named by the king your master to command his fleet in the Mediterranean, I conceived the greatest hopes imaginable from that very circumstance. The glorious success yon have had surpasses, however, my expectations. You have given, upon this occasion, very singular proofs of your courage, conduct, and seal for the common cause: the glory you obtain from thence it indeed great, and yet my gratitude falls nothing short thereof, as Count Hamilton will fully inform you. You may always depend upon the continuance of my thankfulness and affection towards you: may God have yon always in his holy keeping."

- Charles VI, Holy Roman Emperor

On 26 December Great Britain declared war on Spain, France did the same soon after on 9 January the following year. In spite of the unfavourable turn of events, Alberoni was even more unwilling than at first to accept the terms dictated by the Quadruple alliance. To reverse the course of the war, Alberoni began to collect armaments and shipping at Cádiz and Corunna for an expedition to Britain itself. He sought alliance with King Charles XII of Sweden, he obtained the support of the Jacobite pretender, James Francis Edward Stuart. His plan was an invasion of the western England by 5,000 men under British turncoat James Butler, 2nd Duke of Ormonde. To deter Swedish involvement, Britain dispatched a squadron of ten ships of the line led by John Norris to the Baltic. The Swedish ships remained at their ports, and no naval action took place. Moreover, on 11 December Charles XII was killed by a cannonball at the Siege of Fredriksten, and Spain was deprived of its only potential ally. Alberoni decided to continue the project and entrusted the command of the fleet destined to England to Baltasar de Guevara. Off Cape Finisterre the expedition was dispersed in a long and violent storm which sank several ships and scattered the fleet. Three frigates and five transports with troops reached Scotland and disembarked about 400 men, but they were soon defeated at the Battle of Glenshiel.

Britain (Admiral Sir George Byng)

 * Barfleur 90 (flag of Admiral Sir George Byng, 1st Captain George Saunders, 2nd Captain Richard Lestock)
 * Shrewsbury 80 (Vice-Admiral Charles Cornwall, Captain John Balchen)
 * Dorsetshire 80 (Rear-Admiral George Delaval, Captain John Furzer)
 * Breda 70 (Barrow Harris)
 * Burford 70 (Charles Vanbrugh)
 * Captain 70 (Archibald Hamilton)
 * Essex 70 (Richard Rowzier)
 * Grafton 70 (Nicholas Haddock)
 * Kent 70 (Thomas Mathews)
 * Lenox 70 (Charles Strickland)
 * Orford 70 (Edward Falkingham)
 * Royal Oak 70 (Thomas Kempthorne)
 * Canterbury 60 (George Walton)
 * Dreadnought 60 (William Haddock)
 * Dunkirk 60 (Francis Drake)
 * Montagu 60 (Thomas Beverley)
 * Rippon 60 (Christopher O'Brien)
 * Rupert 60 (Arthur Field)
 * Superb 60 (Streynsham Master)
 * Rochester 50 (Joseph Winder)
 * Argyll 50 (Conningsby Norbury)
 * Charles Galley 44 (Philip Vanbrugh)

Total was 1 of 90 guns, 2 of 80 guns, 9 of 70 guns, 7 of 60 guns, 2 of 50 guns, 1 of 44 guns. The British fleet also comprised 6 smaller vessels – the fireships Garland (Samuel Atkins) and Griffin (Humphrey Orme), the storeship Success (Francis Knighton), the hospital ship Looe (Timothy Splaine), the bomb-ketch Basilisk (John Hubbard) and an unnamed bomb tender.

Spain (Rear-Admiral Don José Antonio de Gaztañeta)

 * Real San Felipe (San Felipe El Real) 74 (Rear-Admiral Antonio de Gaztañeta, flag captain Pedro Dexpois) – Captured by Superbe and Kent, blew up after being towed to Mahon
 * Príncipe de Asturias 70 (Rear-Admiral Francisco Chacón (†)) – Captured by Breda and Captain
 * San Juan Bautista 60 (Don Francisco Guerrero) – Escaped to Malta.
 * San Luis 60 (Rear-Admiral Don Baltasar Vélez de Guevara) – Escaped to Malta.
 * San Pedro 60 (Don Antonio de Arizaga) – Escaped
 * San Carlos 60 (Prince de Chalois) – Captured by Kent
 * Real Mazi (El Real) 60 (Rear-Admiral Marquiss de Mari) – Captured by Canterbury's division
 * San Fernando 60 (Rear-Admiral George Cammocke) – Escaped to Malta
 * Santa Isabel / San Isabel 60 (Don Andrea Reggio) – Captured by Dorsetshire
 * Santa Rosa 60 (Don Antonio González) – Captured by Orford
 * Perla de España 54 (Don Gabriel de Alderete) – Escaped to Malta
 * San Isidro 46 (Don Manuel de Villavicencio) – Captured by Canterbury's division
 * Hermione 44 (Don Rodrigo de Torres) – Escaped, but then burnt at Messina
 * Volante 44 (Don Antonio Escudero) – Captured by Montagu and Rupert
 * Esperanza 46 (Don Juan Maria Delfin) – Burnt to avoid capture
 * Juno 36 (Don Pedro Moyano) – Captured by Essex
 * Sorpresa 36 (Don Miguel de Sada, count of Clavijo) – Captured by Canterbury's division
 * Galera 30 (Don Francisco Álvarez Barreiro) – Escaped
 * Castilla 30 (Don Francisco de Liaño) – Escaped
 * Conde de Tolosa 30 (Don José de Goycoechea) – Escaped, but then captured at Messina
 * Tigre 26 (M Cavaigne) – Captured
 * Águila 24 (Don Lucas Masnata) – Captured by Canterbury's division
 * San Francisco de Asís 22 – Escaped
 * San Fernando Menor 20 – Escaped
 * San Juan Menor 20 (Don Ignacio Valevale) – Escaped, but captured later
 * Flecha 18 (Don Juan Papagena) – Escaped

Total was one 74-gun, 1 70-gun, 8 60-gun, 1 54-gun, 2 46-gun, 2 44-gun, 2 36-gun, 3 30-gun, one 26-gun, one 24-gun, one 22-gun, two 20-gun, and one 18-gun. The Spanish fleet also included three bomb ships, a fireship, one ordnance store ship, three ordinary store ships, a settee, and seven galleys.

title: Battle of Cape Passaro


text:
User talk:Karl Stroetmann

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! And perhaps you should log in :). Ach so: Willkommen! Lectonar 11:44, 4 October 2005 (UTC)
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Hello
I've seen your important contributions for the article Recurrence relation. I'm looking for the general (non-iterative) non-trigonometric expression for the exact trigonometric constants of the form: $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$, when n is natural (and is not given in advance). Do you know of any such general (non-iterative) non-trigonometric expression? (note that any exponential-expression-over-the-imaginaries is also excluded since it's trivially equivalent to a real-trigonometric expression). Eliko (talk) 08:26, 31 March 2008 (UTC)
 * Let me explain: if we choose n=1 then the term $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$ becomes "0", which is a simple (non-trigonometric) constant. If we choose n=2 then the term $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$ becomes $$\begin{align}\frac{1}{\sqrt{2}}\end{align}$$, which is again a non-trigonometric expression. etc. etc. Generally, for every natural n, the term $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$ becomes a non-trigonometric expression. However, when n is not given in advance, then the very expression $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$ per se - is a trigonometric expression. I'm looking for the general (non-iterative) non-trigonometric expression equivalent to $$\begin{align}\cos \frac{\pi}{2^n}\end{align}$$, when n is not given in advance. If not for the cosine - then for the sine or the tangent or the cotangent.

title: User talk:Karl Stroetmann


text:
User talk:SunsetFlare

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Lectonar 11:45, 4 October 2005 (UTC)
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title: User talk:SunsetFlare


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John Burton Cleland

Sir John Burton Cleland CBE (22 June 1878 – 11 August 1971) was a renowned Australian naturalist, microbiologist, mycologist and ornithologist. He was Professor of Pathology at the University of Adelaide and was consulted on high-level police inquiries, such as the famous Taman Shud Case in 1948 and later. He also studied the transmission of dengue virus by the mosquito Stegomyia fasciata (Aedes aegypti).

Early life and education
John Burton Cleland was born in Norwood, South Australia a grandson of John Fullerton Cleland and son of Dr William Lennox Cleland (1847–1918) and Matilda Lauder Cleland née Burton (1848–1928) a daughter of John Hill Burton FRSE. He attended Prince Alfred College and the universities of Adelaide and Sydney, graduating in medicine in 1900.

Marriage and family
Cleland married Dora Isabel Paton (1880–1955) a daughter of Rev David Paton DD (1841–1907), minister of Chalmers Presbyterian Church, North Terrace, Adelaide, and Isabella Ann McGhie née Robson (1847–1933) and they had four daughters and a son. He encouraged them in the sciences: Sir Donald MacKinnon Cleland CBE (1901–1975), administrator of Papua New Guinea, was his cousin, the son of Elphinstone Davenport Cleveland (1843–1928) and his second wife Anne Emily MacKinnon (1870–1944).
 * Dr Margaret Burton Cleland MRCS FRACP (1909–2004) who married Dr John Patrick Horan (1907–1993) MD FRCP FRACP;
 * Dr William Paton 'Bill' Cleland MB FRCP FRCS (1912–2005), who married Norah Goodhart (1914–1994), became a cardio-thoracic surgeon;
 * Joan Burton Cleland (c. 1915–2000) who married Erskine Norman Paton (1922–1985) became an ornithologist;
 * Elizabeth Robson Cleland (16 October 1910 – 31 January 2005) married (Alfred) Moxon Simpson (1910–2001) on 3 August 1938. Moxon was a son of Alfred Allen Simpson. Elizabeth Simpson was author of The Hahndorf Walkers and The Clelands of Beaumont
 * Barbara Burton Cleland (1913–?), a mathematics graduate who married Prof Andrew John La Nauze (1911–1990)

Career
He worked as a microbiologist in Western Australia and New South Wales for several years. He was appointed as a full Professor of Pathology at the University of Adelaide, and taught generations of students.

Cleland was elected President of the Royal Society of South Australia 1927–1928, and again in 1941. He became a member of the Royal Australasian Ornithologists Union (RAOU) in 1902, and served as its President 1935–1936.

In 1934–35, he published a two-volume monograph on the fungi of South Australia, one of the most comprehensive reviews of Australian fungi to date.

Along with Charles Duguid and Constance Cooke, he was a board member of South Australia's Aborigines Protection Board after its creation in 1940, established by the Aborigines Act Amendment Act (1939) and "charged with the duty of controlling and promoting the welfare" of Aboriginal people.

Cleland led a University of Adelaide anthropological expedition to Nepabunna Mission in the northern Flinders Ranges in May 1937, whose members included Charles P. Mountford as ethnologist and photographer, botanist Thomas Harvey Johnston, virologist Frank Fenner, and others.

Cleland was the pathologist on the infamous Taman Shud Case, in which an unidentified man was discovered dead on a beach 1 December 1948. While Cleland theorised that the man had been poisoned, he found no trace of it. The man was never identified.

Cleland became increasingly interested in wildlife conservation and served as commissioner of the Belair National Park in 1928 and as chairman in 1936–65. He chaired the Flora and Fauna Handbooks Committee of South Australia, and with them oversaw the production of a series of descriptive biological manuals, and other books related to flora, fauna and geology.

Legacy and honours

 * 1949, he was elected an Honorary Life Member of the RAOU.
 * 1952, he was awarded the Australian Natural History Medallion.
 * 1963, he is commemorated by the Cleland Wildlife Park (now within Cleland National Park).
 * The J.B. Cleland Kindergarten in St Georges, South Australia is also named after him.

title: John Burton Cleland


text:
Rhys Gabe

Rhys Thomas "Rusty" Gabe (22 June 1880 – 15 September 1967) born as Rees Thomas Gape, was a Welsh rugby union player who played club rugby for Llanelli, London Welsh and Cardiff and gained 24 caps for Wales, mainly as a centre.

Rugby career
Born in Llangennech, Gabe started his rugby career with Llangennech before making his debut with Llanelli at the age of seventeen. In 1901 he moved to London to study at Borough Road Training College and joined London Welsh, where he was moved to centre. After qualifying as a mathematics teacher, he took a teaching post in Cardiff and joined the Cardiff club, where he formed a devastating centre combination with Gwyn Nicholls for both club and country. He played for Cardiff between 1902–03 and 1909–10, captaining the club in the 1907–08 season. He scored 51 tries for Cardiff in 115 appearances.

Gabe won his first cap for Wales against Ireland in 1901, playing on the left wing. His 24 caps for Wales included the famous Match of the Century, the 1905 victory against New Zealand. Gabe would go on to captain Wales in the 1907 match against Ireland, and toured Australasia with the British Isles team of 1904. He played in all four test matches, including the three victories over Australia.

Gabe was an impressive try scorer and scored 11 tries during his Welsh career. In his first game against England in 1902 he scored a memorable try when John Strand-Jones deceived the entire English pack and passed the ball to Gabe. With only the English full back Gamlin to beat, Gabe raced to the try line and rounded Gamlin but took a heavy blow to his solar plexus. Gabe managed to carry on, cross the line, score the try, only then passing out.

His most remarkable try was probably one scored against England at Bristol in 1908. The match was played in thick fog, and Gabe and his teammate Percy Bush found a loose ball outside England's 25. Gabe won the tussle for the ball and set off in the direction of the line, while Bush ran off in the opposite direction to confuse the opposition. Eventually the referee and the other players arrived at the line to find Gabe waiting with the ball.

Gabe retired in 1908, but still appeared occasionally for Cardiff. He was a fine club cricketer and played occasionally for Glamorgan. He also captained Radyr Golf Club, and played at Cardiff Golf Club well into his eighties. He died in Cardiff in 1967.

International games played
Wales
 * 1902, 1903, 1904, 1905, 1906, 1907, 1908
 * 1908
 * 1901, 1902, 1903, 1904, 1905, 1906, 1907, 1908
 * 1905
 * 1902, 1903, 1904, 1905, 1907, 1908
 * 1906

British Isles
 * 1904, 1904, 1904
 * 1904

title: Rhys Gabe


text:
User talk:Tripathi neeraj~enwiki

Welcome!

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title: User talk:Tripathi neeraj~enwiki


text:
Battle of Laupen

The Battle of Laupen was fought in June 1339, between Bern and its allies on one side, and Freiburg together with feudal landholders from the County of Burgundy and Habsburg territories on the other. Bern was victorious, consolidating its position in the region. As a consequence of the conflict, the relations of Bern and the Swiss Confederacy tightened, resulting in Bern's permanent accession in 1353.

This is also the first battle that the white cross was documented as being used as a field sign worn by Swiss combatants.

Background
Prior to hostilities the free imperial city of Bern had undergone heavy expansion, however this expansion came at high expense to the feudal lords in the area and led to increasing competition with the neighbouring city of Fribourg. Bern had been allied with Fribourg since 1241, but Fribourg had been sold to the House of Habsburg in 1277.

Fribourg entered a league with neighbouring feudal lords, including the County of Neuchâtel, the County of Savoy and the Prince-Bishop of Basel, raising a force of some 17,000 men, including a force of some 1,000 heavy cavalry under the command of Rudolf von Nidau and Gérard de Valengin. While the cavalry were a powerful force, much of the infantry, with the exception of the Freiburg contingent, were poorly equipped and unmotivated

This force set out to confront Bern by besieging Laupen Castle. To raise the siege, Bern raised a force of 6,000, consisting of Bernese, supported by Forest Cantons of Uri, Schwyz and Unterwalden (who had entered a military alliance with Bern in 1323), and other allies (Simmental, Weissenburg, Oberhasli).

The Habsburg Duke of Austria and the Count of Kyburg assembled a force in Aargau and threatened Bern from the east. This is likely the reason that the relief force sent to Laupen was not led by the Bernese Schultheiss, Johann II von Bubenberg, who would have remained in the city preparing for a possible siege.

The battle
The Bernese army marched to the relief of Laupen, arriving in the afternoon of 21 June. Rather than attempt an attack on the Freiburger siege lines, they drew up their army on a hill called the Bramberg, some 3 km east-northeast of Laupen Castle, as a challenge to their enemies to come and fight. The formation of the Bernese consisted of one or more haufen, deep bodies of infantry. To one flank, probably the left, stood the troops of the Forest Cantons. The arrival of the Bernese was noted by the Freiburgers and they rapidly armed and arrayed themselves for battle. Late in the afternoon, they launched their attack.

The Freiburg force was led by their cavalry, followed by the larger body of infantry. An unknown number of troops were left in the siege camp, to protect the equipment and prevent a sally by the 600 strong Bernese garrison. The cavalry vanguard moved to threaten the Bernese, with a number of newly dubbed knights riding close to the Bernese lines waving their swords, but the Bernese force held its position. When the Freiburg infantry formed up, the cavalry launched an assault which brought them into contact with the Forest Canton contingent, who rapidly formed an all-round defensive formation known as a hedgehog (Igel). Away from this flank action, the Freiburger infantry advanced up the hill. The Bernese threw forward a screen of crossbowmen and stone-throwers to harass this advance but these quickly fell back as the Freiburgers closed. This seems to have caused a panic in the rear ranks of the Bernese army and a large number (up to 2,000) men fled into the forest behind the Bramberg. Remarkably, the rest of the army held firm. The two infantry lines then clashed. Despite their numerical advantage, the Freiburgers were quickly broken and fled away towards Laupen, the flight being led by the feudal contingent from Vaud. The contingent from Freiburg suffered particularly heavily, losing their Burgomeister and the City standard bearer. Showing great control, a part of the Bernese army reordered itself and marched to relieve the Forest Cantons, who were still surrounded by the Freiburger's cavalry. The action here was possibly the fiercest of the day, with the horsemen now fighting on two fronts themselves. After a short bloody struggle, the cavalry were routed and suffered heavy casualties. At least 80 nobles fell, including the Counts of Nidau, Valengin and Aarburg and the son of Louis II of Vaud. The evening was now drawing on, which limited pursuit, but the Bernese forces marched into Laupen, where celebrations and services of thanksgiving for the victory were held.

Aftermath

The Habsburg force in the east could not reach Laupen in time for joining the battle and dispersed upon receiving news of the defeat. The victory of the Bernese/Swiss against all odds, outnumbered two-to-one by an army containing such a force of mounted chivalry, came as a surprise, and chroniclers record that comments like "God himself must have become a Bernese citizen" were heard among the retreating Habsburg troops.

Bern was drawn into closer association with the Swiss Confederacy, becoming one of the Eight Cantons in 1353.

The rivalry between Bern and Fribourg continued throughout the 14th century but did not erupt into military conflict again. Fribourg acquired substantial territories in the vicinity of Bern, but these were all lost again in the wake of the Battle of Sempach, with the 1389 peace treaty between Habsburg and the Swiss Confederacy. Fribourg renewed its alliance with Bern in 1403 and abandoned its expansionist policies, focusing on the acquisition of territories in its immediate neighbourhood. This permitted the rise of Bern as the most powerful city republic north of the alps by the early modern period, and paved the way for the accession of Fribourg as an associate of the Swiss Confederacy by 1454 and as a full member in 1481.

Wider significance
Comparable to the Battle of Bannockburn 25 years earlier, Laupen was one of a string of battles presaging the definite decline of high medieval heavy cavalry (the classical "knights" of the 12th and 13th centuries) in the face of improving infantry tactics during the following century.

The battle is also the first occasion for which use of the Swiss cross as a badge to identify confederate troops is attested; it was shown on combatants' clothing as two stripes of textile. Diebold Schilling the Elder in the 1480s makes a point of showing this field sign as worn by troops of the Forest Cantons as a white cross in a red field, while it is not yet attached to the cantonal banners. In the same illustrations, the attacking Savoyard cavalry displays the white-on-red cross of Savoy both in its banner and on cavalry shields.

The battle has an important position in Swiss military history as the first victory in open battle of the Swiss Confederacy over Habsburg. The Swiss had already routed a Habsburg army in the Battle of Morgarten in 1315, but this had been an ambush on a marching army and not an open field battle. The drawn-out conflict with Habsburg was one of the main driving forces of the foundation and growth of the Confederacy, lasting for full two centuries, from the death of Habsburg king Rudolf I of Germany in 1291 until the peace treaty of 1511 in the aftermath of the Swabian War. It was the continued conflict with Albert II of Habsburg that prompted the accession of Zürich, Glarus, Zug and Bern to the confederacy, forming the Eight Cantons. After a brief Habsburg-Confederate alliance against an external threat in the so-called Gugler war of 1375, the conflict re-emerged in the 1380s, culminating in the Habsburg defeat in the Battle of Sempach in 1386.

title: Battle of Laupen


text:
Router on a stick

A router on a stick, also known as a one-armed router, is a router that has a single physical or logical connection to a network. It is a method of inter-VLAN routing where one router is connected to a switch via a single cable. The router has physical connections to the broadcast domains where one or more VLANs require the need for routing between them.

Devices on separate VLANs or in a typical local area network are unable to communicate with each other. Therefore, it is often used to forward traffic between locally attached hosts on separate logical routing domains or to facilitate routing table administration, distribution and relay.

Details

One-armed routers that perform traffic forwarding are often implemented on VLANs. They use a single Ethernet network interface port that is part of two or more Virtual LANs, enabling them to be joined. A VLAN allows multiple virtual LANs to coexist on the same physical LAN. This means that two machines attached to the same switch cannot send Ethernet frames to each other even though they pass over the same wires. If they need to communicate, then a router must be placed between the two VLANs to forward packets, just as if the two LANs were physically isolated. The only difference is that the router in question may contain only a single Ethernet network interface controller (NIC) that is part of both VLANs. Hence, "one-armed". While uncommon, hosts on the same physical medium may be assigned with addresses and to different networks. A one-armed router could be assigned addresses for each network and be used to forward traffic between locally distinct networks and to remote networks through another gateway.

One-armed routers are also used for administration purposes such as route collection, multi hop relay and looking glass servers.

All traffic goes over the trunk twice, so the theoretical maximum sum of up and download speed is the line rate. For a two-armed configuration, uploading does not need to impact download performance significantly. Furthermore, performance may be worse than these limits, such as in the case of half-duplexing and other system limitations.

Applications
Cases where this setup is used can be found in servers dedicated for prints, files or for segmenting different departments. An example of router on a stick usage is found in Call Manager Express installation, when the Voice over IP network and Cisco IP phone devices have a need to split. Enterprise networks implement this method of separating servers to prevent all users from ‘having equal access privilege to resources’.

Naming
As the network is separated virtually, the router does not need to be placed adjacent to the devices, rather is it placed to the side in the network topology. The router is connected to the switch by a single cable. Therefore, giving the eponymous ‘stick’ formation. In some institutions, the abbreviation RoaS or ROAS is used instead of router on a stick.

Protocol and design
Router on a stick relies on one Ethernet link that is configured as IEEE 802.1Q trunk link. The trunk is where data flows for the VLANs.

Advantages
Networks that utilise router on a stick benefit from only requiring one LAN connection to be used for multiple VLANs, i.e. the number of VLANs are not limited by the number of LAN ports available. Separation of network connections do not respond to the physical location of the ports on the router. Thus, this removes the need for multiple cable and wiring management.

As VLANs are segmented, it reduces the amount of traffic flow through a connection. By separating VLANs, it provides enhanced network security. Network administrators have direct control over multiple broadcast domains. In the event of a malicious user attempting to access any switch port, they will have limited access to the network. The segmentation assists in restricting sensitive traffic that flows within an enterprise.

Certain cases where workgroups are to be created. Users requiring high level of security can be isolated from other networks. Those outside of the VLANs cannot communicate, therefore departments are made independent from each other. Also third party users cannot access the network easily. Networks via router on a stick are independent from their physical locations, therefore sensitive data can be handled without compromise and with ease. Changes to networks like adding or removing a broadcast domain is achievable by assigning hosts to the appropriate VLANs. Broadcasts of networks can be managed by multiple hosts, controlled by implementing as many VLANs as required. Therefore, this increases the number of networks while simultaneously decreasing their size.

Implementation of this setup only requires one router.

Disadvantages
Compared to the alternative of using L3 (Layer 3 switching), the trunk may become a source of congestion as traffic from all VLANs must flow through the trunk link. Modern networks utilise L3 switches that provide greater bandwidth output and functionality. Bottleneck can be mitigated if the single interface is combined with other interfaces via link aggregation.

If the router fails, there is no backup and that may become the bottleneck in the network, effectively making all inter-VLAN communication impossible. Moreover, since all VLANs must traverse one router, there is a great potential in insufficient bandwidth provided for all network connections.

Before implementing inter-VLAN routing into the network, it requires additional configuration and virtual implementation. Additional latency may be induced when connecting the switch to the router.

title: Router on a stick


text:
Talk:Rebecca Scott (model)

Untitled
She is currently dancing at SCores gentlemans club in Las Vegas

=Page for historian of the same name=

I would like to create a page for the multiply prize-winning historian of the same name (a page on her is here []), but I don't know how. 152.160.39.70 (talk) 13:46, 22 April 2009 (UTC)

I think I can help. go ahead and make a page for Rebecca Scott (historian), and I will take care of the dissemination page.Coffeepusher (talk) 14:22, 27 April 2009 (UTC)

title: Talk:Rebecca Scott (model)


text:
Talk:The Kubert School

Comment
Is it the same as Joe Kubert School of Graphic Design refered to in Pete Abrams?--Per Abrahamsen 11:53, 4 October 2005 (UTC)

 * It's gotta be. Joe's only founded one school that I know of. :) Tverbeek 20:00, 4 October 2005 (UTC)

 * I'll make it a redirect then. My guess is that it changed name at some point.  I get plenty of google hits on both, but apart from a few flytrap sites none that include both.--Per Abrahamsen 06:44, 5 October 2005 (UTC)

... Other than Joe Kubert's school, wha other schools are there ? Especially online — Preceding unsigned comment added by 202.156.6.54 (talk) 16:36, 14 May 2006

Is that in USA? — Preceding unsigned comment added by 62.121.45.84 (talk) 15:12, 21 July 2007

cartooning versus commercial illustration
The Wikipedia article says the school "teaches the principles of sequential art and the particular craft of the comics industry as well as commercial illustration. The Kubert School was and still is the only accredited school devoted entirely to cartooning." question: How can the school also teach "commercial illustration", BUT be "devoted entirely to cartooning"? --EarthFurst (talk) 21:29, 22 March 2015 (UTC)

Citation for the "citation needed" Also, maybe add a name.
I don't know those other comic people, but Adam Warren of "empoweredcomic.com" and many other books/works was also an alumni of this school; perhaps that should be mentioned.

In any case, the alumni can be verified simply by using a link I got from Adam Warren's entry: kubertschool.edu/alumni.html  — Preceding unsigned comment added by 204.210.100.234 (talk) 22:18, 17 August 2017 (UTC)

title: Talk:The Kubert School


text:
Harvey Schiller

Harvey Wallace Schiller (born April 30, 1940) is an American sports and business executive whose positions have included executive director of the United States Olympic Committee, chief executive officer of YankeeNets, president of Turner Sports, head of the International Baseball Federation and president of the Atlanta Thrashers. He has been named several times as one of the "100 Most Powerful People in Sports" by Sporting News. Schiller is chairman of Schiller Management Group, a global consulting and business solutions company. He is CEO of Goal Acquisitions, a special acquisitions company and chairman of the National Medal of Honor Center for Leadership.

Early life
A native of the Flatbush neighborhood of Brooklyn, New York, Schiller attended Erasmus Hall High School and The Citadel in Charleston, South Carolina, where he earned a bachelor's degree in chemistry and played football; one of his assistant coaches was Al Davis. Commissioned into the United States Air Force, he attended pilot training and flew more than a thousand sorties on the C-123 Provider in South Vietnam winning the Distinguished Flying Cross. After earning masters and doctoral degrees in chemistry from the University of Michigan, he spent most of his military career as a permanent professor and head of the Chemistry Department at the United States Air Force Academy, eventually retiring as a brigadier general.

Career
Schiller's sports management career began in 1986 when he was appointed commissioner for the Southeastern Conference of the National Collegiate Athletic Association. In 1990, he was appointed executive director of the United States Olympic Committee and oversaw a restructuring of the organization that led to increased support for athletes and introduction of drug testing; he instituted cash awards for medal winners, oversaw a major renovation of the Olympic Training Center in Colorado Springs, Colorado, and added new corporate sponsorships. He was also instrumental in landing the 1996 Summer Olympics for Atlanta and the 2002 Winter Olympics for Salt Lake City.

In 1994, business mogul Ted Turner tapped Schiller to become the first president of Turner Sports, a fledgling TV sports operation that produces game telecasts for Turner Network Television and TBS; he oversaw expansion that included the creation of Turner South. As the executive in charge of World Championship Wrestling he was the supervisor of Eric Bischoff, then-president of WCW; in a famous appearance on the wrestling show WCW Monday Nitro he suspended Bischoff from WCW on March 3, 1997. In 1997, Schiller also concurrently became president of the Atlanta Thrashers, an expansion franchise of the National Hockey League.

In 1999, George Steinbrenner selected Schiller to become CEO of YankeeNets, a conglomerate that owned the New York Yankees of Major League Baseball, the New Jersey Nets of the National Basketball Association and the New Jersey Devils of the National Hockey League. He was instrumental in creating the YES Network (Yankee Entertainment and Sports Network), a regional cable and sports channel that currently broadcasts games for the Yankees, Brooklyn Nets and New York City FC of Major League Soccer. From 2007 to 2009 he served as president of the International Baseball Federation, who also lobbied for inclusion of the sport in the Olympic Games. During his tenure a controversial rule about how extra innings are played was adopted, it became known as the "Schiller Rule". He served on the executive committee of the National Collegiate Athletic Association and was also appointed to the board of directors of the Baseball Hall of Fame, and the World Baseball Classic. In 2011, he was elected to the The New York Athletic Club Hall of Fame.

Schiller was chairman of the unsuccessful bid by New York City to host the 2012 Olympics, and was also appointed to the Women and Sports Commission of the International Olympic Committee. In 2010, he was named to the America's Cup Advisory Board and in 2014 appointed first commercial commissioner; a position responsible for managing, marketing and site selection of the 2017 races held in Bermuda. From 2014 to 2018, Schiller was board of directors president for USA Team Handball.

Schiller has been chairman of Assante, USA, which provides life and financial management products, and in 2005 he started the GlobalOptions Group, an international risk management and business solutions company. He has been chairman of Collegiate Sports Management Group and vice chairman for digital media, entertainment and sports practice of Diversified Search and has been on the board of directors of Mesa Air Group, Walker Innovation, Sportsgrid, and Craft 1861.

He is chairman of USAF Academy Athletic Corporation and was appointed an honorary member of The Academy Association of Graduates. Schiller is also senior advisor to SailGP.

Schiller is chairman of Schiller Management Group, a consulting company. He is a member of the Presidential Commission on White House Scholars. Schiller serves as CEO of Goal Acquisitions, a special acquisitions company and as the chairman of the board for the National Medal of Honor Center for Leadership.

Recognition
Schiller has been awarded honorary doctorates from The Citadel (Two Doctorates), Northern Michigan University and the United States Sports Academy. He is a member of The Citadel Athletic, Science, and Business Halls of Fame and was awarded The Citadel's Palmetto Medal Award. Schiller was a recipient of the Ellis Island Award in 1990. In 1994, he was awarded the Olympic Order by the International Olympic Committee. In 2013, he was honored as one of the "Pioneers and Innovators in Sports Business" by Sports Business Journal.

Philanthropy
Schiller and his wife Marcia have established the Harvey and Marcia Schiller Surgical Innovation Center at Medical University of South Carolina in Charleston, SC. The center is a dedicated center to improve patient outcomes and healthcare efficiencies through surgical innovation. Schiller is also a major donor with his alma mater The Citadel.

title: Harvey Schiller


text:
Leah Purcell

Leah Maree Purcell (born 14 August 1970) is an Aboriginal Australian stage and film actress, playwright, film director, and novelist. She made her film debut in 1999, appearing in Paul Fenech's Somewhere in the Darkness, which led to roles in films, such as Lantana (2001), Somersault (2004), The Proposition (2005) and Jindabyne (2006).

In 2014, Purcell wrote and starred in the play, The Drover's Wife, based on the original story by Henry Lawson. In 2019, she went on to write the bestselling novel, The Drover's Wife: The Legend of Molly Johnson, which was adapted for the screen when Purcell made her directorial debut in the acclaimed film of the same name in 2022, for which she had also written, produced and starred as the titular character. For her work, she has won several awards, including a Helpmann Award, two AACTA Awards, and Asia Pacific Screen Awards Jury Grand Prize.

Purcell is notable for her roles in several television drama series, including Police Rescue (1996), Fallen Angels (1997), Redfern Now (2012–2013), which earned her an AACTA Award, Janet King (2016), and perhaps her most recognisable television role being that of her AACTA and Logie Award-nominated performance as Rita Connors in the Foxtel prison drama series, Wentworth (2018–2021), the Amazon miniseries The Lost Flowers of Alice Hart (2023), and currently the Binge series, High Country (2024).

Early life and education
Leah Purcell was born on 14 August 1970  in Murgon, Queensland, and she was the youngest of seven children of Aboriginal (Goa–Gunggari–Wakka Wakka Murri ) and white Australian descent. Her father was a butcher and a boxing trainer.

After a difficult adolescence looking after her sick mother, Florence, who died while Leah was in her late teens, as well as problems with alcohol and teenage motherhood, Leah left Murgon and moved to Brisbane and became involved with community theatre.

Career
In 1996 she moved to Sydney to become presenter on a music video cable television station, RED Music Channel. This was followed by acting roles in ABC Television series Police Rescue and Fallen Angels.

Together with Scott Rankin she co-wrote and acted in a play called Box the Pony, which played at Sydney's Belvoir Street Theatre, the Sydney Opera House, the 1999 Edinburgh Festival and in 2000 at the Barbican Theatre in London. She then wrote and directed the documentary film Black Chicks Talking, which won a 2002 Inside Film award. She appeared as Claudia in the Australian film Lantana for which role she was nominated for Best Supporting Actress by Sydney-based Film Critics Circle of Australia; she lost to Daniela Farinacci. She appeared on stage in The Vagina Monologues. She went on to appear in three 2004 films, Somersault, The Proposition and Jindabyne, as well as playing the role of Condoleezza Rice in David Hare's play, Stuff Happens in Sydney and Melbourne.

Wentworth
In 2018, Purcell joined the cast of Foxtel drama series Wentworth as Rita Connors, a role originally portrayed by Glenda Linscott in Prisoner. It was announced that she was one of three new leading cast members to join the series for its sixth season, alongside Susie Porter and Rarriwuy Hick. She first appeared in the first episode of season six, broadcast on 19 June 2018. Following her appearances in seasons six and seven, it was announced in October 2018 that she would be reprising her role for the eighth season, which premiered in 2020.

The Drover's Wife
Purcell developed stories in three different media based on the short story by Henry Lawson published in 1892, which Purcell recalls her mother reading to her. She began writing her version of the story in around 2014, giving the woman a name, Molly Johnson, something that Lawson did not do. Purcell's versions centres around Molly, who is left alone on a remote homestead while heavily pregnant and having to care for her four children while her husband is away droving cattle. She meets an Aboriginal man fleeing police, called Yadaka, and a personal drama evolves. She says that "The essence of the Henry Lawson short story and his underlining themes of racism, the frontier violence and gender violence are [in her story]". However, she has added stories from her own Indigenous family as well as incorporating her own extensive historical research, which included talking to Aboriginal elders and owners of property in the Snowy Mountains, where the story is set. She has said of the development of the stories: "My DNA is within it. And I've sung up business on it. I sung up the play, I sung up the novel, I sung up the movie. And in cultural ways you have that thread of a Songline which connects you to country, to family, to culture."

 * She wrote and starred in the play The Drover's Wife, performed at the Belvoir in 2016. The play won multiple awards, including Book of the Year at the NSW Premier's Literary Awards, overall Victorian Prize for Literature at the Victorian Premier's Literary Awards,  two Helpmann Awards, the Major AWGIE Award and several other awards.
 * She penned a best-selling novel titled The Drover's Wife: The Legend of Molly Johnson, published in 2019.
 * Purcell was lead actor, writer, director and co-producer of a film adaptation, also titled The Drover's Wife: The Legend of Molly Johnson, premiered at the South by Southwest Film Festival in March 2021, released on Australian screens on 5 May 2022, after a two-year delay owing to the COVID-19 pandemic. Her husband Bain Stewart is lead producer and executive producer on the film, and Rob Collins plays Yadaka.
 * In late 2022 it was confirmed that Purcell was writing the follow-up to The Drover's Wife as a series set sometime in the future, with Danny as a adult leading the story.

Other projects
In 2023 Purcell was announced as part of the cast Foxtel/Binge drama High Country as the lead character Andrea Whitford, Purcell revealed in the Something to Talk About podcast that she also served as the series cultural consultant. Purcell would also appear in Amazon Prime drama The Lost Flowers of Alice Hart.

Recognition, awards and honours
Purcell was recipient of the Balnaves Fellowship in 2014, which allowed her to develop her play, The Drover's Wife, to be performed at the Belvoir in 2016.

In the 2021 Queen's Birthday Honours, Purcell was appointed a Member of the Order of Australia for "significant service to the performing arts, to First Nations youth and culture, and to women".

At the 14th Asia Pacific Screen Awards held in November 2021, she was awarded the Jury Grand Prize for her film The Drover's Wife, "not just for her singular vision in writing, directing, producing and starring in the film but for the journey to bring this remarkable story, viewed through the lens of a First Nations woman to the screen in its entirety".

Purcell has appeared twice on ABC Television's Australian Story, once in 2002 and once in June 2022.

In June 2022, Purcell was honoured with a star on Winton's Walk of Fame, which was unveiled during The Vision Splendid Outback Film Festival.

In June 2024, Purcell was nominated for a TV Week Logie for Best Supporting Actress for The Lost Flowers of Alice Hart.

Personal life
Purcell's partner is Bain Stewart, who is also her business partner in Oombarra Productions. She has a daughter and two grandchildren. She believes that Stewart has been "a gift from the ancestors", as he has been such an important support to her through difficult times.

title: Leah Purcell


text:
Sergei Belov

Sergei Alexandrovich Belov (Серге́й Алекса́ндрович Бело́в; 23 January 1944 – 3 October 2013) was a Russian professional basketball player, most noted for playing for CSKA Moscow and the senior Soviet Union national basketball team. He is considered to be one of the best European basketball players of all time, and was given the honour of lighting the Olympic Cauldron with the Olympic flame during the 1980 Summer Olympics opening ceremony, in Moscow.

In 1991, Belov was named by FIBA as the Best FIBA Player ever. He became the first international player to be inducted into the Naismith Memorial Basketball Hall of Fame on 11 May 1992. Belov was named to the FIBA All-Time EuroStars Team in 2007. He was also inducted into the FIBA Hall of Fame in 2007 and was named one of the 50 Greatest EuroLeague Contributors in 2008. In 2018, he was named one of the 101 Greats of European Basketball.

Early life
Belov was born in the village of Nashchyokovo, Shegarsky District, Tomsk Oblast, Soviet Union. In 1968, he became an Honoured Master of Sports of the USSR. He became an Honoured Coach of Russia in 1995, and served as President of the Russian Basketball Federation (1993–98).

Career
At the age of twenty, Belov made his debut in the USSR League, with the team of Uralmash Sverdlovsk, where he played from 1964 to 1967. He then played with CSKA Moscow for twelve years. With CSKA, he won the USSR League championship eleven times (1969, 1970, 1971, 1972, 1973, 1974, 1976, 1977, 1978, 1979, 1980), the USSR Cup twice (1972, 1973), and the EuroLeague twice, in 1969 and 1971.

As a member of the senior Soviet Union national basketball team, for nearly fourteen years (1967–1980), Belov helped them win a Summer Olympic Games gold medal in 1972, and three bronze medals in 1968, 1976, and 1980. He also helped them to become the FIBA World Cup champions in 1967 and 1974, and the EuroBasket champions in 1967, 1969, 1971, and 1979. He also won the Summer Universiade, in 1970, as well.

In the gold medal game of the 1972 Summer Olympics, Belov scored 20 points against the United States national basketball team, as the Soviet Union controversially defeated the USA, by a score of 51–50, to win the gold.

Later life
Belov was the head coach of CSKA Moscow, with whom he won the USSR League championship in 1982 and 1990. He was also the head coach of Ural Great Perm. With Ural Great Perm, he won the Russian Championship title in both 2001 and 2002, the Russian Cup in 2004, and the North European League championship in 2001.

As the head coach of the senior men's Russian national basketball team, he won silver medals at both the 1994 FIBA World Championship and the 1998 FIBA World Championship, and the bronze medal at the EuroBasket 1997. He was also Russia's head coach at the EuroBasket 1995 and the EuroBasket 1999.

Belov died on 3 October 2013, in Perm, Russia.

Legacy
Asteroid 296638 Sergeibelov, discovered by Timur Kryachko in 2009, was named in his memory. The official was published by the Minor Planet Center on 16 March 2014 (M.P.C. 87546).

Awards and accomplishments

 * As a player:
 * 2 × EuroLeague Champion: 1969, 1971
 * 3 × EuroLeague Finals Top Scorer: 1970, 1971, 1973
 * 11 × USSR League Champion: 1969, 1970, 1971, 1972, 1973, 1974, 1976, 1977, 1978, 1979, 1980
 * 2 × USSR Cup Winner: 1972, 1973
 * Summer Universiade:
 * 1970
 * Summer Olympic Games:
 * 1972
 * 1968, 1976, 1980
 * FIBA World Cup:
 * 1967, 1974
 * 1978
 * 1970 (MVP)
 * FIBA EuroBasket:
 * 1967, 1969 (MVP), 1971, 1979
 * 1975, 1977
 * 1973
 * Honoured Master of Sports of the USSR
 * Order of the Badge of Honour
 * Medal "For Distinguished Labour"
 * FIBA's 50 Greatest Players: 1991 (Voted #1)
 * Naismith Memorial Basketball Hall of Fame: 1992
 * FIBA All-Time EuroStars Team: 2007
 * FIBA Hall of Fame: 2007
 * 50 Greatest EuroLeague Contributors: 2008
 * 101 Greats of European Basketball: 2018
 * As a head coach:
 * 2 × USSR League Champion: 1982, 1990
 * FIBA Order of Merit: 1995
 * 2 × Russian Championship Champion: 2001, 2002
 * Russian Cup Winner: 2004
 * North European League Champion: 2001
 * FIBA World Cup:
 * 1994, 1998
 * FIBA EuroBasket:
 * 1997

title: Sergei Belov


text:
Denis O'Regan

Denis O'Regan is an English photographer. His imagery is particularly associated with the punk movement, Queen, David Bowie, and Duran Duran, and O'Regan has photographed everyone from AC/DC to ZZ Top, documenting Punk, New Romanticism, Grunge, and Heavy Metal along the way. O'Regan has undertaken many European, US, and World tours, worked as official photographer at Live Aid and the Concert For Diana, and travelled as official photographer to David Bowie, Duran Duran, The Rolling Stones, The Who, Queen, Kiss, Europe, Neil Diamond, Bee Gees, Pink Floyd and Thin Lizzy. His work has been widely published and exhibited. He has photographed David Bowie and Duran Duran more than any other photographer, covering over 200 concerts around the world by the former. In 2021, O'Regan was appointed as the first ever Artist In Residence at London's Royal Albert Hall.

Early years
Born in London in November 1953 to Irish parents who had eloped from County Cork, O'Regan grew up in Barnes, West London and attended St Benedict's School, following which he was offered a place at nearby Ealing Art College, famously attended a generation before by rock elite Freddie Mercury, Keith Richards, Ronnie Wood, Ray Davies and Pete Townshend. However, parental influence prevailed and he was temporarily diverted towards a position in the City of London as a trainee broker at Willis Faber & Dumas, then as a trainee underwriter at the world centre of insurance, Lloyd's of London. Prior to this orthodox career move, O'Regan had seen The Beatles at the Hammersmith Odeon in 1964 with his mother, Marie. In the early 1970s, he smuggled a camera into the same venue to photograph Paul McCartney and Queen. Inspired by seeing Led Zeppelin's Jimmy Page perform at Alexandra Palace, and David Bowie's Ziggy Stardust at Hammersmith, O'Regan taught himself photography. He resigned his day job, toured Europe on a student rail pass, and returned to comprehensively document the readily-accessible Punk explosion in London. A major contributor to NME in the late Seventies, O'Regan combined his love of photography and travel when in the Eighties he toured with some of the world's top rock bands, including those he had grown up with as a fan.

World tours
As official photographer O’Regan undertook European and World tours with many artists, including Thin Lizzy in 1980, 1981, and 1982; David Bowie in 1983, 1987, and 1990; The Rolling Stones in 1982 (their only European tour of the decade); Duran Duran over many years including their most successful tour in 1984; Spandau Ballet and Neil Diamond in 1985; Queen in 1986 (their last tour with Freddie Mercury); Pink Floyd in 1994; KISS in 2008. During this period he was commissioned to shoot shows that set attendance records for the UK, Southern Hemisphere, and Eastern Bloc. O’Regan was appointed official photographer for Live Aid at Wembley Stadium in 1985, and in co-operation with Bob Geldof produced the record-selling commemorative book. He also shot Live 8 in Hyde Park as an official photographer in 2005. Record album covers featuring his live work include Queen's Live Magic, Live at Wembley '86, Queen on Fire - Live at the Bowl, Knebworth '90, Thin Lizzy's 'Wild One: the Very Best of Thin Lizzy' & 'Still Dangerous: Live at the Tower Theatre Philadelphia', Pink Floyd's P*U*L*S*E, Sting's 'Bring on the Night', The Cure's 'Seventeen Seconds', Duran Duran's Decade: Greatest Hits, and the Rolling Stones' Forty Licks.

Published work
Denis O’Regan has produced numerous books, including Images of Punk, Queen's A Magic Tour and Queen – The Full Picture, David Bowie's Serious Moonlight world tour, Duran Duran's Sing Blue Silver, and his work has featured in publications such as Time, Life, Newsweek, "Rolling Stone", "GQ" and Photo as well as every UK national newspaper, and pop and rock magazines across the world. Other past clients include Pepsi, HBO, MTV, VH1, and Aston Martin.

The 2018 O’Regan’s 'Ricochet : David Bowie 1983' boxed set was a huge success both in hardback published by Penguin Random House; and as a limited edition boxed set containing five books, limited edition vinyl and fine art prints, published by Moonlight Books. The books comprehensively and intimately document David Bowie's most successful year following the release of his 'Let's Dance' album. The Ricochet boxed set was the first product to feature the David Bowie estate stamp, and is on display in the Victoria & Albert Museum’s permanent collection in London.

In 1999 Peter Blake (artist) (designer of the Beatles' Sergeant Pepper album cover) used a Denis O'Regan picture of Freddie Mercury in his design for the Royal Mail's Millennium first class postage stamp. His photographs of Queen band members Freddie Mercury and Brian May also graced Royal Mail stamps released in 2020. O'Regan received a dedication from UK 'lad lit' writer Tony Parsons in his Punk eulogy 'The Boy Looked at Johnny', and features in diverse biographies and autobiographies including The Fun Starts Here by 'Mrs Geldof' Paula Yates. One of Keith Richards' favourite O'Regan photographs - a live shot with Charlie Watts - is featured in Richards' 2010 autobiography Life.

Digital age
It is widely accepted that O’Regan pioneered the use of autofocus cameras (in 1987) and digital cameras in the late 1990s. He digitally shot and uploaded photos to national press from the backstage area of the MTV 1998 European Music Awards, and Paul McCartney's return to The Cavern in 1999. His pictures of the latter made the front pages of every UK national newspaper the following morning, including The Daily Telegraph, The Times and the Daily Mail. In the same year O’Regan founded one of the UK's first legal music download sites, which sold a milestone 25,000 tracks in the months prior to the Millennium (four years before the launch of Apple's iTunes store). He grew up in Barnes, West London, at the same time as Tim Berners-Lee, inventor of the World Wide Web. In 2021 O’Regan entered the nascent NFT market, successfully selling out a number of David Bowie image drops.

Recent updates
O'Regan worked closely with Duran Duran during the 1980s and 1990s and reunited with the reformed band for rehearsals in 2003 and European tours in 2004/2005. Having covered Pink Floyd's final tour - The Division Bell in 1994, he also shot their final ever performance at Live 8 in London's Hyde Park in 2005. His work has been exhibited at various venues including Proud Galleries, the Air Gallery, backstage at MTV's European Music Awards (London & Rome), backstage at Wembley Arena, and at Apple's flagship London Store on Regent Street. In 2016 he was the only non-US photographer featured in the Coachella 'Desert Trip' exhibition, which was attended by 100,000 visitors.

Denis was appointed official photographer for the 1996-1999 MTV European Music Awards; 2006-2009 Download festivals; Kylie Minogue's 2006/2007 UK Showgirl tour; Prince William and Prince Harry's 2007 Concert For Diana at Wembley Stadium, where he took all the official backstage portraits; Glastonbury 2011; and Coachella Festival, which he has regularly covered for the organisers. Following the 2016 'Fame Fashion Photography' David Bowie exhibition on London's Heddon Street in aid of Cancer Research, O'Regan took David Bowie, Queen and Punk exhibitions on hugely successful UK tours, attracting over 5000 paying attendees to Q&A events. A longtime charity supporter, in 2012 O'Regan collaborated with Damien Hirst on a U2 print for Cancer Research UK which raised £50,000 in 10 minutes, thanks to auctioneer Al Murray. He has held numerous events in aid of Rainbow Trust Children's Charity where guests such as Boy George, Peter Frampton and Tony Hadley performed acoustically, and donates a print every year to the Ace Africa charity.

In 2016 Denis travelled to the high Arctic with a team of explorers who walked to the North Pole to highlight global warming and the receding ice cap and O'Regan opened his first gallery in 2019, in Hammersmith West London, where he exhibits and sells limited edition fine art prints and books, and hosts events to highlight his work. In 2021 on its 150th anniversary, he was honoured to be appointed Artist In Residence at the Royal Albert Hall, the first such appointment in its history.

Personal life
Denis O’Regan lives in west London with his son Rory, born in 2006.

title: Denis O'Regan


text:
Talk:Piano Sonata No. 29 (Beethoven)

Third movement form
III is Sonata-Form, not Variations. — Preceding unsigned comment added by 194.66.185.193 (talk) 11:54, 4 October 2005 (UTC)

How many movements in a Classical sonata?
A conventional classical sonata has three, not four, movements. Skiasaurus 04:52, 27 March 2006 (UTC)

A 'classical' sonata has three or four movements. Beethoven's first sonatas and many others have four movements, I believe that many of Mozart's have four (but I don't study those so I can't confirm that). Note that symphonies, a parallel form for orchestra often have four movements.Quendus 21:19, 2 May 2006 (UTC)

 * I don't think that it should say rather unconventional. A full 13 of Beethoven's 32 Piano Sonatas have 4 movements.  I think Mozart may have had a few 4-movement sonatas.  I know that other composers like Schubert had many 4-movement sonatas.    Asmeurer (talk • contribs) 03:06, 10 January 2007 (UTC)

 * Mozart did not have any four movement piano sonatas. Four-movement form (fast-slow-"dance"-fast) was well-established by the time Haydn wrote his quartets and symphonies in his Sturm und Drang era of the 1760s, but that form was not applied to the Piano Sonata and Piano Trio genres until Beethoven's early Op 1 and Op 2 sets.  So, it was an established form, but had not been established in those genre's yet. DavidRF 21:00, 18 January 2007 (UTC)

Generally the conventional piano sonata has three or four movements. I think one runs into four just slightly more often than three but I've never really seen a survey of the percentages. 75.48.19.159 (talk) 06:32, 11 December 2009 (UTC)

"Fortepiano"?
Changed the meaning of "Hammerklavier" from piano to the more accurate "fortepiano". --Hesperides

 * Hmm... Here's why I have just reverted.

 * First, the sentence should be interpreted in context. The sentence was meant to help readers who don't know any German.  Such a reader could very plausibly imagine that the word "Hammerklavier" must mean something important or unusual, and in fact it doesn't, it was simply the word Beethoven wanted to use for "piano" at the time.  (If you publish a sonata for piano, it's not a bad idea to include the words "Sonata for piano" on the cover!)  To use a fancy word here would lessen clarity.

 * Second, "fortepiano" is anachronistic from the viewpoint of naming the sonata. Today, we use this word to mean "early piano", but Beethoven surely would not have seen it that way; for him, it was just the piano.

 * Finally, it's not even clear that one should say "fortepiano" for the instrument Beethoven know toward the end of his career. His very last piano, by Conrad Graf, was a really massive thing, quite different from the Mozartian instrument that we commonly associate nowadays with the word "fortepiano."  So really, there's little payoff in accuracy for saying "fortepiano" instead of "piano."

 * I hope this seems reasonable. Opus33 05:59, 10 July 2006 (UTC)

 * Surely the more common term was and still is pianoforte, abbreviated to piano. The title of the piece was all about the correct name to use for this new instrument (basically a harpsichord (klavier) played with hammers instead of plucking).  I have now edited (reverted?) the relevant section to reflect this.
 * Scolaire 22:59, 31 August 2006 (UTC)

 * According to The New Grove Dictionary of Music and Musicians, the terms pianoforte and fortepiano are interchangeable; synonymous. I disagree with the structure of "modern pianoforte" that should just say "modern piano." Academically, the piano refers to the modern piano. Pianoforte/fortepiano refers to the older pianos. While Beethoven's late pianoforte's were pretty close to the modern grand piano, they were still pianoforte's. There are so many different brands of pianoforte's that a person really must differentiate with them by using the date of manufacture and brand. I also question whether or not Germans actually say "hammerklavier" it's my understanding they just say "Klavier." Bach used the term "Clavier" to refer to any keyboard instrument. 65.255.181.151 (talk) 08:27, 8 January 2020 (UTC)

Classical/Romantic
I think Beethoven's Hammerklavier sonata is in the Romantic style, just the way it is structured with the notes, rhythm, and harmony. I would think it sounds nothing like Haydn or Mozart. In fact, I don't think Beethoven's works from either his middle or late periods should belong in Classical period categories (not the categories on Wikipedia) or studies. I think they should belong in topics on developments of the Romantic style. If one is interested in Classical period studies, that person should instead focus in more detail the compositions of CPE Bach, and even, Domenico Scarlatti. I think that Beethoven's early period ("Imitation") works should be included at the very end of any Classical period topic, and how it leads into the Romantic style. I think the works of Scarlatti and CPE Bach especially are more closely related to the Classical style than most of Beethoven's. And is there any way I can contact this guy, Charles Rosen? Marcus 20:37, 27 August 2006 (UTC)

 * Hello, Marcus2,

 * I'm sorry, but your recent changes are in violation of the basic rules of the Wikipedia -- you're just putting in your own opinions, without any reference sources. The relevant rule is given under Verifiability, and I urge you to look at it.

 * Rosen is a very well known source, widely quoted in studies of music. If you want to have the article say that the Hammerklavier is a Romantic sonata, contrary to Rosen's view, you need to go to the library, find a book that says this, read it, and report what you read.  You should also leave the existing Classical claims--insofar as they are by published authors--alone, in order to follow the Wikipedia's NPOV policy.

 * I'm out of time for editing right now but next time I edit, I will try to take out everything (not just by Marcus2) that has no reference source. I have no problem with the article saying (as one opinion) that the Hammerklavier is a Romantic sonata, but it has to be a published opinion, not the personal opinion of a WP editor.

 * Sincerely, Opus33 00:20, 28 August 2006 (UTC)

 * I found one source that might have implied that Hammerklavier is a Romantic sonata: http://query.nytimes.com/gst/fullpage.html?res=950DE1DD1238F935A25750C0A96F948260. Its heading includes "Romantic to Modern", and for musical period purposes, I go with Romantic.  I believe this is a press release.  There may be more to come.  I haven't had much of a chance to go to the library; I only have a NYS learner's permit, which I got a month ago, and I have to have a friend drive me. Marcus 00:55, 28 August 2006 (UTC)

Further description of the fourth movement
I have given further elaboration to the various devices Beethoven applies in the amazing fugue movement, which deserves a fuller treatment. --Anonymous, Aug 20, 2007.

It says in the section about the first movement that it ends with fortississimo, but in fact it is only fortissimo. —Preceding unsigned comment added by 69.123.218.72 (talk) 22:22, 31 October 2007 (UTC)

Length of the Hammerklavier
The second paragraph under "Composition" says this work lasts 50 minutes. Just below that, the first paragraph under "Structure" says 45 minutes. I checked my four versions and all last 42-43 minutes (I know there is at least one version out there that is much longer). Suggest the first timing reference be changed to 45 minutes. --Anon. —Preceding unsigned comment added by 98.164.194.112 (talk) 22:07, 15 December 2010 (UTC)

I went ahead and made the necessary change. —Preceding unsigned comment added by 98.164.194.112 (talk) 04:29, 16 December 2010 (UTC)

Additional citations
Why, what, where, and how does this article need additional citations for verification? Hyacinth (talk) 22:38, 13 July 2011 (UTC)

At least in the "Structure" section, a lot reads as though it is original material. Exceptions are when citing a rather subjective observation on the emotional content of the music, and good citations occur there. But when describing the formal structure of each movement, perhaps even including the modulative activity, the text completely lacks citations.Tgkohn (talk) — Preceding undated comment added 07:32, 30 May 2015 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Piano Sonata No. 1 (Beethoven) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RM bot 13:16, 30 August 2011 (UTC)

 * Note the date of the foregoing notice. The discussion, now long closed, concerned whether to move the sonata articles to new titles incorporating opus numbers. The conclusion was not to do so. Drhoehl (talk) 23:56, 12 March 2012 (UTC)

Move discussion in progress
There is a move discussion in progress which affects this page. Please participate at Talk:Piano Sonata No. 8 (Beethoven) - Requested move and not in this talk page section. Thank you. —RM bot 20:40, 2 January 2012 (UTC)

 * Note the date of the foregoing notice. The discussion, speedily closed long ago, concerned whether to move this article to the new title "Hammerklavier Sonata." Drhoehl (talk) 23:56, 12 March 2012 (UTC)

Liszt
We say the world had to wait till the 20th century before its significance was realised, but Liszt was a famous exponent and he certainly understood it.

He did seem to premiere it in a few places, but does anyone know who was the very first to play it in public? My searches have been fruitless. --  Jack of Oz   [pleasantries]  04:37, 21 March 2015 (UTC)

I read Carl Czerny premiered the Hammerklavier however without any footage. See my entrance under Czerny Otto Ede Pool (talk) 00:39, 5 May 2016 (UTC)

Obviously le petit Litz did the well documented Parisian premiere of the piece in the Liszt-Thalberg battle. We have to remind that in those times culture and art were much more localy oriented than nowadays and it was nowhere stated that this parisian premiere was a world premiere. Otto Ede Pool (talk) 04:14, 6 May 2016 (UTC)

"Duration of roughly 9–13 minutes"
Or rather 9 minutes, unless you favour your own comfort over Beethoven's ideas. Beethoven did not write = 138 for nothing, and while almost nobody seems to dare to take it that fast, the piece loses a lot when "Allegro" is mistaken for "Allegro maestoso". Double sharp (talk) 05:50, 30 April 2016 (UTC)
 * P.S. The idea of orchestrating this sonata should probably be criticised as well as just stated in this article. The opening is hugely effective on the piano and falls completely flat in the orchestra – and I'm pretty sure I've read some comments to this effect. (I can't remember where exactly: I will go looking.) Double sharp (talk) 05:53, 30 April 2016 (UTC)
 * (P.P.S. Beethoven also wrote to Ferdinand Ries about the marking: "First movement Allegro, but only Allegro; you must remove the Assai." I suspect, as does Rosen, that the original was therefore Allegro assai and that Beethoven was revising the tempo down (although he has also noted that it might have also been Assai allegro, which might instead be slower than Allegro, I think Allegro assai is more likely for musical reasons: I am often tempted myself to take the work faster than = 138). Double sharp (talk) 07:39, 3 July 2019 (UTC)

Piano work with fugue within sonata form.
The article stated: "It is perhaps[original research?] the first major piano work to so thoroughly incorporate a Baroque contrapuntal style (the fugue) within an originally Classical structure (the sonata form)." I removed this statement alltogether.

At first: a Fugue appearing within in a classical structure was not a novum at all when Beethoven composed the Hammerklavier. In fact Mozart, Haydn and Beethoven wrote earlier and very thorough Fugues in their String Quartets, Trios, Symphonies (Jupiter!) all representing the Fugue within a Classical structure and most (all?) of them - like the Hammerklavier - as a final part: The Fugue as a proof of compositional mastership crowning the work.

Furthermore Beethoven many times and in a structural way used fugal technique in his earlier pianosonatas, and I believe the opus 101 Piano Sonata (1815-1816) with a fugato and opus 102:2 Cello Sonata (1815) with an elaborate fugue as a last part precede the Hammerklavier (1817-1818) by a few years. The Cello Sonata as such is not a piano solo work, but the piano part and the fugue are so extensive, complex and harsh that this piece has to be taken into account in this discussion. The opus 101 fugato is more imitative and harmonic in nature, but the Hammerklavier fugue also has its more harmonic oriented parts.

But then there is Beethovens pupil Carl Czerny who really beat Beethoven in this aspect! : His first piano sonata opus 7 dating 1810 published by Artaria in 1810 or 1812 is like the Hammerklavier sonata of true heroic proportions (39 dense pages excl repeats) and including a fugue as a fifth movement. 1. Andante (rep.)/ Allegro moderato ed espressivo / Andante / Allegro moderato ed espressivo in A-flat (5pages) 2. Scherzo / Trio in C-sharp minor / G-flat major / C-sharp minor/ A-flat major (8pages) 3. Adagio espressivo e cantabile (inspired on van Beethoves op31.2 marche funebre) (7pages) 4. Rondo Allegretto (17pages) 5. Capriccio Fugato, (tempo moderato): A 4 voice Fugue in As major) with a theme and texture that resembles the Hammerklavier theme (6p)

The sonata was long time forgotten but it was recently republished IMSLP Score Piano_Sonata_No.1,_Op.7_(Czerny,_Carl) and recorded Czerny op 7 - part 5 Fugue.

Czerny probably got the idea of an instrumental Sonata ending with a fugue from Beethovens close friend Ferdinand Ries. Ries wrote in Paris 1808 his F major violin sonate Opus 8.1 with an additional Baroque fugue as a fifth part.

I hesitate little to call Czernys sonata an important work in piano literature, and it is at least aiming for the classification "major work". The Czerny fugue is a true contrapunctal masterpiece of considerable complexity and technical difficulty. As we know Beethoven and Czerny were in close contact those years. It is unthinkable that Czerny did not at least play parts his first pianosonata for Beethoven, even more because the Hammerklavier Fugue is written in an idiom remarkably resembling the Czerny Fugue, however surpassing it in complexity and technical challenge.

So no, the Hammerklavier Sonate is not the first major (classical style) pianosonata to so thoroughly incorporate a Baroque contrapuntal style (the fugue) within an originally Classical structure (the sonata form). I think the importance and uniqueness of the Hammerklavier fugue lies in its in the Classical era unprecedented complexity and its uncompromising technical difficulty. It is thanks to Liszt that this Sonate including a fugue (more then Opus 101 fugato, the 102:2 Cello Sonata fugue, or the Czerny Sonata for that matter) set a landmark in piano literature, leading to for example the Brahms Handel Variations fugue and off course the Liszt Sonata fugue. However in concipiating the Hammerklavier sonata Beethoven is indebted significantly to his so very talented pupil Carl Czerny, who wrote this huge, complex and technically challenging first piano sonata including a fugue that ended up under the dust of history.

Otto Ede Pool (talk) 22:15, 6 May 2016 (UTC)

Hammerklavier Premiere by Carl Czerny
Carl Czerny premiered the piece:

"Only Carl Czerny, who studied the sonata repeatedly with Beethoven and who premiered the piece,""

[http://www.sim.spk-berlin.de/en/5_autograph_tempo_in_beethoven%92s_%93hammerklavier_sonata%94_1321.html 5. Autograph Tempo in Beethoven’s “Hammerklavier Sonata”—Practice and Theory]

Otto Ede Pool (talk) 03:27, 5 May 2016 (UTC)

 * Why not add this important information to the article? It's nearly two years later. 173.88.241.33 (talk) 00:34, 26 March 2018 (UTC)

Boulez?
"In the twentieth century, Pierre Boulez's Piano Sonata No. 2 applies a serial syntax to the playing style of a Beethoven piano sonata." This statement is uncited and seems speculative at best. I have removed it.Opus131 (talk) 04:14, 6 January 2019 (UTC)

Tempo/Duration
There needs to be more discussion on this article about Beethoven's tempo markings, which are a contentious matter in general, but especially so for the Hammerklavier and have been almost since its publication. Last November, a user edited the durations of each movement, changing them from their average lengths in recorded performances to their supposed lengths were they to be played strictly at Beethoven's tempi (ignoring the fact that Beethoven did not wish for his works to be played at one tempo throughout). Without getting into too much detail, something ought to be mentioned of the amount of debate surrounding Beethoven's markings, whether he actually meant them to be taken strictly or as a guide or a starting point, and especially the fact that no recorded performance has ever come even close to these tempi. Much has been said about the first and last movements, but it is the adagio that stands out to me. The swiftest recording I have ever heard is that of Egon Petri in 1956, who played it in 14:20. Even the lifeless MIDI recording in the article, at 12:53, is still nowhere near the 8 minutes that are supposedly called for.

I suggest rather than list the duration of the movements, we simply give Beethoven's listed tempi, as well as some words about their history of contentiousness. Or we could simply revert back to the duration of the movements as they are normally performed. 81.141.23.19 (talk) 20:54, 2 February 2020 (UTC)

title: Talk:Piano Sonata No. 29 (Beethoven)