25 November 2013

The Ison comet.

Even this morning, once again (I lost count), I read on the main newspapers a series of colossal blunders on the Ison comet. It is an event almost non-existent, for (many) months incomprehensibly pumped by journalists.

Already many months ago, the newspapers, literally and categorically, stated that "from 28 November (2013), the Ison comet will be visible to the naked eye " and will have "a brightness of 15 times higher than that of the full Moon, and 100 times that of Venus". Practically, it is as if they said that Ison would reach a brightness far superior even to that of a Supernova (observable, from Earth, with the naked eye, every 1.000 years or so...) and, on this basis, have wrote repeatedly of "event of the century" (then, not at random). 

Even today, all the newspapers keep talking of brightness, basing, on this, predictions of an event of the century (at least!).

But I say: exist a journalist (that both one!) that includes and explains that the "brightness" to which they relate astronomers is, of course, the "relative magnitude" (that is, the brightness which would be if, in the case of species, the Moon, Venus and Ison were at the same distance from the observer terrestrial) and not the "absolute magnitude"?

Stuff to take them with a stick on the gums! Even the scientific information in the hands of the ignorants...

http://www.cometison2013.co.uk/perihelion-and-distance/

09 November 2013

Traditions of Puglia.

In Puglia, especially in the area around Bari, when a couple goes to visit (an announced and not occasional visit) to a newlywed couple married recently, if you go to visit them for the first time after their marriage, the hosts tend, inevitably, to carry out, in order, four specific tasks:
1) show the house,
2) offer sweets and liqueurs,
3) show the photo album of their wedding,
4) show the video of their wedding.

1) show the house: this guided tour, formally, occurs for give a sign of friendliness to the guests, but, in reality, it also has the fundamental intent to display to the guests one's wealth and obtain a corresponding social and economic recognition.
It is a sort of procession, which starts from the kitchen room and that, through the bedrooms and the main bathroom, has end (inexplicably) in the second small bathroom, where even the prolonged observation of the toilet bowl, of the washing machine and of the underwear hung out to dry, is a moment of deep reflection architectural and philosophical (it should be noted that the house of a resident of the area of Bari you leave show because, inevitably, more cleaner and more orderly of the operating room of a Scandinavian hospital).
It is absolutely necessary, for the visitors, linger long enough in every room, without hastening the visit (slowness is very much appreciated!), and setting out, for each room, a question or a remark in order to provide the owners the pretext of enunciate a original quality of the room itself.

2) offer sweets and liqueurs: this second stage of the ritual is the most pleasant, because sweets and liqueurs are produced strictly handmade and of the highest quality.

It should, however, be very cautious in accepting and very slow in the eating and the drinking these foods: in fact, if you eat and drink quickly, the hosts will not have hesitation to fill again the glass and the tray, and you may find, after a few minutes, completely drunk and with a some thousand calories in addition, on him (for dispose this calories, you'll have to run a dozen marathons).

3) show the photo album of their marriage: with this third phase, we enter the red zone, in the minefield.
In fact, any reasonable pair of newlyweds plan to keep a dozen photographs of his marriage, to frame a couple of these and leave it in the drawer all the others.
Conversely, the newlyweds of Puglia, in this regard, with a pathological megalomania, spend a fortune to get a many hundred photographs of their wedding, which then will be placed in an album (album bigger than a square and heavier than a anvil).
Even here, the guests have the ethical duty to linger appropriately on each photo: do not want never God that the guests attempt to accelerate the vision, because, immediately, the hosts would be offended very seriously!
Whereas that an album of this type consists of about two hundred photos, and considering an minimum observation of ten seconds per photo, the guests will discharge their moral duties in no less than half an hour.

And you two do not be optimistic illusions because it will never be lacking the following photographs:
a) she who, accompanied by her father, leaves his horrible condominium of social housing, going through a horrendous door in anticorrosive material,
b) the car park which is on the back of the church,
c) the launch of the doves (of those that remain still alive, after spending a few hours locked in a basket),
d) he and she that embrace the well (that is located on the back of the church),
e) the groom who seeks anxiously his wife (wife which remains hidden behind a hedge).

4) show the video of their wedding: if the guests are survivors at the previous three stages, the final test awaits them.
This last test will decide if the guests can be considered, by the hosts, best friends for eternity, or if, vice versa, will be relegated to a slow but inexorable oblivion.
This type of film never lasts less than 30/40 minutes, and, not surprisingly, there were many cases in which the male component of the pair of guests, in order to not to bring any psychiatric injury disabling of permanent nature, was forced to adopt one of the following evasive tactics:
a) pretend to be called, on the mobile phone, from its terrible Chief Office or from a very wealthy and important customer,
b) simulate an intestinal colic and shut himself up for a short break in the bathroom,
c) put on reading glasses, with superimposed the realistic drawings of the eyeballs, for doze for a few minutes.

In conclusion, therefore, a single warning: if a jovial pair of newlyweds of Puglia invites you to their home, you two you will not have to overcome their door!!! :-))

06 October 2013

Mater semper certa est, pater numquam.

Surrealia: "The sleeping beauty" (2010)

All searches carried out by scientific bodies reveals that men are sexually unfaithful more than women, in percentage terms; and social perception amply confirms this searches.

Research carried out by non-scientific bodies (survey institutes, online dating sites, ...) says the same things, but sometimes even the opposite.

The male / female ratio worldwide is substantially 102/100, with males not reaching 52% of the world population.
Frankly, it seems to me an insufficient data to explain, considered alone, the marked (seeming ...) preponderance of male betrayals over female ones (a preponderance certainly reduced compared to the past, but still perceived as marked in social practice).

Well, even if we wanted to give for ascertained the greater predisposition to sentimental betrayal by males, what frankly would remains incomprehensible would be the mathematical oddness of this statistical relationship.

In fact, even if we wanted to purify this data from the statistical incidence of prostitution (whereby a large number of males cheating sexually with a rather small number of women) and from the higher percentage incidence of males in the population, would still remains an incomprehensible relationship per capita incidence between male and female infidelity, given that, in the norm (I would say, at least in 90% of cases) males and females cheat with people of the opposite sex.

That is, in other words, if the sexually unfaithful men were more frequent percentually than the sexually unfaithful women, we would have to conclude that, outside of prostituting relationships, women cheat in a smaller percentage than men but with more partners (and this, frankly, would go little it agrees with the female psyche, which tends to favor relationships only with few partners and to invest more in emotional and sentimental terms).

So, in my subdued opinion, the conclusions that can reasonably be drawn from them are only the following:
  • males actually cheat only just slightly more than females,
  • the males artificially magnify the number of their betrayals (they do this because this numbers, rightly or wrongly, is socially considered a sign of virility) and the males they accredit themselves, like conquests effective crowned with success, also those Platonic attractions in realities never transformed into courtships or, also if transformed into courtships, not crowned with success (they do this because this illusion increases their self-esteem),
  • women betray sexuallyt almost as much as men, but tend to maintain a considerable reservedness about their actual betrayals (they do this because their sexual betrayals, even in the absence of a partner, rightly or wrongly is seen socially as a serious sign of ethical lack and lack of respect in against any possible offspring).
All these conclusions (which to me seem stringently logical) in turn inevitably produce a corollary that I would like to anticipate in some way through some statements by Jurists and Geneticists who go to summarize the thinking of the respective professional categories:
  • Prof. Maria Rosaria Marella (Professor of Private Law in the University of Perugia): "it appears, from surveys conducted by gynecologists and geneticists, that a percentage that goes from 10% to 15% of children born in the Italian families are not biologically children of the husband of their mother" (2001).
  • Prof. Kermyt Anderson, assistant Professor in the Department of anthropology at the University of Oklahoma: "about 30 percent of those men [who actively seek out the paternity tests, because they doubt of their paternity] aren't the fathers" (2006) [... statistics, this one, which I can confirm based on my forensic professional experience ...].
  • Dr Bruno Dallapiccola (Geneticist at the University of Roma): "The children raised by a father who is not the real one, in Italy, are almost 10%. Of these, however, only a minority finds out the truth" (2009).
  • Dr Alvaro Mesoraca (Geneticist and molecular Biologist of Group Artemisia in Roma): "In Italy, at least the 10% of the children are illegitimate. A percentage, is estimated, that, in recent years, has even doubled" (2012).


That is, in other words, beyond the arid general percentages, males are exposed to the risk of a betrayal far more more qualitatively intense, cruel and lasting than the betrayal to which females are exposed ...

"Cocu: chose étrange que ce petit mot n'ait pas de féminin!"
["Horned:  strange thing that this little word has not the female!"]
(J. Renard)

03 September 2013

Proxemics in elevator.

The proxemics studies the relationship between closeness and communication.

One aspect that I find culturally diriment, in this respect, is the proxemics of the occupants of the elevators in the two great cultures of European origin: the Anglo-Saxons (on one side) and the Mediterraneans and the Neo-Latins (on the other side).

In particular, it is noted how, in the elevator,
1) the Anglo-Saxons are arranged in rows and are turned toward the exit,
2) the Mediterraneans and the Neo-Latins ​​are arranged in a circle, facing inward.

For the Anglo-Saxons, the arrangement in rows and with his face turned toward the exit, minimizes:
  • the visual contact between the occupants,
  • the verbal communication between the occupants (no one will talk to the one ahead and rarely will talk with those who are near),
  • the physical contact between the occupants, favoring a more orderly and rapid outflow (the precedences, in exit, are clearer ): therefore, a less prolonged proximity between the occupants and, in output, a lesser amount of shock (and, therefore, of contacts) between the occupants,
  • the gestural communication (as well as visual and verbal) between the occupants who, enjoying clearer priorities, will have a reduced to indulge hand signals (as well as visually and verbally) for grant the precedence.
If the objective is apparently civic and socio-economic, the real objective is individualistic and libertarian and, that is, to eliminate or minimize any chance of interpersonal relationships (visual, verbal, gestural and physical).

For the Mediterraneans and the Neo-Latins, the arrangement in a circle and with his back to the wall, shall foster:
  • visual contact between the occupants,
  • verbal communication between the occupants,
  • physical contact between the occupants, favoring a slowdown in the outflow (the precedences in exit are almost equal) and, therefore, a more prolonged proximity between the occupants. In addition, the same equal priority in exit will be another opportunity for physical or visual contact and verbal communication between the occupants since they, in exiting, he will tend to collide, or to grant, gesturally or visually or verbally, precedence.
If the apparent objective is individualistic and libertarian, the real objective is emotional, that is, to allow the interpersonal relationship (visual, verbal, gestural and physical).

Therefore, the proxemics in the elevator seems to me to reflect and confirm the division between "peoples of freedom" and "peoples of love" dashed by the neapolitan Luciano De Crescenzo in his film "Così parlo Bellavista" of 1984: 
"The men are divided into men of love and men of freedom, depending on whether they prefer to live hugged each other or prefer to live alone for not being bothered.
How are men of love and men of freedom, then there are the nations of love and nations of freedom. Italia, España, Éire, Polska and Ellàda belong to the world of love. England, Skandinavia and Deutschland, 
instead, belong to the world of freedom.
The British people, people of freedom, have the respect for privacy: in Italy, the British people are the people of Milano [north Italy]. The men of love does not need space: perhaps, it was for them would live always hugged each other.
How do you tell whether a man is or is not a man of freedom? Is very simple
: the man of freedom prefer the Christmas tree, the man of love who prefer the Crib.
The men of freedom love take a shower.
The men of love, instead, prefer to take a bath.
The shower is of Milano, because we wash better, uses less water and lose less time.

The bathroom is, rather, Neapolitan [of Napoli, south Italy]: is a meeting with the thoughts, an appointment with the imagination".

11 May 2013

Works by Gustav Mahler.

Kalischt, 7 July 1860 – Wien, 18 May 1911


COMPLETED WORKS:
> "3  lieder Lieder for tenor and piano", texts by Gustav Mahler, devoted to Josephine Poisl, 1880: 
- Im Lenz. 
- Winterlied. 
- Maitanz im Grünen. 
> "Das Klagende Lied", text by Gustav Mahler. Text completed on 18 March 1878, score completed on 1 November 1880: 
- Waldmärchen. 
- Der Spielmann. 
- Hochzeitsstuck. 
> "5 Lieder" ("Lieder und Gesänge", vol. I), 1880-1883:
- Frühlingsmorgen. 
- Erinnerung. 
- Hans und Grethe. 
- Serenade aus «Don Juan». 
- Phantasie aus «Don Juan». 
>"Lieder eines fahrenden Gesellen", text of Gustav Mahler, 1884:
- Wenn mein Schatz Hochzeit macht. 
- Ging heut' morgen übers Feld.
- Ich hab' ein glühend Messer. 
- Die zwei blauen Augen.
> "4 Lieder" ("Lieder und Gesänge", vol.II) 1887-1890:
- Um schlimme Kinder artig zu machen.
- Ich ging mit lust durch einen grünen wald.
- Aus! Aus!
- Starke einbildungskraft.
"5 Lieder" ("Lieder und Gesänge", vol.III) 1887-1890:
Zu Straßburg auf der Schanz'.
Ablösung im Sommer.
Scheiden und Meiden.
Nicht wiedersehen!
Selbstgefühl. 
> "Symphony n.° 1 in D major", 1885 (?) - 1888: 
- Langsam, schleppend. Immer sehr gemächlich. 
- Blumine (Andante alegretto) (eliminata dopo il 1894).
- Kräftig bewegt, doch nicht zu schnell. 
- Feierlich und gemessen, ohne zu schleppen. 
- Stürmisch bewegt. Energisch.
Totenfeier in C minor“, (? - 1888) was initially conceived as the 1st movement of a symphony in C minor. After certain alterations (mainly cuts and extensions regarding the instrumentation) this piece became the 1st Movement of Mahler’s Symphony n.° 2 in 1894. Mahler himself conducted it as an independent piece with the Berlin Philharmonics in 1896.
> "9 Lieder" from "Des Knaben Wunderhorn", for voice and piano, 1888-1891: 
- Um schlimme Kinder artig zu machen. 
- Ich ging mit Luszt durch einen grunen Wald. 
- Aus! Aus! 
- Starke Einbildungskraft. 
- Zu Strassburg auf der Schanz'. 
- Ablösung im Sommer.
- Scheiden und Meiden. 
- Nicht wiedersehen! 
- Selbstgefühl.
> "10 Lieder" from "Des Knaben Wunderhorn", for voice and orchestra, 1892-1896: 
- Der Schuldwache Nachtlied.
- Verlor'ne Müh'. 
- Trost im Unglück. 
- Wer hat dies Liedlein erdacht? 
- Dar irdische Leben. 
- Des Antonius von Padua Fischpredigt. 
- Rheinlegendchen. 
- Lied des Verfolgten im Turm. 
- Wo die schönen Trompeten blasen. 
- Lob des hohen Verstandes. 
- Es sungen drei Engel. 
- Urlicht.
> "Symphony n.° 2" in C minor, for soprano, alto solo and mixed chorus, 1888 - 1894: 
- Allegro maestoso (mit durchaus ernstem und feierlichem Ausdruck).  
- Andante moderato (sehr gemächlich). 
- In ruhig fliessender Bewegung.
- Urlicht (sehr feierlich, aber schlicht).  
- Im Tempo des Scherzos. Wild herausfahrend. Kräftig. Langsam. Misterioso. 
> "Symphony n.° 3" in D minor, for alto solo, female chorus and children's choir, 1895 - 1896: 
- Kräftig. Entschieden. 
- Tempo di minuetto: sehr mässig. 
- Comodo. Scherzando. Ohne Hast.
- Sehr langsam. Misterioso. 
- Lustig im Tempo und keck im Ausdruck.
- Langsam. Ruhevoll. Empfunden. 
> "Symphony n.° 4" in G major, for soprano solo, 1899 - 1900:
- Bedächtig, nicht eilen. 
- Im gemachlicher Bewegung, ohne Hast. 
- Ruhevoll.
- Sehr behaglich. 
> "2 Lieder" from "Des Knaben Wunderhorn", for voice and orchestra, 1899 - 1901: 
- Revelge. 
- Der Tamboursg'sell.
> "5 Lieder", texts by Friedrich Ruckert, for voice and orchestra, 1901 - 1902: 
- Blicke mir nicht in die Lieder! 
- Ich atmet' einen linden Duft. 
- Ich bin der Welt abhanden gekommen. 
- Um mitternacht. 
- Liebst du um Schöenheit. 
> "Symphony n.° 5" in C sharp minor, 1901 - 1903: 
1) First Part: 
- Trauermarsch (in gemessem Schritt. Streng. Wie ein Kondukt). 
- Stürmisch bewegt mit grösster Vehemenz. 
2) Second part: 
- Scherzo (Kräftig, nicht zu schnell). 
3) Third part: 
- Adagietto (sehr langsam). 
- Rondo - Finale (Allegro). 
> "Kindertotenlieder", for voice and orchestra, texts by Friedrich Ruckert, 1901 - 1904: 
- Nun will die Sonn' so hell aufgeh'n. 
- Nun seh' ich wohl, warum so dunkle Flammen. 
- Wenn dein Mutterlein. 
- Oft denk' ich, sie sind nur ausgegangen. 
- In diesem Wetter. 
> "Symphony n.° 6" in A minor, 1903 - 1904: 
- Allegro energico, ma non troppo. 
- Scherzo. Wuchtig (Pesante). 
- Andante moderato. 
- Finale (Allegro moderato). 
> "Symphony n.° 7" in E minor (or in B minor), 1904 - 1905: 
- Langsam. Allegro risoluto ma non troppo. 
- Nachtmusik I (Allegro moderato). 
- Scherzo (Schattenhaft: fliessend, aber nicht schnell).
- Nachtmusik II (Andante amoroso). 
- Rondo - Finale (Allegro ordinario. Maestoso). 
> "Symphony n.° 8", in E flat major, for 3 sopranos, 2 altos, tenor, baritone and bass soloists, chorus of children and double mixed chorus, 1906, also known as "The Thousand": 
- Inno "Veni creator Spiritus".
- Scena finale del Faust di Johann Wolfgang von Goethe. 
> "Das Lied von der Erde", eine Symphonie für eine Tenor und eine Alt (oder Bariton). Stimme und Orchester, texts by chinese poets translated by Hans Bethge in "Die chinesiche Flöte", 1908: 
- Das Trinklied vom Jammer der Erde. 
- Der Einsame im Herbst. 
- Von der Jugend. 
- Von der Schönheit. 
- Der Trunkene im Frühling. 
- Der Abschied. 
> "Symphony n.° 9" in D major, 1909: 
- Andante comodo. 
- Im Tempo eines gemächlichen Ländlers. 
- Rondo - Burleske (Allegro assai. Sehr trotzig). 
- Adagio (Sehr langsam und noch zurückhaltend). 
> "Symphony n.° 10" in F sharp major, 1910 (unfinished): 
- Andante. Adagio. 
- Scherzo (Schnelle Viertel). 
- Purgatorio (Allegretto moderato. Nicht zu schnell). 
- Scherzo: Der Teufel tanzt es mit mir (Allegro pesante. Nicht zu schnell). 
- Finale (Langsam, schwer. Ein wenig fliessender, doch immer langsam).

WORKS REMAINED UNFINISHED OR LEFT IT AS A FRAGMENT:
> Klavierquartett n.° 1 (?) in A minor, first time (Nicht zu schnell Enschlossen) (1876).
> Klavierquartett, Scherzo in G minor, probably part of Klavierquartett n. ° 1 in A minor (1876?).
> Es fiel ein Reif in der Frühlingsnacht, Lied to a text by Heinrich Heine (1876 - 1879).
> Im Wunderschönen Monat, Lied to a text by Heinrich Heine (1876 - 1879).
> Fragment for piano 4 hands, from the Scherzo of the Symphony No. 1 ° 1876 (1876).


WORKS ABANDONED, LOST OR DESTROYED:
Chamber music:
> Polka mit einem Trauermarsch als Einleitung, for piano (1866).
> Die Türken haben Töchter, Lied, from a poem by di Gotthold Ephraim Lssing (1867).
> Piano pieces, played in front of Julius Epstein (1875?).
> Suite for Piano (1876?).
> Nocturne, for cello and piano (1876).
> Sonata for violin and piano (1876).
> String Quartet (?) (1876?).
> Lied, for a competition at the Vienna Conservatory (1878?).
> Lieder, composed in the years of the Conservatory, of which remain 2 fragments (1876 - 1879).
> Klavierquintett n.° 1 (1876).
> Klavierquartett n.° 2 (1876).
> Klavierquintett n.° 2 (1878).

Orchestral music:
> Symphony No. ° 1 (1876?).
> Symphony No. 2 in A minor, (1876 to 1878?).
> Nordische Symponie (or Nordische Suite) (1878 - 1882?).
> 4 Symphonies ("Dresden") (1878 - 1888).
> Trauerhymne (?) 1884.

Theatrical works:
> Herzog Ernst von Schwaben, booklet by Josef Steiner, maybe from Ludvig Uhland (1875? - 1879).
> Die Argonauten, booklet by Gustav Mahler, in Stabreimen, probably from the second drama of the trilogy Das Goldene Vliess di Franz Grillparzer (1879 - 1880).
> Rubezahl, in 5 acts, booklet by Gustav Mahler (1879 - 1890).
> Project for a work, untitled, on a booklet by Karl von Weer, from an idea by Gustav Mahler (1887 - 1888).

Music for the scene:
> Vorspiel mit Chon (1883).
> Der Trompeter von Säkkingen, music for the scene for Tableaux vivants, from poem by Joseph Vikor von Scheffel (1884).
> Das Volkslied, to a text by Solomon Hermann von Mosenthal (1885).

UNFINISHED WORKS BY OTHER COMPOSERS, ACCOMPLISHED BY GUSTAV MAHLER:
> Die drei Pintos, opera in three acts, booklet by Theodor Hell, music ofi Carl Maria von Weber, booklet revised by Karl von Weber, score reworked and rebuilt by Gustav Mahler, 1887 - 1888.

TRANSCRIPTIONS:
> Anton Bruckner, Symphony No. ° 3, transcription for piano 4 hands (perhaps in collaboration with Rudolf Krzyanowski), 1878 or 1880.
> Johann Sebastian Bach, Suite aus seinen Orchestererken, transcription for different orchestra, 1909:
- Ouverture, from the Suite n.° 2.
- Rondeau, from the Suite n.° 2.
- Badinerie, from the Suite n.° 2.
- Aria, from the Suite n.° 3.
- Gavotte 1 e 2, from the Suite n.° 4.

REVISIONS ORCHESTRAL:
> Ludvig van Beethoven, Symphonies nn.' 5, 6, 7, 8 e 9; Ouvertures Coriolan, Egmont, Leonore n.° 2, Die Weihe des Hauses.
> Robert Schumann, Symphonies nn.' 1, 2, 3 e 4.
> Anton Bruckner, Symphonie n.° 5.

ADJUSTMENTS STAGING:
> Wolfgang Amadeus Mozart, Le nozze di Figaro, new recitatives for the stage of judicial proceedings, Act III° nn.' 17 e 18 (1908).
> Carl Maria von Weber, Euryanthe, booklet revised (1903 - 1904).
> Carl Maria von Weber, Oberon, booklet revised (1906).


WORKS OF DOUBTFUL AUTHENTICITY:
> Symphonisches Praeludium: Nicht zu rasch. Orchestrated by Albrecht Gürsching.
The "Symphonisches Praeludium" is something of a mystery. If not by Mahler himself, it certainly hails from the Vienna of his student days. It was unearthed in the late 1970's in the Austrian National Library: a piano transcription, by one Heinrich Tschuppik, made from what the title-page described as a score "from the year 1876, supposedly by Anton Bruckner" that had been copied "by the Bruckner-pupil Rudolf Krzyzanowski". The sound and style of the Prelude certainly has much of Bruckner about it, and not a little of Wagner. Structural peculiarities nevertheless led some musicologists to hear in it the work of a younger composer inspired by Bruckner, rather than Bruckner himself. Since Rudolf Krzyzanowski was a close and admiring student friend of Mahler's, the tantalizing possibility arose that it might just be one of Mahler's own lost student compositions. The mystery may never be solved. As thematic connections are known to exist between Mahler's later works and the symphony by Hans Rott, another of his student companions, it would be reasonable to assume that there was a fairly close community of styles and even musical ideas within Mahler's circle of the later 1870's, whose members influenced and inspired each other. Mahler must surely have known and identified with this expansively brooding symphonic movement, even for if he did not actually compose it himself. If it is an unknown work by Bruckner, then its survival in a copy by one of Mahler's friends makes it all the more valuable as an indicator of the kind of music in which they steeped themselves and out of which the individual style of their most famous colleague would develop.

RECORDINGS (with Gustav Mahler who plays):
Recordings with piano roll (9 november 1905):
"4 Lieder" ("Lieder und Gesänge", vol.II)
- "Ich ging mit lust durch einen grünen wald".
>"Lieder eines fahrenden Gesellen", testo di Gustav Mahler:
- Ging heut' morgen übers Feld.
> "Symphony n.° 4" in G major, for soprano solo:
- Sehr behaglich. 
> "Symphony n.° 5" in C sharp minor:
- Trauermarsch (in gemessem Schritt. Streng. Wie ein Kondukt). 
- Stürmisch bewegt mit grösster Vehemenz.
Phonographic recording (London? 1905?):
Gustav Mahler (???) - F. Mendelssohn "Rondò Capriccioso in E minor, op.14".
Is a very rare phonographic recording whose attributability to Mahler is profoundly controversial.
It is contained in a LP privately recorded in Japan, in 1960, by a mysterious "Mr Y" that say of have buy this recording in a sound test of G&T, with a white label, with the autograph that Mahler writes with his own hand, and with the words "Gustav Mahler plays Mendelssohn's Rondo". On the liner notes gave the year 1905, when Mahler was briefly visiting London. But the original record was never shown to the public, and nobody knows where the record is right now.

13 April 2013

Sidney the elephant

Sidney
Sidney
Sidney
Pachyderm, orphan, depressed, now an adult but more whining, also known as "Silly Sydney" or "Sick Sick Sidney" or "Bombo", Sidney lives in the jungles of Africa.

Naive and neurotic, incredibly clumsy, sucks its proboscis to feel secure blackberries, is afraid of everything and is bothered by the noise of the jungle.

"Stanley the Lion" and "Cleo the Giraffe", almost subrogation respectively in paternal and maternal roles of Sydney, are always on hand to protect him from any serious dangers.

The Sidney character was first released to theaters and later aired, from 5 October 1963 up to 1964, as a component of the Saturday morning cartoon "The Hector Heathcote Show" broadcast on NBC.
The original sound track of TV’s colorful cartoon program with the complete cast in 6 entertaining stories starring Hector Heathcote "The Minute and a Half Man”, Hashimoto-San and Sidney the Elephant, from Terrytoons. RCA Camden Records, 1964.
FIRST APPEARED: 
4 June 1958.

CREATOR:

Eugene "Gene" Merril Deitch
Eugene Merril Deitch (8 August 1924)
MUSIC: 
Philip A. Scheib
Philip A. Scheib (1894 - 1969)
VOICED
"Sidney the Elephant": Lionel Wilson & Dayton Allen;
"Stanley the Lion" & "Cleo the Giraffe": Dayton Allen.
Lionel Wilson (1924 - 2003)
Dayton Allen (1919 - 2004)
PRODUCER:
Terrytoons (and C.B.S.).

DISTRIBUTOR:
20th Century Fox.

CHARACTERS:
Sidney the Elephant
Stanley the Lion
Cleo the Giraffe
Mother Monkey
Papa Monkey
Rhinoceros
Ivory Hunter
Melvin the Mouse
Two Buzzards
Plantation Owner
Pirates
Fairy God-Elephant
Lion
Heminghunter
Assistant

CARTOONS:
SICK, SICK, SIDNEY (4 June 1958)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SIDNEY'S FAMILY TREE (1 December 1958)
("Academy Award" nomination in 1958)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Mother Monkey, Papa Monkey.

HIDE AND GO SIDNEY (January 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Two Buzzards.

TUSK, TUSK (3 April 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Rhinoceros, Ivory Hunter.

THE LITTLEST BULLY (9 August 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Melvin the Mouse.

TWO TON BABY SITTER (4 September 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

BANANA BINGE (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

FLEET'S OUT (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

MEAT, DRINK AND BE MERRY (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

REALLY BIG ACT (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

TREE SPREE (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

CLOWN JEWELS (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Pirates.

PEANUT BATTLE (25 April 1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SEND YOUR ELEPHANT TO CAMP (4 July 1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

HOME LIFE (1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SIDNEY'S WHITE ELEPHANT (1 May 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

DRIVEN TO EXTRACTION (28 June 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SPLIT LEVEL TREE HOUSE (November 1963)
(TerryToons);
featuring Sidney the Elephant.

SIDNEY (4 December 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

TO BE OR NOT TO BE (1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Fairy God-Elephant, Lion.


GAMES:

The "Silly Sidney" game, published by "Transogram" in 1963.





COMICS:
"New Terrytoons", number 1, published in U.S.A. by "Dell publishing Co. Inc." in June-August 1960, price 0,10 USD, 36 pages (the first comic book story featuring Sidney).










...for me, after the cartoons of Disney, the best cartoon of my life: one endless poetry.