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Regarding the Third Symphony, "Beethoven, now fully emancipated from the preceding era, may be said for the first time to stand forth and show his lion's paw!" wrote Theodore Thomas, the Chicago Orchestra's founder and first music director, in Talks About Beethoven's Symphonies. "In my judgment, the Eroica is only a perfectly legitimate step forward, a logical sequence in his normal development. . . . His soul now began to long to express that which had never before been said in music—anticipating centuries; hence this symphony, the first dawn of modern music, written in a definite mood, giving expression to the soul through color and contrast rather than attempting to illustrate a specific program."
"The Eroica is perhaps the first great symphony to have captured the romantic imagination," according to CSOA scholar-in-residence and program annotator Phillip Huscher. "Beethoven's vast and powerful first movement and the funeral march that follows must have sounded like nothing else in all music. Never before had symphonic music aspired to these dimensions. . . . Beethoven's Allegro con brio was longer—and bigger, in every sense—than any other symphonic movement at the time (the first movement of Mozart's Prague Symphony comes the closest). It's also a question of proportion, and Beethoven's central development section, abounding in some truly monumental statements, is enormous."
Thomas first led the Orchestra in Beethoven's Third Symphony during the first season, on January 12, 1892, at The Odeon in Cincinnati and later that week in Chicago on January 15 and 16 at the Auditorium Theatre.
Sixth music director Fritz Reiner led the Chicago Symphony Orchestra's first commercial recording of the work in Orchestra Hall on December 4, 1954. For RCA, Richard Mohr was the producer.
Sir Georg Solti and the Chicago Symphony Orchestra and Chorus first recorded Beethoven's nine symphonies between May 1972 and September 1974 for London Records. The recordings were ultimately released as a set (along with three overtures: Egmont, Coriolan, and Leonore no. 3); that set won the 1975 Grammy Award for Classical Album of the Year from the National Academy of Recording Arts and Sciences. The Third Symphony was recorded at Medinah Temple on November 5, 6, and 9, 1973, and May 18, 1974. Ray Minshull was the recording producer, and Kenneth Wilkinson and James Lock were the balance engineers.
Between September 1986 and January 1990, Solti and the Orchestra and Chorus recorded the complete Beethoven symphonies a second time, again for London Records; and again, the recordings were ultimately released as a set (along with two overtures: Egmont and Leonore no. 3). The Third Symphony was recorded in Orchestra Hall on May 6 and 8, 1989. Michael Haas was the recording producer and Stanley Goodall was the balance engineer.
Riccardo Muti leads the Chicago Symphony Orchestra in Beethoven's Consecration of the House Overture and Symphonies nos. 1 and 3 on September 26, 27, and 28, 2019.
In Beethoven's First Symphony, "the composer tries his wings," according to Theodore Thomas, the Chicago Orchestra's founder and first music director. In Talks About Beethoven's Symphonies, Thomas continues: "It is sometimes said that the First Symphony is Haydn and Mozart rather than Beethoven, but that is not correct. It is Beethoven, pure and simple, but Beethoven carrying on the art of his day as it had been transmitted to him by his predecessors. He knew no other style of symphonic writing because, until his own later development, there was no other. . . . One might say that Haydn and Mozart were the cradle in which the art of Beethoven was rocked, and in the First Symphony, his art was still in this cradle. . . . [The First Symphony] is a noble work and is of especial interest as the connecting link between the art of the classic and that of the romantic period."
CSOA scholar-in-residence and program annotator Phillip Huscher agrees. "As the first symphony by the greatest symphonist who ever lived, one might expect clues of the daring and novelty to come; since it was written at the turn of the century and premiered in Vienna, the great musical capital, in 1800, one might assume that it is with this work that Beethoven opened a new era in music. But, in fact, this symphony belongs to the eighteenth, not the nineteenth, century; it honors the tradition of Mozart, dead less than a decade, and Haydn, who had given Beethoven enough lessons to know that his student would soon set out on his own."
Thomas first led the Orchestra in Beethoven's First Symphony during the third season, on May 4 and 5, 1894, at the Auditorium Theatre.
Sixth music director Fritz Reiner led the Chicago Symphony Orchestra's first commercial recording of the work in Orchestra Hall on May 8, 1961. For RCA, Richard Mohr was the producer and Lewis Layton was the recording engineer.
Sir Georg Solti and the Chicago Symphony Orchestra and Chorus first recorded Beethoven's nine symphonies between May 1972 and September 1974 for London Records. The recordings were ultimately released as a set (along with three overtures: Egmont, Coriolan, and Leonore no. 3); that set won the 1975 Grammy Award for Classical Album of the Year from the National Academy of Recording Arts and Sciences. The First Symphony was recorded at Medinah Temple on May 13, 14, 15, and 18, 1974 (along with the Second Symphony). Ray Minshull was the recording producer, and Kenneth Wilkinson and James Lock were the balance engineers.
Between September 1986 and January 1990, Solti and the Orchestra and Chorus recorded the complete Beethoven symphonies a second time, again for London Records; and again, the recordings were ultimately released as a set (along with two overtures: Egmont and Leonore no. 3). The First Symphony was recorded in Orchestra Hall on November 14 and 16, 1989, and January 27, 1990 (along with the Second Symphony). Michael Haas was the recording producer and Stanley Goodall was the balance engineer.
Riccardo Muti leads the Chicago Symphony Orchestra in Beethoven's Consecration of the House Overture and Symphonies nos. 1 and 3 on September 26, 27, and 28, 2019.
Less than a month after its inaugural concerts in October 1891, the Chicago Orchestra was in the pit at the Auditorium Theatre for performances with the Metropolitan Opera Company (under the auspices of Abbey, Schoeffel, and Grau).
The singers who appeared were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann, and Marie Van Zandt and mezzo-sopranos Sofia Scalchi and Giulia Ravogli. During the residency, other prominent singers made their U.S. debuts, including soprano Emma Eames; tenor Jean de Reszke; baritones Edoardo Camera, Antonio Magini-Coletti, and Jean Martapoura; and basses Édouard de Reszke and Jules Vinche. Conducting duties were shared by Auguste Vianesi and Louis Saar, the Orchestra's first guest conductors.
Opening with Wagner's Lohengrin on November 9, the residency continued through December 12 and included a staggering number of operas: Bellini's Norma and La sonnambula; Flotow's Martha; Gluck's Orpheus and Eurydice; Gounod's Faust and Romeo and Juliet; Mascagni's Cavalleria rusticana; Meyerbeer's Dinorah and Les Huguenots; Mozart's Don Giovanni; Thomas's Mignon; as well as Verdi's Rigoletto and act 1 of La traviata.
The residency also included a single performance of Verdi's Aida on December 10 with Lehmann in the title role, de Reszke as Radamès, Ravogli as Amneris, Magini-Coletti as Amonasro, Enrico Serbolini as Ramfis, Lodovico Viviani as the King, and M. Grossi as the Messenger. The Metropolitan Opera Chorus was prepared by its director, Carlo Corsi, and Louis Saar conducted.
"Jean de Reszke and Lilli Lehmann bade farewell to Chicago last evening by appearing together in Verdi's Aida," wrote the reviewer in the Chicago Tribune. "It was a performance which for superb solo work, excellence of ensemble, and splendor of scenic and spectacular effects has not been equaled in this city—a performance which marked the highest point on the standard of excellence yet reached by the Abbey-Grau company."
German soprano Lilli Lehmann—under the guidance of Richard Wagner—created the roles of Woglinde (in Das Rheingold and Götterdämmerung), Helmwige, and the Forest Bird in the first Ring cycle during the inaugural Bayreuth Festival in 1876. She made her American debut at the Metropolitan Opera as Carmen on November 25, 1885; five days later, she sang Brünnhilde in Die Walküre and the following year Isolde in the American premiere of Tristan and Isolde. Lehmann regularly performed at the Salzburg Festival—also serving as its artistic director—and her operatic repertoire ultimately included 170 roles in 114 operas. A notable teacher, her students included Geraldine Farrar and Olive Fremstad.
"Mme. Lehmann found in Aida a role which permitted a display of her splendid histrionic gifts, and the music to which was more nearly suited to her vocal powers than has been any she has sung this engagement," continued the Chicago Tribune reviewer. "Her success was, therefore assured and splendidly she achieved it. Her acting of the slave princess was forceful, intense, at all times free from all exaggeration or extravagance. As for her vocal work, it commands unqualified and almost unlimited praise. The 'Ritorna vincitor' was given with marvelous appreciation of its sad, troubled character, and the 'Numi, pietà' was beautiful in the purity and simplicity of its interpretation. In the long duet with Amneris in act 2, Mme. Lehmann's singing and acting possessed great power, and in the climax at the end of the act, her voice stood out with telling effect. It was in the third act that the finest vocal work was done. Anything more satisfactory than her singing of the 'O patria mia' and the heavy dramatic music which follows cannot be imagined. The 'Vedi? . . . di morte l'angelo,' in the last scene of the opera, was exquisite in its delicacy and poetry."
Born in Poland, Jean de Reszke began his career as a baritone in 1874, debuting in Venice as Alfonso in Donizetti's La favorita. By 1879, he had made the switch to tenor when he sang the title role in Meyerbeer's Robert le diable in Madrid. De Reszke was soon a regular at the Paris Opera and at London's Covent Garden, performing the major French, Wagner, and Verdi roles; the title role in Massenet's Le Cid—premiered in Paris in 1885—was written for him. His American debut was the opening night of the Metropolitan Opera's residency with the Chicago Orchestra in the title role of Wagner's Lohengrin on November 9, 1891. After his debut the following month with the company in New York—as Gounod's Romeo on December 14—he was a regular with the Metropolitan until his retirement from the stage in 1904, settling in Poland to breed racehorses and Paris to teach singing. His students included Bidu Sayão and Maggie Teyte.
"Jean de Reszke's triumph as Radamès was a triumph of voice and vocal art. Not that the dramatic side of the character was not developed. It was developed with the same consummate skill which has made his dramatic treatment of every role in which he has seen truly remarkable. But Radamès makes far greater demand upon a tenor's vocal powers than upon his histrionic. Much of the music is purely lyrical in character, while other portions are strongly dramatic. A singer to do it justice must, therefore, combine the qualities of a tenore de grazia and a tenore robusto—a combination but rarely found. Jean de Reszke is such, however, and his singing of the music of Radamès is not alone satisfactory but an artistic treat of the highest kind. The famed 'Celeste Aida' was sung with a smoothness, clearness, and tonal beauty which were the perfection of pure vocal art, while the impassioned music of the third act was delivered with a vigor and intensity and a display of thrilling high notes which showed how dramatic singing may become and yet never cease to be singing nor degenerate into shouting."
Portions of this article previously appeared here.
Riccardo Muti leads soloists Krassimira Stoyanova, Anita Rachvelishvili, Francesco Meli, Kiril Manolov, Ildar Abdrazakov, Eric Owens, Issachah Savage, Kimberly Gunderson, and Tasha Koontz, and the Chicago Symphony Orchestra and Chorus (prepared by Duain Wolfe) in Verdi's Aida on June 21, 23, and 25, 2019.
Looking south from the Art Institute, a parade of American soldiers marches up Michigan Avenue in this image from the Pritzker Military Museum & Library collections. Orchestra Hall—complete with movie marquee—can be seen at the far right.
The Nineteenth Amendment—giving women the right to vote—passes the House of Representatives on May 21 and the Senate on June 4, 1919, and is ratified on August 18, 1920. Chicago's League of Women Voters soon parade through the city, encouraging women to register to vote in upcoming presidential election.
The influenza epidemic in Chicago first appeared at the Great Lakes Naval Training Station on September 8, 1918, and two weeks later, cases began appearing within the city. At the height of the epidemic in October, all of the city's theaters—including Orchestra Hall—movie houses, and night schools were ordered closed, disrupting the CSO season for two weeks. By the epidemic's end in November, over 50,000 cases of influenza and pneumonia had been reported. The article is here.
During Sergei Prokofiev's first visit to America, he appears with the Chicago Symphony Orchestra on December 6 and 7, 1918, in two U.S. premieres: as soloist in his First Piano Concerto (under the baton of assistant conductor Eric DeLamarter) and conducting his Scythian Suite.
Prokofiev returns to Chicago and performs as soloist with the Orchestra on December 16 and 17, 1921, giving the world premiere of his Third Piano Concerto with Frederick Stock conducting. Two weeks later, he leads the Chicago Opera in the world premiere of his The Love for Three Oranges at the Auditorium Theatre on December 30.
On July 27, 1919, seventeen-year-old Eugene Williams, an African American, was swimming in Lake Michigan when he crossed the unofficial barrier at 29th Street between the city's "black" and "white" beaches. A group of white men pelted stones at Williams and he soon drowned. Black eyewitnesses identified the aggressors when the police arrived, but they refused to arrest them. News of the event spread and violence soon erupted, primarily in the city's South Side neighborhoods. Riots, shootings, and arson attacks continued through August 3, leaving nearly forty dead, over 500 injured, and more than 1,000 black families homeless. The article is here.
On October 9, 1919, the Cincinnati Reds clinch their first World Series victory, winning game eight against the Chicago White Sox, amid suspicions that the games had been fixed. A grand jury convenes in September 1920 and indicts eight White Sox players who, though acquitted in 1921, are permanently banned from the game. The article is here.
The Eighteenth Amendment to the U.S. Constitution is ratified on January 16, 1919 authorizing prohibition of the manufacture, transportation, and sale of alcohol, beginning the following year. The amendment's passing on December 17, 1917, was possible in part due to the wave of anti-German sentiment. Since many of the nation's beer brewers were German, Prohibition became closely tied to American patriotism. The amendment is repealed on December 5, 1933, with the ratification of the Twenty-first Amendment.
On November 20, 1919, Frederick Stock leads the first of a regular series of Children's Concerts specifically designed to introduce young Chicagoans to music. After hearing several auditions from promising young instrumentalists, Stock chooses eight-year-old Anita Malkin to become the first youth soloist on a Children's Concert, and she performs the first movement of Rode's Violin Concerto with the Orchestra on February 12, 1920.
January 23 and 24, 1920, Sergei Rachmaninov is soloist in his Third Piano Concerto. Frederick Stock conducts.
During the summer months, Orchestra Hall frequently was used as a movie house, and in 1920, Paramount Pictures' Humoresque—a silent film based on Fannie Hurst's short story—enjoyed a multi-week run.
On December 31, 1920, Frederick Stock leads the Orchestra in the U.S. premiere of Gustav Holst's The Planets, less than two months after the world premiere in London. Stock also leads the Orchestra in the U.S. premiere of Gustav Mahler's Seventh Symphony on April 15, 1921.
On December 18, 1921, Richard Strauss returns to Chicago to lead the Orchestra in a special concert at the Auditorium Theatre. The program includes his Also sprach Zarathustra, Death and Transfiguration, and the love scene from his opera Feuersnot, along with several songs—"Morgen!," "Wiegenlied," "Freundliche Vision," and "Ständchen"—with soprano Claire Dux.
A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center's first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
Thousands of soldiers stand in formation at the Great Lakes Naval Training Station in this 1918 image at right from the Pritzker Military Museum & Library collections.
During the second decade of the twentieth century, Chicago was an extraordinary hub of cultural activity. Art, architecture, literature politics, music, and sports all contributed to the city's vibrant landscape.
The Chicago Grand Opera Company—the city's first resident opera company—opens its first season on November 3, 1910, at the Auditorium Theatre. Cleofante Campanini conducts Verdi's Aida with Janina Korolewicz in the title role, Nicola Zerola as Radamès, and Eleanor de Cisneros as Amneris. The fourth and final season of the company comes to a close on January 31, 1914, with a matinee of Février's Monna Vanna starring Mary Garden and an evening performance of Flotow's Martha with Jenny Dufau and Ralph Errolle under the baton of Arnold Winternitz.
In 1912, Ellen Van Volkenburg and Maurice Browne establish the Chicago Little Theatre, performing Greek classics, works by contemporary writers, and puppetry at the Fine Arts Building. Founded in March 1916, the Arts Club of Chicago also moves into the Fine Arts Building on the fifth floor, and charter members include Rue Winterbotham Carpenter and her husband, composer John Alden Carpenter, along with Frederick Stock.
During the first season of the Ravinia Opera Company in 1912, Gustav Hinrichs leads the Orchestra in acts and extended scenes from Puccini's Madama Butterfly and La bohème; Verdi's Aida , La traviata, and Il trovatore; Massenet's Thaïs; Gounod's Faust; Donizetti's Lucia di Lammermoor; and Wagner's Lohengrin. On August 21, the company presents its first full-length production: Masagani's Cavalleria rusticana with Jane Abercrombie as Santuzza and Henri Baron as Turriddu.
Founded by Harriet Monroe, the first edition of Poetry: A Magazine of Verse is published in Chicago in October 1912.
The 1912 Progressive "Bull Moose" Party Convention culminates at the Auditorium Theatre on August 6 with Theodore Roosevelt, president from 1901 until 1909, proclaiming, "We stand at Armageddon, and we battle for the Lord!" He had attempted and failed to wrangle the Republican nomination from his successor and incumbent president William Howard Taft, so Roosevelt's supporters declared their independence and formed a third party behind their candidate, who boasted he felt "strong as a bull moose." Democratic New Jersey governor Woodrow Wilson won the November 5 election in a landslide against the divided Republicans.
In April 1913, the International Exhibition of Modern Art is mounted at the Art Institute of Chicago, introducing local audiences to the works of Marcel Duchamp, Wassily Kandinsky, and Pablo Picasso, among numerous others. Students at the School of the Art Institute hold a mock trial of "Henry Hair Mattress" (Henri Matisse), finding him guilty of "artistic murder, pictorial arson . . . and contumacious abuse of title" and burning copies of his Blue Nude, Luxury II, Red Madras Headdress, and The Red Studio. The articles are here and here.
An occasional Chicago Symphony Orchestra subscriber, Frank Lloyd Wright also has an office in Orchestra Hall from 1913 until 1916. (It has long been rumored that he skipped out without paying his final months' rent.)
While living in Chicago, Ferd "Jelly Roll" Morton publishes his Jelly Roll Blues in 1915, widely acknowledged as the first published jazz composition.
On October 14, 1917, composer and pianist Ignace Paderewski gives a speech to over 40,000 people— "the largest Polish assemblage ever seen in Chicago," according to the Chicago Tribune—at the Dexter Park Pavilion (a horse racing track located next to the Union Stock Yards) advocating for a Poland free of Austro-Hungarian rule. The article is here.
In early 1918, Joe "King" Oliver moves to Chicago, bringing his New Orleans brass and dance band style with him. To win over northern audiences, many jazz bands played up their southern roots while drawing on stereotypes made familiar through minstrel shows, as can be seen in this image. Oliver's style also was called "hot jazz," later inspiring the name of Louis Armstrong's Hot Five and Hot Seven bands of the 1920s. By the end of the decade, Chicago develops a style all its own, emerging as an important center for the genre.
Geraldine Farrar is the star of the Chicago Opera Association's first season opening in November 1915, appearing in the title roles in Puccini's Tosca, Madama Butterfly, and Bizet's Carmen, and Marguerite in Gounod's Faust.
In 1916, Carl Sandburg's Chicago Poems is published. He is soon awarded the Pulitzer Prize for Poetry for his Cornhuskers, published in 1918 and written while he lived in Evanston and Elmhurst, Illinois.
The Chicago White Sox win the 1917 World Series on October 15, defeating the New York Giants in game six. The winning team included outfielders "Shoeless" Joe Jackson, Shano Collins, Happy Felsch, Eddie Murphy, and Nemo Leibold.
The U.S. Government War Exposition travels to Grant Park and nearly two million Chicagoans visit between September 2 and 15, 1918. Designed to encourage public support of the war, the exposition includes displays of new technologies, trench warfare and weaponry, and medical treatments.
A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center's first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
The poster at left, from the Pritzker Military Museum & Library collections, shows French soldiers who fought in the First Battle of the Marne between September 6 and 12, 1914.
In the years leading up to the United States entering World War I, the Chicago Symphony Orchestra gave a number of premieres, featured prominent guest soloists, and made its first commercial recording. Additionally, Orchestra Hall hosted an extraordinary variety of events, several of which are illustrated below (all events in Orchestra Hall unless otherwise noted).
On December 8, 1911, Albert Spalding is soloist with the Chicago Symphony Orchestra in the U.S. premiere of Sir Edward Elgar's Violin Concerto. Frederick Stock conducts.
Albert Capellani's film Les misérables (parts 1 and 2)—starring Henry Krauss as Jean Valjean and billed as "the greatest motion picture ever made"—is screened from August 21 through October 10, 1913.
Frederick Stock leads the Orchestra in the U.S. premiere of Arnold Schoenberg's Five Pieces for Orchestra on October 31, 1913. (On February 8 and 9, 1934, the composer returns to Chicago to lead the work as guest conductor.)
On February 5, 1914, the North End Woman's Club presents Anne Sullivan and Helen Keller in a demonstration of the technique used by Sullivan to teach Keller—blind and deaf since she was nineteen months old—how to speak.
William Henry Hackney presents a Colored Composers' Concert featuring music by Samuel Coleridge-Taylor, Harry Burleigh, J. Rosamond Johnson, Will Marion Cook, and R. Nathaniel Dett on June 3, 1914. The Chicago Defender article (from June 6, 1914) describing the concert is here.
The Orchestra gives the U.S. premiere of Gigues from Claude Debussy's Images for Orchestra on November 13, 1914. Frederick Stock conducts.
The Apollo Club of Chicago presents its annual performances of Handel's Messiah at the Auditorium Theatre on December 27 and 28, 1914. Harrison M. Wild leads the Chicago Symphony Orchestra.
Edith Lees, author and the openly lesbian wife of Havelock Ellis, gives a lecture on February 4, 1915, advocating for the general acceptance of "deviants" (i.e. homosexuals). Offering Oscar Wilde and Michelangelo as examples of what the "abnormal" could accomplish, this is one of the earliest public calls for the acceptance of gay people.
On March 5, 1915, Frederick Stock leads the Orchestra in the U.S. premiere of Alexander Scriabin's Prometheus.
Celebrating the opening of the Orchestra's twenty-fifth season on October 15, 1915, Frederick Stock leads the world premiere of his Festival Prologue, which he had written while in California for the Panama–Pacific International Exposition. Stock considered the work "an expression of his esteem not only for that noble band of artists which for a quarter of a century has uplifted and upheld the musical culture of our city, but also for those who have permitted themselves to be thus uplifted and upheld—the music-loving people of Chicago."
On February 4 and 5, 1916, Amy Beach is soloist in her Piano Concerto in C-sharp minor. Frederick Stock conducts.
Percy Grainger is soloist in the world premiere of John Alden Carpenter's Concertino for Piano and Orchestra on March 10, 1916. Frederick Stock conducts.
On December 15, 1916, Frederick Stock leads the Orchestra in the world premiere of Thorwald Otterström's American Negro Suite, incorporating melodies from Slave Songs of the United States—the first and most influential collection of African American music and spirituals, published in 1867.
Bengali poet and the first non-European recipient of the Nobel Prize for Literature, Sir Rabindranath Tagore reads from his own works on December 19, 1916.
On May 1, 1916, Frederick Stock and the Chicago Symphony Orchestra record for the first time (in an unidentified Chicago location): Mendelssohn's Wedding March from A Midsummer Night's Dream for the Columbia Graphophone Company.
Violinist Maud Powell and pianist Arthur Loesser (half-brother of Broadway composer Frank Loesser) appear in recital on February 18, 1917.
On March 25, 1917, Walter Damrosch leads the New York Symphony Orchestra in Beethoven's Violin Concerto with Efrem Zimbalist and Brünnhilde's Immolation from Wagner's Götterdämmerung with Julia Claussen.
A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center's first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
On June 28, 1914, heir-apparent to the throne of the Austro-Hungarian Empire Archduke Franz Ferdinand and his wife Sophie, Duchess of Hohenberg, are assassinated in Sarajevo by Gavrilo Princip, a Bosnian Serb and south Slav nationalist.
Austria declares war on Serbia on July 28, 1914, launching a chain reaction. In a few short weeks, the world is at war, ultimately pitting the Triple Entente (France, Russia, and Britain) against the Central Powers (Germany and Austria-Hungary). In an effort to cut off French forces, Germany invades Luxembourg and Belgium in early August with the eventual goal of occupying Paris.
During the First Battle of the Marne, from September 6 through 12, 1914, the French army and British Expeditionary Force successfully thwart German progress just east of Paris. A major turning point early in the war, by August 1914, the entire Allied army on the Western Front is forced into a general retreat back towards Paris as the German armies continue through France.
To weaken the British war effort, Germany seeks to cut off U.S. aid to Britain through naval warfare, at its height when the passenger liner RMS Lusitania sets sail from New York for Liverpool. German submarines torpedo and sink the ship on May 7, 1915, killing 1,198 people, including 128 Americans. Germany limits submarine warfare due to U.S. outrage over the incident. Seen at right, a Parliamentary Recruiting Committee poster portrays Justice emerging from the sea, as the Lusitania sinks in the background.
A German offensive on the French town of Verdun from February 21 through December 18, 1916—the largest and longest battle on the Western Front between the German and French armies—results in nearly one million casualties. The Battle of the Somme—fought by the armies of the British Empire and France against the Germans—begins on July 1, 1916, with the launch of an Allied offensive, initiating the largest battle of the war on the Western Front.
In January 1917, a telegram from German foreign secretary Arthur Zimmermann to U.S. German ambassador Count Johann von Bernstorff—offering financial aid to Mexico if it agrees to partner with Germany on the U.S. entering the war—is intercepted by British intelligence and forwarded to President Woodrow Wilson. The story reaches the public on March 1, as Germany reinstitutes unrestricted submarine warfare. On April 6, 1917, the U.S. declares war on Germany.
American forces land in France on June 25, 1917, and African American troops are the first to arrive, including the 370th Infantry Regiment from Illinois (many from Chicago's Bronzeville neighborhood).
Led by Bolshevik Party leader Vladimir Lenin, leftist revolutionaries launch a takeover of the provisional government on November 6 and 7, 1917, marking the end of the Romanov dynasty and centuries of Russian Imperial rule.
The Second Battle of the Marne is fought on June 2, 1918, with American forces preventing Germans from crossing the Marne River at Château-Thierry.
On September 26, 1918, Allied forces launch the Meuse-Argonne Offensive—part of the Hundred Days Offensive, the final series of Allied attacks—covering the entire Western Front between France, Belgium, and Germany. It is the largest and bloodiest attack of the war for the American Expeditionary Forces, involving over one million U.S. soldiers. The French map at the left illustrates the offensive and shows American daily lines of advance, divisions in lines, French colonial troops, enemy defenses, and railroads.
On November 11, 1918, Germany signs the Armistice of Compiègne. In accordance with the agreement, fighting ends at 11:00 a.m., Paris time, ending the war on the Western Front.
Representatives from the Allied nations—including pianist Ignace Paderewski, newly appointed as prime minister of Poland—along with German authorities sign the Treaty of Versailles on June 28, 1919, signifying the end of the war.
Thomas Mann's novella Death in Venice (Der Tod in Venedig) is published in Germany in 1912.
George Bernard Shaw's Pygmalion is first performed at the Hofburg Theatre in Vienna on October 16, 1913.
In August 1914, H.G. Wells begins publishing a series of articles in London newspapers, later published in the book The War That Will End War.
Pierre Monteux conducts the premiere of Igor Stravinsky's The Rite of Spring with Sergei Diaghilev's Ballets Russes at the Théâtre des Champs-Élysées in Paris on May 29, 1913. In Le Figaro, Henri Quittard calls the work, a "laborious and puerile barbarity."
A painting by Norman Rockwell—Mother's Day Off—first appears on the cover of The Saturday Evening Post on May 20, 1916.
By 1916, the first wave of the Great Migration is fully underway, with nearly 1.5 million African Americans moving from the southern United States into the northern states, many settling in major cities, including New York, Chicago, Philadelphia, Saint Louis, and Detroit.
Less than three weeks after the U.S. enters the war, second music director Frederick Stock leads the Chicago Symphony Orchestra's first performances of Gustav Mahler's Eighth Symphony on April 24, 26, and 28, 1917, at the Auditorium Theatre as part of the Chicago Music Festival. The Orchestra is expanded to 150 players vocalists included six local choruses, two hundred boys from Oak Park and River Forest, and eight soloists. The Chicago Tribune called it "the most important event of its kind the West has ever known."
During the summer of 1917, International Harvester president Cyrus McCormick, Jr., travels as a government emissary and meets twenty-six-year-old Moscow Conservatory student Sergei Prokofiev at the Winter Palace in Petrograd (now Saint Petersburg).
Sixteen-year-old Jascha Heifetz debuts with the Orchestra on November 23, 1917, as soloist in Tchaikovsky's Violin Concerto. Frederick Stock conducts.
On March 19, 1918, President Woodrow Wilson signs the Standard Time Act into law, implementing daylight saving time and authorizing the Interstate Commerce Commission to define time zones.
A Time for Reflection—A Message of Peace—a companion exhibit curated by the Rosenthal Archives of the Chicago Symphony Orchestra in collaboration with the Pritzker Military Museum & Library—will be on display in Symphony Center's first-floor rotunda from October 2 through November 18, and the content also will be presented on CSO Sounds & Stories and the From the Archives blog.
This article also appears here. For event listings, please visit cso.org/armistice.
This exhibit is presented with the generous support of COL (IL) Jennifer N. Pritzker, IL ARNG (Retired), Founder and Chair, Pritzker Military Museum & Library, through the Pritzker Military Foundation.
Additional thanks to Shawn Sheehy and Jenna Harmon, along with the Arts Club of Chicago, Newberry Library, Poetry Foundation, and Ravinia Festival Association.
The Chicago Symphony Orchestra family joins the classical music community in mourning the loss of Oliver Knussen, the British composer and conductor. He died earlier today at the age of 66.
Knussen made his debut conducting the Chicago Symphony Orchestra on two weeks of subscription concerts, as follows:
March 12, 13, 14, and 17, 1998
STRAVINSKY Canon on a Russian Popular Tune
STRAVINSKY The Faun and the Shepherdess
Lucy Shelton, soprano
LIEBERSON Drala
KNUSSEN Horn Concerto
Gail Williams, horn
STRAVINSKY Suite from The Firebird
March 19, 20, 21, and 24, 1998
MUSSORGSKY/Stokowski A Night on Bare Mountain
KNUSSEN Songs and a Sea Interlude and The Wild Rumpus from Where the Wild Things Are
Rosemary Hardy, soprano
KNUSSEN The Way to Castle Yonder
MUSSORGSKY/Stokowski Pictures at an Exhibition
Knussen also led the Civic Orchestra during that residency, on March 15, 1998, with the following program:
KNUSSEN Flourish with Fireworks
RESPIGHI Fountains of Rome
LIEBERSON Fire from Five Great Elements
BRITTEN Four Sea Interludes and Passacaglia from Peter Grimes
Most recently, Knussen was in Chicago to conduct the following works on a MusicNOW concert in Orchestra Hall on April 3, 2006:
GLANERT Secret Room: Chamber Sonata No. 3
THOMAS Carillon Sky (world premiere)
BEDFORD 5 Abstracts
KNUSSEN Requiem–Songs for Sue (world premiere)
That program also included performances of his A Fragment of Ophelia's Last Dance and Secret Psalm for Solo Violin.
In December 1988, the Chicago Symphony Orchestra presented five performances of Knussen's opera adaptation of Maurice Sendak's Where the Wild Things Are, in conjunction with Chicago Opera Theater at the Auditorium Theatre. While in Chicago for the production, the composer spoke with Studs Terkel, and the interview—part of the newly available Studs Terkel Radio Archive—can be heard here.
Most recently, Leila Josefowicz was soloist with the Orchestra in Knussen's Violin Concerto on January 24, 25, 26, and 27, 2008, with Esa-Pekka Salonen conducting. On MusicNOW, members of the Orchestra performed the composer's Songs without Voices on March 16, 2001, and January 28, 2008; along with his Coursing (Etude 1) on March 10, 2008.
Numerous tributes have appeared at The Guardian (here and here), Faber Music, and the BBC, among many others.
The surviving programs from the Chicago Orchestra's first seasons' tours show founder and first music director Theodore Thomas's enthusiasm for promoting talented young women at a time when it was still rare for them to appear as instrumental soloists. Vocalists appeared regularly, and during the 1891-92 season, Katherine Fisk, Ida Klein, and Christine Nielson traveled with the Orchestra, singing a mix of operatic and popular repertoire (a common practice at the time and likely part of Thomas's desire to entertain audiences).
Composer and pianist Julia Rivé-King—who already had a well-established career as a soloist, having toured the U.S. with Thomas and his orchestra in the 1880s—also appeared frequently with the Chicago Orchestra and traveled to the Metropolitan Opera House in Saint Paul, Minnesota in March 1892 to perform Saint-Saëns's Rhapsodie d'Auvergne. The Saint Paul Daily Globe reported that "the applause which followed [her performance] was so persistent that the famous pianist was forced to return with an encore." In her book Unsung: A History of Women in American Music, Christine Ammer estimates that by the time Rivé-King would have appeared in Saint Paul, she would have performed in nearly 1,800 concerts since her 1873 debut. She became a fixture of Chicago's musical life, teaching for over thirty years at the Bush Conservatory of Music.
Also featured on that Saint Paul program was local violinist Marie Louise Paige, performing a polonaise by Henryk Wieniawsi (it's not clear in the program whether it is the Polonaise de concert, op. 4 or the Polonaise brillante, op. 21). The same article praised Paige's technical prowess: "[H]er execution is brilliant, her tone clear. . . . She was recalled again and again, but refused an encore." Little else seems to be known of Paige; like many women of this period, perhaps she gave up her performing career after marriage. (The complete review is here.)
Fannie Bloomfield Zeisler also was a frequent soloist with the Chicago Orchestra, both at home and on tour. She made her premiere on subscription concerts at the Auditorium Theatre on March 25 and 26, 1892, and later that spring accompanied the Orchestra to Louisville, Kansas City, and Omaha. Returning the following season, the Chicago Tribune review of her December 2, 1892, subscription concert performance demonstrates the high regard in which she was held as a performer: "Mme. Fannie Bloomfield Zeisler was the soloist in the Saint-Saëns Concerto [no. 4] . . . She has for several seasons stood first among the women pianists of America, but her work last evening proved that now she need acknowledge as her superior none of her brother artists residents[sic] in this country. . . . The audience received her work with merited enthusiasm, recalling her five times and resting satisfied only when an encore was given."
The rest of the Orchestra's second season saw many female violinists, including Maud Powell's Chicago debut as part of the World's Columbian Exposition of 1893. Powell was the only solo female violinist programmed by Thomas in that series, and in a review of her performance of Bruch's G minor concerto on July 18, 1893, the Musical Courier wrote that "her conception of the concerto was equal to that of any of the great violinists whom I have heard."
The support of the Orchestra also was given to fourteen-year-old pianist Augusta S. Cottlow on November 30, 1892, for a "testimonial concert" at the Central Music Hall in Chicago. It is unclear how Thomas met or learned of Cottlow (perhaps through her teacher, the Chicago-based Carl Wolfsohn) or why he was willing to throw the full might (and cost) of the Orchestra behind a concert for her. It might have been a benefit concert to fund her impending trip to Europe; however, as late as 1895, she was still appearing in concerts around Chicago.
While Rivé-King, Bloomfield Zeisler, and Powell had long careers as performers, the story of violinist Mary Currie Duke is perhaps more representative of the professional trajectory for many women musicians of this period. There are few data points about her, but her appearance with the Chicago Orchestra at the Amphitheatre Auditorium in Louisville, Kentucky on January 7, 1893, is noteworthy and likely led to her invitation to perform for the World's Congress of Representative Women at the World's Columbian Exposition later that year. The Californian Illustrated Magazine of November 1893 indicates that she spent some time studying music abroad in Europe, even claiming that she became "one of [Joseph] Joachim's idols" and had performed Bruch's First Violin Concerto with the composer accompanying at the piano. Duke married William Matthews in 1899, and it is unclear if she continued her musical career following her marriage. However, according to Gary Matthews's biography of her father General Basil Wilson Duke, her husband died in 1910, putting her in a precarious financial position. While she might have returned to the stage in order to earn an income, she developed arthritis soon after her husband's death, definitively ending her performing career.
As discussed in part 1, the Orchestra's third season saw a drastic reduction in the number of tour concerts and, as a result, fewer performing opportunities for women. However, two unusual concerts in Chicago helped launch the careers of several singers. A "Grand Concert" was given by soprano Electa Gifford at Central Music Hall on November 27, 1893, where she was accompanied by Thomas and the Chicago Orchestra. The concert was a mix of vocal works performed by Gifford along with standards from the Orchestra's tour repertoire, including the Forest Murmurs from the second act of Wagner's Siegfried. Once again, it is unclear how Thomas came to know Gifford, but this act of patronage had an important impact on her career. In August 1899, the Chicago Tribune announced her engagement with the Grand Opera of Amsterdam, where she sang the lead soprano roles in many of the company's performances that season.
Similarly, a benefit concert was given for pianist Laura Sanford and mezzo-soprano Fanchon H. Thompson with the Chicago Orchestra supporting the two young soloists. In this instance, the connection from performers to Thomas is much easier to draw: both were students of Amy Fay, the sister of Thomas's second wife, Rose Fay. While little is known of Sanford, Thompson went on to a successful career as a singer in Paris, where she debuted at the Opéra-Comique in 1899. According to a 1929 New York Times obituary appearing in the New York Times in 1929, "she twice sang before Queen Victoria at Windsor in Cavalleria rusticana and Romeo and Juliet."
The lives and careers of female performers at the end of the nineteenth century are often difficult to assemble, punctuated as they were by long periods of absence due to marriages and births in ways that did not similarly affect the careers of male musicians. However, following the clues offered in the surviving programs of the Orchestra's initial seasons demonstrates that Chicago was rapidly becoming a hub for the musical education of men and women at this time, and illuminates the direct role that Theodore Thomas and the Orchestra often played in launching many a career.
Jenna Harmon is a doctoral candidate in musicology at Northwestern University and an intern in the Chicago Symphony Orchestra Association's Rosenthal Archives.
The opening of the first season of the Chicago Orchestra in October 1891 was a momentous occasion not only for the city whose name the Orchestra bore, but also, as the collections in the Rosenthal Archives show, for towns all over the Midwest. Founder and first music director Theodore Thomas was passionately devoted to bringing music to people of all means, not just those who lived in the metropolitan centers and could afford tickets. This isn't to say, of course, that Thomas wasn't interested in the opinions of those same well-off people. Part of the reason for the expansive tour schedule the Orchestra observed that first season was to spread the word that Chicago was no longer a backwards slaughterhouse town, a stereotype the city was actively fighting in the lead up to, and even after having won the privilege of, hosting the 1893 World's Columbian Exposition. Thomas eagerly, and ambitiously, sought to show off the talents and achievements of his new hometown, while also sharing those accomplishments with smaller cities around the Midwest and the South.
Following the inaugural concerts at the Auditorium Theatre on October 16 and 17, Thomas and the Chicago Orchestra traveled to Rockford, Illinois for a concert at the Grand Opera House on October 19, and through end of May 1892, they journeyed to eighteen different cities. While there was significant overlap in the repertoire performed, the Orchestra rarely played the same exact program twice, requiring them to have a large amount of music prepared for performance at all times.
Many of these concerts were a mix of "high" and "low" repertoire, with the Orchestra performing standards, like Beethoven and Tchaikovsky, along with lighter fare, including Arthur Goring Thomas's A Summer Night. Neither were these light affairs; one concert in Milwaukee on March 22 featured an extended Wagner-only second half with many of the most difficult pieces in the orchestral repertoire, including overtures to The Flying Dutchman and Lohengrin and the infamous Ride of the Valkyries from Die Walküre. Other common works in the repertoire included Thomas's orchestral arrangement of the third movement—the slow Marche funèbre or Funeral March—from Chopin's Piano Sonata no. 2, Mendelssohn's Overture to The Fair Melusina, and the intermezzo from Mascagni's Cavalleria rusticana (fresh from its September 1891 U.S. premiere in Philadelphia).
The Orchestra's ability to perform such demanding music becomes even more astonishing upon looking at the tour schedule, where players were frequently given only one day off between concert sets, and likely that time was spent traveling by train from city to city. Many of the same musicians regularly were featured as soloists—concertmaster Max Bendix, along with several principals: cello Bruno Steindel, clarinet Joseph Schreurs, and flute Vigo Andersen—sidestepping the issue of finding local talent or soloists willing to travel, while also giving Thomas the chance to showcase the tremendous talents at his disposal.
Many of the theaters that welcomed the Orchestra were themselves quite new, many calling themselves "opera houses," since opera was considered more "respectable" than mere theater. While opera was sometimes performed in these venues, more often than not they welcomed touring music groups like the Chicago Orchestra, as well as vaudeville and minstrel shows. Many of these theaters have since been demolished, but in their day, they were architectural jewels, as many of the surviving photos and drawings can attest. In the first season, it seems that the Orchestra relied on local event organizers to print up programs, leading to occasionally humorous mis-hearings of titles. For example, Delibes's suite from the ballet Sylvia frequently concluded a program, and its last movement is Les chasseuses or The Huntresses; the name of this movement was subjected to many different spellings, including Les chesseresses, Les chausseures, and even The Shoes.
By the second season (1892-93), many of these rough edges had been smoothed out. Having noticed the inconsistencies in the titles, Chicago Orchestra management began printing the program books, each bearing Thomas's face on the front cover and with standardized titles. The concerts themselves also became more consistent, with much less variety in programmed music from city to city. However, the Orchestra's out-of-town trips would soon become far less frequent: from a grand total of fifty-five concerts in the first season, to forty-five in the second, and a mere fifteen in the third season. Deficits that hounded the Orchestra's early seasons are most likely to blame, as the expense of such frequent tours could no longer be justified; though the exhaustion of the musicians surely had an effect as well.
Thomas's personal drive to bring music to the masses soon found other outlets. Having been named the the director of the Bureau of Music for the World's Columbian Exposition, he was ready to become the city's chief musical ambassador to the millions of people who would visit. Thomas also implemented a series of "workingmen's concerts," where ticket prices were significantly reduced in order to allow those who could not otherwise afford to attend the Orchestra's subscription concerts.
But wait, there's more . . . stay tuned for part 2 of this dive into the Orchestra's early touring days, which will focus on female guest soloists!
Jenna Harmon is a doctoral candidate in musicology at Northwestern University and an intern in the Chicago Symphony Orchestra Association's Rosenthal Archives.


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The Spirit of Oysterhaven sail vessel takes on Coastwatch materials and Citizen Science activities. Start of a long Journey: On Wednesday 28th Sept. international coordinator Karin Dubsky, Cork regional coordinator Bernie Connolly and a group of surveyors will meet Oliver Hart and crew on the Spirit of Oysterhaven sailing boat at 10 am. The morning […]Continue reading
Training Events – All Ireland Coastwatch Survey 2016
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Press Release – Coastwatch calls for control of gas balloon releases
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Conference proceedings, Thurs 19th May
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Leicester City have confirmed chairman and owner Vichai Srivaddhanaprabha died when his helicopter crashed outside the King Power Stadium.
Leicester City's fourth-round EFL Cup clash with Southampton has been rearranged for November 27 after it was postponed following the death of Foxes chairman Vichai Srivaddhanaprabha on Saturday.
Shortly after Leicester's 1-1 draw at home to West Ham on Saturday, Srivaddhanaprabha's helicopter took off from the centre circle at about 20:30 local time and crashed in the King Power Stadium's car park.
Leicester confirmed on Sunday that all five individuals on board died in the crash, with Srivaddhanaprabha – who many considered the mastermind of the club's shock Premier League triumph in 2015-16 – among them.
Tributes have poured in ever since, while the visit of Saints in the EFL Cup – initially scheduled for Tuesday October 30 – was postponed as a mark of respect.
The match will now go ahead on November 27, and the victors will host holders Manchester City in the last eight, the Premier League champions having defeated Leicester at the same stage last season.
@LCFC's Round #CarabaoCup tie against @SouthamptonFC has been confirmed for Tuesday 27 November
https://t.co/mmpLVicykA pic.twitter.com/ebCEWgv0gK
— Carabao Cup (@Carabao_Cup) November 1, 2018


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Law firm Ogier has announced the promotion of four lawyers within its growing Luxembourg funds and corporate team.
In the framework of the firm's ongoing growth across its banking and finance, investment funds and corporate law teams, Ogier has promoted Nicolas Mille to Counsel, Fiona Keating to managing associate and Rebecca Macé-Balebs and Sandra Mohand-Oussaid to senior associates within the Luxembourg team.
Nicolas Mille joined Ogier in Luxembourg in 2015 and since then has become a core member of its banking and finance team, regularly working on high profile matters including acting for Europe's first Big Data and AI-focused fund.
Fiona Keating is also a member of Ogier's Luxembourg banking and finance team. She specialises in fund finance, real estate finance and syndicated lending transactions and was recently part of the 5th Annual European Fund Finance Symposium in London where Ogier's fund finance experts from Cayman, Guernsey, Jersey and Luxembourg discussed Brexit, GP management facilities and subscription finance.
For her part, Rebecca Macé-Balebs joined Ogier's investment funds team in August 2018. She advises clients on all legal and regulatory aspects related to the structuring, formation, management and ongoing operation of Luxembourg regulated and unregulated investment funds, with a particular focus on real estate and private equity funds.
Last but not least, Sandra Mohand-Oussaid has a particular focus on advising private equity and real estate clients on a wide range of corporate and commercial transactions including international M&A, joint ventures, corporate restructuring as well as on general tax matters
These promotions come at a time of growth for Ogier in the jurisdiction. According to Ogier's practice partner in Luxembourg, Dan Richards: "Since the opening of Ogier's Luxembourg office in 2012 - the first to be established by an offshore firm – we have grown from two partners to eight, supported by a 35-strong team of specialists within Luxembourg as well as Ogier's network of international offices across Asia, the Caribbean and Europe". He added that the Luxembourg team has recruited 20 people in the past twelve months.


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©2019 TryBooking.com All rights reserved. Contact us • About us • Learning centre • Privacy policy • Website terms of use
TryBooking is great for selling tickets online and event registrations. Learn more.
The Readers We Were, the Writers We Became 50 Australian Sto
Together with Nova Weetman, Allayne Webster, Vikki Wakefield and Emily Gale please join us for a lively discussion about ·what bores readers and why? These extraordinary YA authors will discuss what drives their storytelling and what are the perceived barriers? Surely, they will ask, should young people be obtaining more questions than answers from a text?
This event is suitable for all fans, all teachers, all librarians and fans
This event is suitable for all fans, all teachers, all librarians and fans
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Thank You to Rachel from Rachel's random resources and Author Lexi Rees for providing me copy of Creative Writing skills and an opportunity to enhance my writing skills along with participating in this blog tour.
Creative Writing Skills: Over 70 fun activities for children
Discover the secrets to becoming an amazing author
- Find your creative spark
- Grow your skills and confidence
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Packed with top tips, this awesome workbook has everything you need to know about creating colourful characters, perfect plots, dynamite dialogue, and lots more …
My Review
Creative Writing skills is a brilliant book as it helps children learn how to do creative writing in a fun way. I really liked how the author had presented the information and tips for creative writing in such an interesting way. I am sure children would enjoy reading it as they would have fun work to do along with practising writing skills. I am glad to review this book and would like to recommend this book to all children.
About the Author
Lexi Rees writes action packed adventures for children. As well as the Creative Writing Skills workbook, the first book in The Relic Hunters Series, Eternal Seas, was awarded a "loved by" badge from LoveReading4Kids and is currently longlisted for a Chanticleer award. The sequel, Wild Sky, will be published in November. When not writing, she's usually covered in straw or glitter, and frequently both. She also runs a free club for kids designed to encourage a love of reading and writing which you can check out here https://lexirees.co.uk/kidsclub/
Social Media Links –
Website https://lexirees.co.uk/
Facebook https://www.facebook.com/LexiAuthor/
Twitter https://twitter.com/lexi_rees
Instagram https://www.instagram.com/lexi.rees/
Win 2 copies of Creative Writing Skills –
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It's no secret that the Patriots have had the Steelers number for a couple of years now. Whether it was the regular season or the playoffs, Pittsburgh just couldn't seem to get by despite having their higher-ranked offense.
Entering this season without Antonio Brown or Le'veon Bell has put a dampener on their previously well-known firepower. But does that mean an easy victory is coming at Foxboro?


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Lastest Insights
July 18, 2018
Harnessing the value of your technology investment through requirements gathering
Defining the high-level requirements of a software solution before it is designed or developed is crucial to the success of the software and its adoption by the user.
10 questions to ask your software developer
Asking these questions is important in order to fully establish that the software to be developed meets your business requirements.
How creating an Android or iOS mobile app for your business can influence project cost and success
How the differences between the two app operating systems are often overlooked and underestimated by clients.
Retailers need to outsource digital application to help weather a tough retail climate
As the industry swells with competition, it is more important than ever that traditional retailers look at bolstering their offering.
An interview with our CTO, Tristan Stone
We sat down with our CTO to discuss Rokk's approach to working with clients to solve their business challenges; plus the technology industry.
Logistics and transportation sector challenges
Everything you need to drive success using technology.


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Please call (647) 560-7996
Lovely One Bedroom plus den with beautiful upgrades and quality finishes included 1 parking space. Stainless Steel GE Appliances, Quartz Counters, and Laminate flooring! Master features Laminate flooring and Walk in closet., State of the art amenities included. Fully equipped fitness center with on-site yoga and dance aerobics! Wi-Fi equipped multi-purpose lounge with fireplace, game tables, theatre size flat screen TVs, Party room, Bus, Onsite dry cleaning and shuttle to Sheppard Station!
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Office 365 for Enterprises
Does an enterprise of 50 to 2000 employees need a managed services provider to use Office 365? After all, Microsoft sells Office 365 directly, right? In fact, choices made in setting up and managing Office 365 can result in big differences in licensing costs, end-user experiences, speed of deployment, and use of IT resources upfront and ongoing. As a result, many startups, small and medium-sized businesses choose the expertise of LG Networks as an Office 365 managed services provider.
What is Office 365?
Office 365 is a portfolio of Microsoft's productivity tools and services in the cloud. Office 365 can include Exchange Online for email and calendaring; Office applications such as Word, Excel and PowerPoint; plus many other applications and collaborative services such as SharePoint Online and Skype for Business.
In the cloud, Office 365 presents unique opportunities and challenges. These add complexity that benefits from the expertise LG Networks provides as a Microsoft Cloud Services Provider (CSP).
1. Do all Office 365 managed services providers offer the same level of service?
There is no standard package of managed services offered by all Office 365 managed services providers. Managed Office 365, one of our many Managed Services, is a key focus of LG Networks. We learn about and understand our customers' challenges and business needs and then design, deploy and manage an Office 365 solution specific to their requirements.
Our depth of engineering expertise and understanding of the limitations and advantages of Microsoft and third-party solutions allows us to serve as both an advisor and designer of the optimal solution for each customer.
2. How much work it is to deploy Office 365?
Many organizations don't initially realize that there is a lot of upfront discovery and decision making that needs to happen before deployment to create the end-user experience they want. User identity management and authentication is an example. We describe various deployment scenarios, explaining what each would be like for their end users, so our customers make an informed decision and avoid surprises.
3. When is the right time to engage an Office 365 managed services provider?
We welcome customers at all stages of Office 365 deployment. Some customers come to us having just decided to deploy Office 365 and are seeking a trusted advisor to help do it right. Some customers will have started a migration and seek expert resources when they run into challenges or issues. Some of our customers were already using Office 365 when they decided they'd rather offload the ongoing management and support to an Office 365 managed services provider.
4. Does Office 365 require all workloads to be in the cloud?
We engage with our customers in upfront discovery and design of their deployment model and take a consultative approach. Do they want to move all of their end user data into the Microsoft cloud or would it be better to put some users in the cloud and keep some user data on premises? A big part of the service we provide our Managed Office 365 customers is working with them to identify when and how to implement a hybrid architecture for balancing differing requirements across an organization.
5. What about support and maintenance after deployment?
We also provide ongoing management and support for Office 365. If a Managed Office 365 customer has a problem, they will call LG Networks. We have a very large and capable service delivery staff of our own, and we subscribe to Premier Support from Microsoft, so we have a direct line to resolve customer problems quickly if we need to escalate. We also optionally offer end user / help desk services for our customers that want to outsource that function as well.
6. What if I already have Office or Office 365 licenses?
As a Microsoft Cloud Services Provider (CSP), LG Networks can move customers who already have direct subscriptions with Microsoft for Office 365 to LG Networks' Managed Office 365 solution. We help our customers design a deployment that is the best use of the Microsoft licenses they already have on servers, devices and desktops, and in the cloud.
7. How much time can Managed Office 365 save my IT team?
Managed Office 365 frees up a customer's IT admin resources to do what they do best – run their business. While an Office 365 deployment may be something our customer's IT team have never done before, our LG Networks advisors do it every week. With LG Networks as an extension of the customer's team, their IT staff can be as involved or as uninvolved as they want. We've got it covered from complex discovery and design to integration with existing infrastructure, and on through routine email and user administration.
Learn more in the Managed Office 365 plans sheet.


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I bought the small version of buffy a few weeks ago and even though it's lasted me I went and bought a full size one too because I love it so much. It leaves your skin so silky!!


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Peony is an independent and environmentally conscious luxury Australian swimwear label. Built upon the philosophy of effortless feminine style and an elegantly casual Australian attitude, each collection features luxurious fabrications, signature in-house created textile prints, distinctive shapes and delicate details. All pieces are sold separately and designed to mix and match to suit you, allowing you the freedom to choose exactly what you want.
A small, family-run business, and like you, they care deeply for our environment and community. After all, they create garments for you to wear while enjoying the infinite beauty of nature. Each season, Peony swimwear introduces new sustainable processes in order to become more efficient at minimising their impact. They use Econyl, a 100% regenerative nylon made from the abandoned ocean and industrial plastic waste, made in Italy of the highest quality. Further, 100% of fabrications from their Sonnet collection meet Oeko Tex Standard 100, the highest certifiable standard for ensuring responsible use of chemicals during the construction of the fabrications, and from July 2019, over 70% of fabrications used within their collections will be made from recycled and sustainable content.
The brand works to minimise the negative impacts associated with manufacturing and to ensure that all people involved are treated fairly and respectfully along the way. Their swimwear supplier is certified SA8000 approved and what's more, due to trade regulations, they are required to ship all garments in bags, so they have swapped to compostable and biodegradable packaging and all online orders are mailed using 100% recycled content. The ultimate goal is to become completely sustainable by 2020, and to be fully immersed in the circular economy by 2022.


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Some of the most significant changes in the revised Common Rule involve the provisions around informed consent, including the new requirement that informed consent begin with a "concise and focused presentation of key information that is most likely to assist a prospective subject or legally authorized representative in understanding the reasons why one might or might not want to participate in the research" [46.116(a)(5)(i)]—the "key information requirement," for short. I welcome the key information requirement and think it has the potential to greatly improve informed consent, but it is bringing with it several complexities. Read more
TAG ARCHIVES FOR key information
How should a "reasonable" HRPP approach key information?Tags:
"One person's flexibility is another person's ambiguity."
I kept going back to this comment, articulated by Carrie Wolinetz (NIH), as I helped my HRPP prepare for the revised Common Rule implementation in January. Although Dr. Wolinetz was referring to the NIH's Genomic Data Sharing Policy, the phrase is a perfect expression of my thoughts on the "concise and focused presentation of the key information" that now must appear at the beginning of consent forms.
This topic was addressed at the AER18 plenary session "To Participate or Not to Participate, that Is the Question." Moderated by Ivor Pritchard (OHRP), panelists Celia Fisher (Fordham University), Jonathan [...] Read more
Key Information: The Insightful ElementTags:
Many of us have read the Common Rule revisions around informed consent and scratched our heads. What exactly does it mean that "informed consent must begin with concise and focused…key information that is most likely to assist in understanding reasons one might or might not participate"? My hope is that key information will become the vehicle that drives greater subject understanding and gives reviewers some relief. I look forward to seeing how the guidance around and the implementation of this section develops. Read more