text:
Budapest String Quartet
|Budapest String Quartet
The Budapest String Quartet, March 1938. L-to-R: Josef Roisman, Boris Kroyt, Alexander Schneider, Mischa Schneider
|Background information
|Years active
The Budapest String Quartet was a string quartet in existence from 1917 to 1967. It originally consisted of three Hungarians and a Dutchman; at the end, the quartet consisted of four Russians. A number of recordings were made for HMV/Victor through 1938; from 1940 through 1967 it recorded for Columbia Records. Additionally, several of the Quartet's live performances were recorded, at the Library of Congress and other venues.
- 1 Members
- 2 History of the quartet
- 2.1 Foundation
- 2.2 Move to Berlin
- 2.3 Josef Roisman – second violin
- 2.4 Mischa Schneider – cellist
- 2.5 American debut
- 2.6 Roisman becomes the leader and Alexander Schneider the second violinist
- 2.7 Last founding member leaves
- 2.8 Boris Kroyt becomes violist
- 2.9 U.S. becomes the home base
- 2.10 Alexander Schneider replaced by Edgar Ortenberg
- 2.11 Jac Gorodetzky
- 2.12 Alexander Schneider returns
- 2.13 Decline
- 2.14 Marlboro College
- 2.15 Conclusion
- 3 Recordings
- 4 Sources
- 5 References
- 6 External links
1st Violin:
- Emil Hauser (1893–1978) (from 1917 to 1932)
- Josef Roisman (Joe) (1900–1974) (from 1932 to 1967)
2nd Violin:
- Alfred Indig (1892–?)(from 1917 to 1920)
- Imre Pogany (1893–1975) (from 1920 to 1927)
- Josef Roisman (Joe) (1900–1974) (from 1927 to 1932)
- Alexander Schneider (Sasha) (1908–1993) (from 1932 to 1944 and from 1955 to 1967)
- Edgar Ortenberg (1900–1996) (from 1944 to 1949)
- Jac Gorodetzky (1913–1955) (from 1949 to 1955)
- István Ipolyi (1886–1955) (from 1917 to 1936)
- Boris Kroyt (1897–1969) (from 1936 to 1967)
- Harry Son (born Henri Mozes Son) (1880–1942) (from 1917 to 1930)
- Mischa Schneider (1904–1985) (from 1930 to 1967)
History of the quartet[edit]
The Budapest String Quartet was formed in 1917 by four friends, all members of opera orchestras that had ceased playing owing to World War I The members were all protégés of Jenő Hubay (violin), a Hungarian pupil of Joseph Joachim and David Popper (cello), a Bohemian. Hubay and Popper had helped to make Budapest a major centre for musical education, attracting famous students such as Josef Szigeti. Hubay and Popper had supported Sándor Végh and Feri Roth in the formation of quartets, and were themselves part of an earlier Budapest Quartet, the new quartet being named partly in honour of that. The debut recital of the new Budapest String Quartet (in Hungarian: Budapesti Vónosnégyes), took place in December 1917 in Kolozsvár, then in Hungary, now called Cluj-Napoca, in present-day Romania.[1]
The quartet was established with rules:
- All disputes, musical or business, were to be resolved by a vote. In case of a tie—no change.
- Players were not allowed to take engagements outside the quartet.
- Players were paid equally—no preference was given for the leader (first violin).
- No wives or girlfriends were permitted at rehearsals or discussions.[1]
No previous quartet had attempted to live entirely on the proceeds from its concerts. It was a brave decision[who?] for the time.[1] Much later, in July 1930, the current members added another rule to resolve tied votes. One player, chosen by lot, would have a deciding vote. His initials would be written on the music and he would always have the extra vote for that piece. If he was replaced, his successor would take on his voting rights.[2]
The original members were Emil Hauser, aged 24, from Budapest; Alfred Indig, aged 25, from Hungary; István Ipolyi, aged 31, from Újvidék in Hungary; and Harry Son from Rotterdam, in the Netherlands.[1]
In 1920 Indig resigned in the hope of advancement; he was replaced by Imre Pogany. Pogany came from Budapest and had studied under Hubay and Zoltán Kodály. After resigning, Indig became a soloist with the Concertgebouw Orchestra of Amsterdam. In 1931 he became Concertmaster of the Berlin Philharmonic. When the Nazis came to power, Indig fled to Paris where he led a quartet for a while. Indig lived in Amsterdam until 1951, and thereafter returned to Paris. His date and place of death remain unknown.[1][3]
Move to Berlin[edit]
In 1921 or 1922, owing to unrest in Budapest, the quartet moved to Berlin. There they developed a large repertoire. The quartet received mixed reviews, however. In 1925 they played in London and signed a recording contract with His Master's Voice, making recordings at Abbey Road Studios.[4]
In May 1927, without telling the others, Pogany traveled to Cincinnati to see his friend Fritz Reiner about a job in the symphony orchestra there. He was offered Principal Second Violin but refused it. The other members of the quartet were furious because if he had left, they would have found it very difficult to find and rehearse a replacement player in time for the new season. In the ensuing row Pogany resigned.[5] He emigrated to America and joined the Cincinnati Symphony Orchestra and also taught at the local Conservatory of Music. In 1929 he joined the New York Philharmonic Orchestra under Arturo Toscanini as principal second violin. He remained there until his retirement in 1958.[3]
Josef Roisman – second violin[edit]
The man recommended to replace Pogany was Josef Roisman (Joe). Roisman was born on 25 July 1900 in Odessa. He started on the violin at the age of six with Pyotr Stolyarsky, who was also the first teacher of David Oistrakh and Nathan Milstein. After the tragic early death of Josef's father, a wealthy Odessa woman made it possible for Josef, his sister and mother to relocate to Berlin so that Josef could study with Alexander Fiedemann. There Josef befriended Boris Kroyt, another Odessan studying with Fiedemann. At the outbreak of World War I the family returned to Odessa where Josef continued his studies with Naoam Blinder, another Odessa player who had just returned from England.[6]
After the Russian Revolution, Roisman was co-opted to play at farms and factories. He managed to escape in 1923 while working near Poland. He traveled to Prague, then to Berlin. In Berlin, Roisman met up with Kroyt, who found work for him in a film orchestra. It was during this time that the quartet offer came. Roisman was comfortable and secure in the orchestra but his first love was chamber music. In the end his wife Polo persuaded him to take the financial risk and sacrifice involved.[6]
Immediately he began to regret it. Hauser and Son were constantly in dispute and soliciting his vote. Moreover, Roisman had his own issues—in particular Hauser and Ipolyi, who could not play Spiccato (German Springbogen), so that the quartet was forced not to use it. The rest of the quartet had had to become expert in using another technique (German Spitzen) to get around Hauser and Ipolyi's inability to play spiccato. Roisman found it hard work to catch up. He had to spend many hours practicing and he was unhappy with the result. In Germany, the quartet was called das Spitzenquartett (not a compliment) because it substituted Spitzen for Springbogen.[7]
Finally in 1930/31 Son could stand the rows no longer and resigned.[7] He emigrated to Palestine and played in concerts there and abroad. Shortly before World War II he made the unfortunate decision to return to Rotterdam. After the Germans invaded the Netherlands, he and his wife Marianne were arrested in Amsterdam, and died in 1942 in Auschwitz-Monowitz concentration camp.[3][8]
Mischa Schneider – cellist[edit]
The new cellist was originally named Mojzesz Sznejder, later rendered in German as 'Mischa Schneider'. Born in 1904 in Vilna, Russia (now Vilnius, Lithuania), Schneider had a difficult upbringing. The family had little money and his father was a tyrant. Mischa often found himself defending his younger brother Sasha against their father. In 1920, at the age of 16, Mischa left home to study in Leipzig under Julius Klengel, his teacher's teacher. Fellow students included Emanuel Feuermann, Gregor Piatigorsky and Benar Heifetz. After graduating he moved to Frankfurt, where he taught at the Hoch Conservatory. He found that he suffered from stage fright when playing solo, a problem that did not exist when playing in a quartet. He joined the Prisca Quartet but resigned after a while due to a personality clash with two of the other members. The Prisca had often played in Cologne and there he got to know the Reifenbergs, whose daughter Eva had married Emanuel Feuermann. It was Frau Reifenberg who introduced Schneider to the Budapest Quartet.[9]
American debut[edit]
In January and February 1931, the quartet made its first United States tour. Reviews were fairly good but financially the tour was unrewarding. Arguments about Spitzen and other matters continued and relations became difficult. Then in 1932, Hauser wanted to play some concerts with Alice Ehlers. The quartet refused to allow this deviation from the rules; there was an argument and Hauser resigned.[10] He emigrated to Jerusalem, formed a quartet and founded the Palestine Music Conservatory. Hauser helped violinist Bronisław Huberman rescue many Jews from Austria, Czechoslovakia and Germany and was instrumental in founding the Palestine Symphony Orchestra. In 1940 he moved to the U.S., teaching first at Bard College in upper New York State, and later at the Juilliard School of Music. Hauser returned to Israel in 1960 where he died in 1978 at the age of 84.[3]
Roisman becomes the leader and Alexander Schneider the second violinist[edit]
Having lost Hauser, the quartet needed a new leader. Introducing an unknown person as leader is a risky step for a quartet. Owing to the established relationships and 'comfort level', a transition from second violin to first is safer. For this reason, Roisman was persuaded to make the switch from second to first.[11]
The new second was Mischa Schneider's younger brother Alexander (Sasha), born Abram Sznejder. At 13, Abram almost died of tetanus after cutting his knee in an accident. The tetanus distorted his joints and recovery was long and painful. Sasha left Vilna in 1924 and joined his brother in Frankfurt, securing a scholarship to study violin with Adolf Rebner, the principal violin tutor at the Hoch Conservatory. In 1927, Alexander became leader (concertmaster) of an orchestra in Saarbrücken. In 1929 he was appointed leader of the Norddeutscher Rundfunk Orchestra in Hamburg. In 1932, he lost his job as a result of the ongoing Nazi campaign against Jews. It was time to leave Germany and the Budapest vacancy happened at just the right moment.[12]
After Sasha's arrival, the Quartet's level of performance improved immediately and the group began attracting larger audiences. Successful tours of the U.S., Dutch East Indies, Australia and New Zealand ensued, and in exchange for relocating to Australia, the Australian Broadcasting Corporation guaranteed the quartet six months of work a year. Still, personal relations within the Quartet were poor. Sasha was often outvoted; he hated this but Ipolyi was usually able to pacify him. Ipolyi himself had mental problems. Mischa had divorced his wife and remarried. The group was still not profitable.[13]
By 1934, Jews had been expelled from all German orchestras but the Quartet, as 'Hungarian' visitors, had been spared. However, one night they received threats from a Nazi group. Overnight, they switched headquarters from Berlin to Paris, never to return to Germany. They toured Europe and the U.S. but always lived in inexpensive hotels and ate cheaply.[14]
Last founding member leaves[edit]
Ipolyi became an isolated member of the quartet, the only Hungarian among three Russians. He was also the only Spitzen player left, old-fashioned in style and on the verge of a nervous breakdown as well. In 1936 the others persuaded him to resign. He settled in Norway, and during the German occupation was arrested but was freed thanks to the intervention of Count Bernadotte, head of the International Red Cross. He fled to Sweden, but returned to Norway after the war. Ipolyi became a Norwegian citizen, taught a quartet in Bergen and became a professor. Mischa Schneider made sure that Ipolyi received the royalties due him, and he died in 1955.[3]
Boris Kroyt becomes violist[edit]
Finding a new violist to replace Ipolyi was urgent. The Australian Broadcast Corporation had engaged the Quartet for a twenty-week tour to start in May 1937 with four performances a week and the option of another ten weeks in New Zealand. They needed the money despite regular engagements in Europe and America. Roisman nearly hired Edgar Ortenberg, whom he had known when they were both children in Odessa and then again in Berlin in 1926, but Ortenberg's wife wanted him to stick to the violin. Roisman then tried to locate his teenage friend Boris Kroyt in Berlin. Until the Nazis became all-powerful Kroyt had lived well, but the Nazis stopped all Jews from working except in Jewish groups. He had a wife and children to support, and they were all in danger. The Budapest offer came at the ideal moment. He was such a natural player that he could get away without practicing very much. They took time to get used to one another, but eventually attained a very high technical standard.[15]
In November 1936, they reached New York and critics were impressed as never before, comparing them with Toscanini and Schnabel. Concerts were well attended. In the spring of 1937, they went on to Australia, New Zealand and Dutch East Indies with equally good results. When the time came to return to Europe, they considered settling in Australia and held a vote on it. The Spanish Civil War had closed many venues in Italy and all in Spain. The Schneiders voted to settle while the other two voted to move on. Under the rule, a tie meant "no change" so they moved on. After playing in France and Britain, they reached New York again in March 1938.[16]
All the US concerts were negotiated by Annie Friedberg from New York. This continued throughout their time in the US, beginning with very little money and ending with excellent returns for them and her.[17]
They had made five US tours with no difficulty but this time they were refused entry. Their Nansen passports were not good enough, apparently. They were ignominiously carted off to Ellis Island in a coal barge. It took frantic string-pulling by Friedberg – involving Mayor La Guardia – to get them out just in time for their first concert. They weren't in the best state for a concert and thought it wasn't too good. Nevertheless they got a rave review from the New York Times. This, finally, opened the door to real success in the U.S. Suddenly all the critics were praising them as never before and audiences and bookings flooded in.[18] Considering what soon happened in Europe, the break came just in time.
On April 25, 1938, they recorded the Mozart Clarinet Quintet with Benny Goodman for the Victor label. This recording sold well although Goodman regretted not having first made a live performance. He and the quartet made only three concerts together: October and November 1938 and August 1941. Each time reviewers felt the result was accurate but lacked the inspirational feel that they expected.[19]
In 1939 they again had good results in Paris, Amsterdam, Brussels, Norway and Britain but not in Spain and Italy, where people were more concerned with political issues. From the US they received a request to play five Stradivarius string instruments which needed regular use at the Washington Library of Congress. These instruments had been purchased and donated by Gertrude Clarke Whittall, who had a continuing influence. The recital hall on the grounds of the Library had just been built (in 1925) with money donated by Elizabeth Sprague Coolidge, a major benefactor of chamber music and of several music festivals. At that time, they felt it would keep them away from existing relationships in Europe.[20]
U.S. becomes the home base[edit]
In the summer they were back spending three months in the US at Mills College in Oakland California, a place where they could relax. The Pro Arte Quartet normally did this but this year they preferred to be in Belgium. They never returned and the Budapest went to Mills for the next fifteen years. That first year at Mills they learned that World War II had started in Europe and their European contracts were now void. The Library of Congress offer now sounded more attractive and they accepted it. Their concerts at the library continued for many years and created an important relationship for them.[21]
Since 1925 they had been making recordings for His Master's Voice, first at the Beethoven Saal in Berlin, then at Abbey Road Studio in London and from 1938 at Camden, New Jersey for RCA Victor, the US subsidiary of HMV. The HMV contract was valid until June 1940. It was not paying well and RCA had a good stock of recordings not yet published. They (RCA) were not keen to make any more recordings in 1939. The quartet found it difficult to persuade RCA to give them as much work as they wanted or to pay them as their new reputation might justify. RCA were also in no hurry to extend the existing contract. The quartet felt that with their increasing reputation in the US they could do better with Columbia Recording Company. Columbia were delighted to sign a deal and make as many recordings as the quartet wished as they had no existing stock. The deal was made and kept secret as long as possible. When they finally learned about it RCA wrote, "We are astonished…close to a definite breach of faith". They should have realised that that they had no right to be the only negotiators in a deal. Over 35 years the quartet recorded 89 pieces, some of them several times. For many years it was Columbia's leading classical music seller, quite a loss to RCA.[22]
Early on there were difficulties. First the American Federation of Musicians, protecting American jobs, demanded that someone should pay two members to be "standbys" during recordings. The quartet and Columbia argued about which of them should pay. After this was settled the AFM struck Columbia in a dispute that lasted until February 1945. Also, after war was declared, the US Government rationed materials for making records. Even so, between 1941 and 1946, the quartet earned $60,000 from Columbia in royalties. They also got $16,000 from HMV.[23]
Alexander Schneider replaced by Edgar Ortenberg[edit]
Sasha felt he could and needed to work outside the quartet. As second violin he did not get the same challenges as the leader. After thinking about this a lot, he finally reached his decision and told the others on November 26, 1943. He was still only thirty-five years old, having spent eleven years in the quartet and needed to expand his range. On January 1, 1944, the quartet selected the new second violin. He was Edgar Ortenberg, the man who had nearly been the violist.[24]
Like Joe and Boris, Edgar had grown up in Odessa. Until the Russian Revolution his father had been the director of a bank. Afterwards they were very short of money. In 1921 he won the gold medal at the Odessa Conservatory and was immediately hired to teach there. In 1924 he moved to Berlin to do better, just as Joe, the Schneiders, and Boris had done. After reaching Berlin he immediately got a scholarship at the Hochschule für Musik. He changed his name from Eleazer to Edgar. He started a quartet and they toured Europe until 1933 when the Nazis sacked them all and he quickly moved to Paris. There the Russian Conservatory formed a quartet and they had some success in Europe. When war was threatened he joined the French Army. In April 1940 he left because of illness. He and his wife left Paris just before the Germans got there. They went to Portugal and caught the very last Spanish ship to travel from there to the US. After struggling in New York for some time he received a second offer from the Budapest Quartet in December 1943 and this time accepted it.[25]
Edgar was generally considered a fine replacement for Sasha. However, some critics and all the players felt that he should play more forcibly. On the other hand he felt their playing was a bit rough. He also wanted to spend more time rehearsing since he needed to get used to their methods and accustomed to their large repertory. The others, especially Boris, were not so keen to rehearse. It took Edgar two years to feel fully at home. However, the others felt Edgar should do more private practice and he was becoming audibly nervous. Critics still felt the quartet was wonderful but not quite as good as before. Ortenberg was exhausted by the constant traveling. Late in 1948 the others told him they wanted a different second violinist. As soon as it was made public, Ortenberg was swamped by other offers. Ortenberg made his last performance with the quartet on March 10, 1949 at Cornell University. He joined the Settlement Music School in Philadelphia and stayed there until he retired in 1984. He also taught at Temple University from 1953 to 1978.[26]
Jac Gorodetzky[edit]
The new second violin was Jac Gorodetzky. He was born in Odessa but the family moved to London when he was only one, to avoid a pogrom. They moved to the US before the war, settling in Philadelphia. He was well thought of as a student and secured good positions in orchestras and quartets. However his playing, like Ortenberg's, was a little quiet. He was well thought of at the Budapest auditions and was in his mid-thirties.[27]
In 1950 the quartet went to Europe for the first time after the war. They agreed not to go to Germany, especially because Schneider had lost his mother and sister at Auschwitz. This tour, together with the continual demand in the US put heavy stress on Gorodetzky. He developed stage fright, sometimes demanding extra rehearsals of works they had already played.[28]
Then in September 1952 they played in Japan. There were the first quartet to arrive there after the war. The whole season was sold out in two hours. 3000 people were present at the first concert. There were staff to attend to their every need and cars to take them everywhere. One night they felt the need to get some exercise in Okayama. They were walking on a narrow road. Joe fell into a nine foot ditch and broke his left wrist. They had it set at the US Military Hospital in Tokyo. On return to the US they were told the wrist had been improperly set and it had to be broken and reset. Concerts were switched to trios and piano quartets. After months of hard work Joe resumed duties in Portland, Oregon on January 12, 1953.[29]
In 1954 they had another Japanese tour with even greater success but Jac was getting more uncomfortable. In February he told the others he wanted to leave. They hoped to talk him out of it. No one realised how unwell he was. Finally in November 1955 he killed himself in a small hotel in Washington. The other players felt awful. They played benefit concerts for his family at the Settlement Music School. Later Mischa left them most of his music and on his death Joe left them most of his money.[30]
Alexander Schneider returns[edit]
Joe refused to accept another new second violinist but fortunately they managed to persuade Sasha to return. Against their previous rule they allowed him to spend some time working independently because they needed him and they did not want to take as many engagements as before. As soon as he returned they all felt happier than for many years and the critics were fulsome in their praise.[31]
In the ten years he was away Sasha had been very busy. He rejected offers to lead the Pro Arte and Paganini Quartets. He toured with Ralph Kirkpatrick. He played unaccompanied Bach. He played trios. He studied with Pablo Casals in Prades and persuaded Casals to start festivals in Prades, Puerto Rico, Israel and Marlboro in Vermont. He started a quartet to record all the 83 Haydn quartets for the Haydn Society although they ran out of money before it was finished. He persuaded Mrs Coolidge to finance the provision of free outdoor concerts in Greenwich Village. He played with the Budapest when Ortenberg or Gorodetzky was not well.[31]
As the 1960s approached the quartet was very happy. It was the most popular and famous quartet, with 55 record albums published by Columbia and two million copies sold and playing in many famous venues and festivals. However in 1960 Joe started to have periods of poor intonation apparently owing to a mild heart attack at the end of 1960. Only then did he tell the others that, as early as 1939 he had been told that his blood pressure was high. Occasionally he had had intonation problems but in 1960 it got worse.[32]
In March 1962 they played their final concert in the Library of Congress. There had been a number of issues of which Joe's intonation had been the worst. Critics and listeners had complained and Mrs Coolidge herself had complained. They were replaced by the young Juilliard Quartet.[33] Then in the autumn they were in Europe when suddenly Joe suffered a slipped disc. He restarted playing in early 1963 and they returned to Australia after twenty six years away. Joe's energy was declining and they cut down the number of concerts year by year.[34]
Marlboro College[edit]
In 1955 Sasha had joined the Marlboro Music School and Festival at Marlboro College in southern Vermont. It was a School, a Music Festival and a Summer Retreat. He was a whirlwind. He pushed the young players to stretch their talents. In time he brought the other Budapest players and they made the place a breeding ground for a generation of chamber musicians. The school had been founded in 1950 by the violinist Adolf Busch and flautist Marcel Moyse and their families. Busch died before Sasha arrived but his son-in-law Rudolf Serkin was still very active and the two men became staunch friends. Sasha spent the next twenty summers there.[35]
In 1962 Sasha persuaded Mischa to come too and the next year the whole quartet came. Many experienced musicians came. Many talented younger players came and reached high standards. Students found Sasha assertive and his manner was a bit hard on those who were nervous or not reaching for the highest standards. For the best however he was perfect. Mischa and Boris were gentler. They were very willing to try new ideas from their students and each side was inspired by the enthusiasm of the other.[35]
Sasha persuaded Michael Tree, Arnold Steinhardt, John Dalley and David Soyer to form a quartet – a daunting challenge for any player – and Boris suggested the name Guarneri. They spent a lot of time together at Marlboro and the Guarneri Quartet may be regarded as the musical heirs of the Budapest Quartet.[35] Sasha gave the quartet a piece of advice, "Whenever you play string trios and piano quartets, make it a rule that the second violin plays it and not the first....If you play only second violin, you get stale for other things". He said that, after he left the Budapest, it took him three years to get back to good playing condition.[36] The Emerson String Quartet takes a similar view and solves it by alternating between the two violin chairs.
In later years the Budapest played fewer concerts and saw each other only for concerts. Audiences filled the halls and they were admired but they did not practice very often either individually or together. There were errors of detail but the general effect was still good. Sasha felt he wanted to share what he was still learning but Joe wanted to stay as he was.[37]
In January 1965 the group spent twelve days recording Dvořák's "American" Quartet and Smetana's Quartet "From My Life". Joe had major intonation problems and Mischa had trouble with his back. A recording of the Dvořák was spliced together from multiple takes and published but the players refused to accept a similar splice of the Smetana. Then Mischa and Boris and the Guarneri performed and recorded Tchaikovsky's "Souvenir de Florence" with success. Immediately Mischa had to have an operation on his back, which had troubled him since 1930. The operation failed, and a second attempt also failed. Misha never played again but he did teach extensively, including 25 summers at the Marlboro Music Festival. Mischa died on October 3, 1985 in Buffalo, New York.[38][39]
In 1977 Sasha abruptly left Marlboro. He never explained why but he and Serkin remained fast friends. In 1969 Boris died of cancer. In 1974 Joe had a heart attack and died. In 1993 Sasha had heart failure and died having played almost to the end.[39]
The Budapest String Quartet had a huge influence on chamber music in the United States and internationally. When they began in the late 1930s it was hard to get big audiences. The concerts in Washington and New York, the radio broadcasts and the many records gradually raised audience numbers, made them famous and wealthy and set a high standard which was influential on many later players.[40]
Jascha Heifetz was once quoted as saying: "One Russian is an anarchist. Two Russians are a chess game. Three Russians are a revolution. Four Russians are the Budapest String Quartet."[41]
The following listings begin with 1932; this is the year in which Josef Roisman became the quartet's leader as 1st Violin, replacing Emil Hauser, and Alexander Schneider joined the quartet as 2nd violin. Thus with the exception of István Ipolyi, who stayed until 1936, the quartet had nearly completed its transformation to its relatively stable line-up of four Russians, and achieved its long-lasting reputation.
Although most entries in the following lists are taken either from actual LPs and CDs and their liner notes or from trustworthy print or online sources, the lists are supplemented by a discography prepared by Sony Classical,[42] apparently for their own use in identifying stock numbers. However this Sony discography contains a number of errors in identifying recording dates, personnel, and in some instances even compositions and composers. All information from this Sony discography as shown below that could not be verified from another source is preceded by an asterisk [*] as being possibly questionable.
Square brackets indicate the initials of the violist, or of the second violinist; e.g., [Va=II] indicates István Ipolyi as violist. Several recording dates are either unspecified or unknown. All of the earlier recordings were first issued as shellac 78 rpm records, many later reissued as vinyl LPs, and subsequently in CD format. First issue of the late recordings was directly to LP format. All recordings are monophonic unless specified as stereo.
Recordings for HMV/Victor, 1932 through 1938[edit]
1st Violin: Josef Roisman; 2nd Violin: Alexander Schneider; Viola: István Ipolyi or Boris Kroyt; Cello: Mischa Schneider
- Bartók: Quartet No. 2 in A minor, Op. 17 (rec 25/4/1936[43] [*Va=II]; *LP reissue Odyssey Y4-34643).
- Beethoven: Quartet No. 2 in G major, Op. 18 No. 2 (rec 1/6/1938[43] [*Va=BK]; *LP reissue Odyssey Y3-35240).
- Beethoven: Quartet No. 3 in D major, Op. 18 No. 3 (rec 30/4/1935[43] [*Va=II]; *LP reissue Odyssey Y3-35240).
- Beethoven: Quartet No. 8 in E minor, Op. 59 'Rasumovsky' No. 2 (rec 24/4/1935[44] [Va=II]; *LP reissue Odyssey Y4-34643, CD reissue *Sony SBK-47665, *Portrait SBK-46545, Biddulph 80222).
- Beethoven: Quartet No. 13 in B flat major, Op. 130 (rec 10/8/1933 & 4/4/1934[44] (or 4/5?/1934)[43] [Va=II]; CD reissue Biddulph 80222).
- Brahms: Quartet No. 2 in A minor, Op. 51 No. 2 (rec 30/4-1/5/1935 [43] [Va=II]; CD reissue Biddulph LAB-120/1).
- Brahms: Quartet No. 3 in B flat major Op. 67 (rec 15,17,18/11/1933 (or same dates in 1932?)[43] [Va=II]; CD reissue *Portrait MPK-45553, Biddulph LAB-120/1).
- Brahms: String Quintet No. 1 in F major, Op. 88, with Alfred Hobday (rec 8/2/1937[43] [Va=BK]; CD reissue Biddulph LAB-120/1).
- Brahms: String Quintet No. 2 in G major, Op. 111, with Hans Mahlke (rec 15,17,18/11/1933 (or same dates in 1932?)[43] [Va=II]; CD reissue Biddulph LAB-120/1).
- Brahms: String Sextet in G major, Op. 36, with Alfred Hobday & Anthony Pini (rec 8/2/1937[43] [Va=BK]; CD reissue Biddulph LAB-120/1).
- Mendelssohn: Quartet No. 1 in E flat major, Op. 12 (rec 29/4/1935[43] [Va=II]; *LP reissue Odyssey Y4-34643).
- Mozart: Quartet No. 19 in C major, K 465 'Dissonance' (rec 14/11/1932[43] [Va=II]; *LP reissue Odyssey Y3-33324, *Odyssey Y3-35240, CD reissue EMI CDH-63697).
- Mozart: Quartet No. 20 in D major, K 499 'Hoffmeister' (rec 5/4/1934[43] [Va=II]; *LP reissue Odyssey Y4-34643, CD reissue EMI CDH-63697).
- Mozart: Quartet No. 23 in F major, K 590 (rec 29/4/1935[43] [*Va=II]; *LP reissue Odyssey Y3-35240).
- Mozart: Clarinet Quintet in A major, K 581 with Benny Goodman (rec 25/4/1938[43] [Va=BK]; CD reissue EMI CDH-63697; Naxos Hist 8.111238).
- Schubert: Quartettsatz in C minor, D 703 (DB 2221) (rec 4/4/1934[43] [*Va=II]; *LP reissue Odyssey Y4-34643)
- Sibelius: Quartet in D minor, Op. 56 'Voces Intimae' (rec 8/8/1933[43] [Va=II] Sibelius Society Volume 3).
- Wolf: Italian Serenade in G major (1887) (rec 18/11/1932[43] [*Va=II]; *LP reissue Odyssey Y4-34643).
Recordings for Columbia from 1940[edit]
1st Violin: Josef Roisman; 2nd Violin: Alexander Schneider, Edgar Ortenberg, or Jac Gorodetzky; Viola: Boris Kroyt; Cello: Mischa Schneider
- Beethoven: Quartet No. 1 in F major, Op. 18 No. 1:
- Beethoven: Quartet No. 2 in G major, Op. 18 No. 2:
- Beethoven: Quartet No. 3 in D major, Op. 18 No. 3:
- Beethoven: Quartet No. 4 in C minor, Op. 18 No. 4:
- Beethoven: Quartet No. 5 in A major, Op. 18 No. 5:
- Beethoven: Quartet No. 6 in B flat major, Op. 18 No. 6
- Beethoven: Quartet No. 7 in F major, Op. 59 'Rasumovsky' No. 1:
- Beethoven: Quartet No. 8 in E minor, Op. 59 'Rasumovsky' No. 2:
- Beethoven: Quartet No. 9 in C major, Op. 59 'Rasumovsky' No. 3:
- Beethoven: Quartet No. 10 in E flat major, Op. 74 'Harp':
- Beethoven: Quartet No. 11 in F minor, Op. 95 'Serioso':
- Beethoven: Quartet No. 12 in E flat major, Op. 127:
- Beethoven: Quartet No. 13 in B flat major, Op. 130:
- Beethoven: Quartet No. 14 in C sharp minor, Op. 131:
- Beethoven: Quartet No. 15 in A minor, Op. 132:
- Beethoven: Quartet No. 16 in F major, Op. 135:
- Beethoven: Grosse Fuge in B flat major, Op. 133:
- Beethoven: String Quintet in C major, Op. 29, with Milton Katims: rec 23/4/1945[45] [2V=EO]; CD reissue Sony MH2K-62870.
- Beethoven: Quintet in E flat major for piano and winds, Op. 16 (version for piano and string trio), with Mieczysław Horszowski: LP Col MS-6473.
- Brahms: Quartet No. 1 in C minor, Op. 51 No. 1: stereo rec 1963 [2V=AS]; CD reissue CBS MPK-45686.
- Brahms: Quartet No. 2 in A minor, Op. 51 No. 2: LP Col M2S-734.
- Brahms: Quartet No. 3 in B flat major, Op. 67: stereo rec 1963 [2V=AS]; CD reissue CBS MPK-45553.
- Brahms: Piano Quartet No. 2 in A major, Op. 26, with Clifford Curzon: rec 1952 [2V=JG]; LP Col ML-4630; CD reissue Naxos Hist 8.110306.
- Brahms: Piano Quintet in F minor, Op. 34:
- with Clifford Curzon: rec 1950 [2V=JG]; LP Col ML-4336; CD reissue Naxos Hist 8.110307.
- with Rudolf Serkin: stereo rec 1963 [2V=AS]; CD reissue CBS MPK-45686.
- Brahms: Clarinet Quintet in B minor, Op. 115, with David Oppenheim: stereo rec 1959 [2V=AS]; CD reissue CBS MPK-45553.
- Debussy: Quartet in G minor, Op. 10: CD reissue CBS MPK-44843.
- Dvořák: Quartet No. 12 in F major, Op. 96 'American': stereo rec 1965 [2V=AS]; LP Col M-32792.
- Dvořák: String Quintet No. 3 in E flat major, Op. 97, with Walter Trampler: LP Col M-32792.
- Dvořák: Piano Quintet in A major, Op. 81, with Clifford Curzon: rec 1953 [2V=JG]; LP Col ML-4825; CD reissue Naxos Hist 8.110307.
- Haydn: Quartet in G major, Op. 76 No. 1: rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Haydn: Quartet in D minor, Op. 76 No. 2 'Quinten': rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Haydn: Quartet in C major, Op. 76 No. 3 'Emperor': rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Haydn: Quartet in B flat major, Op. 76 No. 4 'Sunrise': rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Haydn: Quartet in D major, Op. 76 No. 5: rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Haydn: Quartet in E flat major, Op. 76 No. 6: rec 1954 [2V=JG]; CD reissue United Archives UAR-003.
- Mozart: Quartet No. 14 in G major, K 387: rec 1953 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: Quartet No. 15 in D minor, K 421: rec 1953 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: Quartet No. 16 in E flat major, K 428: rec 1950 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: Quartet No. 17 in B flat major, K 458 'Hunting': rec 1953 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: Quartet No. 18 in A major, K 464: rec 1953 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: Quartet No. 19 in C major, K 465 'Dissonant': rec 1953 [2V=JG]; CD reissue Sony SM2K-47219.
- Mozart: String Quintet No. 1 in B flat major, K 174:
- with Walter Trampler: rec 1956 [2V=AS]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: String Quintet No. 2 in C minor, K 406:
- with Milton Katims: rec 1946 [2V=EO]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: String Quintet No. 3 in C major, K 515:
- with Milton Katims: rec 1945 [2V=EO]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: String Quintet No. 4 in G minor, K 516:
- with Milton Katims: rec 1941 [2V=AS]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: String Quintet No. 5 in D major, K 593:
- with Milton Katims: rec 1946 [2V=EO]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: String Quintet No. 6 in E flat major, K 614:
- with Milton Katims: rec 1949 [2V=JG]; CD reissue Sony SM3K-46527.
- with Walter Trampler: stereo rec 1965-1966 [2V=AS]; LP Col D3S-747; CD reissue Sony CSCR 8346.
- Mozart: Piano Quartet in G minor, K 478:
- with George Szell: rec 1946 [2V=EO]; CD reissue CBS MPK-47685, Naxos Hist 8.111238.
- with Mieczysław Horszowski: stereo rec 1963 [2V=AS]; CD reissue Sony SM3K-46527.
- Mozart: Piano Quartet in E flat major, K 493:
- with George Szell: rec 1946 [2V=EO]; CD reissue CBS MPK-47685, Naxos Hist 8.111238.
- with Mieczysław Horszowski: stereo rec 1963 [2V=AS]; LP Col MS-6683.
- Mozart: Clarinet Quintet in A major, K 581 'Stadler', with David Oppenheim: stereo rec 1959 [2V=AS]; CD reissue Sony SM3K-46527.
- Mozart: Serenade in G major, K 525 'Eine kleine Nachtmusik' [string quintet version, with Julius Levine, double bass]: stereo rec 1959 [2V=AS]; CD reissue Sony SM3K-46527.
- Ravel: Quartet in F major (1902–03): CD reissue CBS MPK-44843.
- Schubert: Quartet in A minor, D 804 'Rosamunde': rec 1953 [2V=JG]; CD reissue CBS MPK-45696.
- Schubert: Quartet in D minor, D 810 'Death and the Maiden': rec 1953 [2V=JG]; CD reissue CBS MPK-45696.
- Schubert: Quartet in G Major, D 887: rec 1953 [2V=JG]; LP reissue Odyssey Y3-33320.
- Schubert: String Quintet in C major, D 956, with Benar Heifetz, cello: rec 16/9/1941 [2V=AS]; CD reissue United Archives UPC 3760138170262.
- Schubert: Piano Quintet in A major, D 667 'The Trout':
- with Mieczysław Horszowski and Julius Levine: CD reissue Sony SBK-46343.
- with Mieczysław Horszowski and Georges E. Moleux: rec 8/5/1950; LP Philips SBR 6220; CD reissue United Archives UPC 3760138170262.
- Schumann: Piano Quintet in E flat major, Op. 44:
- with Clifford Curzon: rec 1951 [2V=JG]; LP Col ML-4426; CD reissue Naxos Hist 8.110306.
- with Rudolf Serkin: stereo rec 1963 [2V=AS]; CD reissue CBS MYK-37256.
Miscellaneous live recordings[edit]
1st Violin: Josef Roisman; 2nd Violin: Alexander Schneider or Edgar Ortenberg; Viola: Boris Kroyt; Cello: Mischa Schneider
- Beethoven: Quartet No. 12 in E flat major, Op. 127 (rec live March 15, 1941 [2V=AS] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Quartet No. 13 in B flat major, Op. 130 (rec live April 7, 1960 [2V=AS] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Quartet No. 14 in C sharp minor, Op. 131 (rec live May 7, 1943 [2V=AS] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Quartet No. 15 in A minor, Op. 132 (rec live December 20, 1945 [2V=EO] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Quartet No. 16 in F major, Op. 135 (rec live March 16, 1943 [2V=AS] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Grosse Fuge in B flat major, Op. 133 (rec live April 7, 1960 [2V=AS] at Library of Congress; CD reissue Bridge 9072 A/C).
- Beethoven: Piano Trio No. 9 in G major, Op. 121a 'Kakadu Variations', with George Szell (rec live May 16, 1946 at Library of Congress; CD reissue Intaglio INCD 7191).
- Dvořák: Piano Quintet in A major, Op. 81, with Artur Balsam (rec live 1959 [2V=AS] at New York; CD reissue Documents LV 931/32).
- Mozart: Quartet No. 16 in E flat major, K 428 (rec live 1959 [2V=AS] at New York; CD reissue Documents LV 931/32).
- Schubert: Quartet in D minor, D 810 'Death and the Maiden' (rec live 1959 [2V=AS] at New York; CD reissue Documents LV 931/32).
- Schubert: Piano Quintet in A major, D 667 'The Trout', with George Szell (rec live May 16, 1946 at Library of Congress; CD reissue Intaglio INCD 7191).
- Brandt, Nat (1993). Con Brio: Four Russians Called the Budapest String Quartet. Oxford University Press, USA. ISBN 0-19-508107-2.
- R.D. Darrell, The Gramophone Shop Encyclopedia of Recorded Music (New York 1936).
- E. Sackville-West and D. Shawe-Taylor, The Record Year 2 (Collins, London 1953).
- Photograph in R. Stowell (Ed), Cambridge Companion to the String Quartet (2003).
- CD Biddulph 80222-2 (P)2005, UPC 744718022229. [1933-1935 Beethoven recordings (78rpm)]
- CD Sony MH2K-62870 2-disc set (P)1997, UPC 074646287026; and CD Sony MH2K-62873 2-disc set (P)1997, UPC 0074646287323. [1940-1945 Beethoven recordings (78rpm)]
- CD United Archives NUA01 8-disc set (P)2010, UPC 5494239160010 [1951-1952 mono Beethoven recordings (vinyl LP)]
- CD Sony Classical Masters 8-disc set (P)&(C)2010, UPC 886977767821. [1958-1961 stereo Beethoven recordings (vinyl LP)]
- CD Sony SBK 46545 (C)1991 UPC 07464465452; and CD SBK 47665 (C)1991 UPC 07464476652. [1959-1961 stereo Beethoven recordings (vinyl LP)]
- ^ a b c d e Brandt (1993) pp 32–38
- ^ Brandt p 50
- ^ a b c d e Brandt pp 62–63
- ^ Brandt pp 37–38
- ^ Brandt pp 38–40
- ^ a b Brandt pp 27–31
- ^ a b Brandt pp 41–42
- ^ Nat Brandt makes no mention of Son's death in Auschwitz in "Con Brio"; this was first discovered and entered on Joods Community Monument and German Wikipedia in 2012; See entry for Henri Son at Joods Community Monument which includes a copy of his Amsterdam police registration card.
- ^ Brandt pp 42–53
- ^ Brandt pp 50–53
- ^ Brandt pp 52–53
- ^ Brandt pp 53–59
- ^ Brandt pp 59–62
- ^ Brandt pp 60–62
- ^ Brandt pp 64–78
- ^ Brandt pp 78–80
- ^ Brandt pp 52, 84, 95, 96
- ^ Brandt pp 3–6, 81–83
- ^ Brandt pp 86–88
- ^ Brandt pp 12–26
- ^ Brandt pp 14–15
- ^ Brandt pp 89–91
- ^ Brandt pp 91–93
- ^ Brandt pp 97–102
- ^ Brandt pp 102–104
- ^ Brandt pp 101–109
- ^ Brandt pp 109–113
- ^ Brandt pp 113–115
- ^ Brandt pp 110–118
- ^ Brandt pp 119–122
- ^ a b Brandt pp 122–126
- ^ Brandt pp 167–171
- ^ Brandt pp 171–174
- ^ Brandt pp 174–177
- ^ a b c Brandt pp 177–185
- ^ Brandt p 99
- ^ Brandt pp 186–189
- ^ Bernard Holland, "MISCHA SCHNEIDER DIES AT 81; CELLIST FOR BUDAPEST QUARTET", New York Times, October 5, 1985
- ^ a b Brandt pp 190–195
- ^ Brandt pp 196–203
- ^ Brandt dust jacket
- ^ The Sony Classical discography is presented as Appendix 2 in Brandt, Nat (1993). Con Brio: Four Russians Called the Budapest String Quartet. Oxford University Press, USA.
- ^ a b c d e f g h i j k l m n o p q "Recording & Discography - Budapest String Quartet & its members...", compiled by Youngrok Lee [1]
- ^ a b CD Biddulph 80222-2 (P)2005, UPC 744718022229: Budapest String Quartet: Beethoven String Quartets Op. 59 No. 2, Op. 130.
- ^ a b c d e f CD Sony Classical Masterworks Heritage Mono Era MH2K-62870 2-disc set (P)1997, UPC 074646287026: 1940s mono recordings: Beethoven String Quartets Op. 18 Nos. 1, 4 & 6; Op. 59 No. 3 "Razumovsky"; Op. 95 "Serioso"; String Quintet Op. 29: Budapest String Quartet, Milton Katims, viola.
- ^ a b c d e f g h i j k l m n o p q CD United Archives NUA01 8-disc set (P)2010, UPC 5494239160010: Beethoven: The Complete String Quartets: Budapest String Quartet 1951-1952.
- ^ a b c d e f g h i j k l CD Sony Classical Masters 8-disc set (P)&(C)2010, UPC 886977767821: The Budapest String Quartet plays Beethoven: The Complete String Quartets. (Recording dates provided are limited to years only.)
- ^ According to booklet notes written by Harris Goldsmith this Op. 18 No. 5 Minuet was recorded alone, with one repeat omitted, to fill the final 78rpm side of Op. 59 No. 3. No mention is made of it, but there appears to be no other recording of the entire quartet Op. 18 No. 5 prior to the 1951-1952 sessions.
- ^ a b c d e CD Sony Classical Masterworks Heritage Mono Era MH2K-62873 2-disc set (P)1997, UPC 0074646287323: 1940s mono recordings: Beethoven String Quartets Op. 127, Op. 131, Op. 132, Op. 135, Minuet from Op. 18 No. 5: Budapest String Quartet.
- ^ a b CD Sony Classical Essential Classics Chamber Music SBK 46545 (C)1991 UPC 07464465452: Beethoven String Quartets Op. 59 No. 1 & 2 "Razumovsky": Budapest String Quartet.
- ^ a b c CD Sony Classical Essential Classics Chamber Music SBK 47665 (C)1991 UPC 07464476652: Beethoven String Quartets Op. 59 No. 3 "Razumovsky"; Op. 74 "Harp"; Great Fugue in B flat major: Budapest String Quartet.
- ^ According to booklet notes written for Biddulph 80222 by musicologist Tully Potter, the early Grosse Fuge (DB 1559-60) was recorded before 1928 with Hauser, Pogany, Ipolyi, and Son.


text:
Concert: Piano Quartet
13.05.2013 / 00:30
(This article expired 03.05.2014.)
On May 12, at 6:30 pm, members of the renowned Vlach Quartet Prague join pianist Helena Suchárová Weiser in a program of music by Antonín Dvořák in the West Building, West Garden Court of the National Gallery of Art. The program includes Dvořák's Piano Quartet No. 1 in D major, Op. 23, and Piano Quartet No. 2 in E flat major, Op. 87. The event is a part of the EU Month of Culture.
Music by Antonín Dvořák
Piano Quartet No. 1 in D major, Op. 23
I. Allegro moderato
II. Andantino con variazioni
III. Finale: Allegretto scherzando
Piano Quartet No. 2 in E flat major, Op.87
I. Allegro con fuoco
II. Lento
III. Allegro moderato, grazioso
IV. Finale: Allegro ma non troppo
Jana Vlachová - violin
Karel Stadtherr - viola
Mikael Ericsson - violoncello
Helena Suchárová Weiser - piano
For additional information about the artists, please visit: www.vlachquartet.com.
Admission is free.
Location: National Gallery of Art
West Building, West Garden Court
6th and Constitution Avenue NW, Washington, DC 20565
Concerts at the National Gallery are open to the public, free of charge. Admittance is on a first-come, first-seated basis, beginning 30 minutes before each concert. The entrance at 6th Street and Constitution Avenue NW remains open on Sunday until 6:30 pm. Families with small children may be asked to sit in designated areas. Please note that late entry or reentry of the West Building after 6:30 pm. is not permitted. For further information, call (202) 842-6941.

subset: commoncrawl


text:
"We never feed antibiotics, growth hormones, stimulants or animal
"The USDA has determined that bison is lower in cholesterol, calories and fat and higher in protein and nutrients than beef, skinless chicken,
pork or fish."
Sunset Ridge Buffalo Farm is located in north central NC in the Bushy Fork Community of Person County about 7 miles southwest of Roxboro, 35 miles north of Durham and Chapel Hill, and 30 miles northeast of Burlington. We have been raising buffalo since 2001 and our herd now numbers about 120.
American Buffalo (Bison) is lean, slightly sweeter than beef, and has no wild meat taste. Buffalo is a highly nutrient dense food because of the proportion of protein, fat, mineral and fatty acids to its caloric value. The USDA has determined that bison is lower in cholesterol, calories and fat and higher in protein and nutrients than beef, skinless chicken, pork or fish. Bison is heart healthy and is an excellent choice for dieters and health conscious consumers alike.
Our meat is processed, dry aged, vacuum packed, and flash frozen at a local USDA inspected facility.
Our mission is to provide delicious and nutritious buffalo meat to health conscious consumers through internet sales, farmers markets, and from on-farm sales. Our animals are pasture raised on fescue, orchard grass, rye, crabgrass, native plants, hay and haylage. We never feed antibiotics, growth hormones, stimulants or animal by-products.
About Us
Price List
How to Order
The Gazebo - Events
The Gazebo - Gallery
Health Benefits
Cooking Tips
Farm Tours
Conveniently located in Roxboro, North Carolina minutes from Durham, Chapel Hill and Greensboro as well as Danville and South Boston, Virginia.
Sunset Ridge Buffalo Farms, LLC
465 Yarborough Road (dirt road)
Roxboro, NC, 27574
336-599-1297 or 336-583-6666
Sunset Ridge Buffalo Farms, LLC Copyright 2012


text:
- Facing Reality
- First Steps
- Know Your Options
- Do Nothing
- Depend on Family and Friends
- Self-insure
- Purchase Insurance
- Compare Partnership Policy Rates
- Tips on How to Select a High Quality Policy
- What is a Partnership Policy?
- What Does a Partnership Policy Cost?
- Who Buys Partnership Policies?
- How Do I Get Partnership Coverage?
- Taking the Guesswork Out of a High Quality Policy
- What Makes a Good Long-Term Care Insurance Agent?
- How to Choose an Agent
- Next Steps
- Resources
- How much does LTC cost in your county?
- Caregiving Resources
- Federal Long-Term Care Policy Information
- Consumer Rate Guide: Long-Term Care Insurance
- Medicare Educational Information
- Taking Care of Tomorrow
- California Agencies
- The Health Insurance Counseling and Advocacy (HICAP)
- 3in4 Need More
- Brochures
- Planning Tools
- Partnership-certified companies
- Field Poll Results Show Californians Are Unprepared
- The California Partnership Direct Mail Campaign Mailer
- Agent Resource Center (Agents only)
- Glossary
- Frequently Asked Questions
- Compare Policy Rates
Unhealthy Baby Boomers Set to
Undermine State Budget in Decade
UC Berkeley Study Looks at Economic Impact of Impending Senior Tsunami
Just as the state of California seems to be climbing out of a three-year budget crisis, researchers from University of California, Berkeley, are warning of a new fiscal threat – an unprecedented senior tsunami that could nearly double Medi-Cal costs over the next decade (from $6.6 to $12.4 billion).
"To families of seniors, employers and state budget officials this long-anticipated explosion of seniors is going to have dire consequences," says lead researcher, Dr. William H. Dow of UC Berkeley's Division of Health Policy and Management, which released the sobering socio-economic analysis. "The huge baby boomer generation is now retiring, and over the next ten years, California is going to see a 60 percent increase in seniors, jumping from 4.3 million today to 6.9 million by 2023."
While economists have warned of this reality for years, the UC researchers dug deeper and unveiled an added and costly wrinkle. Despite ushering in Pilates, organic foods and other health trends, the largest generation in American history, baby boomers, brings a new reality to retirement: obesity. Dow and his group say the rapid growth of obesity and related health problems suggests increased morbidity for the baby boom generation. Combined with the huge growth in seniors, this dramatically drives up the need for long-term careCare given to someone who can no longer perform activities of daily living. and corresponding health care costs for the seniors.
- Press Release
- "Will Boomers Bust the Budget?" - UC Berkeley Study
- Full press kit, including:
- Fact sheet
- By the numbers
- Projections, including:
- Spokespersons list
- Organizational backgrounders
For press inquiries, contact: Muriel Miller at Brown Miller Communications at (866) 869-8999 or firstname.lastname@example.com.


text:
You did the 30DS right? I've only just started and I'm like 230lbs, am I too heavy and out if shape to do it? I wanna try insanity also but dunno if I should lose more weight first, what do you recommend?
You should definitely start with the 30DS and then move onto Insanity It will be crazy hard but if you push yourself, you can do it!


text:
I have the opportunity to snatch a Kona Lele for $1700 new but I have no knowledge of the bike and it's really hard to find reviews on them. Im in the market for a full suspension all around bike. I' 5'6, ride mostly singletrack in Northern California.
Any one have any experience with the Kona Lele, good or bad? I can't find any opinions of it really. I'm wondering if it a good bike and or if its worth that price.
Thanks in advance!
Results 1 to 7 of 7
Thread: Kona Lele
Similar Threads
Hot Deals See All Hot Deals >>
Interbike Featured Booths
Check out the hottest mountain bike products from these brands!
See All Interbike Coverage - Click Here »
Latest Mountain Bike Articles
MTBR on Facebook


text:
Rolleiflex Captures Clay Clobbering Liston
Neil Liefer photographed Cassius Clay's knockout of Sonny Liston in their 1965 rematch in Lewiston, Maine, on Ektachrome 64. Liefer was shooting for Sports Illustrated. Without the pressures of going to press in the morning, Liefer shot color film in his Rolleiflex. Writer David Schronauer tells the story behind the photograph, and the sports photographers who were present that night trying to capture the fight on film:
Neil was only one of a number of sports photographers shooting Rolleiflexes that night. Here's a crop from another of Liefer's photographs from that night:


text:
Pick Up Dress Style
Hey Ladies,
I really wanted to get a pick up dress. Then I saw a plus size bride with one on, and I felt like it wasn't flattering for her. Maybe it was the style of the pick up dress, but she looked like the Michelin Tire Man (white puffs everywhere).
Did/Does anyone else feel this way? Did anyone use a pick up dress. Please share photos. I still really love the pick up dress look. I guess I just have to find the right one. Any good brand suggestions?


text:
Chael Sonnen is back at it again. For anyone who thought the former middleweight contender might tone it down after two straight losses, you were wrong. Sonnen may be done with the middleweight division, however, he has switched his opponent to "some punk kid" named Jon Jones up at light heavyweight.
On UFC Tonight, the UFC's weekly news show, Sonnen announced that he would be moving up to light heavyweight and face Forrest Griffin on December 29. Sonnen said that to earn another title shot he must earn another title shot, but if he gets there he will take Jones belt like candy on Halloween.
It's not unrealistic to see Sonnen earn a title shot. The light heavyweight division looks weak thanks to Jones and it may only take two wins to earn a title shot.
If Sonnen defeats Griffin in December it could realistically set up a No. 1 contender bout with the winner of Rua and Gustafsson at UFC on Fox 5.
To think Sonnen will let up on the trash talk to Jones though is ludicrous. He isn't afraid to turn it up a notch and he knows how to get under a person's skin. When Anderson Silva didn't bite at the jabs Sonnen took at him, Sonnen started making cracks at Silva's wife and home country of Brazil.
Sonnen has already started the trash talking with Jones by bringing up his DUI and this is the first trash talk Sonnen has had with Jones. Do you really think he's going to turn it down now?
Sonnen knows how to promote a fight and has already started on his promoting of a title shot with Jones. The champ says he knows how to play Sonnen's game, but does he really? Sonnen is the best at what he does and it may only be a matter of time before he gets what he wants from Jones.
Tags: Chael Sonnen Jon Jones


text:
News from WTOP
News from the AP
Mike Causey
Shows & Panels
Shows & Panels
- The 2014 Big Picture on Cyber Security
- AFCEA Answers
- American Readiness: Renewable Power and Efficiency Technologies
- Ask the CIO
- Building the Hybrid Cloud
- CDWG/NetApp
- Connected Government: How to Build and Procure Network Services for the Future
- Continuing Diagnostics and Mitigation: Discussion of Progress and Next Steps
- Federal Executive Forum
- Federal News Radio's National Cyber Security Awareness Month Special Panel Discussion
- Federal Tech Talk
- The Future of Government Data Centers
- The Future of IT: How CIOs Can Enable the Service-Oriented Enterprise
- Government Perspectives on Mobility and the Cloud
- The Intersection: Where Technology Meets Transformation
- Maximizing ROI Through Data Center Consolidation
- Mitigating Insider Threats in Virtual & Cloud Environments
- Modern Mission Critical Series
- The New Generation of Database
- Reimagining the Next Generation of Government
- Targeting Advanced Threats: Proven Methods from Detection through Remediation
- Transformative Technology: Desktop Virtualization in Government
- The Truth About IT Opex and Software Defined Networking
- Air Traffic Management Transformation Report
- Cloud First Report
- General Dynamics IT Enterprise Center
- Gov Cloud Minute
- Government in Technology Series
- Homeland Security Cybersecurity Market Report
- National Cybersecurity Awareness Month
- Technology Insights
- The Cyber Security Report
- The Next Generation Cyber Security Experts
Shows & Panels
Robert Frost's Christmas cards collected in NH
Monday - 12/24/2012, 9:50am EST
By HOLLY RAMER
Associated Press
HANOVER, N.H. (AP) - Take heart, holiday procrastinators: Famed poet Robert Frost once waited until July to get his Christmas cards in the mail.
Unlike the flimsy, forgettable cards of today, however, Frost's cards arguably were worth the wait. For the past 28 years of his life, he teamed up with a boutique printer to send beautifully illustrated booklets featuring a different poem for each year.
Dartmouth College, which Frost briefly attended as a student and later returned as a lecturer, has collected more than 500 of the cards, including the first installment, which was sent without Frost's knowledge.
In 1929, Joseph Blumenthal of the New York-based Spiral Press, who was setting type for one of Frost's poetry collections, decided the poem "Christmas Trees" would make an attractive greeting card. With permission from Frost's publisher, he printed 275 copies, one of which eventually made its way to Frost. The poet liked it so much, he decided to collaborate with Blumenthal on cards starting in 1934. The resulting series lasted until 1962, the year before his death.
"It was one of the more fun things about him," said Frost biographer Jay Parini, a professor at Vermont's Middlebury College. He called the cards a "remarkable tradition" that's carried out by other poets today.
Many of Frost's cards feature woodcut illustrations evoking the New England landscape with which he was so deeply associated. Printed on heavy cardstock, some run to 10 or 15 pages. The 1942 card included a hand-colored illustration of a country village and the poem "The Gift Outright," which Frost, who won four Pulitzer Prizes for poetry, later recited from memory at the inauguration of President John F. Kennedy.
Many in the Dartmouth collection were sent to Frost's close friend and editor Edward Lathem, whose nearly six decades of work at the Ivy League school included a long stint as head librarian.
In 1959, the card featured a previously unpublished poem called "A-Wishing Well," and on Lathem's copy, Frost inserted two hand-written lines in the poem.
Parini said that was not unusual for Frost, who often inscribed first editions of his books with little notes for his friends, or sometimes even complete, unpublished poems.
"He liked to personalize things," he said.
In 1951, Frost accompanied a card featuring the poem "A Cabin in the Clearing" with this note to Dartmouth bookstore employee Ruby Dagget: "in hopes that you will carry it like a lesson to your schoolhouse in the wilds of Vershire," a nearby Vermont town.
In one of his 1953 cards, he explained why the poem "Does No One at All But Me Ever Feel This Way in the Least?" was postmarked July instead of December.
"This Christmas poem, though not isolationist, is so dangerously isolationist, it was thought better to send it out for Independence Day instead of Christmas," he wrote.
Sending such a tardy greeting also was in keeping with Frost's personality, Parini said. "He never lost an opportunity to make a splash," he said.
From an initial print run of 775 cards in 1934, the number of cards produced grew to more than 17,000 in 1962. Some have been snatched up by collectors for $4,000 to $5,000, said Steve Smith, who researched the cards for Dartmouth's alumni office.
Among his personal favorites is the 1934 card Frost sent from Key West, Fla., to a Dartmouth professor.
"The time stamp was Dec. 24 at 5 p.m., so I like imagining Frost at the post office in Key West on Christmas Eve," he said.
(Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


text:
Some eaiser variations of push ups to help you build the strength to do a traditional one!
IMPORTANT: Note how the pushup utilizing the chair has the chair against a wall. Make sure your chair is firmly against a wall! If you're just using a chair in the middle of the room, there's a good chance it will slip out from under you, sending you face-first into the floor.
This is an excellent tutorial. :)
"It's pronounced like jif"
And my life is complete thank you mommy
"Wanted" by Vanessa Carlton


text:
There has been a complete sense of uncertainty when talking about the Houston Texans options with the first overall pick in the 2014 NFL Draft, because they have reportedly been in aggressive trade talks. Another layer to the lack of insight on the Texans possible pick is the fact that they have kept their cards extremely close, so we've had no indication if they are leaning towards trading down, drafting Jadeveon Clowney, drafting Khalil Mack, or taking a top quarterback. Texans GM Rick Smith said earlier that the Texans know for sure who they would take first if they didn't trade down, but we sure as heck didn't know if they were going to trade down or not.
Now, ESPN's ultra-reliable Adam Schefter reports that the Houston Texans are now "locked in" on their guy at No. 1 and are not expecting to trade down from that pick anymore. Per Schefter, the Texans are "happy" to stay where they are and draft the player they are currently sold on.
The Texans seemed to have a high asking price for potential buyers of the No. 1 pick, and that likely turned plenty of teams off due to the depth in this year's draft and the desire of other top teams, most namely the St. Louis Rams, to trade down. Ultimately, it looks like the Texans figured that the quality of prospects at the very top of the draft make it work sticking around, but it's anyone's guess as to who they will pick. Will it be Mack or Clowney? How about a QB like Teddy Bridgewater? We attempted to answer this extremely difficult question as a staff here.
Tags: Houston Texans


text: Ritenour, Randall Randall "Randy" Ritenour, age 58, of Dallas, Texas passed away Saturday, April 20, 2013 at 6:00 A.M. in Dallas, Texas.Randall was born August 7, 1954, in Dixon, Illinois the son of Ronald J. and Lois A. Eastabrooks Ritenour. He is survived by his mother, Lois, of Galesburg, Illinois, one brother, Rodney Ritenour, of Galesburg, Illinois, and two nieces, Amanda Ritenour and TeeSee Hardges, both of Peoria, Illinois. Randall was preceded in death by his father.Randall was reared and educated in Chadwick, Illinois. Per his request cremation rites will be accorded. Inurnment will take place at a later date at the Oak Knoll Memorial Park in Sterling, Illinois. Memorial donations may be left to the Galesburg Rescue Mission. The Hurd-Hendricks Funeral Home and Crematory in Knoxville is assisting the family. Online condolences can be made at www.hurd-hendricksfuneralhome.com by Newsroom News management powered by Xpression News


text:
Find a Lawyer
Legal Answers
More ▾
Justia Blog
Law Blog Directory
Legal Forms
U.S. Law
U.S. Supreme Court Cases
Federal Cases
US Constitution
US Code
Federal Regulations
Federal Dockets
State Cases
State Codes & Statutes
Company Legal Profiles
Marketing Services
Sign In
U.S. Law
U.S. Case Law
U.S. Federal Case Law
U.S. Federal District Courts
New Jersey
District Court of New Jersey
-PS KRRYWDA v. PRESSLER AND PRESSLER, L.L.P. et al
Filing 50
-PS KRRYWDA v. PRESSLER AND PRESSLER, L.L.P. et al - Document 50
Court Description:
OPINION & ORDER granting 21 Motion to Dismiss, w/prejudice ***CIVIL CASE TERMINATED. Signed by Judge Faith S. Hochberg on 7/14/11. (dc, )
Download PDF
NOT FOR PUBLICATION CLOSED UNITED STATES DISTRICT COURT DISTRICT OF NEW JERSEY NANCY KRRYWDA, : : Civil Case No. 10-2559 (FSH)(PS) : : OPINION & ORDER : : July 14, 2011 : : : : Plaintiff, v. PRESSLER AND PRESSLER, L.L.P., Defendant. HOCHBERG, District Judge: I. INTRODUCTION Plaintiff, Nancy Krrywda, brings this action alleging violations of the Fair Debt Collection Practice Act by defendant, Pressler & Pressler, L.L.P. ( Pressler ). Plaintiff alleges that after obtaining a judgment and writ of execution, Pressler skips its obligation to conduct adequate post-judgment asset discovery and instead directs law enforcement personnel to ascertain what assets are available to satisfy the judgment. See Plaintiff s Opposition, Docket # 23, at 5. Pressler moves to dismiss plaintiff s claims under Federal Rule of Civil Procedure 12(b)(6). In support of its motion, Pressler submitted state court and public documentation, the authenticity of which plaintiff does not dispute, demonstrating that Pressler in fact conducted extensive post-judgment discovery regarding plaintiff s assets, and had to obtain more than one court order directing plaintiff to appear for post-judgment discovery proceedings, which plaintiff disregarded, culminating in the issuance of a bench warrant for the arrest of plaintiff for failure to comply with post-judgment discovery orders. 1 II. BACKGROUND Plaintiff is a repeat debtor, who owes money as a result of defaulting on various consumer debts and credit cards. Pressler has obtained three separate judgments against plaintiff and two judgments against plaintiff s husband. Certification of Mitchell L. Williamson, Docket # 21-3, ¶¶ 1, 5 ( Williamson Cert. ). After obtaining these judgments, Pressler conducted extensive post-judgment discovery regarding the assets of plaintiff and her husband. Pressler sent three different information subpoenas to plaintiff and two different information subpoenas to plaintiff s husband pursuant to N.J. Ct. R. 6:7-2(b). Williamson Cert. ¶¶ 9, 20, 24, 25-27, 31, Exs. B, H, M, Q. In addition, Pressler obtained a Court Order of Discovery seeking information regarding the Joseph Dubay Krrywda Trust of which plaintiff is the trustee. Id. ¶ 33-34, Ex. S. Plaintiff failed to comply with the Court Order of Discovery and Pressler subsequently obtained a Court Order to Enforce Litigant s Rights directed to plaintiff. Plaintiff failed to comply with the Court Order to Enforce Litigant s Rights and Pressler obtained a Court Issued Warrant for plaintiff s arrest. Id. ¶¶ 39-40, Ex. T, Ex. U. Plaintiff was arrested pursuant to the warrant, and after she complained of shortness of breath and chest pains, the court directed that she be taken to the local hospital and issued an order directing plaintiff to appear before the court on a later date. Id. ¶ 39, Ex. W. Plaintiff did not appear as directed. Her husband appeared and he presented a certification and trust documents relating to the trust. Id. ¶ 44-45, Exs. X, Y. In essence, plaintiff defaults on her bills, and then claims to have no assets because she and her husband have put their assets into a revocable trust for their son. The trust documents indicate that plaintiff is the trustee of the Joseph Dubay Krrywda Trust, which is a revocable trust on behalf of plaintiff s son. Id. Ex. X. The trust assets include 2 the residence of plaintiff and her family. Id. The trust was originally scheduled to terminate when plaintiff s son reached the age of 25 in 2009. However, it was amended in February 2009 to terminate instead upon his 39th birthday. Id. At the direction of Pressler, the Ocean County Sheriff has twice attempted to levy on plaintiff s personal property and once attempted to levy upon the personal property and motor vehicle of plaintiff s husband. Id. ¶¶ 16, 21-22, 30, Exs. E, I, K, P. In response to the attempted levies, plaintiff and her husband have refused to submit to proper post-judgment discovery, instead baselessly expressing outrage that their pat assertion that they have no assets (because their residence and all of its furnishings and contents are held in trust for their son, and that the vehicle sought to be levied belongs to plaintiff s son) is not sufficient to avoid answering questions about how they came to have no assets. In short, this case involves a lengthy record of post-judgment discovery attempts, which reflects repeated, persistent, and contumacious non-compliance by plaintiff with court orders, culminating in the issuance of a warrant for the arrest of plaintiff. III. STANDARD OF REVIEW To survive a motion to dismiss, a complaint must contain sufficient factual matter, accepted as true, to state a claim to relief that is plausible on its face. Ashcroft v. Iqbal, 129 S. Ct. 1937, 1949 (2009) (quoting Bell Atl. Corp. v. Twombly, 550 U.S. 544, 570 (2007)). [S]tating . . . a claim requires a complaint with enough factual matter (taken as true) to suggest the required element. This does not impose a probability requirement at the pleading stage, but instead simply calls for enough facts to raise a reasonable expectation that discovery will reveal evidence of the necessary element. Phillips v. County of Allegheny, 515 F.3d 224, 234 (3d Cir. 2008) (internal quotations omitted). 3 In evaluating a motion to dismiss, a court may consider the complaint, matters of public record, and undisputedly authentic documents if the complainant s claims are based upon those documents. Guo Hua Ke v. Holder, 2011 U.S. Dist. LEXIS 10612, *4 (D.N.J. Feb. 3, 2011) (citing Pension Benefit Guar. Corp. v. White Consol. Indus., Inc., 998 F.2d 1192, 1196 (3d Cir. 1993)). Further, a court may take judicial notice of another court s opinion not for the truth of the facts recited therein, but for the existence of the opinion. S. Cross Overseas Agencies, Inc. v. Wah Kwong Shipping Grp., Ltd., 181 F.3d 410, 426 (3d Cir. 1999). Consistent with this limitation, [a court] may examine the decision to see if it contradicts the complaint s legal conclusions or factual claims. Banton v. Morton, 2011 U.S. Dist. LEXIS 17018, *12, n.2 (E.D. Pa. Feb. 22, 2011) (quoting S. Cross, 181 F.3d at 427). IV. DISCUSSION Plaintiff alleges that Pressler has violated the Fair Debt Collection Practice Act ( FDCPA ), 15 U.S.C. § 1692 et. seq., by engaging in collection methods in violation of New Jersey law. Plaintiff contends that after obtaining a judgment, a judgment creditor is obligated under New Jersey law to conduct appropriate post-judgment discovery before directing a sheriff to inventory and levy upon the debtor s assets and that Pressler failed to do so with respect to the judgments against plaintiff. See Spiegel, Inc. v. Taylor, 148 N.J. Super. 79 (Cty. Ct. 1977). Plaintiff s contentions are stunningly audacious in light of the extensive post-judgment discovery conducted by Pressler and contumaciously resisted by plaintiff. The exhibits submitted by Pressler in support of its motion document the State of New Jersey Court Judgments obtained by Pressler against plaintiff and her husband, the post-judgment discovery sought to be conducted by Pressler, and the inventories attempted involving plaintiff 4 and her husband. The post-judgment discovery conducted by Pressler, and the inventories directed by Pressler, are reflected in both public documents and indisputably authentic documents that are integral to plaintiff s claims. Plaintiff does not dispute the authenticity of the exhibits submitted by Pressler, nor object to the consideration of the exhibits by the Court. Instead, plaintiff argues that they are by-and-large irrelevant. See Plaintiff s Opposition, Docket # 23, at 3, n. 4. Plaintiff objects only to the consideration of plaintiff s veracity on a credit card application attached as Exhibit A to the Williamson Certification as beyond the scope of this motion. Id. Accordingly, the Court may consider the complaint and all exhibits to the Williamson Certification, except for Exhibit A. See White Consol. Indus., Inc., 998 F.2d at 1196; S. Cross, 181 F.3d at 426. In addition, the Court may examine the court orders attached to the Williamson Certification to see if they contradict[] the complaint s legal conclusions or factual claims. S. Cross, 181 F.3d at 427. With respect to the five judgments obtained by Pressler against plaintiff and her husband, Pressler issued at least five information subpoenas, conducted public records searches, and filed at least two motions to enforce litigant s rights in response to non-compliance with discovery requests by plaintiff and her husband. Williamson Cert. ¶¶ 9, 20, 24-26, 31-33, 38-39, 41, Exs. B, H, M, R, V. Pressler also obtained a court order of discovery, a court order to enforce litigant s rights, and a warrant for the arrest of plaintiff after she failed to comply with multiple court orders. Id. ¶¶ 33-34, 38-40, Exs. S, T, U. After plaintiff complained of shortness of breath and chest pains when arrested, Pressler obtained a rescheduled court date, at which plaintiff did not appear. Id. ¶¶ 43-44, Exs. W, X. The discovery conducted by Pressler revealed that plaintiff and her husband claim to own no assets and that plaintiff is the trustee of a revocable trust in 5 favor of her adult son, set to expire on his 39th birthday, the corpus of which includes plaintiff s residence and other property. Id. ¶¶ 9-10, 27, 31-32, 44-45, Exs. B, M, Q, R, X, Y. Notwithstanding the extensive efforts to take post-judgment discovery conducted by Pressler, plaintiff boldly declares that after obtaining a writ of execution, Pressler skips its obligation to conduct adequate post-judgment asset discovery and instead directs the county sheriff to ascertain what assets are available to satisfy the levy. Plaintiff s Opposition at 5. This contention is a baseless and frivolous attempt to raise legal issues not present based on the undisputed facts of this case. The undisputedly authentic documents provided by Pressler in support of its motion demonstrate that plaintiff has repeatedly and contumaciously failed to comply with discovery requests and court orders, even after being arrested as a result. Considered in context, plaintiff essentially asks this Court to allow her to wield her discovery non-compliance as a weapon in this action to recover damages from Pressler on the theory that it should have conducted additional discovery before attempting to collect on its judgments. This is beyond absurd. Upon consideration of the complaint, and the undisputedly authentic exhibits to the Williamson Certification, the Court concludes that plaintiff cannot state a plausible claim for violation of the FDCPA on the theory that Pressler improperly directed inventories of plaintiff s assets without first conducting adequate post-judgment discovery. See S. Cross, 181 F.3d at 427 ( [t]o resolve a 12(b)(6) motion, a court may properly look at public records, including judicial proceedings, in addition to the allegations in the complaint ); White Consol. Indus., 998 F.2d at 1196 ( a court may consider an undisputedly authentic document that a defendant attaches as an exhibit to a motion to dismiss if the plaintiff s claims are based on the document ). In light of 6 this conclusion, the Court has determined that oral argument is unnecessary and has considered defendant s motion based on the parties written submissions pursuant to Fed. R. Civ. P. 78. V. Order For the foregoing reasons, it is ORDERED that defendant s motion to dismiss with prejudice is granted in its entirety. The Clerk of the Court is directed to close this case. /s/ Faith S. Hochberg Hon. Faith S. Hochberg, U.S.D.J. 7


text:
Matthew Poland, the head of the school board, has revealed publicly that he does not plan to seek a third year as chairman when the board elects new officers in February.
"I told the mayor today that I will not stand for re-election as board chairman, and so this is going to be someone else's job to lead the board of education in Hartford," Poland said at Thursday night's meeting of the city council's education committee. He will continue to serve the remainder of his four-year board term, however.
"I need to move on and do the work I need to do with the library," said Poland, who is CEO of the Hartford Public Library. (Serving as school board chairman is a volunteer post.)
Here's a video recording of the meeting, courtesy of Achieve Hartford. Poland's specific comments begin around the 43:20 mark.
UPDATE: In a letter to the board dated Friday, Poland says he will not seek another term as chairman. "I am an optimist at heart so I know that together, fully committed to our children, we can make a real difference." More here.
Maribel La Luz, Segarra's spokeswoman, told Cityline today that "once there is a complete board, the mayor will express his choice for chairman." Segarra plans to appoint a new member to the board in the coming weeks to replace Cherita McIntye, who moved out of state.
Poland officially joined the board on Feb. 7, 2012, when he and four other mayoral appointees took their oath of office. At that same meeting, the board voted to make Poland its chairman. Poland kept that leadership position last February when the board held its annual election of officers, and has overseen a number of newsmaking decisions, including the board's vote last June to reject Superintendent Christina Kishimoto's request for a contract extension.
During Thursday's meeting, Poland said Ray and Associates, the Iowa search firm chosen to find Hartford's next schools chief, is finalizing its contract with search committee co-chairmen Jose Colon-Rivas and Robert Cotto Jr.
Poland also told council members that the search panel has been working on a list of competencies that will be required of the new superintendent, who would take over on July 1. He said that list has not been finalized, and that, generally, the committee's "proceedings are confidential because it's a personnel matter."
One of the traits the committee will be seeking is someone with a proven record of being a "collaborative" leader, Cotto said.
Following the tenure of former Hartford schools chief Steven Adamowski, who shook up the district with his reform plans, Poland said, "the next leader needed to be a builder, and that's what we need to find."
Later in the meeting, after Achieve Hartford! executive director Paul Holzer asked about attracting candidates to Connecticut's capital city, Poland had this to say: "I think that Hartford, wherever we recruit, has a difficult time. The nature of what people hear about our city often limits candidates. And I think what we have to do is make sure we're clear about both the local challenges that we face and that we want someone who will take that on. This is not a job where you come and … you're comfortable all the time. You better not be comfortable. Right? You want to be challenged all the time. We have huge, huge mountains to climb."
Poland also warned at the meeting against releasing — or "leaking" — information on applicants until the finalists are formally announced.
"Once you start getting the leaks of, 'This superintendent has applied, that superintendent has applied,' oftentimes good people will disappear," said Poland, who is no longer serving on the search committee. New school board member Beth Taylor took his spot.
"So we do have to be very cautious about that until we have the final candidates," Poland said. He added that the community will have the opportunity to meet the finalists before the board's vote.
At the start of Thursday's meeting, city Councilman David MacDonald — Hartford's former school board chairman when Kishimoto was hired to lead the district — emphasized the importance of the search.
"I would dare say that the selection of the superintendent is the most important vote that you will take as a board of education member," MacDonald said. "You need to select someone who will be a good partner with you."


text:
Skip to content
and found 4 items
Matches found in Motorcycle News
Rupert Paul,
03 February 2013 12:00
If a passing stranger informed you that this time next week you could be sliding a motorcycle round corners like Nicky Hayden in the off season, you'd write him off as a dangerous lunatic. Well, I am that lunatic. Because I am telling you, here and now, that anyone can learn the basics of this ultra-cool skill within about ten ...
Rupert Paul,
29 July 2009 17:25
A deaf, blind stunt rider has been priced out of doing 150mph speed runs, cage rolls and two-up wheelies – because his insurance has gone up to £250 a day. Graham Hicks, who rides at shows and airfields with a passenger giving instructions via touch, has spent three months trying to get cover for 2009. "My broker said the underwriter ...
Rupert Paul,
16 April 2009 14:45
For over half a century the world motorcycle land speed record has been held by Americans. Now a UK team, led by a former Manx GP racer, hopes to change that. Gabriel Uttley plans to whup the Americans in their own back yard next year, at the annual Bonneville speed trials. The attempt, which would beat the existing record by ...
Rupert Paul,
25 March 2009 14:08
The new crossplane Yamaha R1 sportsbike has blitzed MCN track and road tests, but many riders, including our test team, report that it takes time to 'get' its unique power delivery. Video: 2009 Yamaha R1 first impressions Now the first batch of bikes is on the street, we'd like to know what you think. "The power's deceptive because it's almost a twin," ...
Save money by comparing quotes. It's quick and easy
With over 18,000 products, MCN shop is the best place to buy your biking kit
Motorcycle Cover | Cheap Motorcycle Insurance | Moped Insurance | Scooter Insurance | 125 Insurance | Work Experience | Complaints Policy
Car Magazine | Empire | FHM | Parkers | LRO | Today's Golfer | Zoo
Bauer Consumer Media Ltd (company number 01176085, 1 Lincoln Court, Lincoln Road, Peterborough, England PE1 2RF)


text:
How to choose a crossover Looking for a crossover? Do you need a crossover? There are several different types - make sure you choose wisely to optimize your system.
How to Install a CrossoverPassive crossovers are very easy to install, but active crossovers require a little more work. Find out about mounting, wiring, and setting up a crossover.
Crossovers FAQWhat is a crossover and do I need one? What's the difference between passive and active crossovers? How hard is it to install a crossover? These answers and more in our crossovers FAQ.


text:
Paris, France
Alain Wertheimer (co-owner), Gerard Wertheimer (co-owner), Karl Lagerfeld (head designer)
Chanel was created by the famous fashionista Coco Chanel. The Parisian fashion house is specialized in luxury goods such as haute couture, ready-to-wear, handbags, perfumery and cosmetics amongst others. Maison de Chanel has through successful years become to be one of the most recognized names in luxury and haute couture fashion. The well-known signature Chanel logotype (see picture), was originally founded by Coco Chanel and didn't become a trademake until the opening of the first Chanel stores.
RSS feed with Chanel
Keira Knightley's New Bob - Hot or Not?
Thursday 10:58 PM, 07/10/2010
British actress and Chanel muse Keira Knightley showed off a brand new hairdo at the Chanel Ready To Wear show at Paris Fashion Week this past weekend. We think she looks pretty amazing in the new bob style, especially because her skin is so gorgeous at the moment! What do you think - is it a hot look for her or not?
Keira's new bob:
Tags: Keira Knightley / Chanel / Hairstyles
Runway To Real Life!
Saturday 3:17 PM, 18/09/2010
Kate Bosworth wore this beautiful chiffon dress hot from the Chanel Spring/Summer 2010 catwalk to a Chanel dinner party earlier this year and although she looked gorgeous, we have to ask ourselves if she actually managed to outdress the original look from the runway? What do you guys think?
Whose look do you prefer?
Tags: Kate Bosworth / Fashion Battle / Chanel
Kim Kardashian's Luxury Spending Spree!
Friday 5:07 PM, 17/09/2010
Kim Kardashian and her mom Kris Jenner are in Paris at the moment and they seem to have only one thing on their minds - shopping! The ladies went into Hermès yesterday and bought, wait for it, not one or two but SEVEN iconic Birkin bags and Kim spent 30 000 dollars on a rare crocodile tote as well! Wow! That means they spent more than 100 000 dollars in just Hermès boutique alone and we hear they stopped by Gucci and Chanel too. We are jealous!
Tags: Kim Kardashian / Gucci / Chanel / Hermès / Shopping
Karl Lagerfeld Takes Time Off For Fashion!
Sunday 10:27 PM, 12/09/2010
Even though it's not the weirdest thing to see Chanel's head designer Karl Lagerfeld at Fashion Week in New York we're still surprised seeing as he's only two weeks away from showing his own collection in Paris! In any case we spotted the fashion veteran strolling around SoHo yesterday with his muse, model Baptiste Giabiconi!
Tags: Karl Lagerfeld / Supermodel / Chanel
Who Looks Best in Chanel?
Friday 3:01 PM, 10/09/2010
Chanel designer Karl Lagerfeld held a big party in New York City last night to celebrate the opening of Chanel's funky new boutique in Soho. All Karl's favorite celebrity fashionistas were there, like Diane Kruger, Alexa Chung and Rachel Bilson, all in head to toe Chanel of course! Who do you think looks the best in the iconic brand's clothing though?
Best in Chanel?
Tags: Red Carpet / Chanel
Keira Knightley: Sexiest Biker Ever!
Tuesday 4:01 PM, 07/09/2010
British starlet Keira Knightley is one of the Chanel Luxury Brand's darlings and is often used in their ad campaigns, as fans probably know. Yesterday Keira was in Paris looking sexy as hell shooting a new ad for Chanel! Wow, that nude biker outfit is fantastic! She has got to be the most stylish biker chick we have ever seen, take a look!
Tags: Keira Knightley / Chanel / Hollywood celebrity


text:
Subway singer Denise Weeks sang "The Greatest Love Of All" on The X Factor USA Auditions (Sept.12 episode). Watch the video here.
Simon Cowell: "The X Factor has been waiting for you." Demi Lovato: "I feel like one day you're going to be singing in front of lots of people." Kelly Rowland: "We have been waiting on you. Period."
Four Yes's for Denise! She advances to the next round!
To post a comment, log into Facebook and then 'Add' your comment. To report spam or abuse, click the 'X' in the upper right corner of the comment box.