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Comparison of 2020 with average death rates and the 2014-15 flu season
{{legend|#0000aa|Average deaths per week 2010-2019 excluding 'flu year q4,2014-q3,2015}} {{legend|#ff8000|deaths per week, 2014quarter4}} {{legend|#000000|deaths per week, 2015quarters1-3}} {{legend|#e41a1c|deaths per week, 2020}}

Note: Average Deaths per week are presented using the years 2010-2019 but excluding the recent year with particularly high incidence of 'flu, q4,2014-q3,2015; deaths per week 2020 covers weeks 1-33 inclusive. Data downloaded from mortality.org, 15 September 2020. The pronounced zigzags typically correspond to holiday periods when there may be a lag in the reporting of some deaths.

Total cases and deaths
All-cause deaths in England and Wales in quarter 2 (weeks 14-26, inclusive), year by year, based on mortality.org data, stmf.csv :

mortality.org indicates the data for 2020 to be preliminary. The above is not adjusted by population size.

update|section|date=August 2020}}


 * x= 28 Feb, 29 Feb, 1 Mar, 2 Mar, 3 Mar, 4 Mar, 5 Mar, 6 Mar, 7 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, 18 Mar, 19 Mar, 20 Mar, 21 Mar, 22 Mar, 23 Mar, 24 Mar, 25 Mar, 26 Mar, 27 Mar, 28 Mar, 29 Mar, 30 Mar, 31 Mar, 1 Apr, 2 Apr, 3 Apr, 4 Apr, 5 Apr, 6 Apr, 7 Apr, 8 Apr, 9 Apr, 10 Apr, 11 Apr, 12 Apr, 13 Apr, 14 Apr, 15 Apr, 16 Apr, 17 Apr, 18 Apr, 19 Apr, 20 Apr, 21 Apr, 22 Apr, 23 Apr, 24 Apr, 25 Apr, 26 Apr, 27 Apr, 28 Apr, 29 Apr, 30 Apr, 1 May, 2 May, 3 May, 4 May, 5 May, 6 May, 7 May, 8 May, 9 May, 10 May, 11 May, 12 May, 13 May, 14 May, 15 May, 16 May, 17 May, 18 May, 19 May, 20 May, 21 May, 22 May, 23 May, 24 May, 25 May, 26 May, 27 May, 28 May, 29 May, 30 May, 31 May, 1 Jun, 2 Jun, 3 Jun, 4 Jun, 5 Jun, 6 Jun, 7 Jun, 8 Jun, 9 Jun, 10 Jun, 11 Jun, 12 Jun, 13 Jun, 14 Jun, 15 June, 16 Jun, 17 Jun, 18 Jun, 19 Jun, 20 Jun, 21 Jun, 22 Jun, 23 Jun, 24 Jun, 25 Jun, 26 Jun, 27 Jun, 28 Jun, 29 Jun, 30 Jun, 1 Jul, 2 Jul, 3 Jul, 4 Jul, 5 Jul, 6 Jul, 7 Jul, 8 Jul, 9 Jul, 10 Jul, 11 Jul, 12 Jul, 13 Jul, 14 Jul, 15 Jul, 16 Jul, 17 Jul, 18 Jul, 19 Jul, 20 Jul, 21 Jul, 22 Jul, 23 Jul, 24 Jul, 25 Jul, 26 Jul, 27 Jul, 28 Jul, 29 Jul, 30 Jul, 31 Jul, 1 Aug, 2 Aug, 3 Aug, 4 Aug, 5 Aug, 6 Aug, 7 Aug, 8 Aug, 9 Aug, 10 Aug, 11 Aug, 12 Aug, 13 Aug, 14 Aug, 15 Aug, 16 Aug, 17 Aug, 18 Aug, 19 Aug, 20 Aug, 21 Aug, 22 Aug, 23 Aug, 24 Aug, 25 Aug, 26 Aug, 27 Aug, 28 Aug, 29 Aug, 30 Aug, 31 Aug, 1 Sep, 2 Sep, 3 Sep, 4 Sep, 5 Sep, 6 Sep, 7 Sep, 8 Sep, 9 Sep, 10 Sep, 11 Sep, 12 Sep, 13 Sep, 14 Sep, 15 Sep, 16 Sep, 17 Sep, 18 Sep, 19 Sep, 20 Sep,

Martyrium of Saint Denis, Montmartre
The hill of Montmartre became a place of popular pilgrimage after a chapel was erected by the people of Paris, around 475, where Saint Denis, the first bishop of Paris, was martyred. The chapel, which had become ruined, was rebuilt in the ninth century. Archaeological excavations indicate that many Christians were buried in Montmartre. Their bones were gathered in a quarry on the side of the hill: the Martyrium or champ des morts.

Construction work during the 16th century exposed a staircase leading down to a crypt with three graves marked with a cross and ancient inscriptions.

This discovery led people to believe that this was the site where Saint Denis and his companions had been beheaded and buried. The abbesses of Montmartre Abbey erected the Sanctum Martyrium Chapel and new monastic buildings around the crypt.

On August 15, 1534, in the Martyrium, Ignatius of Loyola, Francis Xavier, Pierre Favre and four companions pronounced their religious vows of poverty and chastity, and promised to make a pilgrimage to Jerusalem. This "Vow of Montmartre" (Vœu de Montmartre) was received by Pierre Favre, then only priest of the group, when he gave them communion. It was the origin of the Society of Jesus, which was given Papal approval through the bull Regimini militantis ecclesiae in 1540.

Montmartre Abbey was split between the Upper Abbey, the original buildings on the hilltop which were abandoned in the late 17th century, and The Lower Abbey, which corresponded to the new buildings erected around the Sanctum Martyrium. During the French Revolution, Montmartre Abbey, the Sanctum Martyrium Chapel, and its crypt were destroyed.

The current crypt is located on the perimeter of the parish Saint-Jean-de-Montmartre. It was built between 1884 and 1887 in the chapel of the Sœurs Auxiliatrices du Purgatoire, a female religious congregation taking inspiration from Ignatius, founded in the nineteenth century by the Blessed Eugénie Smet (1825-1871). They had installed their "maison généralice" in Antoinette Street (now rue Yvonne Le Tac). This was on the site of the old buildings housing the Martyrium of the chapel in what was called up to the French Revolution, "the Lower Abbey"; it was blessed on August 15, 1887 by the Archbishop of Paris and sustains the memory of these two events (the martyrdom of Denis and the Vow of Montmartre) which are of considerable significance for the Church. The Martyrium is cared for by l'Association de la Crypte du Martyrium de Saint Denis et du Souvenir de Saint Ignace de Loyola.

Robert Borlase Smart
Robert Borlase Smart(1881-1947) worked as a journalist (art editor and critic on the Western Morning News/Illustrated Western Weekly News from 1901 to 1913) but is principally known as an artist, in which capacity he became a founding member of the St Ives school during the years following his return or the first world war.

Born at Kingsbridge, early on he studied with F J Snell in Devon. Later he studied with Julius Olsson. He joined the artists rifles and served through the war. In 1916 he met and established a lifelong friendship with Leonard fuller while they were drawing illustrations of the Lewis gun.

On cessation of hostilities he returned with his wife to St Ives, where a school of artists formed around them. Borlase Smart published a number of books on the techniques of painting, and was a key figure in establishing a permanent home for the St Ives Society of Arts in the Mariner's Church.

Albert Julius Olsson
For the American Artist of a similar name, see Bror Julius Olsson Nordfeldt.

Albert Julius Olsson 1 February 1864 - 7 September 1942 was a British maritime artist and keen yachtsman. He was born in Islington, London, to a Swedish father and an English mother. Olsson cruised with his yacht most summers, and The Studio commented: 'He knows the way from the Scillies to the Isle of Wight as most men know their way to the nearest railway station.'

He exhibited a painting of Newlyn in 1887, and sold a painting at Newlyn in 1897. By then he was an important figure in the St Ives school of artists where, from circa 1890 to 1912, despite having little or no formal artistic training himself, he taught alongside Louis Grier and later Algernon_Talmage. His work was first accepted at the Royal Academy in 1890, and he joined the New English Art Club in 1891. In 1912 he returned to London. During his time at St Ives, the town drew in many artists and Olsson taught many of them, including Mary McCrossan and Richard Hayley Lever, Reginald Guy Kortright, Emily Carr, John Anthony Park and many others. In 1914 Olsson was elected ARA. During the First World War he served as a lieutenant in the RNVR, giving him the opportunity to paint naval ships in action. He became a full member of the RA in 1920.

According to one source, in St Ives, with his artist wife Kathleen, he had designed and set up home at what is now the St Eia Hotel. St Eia is situated with a view to the east overlooking Carbis Bay, and during their time there it was to house a studio and become a school of art. Elsewhere it is stated that (after leaving St Ives) he married Edith Ellison in 1925. Edith was the daughter of an Irish horse breeder, and after the marriage he made frequent painting trips both to Ireland and to Sweden.

In the Second World War he was bombed out of his London studio. He died at Dalkey, near Dublin, in 1942. His works may be found in museums all over the UK.

From :

1864—1942 Born in Islington, London, the son of a Swedish father and English mother, the 'artist was within him' and he was wholly self-taught. Listed by Marriott as a daring yachtsman and St Ives artist, responsible for the concoction of Swedish punch, a mystic ceremony, for the New Year celebrations at the Arts Club where they met every Saturday night. He did more than any other painter to stamp St Ives as a British outpost of impressionism. He ran the Cornish School of Landscape, Figure and Sea Painting in St Ives, first with Louis GRIER and subsequently with Algernon Mayow TALMAGE.

In 1887 at the Nineteenth Century Art Society, which kept a small gallery at Dudley, West Yorkshire, 'Mr J Olsson shows a distinct poetic feeling in his treatment of March Twilight: Newlyn, Cornwall.' [AJ, 1887, p413]. This would seem to indicate that he had been in Cornwall earlier than was previously thought (at the age of 22-23 rather than 26 as previously listed for his arrival in Cornwall).

He and his wife, Kathleen (also an artist) designed and built their own home, St Eia, which contained many Arts & Crafts features (later an hotel). Students included Reginald Guy KORTRIGHT Emily CARR, Mary McCROSSAN and John Anthony PARK amongst many others. His influence as a teacher spread over a generation or more of young painters from Britain and overseas. He resided at St Ives for two decades until 1912, when he returned to London and shortly thereafter was elected an Associate of the RA. Olsson cruised with his yacht most summers.

The Studio commented: 'He knows the way from the Scillies to the Isle of Wight as most men know their way to the nearest railway station.' His work was in the late impressionist style of Henry MOORE. At the 1895 NAG Opening, Olsson exhibited two paintings, the largest Astray (a flock of sheep wandering over yellow towans), and the second, a seascape. His first sale of a painting at Newlyn was in 1897 and he exhibited regularly thereafter, selling Moonrise (1902), Off the Needles (1904) Summer Calm (1910). Other titles included Dunluce Castle, Gale Subsiding, A Moonlit Shore (1911, oils). Tovey describes well how immensely Olsson contributed to many aspects of creative and social life in St Ives, and how he remained supportive and connected to the art colony for the rest of his life. His old studio, the vast Number 5, Porthmeor Studios became STISA's first dedicated gallery space.

Olsson died of cardiac failure at St Heliers, Dalkey, Co Dublin in Ireland while on a visit to his sister-in-law's home. (Birth and death certificates/Bednar files)

From Messums: A larger than life character, described by The Studio as “a big man with a big heart, who paints big pictures with big brushes in a big studio,” Julius Olsson was pivotal to the second wave of artistic immigration to St. Ives in the 1890s.[1] His work was first accepted at the Royal Academy in 1890, and he joined the New English Art Club in 1891. With little or no formal artistic training himself, he set up studio on Porthmeor beach, St. Ives. This became, in 1895, the premises for the School of Landscape and Marine Painting. Teaching in conjunction with Louis Grier and Algernon Talmage, Olsson soon built a reputation that attracted aspiring marine painters from far-afield, including Mary McCrossan and the Australian, Richard Hayley Lever. Of Swedish descent, Olsson was portrayed by contemporary reviewers as a latter-day Viking, roaming abroad on the briny-deep with paintbrush and easel, capturing images of the sea in all of its many moods. He was indeed an accomplished yachtsman who knew “the coast from the Scillies to the Isle of Wight as well as most men know their way to the nearest Railway station.”[2] There was one time of day, however, which Olsson was felt to have made peculiarly his own: “It is that tender half-time between day and night, when the moon, as yet but a pale disc, peeps over the distant horizon and lays a ribbon of golden sheen across the pale waters.”[3] A painting of this subject, Moonlit Shore, (London, Tate Britain) was acquired by the Chantrey Bequest from the Royal Academy in 1911, at the height of Olsson’s popularity. In 1914 Olsson was elected ARA and full membership followed in 1920. During the First World War he served as lieutenant in the RNVR, giving him the opportunity of painting naval ships in action.[4] He married Edith Ellison in 1925, the daughter of an Irish horse breeder, and thereafter he made frequent painting trips to Ireland and Sweden, always concentrating on the effects of light on water, which he increasingly came to see as a type of natural canvas. He died at Dalkey, near Dublin, in 1942 having been bombed out of his London studio. [1] See A.G. Folliott Stokes in The Studio, 1910, Vol. 48, pp.274-83 [2] ibid. p.283 [3] ibid. p.282 [4] See Royal Academy Illustrated, 1919, p.82 Works by Olsson are held in the following UK public collections: Accrington: Haworth Art Gallery Birmingham City Art Gallery Blackburn Museum and Art Gallery Blackpool: Grundy Art Gallery Bolton Art Gallery Bradford: Cartwright Hall Bristol City Art Gallery Cardiff: National Museums and Galleries of Wales Derby Museum and Art Gallery Doncaster Museum and Art Gallery Dover District Council Collection Dublin: Hugh Lane Gallery of Modern Art Edinburgh: Royal Bank of Scotland Exeter City Council Glasgow Art Gallery and Museum Harrogate: Mercer Gallery Hull: Ferens Art Gallery Leamington Spa Art Gallery Lincoln: Usher Gallery Liverpool: Walker Art Gallery London: National Maritime Museum London: Leighton House London: Royal Academy London: Tate Britain Merthyr Tydfil: Castle Museum and Art Gallery Newcastle-upon-Tyne: Laing Art Gallery and Museum Oldham Gallery Plymouth City Museum Portsmouth City Museums Preston: Harris Museums and Art Gallery Rochdale Art Gallery Sheffield City Museums Southampton City Art Gallery Southport: Atkinson Gallery Sunderland Museum and Art Gallery Taunton County Museum Truro: Royal Cornwall Museum Worcester City Art Gallery Literature: Ben Tufnell, On the Very Edge of the Ocean: The Porthmeor Studios and Painting in St Ives, Tate St Ives Research Series, 2007 A.G. Folliott Stokes in The Studio, 1910, Vol. 48, pp.274-83

seal pups refces re Sea Empress
Deaths theory: bbc (polluted "around 200km of coastline") no apparent deaths at the time (as observed amongst the seal population on Skomer and reported by Swansea.ac.uk). Observations made within the Skomer Marine Nature Reserve, which is a seal breeding area, revealed that a proportion of the seals resident during the period of severe oil pollution did show some degree of oiling on their coats. In a few cases the oiling was heavy. No evidence of pollution-related seal mortality was identified during the incident. It is, however, quite possible that seals may have experienced short-term pollution symptoms such as eye or respiratory tract irritation. Longer term health problems may manifest themselves in due course. One possibility may have involved effects arising from the concentration of toxins through the food chain - grey seals consume a variety of prey including crabs and fish. Later observations suggested high mortality rates among pups born a few years after the incident, potentially attributable to it.

The South-West Wales region is also frequented by common porpoises Phocoena phocoena and bottle-nosed dolphins Tursiops truncatus. The impacts of the oil and chemical pollution on these species remained unknown. Significant numbers of both species, however, were sighted within the waters of the Skomer Marine Nature Reserve during spring and summer of 1996.

Celtic Ring Crosses
Christian cross Margam Stones Museum Christian cross variants '>30 ring crosses in Pembs'

Pappa Fund
The Pappa Fund is a small charity based in the village of Marshfield, South Gloucestershire, UK, which supports the people of Rameswaram. The Pappa Fund supports local projects in the areas of education, health care and social relief. It also enables students to continue into higher education who otherwise could not otherwise afford to do so.

The Fund applies its income to the general benefit of the inhabitants of the Island of Rameswaram or any other community or inhabitants in Southern India by:

It is UK Charity Number 1060188.
 * working in partnership with local individuals and groups, responding to their initiatives and requests
 * supporting local projects which give priority to the needs of women and young people
 * promoting self-sufficiency rather than dependency
 * helping those who are already trying to help themselves.

Parliamentary Stuff
Parliament and...

Table of historic merging of territories within the UK
See also Documents relevant to personal and legislative unions of the countries of the United Kingdom, and History of the formation of the United Kingdom.

Here's an anchor: A...

history of the extending UK franchise
See Elections in the United Kingdom

Here's another anchor: A...

Headline events in the history of the UK Parliament
See Parliament in the Making

Roche Limit
The table below shows the mean density and the equatorial radius for selected objects in the Solar System.

xxx

Since the equation(s) for the Roche limits relate the minimum sustainable orbital radius to the ratio of the two objects' densities and the Radius of the primary, using these data, the Roche limits for rigid and fluid bodies can be calculated. The average density of comets is taken to be around 500 kg/m³.

The table below gives the Roche limits expressed in kilometres and in primary radii. The true Roche limit for a satellite depends on its density and rigidity. The table also compares the limits with the Mean Radius of the Orbit for each.

So clearly these bodies are well outside their Roche Limits -by various factors, from 21 (over its Fluid-body Roche limit), for the Moon as part of the Earth-Moon system, upwards to thousands for Earth and Jupiter.

But how close are the Solar System's other moons to their Roche limits? The table below gives each inner satellite's orbital radius limit divided by its own Roche radius. Again, both rigid and fluid body calculations are given.

Reimers Yachts
See also: http://www.faz.net/aktuell/technik-motor/auto-verkehr/reimers-yachten-variationen-der-schoenen-schlanken-linie-1940547.html?printPagedArticle=true#pageIndex_2:

and: http://www.pia.hostoi.com/About_Pia.html ---

Tumlaren
The word Tumlaren is Swedish for Porpoise; it is also the name a class of canoe-sterned (or 'double-ended') yacht designed by Knud Reimers. The design dates from the early 1930s (1933 from a majority of sources; No. 1, 'Aibe' was built the next year for Bengt Kinde). The Tumlaren is 27'3" overall; the design was strongly endorsed as a 'very advanced type' by Uffa Fox who was especially interested in the composite method of construction employed, with metal frames interspersed between the timber ones.

The class became popular worldwide. Examples are to be found all round the Baltic, in the UK, North America and Australia. The total number built is given variously from 'At least 200' to 'Some 600', and '660' given in Vanessa Bird's 'Classic Classes'.

As standard, the class carries 20Sq m of sail, however a variant known as the Hocco is a class with the same hull but 28Sq m of sail, conceived for sailing on inland waters, specifically Lake Geneva.

Dvorak String Quartets
Antonin Dvorak complete catalogue of works 4th revised edition 2004 Peter J F Herbert/ Ian T Trufitt; the Dvorak Society for Czech and Slovak Music. the Dvorak Society occasional publications no. 4 ISBN 0-9532769-4-5.

XXX s Q no 1 A major B8 Op 2 (1) composed before March 1862, revised 1887. Dedicated to Josef Krejci, inscribed "Bohu diky!" Thanks be to God! And "composed after military service call-up." 1st performance Ondricek Quartet, Umelecka Beseda, Prague, 6/1/1888.

2. Bflat major B17 composed 1868? 1869? 1870? 1st performance privately by the Ondricek Quartet, Prague, 16/11/1932.

3. D major B18 1869? 1870 1st performance by the Dvorak Quartet, Rudolfinium, Prague, 12/1/1969.

4. E minor B 19 composed before the end of 1870. 1st performance by the Prague Quartet, Deutsche Gramophon, Jan/Feb 1976. Andante religioso later became nocturne b47 op 40.

5. F minor op 9 B37 sept to 4/10/1873. Ms. missing. Arr. Gunther Raphael; 1st version dedicated to Josef von Portheim. 1st performance by Jan buchtele, Ferdinand karhanek, j lupinek & Vaclav kefurt, Rudolfinium, Prague Corn Exchange, 11/1/1930.

6. A minor B40 op 12. Nov -5/12/1873 revised 1874? Unfinished. Reconstruction by Burghauser with minimal additions 1st performance by the Prague Quartet, Deutsche Gramophon, mar/april 1977.

On this occasion it was recorded uncut although editorial suggestions were offered by Burghauser for performance, in line with certain other of Dvorak's early quartets.

Intro to No 2
Dvořák's string quartet number 2 in Bflat major B.17 was probably composed in 1869, early in his compositional career. It received its 1st performance in private by the Ondricek Quartet, Prague, 16/11/1932. It is of over three quarters of an hour's duration, making it Dvorak's second longest chamber work.

Intro to No 3
At over an hour's duration, Dvořák's string quartet number 3 in D major B. 18 is the longest of his compositions for this medium. It was written was written early in his career -probably at some stage in the years 1869 and 1870 - and in addition to its length, its style has been described in parts as Wagnerian. It received its first performance by the Dvorak Quartet, at the Rudolfinium, Prague, on 12/1/1969.

Intro to No 4
Antonín Dvořák composed his string quartet number 4 in E minor, B. 19 at some stage in the years 1869 and 1870. It received its first performance by the Prague Quartet, for Deutsche Gramophon, Jan/Feb 1976. The quartet was printed in 1968 as part of the complete critical edition of Dvořák's works. The quartet received its first public performance in 1990, by the Martinu Quartet, in Prague. The quartet is in one continuous movement, but with three distinct sections. The music of the second section, marked 'Andante religioso', was later used as the basis for a movement of the second quintet (G major) B.49 which in turn was arranged for the Nocturne for Strings in B major, Op. 40 (B. 47) (also published in the composer's own arrangements for Violin and Piano, B.48a and Piano Duet, B.48b).

Intro to No 6
Antonín Dvořák composed his string quartet number 6 in A minor, B. 40 Op. 12. in November and December 1873, finishing it on 5/12/1873. He later revised it, but at this stage left the work unfinished. After a reconstruction by Jarmil Burghauser, with minimal additions, a first recording was made by the Prager Streichquartett, for Deutsche Grammophon, in March and April 1977.

Background
The original version of his string quartet B.40 was in one continuous movement. On revising it, probably in 1874, Dvořák began to split the music into the conventional four movements, removing one section, the Andante Appassionato B.40a, completely. He did not complete the task. For its first recording in 1977, Burghauser found that certain passages were missing, but was able to use analogous portions from elsewhere in the piece. This process is detailed in the sleeve notes of the CD recording and below. The quartet was recorded by the Prager Streichquartett for the Deutsche Grammophon complete string quartet works. The quartet received its performance premiere on 9 October 1990, in Prague, by the Kocian Quartet.

Structure
1. Allegro ma non troppo 4/4 A minor/D major/A major

2. Poco allegro 6/8 F major/B flat major NB foot of trio marked 'scherzo DC' tho' movement as a whole is not so titled

3. Poco adagio 2/4 E major/C major/ 1 bar of 3/4 then into e major 2/4

4. Finale. Allegro molto 2/4 A major/G flat major with triplets/A major

In order to complete the work, Burghauser's editorial insertions were as follows

1- Allegro ma non troppo: no recapitulation- adapted from exposition

2- 'scherzo': first half opening section taken from first (rejected) version

4- finale: part of exposition taken/drawn from recapitulation... Only a few bars in transition from development to recapitulation were added freely.

The quartet was printed in 1983 as part of the complete critical edition of Dvořák's works.

Intro to Andante Appassionato
Antonín Dvořák's Andante Appassionato for string quartet in F major B.40a is a section of music taken from the original version of his string quartet B.40. With minimal editing, the Andante Appassionato forms a standalone piece.

Background
During November and December 1873, the original version of the string quartet B.40 was composed. The quartet was initially fashioned in one continuous piece. On revising it, probably in 1874, Dvořák began to split the music into the conventional four movements, and set the Andante Appassionato portion aside as a separate item. The last bar of the piece would originally have led into the next section of the complete quartet, and as such, according to Jarmil Burghauser, it would have modulated in key. Instead of this, for the single movement piece, Burghauser provided a suggested F major conclusion with a lengthened tonic note. This is the version recorded by the Prager Streichquartett for the Deutsche Grammophon complete string quartet works. See CD notes.

The piece has been described as "somewhat reminiscent of Schubertian Romanticism".

The piece starts in A minor and ends on a chord of F major. The start and end keys thus give it a potential place in Dvořák's String Quartet number 6 between movements 1 (which ends in A major) & 2 (which starts in F major). Some of the writing of the Andante Appassionato is reminiscent of the start of the second movement of the quartet number 6, which makes the sequence 1-A.A.-2 credible in the current completed forms of the pieces. Note, however, that Burghauser describes it as originally 'leading to the finale'.

SQ No. 7 A minor B45 op 16
7. A minor B45 op 16. ?14 -24/9/1874. 1st perf privately by circle of young musicians 17/6/1875; 1st public performance 29/12/1878. Revised after 1894. 1st major published work.

Antonín Dvořák finished the composition of his String Quartet No. 7 in a minor, Op. 16, (B. 45) on 24/9/1874, having probably started it on or around the 14th of that month.

Background
According to Sourek, Dvorak began composition of this quartet in the middle of September 1874, completing the second movement on the 17th, the third on the 21st and the fourth on the 24th of the same month. He dedicated the work to the conductor Dr Ludevit Prochazka. It was first performed at a meeting of the "Circle of Young Musicians" on June 17th, 1875, and publicly at a concert of the "Society for Chamber Music" in Prague, on the 29th December, 1878, the performers on this occasion being Antonin Bennewitz, Eduard Wittich, Vilem Bauer and Bruno Wilfert. The quartet was Published in parts by Emanuel Stary, Prague, in 1875, and in score and parts by Bote & Bock, Berlin, in 1893. Its duration is circa 23 1 /2 minutes.

Structure

 * Allegro ma non troppo, A minor, 3 / 4
 * Andante cantabile, F major, 4 / 4
 * Allegro scherzando, A minor, 3 / 2
 * Allegro ma non troppo, A minor, 2 / 2

Cypresses
Dvořák's String Quartet movements now bearing the title ‘Cypresses’ (Czech: Cypřiše) are String Quartet versions of 12 of his 18 love songs, B11, of 1865 -also titled ‘Cypresses’. These arrangements are numbered B.152 and date from 1887. The 12 pieces he selected for arrangement from B. 11 are Nos. 2-4, 6-9, 12, 14, and 16-18; the original songs are for solo voice and piano, and are settings of poems by Gustav Pfleger-Moravsky.

Background
10 of these (1-9 & 11) were edited by Joseph Suk and published by Hudebni matice Umelecke Besedy in 1921; the complete set of 12 appear in Soubourne kriticke vydani, the Complete Critical Edition, from 1957. They were originally titled 'Echos of Songs', later 'Evening Songs', under which name numbers 1-3 & 9 were given their 1st performance by Karel Ondricek, Jan Pelikan, Petr Mares & Alois Neruda, at Umelecka Beseda, 6/1/1888. Dvořák Inscribed them "These little compositions were originally songs(18), four of which were published as Op2 by Stary... I wrote them in 1865 and now, after 22 years, I have arranged them for quartet under the title 'The Echo of Songs'". They were given their present title by Joseph Suk.

Structure
The original songs are clearly recognisable in these String Quartet arrangements, with melodic line, rhythm and harmony unchanged. For No.11, Dvořák changed the key, and half of them he extended by repetition, mostly with some interchange of allocation of lines to the different instruments. The pieces are as follows:

2 Waltzes, Op 54
from http://www.antonin-dvorak.cz/en/two-waltzes two waltzes

opus number 54 Burghauser catalogue number 105 composed 9 December 1879 and March 1880 premiere - date and place private performance: December 1879, Praha public performance (orchestral setting of the strings): 29 March 1880 premiere - preformer(s) December 1879: Novacek, Pecirka, Buchal, Sramek (?) 29 March 1880: conductor Antonin Dvorak parts / movements No. 1 A major (Moderato) No. 2 D major (Allegro vivace) duration approx. 7 min.

Dvorak arranged the first and fourth piece from his piano cycle Waltzes, Op. 54, for string quartet as well. For ease of performance the second of these was transposed from the original D flat major to D major. This quartet version of the Waltzes was only published after the composer’s death, in 1911.

String Quartet No. 9 in d minor
Antonín Dvořák finished the composition of his String Quartet No. 9 in d minor, Op. 34, (B. 75) on 18/12/1877, having probably started it in July of that year.

Background
The work was composed in the months after the deaths of two of Dvorak's children; it is dedicated to Johannes Brahms. Dvorak revised it in 1879, and Herbert/Trufit suggests that the first performance may have been given by the Quartetto Heller, in Trieste, on 14/12/1881. Sourek, however gives a first performance at a concert of the Musical Section of the Umělecká beseda (Arts Discussion Group) in Prague on February 27th, 1882, by Ferdinand Lachner, Petr Mares, Vaclav Borecky and Alois Neruda.

Structure
The work is composed in four movements:


 * 1) Allegro, D minor, 3 / 4
 * 2) Alla Polka, Allegretto scherzando, B flat major / g minor, 2 / 4 (with Trio, Quasi I'istesso tempo, E flat major, 3 / 8)
 * 3) Adagio, D major, 3 / 4
 * 4) Poco allegro, D minor, 6 / 8

String Quartet No. 1 in A major
Antonín Dvořák finished the composition of his String Quartet No. 1 in A major, Op. 2, (B. 8), one of his earliest chamber works, in March, 1862. He inscribed it with "Bohu diky!" (Thanks be to God!) and "composed after military service call-up."

Background
Dvořák's fourteen string quartets cover the bulk of his composing career, from 1862 (No. 1) to 1895 (No. 14). The first string quartet was not his first chamber composition: he had written the String Quintet in A minor (Op. 1) in Summer 1861.

In 1887 Dvořák decided to rework the long forgotten quartet. He removed a good deal of what he considered the unnecessary "filler" in the original version.

The composition was dedicated to the director of Prague Conservatory, Josef Krejčí, who was Dvořák's teacher of music theory at the Prague Organ School. No actual performance has been documented before 1888, when the revised version of the work was played at a concert of the Umělecká beseda (Arts Discussion Group) in the Rudolfinum in Prague. The players were members of the orchestra of the National Theatre, Karel Ondříček, Jan Pelikán, Petr Mareš and Alois Neruda.

Structure
The work is composed in four movements:


 * 1) Andante-allegro
 * 2) Andante affettuoso et appassionato
 * 3) Allegro scherzando
 * 4) Allegro animato

The approximate duration is 33 minutes.

The strongest pointer to Dvořák's future mastership is in the three-part trio section of the 3rd movement, which is the forerunner of the many future furiants.

Order of the Cross
see also pages on John Todd Ferrier, Order of the Golden Age, etc

Selected Bibliography

The Mystery of the Light Within Us

Guess who
Is a singer and music producer. Please see the original Wikipedia article Midnight Blue (Louise Tucker song).

This article is incomplete. Please update it or I will update it when time permits (soon)...

Charlie Skarbek
{notability|Biographies|date=November 2015}} {context|date=November 2015}} Charlie Skarbek (Charles John Skarbek, b. 1953) is a singer, record producer, composer and lyricist. He has worked with many celebrated musicians from both the classical and popular fields.

General
Despite flourishing from circa 1985 to date, there is little biographical detail available on Skarbek. He has been one of the more significant éminences grises in British popular music. He never features as principal artiste, but his name nevertheless appears in the credits for numerous tracks and albums in this time. His particular speciality, of putting pop lyrics to famous classical musical themes and hymn tunes, is doubtless anathema to purists. However, it will have brought awareness of some of this invaluable music to millions (see references to classical pieces in the list below). He is also noted for providing 'anthems' relating to sporting events.

"World in Union"
He is perhaps best known  for the lyrics he set to music originally from the central section of Jupiter, the fourth movement from Gustav Holst's planets suite to create "World in Union". The tune, also known as "Thaxted", had previously been used for the patriotic song "I Vow to Thee, My Country" and in various other word-settings.

Skarbek made this setting in response to a commission by World Rugby in 1991, and it has been used as the tournament's anthem on many occasions since. Dame Kiri Te Kanawa recorded the first version of this song for the 1991 Rugby World Cup; Shirley Bassey and Bryn Terfel recorded a version in 1999; Hayley Westenra recorded a version for The Rugby World Cup 2011 in New Zealand, and Paloma Faith recorded a version of the song for ITV's coverage of the 2015 Rugby World Cup.

Selected Other Works
Skarbek's other works include:
 * "A Dream Come True" Charlie Skarbek (lyricist) performed by Cilla Black
 * Anthem (Olé, Olé, Olé, Olé / Aida) Various including Charlie Skarbek (Producer) The Crowd
 * "Gloryland" Charlie Skarbek (listed among the lyricists)  Daryl Hall, Sounds of Blackness & Glory
 * "Midnight Blue" (after Beethoven's Sonate Pathétique) Charlie Skarbek (producer and vocals) Louise Tucker
 * Olympic Themes 1988 - album of works involving Charlie Skarbek
 * "Falling, song" (after Debussy's "Clair de lune")
 * "Give Me Tonight, song" (after Chopin's "Tristesse" Etude, Op. 10/3)
 * "Hold You in My Arms, song" (after Mozart's Clarinet Concerto)