OneFootball's home page Search Settings Sign In Sign InJoinMan Utd to dip below 50-point Premier League mark after narrow defeat at Brentford | OneFootballSquawka It started ever so promising for the Europa League final hopefuls but reality struck as they reaffirmed themselves as the worst-performing club guaranteed to play in next season’s competition Mason Mount gave Ruben Amorim’s visitors an early lead before the Bees struck twice in a six-minute period: first Luke Shaw inadvertently put the ball into his own net before Kevin Schade completed the turnaround with a brace Yoane Wissa made it a three-goal lead before Alejandro Garnacho and Amad Diallo netted in the final ten minutes A 17th loss of the season, unheard of during their legendary period of dominance under Sir Alex Ferguson, doesn’t quite tell the whole picture. Because if only results between the 17 clubs guaranteed to be playing in the Premier League in 2025–26 are counted this season picking up just 23 points in 29 games against those other 16 teams (five wins Sixteen of the 39 points that United have picked up this season—41% of their overall total—have come from the three already-relegated sides. A pair of doubles against Southampton and Leicester, plus four points from Ipswich. Their other non-relegation wins came against Fulham (home and away), Brentford (home) Today presented an opportunity for United to complete a double over Brentford, especially after their impressive 3-0 victory at Athletic Bilbao in the first leg of the Europa League semi-final. However, that was not to be the case, and in doing so, United lost a Premier League match they led for the first time this season You can forgive the 20-time English champions if they have already decided to focus their resources on securing a second Europa League title. With an average age of 22 years and 270 days, United’s starting XI against Brentford was the third-youngest any side has ever fielded for a Premier League match behind only Middlesbrough v Fulham in May 2006 (20 years 181 days) and Arsenal v Portsmouth in May 2009 (22 years If they were to win out (their last three remaining games) and other results go their way but that is still four places below United’s poorest final position thus guaranteeing a first bottom-half finish This last happened in 1989/90 when they won the FA Cup despite ending in 13th spot under the aforementioned Alex Ferguson By contrast, Brentford have won 15 Premier League games this season, their joint-most in a campaign in the competition, along with 2022–23. They currently sit ninth, with an outside chance of a seventh-place finish, though an eighth-place finish would be the club’s best-ever Premier League return and that is not outside the realms of possibility *Using Bookmaker/Affiliate links on squawka.com may earn us a commission Related NewsRuben Amorim explains why he made sweeping changes for Manchester United’s defeat to Brentford Why isn't Brentford vs Manchester United live on TV in UK today? Man Utd team news vs Brentford and predicted lineup Manchester United XI vs Brentford: Confirmed team news, predicted lineup, injury latest for Premier League Ruben Amorim knows Europa League is all that matters now for Manchester United Barcelona have everything in place for teenage star’s renewal but there is a small hurdle Man United hold talks in “recent hours” with Victor Osimhen’s agents over sensational summer deal The three players Xabi Alonso has requested Real Madrid to sign – report To continue reading this article you must be logged in Register or login below to unlock 3 free articles every month Or subscribe from just £7.99 and get unlimited access to thestage.co.uk Invest in The Stage today with a subscription starting at just £7.99 © Copyright The Stage Media Company Limited 2025 This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Arts &Culture Location: Earl and Darielle Linehan Concert Hall The Department of Music presents clarinetist Natalie Groom and pianist Hui-Chuan Chen Composers Celebrated spotlights works for clarinet and piano that have been previously under appreciated The performance will include works by Marie-Elisabeth von Sachsen-Meiningen a member of the Iranian Female Composers Association; Ke-Chia Chen professor at Curtis Institute of Music; Fazil Say world-renowned Turkish piano soloist; and Gwyneth Walker a prolific American composer known primarily for her choral works Natalie Groom enjoys a multi-hyphenate career as a performer composer and arts manager in Maryland where she is the clarinet professor at the University of Maryland She has toured China with the Fed Fox Quintet and performed with the Berlin Philharmonic Wind Quintet A few of her performance career highlights include being a featured soloist with the White Mountain Symphony Orchestra and performing at the Kennedy Center Austrian and Spanish Embassies and Goethe-Institut She has made numerous contributions to The Clarinet journal and she is co-inventor of the single reed micrometer Natalie particularly loves where music intersects activism she and soprano Jennifer Piazza-Pick founded Whistling Hens to perform and commission music by women composers and create a financially and artistically equitable future for women in music Hui-Chuan Chen began piano lessons at age four and made her debut performance at six Hui-Chuan has traveled and performed widely throughout the United States she has won numerous prizes at competitions including the Wonderlic piano competition in Baltimore Concerto Competition of International Music Festival in Siena the University Piano Concerto Competition of NTNU She worked with accomplished musicians such as cellist Amit Peled and Flutist Demarre McGill Hui-Chuan holds a Doctor of Musical Arts degree from the Peabody Conservatory of the Johns Hopkins University where she is also a faculty member in the preparatory division She also serves on the faculty of the University of Maryland Baltimore City Washington Conservatory of Music and the Heifetz International Music Festival in Virginia $15 general admission, $10 seniors, $5 students. Please visit here to reserve seats Linehan Concert Hall, located in the Performing Arts and Humanities Building, is easy to visit, with plenty of free parking. Please visit here for directions and parking information Don’t Miss a Single Sparkling Moment! Sign up for The Court Jeweller Newsletter The Court Jeweller Sparkling Royal Jewels From Around the World 05.10.2021 by thecourtjeweller // Leave a Comment a royal wedding was held in France that united an Austrian archduke and a German princess the nuptials united their exiled emperor with his empress Here’s a closer look at the jewels worn by Regina of Saxe-Meiningen for her wedding to Otto von Habsburg Regina (1925-2010) was the daughter of the head of the house of Saxe-Meiningen while Otto (1912-2011) was the eldest son of the last Austro-Hungarian monarch when Regina was employed as a social worker at a relief home for Hungarian refugees in Munich Otto came to the home for a visit with some his family’s former subjects and their engagement was announced the following year the exiled groom was not permitted to enter his native Austria The family chose the Church of Saint-François-des-Cordeliers in Nancy the ancestral seat of the Dukes of Lorraine the kneelers used by the couples were reportedly dusted with earth brought from Austria so they could technically be married on Austrian soil.) To satisfy the requirements of French law a civil ceremony was held at city hall ahead of the religious wedding ceremony the couple posed in their nuptial attire for gathered press photographers Regina’s dress was described by one International News Service reporter as “a white duchess satin gown with a train more than six yards in length.” The news report added that the bride wore “the traditional long lace veil embroidered with the coat of arms of the Habsburgs as well as the crest of her own family from Saxony.” The veil reportedly dated to the eighteenth century Regina’s wedding veil was topped by an important piece of imperial jewelry. She wore the same diamond tiara that Otto’s mother, Empress Zita, had worn on her wedding day in October 1911. The tiara was made by the Habsburg court jeweller, Köchert. The piece, which you can read more about here Its base can be detached and worn separately.  crowds gathered around both the city hall and the church in Nancy on the couple’s wedding day one report noted that “hundreds of Austrians clad in native costume cheered the couple through the streets.” The wedding day brought to mind “the spirit of pre-war Vienna.” Otto and Regina made an appearance on the city hall’s balcony recognizing the good wishes from those gathered below But not everyone in the crowd was sympathetic to the pretender’s cause several eggs splattered on the ground about 10 yards from them nor did they pay any attention when the egg-throwers shouted: ‘Long live the republic.'” The republicans didn’t need to worry Otto would not be restored to the defunct Austrian throne though he would serve as a member of the European Parliament for two decades He lived a very long life at the head of the House of Habsburg with Regina and their seven children the couple even returned to the church in Nancy to mark their golden wedding anniversary Categories // sparkling spotlight Enter your name and email address below to subscribe to our weekly newsletter Sign up for my new subscriber-supported community, Hidden Gems, delivered directly to you each Saturday! Copyright © 2025 THE COURT JEWELLER LLC the candidate of the far-right Alternative for Germany (AfD) as Sonneberg district administrator in the federal state of Thuringia casts a spotlight on the growing fascist danger in Germany a representative of a party that trivialises the Third Reich and is made up of open fascists is taking on executive government responsibility for the first time since 1945 Sesselmann won with 52.8 percent of the vote against Christian Democratic Union (CDU) candidate Robert Köppel who received 47.2 percent and was also supported by the Social Democrats (SPD) The scenario could repeat itself in other district council and mayoral elections in the coming weeks and months the far right is now the strongest force in eastern Germany (excluding Berlin) and is the second strongest in Germany as a whole Clearly whipped up by the election success Thuringia fascist leader Björn Höcke has already put himself in play as his party’s possible candidate for chancellor in a future federal election the establishment parties reacted with a mixture of warnings mutual recriminations and covering their own tracks Thuringia’s state Interior Minister and SPD leader Georg Maier called the result a “dam breach” and an “alarm signal for all democratic forces.” The Green Party leader called the result “dismaying” and also “a warning to all democratic forces.” While Thuringia state Prime Minister Bodo Ramelow (Left Party) played down Sesselmann’s success as a “democratic election,” Left Party leader Martin Schirdewan wrote on Twitter: “Uncertainty is growing & the extreme right is cooking its brown [fascist] soup on it,” but the federal coalition government had “no courage to mess with the rich” and was “giving in to the culture war.” Above all the Christian Democrats (CDU/CSU) and Liberal Democrats (FDP) would “roll out the red carpet” for the AfD “by adopting their slogans & policies.” Schirdewan thus reveals more about the right-wing character of his own party and the role it itself plays in the rise of the AfD than he might like supported the right-wing CDU candidate Köppel in the run-off election and thus—to use the words of the Left Party leader—helped to “roll out the red carpet” for the AfD and fuel its far-right agitation and politics in Thuringia it is becoming clear that the Left Party in particular is also pushing through the interests of the “rich” and thus creating the despair and frustration that the right-wing extremists are exploiting Since its predecessor organisation reintroduced capitalism into East Germany 32 years ago the Left Party has repeatedly been involved in right-wing capitalist governments it leads a minority state government in Thuringia with the SPD and the Greens which decides and implements its social attacks with the support of the CDU Thuringia is one of the poorest federal states almost one in four children and one in three young adults is at risk of poverty that amounted to 76,770 children (23.7 percent) and 42,853 young adults aged 18 to 25 (34.1 percent) The district of Sonneberg is particularly affected by this According to data that Zeit Online “exclusively obtained and analysed from the Federal Employment Agency,” Sonneberg is ranked 621 out of all 636 medium-sized towns in nationwide salary rankings The current wages of people living in Sonneberg who are employed full-time and subject to social security contributions are 795 euros below the average German salary the gap between top and low earners has continued to widen over the last two decades the electoral successes of the AfD are not the result of a fascist mass movement According to current Deutschlandtrend polling by broadcaster ARD only just under a third of potential AfD voters were “convinced” by the party; 67 percent of those surveyed voted for the AfD “because they are disappointed by the other parties.” It speaks volumes about the right-wing character of the establishment parties that the AfD even receives antiwar votes because it criticises the NATO war against Russia The fact that the AfD won the election in Sonneberg mainly on the basis of protest votes does not lessen the perils of the situation Besides the differences with the 1930s—when the ruling class brought Hitler to power to prepare for world war and brutally suppress the workers’ movement—dangerous parallels also exist The book shows in detail how all the establishment parties ideological and political conditions for the rise of the AfD in recent years integrated the far-right party into the political system and adopted large parts of its programme themselves And it explains that the revival of German militarism and fascism ultimately has the same objective causes as in the last century “Global capitalism has not solved any of the problems that led to catastrophe in the 1930s economic and geopolitical contradictions are breaking out again with force,” wrote Vandreier With the formation of the first state government with the participation of Hitler’s NSDAP (Nazi Party) Thuringia played a central role in the rise of the Nazis as early as 1930 the state is once again a centre of right-wing conspiracy inside the state apparatus Here are just some of the most important facts On February 5, 2020, the CDU and FDP elected Thomas Kemmerich as Thuringia state prime minister with the votes of the far-right AfD As a result of an international wave of outrage Kemmerich was forced to resign and Ramelow was reelected But the deliberate strengthening of the AfD continued under the SPD-Left Party-Green minority government Only a few days after his reelection, Ramelow himself joined forces with the right-wing extremists He helped AfD candidate Michael Kaufmann into the office of vice president of the Thuringia state parliament with his own vote and boasted publicly about it He had “very fundamentally decided to clear the way for parliamentary participation which must be granted to every parliamentary group and FDP have been cooperating closely with the fascists as a glance at the parliamentary committees shows Science and Digital Society is headed by Dieter Laudenbach of the AfD (his deputy is Kemmerich) Other bodies led by the AfD are the committees for Migration Justice and Consumer Protection and for Environment The respective committee deputy chairs are recruited from the SPD and the Greens the AfD provides the deputy chair in the Prison Commission (a sub-committee of the Petitions Committee) led by the Left Party The run-off election in Sonneberg that made Sesselmann district administrator was itself part of this right-wing conspiracy hardly differed in content from that of the AfD representative Köppel was also supported by the far-right former head of the Office for the Protection of the Constitution (as Germany’s secret service is called) who himself was the CDU candidate for the Thuringia district associations of Schmalkalden-Meiningen Suhl and Sonneberg (!) in the last federal elections imperialism and militarism” and campaigns for a “democratic The election of the AfD will further accelerate the collaboration of the establishment parties with the extreme right The reaction of the SPD mayor of the neighbouring district town of Coburg He was “of the opinion” that it was “not his place to comment negatively on the majority decision of the sovereign citizens of the Sonneberg district or even to scold the voters,” he wrote on Facebook When it came to the joint issues of the city of Coburg and the district of Sonneberg he said he would “take Mr Sesselmann to task in a very concrete way in his responsibility for the citizens of the region.” Workers and young people who are repulsed by the rise of the AfD and the cowardly and servile collaboration of the ruling elite with the fascists must draw the necessary political conclusions from the experiences of recent years The only party that consistently fights against the growth of the extreme right and the return of fascism and militarism in Germany and internationally is the Sozialistische Gleichheitspartei (SGP The building of the SGP and the International Committee of the Fourth International as a new revolutionary mass party of the international working class is the order of the day The most important lesson from history is that the struggle against fascism and war requires the struggle against their cause and against all parties defending this bankrupt system It requires the independent mobilisation of the working class on the basis of a socialist programme Please enable JS and disable any ad blocker A new £3 million steam locomotive is out of action for at least three months after major problems were found with its boiler The A1 Steam Locomotive Trust said that boiler from its Peppercorn class A1 pacific steam locomotive would need to be returned to its manufacturer Although the full extent of the repairs have yet to be agreed with DB Meiningen they will include the replacement of several hundred fixed stays and a number of flexible stays as well as repairs to cracks in the two back and two front corners of the foundation ring The boiler was lifted this week from Tornado’s frames at the National Railway Museum in York and it will be sent by road and ferry to Germany said: “The extent of the work required has caught us by surprise We are hoping to get the train back up and running by the end of April But it does mean we have had to cancel some trips.” Allatt said the problems with Tornado’s firebox were part of learning about the locomotive in today’s operational environment “They are a source of great disappointment to all of Tornado’s supporters and customers “As a part of our commitment to get Tornado back on the main line as soon as possible the Trust decided that the most appropriate course of action was to return the boiler to its manufacturers We are working as hard as we can to bring Tornado back to full health and onto the main line at the end of April.” The new £3m Peppercorn class A1 pacific steam locomotive was built over almost 20 years by The A1 Steam Locomotive Trust The locomotive has since entered regular service on excursion trains on the Network Rail main line Please enable JavaScript to view the comments powered by Disqus. Read now Download our Professional Engineering app Subscribe to Professional Engineering newsletter Opt into your industry sector newsletter Please enable Javascript on your browser to view our news Flexible spaces at our head office in Westminster The Semi-final round concluded in Meiningen this morning. Although 40 athletes qualified for the event only 12 will move onto the finals round beginning at 1:15 pm EST with the livestream starting at 12:40. Be sure to watch here. A post shared by NOGUCHI AKIYO / 野口啓代 / のぐちあきよ (@noguchi_akiyo) While the Slovenian Team dominated the qualifying round Team Japan definitively won the men’s category this morning For the me,Team Japan occupied four of the six positions heading into finals while Akiyo Noguchi placed third heading into her category’s final round of competition Team Slovenia’s Janja Garnbret and the Czech Team’s Adam Ondra placed first after strong performances Garnbret topped four of four boulders in five attempts winning by a full top and a full zone Garnbret looks like she might operate on another level; however competition involve many tactics that include leaving something in reserve for the final round of competition Ondra’s prowess in the men’s field shows great improvement in the competition style from 2019 and has set him up for a strong season and potentially a strong Olympic Games Both Garnbret and Ondra also won their qualifying rounds Although these two made waves for their performances, American climbers Natalia Grossman and Nathaniel Coleman also made an impact These two will move on to Finals and cement themselves as the best competition boulderers This statement comes as a function of the qualifying round as well as the Team USA Climbing National Team Trials. This speaks volumes for Coleman’s chances in Tokyo as he offers proficiency in multiple disciplines. A post shared by Yoshiyuki OGATA ⚡︎ 緒方 良行 (@ogata.yoshiyuki) Perhaps the most shocking result o the entire competition comes from Team France and their Oriane Bertone Bertone received attention last year for establishing Satan I Helvete low start last year The difficult font problem made Bertone one of the strongest young outdoor climbers in the world She has continued to progress in competition and now leads Team France into the final round of competition Featured image of Adam Ondra  by Peter Chodr Get the digital edition of Gripped for your chosen platform: It is not common for musicians to reinvent themselves while their careers are in full swing The thought crossed my mind in late July when Todd Levy and the Miró Quartet performed Brahms’ Clarinet Quintet at a concert of the Santa Fe Chamber Music Festival who had proclaimed himself retired from composition traveled from his home in Vienna to the German town of Meiningen to attend concerts featuring his music He was so smitten by the playing of the thirty-five-year-old Richard Mühlfeld that his creative juices started flowing again and those ushered in the further irreplaceable masterpieces of his six final years: his four late collections of piano movements (Op and his Eleven Chorale Preludes for Organ (Op None of these pieces would likely have come into being without the jumpstart Mühlfeld happened to have provided but here’s the kicker: Mühlfeld was only a clarinetist because he reinvented himself He had joined the Meiningen Orchestra in 1873 as a second violinist and was promoted to the first violin section the following year Wagner recruited him to play as an orchestral violinist for the inaugural season of the Bayreuth Festival in 1876 in which was introduced Der Ring des Nibelungen and only after that did Mühlfeld turn his attention seriously toward the clarinet If he had not reevaluated his musical aspirations and moved from the Meiningen Orchestra’s string section to its wind contingent Brahms’ catalog would probably have ended before those final nine opus numbers History does not offer up many shifts as complete and unanticipated as Mühlfeld’s although there are numerous examples of instrumentalists who become conductors or who find their true calling in composition Singers are more likely to change their focus than instrumentalists are Even without relocating from one pitch category to another most singers move from singing one type of role to another within their general vocal category as their careers progress we have tenor Alek Shrader starring in the upper-range tenore di grazia role of Tonio in La fille du régiment but it sounds like he is already embarked on a technical transition that will land him in rather heavier tenor roles who has been spending recent weeks letting loose a very sizable voice that has no trouble blazing through the density of a big Straussian orchestra It is surprising to recall that she previously gained prominence through her work in the daintier field of historically informed performance that she spent the first decade of her career singing mostly 18th-century music and that as recently as September 2011 she recorded the part of Arminda in Mozart’s La finta giardiniera with the Freiburg Baroque Orchestra Anyone who has caught both La finta giardiniera and Salome at Santa Fe Opera this summer will understand that a singer would not move from the one part to the other without undergoing serious rethinking of her musical aspirations and concomitant vocal retooling Pianist Marc-André Hamelin would seem to be going through a related process of self-reinvention After he won the Carnegie Hall International American Music Competition in 1985 he set up shop in a sparsely inhabited niche by programming and recording repertoire we might call ultra-virtuosic Much of it was by composers who were also technically high-flying pianists Robert Rimm’s The Composer-Pianists: Hamelin and The Eight which cast him as the modern-day counterpart to a select group of golden-age pianistic sensualists — Alkan It is interesting to look through the more recent years of Hamelin’s voluminous recorded catalog which is mostly released on the Hyperion label we find a collection of three Schumann cycles including Papillons and Carnaval — not easy music but not out of the park in its basic physical demands we find Brahms’ three piano quartets plus one of the late solo sets (Op with sequel sets following in 2009 and 2012; in 2009 the Schumann Piano Quintet with the Tákacs Quartet; a Chopin disc in 2009; three Haydn piano concertos in 2013; a two-CD set of Mozart piano sonatas this past April Such repertoire is more generally attainable on a technical level than the finger-twisting material with which Hamelin staked his stage cred We should note that he continues to perform and record repertoire that exists largely to dazzle and that his earlier in-concert recitals often did include a good deal of standard repertoire along with the barnstorming one senses an evolution in his musical aspirations and at this point he gives the impression of being more deeply invested in classics whose intellectual content is not upstaged by whiz-bang No matter where his heart may have lain all along he has seemed intent on recalibrating his image where this past March he appeared at the Lensic Performing Arts Center with Les Violons du Roy playing not Liszt or Rachmaninoff but rather two pieces that practically define Classical balance Haydn’s D-major Concerto and Mozart’s Concert-Rondo in A major (K Francis Auditorium (presented by the Chamber Music Festival) was anchored by an entrancing rendition of Schubert’s Piano Sonata in B-flat major (D that composer’s last contribution to the genre a personalized take on a familiar standard The most obvious surprises involved his approach to rhythm He played the piece in a ruminative fashion often rounding off phrases by slowing down into a pause before continuing This might easily have made a long piece seem too but in his hands it had the opposite effect; one almost felt the piece was being created as we sat there that its nooks and crannies were being excavated for the first time that moments of repose were essential stops in this flow of inspiration Hamelin’s rhythmic liberties seemed integral rather than willfully audacious usually runs about 20 minutes; here it clocked in at 23 Even when playing his most flamboyant repertoire the lightness of his touch eerily evoked the timbre of Schubert-era pianos even though he was playing a massive modern Steinway His performance seemed ancient and modern both at once The Andante sostenuto became a play of color refracted through his pianistic prism He did not draw away from outburst when it seemed necessary strongly emphasizing the tolling of some repeated notes in the Trio of the third movement and truly erupting at one point in the finale unusually immediate performance that emanated from a quiet place An unfamiliar piece preceded the sonata: Yehudi Wyner’s Toward the Center Here Hamelin’s hyper-clarity yielded sparkling shards of pianistic hues but at its center a melody enriched by appoggiaturas made allusions to the ardent expressions of an earlier time clustery chords floated off into the cosmos The pianist returned to the same stage on Aug 2 and 3 — I heard the former — in a concert he shared with the Johannes String Quartet (also presented by the Chamber Music Festival) The foursome opened the concert with a bristling reading of Mendelssohn’s Quartet in F minor written in the aftermath of his sister’s sudden death and only months before his own The Johannes tilts its balance toward the first violin which in this piece added to the intensity of the drama The group showed inherent mastery of the fundamentals we expect of a good quartet; its rhythmic pointedness honed the urgent second movement to a fine edge and one could only admire the elegantly matched octaves the viola and cello whispered in perfect ensemble in that movement’s Trio section is characteristically described as a “song without words,” but that fails to suggest the poignancy it can convey in this context The group plumbed its tender melancholy without giving in to saccharine possibilities notwithstanding a few generous touches of expressive portamento Hamelin then joined forces with them for a jaw-dropping performance of Leo Ornstein’s Piano Quintet — or Quintette Apart from requiring a very high order of virtuosity from all five players its three movements extending through some 40 jam-packed minutes who was born in either 1892 or 1893 (as with many other Eastern European immigrants to America at that time achieved eminence as a raving modernist during the 1910s crashing about the keyboard and composing works with titles like Wild Men’s Dance (Danse sauvage) and Suicide in an Airplane He largely withdrew from the concert stage in the 1920s devoting himself instead to teaching piano in Philadelphia and composing pieces that grew more conservative than his early brashness might have foretold when he died at the age of one hundred and eight or one hundred and nine Nearly all his com-positions date from before the Second World War but he did write a few pieces in his later years apparently completing his last — his Piano Sonata No wending its way through a smorgasbord of Bartók’s percussiveness and even a lyric sweep that suggests Korngold’s future Hollywood scores The piece might prove laughable in a performance that was less committed than this one Hamelin’s wrists of steel came in very useful; he made Ornstein’s terrifying piano writing sound downright artistic even in scintillating passages that seemed left over from Balakirev’s daunting Islamey The string players matched him point for point in energy A cornucopia of material spilled forth with outrageous abundance and listeners were left with no choice but to go with the flow of this rhapsodic effusion and just try to keep up with it all One senses an evolution in Hamelin's musical aspirations Get the highlights from Santa Fe's weekly magazine of arts Pasatiempo's most popular online content from the past seven days Your browser is out of date and potentially vulnerable to security risks.We recommend switching to one of the following browsers: Get up-to-the-minute news sent straight to your device Account processing issue - the email address may already exist Receive a list of headlines from the latest edition of The New Mexican in your inbox every morning get a preview of The New Mexican's big Sunday stories and review highlights from the week Stay informed of the latest local news by receiving emails as soon as news is posted online Stay up to date with news from the Capitol during the legislative session and follow New Mexico politics throughout the year A guide to outdoors opportunities and profiles on peoples' connections with places Keep up with what's going on in the local business scene Receive the latest episode of "Conversations Different" in your inbox every Tuesday.  Taking the temperature of New Mexico's environmental issues local prep sports and more every Wednesday Contests and special offers from The Santa Fe New Mexican and advertising partners Invalid password or account does not exist Submitting this form below will send a message to your email with a link to change your password An email message containing instructions on how to reset your password has been sent to the email address listed on your account Richard Strauss owed practically everything to Hans von Bülow until a performance of Don Juan in Berlin cast a permanent pall over their relationship No other great composer was as successful in the concert hall from as early an age as Richard Strauss The already-legendary conductor Hans von Bülow was alerted to the existence of the Serenade for Thirteen Winds by the young Munich composer He found a publisher for the work and performed it with his Meiningen forces in 1883 after which he commissioned a second piece for similar resources And he invited Strauss to take his baton at a concert in Munich This gesture was an unexpected sign of favour on Bülow’s part the Bavarian capital having particularly hurtful and hateful memories for him: it was here that twenty years earlier he had encountered violent opposition as the conductor of Wagner’s operas there was one in particular whom he could not forget : a horn-player by the name of Franz Strauss recalled the embarrassing reunion between the two old adversaries at the time of his first concert in the city “Bülow did not even listen to my debut; smoking one cigarette after another he paced furiously up and down the Green Room came in through the opposite door in order to thank Bülow That was what Bülow had been waiting for: like a furious lion he pounced upon my father: ‘You have nothing to thank me for’ ‘I have not forgotten what you did to me in this damned city of Munich What I did today I did because your son has talent Bülow told the twenty-year-old Strauss that he numbered him among musicians with “exceptional” abilities whom he thought cut out “for an immediate appointment among the highest echelons of conductors” Writing to the Berlin concert agent Hermann Wolff he described Strauss as “an uncommonly gifted young man […] only Brahms has more personality than he does … versatile Bülow’s high regard for his younger colleague found expression in his concert programmes in Meiningen where he ensured that Strauss was appointed – first as his assistant and later as associate conductor of the nationally-acclaimed Court Orchestra Bülow had trained it with military precision and turned it into the country’s leading Beethoven orchestra taking the players on numerous tours and demonstrating how to do justice to the titanic a composer - through pathos and precision he assumed the role of music director of both the Hamburger and the Berliner Philharmoniker totally subjugating his audiences with his characteristic grandezza Strauss succeeded Bülow as principal conductor in Meiningen but he was catapulted to fame at sensational speed His works were performed throughout Germany and even as far afield as the United States; the New York Philharmonic gave the world premiere of his Second Symphony in F minor in 1884 some of which were to prove useful in the longer term most notably his acquaintanceship with Ernst von Schuch was to conduct the first performances of Feuersnot Hermann Levi conducted the premiere of Strauss’s First Symphony in D minor in Munich while Franz Wüllner – the principal conductor of the Berlin Philharmonic until replaced by Bülow in 1887 – was one of his earliest and most persistent champions In addition to conducting the German premiere of the Second Symphony in F minor in Cologne he directed the world premieres of Till Eulenspiegel and Don Quixote with the Gürzenich Orchestra Bülow programmed the Second Symphony in Hamburg while he also introduced Berlin audiences to Don Juan and the Burleske for piano and orchestra and invited Strauss himself to conduct Aus Italien and Tod und Verklärung in the capital.  but Bülow’s performance of Don Juan in Berlin on 31 January 1890 caused a perceptible rift and led to feelings of ill will while defending the conductor: “So much immoderation in terms of expression and such lack of clarity with regard to the presentation,” complained the Vossische Zeitung what exaggerated emotions - thanks not least to the strident high trumpets and horns which constituted a masterful achievement on the part of the orchestra and its conductor Herr von Bülow demonstratively applauded the composer indicating what the audience should think about the piece Herr von Bülow loves to create an atmosphere in this way.” He was already disappointed at not having been asked to conduct his new work in Berlin he complained that Bülow had not been in the least bit interested in the piece and in its poetical content creating the impression of a work notable only for its sophisticated instrumentation but this time at a tempo that was around a third faster In this way it may have been possible to rescue Don Juan who proceeded to distance himself from Strauss; he was beginning to find his protégé’s development as a composer more and more perplexing Bülow tried to delay the local premiere of Tod und Verklärung and maintained a stony silence when Strauss successfully performed the piece in February 1891 Bülow had prevailed on Strauss to revise the score of Macbeth describing the initial version as “witches’ cauldron bubblings,” before conceding that the third version of 1892 was “mad and benumbing for the most part but in summo grado Strauss criticized Bülow’s reactionary taste but never questioned his phenomenal abilities as a pianist and conductor having travelled there in a desperate but futile bid to find relief from his incurable illnesses It would have made sense to entrust the memorial concerts to Bülow’s favourite pupil and to perform some music by Brahms but Strauss insisted on conducting only works by Wagner and Liszt The memorial concert in Hamburg was conducted by Gustav Mahler and during the 1894/95 season he worked as Bülow’s successor in Berlin programming the latter’s Byronic fantasy Nirwana and even conducting two pieces by Brahms in his Personal Reminiscences of Hans von Bülow it was no longer hard for him to praise his great patron to the skies – Strauss was by now well on the road to becoming a reactionary himself pulled the Berliner Philharmoniker out of their "well-behaved mediocrity" Richard Strauss’s “Metamorphosen”: An introduction The title derives from the ancient Greek and implies music that transmutes and transmogrifies incessantly Richard Strauss and the Berliner Philharmoniker the orchestra did not leave a good impression with Richard Strauss – they were to change that completely general music director of the Bayerische Staatsoper in Munich has been called “the most unknown famous conductor in the world” (Germany’s Die Welt) who makes his Carnegie Hall debut March 28 is a dark horse as far as New York audiences are concerned: To date his only local appearances have been at the Metropolitan Opera where he debuted in 2003 and went on to lead critically acclaimed productions of Ariadne auf Naxos in 2005 and 2010 followed by Mussorgsky’s Khovanshchina in 2012 After taking over his current post in Munich and conducting a range of selections from the opera repertoire at age 43 he gained even greater recognition when the musicians of the self-governing Berliner Philharmoniker elected him to succeed Sir Simon Rattle as their chief conductor in fall 2019 both sides of his musical persona will be on display in his back-to-back Carnegie Hall performances with the Bayerische Staatsoper and its excellent house orchestra the Bayerisches Staatsorchester: a program of symphonic works by Brahms and Tchaikovsky followed by a concert version of Strauss’s Der Rosenkavalier Despite his natural affinity for Russian music Petrenko is well versed in the Germanic repertoire that is the bread and butter of both the Bayerisches Staatsorchester and the Berliner Philharmoniker Asked at a press conference which of his predecessors he felt closest to he hesitated momentarily before naming Hans von Bülow who put both the Munich and Berlin orchestras on the map in the late 1800s Petrenko is equally at home in the concert hall and opera house Both men made their way to Berlin by way of Meiningen and Munich And both are prominently associated with Wagner: Bülow conducted the premieres of Tristan und Isolde and Die Meistersinger in Munich while Petrenko has led notable Ring cycles in Meiningen as well as a new production of Die Meistersinger (2016) and Tannhäuser (2017) at the Bayerische Staatsoper Yet the differences between the two conductors are equally conspicuous Bülow was an autocrat of the podium known for his volcanic temper and withering sarcasm is self-effacing and collaborative by nature “I know hardly any conductors who dive in like he does,” says Christian Loferer a horn player in the Bayerisches Staatsorchester and a member of its steering committee he has taken to heart the advice the German maestro offered to a promising young assistant named Richard Strauss: “You must have the score in your head and not your head in the score.” Petrenko doesn’t pride himself on conducting from memory but orchestra members say he has a precise sound-image in his ear and focuses relentlessly on achieving it “I work on it a lot at home,” he tells clarinetist Alexander Bader in a conversation available on the Berliner Philharmoniker’s Digital Concert Hall website and … try to imagine the entire piece in my mind.” Such painstaking preparation is essential because “if you don’t have your own point of view about the sound I find that a piece of music should have its own sound color—my sound color That sound should be different with every conductor.” Petrenko will be the first Jewish chief conductor in the Philharmoniker’s 136-year history a fact that has not gone unnoticed in the musical world at a time when the orchestra is belatedly seeking to publicize and make amends for its historical links with the Nazis whose extensive discography with the Royal Liverpool Philharmonic is heavily skewed toward Russian music Kirill Petrenko has taken pains to avoid being pigeonholed as a Russian specialist The breadth of his operatic and symphonic repertoire—which ranges from the Viennese classics to Janáček and Berg—is only hinted at in the seven recordings he has made so far most recently John Adams’s Whitman oratorio The Wound-Dresser with the Philharmoniker and a DVD of Berg’s Lulu with the Bayerisches Staatsorchester Petrenko and the Berliners are still at the get-acquainted stage: He has conducted them only four times since 2006 But Loferer and his colleagues in the Bayerisches Staatsorchester speak from experience “What he brings to the table is extraordinary,” Loferer says I have never worked so intensively in my 12 years of professional life than with Petrenko You savor every minute of it—even very long dress rehearsals You reach the limits of what’s possible.” The antithesis of the modern jet-setting maestro Petrenko prefers to live and work in close quarters with the musicians he leads but rather knowing people,” he tells Bader “When you work with people whom you know and who have known you for a number of years you know better what you can try to get done on which day and at which time.” He methodically plans what he wants to accomplish in rehearsals minute by minute and rarely uses less than the contractually allotted time Although rehearsals invariably exhaust him he admits to being something of a workaholic I get withdrawal symptoms,” it’s clearly not meant as a joke The 46-year-old maestro is similarly reticent about his private life though that may change after he settles into his higher-profile job in Berlin he seems content to be living and breathing music even at the cost of leading a somewhat rootless existence “Finding a geographic home for me is difficult,” he says Claus Guth's new production of Richard Strauss' opera opened April 29 A conversation with the New York Philharmonic’s incoming Music and Artistic Director German opera director Claus Guth creates a staging of Strauss’ opera inspired by Stanley Kubrick’s Eyes Wide Shut Thank You!You have now been added to the list Blocking belongson the stage,not on websites Our website is made possible bydisplaying online advertisements to our visitors Please consider supporting us bywhitelisting playbill.com with your ad blocker.Thank you SubscriptionOffers Give a Gift Subscribe The heart of the last heir to the Austro-Hungarian Empire was buried on July 17th in Hungary the last heir to the Austro-Hungarian Empire His funeral took place on Saturday July 17th in Vienna where his body was interred in the Imperial Crypt alongside his wife the German Princess Regina of Saxe-Meiningen who died in February 2010 His heart was taken to Hungary and buried a day later in the Benedictine Pannonhalma Archabbey in accordance with the Habsburg tradition Otto von Habsburg’s full name is Franz Joseph Otto Robert Maria Anton Karl Max Heinrich Sixtus Xavier Felix Renatus Ludwig Gaetan Pius Ignatius von Habsburg was Emperor of Austria and King of Hungary; his mother was Zita of Bourbon-Parma His great-uncle was the Archduke Franz Ferdinand and according to genealogists his ancestry could be traced back to the sixth century To continue reading this article you need to purchase a subscription If you have already purchased access, or are a print & archive subscriber, please ensure you are logged in Please email digital@historytoday.com if you have any problems Family Tree of Britain's Queen Victoria and Prince Albert Our editors will review what you’ve submitted and determine whether to revise the article (Read Lee Strasberg’s 1959 Britannica essay on Stanislavsky.) and it staged works of political and social significance as well as satires virtually all professional training in acting uses some aspects of Konstantin Stanislavsky’s method In 1987 the theatre split into two companies—the Moscow Art Academic Theatre of Gorky and the Moscow Art Theatre of Chekhov—because of professional differences SUPPORT OUR JOURNALISM: Please consider donating to keep our website running and free for all - thank you The Duke and Duchess of Sussex have gained much support and criticism in equal measures following their controversial interview with Oprah Winfrey over the weekend Archduke of Austria and the head of the House of Habsburg-Lorraine describes the interview as gossip and garbage The two-hour long interview was broadcast on Sunday in America on CBS with more than 17m Americans tuning in saw the interview the following day on ITV Austria’s Archduke says: “The two are so far behind in the line of succession that they play no role at all in this regard such a globally broadcast appearance seems completely inappropriate to me If there are actually problems or dissonances in the private sphere then it would be more appropriate to discuss and clarify such things specifically in a private setting For me this media-staged appearance is a non-issue The Archduke is the first royal and distant relative who have spoken negatively on the interview Karl von Habsburg is the son of Archduke Otto von Habsburg Crown Prince of Austria and Princess Regina of Saxe-Meiningen and the grandson of the last Austro-Hungarian emperor He is head and sovereign of the Austrian Order of the Golden Fleece Karl von Habsburg served as a Member of the European Parliament for the Austrian People’s Party He is known for being Pro-European and is also an advocate for the Pan-European movement Elīna Garanča was born into a family of musicians in Riga She began her career at the Meiningen State Theatre and then joined the ensembles of Frankfurt Opera and Vienna State Opera where she appeared in many principal roles Since then she has established a reputation as one of the most sought-after and successful singers in the classical music profession and has performed at the most important opera houses and with the foremost orchestras in the world Since 2005 Elīna Garanča has been an exclusive artist with Deutsche Grammophon Her most recent releases are her first Lieder Album featuring Schumann’s Frauenliebe und -leben and a selection of Brahms songs which covers two unique events from the Salzburg Festivals of summer 2020 and 2021 featuring the Vienna Philharmonic and Christian Thielemann she performed Dalila in a new production of Samson et Dalila at the Berlin State Opera under Daniel Barenboim returned to the Metropolitan Opera in New York as Marguerite in La Damnation de Faust and made her long-awaited role debut as Kundry in Wagner’s Parsifal at the Vienna State Opera under Philippe Jordan Recent highlights also include her role debut as Princess Eboli (Don Carlos) at the Paris Opéra performances as Dalila for Vienna State Opera and the Metropolitan Opera a new production of La Favorite at the Bavarian State Opera which was recorded on DVD by Deutsche Grammophon and a worldwide cinema screening of the Metropolitan Opera production of Der Rosenkavalier she sang the Principessa di Bouillon in Cilea’s Adriana Lecouvreur for the first time including the Musical America Award for Singer of the Year in 2010 and the MIDEM Classical Award in 2007 In 2013 she became one of the youngest holders of the title Kammersängerin of the Vienna State Opera where since her house debut in 2003 she has sung more than 160 performances in 18 roles In order to offer you the best possible online experience cookies from selected partners are also used We take data protection seriously and respect your privacy: You can change your cookie settings at any time Essential cookies enable basic functions and are necessary for the proper functioning of the website Marketing cookies are used by third parties or publishers to display personalized advertising They do this by tracking visitors across websites Statistics Cookies collect information anonymously This information helps us understand how our visitors use our website I completely forget if I'm a boy or a girl when I was doing Octavian for the first time I was so deep into the rehearsal process that I once dreamed I was a boy and went to the men's loo (laughs) But now that I'm slowly going into more dramatic repertoire playing women is the more natural thing for me My voice needs a different way of expressing itself It also has to do with my visual appearance After the birth of my daughter (in September 2011) it will be a challenge to see how I'm accepted as a boy View the discussion thread. SaveLog in, register or subscribe to save recipes for later.You have reached your maximum number of saved items Remove items from your saved list to add more Add articles to your saved list and come back to them anytime ShareChef Joe Grbac.Michael NewboundChef Joe Grbac​ is coming back to the city The one-time Press Club executive chef who left Saint Crispin in December Grbac has finally found a space for his first solo venture on Queen Street Saxe (short for Queen Street's namesake Queen Adelaide of Saxe-Meiningen) will be a two-pronged attack on city dining Grbac is yet to nail down specific offerings for the mid-September opening though a few may make a comeback." He can promise a seasonal modern-Australian approach and dishes which (shock!) will not be for sharing Downstairs will be a more casual diner and bar slinging the likes of yellowfin tuna "They'll still be constructed dishes," Grbac says "Just simpler than upstairs so you can come for a quick drink and bite." The wine program will be designed by Marc Esteve Matteau Expect the Catalan native to throw a fair few fortifieds into the agenda Saxe will open at 211 Queen Street in mid-September news and the hottest openings served to your inbox ShareLicense this articleMore: Thousands of enthusiasts from across Europe flocked to the historic German plant at Meiningen Steam Locomotive Works in central Germany to see steam-hauled trains from across Germany Meiningen steam locomotive works is nowadays the last locomotive works for maintenance repair and overhaul in western Europe being at the DB Fahrzeugsinstandhaltung GmbH’s disposal the company has developed into a centre of competence for historical rail vehicles and apart from the great number of steam locomotives historical waggons appear with an increasing frequency our scope of performance also includes diesel and electric locomotives as well as snow plough vehicles “The fact that almost every component of historical vehicles can be manufactured or procured is a crucial advantage for our customers throughout Europe,” said the spokesman Customers of the factory include railway museums and museum railways The factory is also responsible for the safety inspections of all operational German steam locomotives please register for free or log in to your account Collaboration: Johannes Brahms called Richard Mühlfeld ‘the nightingale of the orchestra’ It must have been quite a moment when Brahms heard the clarinettist play and seeing the direction music was taking as the younger Modernists began to seize their moment the old Romantic had decided to call it a day and had earned himself the right to enjoy a carefree old age in peace The composer was friendly with a conductor by the name of Hans von Bülow whose place in musical history has much to do with the fact that his wife Cosima — the daughter of Franz Liszt — left him for that giant of opera Richard Wagner Von Bülow went on to become the director of the court orchestra at Meiningen in Franconia in eastern Germany one of Europe’s oldest and still going strong who had joined the orchestra as a second violinist eventually decided the string section wasn’t for him an instrument he had taught himself to play Von Bülow had raved about his first symphony — so good it could have been Beethoven’s 10th (Beethoven had stopped at nine) Soon after von Bülow had taken up his new post he put out the call to his pal: come and play your music with us bringing with him his recently completed B-flat major Piano Concerto The first time it was played in full was when he rehearsed it with Von Bülow’s orchestra the Meiningen band was presenting his music on its travels He had become good friends with Von Bülow’s boss and was still a regular visitor to Meiningen even after von Bülow had moved on to pastures new It was on just such a visit that he heard the orchestra perform Carl Maria von Weber’s Clarinet Concerto in F minor with Richard Mühlfeld as the soloist There was something extraordinary about his playing Perhaps it was the fact that because he hadn’t been classically trained constructed from European boxwood rather than the traditional tropical blackwood No matter how he achieved such a sweet tone “Nobody,” he wrote to his friend Clara Schumann “can blow the clarinet more beautifully than Herr Mühlfeld.” He called him “the nightingale of the orchestra” Another of music’s great collaborations was under way Though they were not in any sense in each other’s pockets Suggestions would be made and gratefully received Mozart had produced his magnificent clarinet concerto for the star player of the day Brahms was at the piano for the premiere of the clarinet trio he had composed expressly for Richard Mühlfeld there was also a quintet for his friend and collaborator It was premiered at the same recital as the trio Brahms — who had come up with an unusual line-up of clarinet-piano-cello for the trio — explored further possibilities producing music that would enrich the repertoire Few had attempted small-scale multi-movement compositions for the instrument delivering the first two clarinet sonatas of significance; music for piano and Mühlfeld the man who brought Brahms out of retirement Daily word puzzles designed to test your vocabulary and lateral thinking skills SYDNEY: Australian cyclist Caleb Ewan said he was heartbroken to have missed out on his country's team for the road World Championships on home soil in Wollongong next month The 28-year-old posted a picture of himself winning the first stage of the Deutschland Tour in Meiningen on Thursday on social media along with confirmation that he had failed to make the cut for the team "Especially after the bad news that I won't be at my home world championships this year "To be honest I don't have much to say on the matter other than I'm heartbroken I won't be there to represent my country and that I believe I deserved to be there The World Championships take place from Sept a coastal city 80 km south of Ewan's hometown of Sydney The host nation's men's team will be led by Jai Hindley who became the first Australian to win the Giro d'Italia in May a former under-23 world champion who won the 14th stage of this year's Tour de France "This was a very difficult selection as we have such a big and talented pool of athletes to select from," said team coordinator Rory Sutherland "Athletes are always proud to race in the green and gold - doing so on home soil is a dream that probably comes once in a lifetime." who owns silver and bronze medals from previous world championship road races will compete in the Australian women's team along with Georgia Baker who won gold in the road race at the recent Commonwealth Games "It's always an honour and privilege to wear the green and gold so I am so excited to be named in the team for my 10th World Championships," said Spratt "Even more special is that it is a home World Championships that covers roads I grew up training on." Ewan has had a disappointing season by his own standards having failed to win a stage on either the Tour de France or Giro d'Italia and missing the Commonwealth Games after failing to recover in time from a shoulder surgery