From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #15285 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, December 28 2024 Volume 14 : Number 15285 Today's Subjects: ----------------- The death of black coffee (top earnings) ["Chocolate vs Butter" Subject: The death of black coffee (top earnings) The death of black coffee (top earnings) http://astromani.click/SX5mFXakrv_DNNodkPct83O81MQmuNCGq8QaQpX5py_X6TaYgg http://astromani.click/JH-rASrvL86ip6TqEMVkbqWla--WGdftxtouTqxFaBUXBxOnkQ no with William Sterndale Bennett (the future head of the academy) and Arthur O'Leary. During this first year at the academy Sullivan continued to sing solos with the Chapel Royal, which provided a small amount of spending money. Sullivan's scholarship was extended to a second year, and in 1858, in what his biographer Arthur Jacobs calls an "extraordinary gesture of confidence", the scholarship committee extended his grant for a third year so that he could study in Germany, at the Leipzig Conservatoire. There, Sullivan studied composition with Julius Rietz and Carl Reinecke, counterpoint with Moritz Hauptmann and Ernst Richter, and the piano with Louis Plaidy and Ignaz Moscheles. He was trained in Mendelssohn's ideas and techniques but was also exposed to a variety of styles, including those of Schubert, Verdi, Bach and Wagner. Visiting a synagogue, he was so struck by some of the cadences and progressions of the music that thirty years later he could recall them for use in his grand opera, Ivanhoe. He became friendly with the future impresario Carl Rosa and the violinist Joseph Joachim, among others. The academy renewed Sullivan's scholarship to allow him a second year of study at Leipzig. For his third and last year there, his father scraped together the money for living expenses, and the conservatoire assisted by waiving its fees. Sullivan's graduation piece, completed in 1861, was a suite of incident ------------------------------ Date: Sat, 28 Dec 2024 13:59:57 +0100 From: "Joseph" Subject: Simple Stiffness Activation Method to Fix Your ED (Shocking Results) Simple Stiffness Activation Method to Fix Your ED (Shocking Results) http://electrosim.click/FSuWQWjrTItlgG1mohQFdirftt8IMZRv0WN2hTh5OPdOvddv8Q http://electrosim.click/nBzKeUHb5sZY75Z5E7NUguLfa7hG_ZJZuR1Jn3gXO64oR038NQ rian Jones, in his article "The Sword that Never Fell", notes that "the further removed in time the writer is from the incident, the more graphically it is recalled." Leslie Baily, for instance, told it this way in 1952: A day or so later Gilbert was striding up and down his library in the new house at Harrington Gardens, fuming at the impasse, when a huge Japanese sword decorating the wall fell with a clatter to the floor. Gilbert picked it up. His perambulations stopped. 'It suggested the broad idea,' as he said later. His journalistic mind, always quick to seize on topicalities, turned to a Japanese Exhibition which had recently been opened in the neighbourhood. Gilbert had seen the little Japanese men and women from the Exhibition shuffling in their exotic robes through the streets of Knightsbridge. Now he sat at his writing desk and picked up the quill pen. He began making notes in his plot-book. The story was dramatised in more or less this form in the 1999 film Topsy-Turvy. But although the 1885b87 Japanese exhibition in Knightsbridge had not opened when Gilbert conceived of The Mikado, European trade with Japan had increased in recent decades, and an English craze for all things Japanese had built through the 1860s and 1870s. This made the time ripe for an opera set in Japan.[n 2] Gilbert told a journalist, "I cannot give you a good reason for our ... piece being laid in Japan. It ... afforded scope for picturesque treatme ------------------------------ End of alt.music.moxy-fruvous digest V14 #15285 ***********************************************