From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #15286 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 15286 Today's Subjects: ----------------- Experience weekly weight loss with Greek water ["Avoid Lemon Water" Subject: Experience weekly weight loss with Greek water Experience weekly weight loss with Greek water http://instantenence.ru.com/sn16Ukai2VQCmBstcLcG9mSXHK6p5MjE513CbvYbgGdZBnpyog http://instantenence.ru.com/q1U9E1HwxY3R5gFl9lNxMBECcumNRPXEYLrSv4z21fjYfIOeBw ned to leave his own country alone for a while, sought elsewhere for a subject suitable to his peculiar humour. A trifling accident inspired him with an idea. One day an old Japanese sword that, for years, had been hanging on the wall of his study, fell from its place. This incident directed his attention to Japan. Just at that time a company of Japanese had arrived in England and set up a little village of their own in Knightsbridge. The story is an appealing one, but it is largely fictional. Gilbert was interviewed twice about his inspiration for The Mikado. In both interviews the sword was mentioned, and in one of them he said it was the inspiration for the opera, though he never said the sword had fallen. What puts the entire story in doubt is Cellier and Bridgeman's error concerning the Japanese Village exhibition in Knightsbridge: it did not open until 10 January 1885, eight months after Gilbert sent the outline of the plot to Sullivan and almost two months after Gilbert had completed Act I. Gilbert scholar Brian 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 librar ------------------------------ Date: Sat, 28 Dec 2024 08:36:14 +0100 From: "AAA Shopper Feedback" Subject: You could win the new Bosch Portable Tire Air Compressor Sweeps You could win the new Bosch Portable Tire Air Compressor Sweeps http://energia.ru.com/dnvuuJyeIZ1JT5a3C2-u5f_J8nq-Sj7dLvBKd_A0rs0ij-_snA http://energia.ru.com/eC3JoRPO_4ONoK4QVE_j9riqYg3vzxzuBSY8VuUDVcPeM5UPVQ nd did, and learned to play every wind instrument, with which I formed not merely a passing acquaintance, but a real, life-long, intimate friendship. I gradually learned the peculiarities of each ... what it could do and what it was unable to do. I learned in the best possible way how to write for an orchestra. While recognising the boy's obvious talent, his father knew the insecurity of a musical career and discouraged him from pursuing it. Sullivan studied at a private school in Bayswater. In 1854 he persuaded his parents and the headmaster to allow him to apply for membership in the choir of the Chapel Royal. Despite concerns that, at nearly 12 years of age, Sullivan was too old to give much service as a treble before his voice broke, he was accepted and soon became a soloist. By 1856, he was promoted to "first boy". Even at this age, his health was delicate, and he was easily fatigued. Sullivan flourished under the training of the Reverend Thomas Helmore, Master of the Children of the Chapel Royal, and began to write anthems and songs. Helmore encouraged his compositional talent and arranged for one of his pieces, "O Israel", to be published in 1855, his first published work. Helmore enlisted Sulli ------------------------------ Date: Sat, 28 Dec 2024 12:34:19 +0100 From: "Your Heating Bill" Subject: Amazing Price on this Hot Holiday Gift! Amazing Price on this Hot Holiday Gift! http://cellucare.ru.com/OJO7cRUzGt67VaOWHiRGuowbEMCM2g3CuLSl-X0-Nn2xoEL3Kw http://cellucare.ru.com/S837iMCQvapGgsp3nGSC7Ugd19k3s73Be0aFN96ZCz9NOHVyHA ossible for me to do another piece of the character of those already written by Gilbert and myself". Gilbert, who had already started work on a new libretto in which people fall in love against their wills after taking a magic lozenge, was surprised to hear of Sullivan's hesitation. He wrote to Sullivan asking him to reconsider, but the composer replied on 2 April 1884 that he had "come to the end of my tether" with the operas: I have been continually keeping down the music in order that not one should be lost. ... I should like to set a story of human interest & probability where the humorous words would come in a humorous (not serious) situation, & where, if the situation were a tender or dramatic one the words would be of similar character. Gilbert wrote that Sullivan's letter caused him "considerable pain". Sullivan responded that he could not set the "lozenge plot", stating that it was too similar to the plot of their 1877 opera The Sorcerer. As April 1884 wore on, Gilbert tried to modify his plot, but he could not satisfy Sullivan. The parties were at a stalemate, and Gilbert wrote, "And so ends a musical & literary association of seven years' standing b an association of exceptional reputation b an association unequaled in its monetary results, and hitherto undisturbed by a single jarri ------------------------------ Date: Sat, 28 Dec 2024 07:29:00 +0100 From: "Todays Winner" Subject: Booking - Traveler's pack - Your order has shipped! Booking - Traveler's pack - Your order has shipped! http://wildfoodguide.best/hTN0YJGWgbb1VE1Vm6a4DD8IKS12hYwABtjo6rbmWOE4v6Q http://wildfoodguide.best/yekXotZGaW3p0rtKqhblR46bb83SoLUHtwBLo6dkWfwGKbM ion piece, incidental music to Shakespeare's The Tempest (1861), was received with acclaim on its first performance in London. Among his early major works were a ballet, L'Cle EnchantC)e (1864), a symphony, a cello concerto (both 1866), and his Overture di Ballo (1870). To supplement the income from his concert works he wrote hymns, parlour ballads and other light pieces, and worked as a church organist and music teacher. In 1866 Sullivan composed a one-act comic opera, Cox and Box, which is still widely performed. He wrote his first opera with W. S. Gilbert, Thespis, in 1871. Four years later, the impresario Richard D'Oyly Carte engaged Gilbert and Sullivan to create a one-act piece, Trial by Jury (1875). Its box-office success led to a series of twelve full-length comic operas by the collaborators. After the extraordinary success of H.M.S. Pinafore (1878) and The Pirates of Penzance (1879), Carte used his profits from the partnership to build the Savoy Theatre in 1881, and their joint works became known as the Savoy operas. Among the best known of the later operas are The Mikado (1885) and The Gondoliers (1889). Gilbert broke from Sullivan and Carte in 1890, after a quarrel over expenses at the Savoy. They reunited in the 1890s for two more operas, but these did not achieve the popularity of their earlier works. Sullivan's infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch (1880) and The Golden Legend (1886), his most popular choral work. He also wrote incidental music for West End productions of several Shakespeare plays, and held conducting and academic appoin ------------------------------ Date: Sat, 28 Dec 2024 12:42:02 +0100 From: "Ruth" Subject: US Scientist: Do This Purple Peel Exploit To 3X Calorie Burning US Scientist: Do This Purple Peel Exploit To 3X Calorie Burning http://nerves91.sa.com/e7MUByXLAVCvqnSlseuLEnGkJWIMzu7-nGdp5tOayo7g2QQW-A http://nerves91.sa.com/wxrM0ao7R2GhCcXL0S1v9YI-Hd7LoMdyRzbcI4dOa3auGAFG4A as an English composer, musical director, actor, singer and theatrical manager of the Victorian era. He was best known for creating the German Reed Entertainments, together with his actress wife, a genre of musical plays that made theatre-going respectable at a time when the stage was considered disreputable. While acting as organist and chapel-master at chapels in London, and also as musical director and performer at West End theatres in the 1830s and 1840s, Reed tried his hand at producing opera. He married Priscilla Horton, a noted singer, actress and dancer, in 1844. By 1851, he was managing opera productions at various theatres in London and on tour. In 1855, Reed and his wife began to present and perform in "Mr. and Mrs. German Reed's Entertainments", consisting of brief, small-scale, family-friendly comic operas. In the early and mid-Victorian era, the respectable middle classes regarded the theatre in general as sinful. Therefore, the Reeds shrewdly called their establishment the "Gallery of Illustration" and their productions "entertainments" to emphasize their refined propriety. In addition to comic classics like The Beggar's Opera, the Reeds usually presente ------------------------------ End of alt.music.moxy-fruvous digest V14 #15286 ***********************************************