Podcasts about sassone

Car Guy Coffee & DriveCentric presents “DC20 Unlocked Nashville” feat. Paul Sassone DriveCentric and Car Guy Coffee are excited to continue to partner up with our new Web Series "DC20 Unlocked". We take you to Nashville TN for this special Brew, so get ready to open some CRM doors! In this episode we talk with our special guest Paul Sassone. Let's Brew! Don't forget to share and subscribe! Brew Brought By: www.drivecentric.com

Salut à toutes et à tous, On retrouve Ophélie pour un entretien avec Arnaud Sassone, team manager du team Tecmas enregistré durant lors de la manche du FSBK à Carole. Il revient sur son parcours, le team, les objectifs pour ses pilotes, leur participation au FSBK et au championnat EWC en superstock. Comment on gère un team ? Pourquoi être sur différents championnats en même temps ? Arnaud se livre sans tabou. Pour suivre le team tecmas sur les réseaux : INSTAGRAM - Tecmas FACEBOOK - Tecmas Bonne écoute

Tanti argomenti in questo interessantissimo episodio con Renata e Alberto: un incidente sul Gross Furkalon che, sebbene abbia lasciato delle conseguenze fisiche per Renata, poteva tramutarsi in qualcosa di ben più tragico. Ancora una volta partiamo dall'errore finale, quello più evidente, per poi analizzare assieme la sequenza di scelte e decisioni, e non solo in quella giornata, che hanno portato all'incidente. Parleremo di trappole euristiche, numerosità dei gruppi, soccorso alpino svizzero, scelta dell'attrezzatura e di inattese condizioni della montagna. Un episodio intenso, per il quale ringrazio ancora una volta Renata e Alberto per avermi contattato per condividere la loro esperienza: questa loro disponibilità è la “benzina” che alimenta questo podcast!

Jorge Vázquez Pacheco nos invita a seguir descubriendo y escuchando maravillas del mundo del tango. Acompáñalo durante esta emisión de Una luz de almacén dedicada al compositor y director de orquesta argentino: Florindo Sassone.

Attraverso l'ascolto di nuove frasi inerenti al nostro contesto, andiamo a rivedere una regola grammaticale: il genitivo sassone (o possessive's). My sister's favorite cereal is on sale.Sarah's cart is full of healthy snacks.The children's favorite aisle is the candy section.Our neighbors' favorite brand of coffee is really expensive.The cashier's suggestion was to use a loyalty card.The bakery's pastries are always a tempting choice.The manager's office is located near the entrance.Maria and Carlo's favorite brand of pasta is sold here.The customer's complaints were promptly addressed.Il video lo trovi qui: ➡️ LINK AL VIDEOSe questa lezione ti è piaciuta:

Scritto e messo in voce da Gaetano Marino Parecchio tempo fa, in un lontano passato, tanto remoto che ancora sapeva di vera leggenda, dove gli eroi avevano un grande valore e rispetto, nelle terre del Nord, buie di luce e dominate dal freddo, un giovane guerriero, che si chiamava Beowulf, stava ascoltando, seduto accanto al fuoco, le parole dei grandi saggi, che narravano una storia di sangue appena giunta da un paese lontano. Si parlava del terribile Grendel. Il mostro, che era assai temuto e conosciuto in tutta la Danimarca per la sua ferocia. Un notte irruppe con una violenza mai vista nella sala reale del Grande Cervo del guerriero Rotghar, re di Danimarca. Grendel uccise parecchi guerrieri e massacrò uomini e donne, dilaniando i loro corpi; le pareti della sala reale furono imbrattate di sangue e brandelli di carne umana furono sparsi in ogni dove. Ma non finì lì. Grendel tornava ogni notte. […]

Scritto e messo in voce da Gaetano Marino Parecchio tempo fa, in un lontano passato, tanto remoto che ancora sapeva di vera leggenda, dove gli eroi avevano un grande valore e rispetto, nelle terre del Nord, buie di luce e dominate dal freddo, un giovane guerriero, che si chiamava Beowulf, stava ascoltando, seduto accanto al fuoco, le parole dei grandi saggi, che narravano una storia di sangue appena giunta da un paese lontano. Si parlava del terribile Grendel. Il mostro, che era assai temuto e conosciuto in tutta la Danimarca per la sua ferocia. Un notte irruppe con una violenza mai vista nella sala reale del Grande Cervo del guerriero Rotghar, re di Danimarca. Grendel uccise parecchi guerrieri e massacrò uomini e donne, dilaniando i loro corpi; le pareti della sala reale furono imbrattate di sangue e brandelli di carne umana furono sparsi in ogni dove. Ma non finì lì. Grendel tornava ogni notte. […]

Scritto e messo in voce da Gaetano Marino Parecchio tempo fa, in un lontano passato, tanto remoto che ancora sapeva di vera leggenda, dove gli eroi avevano un grande valore e rispetto, nelle terre del Nord, buie di luce e dominate dal freddo, un giovane guerriero, che si chiamava Beowulf, stava ascoltando, seduto accanto al fuoco, le parole dei grandi saggi, che narravano una storia di sangue appena giunta da un paese lontano. Si parlava del terribile Grendel. Il mostro, che era assai temuto e conosciuto in tutta la Danimarca per la sua ferocia. Un notte irruppe con una violenza mai vista nella sala reale del Grande Cervo del guerriero Rotghar, re di Danimarca. Grendel uccise parecchi guerrieri e massacrò uomini e donne, dilaniando i loro corpi; le pareti della sala reale furono imbrattate di sangue e brandelli di carne umana furono sparsi in ogni dove. Ma non finì lì. Grendel tornava ogni notte. […]

The Unreleased Fantastic Four Movie: Interview with Glenn Garland (Editor) & Oley Sassone (Director) https://www.patreon.com/superhousepodcast We interview editor Glenn Garland and director Oley Sassone of the 1994 unreleased Roger Corman-produced Fantastic Four film about the making of the movie, why it wasn't released, and their take on the OTHER unreleased superhero movie, Batgirl. Carl Ciarfalio (The Thing in the 1994 Roger Corman Fantastic Four) GoFundMe: https://www.gofundme.com/f/stuntman-carl-ciarfalio-medical-fundraiser Big thanks to our research assistant Dan Yamat for providing the visuals for this YouTube experience, as well as the usual QC and chapter time codes. Thumbnail by Dan as well Check out Ben's comic Alter Ego: http://www.benwanwriter.com/alter-ego-preview/ Ben Wan's "Shortcut to Happily Ever After" available on the Metaphorosis website here: https://magazine.metaphorosis.com/story/2023/shortcut-to-happily-ever-after-ben-wan/ YouTube version: https://www.youtube.com/watch?v=XVhtbDpeTTQ Full issue also available on Kindle and Paperback: https://www.amazon.com/gp/product/B0BWX33PKT Batman: Year One (Wachowskis treatment), adapted by Tim Maxwell and Ben Wan: https://www.youtube.com/watch?v=v62Reyi3sdY Batman 89: Case of the Chemical Syndicate, adapted by Ben Wan: https://www.youtube.com/watch?v=btGT88zSMtk The Dark Knight: Fears, adapted by Ben Wan: https://www.youtube.com/watch?v=HwBb9_DkCvc Batman 89: A Vow on the Grave, adapted by Ben Wan: https://www.youtube.com/watch?v=sDaGdp8K3VM Batman Forever: Night of the Reaper, adapted by Ben Wan https://www.youtube.com/watch?v=9FkqNxAQjJc Batman 89 Shadows Part 1: An audio drama adapted and narrated by Ben Wan, produced by Neuverse Creative: https://www.youtube.com/watch?v=jcJsp-sfjE4 Part 2: https://www.youtube.com/watch?v=yzLPHlPlgRA Part 3: https://www.youtube.com/watch?v=x_iudhDXGpk Full Length Extended Cut: https://www.youtube.com/watch?v=-mouBDK3xMc SuperheroStuffPod on iTunes: https://apple.co/3ctz4lN SuperheroStuffPod on Spotify: https://spoti.fi/2yq3Kpo INSTAGRAM: @superherostuffpod TWITTER: Twitter.com/SuperhousePod FACEBOOK: Facebook.com/SuperHousePod YOUTUBE: YouTube.com/c/SuperHousePodcast Please email us at: SuperHousePodcast@gmail.com ANDREW'S CHANNEL/WEBSITE: IG: ThunderWolfDrew Twitter: ThunderWolfDrew YouTube: https://www.youtube.com/user/thunderwolflives Website: www.thunderwolfdrew.com/ BEN'S CHANNEL/WEBSITE: http://www.benwanwriter.com https://www.youtube.com/channel/UC6nG7A354pour2CUw0co3Ug Check out Andrew's Kickstarter film that is very much as if Power Rangers met Stranger Things. It's called Metal Force. https://www.MetalForce.ninja Home Page with Show Notes and more!: www.SuperheroStuffPod.com SUPERHOUSE MERCH: http://superhousepod.redbubble.com/ https://www.superherostuffpod.com/shop (affiliates)s) Learn more about your ad choices. Visit megaphone.fm/adchoices

12.1.23 - Oley Sassone // Dr. Daryl Stanga by Crosstown Conversations

We're entering the sparkliest time of the year, so it's time to chat about diamonds, engagement rings and pretty things and on this show, we have a master of the craft on this week's episode, Jillian Sassone of Marrow Fine. Jillian's passion for jewelry, particularly vintage pieces has made her one of the world's most renowned designers. She loves to take something old and recreate it into something new for a next generation. On this show Jillian talks about her very special custom design process, what she loves about working with vintage and heirloom pieces and the stories they tell, the trends she's loving right now for engagement rings (antique diamonds and sapphires rule!) and more.

GETTIN' SALTY EXPERIENCE PODCAST Ep.156 - Our special guest will be 29 year veteran and 84 year old FDNY Captain Joe Sassone. He was appointed in Oct of 1962 and upon graduating proby school he was assigned to H&L 18. In Dec of '73 he transferred to Engine 17. In Jan 1974 he was promoted to Lt. and assigned to Ladder 26-2 in Apr 1974. The company was disbanded in Dec 1974 and he was assigned to Ladder 27 in May 1975. In Nov 1982 he was promoted to Captain, and in June 1985 he was assigned to Rescue 4. he retired in March 1991. I'm pretty sure he hasn't seen any fire. But, now he's made time to join us at the kitchen table on the BEST FIREFIGHTER PODCAST ON THE INTERNET! You don't want to miss this one. You can also Listen to our podcast ...we are on all the players #lovethisjob #GiveBackMoreThanYouTake

Quinze ans ont (déjà) passé depuis le Grenelle de l'environnement, que l'on annonçait comme le big bang de la rénovation. Pourtant, malgré des milliards d'euros engloutis, cette rénovation énergétique reste toujours en dessous des objectifs. Rencontre, avec Dominique Estrosi Sassone, sénatrice des Alpes-Maritimes et présidente de la Commission d'enquête sur l'efficacité des politiques publiques en matière de rénovation énergétique.

Il ritratto d'un principe sassone di nome Beroldo apre le Imagines Ducum Sabaudiae, una serie di ritratti dei duchi di Savoia realizzata da Filiberto Pingone intorno agli anni Settanta del Cinquecento, quando era duca Emanuele Filiberto. L'opera viene commissionata per l'educazione del giovane principe ereditario, il futuro Carlo Emanuele I: per un sovrano era fondamentale conoscere la storia della sua dinastia. Le Imagines sono quindi una sorta di libro di testo, destinato a raccontare a chi un giorno sarebbe stato duca quali fossero le origini del suo potere. Il Ducato di Savoia era parte integrante del Sacro Romano Impero: avere un antenato tedesco era quindi particolarmente importante. A trovarlo ci aveva pensato tempo prima Jean d'Orville, detto Cabaret, cronista di Amedeo VIII (primo duca di Savoia). In realtà su Beroldo non esiste alcun documento: ma ciò che è veramente importante è che tutti i monarchi d'Europa – tranne in parte i francesi – accettarono che i Savoia discendessero da questo Beroldo e che quindi fossero una dinastia tedesca.Storieinpodcast pubblica la serie “L'impossibile e l'improbabile. Cinque storie di casa Savoia”, realizzata dall'Archivio di Stato di Torino, diretto da Stefano Benedetto. Che cosa è un archivio? Se ne possono dare tante definizioni ma per uno storico è un luogo in cui si raccolgono, si conservano, si tramandano tante, tantissime storie. Il semplice fatto però che una storia sia presente nei documenti d'un archivio non significa che sia vera. Gli archivi pullulano, infatti, di progetti mai realizzati, di racconti di fatti mai avvenuti, di storie tanto fantasiose da non esser credibili nemmeno per chi le ha scritte, di speranze mai divenute concrete, ma non per questo meno sentite.Andrea Merlotti – storico, dirige il Centro studi del Consorzio delle Residenze Reali Sabaude – racconta per l'Archivio cinque storie di Casa Savoia, accompagnato dalle musiche di Marco Robino (Architorti).A cura di Francesco De Leo.https://storiainpodcast.focus.it - Canale I Savoia------------Storia in Podcast di Focus si può ascoltare anche su Spotify http://bit.ly/VoceDellaStoria ed Apple Podcasts https://podcasts.apple.com/it/podcast/la-voce-della-storia/id1511551427.Siamo in tutte le edicole... ma anche qui:- Facebook: https://www.facebook.com/FocusStoria/- Gruppo Facebook Focus Storia Wars: https://www.facebook.com/groups/FocuStoriaWars/ (per appassionati di storia militare)- YouTube: https://www.youtube.com/user/focusitvideo- Twitter: https://twitter.com/focusstoria- Sito: https://www.focus.it/cultura

Anselmo Marini presentó en "Desde el Alma" un especial dedicado al violinista, director y compositor Florindo Sassone. 08-10 Florindo Sassone

A 50 años de una noche inolvidable, material exclusivo, recuperado por el Archivo Histórico de Radio Ciudad. Obras tocadas en vivo en el Teatro Colón el 17 de Agosto de 1972, durante el concierto organizado por SADAIC. Episodio 4: Florindo Sassone -Rodriguez Peña (Vicente Grecco) -Organito de la tarde (C. Castillo y J. G. Castillo) -Champagne Tango (Manuel Arostegui) -La cumparsita (M. Rodríguez y P. Contursi) - Bis: Refasi (Delfino)

Ecos de la Otra Música - Florindo Sassone by Radiotelevisión de Veracruz

Alessandra Sassone ha affiancato la professione di Lighting Designer a quella di docente della Architectural Design School. Con lei parliamo di mentori, del lavoro in team e della crescita che nasce dallo scambio costante con gli studenti.

Katie Sassone is a horror movie fanatic, dog lover, and all around badass. She discusses growing up with her brother and her parents in a religious household, and questioning those beliefs. Katie also discusses the skills she learned in real world scenarios and a car crash that resulted in years of chronic pain and anxiety. Katie and Justin also discuss horror movies and get excited about Scream, particularly. Dry January has begun! Whether you're looking for quality non-alcoholic craft beers or even CBD water, head over to WellBeingBrewing.com and use code FRIENDREQUEST to save 10% Let me help you and answer any questions you may have. Email me at JustinsFriendRequest@gmail.com Join our Patreon and support this show! It's only $1.09 per month! Go to http://www.patreon.com/friendrequestpod  

Catechesi tenuta da don Luigi Maria Epicoco al Convegno Nazionale Fies 17-20 febbraio 2020 presso la casa “Il Carmelo” di Sassone, (Ciampino) --- Support this podcast: https://anchor.fm/esercizi-spirituali/support

Gabriele Sassone"Uccidi l'unicorno"Epoca del lavoro culturale interioreIl Saggiatorehttps://www.ilsaggiatore.com/Un insegnante d'arte quasi quarantenne riceve una telefonata a tarda sera: l'ospite d'onore del convegno che ha organizzato il suo istituto ha perso il volo, e toccherà a lui sostituirlo la mattina dopo. Gli si spalanca un abisso di panico: come spiegare di fronte a tanti studiosi che cosa differenzia l'artista da una persona comune nell'epoca dei social media? E con così poco margine per preparare l'intervento? L'unica via è intraprendere un viaggio interiore attraverso le immagini, quelle private e quelle del contemporaneo, dalle sue stesse fotografie alle opere che ha più studiato e amato, da Van Gogh a Pollock, da Duchamp a Beuys, dalle pitture delle grotte di Lascaux alle illustrazioni dei libri di Jules Verne. Un percorso esistenziale che si trasforma in una riflessione sui lati oscuri del sistema dell'arte e del lavoro culturale.Romanzo di formazione, saggio sull'industria della cultura, meditazione estetica, memoir: con Uccidi l'unicorno Gabriele Sassone ci offre un travolgente esordio narrativo. Un racconto in prima persona sul potere delle immagini e sulla macchina infernale che le produce.Gabriele Sassone (1983) insegna Critical Writing alla Naba – Nuova Accademia di Belle Arti. Collabora con diverse riviste, tra cui Mousse Magazine, Camera Austria e Flash Art.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

This episode is part of our special series on The Digital Payments Tipping Point. In this three part series I will talking with executives from WEX who in the summer of 2020, partnered with the research team at The Economist to look into the state of business-to-business payments in financial services, financial technology companies or fintechs and technology companies. The study found that companies that have grown during the pandemic are almost all accelerating their evolution away from slow, manual, paper-based payments into secure, data-rich, real-time digital payments.This 3-part series digs into the issues surrounding this rapid evolution in digital payments including building, partnering or both, interchange realities, and the shape of payments to come. Our first episode features our special guest Greg Sassone the SVP of Business and Partner Growth at WEX. He’s been in payments and financial services for 20 years. WEX is a B2B Payments Technology Company. Their Corporate Payments division focuses on innovating digital payments solutions for financial institutions and fintechs as well as large corporations that need to modernize their AP processes.

Permanece até hoje como uma das mais intrigantes histórias de bastidores. Embora todos conheçam o Quarteto Fantástico como um grupo de super-heróis da BD e do cinema, poucos saberão que no início dos anos 90 foi produzida pela Cannon um adaptação original... mas que a Marvel quis que ficasse escondida para sempre. Anos depois, algumas cópias do filme "proibido" surgem clandestinamente mas o mistério não ficou resolvido.Para nos ajudar a expor toda a verdade sobre o malogrado The Fantastic Four, recebemos o realizador Oley Sassone que nos vai contar como foi possível esconder uma produção gigante debaixo do tapete. Do lado de cá temos Hélder Almeida (blog Moviewagon) para decidirmos qual das versões é a pior.

John Sassone is a Registered Dietitian, published author, researcher, a Black Belt in Brasilian Jiu-Jitsu and a former professional MMA fighter. He is the owner and founder of Combat Sports Dietitian, a team of evidence-based Dietitians who assist Combat Athletes with their Performance through Nutrition. In this episode John discusses his supplement protocol, his own research and his approach to fight camp Nutrition.

Matteo Sassone è un personal trainer che non si occupa solo di muscoli e dieta, ma che pone l'accento sul benessere della persona attraverso un supporto motivazionale da coach. In questo podcast ci racconta qualcosa del suo lavoro ma soprattutto parliamo di benessere fisico e mentale. Ti invito ad ascoltare questo podcast che ha come linea guida un aforisma detto da Matteo: "Cambiare richiede impegno non sacrificio". Qualunque sia il cambiamento che vuoi attuare nella tua vita non arrenderti perché la soluzione esiste anche per te! Ce la farai... Puoi trovare Matteo sul suo sito www.matteo-sassone.com

Our guest in this episode, Jillian Sassone, started down her own entrepreneurial journey accidentally. She took a piece of an old heirloom and turned it into a cool new ring. Her first day out wearing it, she landed two custom jewelry clients without even trying. From there, Jillian’s business grew quickly as people realized that she could create custom rings. They soon outgrew their dining table, and leased a small space to have meetings. As things grew, she added her husband as a partner, and staff that has enabled the business to scale. Perhaps you’ll be inspired by the true bootstraps nature of Jillian’s journey, as it shows how anyone with the right mindset can accomplish anything they put their heart into. More at optoutlife.com/podcast/jillian-sassone/

Steve & Izzy are joined by acclaimed music video, TV & movie director Oley Sassone for a chat about his life directing movies such as the buried 1994 "Fantastic Four" and dozens of the greatest TV shows of all time including Xena: Warrior Princess, Hercules: The Legendary Adventures, Adventure Inc. & Martial Law!!! Such an interesting & amazing conversation!!!   So kick back, grab a few brews, it's clobbering time, and enjoy!!!   As always, don't forget to check out www.frankieandmyrrh.com for all your essential oil & fragrance needs... and remember the promo code "UNTIDY" to save 15% on your purchase!!!     Twitter - www.twitter.com/eilfmovies  Facebook - www.facebook.com/eilfmovies  Instagram - www.instagram.com/eilfmovies  Etsy - www.untidyvenus.etsy.com 

Già solo a nominarlo, questo giovane Haines di Oxford, ci ritroviamo a fare un ennesimo tuffo nel passato. Partiremo dagli antichi Sassoni, fino ad un rapido excursus sulla storia d'Irlanda e sulle profonde rivalità con l'Inghilterra, tematiche fondamentali non solo nell'Ulisse ma pressoché in tutta la produzione letteraria di Joyce. La lettura in inglese del testo originale è ad opera di Frank Delaney / podcast ReJoyce: https://blog.frankdelaney.com/re-joyce/ Il testo originale è tratto da "Ulysses" di James Joyce (1922); i brani letti delle traduzioni citate sono ad opera di: Giulio De Angelis (1960 Mondadori), Enrico Terrinoni (2012 Newton Compton), Gianni Celati (2013 Einaudi) Il testo del brano in originale, delle relative traduzioni e tutti gli altri riferimenti, fonti ed eventuali approfondimenti sono disponibili sul blog: https://www.ritrattodiulisse.com/ Per guardare i video del canale youtube, clicca qui sotto: https://www.youtube.com/playlist?list=PLJBcZmWWmlya9nyJ_RDBq3WOnW6twdmYo

Freddy Cole and Vinnie Sassone talk about jazz, movies and Sassone's documantary, FREDDY COLE: GOOD TO BE ALIVE. The post 20 October 2018 24 d Vincent Sassone and Freddy Cole – GOOD TO BE ALIVE appeared first on COLLIDING WORLDS PODCAST.

Freddy Cole and Vinnie Sassone talk about jazz, movies and Sassone's documantary, FREDDY COLE: GOOD TO BE ALIVE. The post 20 October 2018 24 c Vincent Sassone and Freddy Cole – GOOD TO BE ALIVE appeared first on COLLIDING WORLDS PODCAST.

Film maker Vincent Sassone as he discusses his film “Pure Art”. Joining us is Petaluma Ca based artist, Franklin Williams, the artist who inspired the film. The post 8 Sept Part 3 Vincent Sassone and Franklin Williams Pure Art appeared first on COLLIDING WORLDS PODCAST.

Film maker Vincent Sassone as he discusses his film “Pure Art”. Joining us is Petaluma Ca based artist, Franklin Williams, the artist who inspired the film. The post 8 Sept Part 3 Vincent Sassone and Franklin Williams Pure Art appeared first on COLLIDING WORLDS PODCAST.

 Un tango compuesto por el español Feliciano Latasa, para la inauguración de un hotel en la ciudad de Córdoba, de Argentina. HOTEL VICTORIA, por la orquesta de Sassone.   Escuchar audio

Parecchio tempo fa, in un lontano passato, tanto remoto che ancora sapeva di vera leggenda dove gli eroi avevano un grande valore e rispetto, nelle terre del Nord, buie di luce e dominate dal freddo, un giovane guerriero, che si chiamava Beowulf, stava ascoltando, seduto accanto al fuoco, le parole dei grandi saggi, che narravano una storia di sangue appena giunta da un paese lontano. Si parlava del terribile Grendel. Il mostro, che era assai temuto e conosciuto in tutta la Danimarca per la sua ferocia. Un notte irruppe con una violenza mai vista nella sala reale del Grande Cervo del guerriero Rotghar, re di Danimarca. Grendel uccise parecchi guerrieri e massacrò uomini e donne, dilaniando i loro corpi; le pareti della sala reale furono imbrattate di sangue e brandelli di carne umana furono sparsi in ogni dove. Ma non finì lì. Grendel tornava ogni notte. [...] Continue reading

Parecchio tempo fa, in un lontano passato, tanto remoto che ancora sapeva di vera leggenda dove gli eroi avevano un grande valore e rispetto, nelle terre del Nord, buie di luce e dominate dal freddo, un giovane guerriero, che si chiamava Beowulf, stava ascoltando, seduto accanto al fuoco, le parole dei grandi saggi, che narravano una storia di sangue appena giunta da un paese lontano. Si parlava del terribile Grendel. Il mostro, che era assai temuto e conosciuto in tutta la Danimarca per la sua ferocia. Un notte irruppe con una violenza mai vista nella sala reale del Grande Cervo del guerriero Rotghar, re di Danimarca. Grendel uccise parecchi guerrieri e massacrò uomini e donne, dilaniando i loro corpi; le pareti della sala reale furono imbrattate di sangue e brandelli di carne umana furono sparsi in ogni dove. Ma non finì lì. Grendel tornava ogni notte. [...] Continue reading

¡Saludos desde el culto, camaradas! Hoy El Calabozo trae una película maldita, postergada y auto-censurada desde algunos de sus responsables... ¡pero cada vez menos olvidada! La primera adaptación de Los Cuatro Fantásticos, orquestada desde las labores de producción por toda una eminencia como Roger Corman, es uno de los proyectos cinematográficos más estrambóticos que se recuerden, procreado con la única intención de renovar los derechos que se tenían sobre los ya icónicos personajes de la Marvel, en una época muy alejada del actual boom del cine de superhéroes. Acompaña al Reverendo un habitual de este rincón virtual, Miguel Ángel Muñiz, especialista en la materia, para analizar y repasar tanto la película como todos los entresijos de ese fascinante entramado que la rodeó desde su origen. ¡Enjoy the cult!

**SPECIAL EPISODE OF Dream Warrior Review podcast series with Miq Strawn and Kurt Thomas.  Featuring Reviews of Horror and Science Fiction Films. **THIS EPISODE Oley Sassone along with Miq and Kurt are the guests on Bonehead Humor Podcast to discuss "Fantastic Four" (1994). The Roger Corman unreleased film.   https://www.facebook.com/boneheadhumor/   https://www.podbean.com/podcast-detail/xtgfk-62d49/Bonehead-Humor-Podcast Music By Charred Walls of the DamnedTime Has Passed from Creatures Watching over the Dead E-mail us at DreamWarriorReview@gmail.com or check us out on Twitter or Facebook @DWReview

As promised - here is our first crossover with Dream Warrior Review Podcast and our interview with Oley Sassone. Oley was the director of the unreleased 1994 Fantastic Four movie.

BARADERO, ES UNA DE LAS PRIMERAS COLONIAS AGRICOLAS, DÓNDE LA INMIGRACIÓN SUIZA, FUE FUERTE...LA CASA SUIZA, TRADICIONAL ESPACIO CULTURAL.DONDE EL APRENDIZAJE DE IDIOMAS FRANCES, ALEMAN, PORTUGUES. SON EJEMPLOS DE EXCELENCIA..Y COCO SASSONE Y EQUIPO DE RADIO MUNICIPAL BARADERO, (NICO PHILLIPS Y GABRIEL BOVAZZI) ABREN EL ESPECTRO DE COLORES Y SONIDOS DE MEDIOS DE COMUNICACIÓN.. LOCALES..RESCATAMOS LA LABOR Y MISIÓN DE LAS RADIOS QUE SON CONSTRUCTIVAS, Y QUE SON RESPETUOSAS DEL TRABAJO Y DE LA LIBRE EXPRESIÓN, QUE CONLLEVA RESPONSABILIDAD DE QUIENES ESTAMOS AL AIRE... VERDAD.. ? GRACIAS.. MARISAPATIÑO

On this special edition of PuckChatter~Radio, we tribute Tim Sassone, the former 25-year veteran sports writer at the Daily Herald, who covered the Chicago Blackhawks beat for the vast majority of his professional career.  Sassone sadly passed away on March 25, 2014 after battling illness.  He had just turned 58 years old.We're joined by 4 former friends, colleagues and competitors of Tim Sassone in this 2-part podcast in tribute to the Sassone.Our guests are Chris Kuc of the Chicago Tribune, Brian Hedger of NHL.com, Al Cimaglia of Sirius/XM Radio and Lindsey Willhite, former teammate of Sassone's at the Daily Herald and current Public Relations Director for the Chicago Wolves.Kuc joins Chris Block toward the end of Part 1, recorded and posted April 1, 2015, to discuss the latest Blackhawks news including Patrick Kane returning to practice with his teammates for the first time since fracturing his collarbone in a game on February 24th.Part 2 rejoins the Kuc conversation as he shares his experiences and stories of his great friend, Sassone. Then Lindsey Willhite calls in to recount following Sassone around the day the Blackhawks clinched the 2010 Stanley Cup in Philadelphia and much more.Chris Block, lead writer and editor of TheThirdManIn.com / PuckChatter.com hosts.

On this special edition of PuckChatter~Radio, we tribute Tim Sassone, the former 25-year veteran sports writer at the Daily Herald, who covered the Chicago Blackhawks beat for the vast majority of his professional career.  Sassone sadly passed away on March 25, 2014 after battling illness.  He had just turned 58 years old.We're joined by 4 former friends, colleagues and competitors of Tim Sassone in this 2-part podcast in tribute to the Sassone.Our guests are Chris Kuc of the Chicago Tribune, Brian Hedger of NHL.com, Al Cimaglia of Sirius/XM Radio and Lindsey Willhite, former teammate of Sassone's at the Daily Herald and current Public Relations Director for the Chicago Wolves.Kuc joins Chris Block toward the end of Part 1, recorded and posted April 1, 2015, to discuss the latest Blackhawks news including Patrick Kane returning to practice with his teammates for the first time since fracturing his collarbone in a game on February 24th.Part 2 rejoins the Kuc conversation as he shares his experiences and stories of his great friend, Sassone. Then Lindsey Willhite calls in to recount following Sassone around the day the Blackhawks clinched the 2010 Stanley Cup in Philadelphia and much more.Chris Block, lead writer and editor of TheThirdManIn.com / PuckChatter.com hosts.

On this special edition of PuckChatter~Radio, we tribute Tim Sassone, the former 25-year veteran sports writer at the Daily Herald, who covered the Chicago Blackhawks beat for the vast majority of his professional career.  Sassone sadly passed away on March 25, 2014 after battling illness.  He had just turned 58 years old.We're joined by 4 former friends, colleagues and competitors of Tim Sassone in this 2-part podcast in tribute to the Sassone.Our guests are Chris Kuc of the Chicago Tribune, Brian Hedger of NHL.com, Al Cimaglia of Sirius/XM Radio and Lindsey Willhite, former teammate of Sassone's at the Daily Herald and current Public Relations Director for the Chicago Wolves.Kuc joins Chris Block toward the end of Part 1, recorded and posted April 1, 2015, to discuss the latest Blackhawks news including Patrick Kane returning to practice with his teammates for the first time since fracturing his collarbone in a game on February 24th.Part 2 rejoins the Kuc conversation as he shares his experiences and stories of his great friend, Sassone. Then Lindsey Willhite calls in to recount following Sassone around the day the Blackhawks clinched the 2010 Stanley Cup in Philadelphia and much more.Chris Block, lead writer and editor of TheThirdManIn.com / PuckChatter.com hosts.

On this special edition of PuckChatter~Radio, we tribute Tim Sassone, the former 25-year veteran sports writer at the Daily Herald, who covered the Chicago Blackhawks beat for the vast majority of his professional career.  Sassone sadly passed away on March 25, 2014 after battling illness.  He had just turned 58 years old.We're joined by 4 former friends, colleagues and competitors of Tim Sassone in this 2-part podcast in tribute to the Sassone.Our guests are Chris Kuc of the Chicago Tribune, Brian Hedger of NHL.com, Al Cimaglia of Sirius/XM Radio and Lindsey Willhite, former teammate of Sassone's at the Daily Herald and current Public Relations Director for the Chicago Wolves.Kuc joins Chris Block toward the end of Part 1, recorded and posted April 1, 2015, to discuss the latest Blackhawks news including Patrick Kane returning to practice with his teammates for the first time since fracturing his collarbone in a game on February 24th.Part 2 rejoins the Kuc conversation as he shares his experiences and stories of his great friend, Sassone. Then Lindsey Willhite calls in to recount following Sassone around the day the Blackhawks clinched the 2010 Stanley Cup in Philadelphia and much more.Chris Block, lead writer and editor of TheThirdManIn.com / PuckChatter.com hosts.

"A me tiene compagnia il vuoto, socio del vento, che lo agita senza riempirlo." Erri. "Siamo macchine biologiche che funzionano in sinergia e coerenza con il pianeta, e con tutto quello che la Terra è." Paolo. Erri De Luca e Paolo Sassone-Corsi in una doppia intervista a proposito del loro libro.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

The Intimates (Farrar, Straus & Giroux)Ralph Sassone, a first novelist, on the vicissitudes of — what else — the first novel.