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Suisse 2009 - Isbn:9782746924949

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  • Book Title: Suisse 2009
  • ISBN 13: 9782746924949
  • ISBN 10: 2746924943
  • Author: Dominique Auzias, Jean-Paul Labourdette
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  • Category (general): Other
  • Publisher: Petit Futé
  • Format & Number of pages: 478 pages, book
  • Synopsis: Davos s'est également fait connaître à travers le roman controversé de thomas mann La Montagne magique. ... permettra d'utiliser gratuitement les bus locaux à Davos et Klosters (sauf les lignes 8, 10 et 13) et de bénéficier de réductions sur ...

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ISBN: 2746924943 - Le Petit Futé Suisse - OPENISBN Project: Download Book Data

Le Petit Futé Suisse

Author: Dominique Auzias, Jean-Paul Labourdette, Collectif
Publisher: Nouvelles Editions De L'Université
Pages: 478
Published: 2009-05-22
Language: French
Category: Europe, Guides Country, Petit Futé, Custom Stores,
ISBN-10: 2746924943 ISBN-13: 9782746924949
Binding: Broché (édition 2009-2010)
List Price: Unknown

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Guide du Routard Suisse 2011

Carte routière. Suisse Sud-Ouest, N° 11552

Suisse

Guide Vert Suisse

Le Petit Futé Genève

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Maison du Sport International

Maison du Sport International

Maison du Sport International

The Maison du Sport International (International House of Sport) [ 1 ] [ 2 ] is an office complex opened in 2006 in Lausanne. Switzerland. via a joint venture between the City of Lausanne. the Canton of Vaud and the International Olympic Committee (IOC). It was created to entice all the World's Sport governing bodies (also known as International Federations. (or IF's) [ 3 ] [ 4 ] [ 5 ] [ 6 ] to bring their headquarters to Lausanne, in order to improve their proximity to the headquarters of the IOC, and thus improve communications between these bodies.

Contents International federations Sports organizations

And, these Sports organizations:
IOC International Olympic Committee
SportAccord (Formerly GAISF/AGFIS) [ 11 ]
ASOIF Association of Summer Olympic International Federations
ICSD International Committee of Sports for the Deaf
IMGA International Masters Games Association
WFSGI World Federation of the Sporting Goods Industry [ 12 ]
AIPS International Sports Press Association
CPA Cyclistes Professionnels Associés [ 13 ]
FISU International University Sports Federation
WADA World Anti-Doping Agency European Office
SportAccord Convention
Académie Internationale des sciences et des techniques du sport
Além International Management, Inc.

Sports companies
  • Carlson Wagonlit Travel
  • Ernst and Young
  • Event Knowledge Services
  • F2FX ;
  • Libra Law
  • IEC in Sport
  • J. de Heer Consultants
  • RBO Organisations
  • SINERGI Sports Consulting
  • J.-P. et R. Strebel, Consultants
  • Sport and Arts Global Management(SAG)
  • Sportcentric
References External links Categories:
  • Buildings and structures in Lausanne

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International Canoe Federation — The International Canoe Federation is the umbrella organization of all national canoe organizations worldwide. It is headquartered in Lausanne, Switzerland, and administers all aspects of canoe sport worldwide.International Canoe Federation,… … Wikipedia

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Sport en écosse — Le sport joue un rôle central dans la culture écossaise, et a été fortement influencé par le climat de l Écosse, à la fois tempéré et océanique. En effet les sports « tout temps » comme le rugby, le football et le golf y sont… … Wikipédia en Français

Sport a Chateauroux — Sport à Châteauroux L ensemble des comités départementaux de sports dans l Indre est regroupé à la Maison des sports se trouvant au 89 allée des Platanes à Châteauroux. La ville de Châteauroux a été élue en 1997 la troisième ville française de… … Wikipédia en Français

Sport à châteauroux — L ensemble des comités départementaux de sports dans l Indre est regroupé à la Maison des sports se trouvant au 89 allée des Platanes à Châteauroux. La ville de Châteauroux a été élue en 1997 la troisième ville française de sport lors du… … Wikipédia en Français

Sport en Écosse — Le sport joue un rôle central dans la culture écossaise, et a été fortement influencé par le climat de l Écosse, à la fois tempéré et océanique. En effet les sports « tout temps » comme le rugby à XV, le football et le golf y sont… … Wikipédia en Français

Sport à Châteauroux — L ensemble des comités départementaux de sports dans l Indre est regroupé à la Maison des sports se trouvant au 89 allée des Platanes à Châteauroux. La ville de Châteauroux a été élue en 1997 la troisième ville française de sport lors du… … Wikipédia en Français

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The Swiss Family Robinson

The Swiss Family Robinson

The Swiss Family Robinson
Author: johann david wyss
Publisher: Penguin Readers (Graded Readers)
ISBN-13: 978-1405879392 ISBN-10: 1405879394
Date: 2008
Pages: 72 pages
Format: pdf+mp3
Size: 115.45mb
Language: British English

Classic / British English ‘It was the seventh day of the storm. We didn’t know where we were. Everyone on the ship believed that death was very near.’ The Robinson family do not die at sea; they find their way to a small island. But what can they do now? Where will they live? What will they eat? Luckily, the father and their mother have useful skills and they can teach their four young sons. But how long will they be there, on the island?.

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Gioachino Rossini - Musician - Music database - Radio Swiss Classic

Music database Musician Gioachino Rossini Gioachino Rossini

From Wikipedia, the free encyclopedia.

Gioachino Antonio Rossini [1] [2] (Italian: [dʒoaˈkiːno anˈtɔːnjo rosˈsiːni] ; 29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces.

His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville ) and La Cenerentola (Cinderella ), and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell ). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart ". [3]

Until his retirement in 1829, Rossini had been the most popular opera composer in history. [4] He is quoted as joking, "Give me the laundress' bill and I will even set that to music." [5]

Early life

Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy which was then part of the Papal States. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.

Rossini's father was sympathetic to the French Revolution and welcomed Napoleon's troops when they arrived in northern Italy. When Austria restored the old regime, Rossini's father was sent to prison in 1799, where he remained until June 1800. [6] Rossini's mother took him to Bologna, making a living as leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna. During this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy.

He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti, originally from Novara, who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing. These qualities made him a subject for ridicule in the eyes of the young Rossini. [7]

Education

He was eventually taken from Prinetti and apprenticed to a blacksmith. In Angelo Tesei, he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age. Important products of this period are six sonate a quattro. or string sonatas, composed in three days, unusually scored for two violins, cello and double bass. The original scores, dating from 1804, when the composer was twelve, were found in the Library of Congress in Washington D.C. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart. already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies.

In 1805, he appeared at the theatre of the Commune in Ferdinando Paer 's Camilla. his only public appearance as a singer. He was also a capable horn player, treading in the footsteps of his father. Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called Demetrio e Polibio. which was handed to the boy in pieces. Though it was Rossini's first opera, written when he was thirteen or fourteen, the work was not staged until the composer was twenty years old, premiering as his sixth official opera.

In 1806, Rossini became a cello student under Cavedagni at the Conservatorio di Bologna. The following year he was admitted to the counterpoint class of Padre Stanislao Mattei (1750–1825). He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint served only to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules that he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. At Bologna, he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart.

Career as a composer Early years: Demetrio e Polibio (1812) to Torvaldo e Dorliska (1815)

Through the friendly interposition of the Marquis Cavalli, his first opera, La cambiale di matrimonio (The Marriage Contract ), was produced at Venice when he was a youth of 18 years. Two years before this he had already received the prize at the Conservatorio of Bologna for his cantata Il pianto d'Armonia sulla morte d'Orfeo. Between 1810 and 1813 at Bologna, Rome, Venice and Milan, Rossini produced operas of varying success, most notably La pietra del paragone and Il signor Bruschino. with its brilliant and unique overture. In 1813, Tancredi and L'italiana in Algeri were even bigger successes, and catapulted the 20-year-old composer to international fame.

The libretto for Tancredi was an arrangement by Gaetano Rossi of Voltaire's tragedy Tancrède. Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music. But any critical feeling on the part of the public was drowned by appreciation of such melodies as "Di tanti palpiti. Mi rivedrai, ti rivedrò ", which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist.

By the age of 21, Rossini had established himself as the idol of the Italian opera public. He continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi. In 1815 he retired to his home in Bologna, where Domenico Barbaia, the impresario of the Naples theatre, contracted an agreement that made him musical director of the Teatro di San Carlo and the Teatro del Fondo at Naples. He would compose one opera a year for each. His payment was to be 200 ducats per month; he was also to receive a share from the gambling tables set in the theatre's "ridotto", amounting to about 1000 ducats per annum. This was an extraordinarily lucrative arrangement for any professional musician at that time.

He visited the Naples conservatory, and, although less than four years senior to Mercadante. he said to the Director Niccolò Zingarelli, "My compliments Maestro – your young pupil Mercadante begins where we finish." [8]

Some older composers in Naples, notably Zingarelli and Paisiello, were inclined to intrigue against the success of the youthful composer, but all hostility was rendered futile by the enthusiasm that greeted the court performance of his Elisabetta, regina d'Inghilterra. in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Giovanni Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott 's Kenilworth. The opera was the first in which Rossini wrote out the ornaments of the arias instead of leaving them to the fancy of the singers, and also the first in which the recitativo secco was replaced by a recitative accompanied by a string quartet.

The resounding success of The Barber of Seville (1816)

Rossini's most famous opera was produced on 20 February 1816, at the Teatro Argentina in Rome. The libretto, a version of Pierre Beaumarchais ' stage play Le Barbier de Séville. was newly written by Cesare Sterbini and not the same as that already used by Giovanni Paisiello in his own Barbiere. an opera which had enjoyed European popularity for more than a quarter of a century. Much is made of how quickly Rossini's opera was written, scholarship generally agreeing upon two or three weeks. Later in life, Rossini claimed to have written the opera in only twelve days. It was a colossal failure when it premiered as Almaviva ; Paisiello's admirers were extremely indignant, sabotaging the production by whistling and shouting during the entire first act. However, not long after the second performance, the opera became so successful that the fame of Paisiello's opera was transferred to Rossini's, to which the title The Barber of Seville passed as an inalienable heritage.

Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven. who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: "Ah, Rossini. So you're the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature." [4]

Middle years: La gazzetta (1816) to Semiramide (1823)

Between 1815 and 1823 Rossini produced 20 operas. Of these, Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Giuseppe Verdi. In Rossini's time, the tragic ending was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello .

Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera La Cenerentola was as successful as Barbiere. The absence of a similar precaution in construction of his Mosè in Egitto led to disaster in the scene depicting the passage of the Israelites through the Red Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus "Dal tuo stellato soglio" to divert attention from the dividing waves.

In 1822, four years after the production of this work, Rossini married the renowned opera singer Isabella Colbran. In the same year, he moved from Italy to Vienna, where his operas were the rage of the audiences. He directed his Cenerentola in Vienna, where Zelmira was also performed. After this he returned to Bologna, but an invitation from Metternich to the Congress of Verona to "assist in the general re-establishment of harmony" was too tempting to refuse, and he arrived at the Congress in time for its opening on 20 October 1822. Here he made friends with Chateaubriand and Dorothea Lieven. The opera Semiramide was first performed at La Fenice in Venice on 3 February 1823. It was Rossini's last Italian opera.

In 1823, at the suggestion of the manager of the King's Theatre, London, he came to Britain, being much fêted on his way through Paris. He was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 (£570000 today) after a residence of five months. The next year, he became musical director of the Théâtre des Italiens in Paris at a salary of £800 (£63000 today) per annum. Rossini's popularity in Paris was so great that Charles X gave him a contract to write five new operas a year, and at the expiration of the contract, he was to receive a generous pension for life.

Composing for Paris: Il viaggio a Reims (1825) to Guillaume Tell (1829)

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During his Paris years, Rossini created the comic operas Le comte Ory and Guillaume Tell (William Tell ). The production of the latter in 1829 brought his career as a writer of opera to a close. He was thirty-eight years old and had already composed thirty-eight operas. Guillaume Tell was a political epic adapted from Schiller 's play Wilhelm Tell (1804) about the 13th-century Swiss patriot who rallied his country against the Austrians. The libretto was by Étienne Jouy and Hippolyte Bis. but their version was revised by Armand Marrast. [9]

The music is remarkable for its freedom from the conventions discovered and utilized by Rossini in his earlier works, and marks a transitional stage in the history of opera, the overture serving as a model for romantic overtures throughout the 19th century. Though an excellent opera, it is rarely heard uncut today, as the original score runs more than four hours in performance. The overture is one of the most famous and frequently recorded works in the classical repertoire.

In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year.

Six movements of his Stabat Mater were written in 1832 by Rossini himself and the other six by Giovanni Tadolini, a good musician who was asked by Rossini to complete the work. However, Rossini composed the rest of the score in 1841. The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph and the long life of seclusion, of which biographers give us pictures in stories of the composer's cynical wit, his speculations in fish mongering, [10] his mask of humility and indifference.

In Paris: the later years

His first wife died in 1845, and on 16 August 1846, he married Olympe Pélissier, who had sat for Vernet for his picture of Judith and Holofernes. Political disturbances compelled Rossini to leave Bologna in 1848. After living for a time in Florence, he settled in Paris in 1855, where he hosted many artistic and literary figures in his apartment at 2 Rue de la Chaussée-d'Antin. [11] Rossini had been a well-known gourmand and an excellent amateur chef his entire life, but he indulged these two passions fully once he retired from composing, and today there are a number of dishes with the appendage "alla Rossini" to their names that were created either by or specifically for him. Probably the most famous of these is tournedos Rossini, still served by many restaurants today.

In the meantime, after years of various physical and mental illnesses, he had slowly returned to music, composing obscure little works intended for private performance. These included his Péchés de vieillesse ("Sins of Old Age"), which are grouped into 14 volumes, mostly for solo piano, occasionally for voice and various chamber ensembles. Often whimsical, these pieces display Rossini's natural ease of composition and gift for melody, showing obvious influences of Beethoven and Chopin, with many flashes of the composer's long buried desire for serious, academic composition. They also underpin the fact that Rossini himself was an outstanding pianist whose playing attracted high praise from people such as Franz Liszt. Sigismond Thalberg. Camille Saint-Saëns and Louis Diémer. [12]

He died at the age of 76 from pneumonia at his country house at Passy on Friday, 13 November 1868. He was buried in Père Lachaise Cemetery in Paris, France. In 1887, his remains were moved to the Basilica of Santa Croce, Florence, at the request of the Italian government.

Legacy

According to Herbert Weinstock's 1968 biography, [13] the composer's estate was valued at 2.5 million francs upon his death in 1868, the equivalent of about 1.4 million US dollars. According to one contemporary account, at the time of Rossini's death, his estate yielded revenues of 150,000 francs per year. [14] Apart from some individual legacies in favour of his wife and relatives, [15] Rossini willed his entire estate to the Comune of Pesaro. [16] The inheritance was invested to establish a Liceo Musicale (Conservatory) in the town. In 1940, the Liceo was put under state control and turned into the Conservatorio Statale di Musica "Gioachino Rossini". The corporate body which managed Rossini's inheritance assumed the name Fondazione G. Rossini. The aims of the institution, which is still active, are to support the conservatory and promote the figure, the memory, and the works of Rossini. The institution has been a major sponsor of the Rossini Opera Festival since its beginning. [17]

Rossini's estate funded the Prix Rossini, a prize awarded to young French composers and librettists. The prize began to be awarded in 1878 on the death of his widow and is given by the Académie des Beaux-Arts. Prize-winning works were produced by the Société des Concerts, Institut de France, from 1885 to 1911. [18] The bequest sought to reward composers of music which emphasized melody, which Rossini wrote "today is neglected" ("melodia, oggi si trascurata"). The prize for librettists was to be given to writers who observed "the laws of morality, which the modern writers completely ignore" ("osservando le leggi della morale di cui i moderni scrittori piu non tengono verun conto"). The prizes were exclusively for French composers and librettists ("exclusivamente per I Francesi "). [19]

Honors and tributes

Rossini was a foreign associate of the institute, Grand Officer of the Legion of Honour and recipient of innumerable orders.

Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a Requiem for Rossini. to be performed on the first anniversary of Rossini's death, conducted by Angelo Mariani. The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the "Libera me, Domine" he had written for the Rossini Requiem in his 1872 Requiem for Manzoni. In 1989 the conductor Helmuth Rilling recorded the original Requiem for Rossini in its world premiere.

In 1900, Giuseppe Cassioli created a monument to Rossini in the Basilica of Santa Croce, Florence. [20]

Rossiniana

Mauro Giuliani (who died in 1829) wrote six sets of variations for guitar on themes by Rossini, Opp. 119–124 (c. 1820–1828). Each set was called "Rossiniana", and collectively they are called "Rossiniane". This was the first known tribute by one composer to another using a title with the ending -ana.

In 1925, Ottorino Respighi orchestrated four pieces from Péchés de vieillesse as the suite Rossiniana (he had earlier used pieces from the same collection as the basis of his ballet La Boutique fantasque ).

Music

According to the Oxford History of Western Music. "Rossini's fame surpassed that of any previous composer, and so, for a long time, did the popularity of his works. Audiences took to his music as if to an intoxicating drug – or, to put it more decorously, to champagne, with which Rossini's bubbly music was constantly compared." [21]

Rossini took existing operatic genres and forms and perfected them in his own style. Through his own work, as well as through that of his followers and imitators, Rossini's style dominated Italian opera throughout the first half of the 19th century. [21]

In his compositions, Rossini plagiarized freely from himself, a common practice among deadline-pressed opera composers of the time. Few of his operas are without such admixtures, frankly introduced in the form of arias or overtures. For example, in Il Barbiere there is an aria for the Count (often omitted) "Cessa di più resistere", which Rossini used (with minor changes) in the cantata Le Nozze di Teti e di Peleo and in La Cenerentola (the cabaletta for Angelina's rondo is almost unchanged). Moreover, four of his best known overtures (La cambiale di matrimonio. Tancredi. La Cenerentola and The Barber of Seville ) share operas apart from those with which they are most famously associated.

A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm," [22] which earned him the nickname of "Signor Crescendo".

A few of Rossini's operas remained popular throughout his lifetime and continuously since his death; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called "Rossini Renaissance".

Rossini himself correctly predicted that his Barber of Seville would continue to find favor with posterity, telling a friend:

One thing I believe I can assure you: that of my works, the second act of Guglielmo Tell. the third act of Otello. and all of il Barbiere di Siviglia will certainly endure. (Ma di una cosa credo potervi assicurare: che di mio rimarrà di certo il secondo atto del Guglielmo Tell, il terzo atto dell’Otello, e tutto il barbiere di Siviglia ) [23]

Works References
  1. ^ "Though 'Gioacchino' is the familiar spelling of the name, Rossini himself more usually adopted the spelling 'Gioachino'. This is now the accepted spelling of his first name" per Osborne, 1986 Master Musicians Series, p. xv; Osborne, 1998, pp. 56-67; Baker's Biographical Dictionary of Musicians. and most Rossini scholars (including the Fondazione G. Rossini and the Center for Italian Opera Studies at the University of Chicago )
  2. ^ Radiciotti 1927 — 1929, p. 8: "Giovacchino Antonio Rossini" appears on the baptismal certificate
  3. ^ Gorlin 2013
  4. ^ ab Fisher 2005
  5. ^ Montanelli, Indro (1972), L'Italia giacobina e carbonara (1789–1831). p. 612, Milan: Rizzoli. ISBN 9788817420136
  6. ^ Osborne 2007, p. 5
  7. ^ Osborne 2007, p. 7
  8. ^ Michael Rose 2004, "Mercadante: Flute Concertos", booklet accompanying the RCA CD recording with James Galway and I Solisti Veneti under Claudio Scimone.
  9. ^ Faul 2009, pp. 139–141
  10. ^ "Anecdotes of Rossini" by "E." in Richard Fennell: The London Magazine. Charivari. and Courrier des dames. vols. I & II, p. 370, London 1840. Simpkin, Marshall and Co.
  11. ^ Osborne 1986, p. 148
  12. ^ Osborne, 1986, pp. 63, 112, and 268
  13. ^ Weinstock 1968, p.
  14. ^Gazzetta Piemontese. (Italian). 24 November 1868, p. 2: " La sua fortuna di 150,000 franchi di rendita. "
  15. ^ Rossini also bequeathed a life annuity and all his old clothes to his waiter Antonio Scanavini
  16. ^ Cf. Rossini's will in CRT Pesaro Urbino (Italian)
  17. ^ (Italian) Fondazione Rossini – Storia
  18. ^ Holoman 2004
  19. ^Gazzetta Piemontese. (Italian). 24 November 1868, page 3. " Io voglio che dopo la mia morte e quella di mia moglie, siano in perpetuo fondati in Parigi ed exclusivamente per i Francesi due premii di tre mila franchi ciascuno per essere annualmente distribuiti: uno all'autore d'una composizione musicale religiosa o lirica, che dovra' specialmente appogiarsi alla melodia, oggi si trascurata; l'altro all'autore delle parole in prosa od in verse, sulle quali dovra' adattarsi la musica ed essere perfettamente appropriate, osservando le leggi della morale di cui i moderni scrittori piu non tengono verun conto."
  20. ^ "Art and Architecture" on artandarchitecture.org.uk, published by The Courtauld Institute, London. Retrieved 1 December 2013
  21. ^ ab Tarushkin 2010, p.
  22. ^ Faddis 2003, Program notes for a performance of the overture to La scala di seta by the Cape Anne Symphony, 2007; See also "Rossini Overtures" Liner notes for the Chandos recording (Chan 9753)
  23. ^ Checchi 1887, p.
Bibliography
  • Checchi, Eugenio (1887). Verdi, il genio et le opere. Florence: G. Barbera.
  • Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. Material now in the public domain is incorporated into this article.
  • Faul, Michel (2009), Les aventures militaires, littéraires et autres d'Étienne de Jouy. Editions Seguier, France, March 2009, ISBN 978-2-84049-556-7
  • Fisher, Burton D. (2005), The Barber of Seville (Opera Classics Library Series). Grand Rapids: Opera Journeys. ISBN 1-930841-96-5 ISBN 1-930841-96-5
  • Gorlin, Sophia (2013). Music Theory for Young Musicians in the Style of Russian School of Piano Playing - Book 5. CreateSpace Independent Publishers. ISBN 978-1483945071.
  • Harewood, Earl of, ed. (1987). Kobbé's Complete Opera Book (10th ed.). London: Bodley Head. ISBN 0370310179.
  • Holoman, D. Kern (2004), The Societ́e ́des concerts du conservatoire, 1828–1967. University of California Press ISBN 0-520-23664-5 ISBN 9780520236646
  • Steen, Michael (2004), The Lives and Times of the Great Composers NY: Oxford University Press. ISBN 1-84046-679-0 ISBN 1-84046-679-0
  • Taruskin, Richard (2010). Music from the Earliest Notations to the Sixteenth Century (Oxford History of Music series) (Revised ed.). Oxford: Oxford University Press. ISBN 978-0-19-538481-9.
Rossini
  • Gallo, Denise (2010) [2002]. Gioachino Rossini: A Research and Information Guide (2 ed.). Abingdon: Routledge. ISBN 9781135847012. Retrieved 15 March 2015.
  • Gossett, Philip 2009, "Rossini, Gioachino" in Grove Music Online. Oxford Music Online.
  • Osborne, Richard (1986), Rossini (Master Musicians series). London: Dent. ISBN 0-460-03179-1 Publishers, Inc. ISBN 0-333-73432-7 ISBN 1-56159-228-5
  • Osborne, Richard (1986), "Rossini" in The Musical Times. Vol. 127, No. 1726 (December 1986), 691 (Musical Times Publications Ltd.) Access online
  • Osborne, Richard (1998), "Rossini, Gioacchino" (with Philip Gossett: "List of Works") in Stanley Sadie (Ed.), The New Grove Dictionary of Opera. Vol. Four. pp. 56–67. London: MacMillan
  • Osborne, Richard (2007), Rossini: His Life and Works. Oxford: Oxford University Press, 2007 ISBN 978-1-55553-088-4
  • Radiciotti, Giuseppe (1927—1929), Gioacchino Rossini: vita documentata, opere ed influenza su l'arte. Tivoli, Majella. (Italian)
  • Servadio, Gaia (2003), Rossini. London: Constable; New York: Carroll and Graff. ISBN 0-7867-1195-7
  • Toye, Francis (1987). Rossini, the man and his music (Revised edition of Rossini: A Study in Tragi-Comedy. Heinemann, London 1934. ed.). New York: Dover Publications. ISBN 9780486253961. Retrieved 13 March 2015.
  • Weinstock, Herbert (1968), Rossini: A Biography. New York, Knopf. ISBN 0-87910-102-4 ISBN 0-87910-102-4
External links

Source:

www.radioswissclassic.ch

Suisse Credit Capital (2009) Limited in London, WC1H 9BB

Suisse Credit Capital (2009) Limited

2009 signifies the beginning of Suisse Credit Capital (2009) Limited, a company registered at Hamilton House, Mabledon Place. London. That would make seven years Suisse Credit Capital (2009) has prospered in the UK, as it was started on 2009-07-15. The firm Companies House Registration Number is 06962855 and the postal code is WC1H 9BB. Although recently operating under the name of Suisse Credit Capital (2009) Limited, the name had the name changed. The company was known as Suisse Credit Capital until 2013-06-04, then the name was changed to Kim Capital. The definitive was known as took place in 2011-09-09. The company SIC and NACE codes are 82990. that means Other business support service activities not elsewhere classified. 2015-06-30 is the last time when company accounts were reported. The company can look back on its successful 7 years on this market, with good things in the future.

According to the data we have, the following company was incorporated seven years ago and has been guided by five directors, and out of them two (Donald Robert Lee and Robert Bullivant) are still employed.

  • Previous company's names

Suisse Credit Capital (2009) Limited 2013-06-04

Source:

www.bizdb.co.uk

Suisse 2009 - ISBN:9782746924949

About

onlab is a Swiss graphic design studio with a strong focus on content, narrative and visual quality, founded by Nicolas Bourquin in 2001, based in Berlin and French Switzerland. The studios work on commissioned, collaborative and self-initiated design projects, mainly in the cultural areas of editorial design and visual communication. Works and projects range from books and magazines to exhibition design, posters, data visualisations, and visual identities.

The onlab team is driven by a deep involvement in linking content and production aesthetics with elements of topicality, following a cross-medial approach, overlooking the broadest range of medial possibilities. They analyse and investigate content for seeking out threads of narrative and alternative approaches to visualise a story.

Press

onlab – specializes in graphic design with a compelling story to tell – is not an ordinary design studio. Based in Berlin, it both works with clients and creates its own books, and operates around a single philosophy: that design is a narrative that can change how people approach the world.

A. Losowsky, Wall Street Journal, July 31st, 2009

The cohesion of this documentation of an experiment is determined by the subject matter of reactor and the very powerful, homogenous and harmonious typography.

The Best German Books 2009

Content is king at onlab, but its editorial focus incorporates a flair for visual delight and and conceptual ingenuity.

John L. Walters, Eye Magazine, Berlin Special Issue, Winter 2009

Designreaktor is, however, a book you want to spend time with, a typographic treat and an accomplished piece of paper engineering.

GRAFIK, 04/2009

In diesem Buch wird jede Seite zum Blickfang (. ). Jede Seite des Bandes 'Reporter Ohne Grenzen' ist ein Innehalten wert, lohnt ein genaues Studium.

Menschen machen Medien Nr. 4–5 / 2011

Thought provoking, quirkily designed and beautifully printed 'Old & New' is a reminder of just how interesting and effective good architecture can be.

Peter Robinson, RIAS Quarterly, 01/11

'Data Flow' is jam-packed with innovative, smart and gripping examples of the way designers, programmers and artists are giving sense and beauty to the humongous mass of data that is overflowing our digital age.

Régine Debatty, 2010

‘Data Flow 2’ is the sequel of one of the most inspiring books i’ve ever seen in the realm of graphic design.

slanted.de

The photograph's rich texture and detail is always impressive. Beautifully printed and featuring both academic and irreverent passages exploring its themes, LOCAL STUDIES is an idiosyncratic and enthralling insight into a photographer's singular vision.

Wallpaper*, January 2007 Partners Nicolas Bourquin Founder

Nicolas Bourquin, born in 1975 in Tramelan (French part of Switzerland), studied Graphic Design at the School for Applied Arts in Biel. Just after having graduated, he was recruited by MetaDesign Suisse in July 2000. In 2001, Nicolas founded the graphic design studio onlab in Zürich. Moving to Berlin (Germany) the following year, he was working on an international design competition for Berlin’s Museumsinsel (1st prize) and on new commissions for onlab. Nicolas is co-editor of the best selling books los logos. dos logos and tres logos as well as Data Flow and Data Flow 2 (Gestalten). In 2006, Nicolas was invited by the Swiss Art Council Pro Helvetia to stay in Cairo (Egypt) for 3 month, as artist in residence.

In the past few years Nicolas has been invited to several international universities and art schools for lectures and workshops (Beckmans and Berghs in Stockholm, CalArts in Los Angeles, ETH and ZHdK in Zurich, HEAD Geneva, UQAM Montréal, amongst others). In 2009 Nicolas got a regular assignment at the University of the Arts in Bremen (Germany) and in 2010 he was holding, together with Thibaud Tissot, a visiting professorship at the Bauhaus University Weimar (Germany). “My main objective in teaching is to establish the missing link between academic teaching and professional practice”, so Bourquin. In August 2011, Nicolas initiated the first onlab Summer School in Berlin. Supervised by Nicolas and Thibaud, the Summer School is set out to provide concrete knowledge on the actual production process in the Editorial Design field.

In 2003, together with Sven Ehmann and Krystian Woznicki, Nicolas co-founded the independent publishing house etc. publications. During the Salone del Mobile in Milano in April 2013, GRAFT a magazine-in-magazine on materials, has been lauchned. As co-founder, co-editor and creative director, Nicolas’ aim is to propose an alternative product to interdisciplinary design, thinking it as a valuable printed matter. The different identities and platforms enable to find various approaches and systems while looking at cultural differences and similarities in a subjective manner.

Nicolas is constantly working on new self initiated projects and investigates ways of telling stories in the context of the actual print and media crisis.

Thibaud Tissot Creative & art director

Thibaud Tissot was born in 1984 in La Chaux-de-Fonds (French part of Switzerland). He studied Graphic Design at the School for Applied Arts in his hometown. Just after graduating in 2007, he founded the studio Dynamo, together with Yassin Baggar, today founder and partner of the Fatype type foundry. The same year, he moved to Berlin to join Nicolas Bourquin at onlab. first as an intern, and soon as a designer, art director and partner. Thibaud is co-editor of the best selling books Data Flow and Data Flow 2 (Gestalten). His posters for different cultural institutions in Switzerland have been regularly awarded among the “100 best posters from Switzerland, Germany and Austria”.

In the past few years Thibaud has been invited to several international universities and events for lectures and workshops (La Cambre in Brussels, Technische Universität in Berlin, Poster Heroes in Torino, Northwestern University in Boston or UQAM in Montréal, amongst others). In 2010 he was holding, together with Nicolas, a visiting professorship at the Bauhaus University Weimar (Germany). In 2011 and 2012, he organized and supervised together with Nicolas, the onlab Summer School. set out to provide concrete knowledge on the actual production process in the Editorial Design field. Since 2011 he is holding a professorship at the School for Applied Arts in La Chaux-de-Fonds, where he is teaching Graphic and Information Design.

In 2010, Thibaud was invited by the Museum of Fine Arts in Le Locle to curate «Un/limited». a project questioning the boundaries between art and design around the poster medium. Featuring award-winning designers from all over the world, the project was concluded with an eponymous publication and a dedicated exhibition at the museum in December 2013.

Clients Universities
  • UQAM | Université du Québec à Montréal
      no projects for this client
  • UdK – Berlin University of the Arts
    • Design Reaktor Berlin
  • La Cambre – Brussels National School of Visual Arts
      no projects for this client
  • University of Art and Design Burg Giebichenstein, Halle
      no projects for this client
  • Bauhaus University Weimar
      no projects for this client
  • University of Arts Bremen
      no projects for this client
  • School of applied arts, La Chaux-de-Fonds
      no projects for this client
  • Stuttgart State Academy of Art and Design
      no projects for this client
  • HEAD – Geneva University of Art and Design
      no projects for this client
  • Hyperwerk | Institut for Postindustrial Design, Basel
      no projects for this client
  • ETH Zürich
    • A Quantum City
    • Metalithikum II
    • Die Nachricht, ein Medium
    • Metalithikum I
    • EigenArchitecture
    • Sheaves
Bibliography Co-edited books

Edited by Nicolas Bourquin, Robert Klanten, Mika Mischler
Published by Gestalten. Berlin, September 2002

English/German, 444 pages

Edited by Nicolas Bourquin, RobertKlanten
Published by Gestalten. Berlin, October 2004

English/German, 444 pages

Edited by Nicolas Bourquin, Thorsten Geiger, Robert Klanten
Published by Gestalten. Berlin, October 2006

English/German, 508 pages

  • Altitude: Contemporary Swiss Graphic Design

    Edited by Nicolas Bourquin, Claudia Mareis, Robert Klanten
    Published by Gestalten. Berlin, October 2006

    English/German/French, 240 pages

  • Joël Tettamanti: Local Studies

    Edited by Nicolas Bourquin, Sven Ehmann
    Published by etc. publications. Berlin, October 2006

    English/German/French, 232 pages

  • Data Flow: Visualizing Information in Graphic Design

    Edited by Nicolas Bourquin, Sven Ehmann, Ferdinand van Heerden, Robert Klanten, Thibaud Tissot
    Published by Gestalten. Berlin, September 2008

    English, 256 pages

  • Data Flow 2: Visualizing Information in Graphic Design

    Edited by Nicolas Bourquin, Sven Ehmann, Robert Klanten, Thibaud Tissot
    Published by Gestalten. Berlin, March 2010

    ISBN: 978-3-89955-278-2 (English)
    ISBN: 978-3-89955-295-9 (German)
    ISBN: 978-3-89955-296-6 (French)
    ISBN: 978-3-89955-297-3 (Spanish)

  • Un/Limited: A Poster Project

    Edited by Thibaud Tissot
    Published by the Museum of Fine Arts in Le Locle, December 2013

    French/English, 24 Pages.

    Source:

    www.onlab.ch

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