title: Peter Bassano

texts:
 in modern times of Beethoven's Trauerklange), introduced a standing RCM Symphony Orchestra to an historically aware performance of Berlioz Sinfonie fantastique and directed the Baroque Orchestra in performances of three of Bach's Brandenberg Concertos at Buckingham Palace. In January 1995 he was one of the first conductors to appear at the newly built Paris concert hall, Cité de la Musique conducting the complete instrumental music of Gabrieli's 1597 Sinfonae Sacrae. He returned to this major Paris venue in July 1998 to conduct two concerts with the Grimethorpe Colliery Band to ecstatic reviews and high-profile TV coverage. A champion of new music, he has commissioned and conducted the first performances of Tim Souster's Echoes (Manchester/BBC Radio 3), Joseph Horovitz's Tuba Concerto (Nottingham Festival) and Andrew Powell's Falstaff: Theme and Episodes (Paris, Cité de la Musique), Chris Batchelor's Weasel Words & Winning Ways, Max Charles Davies's Trinity-Credo, Simon Dobson's Four Britten Sketches and Fanfare for <mask>, Aaron Einbond's Floral Decorations for Bananas, Edmund Jolliffe's Breathe, Gabriella Swallow's Spit, Ivor Bonnici's Three Movements for Chamber Orchestra and the UK premiere of Esa-Pekka Salonen's Stockholm Diary, Robert Saxton's Sonata on a theme of Orlando Gibbons, Britta Bystom's Rebellion in Greenery, Wilfred Heaton's Healing Stream, Christopher Gunning's Wicken Fen Jacon Bride's Percussion Concerto and Sebastian Currier's Remix. Honorary awards
Fellow of the Royal College of Music 1997
Member of the Royal College of Music 1982

References

English conductors (music)
British male conductors (music)
Living people
1945 births
Alumni of the Royal College of Music
21st-century British conductors (music)
21st-century British male


title: Lola Flores

type: original

texts: María Dolores "<mask>" <mask> (21 January 1923 – 16 May 1995) was a Spanish singer, actress, bailaora and businesswoman. Born in Jerez de la Frontera, <mask> became interested in the performing arts at a very young age. Known for her overwhelming personality onstage, she first debuted as a dancer at age sixteen at the stage production Luces de España, in her hometown. After being discovered by film director Fernando Mignoni, <mask> moved to Madrid to pursue a professional career in music and film, with her first gig being the lead role in Mignoni's Martingala (1940). <mask> succeeded as a film and stage actress. In 1943 she obtained her breakthrough role in the musical stage production Zambra alongside Manolo Caracol, in which she sung original compositions by Rafael de León, Manuel López-Quiroga Miquel and Antonio Quintero, including "La Zarzamora" and "La Niña de Fuego", mostly singing flamenco music, copla, rumba and ranchera. She then started to receive widespread media coverage.In 1951, <mask> signed a five-film contract with Suevia Films for a value of 6 million pesetas, which became the best paid contract for a performing artist in Spanish history. Under that contract she starred in major productions like La Niña de la Venta (1951), ¡Ay, Pena, Penita, Pena! (1953), La Danza de los Deseos (1954) and El Balcón de la Luna (1962), among many others, which spawned the signature songs "A Tu Vera" and "¡Ay, Pena, Penita, Pena!". Since then, she was popularly dubbed as La Faraona. During her life, <mask> performed in more than 35 films, pigeonholed, in many of them, in Andalusian folklore. As a bailaora, <mask> enraged several generations of continents, although she distanced herself from flamenco canons. She also recorded over twenty albums, which she toured though Europe, Latin America and the United States.Her strong personality, recognizable image, remarkable professional trajectory and her sometimes controversial personal life, have turned <mask> into a Spanish pop

masks:
Lola
Flores Ruiz
Flores
Flores
Flores
Flores
Flores
Flores
Flores


title: Lola Flores

texts:
 culture icon. She is often cited as the "biggest exporter of Andalusian culture to date" as well as a "pioneer", being tributed many times in recent television series and documentaries such as the biographical film Lola, la Película (2007). <mask> became the matriarch of what would later be the <mask> family, filled with popular singers and television personalities such as Lolita <mask>, Rosario, <mask> and Elena Furiase. In 1995, <mask> died, aged 72, in Alcobendas due to health complications caused by a breast cancer. Life and career

1923–1950: Early life and career beginnings

<mask> was the daughter of <mask> Pinto (1897-1973) and Rosario Ruiz Rodríguez (1901-1989). Her father owned a bar and her mother worked making clothes. She learned to dance with María Pantoja and to understand flamenco with Sebastián Nuñez.Her debut at 16 years of age was with Custodia Romero's company in the Villamarta Theatre of Jerez de la Frontera. Shortly after leaving Jerez for Madrid, she rose to fame and soon signed the most expensive contract of the time (6 million pesetas in the 1950s) which launched her career, touring throughout Latin America. In 1958, she married Antonio González el Pescaílla, a gypsy guitarist from Barcelona. She had three children: singer and actress Lolita <mask>; rock musician, singer and actor <mask>; and singer and actress <mask>. <mask>, while one quarter gypsy through her maternal grandfather, Manuel, who was a street vendor, referred to herself as "paya" or non-gypsy Spanish. Nevertheless, she is considered an icon of the Gypsy and Roma community in Spain, particularly since she married into a gypsy family. "La Faraona" died of breast cancer in 1995, aged 72, and was buried in the Cementerio de la Almudena in Madrid.Shortly after her death, her distraught 33-year-old son, <mask>, committed suicide by overdosing on barbiturates and was buried beside her. In 2007, the biopic Lola, la película was made. The movie describes her early life, starting in 1931

masks:
Lola
Flores
Flores
Alba Flores
Lola Flores
Flores
Pedro Flores
Flores
Antonio Flores
Rosario Flores
Lola Flores
Antonio Flores


title: Lola Flores

texts:
 until 1958. <mask>, a native of Jerez de la Frontera (Cádiz) was an icon of traditional Andalusian folklore, recognized throughout Spain as well as internationally. She became a famous dancer and singer of Andalusian folklore at a very young age, performing flamenco, copla, and chotis and appearing in films from 1939 to 1987. Her father owned a bar and her mother was dressmaker. She learned to dance with María Pantoja and to understand Flamenco culture with Sebastián Nuñez.Her debut at 16 years of age was with Custodia Romero's company in the Villamarta Theatre of Jerez de la Frontera. After several spectacles she went to Madrid. Shortly after leaving Jerez for Madrid, she rose to fame and soon signed the biggest contract of the time (6 million pesetas in the 1950s) which launched her career touring throughout Latin America. In 1943, with the protection of business owner Adolfo Arenaza, <mask> set out a performance named Zambra with Manolo Caracol, which with small variations would be kept several years with great success. Zambra was decisive for <mask>'s career, a spectacle very organized in all his elements for the one that they chose to León Quintero and Quiroga and that had her culminating number in “La niña de fuego” and of that there went out also "La Zarzamora", one of the songs most associated with <mask>. The collaboration of the couple, who supported each other in both their private and professional life, led to a relationship that was more than professional reflected on the stage, and was very successful. This eventually lead them to become proper business owners.Together they produced two movies, "Embrujo" (1947) and "La niña de venta" (1951). In 1951, the professional and sentimental separation of the couple started, and they eventually stopped working together. 1951–1960: Career breakthrough and marriage
In 1951 the Spanish film producer Suevia films wanted to consolidate a star-system of the Spanish cinema, which had his expansion towards America. The owner,

masks:
Lola Flores
Flores
Lola Flores
Lola


title: Lola Flores

texts: Cesáreo González decided at the end of 1951 to contract <mask>. He signed an agreement with <mask> for two years and 5 films for an amount of six million pesetas. That contract included cinema, TV, theatre and also a tour along throughout America. The agreement was signed in Bar Chicote, in Madrid with the cameras of NO-DO, which was a great advertising event.With this agreement, <mask> started filming news films like “La niña de la venta”, with Ramón Torrado in 1951 and “¡Ay pena, penita, pena!” with Miguel Morayta in 1953. <mask> also appeared in advertisings campaigns as part of the agreement. On April 12, 1952, <mask> went to Mexico with her family, where she obtained a great reception. From Mexico, she went to Havana, Rio de Janeiro, Ecuador, Buenos Aires and New York. It has gone down in history as an authoritative The New York Times  review the following and famous quote that was never really written about her: “<mask>, a Spanish artist, she neither sings, and does not even dance, but you can't miss her”. This statement has been spread all over the media as if it were true. The Spanish newspaper El País, conducted an investigation on the matter and concluded that it is part of the mythical history of the artist, but that this was never written in the New York Times.On October 27, 1958, she married Antonio González el Pescaílla (1925-1999), a gypsy guitarist from Barcelona. She had three children: singer Lolita <mask> (Dolores González <mask>) (1958) <mask> (Antonio Gónzález <mask>) (1961-1995); and <mask> (Rosario González <mask>) (1963), they were one of the most famous family of artists in Spain. Moreover <mask> was the sister of <mask> (1936), and her nephew was the footballer and coach Quique <mask> (1965). She is the grandmother of the actress Elena Furiase and Guillermo Furiase (Lolita's children), the actress <mask> (Antonio's daughter), known for her role as 'Nairobi' in 'The Money Heist', and <mask> and Pedro Antonio Lazaga (Rosario's children). She was the

masks:
Lola Flores
Lola Flores
Lola Flores
Lola
Lola Flores
Lola Flores
Flores
Flores
Antonio Flores
Flores
Rosario Flores
Flores
Lola Flores
Carmen Flores
Sánchez Flores
Alba Flores
Lola Orellana


title: Lola Flores

texts:
 godmother of Carmen Morales, daughter of the famous singer and actress Rocio Dúrcal. 1960-1995: Decline of copla and legal problems
In March 1987, The district attorney's office presented a complaint against the artist and her husband for not having presented the declarations of the income tax between the years 1982 and 1985, they had to pay a bail of 145 million pesetas (871.561 €). In 1989, The Madrid provincial court decreed her absolution for a legal vacuum motivated by a judgment of the Constitutional Court that had annulled partially the Law of the tax.Finally, <mask> was condemned by the Supreme Court in 1991, as the authoress of 4 crimes against the Inland Revenue. She was sentenced to two different punishments of a month and a day and two others of seven months in prison, but she would never serve the sentences. The process had an important social transcendence, since she was a very famous person and was chosen by the Inland Revenue as an example of their battle against tax fraud. Discography
Studio albums
 Canta <mask> (1955)
 ¡Olé! (1957)
 The Toast of Spain (1959)
 La fabulosa Lola Flores (1959)
 Lola Flores y Antonio González (1964) (with Antonio Gonzáez)
 Lola Flores y Antonio González (1964) (with Antonio Gonzáez)
 Lola Flores y Antonio González (1966) (with Antonio González)
 La guapa de Cádiz (1966) (with Antonio González)
 Lola Flores y Antonio González (1968) (with Antonio Gonzáez)
 Lola Flores (1969)
 <mask> Flores (1971)
 <mask> Flores (1972)
 <mask> (1971)
 <mask> (1972)
 <mask> (1973)
 Lola Flores (1974)
 Lola Flores (1974)
 La fabulosa Lola Flores (1975)
 Diferente Lola (1980)
 Lola Flores y Antonio González (1980) (with Antonio Gonzáez)
 Homenaje (1990)

Extended plays
 <mask> recita poemas de Rafael de León (1967)

Cinema
Lola <mask> took part in 38 films, making her début in 1939 as an actress with the film Martingala by Fernando Mignoni. One of the most remarkable films is a classic from the 40s:  (1947), Carlos Serrano de Osma), a musical

masks:
Lola Flores
Lola Flores
Lola
Lola
Lola Flores
Lola Flores
Lola Flores
Lola Flores
Flores


title: Lola Flores

texts:
 Golden era of cinema. <mask> worked with important celebrities such as Jorge Negrete, Pedro Infante, Antonio Badú, Luis Aguilar "El Gallo Giro" and Miguel Aceves Mejía. She became friends with the well-known actor Mario Moreno "Cantinflas", with <mask> "La Grande", with the Mexican divas Silvia Pinal and "la doña" María Félix or Dolores del Río. Selected filmography

TV programmes
<mask> participated in different TV programmes throughout her life. Sometimes she sang, others she danced, others she competed and in others she was just interviewed. When private channels were introduced in Spain in the 90s, <mask> took advantage and started to present her first TV programme.She began to make use of this facet, but it would soon end because of her death. These were the TV programmes that she presented:
 El tablao de Lola (Telecinco) (1992)
 Sabor a Lolas (Antenta 3 TV) (1992-1993) with her daughter, Lolita <mask>
 Ay <mask>, Lolita, <mask> (TVE) (1995) with her daughter, Lolita <mask>

Her last programme in TVE (Spanish Television, the national state-owned public-service television broadcaster in Spain) had to be cancelled in the 9th programme due to her illness, which started to get worse. In that show would be the last time she would sing in public. At first, she was supposed to remain standing during her performance, but finally she had to ask for a chair. She hardly moved her right arm, since it was swollen due to the cancer she suffered. Her programmes were characterized by the presenters, who were part of the spectacle, in which they sang and danced. During this whole period in television she demonstrated that she did not stop singing and dancing until her last days.TV series
<mask> never took part in a TV series as a protagonist. However, one of the last projects she made was “El coraje de vivir”, where she narrated her own life and which had several episodes. She also played an important role in the TV series Juncal in 1988. These are some of the series where she was

masks:
Lola Flores
Lola Beltán
Lola
Lola
Flores
Lola
Lola
Flores
Lola Flores


title: Lola Flores

texts:
 invited and in which she played different roles isolated:

 Juncal (TVE) (1988) as Merche. Farmacia de guardia (Antena 3 TV) (1993) as <mask> acting with her daughter Lolita <mask>. Los ladrones van a la oficina (Antena 3 TV) (1994) as the gypsy woman <mask>, where she acted with her children Lolita and Antonio. El coraje de vivir (Antena 3 TV) (1994) as <mask>.Tributes
They paid several tributes to her during her life, but the most outstanding is the one they did in Miami in 1990, with the participation of great artists such as José Luis Rodríguez "El Puma", her compatriot Rocío Jurado, his great friend Celia Cruz and the whole family of <mask>. In that event <mask> participated in all the performances; with Rocío Jurado recorded the song "Dejándonos la piel". Her last tribute was given by Antena 3 channel in 1994, to which <mask> was invited, but she did not perform; she only enjoyed the performances of her friends and family, during that act said his mythical phrase: "Ya puedo morir tranquila” (I can now die calm). The sisters Salazar, better known as Azúcar Moreno, paid tribute to her with a song that had and has still a great recognition in Spain and the entire world titled “Bailando con Lola". In her native city she could not get to inaugurate an avenue in her honor, but she had the opportunity to witness how she was granted, in 1965, the silver medal of Jerez de la Frontera, in thanks for taking the name of his city to all corners of the world. The construction of a museum is being built in her memory in the Palace of Villapanés (next to her monument), which will house bibliography, multimedia and personal objects (dresses and enseres) of the artist. After years of political controversies and funding issues, the <mask> Flores museum is finally built near the future location of the Jerez Flamenco museum at the former "Oil Warehouses".It is expected to be open for the second quarter of 2022. In 2016, the Lara and Cajasol Foundations awarded the Manuel Alvar Prize for

masks:
Lola Flores
Flores
Lola
Lola Flores
Lola
Lola
Lola
Lola


title: Lola Flores

texts:
 Humanistic Studies 2016 to the essay <mask>: Otra Historia del Espectáculo en la España Contemporánea by Alberto Romero Ferrer. On 21 January 2016, Google Doodle commemorated her 93rd birthday. In 2019, a theatre production in Seville performed a biographical jukebox musical featuring <mask>' repertorie. Ever since that moment, <mask>'s daughters Rosario and Lolita have been trying to make a musical about the life of her mother. A script is currently being assessored by them, with a tentative release date for the musical being set for 2023. In 2021, Movistar+ premiered the documentary series Lola, which revisits the life and legacy of <mask>.It features testimonies of 44 international and national performers including Rosalía, Mala Rodríguez, Miguel Poveda, Nathy Peluso, María José Llergo and C. Tangana among others. Death
She died on 16 May 1995 at her residence "El Lerele" situated in La Moraleja, municipality of Alcobendas (Madrid), at the age of 72, due to breast cancer that had been diagnosed in 1972. Her funeral chapel was installed in the Cultural Center of the Villa (now Teatro Fernán Gómez) of Madrid, in Plaza de Colón (Colón's square). In an open and shrouded coffin with a white blanket, all her admirers and friends could come and see her. She was taken to the Cemetery of the Almudena in Madrid where she was buried. It was one of the burials most remembered by the number of people who came; the funeral was broadcast live on television. Fifteen days after her death, on May 31, 1995, her son <mask> (aged 33) was found dead in the family residence of "El Lerele".See also
Women in dance

References

1923 births
1995 deaths
Singers from Andalusia
Spanish film actresses
Spanish female dancers
Spanish Roman Catholics
Deaths from breast cancer
Flamenco singers
People from Jerez de la Frontera
Deaths from cancer in Spain
Castanets players
20th-century Spanish actresses
20th-century Spanish singers
Burials at Cementerio de la Almudena
20th-century Spanish women

masks:
Lola Flores
Flores
Lola
Flores
Antonio Flores


title: Ghenadie Ciobanu

texts:
<mask> (6 April 1957, Brătuşeni, Edineț) is a composer and politician from the Republic of Moldova, who served as the Minister of Culture of the Republic of Moldova (1997-2001) and served as a deputy in the Parliament of the Republic of Moldova in the Party faction Liberal Democrats from Moldova between 2010 and 2014. He composed symphonies, written works for chamber ensembles (instrumental), choral creations, theater and film music, etc. Biography
<mask> was born on 6 April 1957 in Brătușeni, Edineț, Moldovan SSR. He graduated from the "Gnesin" Musical-Pedagogical Institute in Moscow (currently the Russian Academy of Music), the piano faculty (1982) and the "Gavriil Muzicescu" Conservatory in Chisinau, composition department (1986). He is the author of more than one hundred musical works in the genres: opera, musical, symphonic, vocal-symphonic, choral, chamber, theater and film music. [1] . His creations have been performed in numerous recitals and concerts in the Republic of Moldova, Romania, France, Germany, Greece, Spain, Israel, Denmark, Poland, Russia, Estonia, Ukraine, USA, China, Italy, Bulgaria, Austria, Japan, Guatemala, San Salvador, Azerbaijan, Czech Republic, Hungary, Canada and others.His works are recorded on CD's and broadcast by Denmark Radio, P2 (Copenhagen), Radio Romania‚ Radio Moscow, Teleradio Moldova, Radio Leipzig, Radio Amsterdam, radio and television stations in Italy, Spain (P2), Great Britain (GBEUR), Czech Republic (CZCR), Portugal (PTRTP), Switzerland (SESR), Croatia (HRHRTR) etc. He is University professor, PhD at the Department of Musicology, Composition, Jazz of the Academy of Music,

masks:
Ghenadie Ciobanu
Ghenadie Ciobanu


title: Ghenadie Ciobanu

texts:
 the “Dictionary of The Khazars”). Libretto by <mask> Ciobanu after Milorad Pavic (2004)

•	The Gates. Musical. Libretto by <mask> <mask>, poetry by Radmila Popovici-Paraschiv (2010)

•	Apolodor. Operă-musical, after The Apolodor by Gelu Naum (2016)

•	Under The Sun and Stars.Symphony (1989)

•	The Birds and The Water. Symphonic pictures for ballet (2001)

•	Enescu Code, for string orchestra (2007)

•	The Rites of Spring. Symphonic Suite: Entree, Dance With  Fires On Snow, Mauntain (2010-2018)

•	The Oriental Songs. Worship to Dimitrie Cantemir for symphonic orchestra (2013)

•	Glance Behind The Curtain/Glance For The Curtain,  for string orchestra (2016)

•	Après une Lecture. Vocal-symphonic cicle:  The Post-modern Poem, The Rap Poem, The Elegiac Poem. Poetry by Emilian Galaicu-Păun, Valeriu Matei (2014-2016)

•	The Moments. Concerto for violin and symphonic orchestra (2015)

•	The Breeze of Southern Latitudes.Concerto for marimba și and symphonic orchestra (2009)

•	The Ode To Becoming, for choir and symphonic orchestra, poetry by D. Matcovschi (2013)

•	De profundis...My Generation. Cantată for choir and symphonic orchestra Poetry by A. Ahmatova

•	Deux chansons, for soprano și chamber ensemble. Poetry by Valeriu Matei and Matei Vișniec (2018)

•	The Time Passes. Capriccio, for clarinet and piano (2017)

•	„…cette fois-ci a Paris”. Biobliografie / Acad. de Muzică, Teatru și Arte plastice. , .Chișinău, Editura Lumina, 2016
 Muzicieni din România: Lexicon biobibliografic / Viorel Cosma - Onești; Magic Print, 2016. 1957 births
Living people
Liberal Democratic Party of Moldova MPs
Moldovan MPs 2009–2010
Moldovan

masks: Ghenadie Ghenadie Ciobanu


title: Nathan Astle

texts:
<mask>  (born 15 September 1971) is a former New Zealand cricketer, who played all formats of the game. A right-handed batsman who played as an opener in One Day Internationals (ODI), while batting in the middle order in Test matches. In a career that spanned 12 years, <mask> played 81 Tests and 223 ODIs accumulating 4,702 and 7,090 runs respectively. As of 2013, he is New Zealand's second-most prolific run scorer. <mask> collected 154 wickets with his medium-paced bowling at the international level. He holds two records – scoring the fastest double century in Test cricket and the second highest individual score in the fourth innings of a Test match. Both the records were achieved when he made 222 against England in Christchurch in 2002.<mask> has played County Cricket in England for Derbyshire, Durham and Nottinghamshire, and for Canterbury in New Zealand. He was also a footballer who represented Rangers A.F.C. and good at auto racing. Personal life
<mask> was born in Christchurch, New Zealand, where he is still based; he is married to <mask> and has two children. <mask> and his wife Kelly run a childcare centre for which he is the director. His sister, <mask>, represented the New Zealand women's team at the 1993 World Cup, and later married another first-class cricketer, Robbie Frew. Domestic career
Born in 1971 at Christchurch, <mask> joined the East Christchurch-Shirley Cricket Club, a cricket club that would produce cricketers like Bruce Taylor, Craig McMillan and Michael Papps.He used to bat at number 6, and played as a batsman who could bowl medium pace. During the 1990–91 season, <mask> was selected to play for "New Zealand Young Cricketers" against "England Young Cricketers". <mask> managed just 127 runs at an average of 31.75 in the three match series. The following year, <mask> made his First-class debut for Canterbury against Central Districts. He hardly managed to score runs at the end of the first three seasons. During the 1994–95 season he aggregated 663 runs at an average of 55.25. He played three important innings during the season – 96 against

masks:
Nathan John Astle
Astle
Astle
Astle
Astle
Kelly Astle
Astle
Lisa Astle
Astle
Astle
Astle
Astle


title: Nathan Astle

texts:
 Auckland, 175 against Northern Districts and 191 against Wellington.Following impressive performances in the season, he was noticed by the New Zealand selectors. On 31 May 2006, Lancashire announced that <mask> would be a short-term overseas replacement for Australian player Brad Hodge. In 2007 he played for Longton C.C in Staffordshire. He was a part of the Mumbai Champs team in the inaugural 20/20 Tournament of the now defunct Indian Cricket League (ICL). International career

Debut years
<mask> was selected for the ODI series against West Indies in 1995. He was again selected for the series against Sri Lanka where's he scored 95 in one of the matches thus enabling New Zealand level the series and ending their losing streak after 13 matches. It was under the insistence of Glenn Turner, then coach of New Zealand, <mask> was selected for the Test side and started playing as an opener in ODIs.He was again selected for a five match ODI series in India. In the first four matches, he failed to score, but in the final match he recorded his first ODI century scoring 114 off 128 balls. New Zealand won the match and <mask> was declared "man of the match", in spite of New Zealand losing the series 3–2. The following year <mask> made his Test debut against Zimbabwe at Trust Bank Park, Hamilton. In the ODI series, <mask> scored a century in the first match and was named "man of the match". All in all, he scored 168 runs in the series averaging 56.00. Following that, <mask> was named in the New Zealand squad for the 1996 Cricket World Cup that was held in India, Pakistan and Sri Lanka.He scored his first World Cup hundred in new Zealand's opening match, against England, of the tournament. However, <mask> failed to score runs in the rest of the tournament, eventually ended up with 111 runs at an average of 18.5. Following his dismal performance at the World Cup, <mask> was selected for the two match Test series in West Indies. This was his second series after the one against Zimbabwe at home. Until then, he managed just 77 runs in four innings at an average of 19.25, In the

masks: Astle Astle Astle Astle Astle Astle Astle Astle Astle


title: Nathan Astle

texts:
 first Test at Kensington Oval, he scored 54 (48 balls) and 125 in both innings of the Test. In the second innings he was involved in a partnership of 144 runs with Justin Vaughan for the fifth wicket, a record for New Zealand then. In spite of his performance in the match, New Zealand lost the match by ten wickets.He continued his good form with the bat as he scored 103 in the second Test, enabling New Zealand draw the match, although they lost the series 1–0. In the following year, <mask> scored 106 against England in the 1st Test of the three–match series. He was involved in a partnership of 106 for the tenth wicket with Danny Morrison, a New Zealand record. His partnership with Morrison helped New Zealand secure a draw and prevented England from winning the test match. Successful opener in ODIs

<mask> was New Zealand's top run scorer in the 1997 Pepsi Independence Cup, a quadrangular tournament that also included India, Sri Lanka and Pakistan. In the first match against Pakistan, he scored 117 and took a career-best figure of four wickets for 43 runs; New Zealand won the match by 22 runs while <mask> was named Man of the match. He followed that with 92 against India, a match which New Zealand lost.Although, New Zealand did not progress to the finals, <mask> ended up as the fourth-most prolific run scorer with 218 runs at an average of 72.66. He was equally successful with the ball as he captured seven wickets at an average of 15.00. <mask> also passed Martin Crowe's record number of one-day hundreds for New Zealand (four) during the tournament. <mask>'s success as opener in ODIs continued throughout the season. In a home series against Zimbabwe, he was more consistent, scoring 351 runs including a century. He made scores exceeding 60 in four consecutive matches and was ultimately named "man of the series". <mask> performed well in the subsequent series' such as the Singer-Akai Nidahas Trophy (1998) and the home series against South Africa accumulating close to 600 runs.1999 World Cup failure
Although, <mask> was consistent till 1999, he failed in the 1999

masks: Astle Astle Astle Astle Astle Astle Astle Astle


title: Nathan Astle

texts:
 Cricket World Cup that took place in England. He managed just 79 runs in nine matches at an average of 8.77. he scored well in the Test series against England including a century. At the end of the century, <mask> established himself as one of the key players in New Zealand. At the end of 2000, New Zealand suffered heavy losses in the Test series against South Africa. <mask> made a strong comeback in the ODI series against Pakistan, scoring 240 runs. In the final match of the series, he made 119 off 116 balls that contained 21 fours. During the innings he was involved in a record stand of 193 for the first wicket with captain Stephen Fleming.It helped New Zealand win the series. In the rain-affected 2001–02 Trans-Tasman Trophy against Australia, <mask> scored moderately in the first two Tests and came back with a valiant 156 not out in the third Test. Though New Zealand had their upper hand throughout the series, it ended in a draw. In the tour he made a career best First-class score of 223 against Queensland. Following that, England visited New Zealand to play five ODIs and three Test matches. In the ODI series, he fare well scoring 221 runs in five innings at an average of 73.66 including a century in the last match. In the first Test, chasing a target of 550 runs, <mask> batted at number five went on to make 222, his highest Test score.he set the record for the fastest double-century when he reached the landmark in 153 balls. He took 168 balls hitting 28 fours and 11 sixes before being the last man to be dismissed. During the innings he was involved in a partnership of 118 runs with injured Chris Cairns. Despite this New Zealand lost the match by 98 runs. As of 2013, it remains the second highest score by a player in the fourth innings of a Test match. 2003 World Cup and return
<mask> made a remarkable comeback to the 2003 World Cup after disastrous performances in the previous two editions that appeared. He scored a century, second in World Cups, against Zimbabwe and finished the tournament with 213 runs from seven matches at an average of 42.60.Immediately

masks: Astle Astle Astle Astle Astle


title: Nathan Astle

texts:
 following the World Cup, New Zealand toured India to play two Test matches. In the first Test at Ahmedabad, <mask> scored 103, when New Zealand were struggling thus helping them save the match. The following year <mask> went on to record his highest ODI score when he made 145 not out against USA at the ICC Champions Trophy 2004. By this time, his Test average dipped down; he went on to make only two more hundreds till the end of his career, including one against Zimbabwe. However, he continued his good form in ODIs. In August 2005, he made an unbeaten 115 against India at the final of the Videocon Tri-Series that was held in Zimbabwe. New Zealand won the tournament and <mask> was adjudged "player of the match".During the 2005 Chappell–Hadlee Series and the preceding tour to South Africa, <mask> incurred media criticism along with fellow New Zealand cricket team teammates Craig McMillan, Hamish Marshall and James Marshall, for a slump in form. As a result of this, he was dropped from the national team. However he returned to the side in 2006 for the home series against West Indies. He scored 118 not out at Christchurch, and ended up as New Zealand's leading run scorer of the tournament. Over the New Zealand summer, he scored 690 ODI runs from 11 matches at an average of 54.2. He received the "2005–2006 Walter Hadlee Trophy for Best New Zealand One-Day International batsman". Retirement
While expected to make his fourth World Cup appearance, <mask> announced his retirement from international cricket, while he was playing in the Commonwealth Bank Series, on 26 January 2007.He cited lack of motivation and his "patchy form" in the recent matches as reasons for retiring. He played his last One-Day International on 23 January 2007 against England at the Adelaide Oval. Playing style and influences
<mask> has been described as the best ODI batsman New Zealand has ever produced. Apart from his role as a batsman, he was also an occasional partnership-breaking medium pace bowler and a competent slip fielder. Because of this multi-utility option he always enjoyed selection

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title: Nathan Astle

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 in the team but his laid-back attitude resulted him never been considered for the captaincy, despite his seniority. Outside cricket
<mask> has also been a competent soccer player, playing for Rangers A.F.C. in Christchurch, a club which also at one time had fellow cricketer Sir Richard Hadlee among its players.<mask> also took up Auto racing in early 2010, competing predominantly at Woodford Glen Speedway, Christchurch, driving a Modified. Honours and awards
The New Zealand Cricket Almanack named him the "Player of the Year" on three occasions – 1995, 1996 and 2002. For his efforts, <mask> received the "Player of the Year" award in 1998. He was also named New Zealand's "One-Day International Batsman of the Year" in 2006. In the 2007 Queen's Birthday Honours, <mask> was appointed a Member of the New Zealand Order of Merit, for services to cricket. Records

 During his career, <mask> scored 16 ODI centuries. As of the end of 2019, this is the equal second highest for a New Zealander, and equal 21st overall.He holds the record for most ducks (getting out without scoring) in World Cups, with five. Hold record for fastest double century in test cricket. Coaching career
In 2009, <mask> announced his intentions to make a career of coaching, and was appointed the head coach role of the Burnside West Christchurch University Cricket Club, a senior club in the Christchurch Metropolitan league, playing under the Canterbury Cricket Association. References

External links

 Profile on BlackCaps Website

1971 births
Living people
Canterbury cricketers
Durham cricketers
New Zealand One Day International cricketers
New Zealand Test cricketers
New Zealand Twenty20 International cricketers
New Zealand cricketers
Nottinghamshire cricketers
Lancashire cricketers
Cricketers at the 1998 Commonwealth Games
Commonwealth Games bronze medallists for New Zealand
ICL World XI cricketers
Mumbai Champs cricketers
Cricketers from Christchurch
Members of the New Zealand Order of Merit
People educated at Shirley Boys' High School
Commonwealth Games medallists in cricket
South Island


title: John Morris Russell

texts:
<mask> (born June 6, 1960), also known as JMR, is an American orchestral conductor best known for his association with the Cincinnati Pops Orchestra and the Buffalo Philharmonic Orchestra. He lives in Cincinnati with his wife and two children. Biography

Early years
Born and raised in Cleveland, Ohio, <mask> attended Ludlow Elementary School in Shaker Heights, outside of Cleveland. Active in theater and music in high school at Shaker Heights High School, he performed in band, orchestra, jazz ensemble as well as theatrical productions, and formed a "garage band" that played cover tunes from the great funk horn bands of the late 1970s. He began more seriously studying music while attending Williams College in Williamstown, Massachusetts, and in 1982, he graduated with a B.A. cum laude with highest honors. He continued his study with private conducting lessons at the Cleveland Institute of Music.His first work as a conductor included teaching in the public schools as well as leading the Northern Ohio Youth Orchestras in Oberlin, Ohio, and the Akron Youth Symphony. Education
He received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts. He has also studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine. Conducting and Performing

Cincinnati Pops Orchestra
On December 6, 2010, <mask> was named conductor of the Cincinnati Pops Orchestra, effective September 1, 2011, succeeding the late Erich Kunzel. As the Cincinnati Pops Conductor, <mask> programs and conducts performances annually at Music Hall and Riverbend Music Center, as well as leading performances in the community and overseeing the Orchestra's Lollipop Family Concerts. He will be staying with the Pops through the 2022–23 season. Hilton Head Symphony Orchestra
<mask> was named the music

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title: John Morris Russell

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 director and Principal Conductor of the Hilton Head Symphony Orchestra in March 2012.He began his Season with the Symphony on October 22, 2012. He has consistently won international praise for his extraordinary music-making and visionary leadership. Buffalo Philharmonic Orchestra
In April 2015, <mask> was named Buffalo Philharmonic Orchestra principal pops conductor. Windsor Symphony Orchestra
In May 2011, the University of Windsor announced <mask> would receive an honorary degree during its spring convocation ceremony for his contributions to the growth and invigoration in musical life in Windsor, Ontario. Maestro <mask> served as music director of the Windsor Symphony Orchestra in Windsor, Ontario, Canada, between 2001 and 2012. He conducted performances of 45 world premiers, many under the auspices of the Windsor Canadian Music Festival. In May 2011, the University of Windsor awarded him an honorary degree for his contributions to the growth and invigoration in musical life in Windsor, Ontario.Guest conductor
As a guest conductor, Maestro <mask> has led many of North America's most distinguished ensembles, including the orchestras of Toronto, Edmonton, Calgary, Victoria, Kitchener-Waterloo, Detroit, Houston, Indianapolis, Dallas, Louisville, Boston Pops, The Cleveland Orchestra, Orchestra London, Miami's New World Symphony, the Minnesota Orchestra, Oregon Symphony, Colorado Symphony, New Jersey Symphony, New York Pops, New York City Ballet, New York Philharmonic and the Los Angeles Philharmonic. <mask> was associate conductor of the Cincinnati Symphony Orchestra for eleven years where he regularly led concerts at Music Hall and the Riverbend Music Center. He created the Classical Roots series, which continues to celebrate the music of African-American composers and performers in Music Hall and area churches, and was also the co-creator of the Christmas spectacular, Home for the Holidays. In September 1999, <mask> replaced Erich Kunzel with an hour's notice to conduct the Cincinnati Pops' opening

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title: John Morris Russell

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 weekend concerts. The following week he substituted for Maestro Kunzel in concerts on the stage of the famed Musikverein in Vienna, featuring the Harlem Boychoir, the Vienna Choir Boys and actor Gregory Peck. The performance continues to be televised throughout Europe, Japan and in the USA on PBS. Maestro <mask> returned to conduct the Cincinnati Pops twice in 2010.Maestro <mask> has also served as associate conductor of the Savannah Symphony Orchestra, director of the orchestral program at Vanderbilt University, and music director with the College Light Opera Company in Falmouth, Massachusetts. Reputation
<mask> has consistently won international praise for music-making and leadership. As music director of the Windsor Symphony Orchestra, <mask> fostered a decade of artistic growth and invigorated the musical life of the Windsor-Essex region. A former colleague described him as an enthusiastic "wind-up toy". Awards
A two-time recipient of Ontario's Lieutenant Governor's Award for the Arts, as well as the Ontario Arts Council's Vida Peene Award for Artistic Excellence, Maestro <mask> and the WSO also won coveted nominations for both the Gemini Awards (2004) and Juno Awards (2008). In 2010, <mask> received the Herb Gray Harmony Award by the Multicultural Council of Windsor and Essex County, in recognition of the WSO's programming and outreach activities that support and celebrate the region's diversity, as well as <mask>'s strategies to encourage a harmonious society. In October 2010 he was honored as the first recipient of the Arts Leadership Award by the Windsor Endowment for the Arts, in recognition of the contribution he has made to the region's cultural life.Radio and television
The Windsor Symphony Orchestra has made seventeen national broadcasts on CBC Radio 2 with Maestro <mask>, including concerts from the Masterworks and Intimate Classics series, and the annual Windsor Canadian Music Festival. The most recent CBC broadcast recording of Aurora Borealis by Jordon Nobles, was selected to represent

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title: John Morris Russell

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 Canada in the 57th annual International Rostrum of Composers in Lisbon, Portugal in June 2010. The WSO's first nationally televised production was created with Mr<mask> for the CBC Television series Opening Night, which subsequently won the Gold Worldmedal for "Best Performance Program" at the New York Festivals Awards for Television and New Media, as well as a Gemini Award Nomination. Recordings
In 2006 the Windsor Symphony Orchestra released Prokofiev's Peter and the Wolf narrated by actor Colm Feore, and Last Minute Lulu, composed by WSO Composer-in-Residence, Brent Lee, with text by the Newbery Medal winning author, Christopher Paul Curtis. The recording won <mask> and the WSO its first Juno nomination for Best Children's Album in 2008. On December 12, 2011, <mask> recorded his first CD with the Cincinnati Pops Orchestra. "Home for the Holidays" also features the Cincinnati May Festival Chorus, Rodrick Dixon, Brian Stokes Mitchell, and New York Voices.<mask>'s second album with the Cincinnati Pops Orchestra, "Superheroes!" was recorded in October 2012 and released on September 24, 2013. "Superheroes!" showcases musical scores from Hollywood blockbusters such as The Avengers, The Dark Knight, and Iron Man, and features guest appearances by Adam West, the Cincinnati May Festival Youth Chorus, and the University of Cincinnati College-Conservatory of Music Musical Theatre Department. On November 11, 2014, "Carnival of the Animals," <mask>'s third album with the Cincinnati Pops Orchestra, was released. Mr. <mask>'s own orchestration of Camille Saint-Saëns' classic Carnival of the Animals is featured on the album, along with other animal-inspired classics like "Ballet of the Unhatched Chicks" and "Flight of the Bumblebee." September 11, 2015 marked the release of "American Originals," <mask>'s fourth album with the Cincinnati Pops, is the first "live" recording of the Pops (during concerts in January 2015) and features icons of the American folk and roots music scene such as Rosanne Cash, Joe Henry, over

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title: John Morris Russell

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 the Rhine, Dom Flemons, Aoife O'Donovan, and Cincinnati's own Comet Bluegrass All-stars.All of Maestro <mask>'s albums with the Cincinnati Pops Orchestra were recorded in Music Hall (Cincinnati), released on the Fanfare Cincinnati label, and distributed by Naxos Records. Educational concerts
The "Sound Discoveries" series <mask> developed with the Cincinnati Symphony Orchestra is a model for educational concerts. In Windsor, he crafted two new concert series, Peanut Butter n' Jam and Family Jamboree, specifically for youth and families, and spearheaded the creation of The Windsor-Essex Youth Choir and the Windsor Symphony Youth Orchestra. <mask>'s support of music in the schools has forged performance partnerships with the University of Windsor School of Music, the Windsor Centre for the Creative Arts and choral, dance and performing ensembles. With the creation of the One Community—One Symphony project in 2008, <mask> has worked with over a thousand teenagers in 15 school band and choral programs, representing French, Catholic and Public School Boards, in rehearsals and performances with the WSO. During his tenure with WSO, his educational concerts engaged more than 100,000 students and teachers in Essex, Lambton and Kent counties. <mask> has helped nurture many new voices in Canadian music, conducting numerous Windsor premiers of important Canadian works and over 45 world premiers of commissioned compositions.He created the WSO's first multi-year composer-in-residence position, and is deeply involved in the production of the annual Windsor Canadian Music Festival, described by CBC producer David Jaeger as, "one of the most exciting and innovative developments to appear lately in the Canadian musical scene." References

Living people
American male conductors (music)
Aspen Music Festival and School alumni
Thornton School of Music alumni
Williams College alumni
Musicians from Shaker Heights, Ohio
1960 births
Classical musicians from Ohio
21st-century American conductors (music)
21st-century American

masks: Russell Russell Russell Russell Russell


title: Jonathan Parsons

texts:
<mask> (November 30, 1705 – July 19, 1776) was a Christian New England clergyman during the late colonial period and a supporter of the American Revolution. Born in West Springfield, Massachusetts, he was the youngest son of Ebenezer (Deacon) <mask> (1668-1752) and Margaret Marshfield of Springfield. Though intended for an artisan career, the Rev. <mask>, then a tutor at Yale, persuaded young <mask> to prepare for college. Education and early career
<mask> entered Yale at the age of 20, graduating in 1729. He studied theology with Yale President Elisha Williams and with Edwards, by then minister of the church in nearby Northampton. <mask> took charge of the Congregational Church at Lyme, Connecticut in 1731.He fell in love with Phebe Griswold, eldest daughter of the town's leading family (her brother, Matthew Griswold, would serve as governor of Connecticut). For the first decade of his career, <mask> was an upstanding member of the colony's religious establishment: Arminian in his theological inclinations and fond of the material benefits of being community leader. It is said that he "had a passion for fine clothes, for gold and silver lace, and ruffled shirt fronts, which distressed some of the good Puritans of his Church." <mask> as evangelical leader
Like many of his contemporaries, however, <mask> would be swept up in the religious turbulence of the Great Awakening. He suffered increasing doubts about the reality of his conversion and the hazards of works as a basis for salvation. After a "severe and prolonged mental struggle," the "doctrine of salvation by faith burst as a 'new light' on his mind. His preaching was marked by greater earnestness and

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title: Jonathan Parsons

texts: simplicity.He became, in the words of one contemporary, a "burning and shining light." One witness to his preaching at Lyme in the late 1730s wrote, "with what astounding terrors have I heard him represent the torments of Hell, and the imminent, amazing danger of the impenitent sinner. With what glowing colors and sweetly surprising language would he paint the glories of Heaven, and describe the holy and elevated joys of immortality. In what melting strains would he represent the sufferings of Christ and his undying love for sinners. . . . Such was the apparent fervor of his spirit, and the tender emotion of his compassionate heart, that he would sometimes appear as a flame of fire, and then all dissolved in tears." <mask>' embrace of the Awakening was sealed by his encounter with the great British evangelist, George Whitefield, who toured the colonies in 1740. <mask> was undoubtedly present when Whitefield preached at Middletown, an event that drew thousands from the surrounding countryside.Whitefield later visited Lyme twice, preaching from <mask>' pulpit at a time when many churches were closing their doors to the "New Lights." <mask> also tried to deliver the awakening experience to individuals on face-to-face terms, dedicating his time to the converted who needed his guidance. As he recalls in his diary, sometimes as many as thirty people came to his study for counsel one day. In Lyme, as elsewhere, the revival shattered congregational unity. Opposition to <mask>' views—and concern about his evangelical forays beyond his own parish—led eventually to his ouster in 1745. By this point, <mask> was acknowledged one of the most prominent and eloquent leaders

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title: Jonathan Parsons

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 of the Awakening. He was invited to preach throughout eastern Connecticut and in Massachusetts.His sermons were published and widely circulated. In 1744, at the invitation of Boston minister Thomas Prince, he wrote an authoritative account of the revival at Lyme. From Lyme to Newburyport
With help from Whitefield, <mask> was invited to take charge of a new Presbyterian congregation in Newburyport, Massachusetts. The church was run along radically democratic lines, without any influence from "councils, conferences or synods". In fact, rather than being Presbyterian in polity, the church was what might be called an "independent" or "strict" Congregationalist body. In the thirty years <mask> served the church, it would grow from nineteen members to being one of the largest congregations in New England. Whitefield visited <mask> during his last tour of New England in 1770.Taken ill, Whitefield died in <mask>' house and was interred in a crypt constructed under the pulpit. His funeral, at which <mask> preached, was attended by thousands. The tomb, which would soon carry <mask> own remains as well, became a shrine for New England evangelicals . Revolutionary agitator
Like many of his fellow New Lights, <mask> became an early and outspoken supporter of American resistance to England. When New England revolutionaries resolved to resist the tea tax, <mask> organized the young women of his congregation to brew local herbs in place of imported tea. The Boston Massacre victims were mourned by the tolling bell of the "Old South," <mask>' church. On that day, <mask> preached a notable sermon on the sacrifices of the dead and the duties of the living."As the clouds darkened

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title: Jonathan Parsons

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 and the skies thundered, the voice of <mask> grew louder and clearer, like bugle notes summoning the good men and true to battle." When the news came of Lexington and Concord, <mask> stood in his pulpit to preach to the people of liberty and their rights. "As he closed his final appeal, his people hung breathless upon his words, and each seemed more anxious than the other to catch his ever utterance. 'Men of America, citizens of this great country hanging upon the precipice of war, loyalty to England lies behind you, broken by the acts of the mother country--a cruel mother, deaf to the voice of liberty and right; duty to freedom, duty to your country, duty to God, is before you; your patriotism is brought to the test; I call upon those ready to volunteer for the defence of the provinces against British tyranny to step into the 'broad aisle.'" Those who responded were the first volunteers to join the Continental Army and participate in the Battle of Bunker Hill. <mask> died on July 19, 1776, a few days after the Declaration of Independence. He was buried next to his mentor, George Whitefield, in the crypt under the pulpit from which he had preached for more than three decades.One son, Samuel Holden <mask> would rise to the rank of Major General in the Continental Army. Another, <mask>, would participate in the Penobscot Expedition, the boldest naval adventure of the Revolution. A grandson, midshipman William Walter <mask>, would be taken prisoner by the British during the Penobscot Expedition. Sources
Franklin Bowditch Dexter. "<mask>." In "Biographical Sketches of the Graduates of Yale College," Volume I (1701-1745). New York, NY: Henry Holt & Company.Charles

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title: Jonathan Parsons

texts:
 Samuel Hall. 1896. "Hall Ancestry" New York, NY: G.P. Putnam's Sons. Charles Samuel Hall. 1905. "Life and Letters of General Samuel Holden <mask>."Binghamton, NY: Otseningo Publishing Company. Heimert, Alan. 1966. "Religion and the American Mind, from the Great Awakening to the Revolution." Cambridge, MA: Harvard University Press. Alan Heimert & Perry Miller (eds.). 1967."The Great Awakening. Documents Illustrating the Crisis and Its Consequences." Indianapolis, IN: Bobbs-Merrill. George M. Marsden. 2004. "<mask>: A Life." New Haven, CT: Yale University Press.<mask>. 1742. "A Needful Caution in a Critical Day. Or, the Christian Urged to Strict Watchfulness, that the Contrary Part may have no evil Thing to say of him." A Discourse deliver'd at Lyme, 4 February 1741/42." New London, CT.
<mask>. 1742."Wisdom Justified of her Children. A Sermon Preached at the Publick Lecture in Boston, on Thursday, September 16, 1742." <mask>. 1748. "The Doctrine of Justification by Faith Asserted and Explained; and some Exceptions thereto considered: Being Three Lecture-Discourses, Deliver'd in Newbury, November and December, 1747. Boston. <mask>.1751. "Manna gathered in the Morning. Or, Christ the True Manna, to be received and fed upon daily by Young and Old. Being the substance of a Discourse deliver'd at Newbury." Boston. <mask>. 1756."Good News from a Far Country." In Seven Discourses from I Tim 1, 15. Delivered in Newbury. Portsmouth. <mask> (with John Moorhead and David MacGregore). 1756. "A Fair Narrative of the Proceedings of the Presbytery of Boston against the Rev.Mr. Robert Abercrombie." Boston. <mask> (with David MacGregore). 1758. "A Rejoinder to the Reverend Mr.

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title: Jonathan Parsons

texts:
 Robert Abercrobie's Late Remarks on a fair Narrative of the Proceedings of the Bresbytery of Boston, against himself." Boston. <mask>.1759. "Two Discourses concerning the Importance of the Bellief and Profession of the Gospel to Eternal Salvation." Boston. <mask>. 1768. "A Funeral Sermon. Occasioned by the Death of Mr. Ebenezer Little, one of the Elders of the Presbyterian Church in Newbury-port."Salem. <mask>. "Communion of Faith necessary to Communion of Churches." Salem. Joanthan <mask>. 1770. "To live is Christ, to die is gain.A Funderal Sermon on the Death of the Rev. George Whitefield." Portsmouth. <mask>. 1774. "Freedom from Civil and Ecclesiastical Slavery, the purchase of Christ. A Discourse offered to a numerous assembly on March 5, 1774, at the Presbyterian Meeting House, in Newbury-port."Newbury-port. <mask>. 1770. "A Patriotic Discourse in Commemoration of the Boston Massacre." Newburyport. <mask>. 1780."Sixty Sermons on various Subjects, to which is prefixed a Funeral Sermon by the Rev. Mr. Searl." Newbury-port. Harry S. Stout. 1991. "The Divine Dramatist: George Whitefield and the Rise of Modern Evangelism."Grand Rapids, MI: W.B. Eerdmans. References

External links
 A notebook of handwritten sermons by <mask> is in the Andover-Harvard Theological Library at Harvard Divinity School in Cambridge, Massachusetts. 1705 births
1776 deaths
American theologians
American Presbyterian ministers
18th-century Christian clergy
History of Christianity in the United States
American evangelicals
People of colonial Connecticut
People of Massachusetts in the American Revolution
People from Lyme, Connecticut
Patriots in the American Revolution
18th-century

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title: Mario Borrelli

texts:
<mask> (Naples, 19 September 1922 – Oxford, 13 February 2007) was a Neapolitan priest, sociologist and educationist. In the 1950s he established a home for the street children of Naples which later evolved into an international network for social support, called Casa dello scugnizzo (House of the Urchins). Subsequently, following his laicization, he maintained his international reputation for his civil commitment and his studies on peace research and education. «The insecure, tormented, down-trodden people, in whom we are submerged, are no different from all the others spread over the rest of the world, even if their eyes, skins, creeds are not the same as ours. Our common destiny is to be the guts of the world, digesting the myths that have sustained empires and manufacturing the vital lymph to sustain the world of tomorrow. Hard work though it may be, we are beginning to digest today's society and church; in time we shall make one another better. Although my white hair and the weight of years make me feel I'll never see the promised land, they have not deprived me of my serenity, enthusiasm or joy in my labours.The urgent thing now is not to get split up, but to close the ranks in support of all who, loyally identifying themselves with the most defenceless, are making their presence felt in the social fabric of our city. They, and all you others scattered everywhere, will be my sweetest consolation when I depart this life.»

<mask>, The continuing story from Morris West, Children of the sun, Fontana Books Ltd, 1983. Life

Childhood and

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 education

Born into a working-class family, <mask> had to leave school at the age of nine to support his family. For three years he worked as a metal gilder  and as a lad in a barber shop. His mother and father were artisan goldsmith's in Napleswith five children. He returned to education aged 12 when he was accepted at the Apostolic School, with support of Father Nobilione, a priest who attended the barber shop where he used to work,  who paed the school fees for the first year. In 1946, <mask> Sannazaro High School of Naples. With his seminary companion, Father Ciccio (Francesco) Spada, he decides to carry out an enterprise among the street children, commonly called in Naples “scugnizzi” (street urchins). «...how does the street urchin live? The essence of life is the gang.Six, seven, eight and in some cases up to twenty youngsters organized in a gang with a leader. A leader who has been able to impose on its own in perfect style with the wild. The rules of the street can be considered a subchapter of the rules of the wild.»

<mask>i, Marciapiedi, Edizioni La Meridiana, Molfetta, 1995. The venture among the street urchins of Naples
The “street urchins”  in Naples at the  end of World War II were abandoned children because of war or whose fathers had returned to the US or the UK. They had a precarious survival with no homes, regular source of food, no education and no adult figures to provide care and support. The schunizzi were generally reviled because of their thieving and disreputable habits. <mask> realised that the apparent delinquency was

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title: Mario Borrelli

texts: driven out of desperate need.He obtained permission by this superiors to dress like a street urchin and, at night, mingled with them, sharing their life and misadventures in the street for four months. In the meantime, Father Ciccio Spada and the other priests of the Comunità Piccola Opera di Materdei organized a provisional dormitory in the small deconsecrated church of San Gennariello, with the hope that <mask> can convince  the street urchins to find shelter there, at least for a night. During one of these nights as a street urchin, Father <mask> revealed his true identity to the gang and succeeded in bringing the street urchins to the dormitory of San Gennariello. In a few months, hundreds of youngsters are housed in the structure that will soon to become the Casa dello Scugnizzo (The House of the Urchins), a community more than an orphanage, where nobody is forced to stay unwillingly and where they all participate support  community's expenses working as junk dealers. The Casa dello scugnizzo offered hospitality, boarding, education and moral support to the young and homeless, taking the place of the family. Within a few months with the help of public charities, in a few   the boys resumed their schooling and professional training. «...<mask> is an uncommon priest, who becomes a street urchin “like them” by taking off his talar, when the Little Brothers of Charles de Foucauld and their experience of incarnation is still in the future.And <mask> is a peculiar priest, who lives “with them” to accompany them towards freedom, when the theology of

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 liberation is yet to be practiced. And all this when the churches of the world, catholic and protestant, at their best operate “for them”. »

Giuliana Martirani, foreword of  Marciapiedi, Edizioni La Meridiana, Molfetta, 1995. The Casa dello scugnizzo
Between 1951 and 1969, 	Casa dello scugnizzo was not only the physical location providing assistance and support to the street urchins but more importantly it was a network of committees and voluntary groups, distributed throughout Europe and The United States and the fund-raising carried out by the community of Italian, English, American, Canadian, Australian, French, German, Belgian, and Dutch voluntary groups. This way of working enhanced <mask>'s reputation and his story was featured in the American magazine Reader's Digest, translated in more than 12 languages, spreads his story around the world. In 1957, Children of the Sun, the biographic novel of <mask>'s undertakings written by Morris West, increased his popularity in the Anglophile. In 1958, the film Il bacio del sole (aka Il Bacio del Sole-Don Vesuvio), took inspiration from <mask>'s venture among the street urchins, and was released at the cinema and distributed throughout Europe.The English broadcasting ITV Television Playhouse produced a biographical television series entitled “Children of the sun”. In the late 1950s a number of children from Casa dello scugnizzo were enabled to spend some time with host families in Germany and the UK to broaden their horizons. A small number of these children returned to their host families in the

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 following years spending several months with them. This initiative drew the attention of the BBC to the work of Father Borelli and he was the subject of a half-hour television programme in the "This is your Life" series broadcast in 1961. During the 1960s, Father <mask> comes to the conclusion that the underlying problems, the social causes of abandonment, maladaptation and social exclusion remain yet unresolved. He decides to live in the Neapolitan slums, together with the Little Sisters of Charles de Foucauld, at the core of a network of voluntary groups of Christian origin that look at the Second Vatican Council as a spiritual and civil source and inspiration. «10 December 1962.If somebody asks me why I am here in the slums, I must honestly reply I don't really know. I could reply: “Because I love you”. If someone from outside addresses me the same question, what do you think I should reply? “Because I love them”. Even this sounds like a sentence that has become rusty by centuries of abandonment. We have become Pharisees and always prefer considering the poor as the sole responsibles of their misery.»
<mask>, Un prete nelle baracche, La Locusta, Vicenza, 1967. The return to the lay state
Following a short course in sociology at the TUFT University, he  enrolled at the London School of Economics and was awarded a Master in Social Administration .He also made the decision to leave priesthood as his personal, moral and political, views are incompatible with those of the Neapolitan Christian church. The conservative position of the local Christian

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 church appeared to him to be in contrast with the Christian mandate. The return to the laity state seemed to be a natural step for him, rather than an afterthought. He remained a member of the Congregation of San Filippo Neri and subsequently married. «...I have never understood in what way the Kingdom of God could be incarnated in public life as a clan of groups of human interest that would use God as flag and tablecloth for their daily meal. In what way an elected boss, through his patronal-Mafia network, could bring God to the Neapolitans and make them more honest and good examples of Christianity. When I realized that this Church felt the message too metaphorically and remained distant and absent from the poor, I felt cheated in my vocation.I felt as a prisoner, a wheel of a mechanism that tended to save and perpetuate itself instead of saving and helping others.»
<mask>, Tanquam Peripsema, Naples, 1970. The Materdei Community Centre
The next step is to reflect the activities of the House of the Urchins in a wider and more communal dimension, "opening" the institute to the outside world by eliminating the boarding and lodging facilities, and by constituting a multi-purpose social structure, which provides different services in response to practical and immediate needs, but at the same time, which functions as “ignition” and stimulus for a community-based participation. Twenty years of historical research leave the pace to social studies, disseminated in international conferences and shared among the collaborators. For ten years, the Materdei


title: Mario Borrelli

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 Community Centre focuses its activities on the defence of women and children rights, schooling and health, especially during the outbreaks of cholera and “male oscuro” (obscure illness), an infantile disease affecting the respiratory system and particularly common among the children of Naples at the time whose name was derived by its inexplicable nature and difficult diagnosis and treatment. The Community Centre also provides direct social assistance, promotes initiatives in favour of the local community and coordinates the voluntary groups of Naples. «Until everyone continues to rush, and wants to be first, to gain more at any expense, even by trodding on others in every sense it will be difficult to entrench peace, which consists essentially in the perfect balance between power and resources. What is necessary instead is a work of social reform where the cooperation of others is essential.In the end, humanity is like a wall of bricks: every row needs the other rows to avoid collapsing. Courage is not heroism: it is a moral duty, a social responsibility.»

<mask>, from the interview released to Donatella Trotta, E nel dopoguerra spuntò Don Vesuvio, Il Mattino, 1985. The Italian Peace Research Institute
In 1977, <mask>, Tonino Drago and Giuliana Martirani founded Italian Peace Research Institute (IPRI), chaired by the same Borrelli until 1988. The institute is affiliated to IPRA, the International Peace Research Association, founded in 1964 by Johan Galtung and which counts with 26 researchers and 250 correspondents distributed in 60 Italian


title: Mario Borrelli

texts: cities. The small institute has the aim to promote initiatives focused on peace research that involve voluntary associations and non-violent peace-inspired movements, a network of people operating in universities and in basic movements for peace. IPRI follows the same path of its international sister institution by promoting research in the field of communal non-violent defence, peace education and non-violent economy and also publishes a bulletin, the IPRI Newsletter. This small institute contributes to some of the major works on peace research published internationally, ranging from economic development to the international division of labour, from the social services for children to peace research and education.<mask> is also a member of the P.E.C., Peace Education Commission, within the IPRA. Various essays, but especially the experimentation carried out at the Materdei Community Centre, remain as testimony of his experience as a researcher for peace education. «Naples is a large swamp in which it is difficult to swim. People who really want to work hard, by sowing seeds on a daily basis, become enemies of the city by fighting against the conspiracy of the precarious, or institutionalization of the provisional, and of disgrace on which this city seems to live on. And which has increasingly deteriorated over the last five or six years or so. The earthquake has been devastating: it has broken the harmony, although only apparent, and has given an enormous power to the emerging social class of “organized crime”. The dominant impression is thus


title: Mario Borrelli

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 that of a “perpetual begging at all levels that ensures survival”..»

<mask>, from the interview released to Donatella Trotta, E nel dopoguerra spuntò Don Vesuvio, Il Mattino, 1985. Works

The list below refers to the most significant works written by <mask> during the entire length of his activity. Autobiographies
 <mask> e Anthony Thorne, A street lamp and the stars, London, Peter Davies, 1963 (Italian translation: <mask> e Anthony Thorne, Naples d'oro e di stracci, Rome, Borla Editore, 1965.) <mask>, Un prete nelle baracche, Vicenza, La Locusta, 1967. <mask>, Marciapiedi, Molfetta, Edizioni La Meridiana, 1995. Historical-archival research
 <mask>, La concezione Copernico-Galileiana e la Filosofia di Tommaso D'Aquino, Naples, 1961. <mask>, Compositori nelle opere dello Zarlino, Naples, 1962.<mask>ini, Naples, Tip. D'Agostino, 1962. <mask>, Le malattie e i medicinali dei figlioli del Conservatorio dei Poveri di Gesù Cristo, Naples, Tip. D'Agostino, 1962. <mask>, Un'interessante raccolta di libretti a stampa di oratori della fine del Seicento presso la Biblioteca dell'Oratorio di London, Naples, Tip. D'Agostino, 1962. <mask>, Memorie Baroniane dell'Oratorio di Napoli, in Cesare Baronio, Sora, isola del Liri, Tip.Pisani, pp. 97–222, 1963. <mask>, Due rari e sconosciuti opuscoli a stampa del Tarugi presso l'Oratoriana di Naples, Naples, 1964. <mask>, I documenti dell'Oratorio Napoletano, Napoli, Tip. D'Agostino, vol I, 1964. <mask>, Opere e Documenti sul Baronio presso la British Museum Library, Napoli, Tip. D'Agostino, 1964.<mask>, L'Epistolario di

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title: Mario Borrelli

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 Giusto Calvino nei suoi rapporti col Baronio, Naples, 1965. <mask>, Le testimonianze Baroniane dell'Oratorio di Napoli, Tip. Lithorapid, 1965. <mask>, Documenti sul Baronio presso la Bodleian Library, Napoli, Tip. D'Agostino, 1965. <mask>, Contributi sulla storia del Collegio Polacco, 4ª ed., 1966. <mask>, L'Architetto Nencioni Dionisio di Bartolomeo, Naples, Tip.Agar, 1967. <mask>, Contributo alla storia degli artefici maggiori e minori della mole Girolimiana, Napoli, Tip. Laurenziana, vol V, 1968. <mask>, Le costituzioni dell'Oratorio Napoletano, Naples, Ed. Congregazione dell'Oratorio, Tip. Agar, 1968. <mask>, I fratelli Vosmeer e il Cardinale Baronio, in Soliditas: Scritti in onore di Antonio Guarino, Naples, Ed.Jovene, pp. 3835–3908, 1984. <mask>, Il Cardinale Baronio e l'Officina Plantiniana, in Historians of Early Modern Europe (Sixteenth century studies conference. ; American Society for Reformation Research), Pub: Brigham Young University, Northeast Missouri State University)

Works on social administration
 <mask>, The role of voluntary groups in Britain, London, 1969. (typescript)
 <mask>, Unearthing the Roots of the Sub-Culture of the South Italian Sub-Proletariat, London, 1969. (typescript)
 <mask>, The Society of Southern Italy, in which Naples is situated and the factors giving rise to pressure groups and community development, London, 1970. (typescript)
 <mask>, Social action groups and community development, London, 1970.(typescript)
 <mask>, Scuola e sviluppo capitalistico in Italia, in "Social Deprivation and Change in

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title: Mario Borrelli

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 education", Proceedings of the international conference, York April 1972, Nuffield Teacher Enquiry, York University. <mask>, Socio-Political Analysis of the Sub-Proletarian Reality of Naples of Intervention for the Workers of the Centre, 1973. (typescript)
 <mask>, Basic Concepts for Community Action in the Urban Sub-Proletariat in "Les plus defavorisés, aù nous ménent-ils? ", Proceedings of the international conference of The Hague 25–27 October 1974, Federation Europeenne d'aide a toute detresse, 1974. <mask>, Hypothesis of the Existence of a "Peripheral" Europe with consequent different types of Social Policy Intervention, 1975. <mask>, Exclusion from the Productive Process, Social Deviance and Mental Illness, 1975. (typescript)
 <mask>, Alimentation and Direction of Social Intervention among the Neapolitan Sub-Proletariat, 1975.(typescript)
 <mask>, Communication and Consciousness Raising (a Strategy for the Socio-Economically Marginal and Excluded), in "Europe and Africa: exploitation or development", Vasterhanings Seminar Proceedings, Sweden 1–14 August 1975, by IPRA Summer Seminar, 1975. <mask>, Psychological Problemy of Children living under non-optimal Social Conditions, 1975. <mask>, Socio-Political Analysis of the Neapolitan Reality and Programme o Intervention for the Social Operators of the Centre, 1976. <mask>, Tourism as an Expression of Economic Subordination. Relationships between Emigration and Tourism (An Analysis of the Italian Experience), 1977. <mask>, Italian Compulsory School and Mental Retardation (an Enquiry among

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 Children between 6-14 years), Proceedings of the international conference, Montecarlo October 1978, British Association of Social Psychiatry, 1978. Peace research and education
<mask>, Integration Between Peace Research, Peace Education and Peace Action, Proceedings of the IPRA General Conference, Oaxtapec, Mexico 11–16 December 1977.<mask>, New Trends in International Division of Labour and their Effect on the Conditions of Workers ln Industrialised and "Third World, 1977. <mask>, Analysis and critique of M. Rocca,  in The impact of European Integration of its members: The Italian Experience, 1979. <mask>, Education for Peace and Community Development, 1979. (in replicate copies)
 <mask>, Exploration of the Preliminary Conditions for a Defensive and Economic Strategy for Central Europe Leading to its Balanced Insertion into Mediterranean and African Areas (An Analysis from the Italian Context), 1981. <mask>, Deterrenza, Educazione al Disarmo ed Educazione alla Pace, 1984. <mask> et alt., Se vuoi la pace educa alla pace, Turin, EGA, 1984, . <mask>, Preminenza dell'educazione alla pace sull'educazione al disarmo, 1st National Review of the Experiences on Education for Peace and Disarmament, Turin, 26–28 April 1985.<mask>, Paradigmi per un'azione sociale non violenta, in G. Tafuri, Maestri italiani contemporanei dell'educazione alla pace, Bari, Edisud, 1987. <mask>, Magnus Haavelsrud, Peace Education within the Arcipelago of Peace Research, Arena Publisher, 1993, . Cult. (2015)

References

 Morris West, Children of the Sun [An account of the work


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 of <mask> among the slum children of Naples. With plates, including portraits], London, Heinemann, 1957. U.S. title: Children of the Shadows: True Story of the Street Urchins of Naples,  Doubleday & Co, 1957. <mask>, Un prete nelle baracche, Vicenza, La Locusta, 1967.<mask>, Tanquam Peripsema, Naples, 1970. (in replicate copies)
 <mask>, Communication and Consciousness Raising (a Strategy for the Socio-Economically Marginal and Excluded), in "Europe and Africa: exploitation or development", ", Vasterhanings Seminar Proceedings, Sweden 1–14 August 1975, by IPRA Summer Seminar, 1975. <mask>, Socio-Political Analysis of the Neapolitan Reality and Programme of Intervention for the Social Operators of the Centre for the year 1975-1976, Naples, 1976. (in replicate copies)
 <mask>, Bisogni umani, diritti umani ed educazione alla pace (Un'analisi attraverso la pratica esperienza del Centro Comunitario Materdei di Napoli), in AA.VV., CCM, Naples, 1978. (in replicate copies)
 Salvatore Vasca, Il dissenso cattolico napoletano: messaggio, diffusione, stampa, linguaggio, Degree Thesis, Facoltà di Lettere e Filosofia, Università degli Studi Federico II di Naples, 1981. <mask>, The continuing story from Morris West, Children of the sun, Fontana Books Ltd., 1983. Donatella Trotta, E nel dopoguerra spuntò Don Vesuvio, Il Mattino, 1985.Giovanna Tafuri, Maestri italiani contemporanei dell'educazione alla pace, Bari, Edisud, 1987. <mask>, Magnus Haavelsrud, Peace Education within the Arcipelago of Peace Research, Arena Publisher, 1993. .
Nanni Salio, La ricerca per

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title: Mario Borrelli

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 la pace in Italia, in Andrea Licata, Italia, Università per la pace, ISIG (International Institute of Sociology) e Università degli Studi di Trieste, Gorizia, Grafica Goriziana, pp. 23–28, 1994. <mask>, Marciapiedi, Molfetta, Edizioni La Meridiana, 1995. Robin J. Burns e Robert Aspeslagh, Three Decades of Peace Education around the World, An Anthology, Garland Publishing Inc., New York and London,1996
 Catherine Jones Finer, Transnational Social Policy, Blackwell Publishing, 1999. Romeo De Maio, La parte di Napoli che muore – Religione etica e religione quieta. in Piero Antonio Toma, La Chiesa, Cronache napoletane, Gauss Edizioni, 2002.Ermete Ferraro, From Pavement to Piazza: Grassroots of Social Work to Counteract the Globalization of Marginality, in Social Policy e Administration, vol. 37, n. 2, Blackwell Publishing, 2003. Giovanna Caprio, Bibliografia degli scritti di Mario <mask>, Degree Thesis, Facoltà di Lettere, Università degli Studi Suor Orsola Benincasa, Naples, 2006. External links
 Fondazione Casa dello Scugnizzo
 Mario Borrelli Naples Fund
 IPRA
 IPRI

1922 births
2007 deaths
Clergy from Naples
Italian sociologists
Italian educational theorists
20th-century Italian Roman Catholic

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Mario Borrelli
Borrelli


title: Guillaume de Salluste Du Bartas

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<mask> (1544, in Monfort – July 1590, in Mauvezin) was a Gascon Huguenot courtier and poet. Trained as a doctor of law, he served in the court of <mask> for most of his career. <mask> was celebrated across sixteenth- and seventeenth-century Europe for his divine poetry, particularly L'Uranie (1574), Judit (1574), La Sepmaine; ou, Creation du monde (1578), and La Seconde Semaine (1584-1603). Life
Relatively little is known about <mask>’ life. <mask> was born in 1544 to a family of wealthy merchants in Montfort (in the Armagnac region). His family name later became ‘Salluste’ rather than 'Sallustre', perhaps to invite comparison with the Roman historian Sallust. He was possibly a student at College de Guyenne in Bordeaux (<mask> Montaigne’s school), and studied law in Toulouse under Jacques Cujas; he became a doctor of law in 1567 and a judge in Montfort in 1571.He gained the lordship of nearby Bartas (becoming Sieur Du Bartas) on his father’s death in 1566. In 1570 he married <mask> Manas, a local noblewoman, and they had four daughters together: Anne, Jeanne, Marie and Isabeau. He entered the service of <mask> Navarre in 1576, who would become Henri IV of France in 1589. He was sent on various diplomatic missions, including to Montmorency in 1580, and Scotland and England in 1587. The poet left Scotland from Dumbarton Castle for La Rochelle laden with presents. James VI hired one of the best ships in the kingdom for him, knighted him, and gave

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title: Guillaume de Salluste Du Bartas

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 him a gold chain and 2000 gold crowns, "with a tablett of gold, having in itt his Majesties pourtraict", besides several hackney horses and other presents from the nobility and courtiers. He died in 1590, just weeks after composing a poem that celebrated Henri's victory at the Battle of Ivry, though it is not thought that he fought in the battle.Château Du Bartas, found in Saint Georges, was <mask>' residence in the later part of his life. A statue of <mask> stands in a square named after him in Auch, the historic capital of Gascony. Poetry

La muse chrestienne
<mask> began writing poetry in the 1560s after being invited to do so by Jeanne d'Albret <mask>. His first collection, La muse chrestienne (1574) contains ‘L’Uranie’, a verse prosopographia (vivid description of someone's face or character) in which the Christian muse urges the poet to commit himself to composing serious poetry on scriptural themes. The other two items in the volume, the biblical epic Judit and 'Le Triomphe de la Foi', were examples of this new religious verse. The Semaines
<mask>as' masterpiece is his Semaines ('Weeks'), two epic poems which freely expand on the account in the Book of Genesis of the creation of the world and the first eras of world history. Each Semaine consists of individual jours (days) which can be read separately.La Semaine ou creation du Monde
La Semaine ou creation du Monde ('The Week, or creation of the World'), subsequently also known as La

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title: Guillaume de Salluste Du Bartas

texts: Premiere Sepmaine was first printed in Paris in 1578, and was immediately popular. La Sepmaine is a hexameral poem consisting of seven jours, each containing around 700 lines, devoted to the aspect of the world created on that day in the first week. Because the poem's structure follows Genesis 1:1-8 closely, it is easy to navigate to particular sections; for example, readers wanting to find what <mask> writes about cuttlefish or mullet could know to turn to 'Le Cinquiesme Jour' (The Fifth Day) and in most editions would have had marginal annotations to help them locate the description of each creature. 'Le Premier Jour' (The First Day) describes the creation of the world out of chaos (<mask> advocates the theory of creation ex nihilo - 'Nothing, but Nothing had the Lord Almighty, | Whereof, wherewith, whereby, to build this City' (Sylvester, I.i.228-29), forecasts the Day of Judgement and concludes with a discussion of angels. 'Le Second Jour' (The Second Day) concerns the creation of the four elements - water, air, earth and fire - and their meteorological effects. Land, seas and vegetation are created in 'Le Troisiesme Jour' (The Third Day). The earth is populated with particular species of natural life during the next three days: the sun, stars and seasons in 'Le Quatriesme Jour' (The Fourth Day); fish and birds in 'Le Cinquiesme Jour' (The Fifth Day); and land animals and human beings in 'Le Sixiesme Jour' (The Sixth Day).In 'Le Septiesme

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 Jour' (The Seventh Day) Gods surveys the world he has created, and the poet meditates on the created world. La Seconde Semaine
Following the success of his First Week, <mask> embarked upon a sequel that would survey world history from Adam to the apocalypse, following the plan in Augustine's City of God. He only completed four jours, each divided into four parts, that covered the eras of Adam, Noah, Abraham and David (the final three were to cover Zedekiah, the Messiah and the Eternal Sabbath). The first two jours of La Seconde Semaine were first printed in 1584. 'Le Premier Jour' (the era of Adam) contains 'Eden' (II.i.1) describing the Garden of Paradise; 'L'Imposture' ('The Imposture' in Sylvester's translation, II.i.2) which relates the Fall of Man; 'Les Furies' ('The Furies', II.i.3) which describes the diseases, conflicts and vices that plague mankind; and 'Les Artifices' ('The Handy Crafts', II.i.4) which is about the various crafts that humankind learnt, and Cain and Abel. 'Le Second Jour' (Noah) consists of 'L'Arche' ('The Arke', II.ii.1) retelling the Great Flood; 'Babylone' ('Babylon', II.ii.2) about the Tower of Babel and European literary cultures; 'Les Colonies' ('The Colonies', Ii.ii.3) which describes the spread of different tribes across the world; and 'Les Colomnes' ('The Columnes', II.ii.4) in which the tale (originally found in Josephus) of Seth writing scientific and astronomical knowledge on two pillars to safeguard it


title: Guillaume de Salluste Du Bartas

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 against fire and flood is a point of departure for a review of learning in those areas. Les Suites de la Second Semaine, containing the third and fourth jours, were printed in parts between 1591 and 1603.James VI of Scotland received a manuscript copy containing six of the eight sections of the Suites (including a version of 'Les Peres' with 830 lines not found in the printed texts) in the late 1580s. 'Le Troisieme Jour' continues the narrative into the age of Abraham: La Vocation ('The Vocation', II.iii.1) and 'Les Peres' ('The Fathers', II.iii.2) cover the end of the Book of Genesis in relating the destruction of Sodom and Gomorrah and the sacrifice of Isaac respectively, while 'La Loy' ('The Law', II.iii.3) moves into the Exodus narrative and 'Les Captaines' ('The Captains', II.iii.4) to Joshua and Samuel. 'Le Quatrieme Jour' is devoted to David: 'Les Trophees' ('The Trophies', II.iv.1), 'La Magnificence' ('The Magnificence', II.iv.2) is about Solomon, and the final two completed sections, 'Le Schisme' ('The Schism', II.iv.3) and finally 'La Decadence' ('The Decay', II.iv.4), reviews the monarchs of the Books of Kings and Book of Chronicles. Miscellaneous Poems

Besides Le muse chrestienne and the two Semaines, <mask>as wrote a number of occasional poems and lyrics. Among these are two of some length, about battles that occurred in the author's lifetime: 'Cantique d'Yvry' ('Song of Ivry'), on the Battle of Ivry (1590), not long before the


title: Guillaume de Salluste Du Bartas

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 poet's death, and 'La Lepanthe' ('Lepanto'), a translation of James VI's poem on the Battle of Lepanto (1571). Reputation

France
La Sepmaine was instantly successful in France: there were 42 editions between 1578 and 1632, often printed with Simon Goulart's marginal annotations and commentary. <mask> Bartas was the most highly esteemed French poet in France at the turn of the seventeenth century, even more so than Ronsard, and in 1620 was still regarded as the apogee of French 'grand poesie'.However, there were no further French editions of the Semaines after 1630. What were once regarded as the stylistic merits of <mask>' were later deemed to be weaknesses: his use of compound epithets, duplication of initial syllables, frequent inclusion of metaphors and similes and a highly compressed and accumulative style all contributed to a sense that his poetry was over-wrought and over-elaborate. Nonetheless there were over thirty poems influenced by <mask> printed in France between 1601 and 1697, including direct continuations or parodies such as <mask> Gamon's La Sepmaine (1609) and A. D’Argent's Sepmaine (1629), and printed references praising <mask> in works written throughout this period. As late as 1684 <mask> Scudéry recalled the often-cited anecdote that Ronsard had once remarked that <mask> had achieved more in a week than he had in his entire life. <mask> was, however, an object of criticism: he was, for example, cited for examples of

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 mistakes to avoid in a Brève instruction (1667). <mask>' reputation remained low in subsequent centuries: in 1842 Charles Augustin Sainte-Beuve wrote that <mask>as ‘a pu s’égarer et céder au mauvais goût de son temps dans le gros de ces oeuvres’ (‘was led astray and gave into the poor taste of his times in most of his work’). Though <mask> is still not widely known in France today, critical re-appraisals in the twentieth century, led by James Dauphiné, Yvonne Bellenger and other, have shown how <mask>' encyclopedic writing was representative of its time and is still worthy of attention.Scotland
James VI of Scotland's enthusiasm for <mask> made the Frenchman's poetry uniquely popular in sixteenth-century Scotland. James possessed a copy of La Sepmaine given to him by his nurse, and a year later wrote in the preface to his Essayes of a Prentise (Edinburgh, 1584) that

Hauing oft reuolued, and red ouer (fauorable Reader) the booke and Poems of the deuine and Illuster Poete, Salust <mask>, I was moved by the oft reading & perusing of them, with a restles and lofty desire, to preas to attaine to the like vertue. (Essayes, C3r)

The volume contained James's Scots translation of L'Uranie. <mask>' synthesis of sacred and secular verse matched the King's own aesthetic preferences, and also his political imperative to consolidate his divine and political authority. The King shared Urania's sense that more poets should write about the highest matters:

O

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 ye that wolde your browes with Laurel bind,
What larger feild I pray you can you find,
Then is his praise, who brydles heavens most cleare
Makes mountaines tremble, and howest hells to feare? Thomas Hudson, a court musician, was (so he writes in the preface) commissioned by the King to prepare a translation of Judit, which was printed in 1584 with prefatory sonnets by James and others. <mask> was evidently quickly made aware of the King's attention, for a publisher's contract which <mask> signed in 1585 mentions printing the King's translation (as well as <mask>’ translation of the King's ‘Ane Schort Poeme of Tyme’).<mask> and James subsequently met in the summer of 1587 when the French poet travelled on a diplomatic mission to Scotland, via the English Court, to propose a marriage match between James and <mask> Navarre’s sister, <mask> Bourbon. Though the match never happened, <mask> remained in high esteem with James: he received expensive gifts on departure, and the King invited him to return. It may well have been during this visit that <mask> translated James’ mini-epic on The Battle of Lepanto which was printed alongside James’ original poem and his translation of ‘Les Furies’ in his Poeticall Exercises at Vacant Houres (1591). Poets writing at the Jacobean Court (members of the so-called "Castalian Band") all knew of <mask>, who was ‘aesthetically and ideologically a role-model for James’ and ‘emblematic of the direction, spiritually,

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texts: philosophically and aesthetically, in which James sought to lead his imagined renaissance’ (<mask>) at the Scottish Court. William Fowler and John Stewart of Baldynneis are two poets who refer to Urania as a symbolic figurehead for the kind of poetic inspiration to which they aspired in vain. Hadrian Damman's Latin translation was dedicated to James when printed in 1600 (a manuscript copy dated 1596 also survives, National Library of Scotland MS Adv. 19.2.10).William Drummond of Hawthornden, <mask> and Zachary Boyd are three seventeenth-century Scottish poets who knew <mask>’ works well; the latter two imitate his works (Sylvester's translation in Boyd's case) extensively. James had a major impact on English responses both before and after his accession to the English throne. Gabriel Harvey is one of numerous writers in London who were reading James' translation in the 1590s: when Harvey praised <mask> as the ‘Treasurer of Humanity and 'Ieweller of Diuinity’ and ‘a right inspired, and enravished Poet’ in the preface to Pierces Supererogation (1593) and other works, he was in part drawing on notes made in his copy of James's Essayes. A passage in the King's Basilikon Doron exhorting more poets to 'bee well versed' in <mask>' poetry was cited, for instance, by Thomas Winter in the dedicatory epistle of his translation of the Third Dayes Creation (1604). Joshua Sylvester dedicated his translation Devine Weekes and Workes (1605) to James, having

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 presented a manuscript extract to the King in the previous year. England
<mask> was extremely popular in early modern England, and was still being read widely in the later seventeenth century even as his reputation in France began to decline. Around two hundred texts printed in England before 1700 make direct reference to <mask>, including seventy-five from the period 1641-1700.There were numerous translations of sections of the Semaines into English, of which the most significant is Josuah Sylvester's Devine Weekes and Workes (1605 et seq. ; re-printed six times by 1641). <mask> was quickly regarded as a divine epic poet whose works took their place among the great European classics: Gabriel Harvey, for example, compared <mask> to Homer, Virgil and Dante. Sir Philip Sidney apparently admired <mask>' works later in life, and his translation of 'Salust Du Bartas' was entered into the Stationers’ Register in 1588, but is now unknown. <mask> had in effect synthesized the two highest forms of poetry, divine and philosophical, described in Sidney's Apology for Poetry. S. K. Heninger, reflecting on similarities between Sidney and <mask>’ conception of poetry, writes that: ‘the reader could ponder the wide-ranging mysteries of creation. He could contemplate God’s intention, His methods, His results.The text is characterized by a Protestant passion for the truth—the truth, at once universal and concrete. It is also characterized by a Protestant

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title: Guillaume de Salluste Du Bartas

texts:
 devotion to the word—the word, at once comprehensive and knowable, logos though it may be.’

William Scott, author of ‘The Model of Poesy’ and a translator of the first two Days of La Sepmaine, found moral, spiritual and aesthetic value in the poetry of 'our incomparable <mask>, who hath opened as much natural science in one week, containing the story of the creation, as all the rabble of schoolmen and philosophers have done since Plato and Aristotle.' Edmund Spenser, said by Harvey to have particularly enjoyed The Fourth Day, writes in The Ruines of Time that after <mask> Bellay 'gins Bartas hie to rayse | His heavenly Muse, th'Almighty to adore'; however, ‘within the shared province of Christian epic, Spenser and <mask> remain fairly far apart’ (<mask>). According to <mask>, ‘clearly everyone in pre-Restoration England who had received a literary education read the Weekes and almost all [...] admired it.’  <mask> was John Milton's ‘earliest English literary model’, and traces of direct influence are arguably most apparent in Poems 1645. Nonetheless the Semaines were a major precursor for Paradise Lost , and can productively be compared with it. <mask> was also an early influence on Anne Bradstreet; one of her earliest dated works is her elegy ‘In Honour of <mask>as. 1641’.The prefatory materials to The Tenth Muse (1650) make numerous references to Bradstreet's enthusiasm for <mask>, including Nathaniel Ward's condescending remark that

masks:
Bartas
Joachim Du
du Bartas
Susan Snyder
Snyder
Du Bartas
Du Bartas
Du Bart
Du Bartas


title: Guillaume de Salluste Du Bartas

texts:
 Bradstreet is a 'right <mask>as girle'. Though Bradstreet's poetry owes much to <mask>' methods, her work is not derivative, and she denied that her poetry imitates <mask> in her dedicatory poem to her father <mask>: 'I honour him, but dare not wear his wealth’ (ll. 38-9). Lucy Hutchinson would have read Devine Weekes before writing Order and Disorder. Rest of Europe
<mask>' works, particularly and often exclusively La Sepmaine, were translated into numerous other European languages in the sixteenth and seventeenth centuries. There were translations into Latin (by <mask> Lerm (1583), Jean Édouard <mask> (1579), Hadrian Damman (1600) and Samuel Benoît (1609)), Italian (by Ferrante Guisone, first printed in 1592 and reprinted five times before 1613), Spanish (Joan Dessi, 1610, and <mask> Cáceres in 1612) and German (Tobias Hübner, 1622 and 1631). Several Dutch translators produced versions: Zacharias Heyns (1616, 1621 and 1628), Theodorick van Liefvelt, Heer van Opdorp (1609), Wessel <mask> Boetselaer, Heer van Asperen (1622) and Joost <mask> <mask>.A Danish translation of  La Sepmaine was printed in 1661, and a Swedish translation in 1685. <mask>' popularity apparently declined throughout Europe in the eighteenth century: in his translation of <mask>'s 'Rameau's Nephew' (1805) Johann Wolfgang von Goethe expressed surprise that La Sepmaine was no longer widely known. Notes

References and further reading
 The Works of <mask> Salluste, Sieur

masks:
Du Bart
Du Bartas
Du Bartas
Thomas Dudley
Du Bartas
Gabriel de
Du Monin
Francisco de
van den
van den
Vondel
Du Bartas
Diderot
Guillaume de