title: Clive Gregson

texts:
<mask> (born 4 January 1955, Ashton-under-Lyne, Tameside, England) is an English singer/songwriter, musician and record producer. He has toured in bands, provided backup for well-known musicians, and written songs that have been covered by Kim Carnes, Norma Waterson and Nanci Griffith. He is featured in Hugh Gregory's 2002 book 1,000 Great Guitarists. Background
<mask> was born and raised in Ashton-under-Lyne, Greater Manchester, England. His earliest musical influence was The Beatles in the early 1960s. It was around this time that he received his first guitar as a present from his parents, using the proceeds from the sale of his older brother's unwanted drum kit. <mask> played in a band at school but played his first professional gig with Any Trouble, the band he formed in Crewe, England with college friends around 1975.Going professional after Any Trouble signed a recording contract, <mask> has continued as a working musician. <mask> and Manx singer, Christine Collister, together formed folk-rock duo Gregson & Collister, and produced a number of CD albums. After the band's demise, <mask> went on to perform solo. In 1993, <mask> relocated from the UK to Nashville, United States. In 2003, his career suffered a hiatus of several months after he broke his arm and shoulder in a fall from a ladder. He made a full recovery and continues to record and tour extensively in countries including the UK and Japan from his new base in Houston, Texas..

<mask> cites a wide range of musical influences and tastes and has stated that his all-time favourite record is Nick Drake's Pink Moon. Career

Any Trouble

<mask>'s professional music career started as he took the role of lead-singer of Any Trouble, the band he had co-founded in the mid 1970s, as well the role of songwriter and rhythm guitarist after co-founder Tom Jackson left.Having recorded and released <mask>'s composition Yesterday's Love as an indie single in 1979 Any Trouble began to receive airplay courtesy of BBC Radio 1 DJs John Peel, Andy Peebles and others in the UK. This led to interest from major record labels including WEA, Chrysalis, EMI and Stiff. They selected Stiff "because they were our kind of people". Any Trouble released three albums on Stiff, including a live album, initially for promotion only, and a further two on EMI America; all were well-received critically, and were accompanied by singles and extensive touring. Despite featuring regularly on radio playlists Any Trouble's popularity wasn't reflected in record sales, and they disbanded in 1984. They re-formed briefly in 2007 to record a new album Life in Reverse, released again through the re-constituted Stiff Records in the UK, playing a headline gig to support it at the Jazz Cafe, London, England. In November 2013, the band re-formed for a one-off gig at the 229 Club, London, England, in support of the release of the three-CD set The Complete Stiff Recordings 1980–1981

In 2014, they recorded Present Tense, playing a short tour in December 2014, which included Band on the Wall, Manchester, England on 2 December 2014. plus dates in Newcastle upon Tyne, England, Birmingham, England, the 229 Club, London, England, and the Purple Weekend Festival, in León, Spain.Richard Thompson Band
While working with Any Trouble, <mask> was introduced to Richard Thompson at the wedding of John Wood, who had produced Any Trouble's debut album and worked on a number of records with Thompson. The meeting led to <mask>'s singing backing vocals on the Richard and Linda Thompson album Shoot Out the Lights. This was to be the start of a long association with Richard Thompson during which they recorded and toured together extensively. <mask> introduced Christine Collister to Thompson, resulting in her also joining the Richard Thompson Band. Gregson & Collister
In 1984, shortly after the release of Any Trouble's fifth album Wrong End of the Race, <mask> saw vocalist Christine Collister perform at Poynton Folk Club, Cheshire, England. After the demise of Any Trouble, <mask> recorded a solo album (Strange Persuasions) and invited Collister to sing on it. Shortly after this, Richard Thompson asked <mask> to sing on his album Across a Crowded Room; at <mask>'s suggestion, Collister was enlisted for vocal duties, leading to her joining the Richard Thompson Band.The <mask> and Collister musical partnership proved popular and productive, producing five albums and earning them the attribution "the state of the art in British folk-rock" by Rolling Stone. Their albums, whose songs were all written by <mask>, included the low-fi live duo record Home and Away (recorded on a four-track Portastudio cassette recorder), Mischief, featuring a band including Martin Hughes from Any Trouble, A Change in the Weather, and covers album Love Is a Strange Hotel. By 1992, <mask> and Collister went separate ways after recording a fifth and final album The Last Word; the supporting tour proved to be their most successful. A CD compilation celebrating <mask>'s and Collister's career, The Best of <mask> & Christine Collister, was released by Gregson & Collister Recordings through Gott Discs in 2006. Solo again
Demand for <mask>'s services as a record producer and session musician grew throughout the 1990s. He released Welcome to the Workhouse, his second solo project, in 1990, and by October 1992, was performing as a solo artist. As of January 2015, <mask> had released on CD 10 solo albums and one solo Best of collection plus two digital-only releases: the original recordings for his I Love This Town album and a stand-alone collection of songs recorded by <mask> for Any Trouble's Life in Reverse but not included thereupon.In addition to Richard Thompson, he has collaborated with many other artists, including Nanci Griffith (1996–2007), Eddi Reader and Boo Hewerdine, founder member of The Bible (1993 & 1999) and Plainsong (1997). The Gregson, Hewerdine & Reader trio made recordings for an album, although only three songs were released, as a CD EP, including <mask>'s Who's Your Jailer Now? In 2007, <mask> was musical director for the Dennis Locorriere Hits and History Tour, which features on the Hits and History Tour Live DVD. Since 2010, <mask> has become a regular opening act for Jools Holland. <mask>'s reputation as a songwriter has led to his songs being recorded by artists, including Nanci Griffith (I Love This Town), Kim Carnes (Touch and Go), Fairport Convention (Home Is Where the Heart Is), Claire Martin (Could This Be the One? ), Norma Waterson (Fred Astaire) and Smokie (Northern Soul). <mask>'s I Love This Town was recorded as a duet by Nanci Griffith and Jimmy Buffett in 2006, becoming a radio hit in the UK and U.S.

<mask> has shared his guitar expertise at the adult music camps California Coast Music Camp and Puget Sound Guitar Workshop in Washington State over several summers.3 Boxes
In 2011, <mask> joined forces with guitarist Mark Griffiths and Andy Roberts to form 3 Boxes, an instrumental guitar trio, to play a series of gigs and record an album of original material. The three had worked together in the group Plainsong in 1999. In 2013, 3 Boxes released their only album to date Strings Attached, including only material written by the three members, all instrumentals for three acoustic guitars recorded live in the studio by producer John Wood. Discography

Any Trouble

Albums
 Where Are All the Nice Girls?

masks:
Clive James Gregson
Clive Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Clive Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Clive Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson
Gregson


title: Gaspar van der Hagen

type: original

texts:
<mask> or <mask> (circa 1700, Antwerp - 1769, York) was a Flemish sculptor and ivory carver. It is possible he should be identified with the ivory carver signing his works with the monogram G. VDR. He is only known for his work created during his stay in England where he was an assistant in the workshop of the prominent Flemish sculptor John Michael Rysbrack. He is known for his portrait busts and portrait medals carved in ivory. Life
Details about his life are scarce. He was likely born in Antwerp as he is known to have had sisters who lived in Antwerp and was recorded first in Antwerp. The year of his birth is not known but it is likely it was some time around 1700 as he was registered as a pupil in the Antwerp Guild of Saint Luke in the guild year 1711–1712.In the Guild records his name is spelled Gaspaer Verhaghen and <mask> Verhagen and it is noted that he is studying sculpture ('belthouwen' or 'beltsnyden') with <mask> Papenhoven. His master was a prominent sculptor and architect in Antwerp. <mask> <mask> may have continued to work in the workshop of <mask>en after his apprenticeship ended as he was never registered as a master in the Antwerp Guild. He left Flanders for England probably around 1730. If he is to be identified with the monogrammist G. VDR, he is recorded in England from 1734. He became closely linked with John Michael Rysbrack, another Flemish sculptor from Antwerp who was working in London and was at the time the leading portrait and monument sculptor in England. He was recorded in London in 1744 when the Daily Advertiser carried a notice about "Mess.Claessens and Ven <mask>, at Mr. Rysbrack's in Vere Street, near Oxford Chapel". Claessens was Rysbrack's foreman and died on 4 December 1749. The Mr. Claessens referred to in the notice was likely the Peeter (Peter) Claessens who was registered as a pupil of Joannes (Jan) Veremans in the records of the Antwerp Guild of Saint Luke in the guild year 1711–1712, the same year in which <mask> <mask> was registered as a pupil in the Guild records. Claessens had moved to London probably before 1743 and became one of the foremen at Rysbrack's workshop, a position he held until his death on 4 December 1749. Notices placed by <mask> <mask> and Claessens in the Daily Advertiser in 1743 and 1744 invited the public to subscribe for copies cast in plaster of three statuettes of 17th century Flemish artists Rubens, <mask> Dyck and François Duquesnoy. These plasters were to be cast after the original terracottas by Rysbrack which were in the collection of the painter <mask> Aken, another Flemish resident in London. In 1747, the English diarist George Vertue noted that "Mr <mask> <mask>.Sculptor works for Mr Rysbrack. has done several heads portraits in Ivory.—very well. but not meeting with propper encouragement did not continue". Vertue's notes show that he held <mask> <mask> in high regard. <mask> <mask> continued to reside with his master on Vere Street, Oxford Road until 1766. Four of his works were sold at the Rysbrack collection auction organized by Langford on 1 February 1767. One of the auctioned works was a Sacrifice to Hercules, which is likely the work which was auctioned by Christie's on 13 June 2002 and is now in the collection of the Yale Center for British Art.The work was based on a terracotta model by Rysbrack, which in turn was inspired by a relief on the Arch of Constantine in Rome. <mask> <mask> left the workshop of Rysbrack and moved to York in 1766. He seems to have spent his final years in poverty as in 1768 he appealed to the Society of Artists for support. He received four guineas from the Society. He died in York in 1769. As he was a lifelong bachelor, his sisters Isabella and Catherine (Harman), both living in Antwerp, administered his estate. They organized a sale of his works on 17 April 1771.The catalogue of the sale referred to <mask> <mask> as the 'principal assistant to the late Mr. Rysbrack,' and listed for sale 'several fine heads and figures in ivory, basso relievos in marble, books of prints, &c'. Work
<mask> <mask> was a sculptor in marble as well as an ivory carver. Most of his known work is attributed to him based on stylistic grounds as they are mostly unsigned. Some art historians have attributed small ivory portraits monogrammed 'VDHN', 'VAM', 'GVD', 'GVR' and 'G VDR' to <mask> <mask>. In the past some of his works have been erroneously attributed to an <mask> <mask>. A majority of his oeuvre is constituted by oval portrait reliefs carved in ivory. The sitters are usually portrayed as busts in profile, or presented in three-quarter view.These small-scale works were mostly carved after full-size busts made by Rysbrack and occasionally other artists such as Louis-François Roubiliac, an important competitor of Rysbrack. The ivory reliefs represent contemporary personalities as well as British Worthies, such as Newton, Milton, Shakespeare and Locke. In his time, ivory works were often displayed in cabinets, but also served as portable mementos, that people could keep with them when they travelled. Examples are the two almost identical relief portraits of Sir Isaac Newton, one of which is in the Walters Arts Gallery, Baltimore and the other in the Victoria and Albert Museum, London. There are two more versions, one in the Royal Society and the other in Kings College Library, Cambridge. The basis for the Newton portrait is probably the so-called Conduit marble bust of Newton and the terracotta bust in the Wren library, Trinity College, Cambridge of 1739, both created by Rysbrack. His small bust of the Duke of Cumberland (Victoria and Albert Museum, London) is a very secure, detailed and textured work made after a marble sculpture by Rybrack.It was made by <mask> <mask> around 1767. It is likely the ivory bust exhibited at the Free Society of Artists in 1767. References

External links

17th-century births
1769 deaths
17th-century Flemish sculptors
Flemish Baroque sculptors
Ivory carvers
Artists from Antwerp

masks:
Gaspar van der Hagen
Gaspar Vanderhagen
Gaspar
Alexander van
Van der
Hagen
van Papenhov
Hagen
van der
Hagen
van der
Hagen
Anthony van
Joseph van
Vander
Hagen
van der
Hagen
Van der
Hagen
Van der
Hagen
van der
Hagen
Van der
Hagen
van der
Hagen
Alexander van
der Hagen
van der
Hagen


title: Allen Broussard

texts:
<mask> (April 13, 1929 – November 5, 1996) was an American attorney who rose to become an Associate Justice of the California Supreme Court from July 22, 1981, to August 31, 1991. Biography
Broussard was born in Lake Charles, Louisiana, the son of Clemire and <mask>. At the age of sixteen, he moved with his family to California, where his father was a longshoreman, and his mother worked as a seamstress. His parents were of Creole ancestry. As a young man, Broussard held various part-time jobs, including selling shoes and working in a canning plant. He financed his own education, first at San Francisco City College, then the University of California at Berkeley, and the Boalt Hall School of Law at Berkeley. At Boalt, he was vice-president of the Boalt Hall Law Students Association and a contributor to the California Law Review.After graduating in 1953, he served in the United States Army for two years. After completing Basic Army Administration school as a clerk typist, he became a Chaplain's assistant in Germany, where he served for 19 months. After leaving the Army, he became the research attorney for Raymond E. Peters, Presiding Justice of the California Court of Appeal, First District, Division One. In 1959, Broussard entered private practice with Wilson, Metoyer & Sweeny. Broussard was one of a group of influential African American leaders in East Bay politics, including Norvel Smith, and state Court of Appeal Justice Clinton White. He was part of a coterie that used to meet at the pharmacy of William Byron Rumford, along with Lionel Wilson. In 1972, Broussard was the first African American to be elected President of the California Judges Association.He also became Chairman of the Board of the Center for Judicial Education and Research. After retiring from the judiciary, Broussard served on the Oakland Port Commission, which involved visiting ports around the world, especially Asia. In 1987, he led a group of 72 lawyers, port officials including: port commissioner Carole Ward <mask>, and city officials on a 3-week long trip to China meeting the Mayor of Shanghai, Jiang Zemin. Shanghai is a "twin city" of San Francisco. Judicial career
Broussard was one of the first African-Americans to become a judge in California. In 1964, California Governor Edmund G. "Pat" Brown appointed Broussard as a judge of the Municipal Court for the Oakland-Piedmont (later Oakland-Piedmont-Emeryville) Judicial District. His record caught the attention of Democratic Governor Jerry Brown, who, in 1975, appointed Broussard as a judge of the Superior Court of Alameda County.He went on to serve as Presiding Judge of the Superior Court. In 1981 Governor Jerry Brown elevated Broussard to the California Supreme Court, where he served as Associate Justice until 1991. His term followed Wiley Manuel, who was on the bench 1977-1981. On the court, Broussard was a leading liberal in the court's majority, along with Chief Justice Rose Bird. He wrote the majority of opinions for the court at that time. By 1982, five of the seven justices on the court were Brown appointees, who were widely criticized as allegedly soft on crime and overly political. Even though the judges had different individual philosophies, they were lumped together by conservative politicians who derisively labeled them as "Jerry's Judges" and "Rosie & The Supremes."Critics repeatedly claimed that Broussard and other Brown appointees ruled on the basis of personal opinion and political bias rather than the law and the state Constitution. In 1982, Broussard was up for election reconfirmation. A campaign was waged against him and the other Brown appointees on the ballot that year (Cruz Reynoso and Otto Kaus), something that was unprecedented in California history. Broussard was reconfirmed to a 12-year term, as expected, with 56% of the vote, but that was below the typical confirmation vote. In 1986, three of his colleagues (Bird, Cruz Reynoso, and Joseph Grodin) were resoundingly voted off the court, and they were replaced by conservative justices. Broussard was disturbed by this development and expressed fear that the judiciary would become politicized. On August 31, 1991, Broussard retired from the court and Governor Pete Wilson appointed Ronald M. George to the seat.Personal life
As chairman of a civic organization called Men of Tomorrow, he contacted Odessa Monroe, the program director of the radio station KSAN, seeking free air time. He went on to marry her in 1959, and they had two sons, Keith and Craig. References

Selected publications

Papers and oral history
 A California Supreme Court justice looks at law and society, 1964–1996: <mask>. Broussard oral history transcript. (1997). Interview by Gabrielle Morris. Bancroft Library, Regional Oral History Office, via Calisphere. Allen Broussard Papers.California Judicial Center Library, Special Collections and Archives. Online Archives of California. External links
 In Memoriam: Honorable <mask><mask> (1929–1996). California Supreme Court Historical Society. California Supreme Court opinions authored by <mask>. Courtlistener.com. Past & Present Justices.California State Courts. Retrieved July 19, 2017. See also
 List of African-American jurists
 List of justices of the Supreme Court of California
 Wiley Manuel
 Lionel Wilson
 Carole Ward <mask>
 Janice Rogers Brown
 Jami Floyd
 Vaino Spencer

1929 births
1996 deaths
Politicians from Lake Charles, Louisiana
American jurists
African-American judges
African-American lawyers
City College of San Francisco alumni
University of California, Berkeley alumni
UC Berkeley School of Law alumni
20th-century American judges
Superior court judges in the United States
Justices of the Supreme Court of California
California Democrats
African-American people in California politics
Lawyers from Oakland, California
United States Army soldiers
African-American history in Oakland, California
20th-century American lawyers
20th-century African-American people

masks:
Allen Edgar Broussard
Eugenia Broussard
Allen
Allen E
Allen E
. Broussard
Allen Broussard
Allen


title: Charles Gounod

texts:
<mask>-<mask> (; ; 17 June 181818 October 1893), usually known as <mask>, was a French composer. He wrote twelve operas, of which the most popular has always been Faust (1859); his Roméo et Juliette (1867) also remains in the international repertory. He composed a large amount of church music, many songs, and popular short pieces including his Ave Maria (an elaboration of a Bach piece), and Funeral March of a Marionette. Born in Paris into an artistic and musical family Gounod was a student at the Conservatoire de Paris and won France's most prestigious musical prize, the Prix de Rome. His studies took him to Italy, Austria and then Prussia, where he met Felix Mendelssohn, whose advocacy of the music of Bach was an early influence on him. He was deeply religious, and after his return to Paris, he briefly considered becoming a priest. He composed prolifically, writing church music, songs, orchestral music and operas.<mask>'s career was disrupted by the Franco-Prussian War. He moved to England with his family for refuge from the Prussian advance on Paris in 1870. After peace was restored in 1871 his family returned to Paris but he remained in London, living in the house of an amateur singer, Georgina Weldon, who became the controlling figure in his life. After nearly three years he broke away from her and returned to his family in France. His absence, and the appearance of younger French composers, meant that he was no longer at the forefront of French musical life; although he remained a respected figure he was regarded as old-fashioned during his later years, and operatic success eluded him. He died at his house in Saint-Cloud, near Paris at the age of 75. Few of <mask>'s works remain in the regular international repertoire, but his influence on later French composers was considerable.In his music there is a strand of romantic sentiment that is continued in the operas of Jules Massenet and others; there is also a strand of classical restraint and elegance that influenced Gabriel Fauré. Claude Debussy wrote that Gounod represented the essential French sensibility of his time. Life and career

Early years

<mask> was born on 17 June 1818 in the Latin Quarter of Paris, the second son of François Louis <mask> (1758–1823) and his wife Victoire, née Lemachois (1780–1858). François was a painter and art teacher; Victoire was a talented pianist, who had given lessons in her early years. The elder son, Louis Urbain (1807–1850), became a successful architect. Shortly after <mask>'s birth François was appointed official artist to the Duc de Berry, a member of the royal family, and the Gounods' home in <mask>'s early years was at the Palace of Versailles, where they were allotted an apartment. After François's death in 1823, Victoire supported the family by returning to her old occupation as a piano teacher.The young Gounod attended a succession of schools in Paris, ending with the Lycée Saint-Louis. He was a capable scholar, excelling in Latin and Greek. His mother, the daughter of a magistrate, hoped Gounod would pursue a secure career as a lawyer, but his interests were in the arts: he was a talented painter and outstandingly musical. Early influences on him, in addition to his mother's musical instruction, were operas, seen at the Théâtre-Italien: Rossini's Otello and Mozart's Don Giovanni. Of a performance of the latter in 1835 he later recalled, "I sat in one long rapture from the beginning of the opera to its close". Later in the same year he heard performances of Beethoven's Pastoral and Choral symphonies, which added "fresh impulse to my musical ardour". While still at school Gounod studied music privately with Anton Reicha – who had been a friend of Beethoven and was described by a contemporary as "the greatest teacher then living" – and in 1836 he was admitted to the Conservatoire de Paris.There he studied composition with Fromental Halévy, Henri Berton, Jean Lesueur and Ferdinando Paer and piano with Pierre Zimmerman. His various teachers made only a moderate impression on Gounod's musical development, but during his time at the Conservatoire he encountered Hector Berlioz. He later said that Berlioz and his music were among the greatest emotional influences of his youth. In 1838, after Lesueur's death, some of his former students collaborated to compose a commemorative mass; the Agnus Dei was allocated to Gounod. Berlioz said of it, "The Agnus, for three solo voices with chorus, by M. <mask>, the youngest of Lesueur's pupils, is beautiful – very beautiful. Everything in it is novel and distinguished – melody, modulation, harmony. In this piece M. Gounod has given proof that we may expect everything of him".Prix de Rome
In 1839, at his third attempt, <mask> won France's most prestigious musical prize, the Prix de Rome for composition, for his cantata Fernand. In doing so he was surpassing his father: François had taken the second prize in the Prix de Rome for painting in 1783. The Prix brought the winner two years' subsidised study at the French Institute in Rome and a further year in Austria and Germany. For Gounod this not only launched his musical career, but made impressions on him both spiritually and musically that stayed with him for the rest of his life. In the view of the musicologist Timothy Flynn, the Prix, with its time in Italy, Austria and Germany, was "arguably the most significant event in [Gounod's] career". He was fortunate that the director of the institute was the painter Dominique Ingres, who had known François Gounod well and took his old friend's son under his wing. Among the artistic notables the composer met in Rome were the singer Pauline Viardot and the pianist Fanny Hensel, sister of Felix Mendelssohn.Viardot became of great help to Gounod in his later career, and through Hensel he got to know the music not only of her brother but also of J.S.Bach, whose music, long neglected, Mendelssohn was enthusiastically reviving. Gounod was also introduced to "various masterpieces of German music which I had never heard before". While in Italy, Gounod read Goethe's Faust, and began sketching music for an operatic setting, which came to fruition over the next twenty years. Other music he composed during his three years' scholarship included some of his best-known songs, such as "Où voulez-vous aller?" (1839), "Le Soir" (1840–1842) and "Venise" (1842), and a setting of the Mass ordinary, which was performed at the church of San Luigi dei Francesi in Rome. In Rome, Gounod found his strong religious impulses increased under the influence of the Dominican preacher Henri-Dominique Lacordaire and he was inspired by paintings in the city's churches. Unlike Berlioz, who had been unimpressed by the visual arts of Rome when he was at the Institute ten years earlier, Gounod was awed by the work of Michelangelo.He also came to know and revere the sacred music of Palestrina, which he described as a musical translation of Michelangelo's art. The music of some of his own Italian contemporaries did not appeal to him. He severely criticised operas by Donizetti, Bellini and Mercadante, composers he described as merely "vines twisted around the great Rossinian trunk, without its vitality and majesty" and lacking Rossini's spontaneous melodic genius. For the last year of his Prix de Rome scholarship, Gounod moved to Austria and Germany. At the Court Opera in Vienna he heard The Magic Flute for the first time, and his letters record his joy at living in the city where Mozart and Beethoven had worked. Count Ferdinand von Stockhammer, a leading patron of the arts in Vienna, arranged for Gounod's setting of the Requiem Mass to be performed. It was warmly received, and its success led Stockhammer to commission a second Mass from the composer.From Vienna, Gounod moved on to Prussia. He renewed his acquaintance with Fanny Hensel in Berlin and then went on to Leipzig to meet her brother. At their first encounter Mendelssohn greeted him, "So you're the madman my sister has told me about", but he devoted four days to entertaining the young man and gave him much encouragement. He arranged a special concert of the Leipzig Gewandhaus Orchestra so that his guest might hear the Scottish Symphony, and played him some of the works of Bach on the organ of the Thomaskirche. Reciprocating, Gounod played the Dies Irae from his Viennese Requiem, and was gratified when Mendelssohn said of one passage that it was worthy to be signed by Luigi Cherubini. Gounod commented, "Words like this from such a master are a true honour and one wears them with more pride than many a ribbon". Rising reputation

Gounod arrived home in Paris in May 1843.He took up a post, which his mother had helped to secure, as chapel master of the church of the Missions étrangères. For a winner of the Prix de Rome it was not a distinguished position. The organ of the church was poor, and the choir consisted of two basses, a tenor and a choirboy. To compound Gounod's difficulties, the regular congregation was hostile to his attempts to improve the music of the church. He expressed his views to a colleague:

Despite his generally affable and compliant nature Gounod remained adamant; he gradually won his parishioners over, and served for most of the five-year term he had agreed to. During this period Gounod's religious feelings became increasingly strong. He was reunited with a childhood friend, now a priest, <mask>, and for a time he himself felt drawn to holy orders.In 1847 he began to study theology and philosophy at the seminary of St Sulpice, but before long his secular side asserted itself. Doubting his capacity for celibacy, he decided not to seek ordination and continued with his career as a musician. He later recalled:

The outset of Gounod's theatrical career was greatly helped by his reacquaintance with Pauline Viardot in Paris in 1849. Viardot, then at the peak of her fame, was able to secure for him a commission for a full-length opera. In this Gounod was exceptionally fortunate: a novice composer in the 1840s would usually, at the most, be asked to write a one-act curtain raiser. Gounod and his librettist, Emile Augier, created Sapho, drawing on Ancient Greek legend. It was intended as a departure from the three genres of opera then prevalent in Paris – Italian opera, grand opera and opéra comique.It later came to be regarded as the first of a new type, opéra lyrique, but at the time it was thought by some to be a throwback to the operas of Gluck, written sixty or seventy years earlier. After difficulties with the censor, who found the text politically suspect and too erotic, Sapho was given at the Paris Opéra at the Salle Le Peletier on 16 April 1851. It was reviewed by Berlioz in his capacity as a music critic; he found some parts "extremely beautiful … the highest poetic level of drama", and others "hideous, unbearable, horrible". It did not draw the public and closed after nine performances. The opera received a single performance at the Royal Opera House in London later in the same year, with Viardot again in the title role. The music received more praise than the libretto, and the performers received more than either, but The Morning Post recorded, "The opera, we regret to say, was received very coldly". In April 1851 Gounod married Anna Zimmerman (1829–1907), daughter of his former piano professor at the Conservatoire.The marriage led to a breach with Viardot; the Zimmermans refused to have anything to do with her, for reasons that are not clear. Gounod's biographer Steven Huebner refers to rumours about a liaison between the singer and composer, but adds that "the real story remains murky". Gounod was appointed superintendent of instruction in singing to the communal schools in the city of Paris, and from 1852 to 1860 he was director of a prominent choral society, the Orphéon de la Ville de Paris. He also frequently stood in for his elderly and often ill father-in-law, giving music lessons to private pupils. One of them, Georges Bizet, found Gounod's teaching inspiring, praised "his warm and paternal interest" and remained a lifelong admirer. Despite the brevity of Sapho'''s run, the piece advanced Gounod's reputation, and the Comédie-Française commissioned him to write incidental music for François Ponsard's five-act verse tragedy Ulysse (1852), based on the Odyssey. The score included twelve choruses as well as orchestral interludes.It was not a successful production: Ponsard's play was not well received, and the audience at the Comédie-Française had little interest in music. During the 1850s Gounod composed his two symphonies for full orchestra and one of his best-known religious works, the Messe solennelle en l'honneur de Sainte-Cécile. It was written for the St Cecilia's day celebrations of 1855 at Saint-Eustache, and in Flynn's view demonstrates Gounod's success in "blending the operatic style with church music – a task at which many of his colleagues tried and failed". As well as church and concert music, Gounod was composing operas, beginning with La Nonne sanglante (The Bloody Nun, 1854), a melodramatic ghost story with a libretto that Berlioz had tried and failed to set, and that Auber, Meyerbeer, Verdi and others had rejected. The librettists, Eugène Scribe and Germain Delavigne, reworked the text for Gounod and the piece opened at the Opéra on 18 October 1854. The critics derided the libretto but praised the music and production; the work was doing well at the box-office until it fell victim to musical politics. The director of the Opéra, Nestor Roqueplan, was supplanted by his enemy, François-Louis Crosnier, who described La Nonne sanglante as "filth" and shut the production down after its eleventh performance.Operatic successes and failures
In January 1856 <mask> was

masks:
Charles
François Gounod
Charles Gounod
Gounod
Gounod
Gounod
Gounod
Charles
Charles
Gounod
Gounod
Charles Gay
Gounod


title: Charles Gounod

texts:
 appointed a knight of the Legion of Honour. In June of that year he and his wife had the first of their two children, a son Jean (1856–1935). (Their daughter Jeanne (1863–1945) was born seven years later.) In 1858 Gounod composed his next opera, Le Médecin malgré lui. With a good libretto by Jules Barbier and Michel Carré, faithful to the Molière comedy on which it is based, it gained excellent reviews, but its good reception was overshadowed for Gounod by the death of his mother the day after the premiere.<mask>, <mask>, Julien Tiersot and Theodore Baker. "Gounod's Letters", The Musical Quarterly, January 1919, pp. 48–49 At the time an initial run of 100 performances was considered a success; Le Médecin malgré lui achieved that and was revived in Paris and elsewhere during the rest of the 19th century and into the 20th.In 1893 the British Musical Times praised its "irresistible gaiety". Huebner comments that the opera does not deserve the relative neglect into which it has since fallen. With Barbier and Carré, Gounod turned from French comedy to German legend for Faust. The three had worked on the piece in 1856, but it had to be shelved to avoid clashing with a rival (non-operatic) Faust at another theatre. Returning to it in 1858 Gounod completed the score, rehearsals began towards the end of the year and the opera opened at the Théâtre-Lyrique in March 1859. One critic reported that it was presented "under circumstances of uncommon excitement and expectation"; another praised the work but doubted if it would have enough popular appeal to be a commercial triumph. The composer later recalled that the opera "did not strike the public very much at first", but after some revision and with a good deal of vigorous promotion by Gounod's publisher, Antoine de Choudens, it became an international success.There were productions in Vienna in 1861, and in Berlin, London and New York in 1863. Faust has remained Gounod's most popular opera and one of the staples of the operatic repertoire. Over the next eight years Gounod composed five more operas, all with Barbier or Carré or both. Philémon et Baucis (1860) and La Colombe (The Dove, 1860) were opéras comiques based on stories by Jean de La Fontaine. The first was an attempt to take advantage of a vogue for mildly satirical comedies in mythological dress started by Jacques Offenbach with Orphée aux enfers (1858). The opera had originally been intended for the theatre at Baden-Baden, but Offenbach and his authors expanded it for its eventual first performance, in Paris at the Théâtre Lyrique. La Colombe, also written for Baden-Baden, was premiered there and later expanded for its first Paris production (1886).After these two moderate successes, Gounod had an outright failure, La Reine de Saba (1862), a grand opera with an exotic setting. The piece was lavishly mounted, and the premiere was attended by the Emperor Napoleon III and the Empress Eugénie, but the reviews were damning and the run finished after fifteen performances. The composer, depressed by the failure, sought comfort in a long trip to Rome with his family. The city enchanted him as much as ever: in Huebner's words "renewed exposure to Rome's close entwining of Christianity and classical culture energized him for the travails of his career back in Paris". <mask>'s next opera was Mireille (1864), a five-act tragedy in a Provençal peasant setting. Gounod travelled to Provence to absorb the local atmosphere of the various settings of the work and to meet the author of the original story, Frédéric Mistral. Some critics have seen the piece as a forerunner of verismo opera, although one that emphasises elegance over sensationalism.The opera was not a great success at first; there were strong objections from some quarters that Gounod had given full tragic status to a mere farmer's daughter. After some revision it became popular in France, and remained in the regular opéra comique repertoire into the 20th century. In 1866 <mask> was elected to the Académie des Beaux-Arts and was promoted within the Legion of Honour. During the 1860s his non-operatic works included a Mass (1862), a Stabat Mater (1867), twenty shorter pieces of liturgical or other religious music, two cantatas – one religious, one secular – and a Marche pontificale for the anniversary of the coronation of Pius IX (1869), later adopted as the official anthem of the Vatican City. <mask>'s last opera of the 1860s was Roméo et Juliette (1867), with a libretto that follows Shakespeare's play fairly closely. The piece was a success from the outset, with box-office receipts boosted by the large number of visitors to Paris for the Exposition Universelle. Within a year of the premiere it was staged in major opera houses in continental Europe, Britain and the US.Other than Faust it remains the only Gounod opera to be frequently staged internationally.Huebner, Steven. "Roméo et Juliette", Grove Music Online, Oxford University Press, 2002. Retrieved 24 November 2019

London
After the outbreak of the Franco-Prussian War in 1870, Gounod moved with his family from their home in Saint-Cloud, outside Paris, first to the countryside near Dieppe and then to England. The house in Saint-Cloud was wrecked by the advancing Prussians in the build-up to the Siege of Paris. To earn a living in London, Gounod wrote music for a British publisher; in Victorian Britain there was a great demand for religious and quasi-religious drawing room ballads, and he was happy to provide them. Gounod accepted an invitation from the organising committee of the Annual International Exhibition to write a choral piece for its grand opening at the Royal Albert Hall on 1 May 1871. As a result of its favourable reception he was appointed director of the new Royal Albert Hall Choral Society, which, with Queen Victoria's approval, was subsequently renamed the Royal Choral Society."About the Royal Choral Society", Royal Choral Society. Retrieved 25 November 2019 He also conducted orchestral concerts for the Philharmonic Society and at the Crystal Palace, St James's Hall and other venues. Proponents of English music complained that Gounod neglected native composers in his concerts, but his own music was popular and widely praised. The music critic of The Times, J. W. Davison, rarely pleased by modern music, was not an admirer, but Henry Chorley of The Athenaeum was an enthusiastic supporter, and writers in The Musical World, The Standard, The Pall Mall Gazette and The Morning Post called Gounod a great composer. In February 1871, Julius Benedict, the director of the Philharmonic Society, introduced Gounod to a singer and music teacher called Georgina Weldon. She quickly became a dominant influence in Gounod's professional and personal life. There was much inconclusive conjecture about the nature of their relationship.Once peace was restored in France during 1871, <mask> returned home with her mother and children, but Gounod stayed on in London, living in the Weldons' house. Weldon introduced him to competitive business practices with publishers, negotiating substantial royalties, but eventually pushed such matters too far and involved him in litigation brought by his publisher, which the composer lost. Gounod lived in the Weldons' household for nearly three years. The French newspapers speculated about his motives for remaining in London; they speculated the more when it was suggested that he had declined the French President's invitation to return and succeed Auber as director of the Conservatoire. In early 1874 his relations with Davison of The Times, never cordial, descended into personal hostility. The pressures on him in England and the comments about him in France brought Gounod to a state of nervous collapse, and in May 1874 his friend Gaston de Beaucourt came to London and took him back home to Paris. Weldon was furious when she discovered that Gounod had left, and she made many difficulties for him later, including holding on to manuscripts he had left at her house and publishing a tendentious and self-justifying account of their association.She later brought a lawsuit against him which effectively prevented him from coming back to Britain after May 1885. Later years

The musical scene in France had altered considerably during <mask>'s absence. After the death of Berlioz in 1869, <mask> had been generally regarded as France's leading composer. He returned to a France in which, though still well respected, he was no longer in the vanguard of French music. A rising generation, including members of the new Société Nationale de Musique such as Bizet, Emmanuel Chabrier, Gabriel Fauré and Jules Massenet, was establishing itself. He was not embittered, and was well disposed to younger composers, even when he did not enjoy their works. Of the later generation he was most impressed by Camille Saint-Saëns, seventeen years his junior, whom he is said to have dubbed "the French Beethoven".Resuming operatic composition, Gounod finished Polyeucte, on which he had been working in London, and during 1876 composed Cinq-Mars, a four-act historical drama set in the time of Cardinal Richelieu. The latter was staged first at the Opéra-Comique in April 1877, and had a mediocre run of 56 performances. Polyeucte, a religious subject close to the composer's heart, did worse when it was given at the Opéra the following year. In the words of Gounod's biographer James Harding, "After Polyeucte had been martyred on twenty-nine occasions the box-office ruled that enough was enough. He was never resuscitated." The last of <mask>'s operas, Le Tribut de Zamora (1881), ran for 34 nights, and in 1884 he made a revision of Sapho, which lasted for 30 performances at the Opéra. He reworked the role of Glycère, the deceitful villainess of the piece, with the image of Weldon in his mind: "I dreamt of the model … who was terrifying in satanic ugliness" Throughout these disappointments Faust continued to attract the public, and in November 1888 Gounod conducted the 500th performance at the Opéra.Away from opera <mask> wrote the large-scale Messe du Sacré-Coeur de Jésus in 1876 and ten other masses between then and 1893. His greatest popular successes in his later career were religious works, the two large oratorios La Rédemption (1882) and Mors et vita (1885), both composed for and premiered at the Birmingham Triennial Music Festival in England. The two were enthusiastically taken up by the British public and on the continent, and in their day were widely ranked with the oratorios of Handel and Mendelssohn. The Philharmonic Society in London unsuccessfully sought to commission a symphony from the composer in 1885 (the commission eventually went to Saint-Saëns); fragments of a third symphony exist from late in Gounod's career, but are thought to date from a few years later. Gounod's last years were lived at Saint-Cloud, composing sacred music and writing his memoirs and essays. On 15 October 1893, after returning home from playing the organ for Mass at his local church, he suffered a stroke while working on a setting of the Requiem in memory of his grandson Maurice, who had died in infancy. After being in a coma for three days Gounod died on 18 October, at the age of 75.A state funeral was held at L'église de la Madeleine, Paris, on 27 October 1893. Among the pallbearers were Ambroise Thomas, Victorien Sardou and the future French President Raymond Poincaré. Fauré conducted the music, which at Gounod's wish was entirely vocal, with no organ or orchestral accompaniment. After the service, Gounod's remains were taken in procession to the Cimetière d'Auteuil, near Saint-Cloud, where they were interred in the family vault. Music
Gounod is best known for his operas – in particular Faust. Celebrated during his lifetime, Gounod's religious music became unfashionable in the 20th century and little of it is regularly heard. His songs, an important influence on later French composers, are less neglected, although only a few are well known.Michael Kennedy writes that <mask>'s music has "considerable melodic charm and felicity, with admirable orchestration". He adds that Gounod was "not really a master of the large and imposing forms, in this way perhaps being a French parallel to Sullivan". There is wide agreement among commentators that he was at his finest more often in the earlier decades of his career than later. Robert Orledge judges that in the 1850s and 1860s Gounod introduced to French opera a combination of "tender, lyrical charm, consummate craftsmanship, and genuine musical characterization", but his later works tend to "sentimentality and banality ... in his quest for inspired simplicity". Cooper writes that as Gounod grew older he began to suffer from "what might be described as the same cher grand maître complex as infected Hugo and Tennyson". Huebner observes that the fact that Gounod's reputation began to wane even during his lifetime does not detract from his place among the most respected and prolific composers in France during the second half of the 19th century. Operas
Gounod wrote twelve operas, in a variety of the genres then prevailing in France.Sapho (1851) was an early example of opéra lyrique, smaller-scale and more intimate than grand opera but through-composed, without the spoken dialogue of opéra comique. Berlioz wrote of it, "Most of the choruses I found imposing and simple in accent; the whole third act seemed to me very beautiful ... But the quartet in the first act, the duet and trio in the second, where the passions of the principal characters break out with such force, absolutely revolted me". A more recent reviewer remarks on <mask>'s "genuine talent for music-drama ... exercised in the Quartet of Act 1 where each character has an independent part,

masks:
Gounod
Charles
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Gounod
Anna Gounod
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Gounod
Gounod
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Gounod


title: Charles Gounod

texts:
 making effective counterpoint in dramatic as well as musical terms". Gounod revised the work in 1858 and again, more radically, in 1884, but it was never a success. The one fairly well known number from the score, Sapho's "O ma lyre immortelle", is a reworking of a song he had composed in 1841.La Nonne sanglante (1854), a work on a larger scale than Sapho, suffers from a libretto that Huebner describes as an "unhappy blend of historico-political grand opera and the supernatural". He observes that in the traditions of grand opera it features processions, ballets, large ensemble numbers, and "a plot where the love interest is set against a more or less clearly drawn historical backdrop".Announcing a rare revival of the work in 2018, the Opéra-Comique described the score as "refined, sombre, and labyrinthine". A reviewer praised its "verve and imagination ... colourful and percussive music, well adapted to evoke the horror of the situations ... quite voluptuous in the arias (in a score that one can nevertheless find rather academic in parts)". Cooper classes Le Médecin malgré lui (1858) as one of Gounod's finest works, "witty, quick-moving and full of life". In complete contrast to its predecessor, it is a three-act comedy, regarded as a masterpiece by Richard Strauss and Igor Stravinsky. Cooper says of the score that Gounod seems to have learned more from Mozart than from Rossini or Auber, and to have "divined by instinct the great comic possibilities of what passed at that time for a ferociously 'learned' style, namely counterpoint." The piece held its place in the repertory during the latter part of the 19th century, but by the time Serge Diaghilev revived it in 1924 Gounod was out of fashion. In Stravinsky's words, "[Diaghilev's] dream of a Gounod 'revival' failed in the face of an indifferent and snobbish public who did not dare applaud the music of a composer not accepted by the avant-garde".For his revival Diaghilev commissioned Erik Satie to compose recitatives to replace the original spoken dialogue, and that version is sometimes used in the occasional modern productions of the piece, such as that by Laurent Pelly at the Grand Théâtre de Genève in 2016.Faust (1859) appealed to the public not only because of its tunefulness but also for its naturalness. In contrast with grand operas by Gounod's older contemporaries, such as Meyerbeer's Les Huguenots or Rossini's William Tell, Faust in its original 1859 form tells its story without spectacular ballets, opulent staging, grand orchestral effects or conventionally theatrical emotion. "The charm of Faust lay in its naturalness, its simplicity, the sincerity and directness of its emotional appeal" (Cooper). The authors labelled Faust "a lyric drama", and some commentators find the lyrical scenes stronger than the dramatic and supernatural ones. Among the best known numbers from the piece are Marguerite's "Jewel" song, the Soldiers' Chorus, Faust's aria "Salut! Demeure chaste et pure" and Méphistophélès' "Le Veau d’or" and Sérénade. Another popular song is Valentin's "Avant de quitter ces lieux", which Gounod, rather reluctantly, wrote for the first London production, where the star baritone required an extra number.Among the popular numbers from the score is the ballet music, written when the Opéra – where a ballet interlude was mandatory – took over presentation of the work in 1869. The ballet makes full use of the Opéra's large orchestral resources; it is now frequently omitted in live performances, particularly in productions outside France, but the ballet suite became a popular concert item, independent of the opera. The recitatives generally used instead of the original spoken dialogue were composed by Gounod in an early revision of the score. Writing of Philémon et Baucis, Huebner comments that there is little dramatic music in the score and that most of the numbers are "purely decorative accretions to the spoken dialogue". For the 1876 revival at the Opéra-Comique, which established the work in the repertory there until the Second World War, Gounod reduced it to two acts. For a revival by Diaghilev in 1924, the young Francis Poulenc composed recitatives to replace the spoken dialogue. The music critic Andrew Clements writes of La Colombe that it is not a profound work, but is "well filled with the kind of ingratiating tunes that Gounod could turn out so effectively".Although La Reine de Saba was a failure, it contains three numbers that gained moderate popularity: the Queen's big aria‚ "Plus grand dans son obscurité", King Solomon's "Sous les pieds d'une femme" and the tenor solo "Faiblesse de la race humaine".Mireille (1865) was a moderate success, and although it did not emulate Faust in becoming an international hit, it remained popular in France into the 20th century. The most famous number, the waltz-song "O légère hirondelle", a favourite display piece for many coloratura sopranos, was written to order for the prima-donna of the Théâtre Lyrique a year after the premiere. Another popular number is Ourrias's swaggering "Si les filles d'Arles" described by the critic Patrick O'Connor as an attempt by the composer to repeat the success of Méphistophélès' Veau d'or from Faust. Gounod revised the work, even giving it a happy ending, but in the 1930s Reynaldo Hahn and Henri Büsser prepared a new edition for the Opéra-Comique, restoring the work to its original tragic five acts. <mask>'s last successful opera was Roméo et Juliette (1867). Gustav Kobbé wrote five decades later that the work had always been more highly regarded in France than elsewhere. He said that it had never been popular in England except as a vehicle for Adelina Patti and then Nellie Melba, and that in New York it had only featured regularly at the Metropolitan Opera when it was under the control of Maurice Grau in the late 19th-century.Some reviewers thought it inappropriate that Juliet was allotted a waltz song ("Je veux vivre, dans ce rêve"), but Romeo's "Ah! levè-toi, soleil" was judged one of Gounod's finest tenor arias. Although never as popular as Faust, Roméo et Juliette continues to hold the stage internationally. <mask> had no further success with new operas. His three attempts, Cinq-Mars (1877), Polyeucte (1878), and Le Tribut de Zamora (1881), were all taken off after brief runs, and have seldom been seen since. Orchestral and chamber music

The two symphonies, in D major and E-flat major, cannot be precisely dated. The first was completed at some time before 1855 and the second by 1856.Like many other composers of the mid-19th-century <mask> found Beethoven's shadow daunting when contemplating the composition of a symphony, and there was even a feeling among the French musical public that composers could write operas or symphonies but not both.Fifield, p. 8 The influence of Beethoven is apparent in Gounod's two symphonies, and the musical scholar Roger Nichols and the composer's biographer Gérard Condé also find a debt to Mendelssohn's Italian Symphony in the slow movement of the First. <mask>'s sometime pupil Bizet took the First as his model for his own Symphony in C (1855). Late in life Gounod started but did not complete a Third Symphony. A complete slow movement and much of a first movement survive. Other orchestral works include the Funeral March of a Marionette (1879), an orchestration of an 1872 solo piano piece. The Petite Symphonie (1885), written for nine wind instruments, follows the classical, four-movement pattern, with a slow introduction to the sonata form first movement. The commentator Diether Stepphun refers to its "cheerfully contemplative and gallant wit, with all the experience of human and musical maturity".<mask>'s Ave Maria gained considerable popularity. It consists of a descant superimposed over a version of the first prelude of Bach's The Well-Tempered Clavier. In its original form it is for violin with piano; the words of the Hail Mary were added to the melody later. Religious music
Gounod's output of liturgical and other religious music was prolific, including 23 masses, more than 40 other Latin liturgical settings, more than 50 religious songs and part-songs, and seven cantatas or oratorios. During his lifetime his religious music was regarded in many quarters more highly than his most popular operas. Saint-Saëns wrote, "When, in the far-distant future, the operas of Gounod shall have been received into the dusty sanctuary of the libraries, the Mass of St Cecilia, the Redemption, and Mors et Vita, will still endure". In the 20th century views changed considerably.In 1916, Gustave Chouquet and Adolphe Jullien wrote of "a monotony and heaviness which must weary the best-disposed audience". In 1918, in a centenary tribute to Gounod, Julien Tiersot described La Rédemption and Mors et Vita as "imbued with pure and elevated lyricism", but this view did not prevail. Other critics have referred to "the ooze of the erotic priest" and called the oratorios "the height of nineteenth-century hypocritical piety". Orledge judges the early masses as the best of Gounod's religious music. He comments that the composer moved away from "Palestrinian austerity" towards "a more fluid, operatic style" in his Messe solennelle de Sainte Cécile (1855). He comments that in general Gounod's work in the 1860s "became more Italianate, while retaining its French attributes of precision, taste, and elegance". Songs

Gounod's songs are by far the most numerous of his compositions: he wrote more than a hundred French secular songs and thirty more in English or Italian for the British market.The songs come from every stage of his career, but most of the best are generally considered to be from the earlier years. Maurice Ravel called Gounod "the true founder of the mélodie in France". The pianist and musical scholar Graham Johnson, quoting this, adds that although Berlioz might be thought to have a claim to that title, it was Gounod who brought the mélodie widespread popularity in France:

Johnson adds that Gounod brought to the mélodie "those qualities of elegance, ingenuity, sensibilité, and a concern for literature which together constitute the classic qualities of French song" in mélodies that display the composer's "melodic genius, his talent for creating long flowing lines (only surpassed by Fauré), and his instinct for the harmonic juste". From his earliest period, during and just after his time as a Prix de Rome student, Gounod's songs include some of his best, in the view of both Huebner and Johnson.Johnson, p. 222 Examples include "Où voulez-vous aller?" (words by Gautier, 1839) – which challenged comparison with Berlioz, who had already set the poem in his Les Nuits d'été – and "Venice" (Musset), 1842, described by Johnson as "astonishingly evocative with its turbulent interludes painting that city's ability both to intoxicate and disturb". Other early songs such as "Le vallon" and "Le soir" (both to words by Lamartine, c. 1840) demonstrate Gounod's ability to cope with large-scale Romantic verse. The songs of Gounod's middle and later years are in the main judged less impressive.Johnson compares Gounod with Mendelssohn in terms of artistic decline, suggesting that their celebrity as establishment figures led them to adopt a style "suitable for the pomposities of gigantic music festivals." Nevertheless, Johnson observes that some of the songs written during Gounod's stay in England in the 1870s are excellent of their kind, such as "Oh happy home" (words by Edward Maitland, 1872), "If thou art sleeping, maiden" (Longfellow, 1872 or 1873) and "The Worker" (Frederic Weatherly, 1873). Gounod's time in Britain also produced arrangements of Scottish folk songs, and settings of poetry by Wordsworth, <mask>, Thomas Hood, Byron, Shelley and Francis Palgrave. Legacy
Although only a comparatively small amount of Gounod's music endures in the regular musical repertoire, his influence on later French composers was important. In Cooper's words, "he was more than an individual composer: he was the voice of a deep and permanent strain in the French character ... [A] whole range of emotion, which had been voiceless before, had found in him its ideal expression, and his influence will perhaps never quite disappear for that reason". Cooper suggests that the two sides of Gounod's music nature influenced later French composers as different as Fauré and Massenet, the first drawing on and refining Gounod's classical purity and refinement, and the latter drawing on his romantic and voluptuous side (so much so that he was dubbed "la fille de Gounod"). Ravel's comment on Gounod's importance to mélodie'' is quoted above, and Debussy wrote, "Gounod, for all his weaknesses, is essential … the art of Gounod represents a moment in French sensibility.Whether one wants to or not, that kind of thing is not forgotten". Music files

Notes, references and sources

Notes

References

Sources

Books

 :
Troisième année (1878),
Septième année (1882),
Dixième année (1885),
 :
Volume 1. Volume 2. Journals

External links

<mask>d recordings at the Discography of American Historical Recordings. 1818 births
1893 deaths
19th-century classical composers
19th-century French composers
19th-century French male musicians
Catholic liturgical composers
Composers for pedal piano
Composers for piano
French ballet composers
French composers of sacred music
French male classical composers
French opera composers
French Roman Catholics
French Romantic composers
Honorary Members of the Royal Philharmonic Society
Lycée Saint-Louis alumni
Male opera composers
Musicians from Paris
National anthem writers
Prix de Rome for composition
Pupils of Jean-François Le Sueur
Royal Philharmonic Society Gold Medallists
Oratorio

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Charles Kingsley
Charles Gouno


title: Marike de Klerk

texts:
<mask> (; 29 March 1937 – 3 December 2001) was the First Lady of South Africa, as the wife of State President <mask>, from 1989–1994. She was also a politician of the former governing National Party in her own right. <mask> was murdered in her Cape Town home in 2001. Biography

Personal life

<mask> was born into an upper-middle class Afrikaner family in Pretoria. Her father, Wilhelm Willemse, was an academic and writer. He was a professor of Social Pathology and Psychology at University of Pretoria. Willemse met her future husband, F. W<mask>, at Potchefstroom University (where she was studying for a degree in commerce).The couple later married and adopted three children together; Jan, Willem, and Susan. In 1983, <mask>k was criticised over comments she made about the Coloured community: "You know, they are a negative group ... a non-person. They are the people that were left after the nations were sorted out. They are the rest." In 1991 she became embroiled in a personal drama when the South African press revealed that her son, Willem was in an 18-month-long relationship with a coloured woman, Erica Adams. Adams was also from a political background, her father being a politician for the Labour Party. Willem's romance with Erica upsets Marike was the headline published by the Sunday Times.Willem was reportedly under pressure from his mother to end the inter-racial romance, the couple ended their engagement in 1992 and Willem married another woman the following year. <mask> was later unhappy with housing arrangements during South Africa's transition to democracy. It was originally intended that after the election in 1994, she and the president would stay in the Libertas home and <mask> would take up residence in another home known as the Presidency. <mask> later said that he was under pressure from his political party, the ANC to take up residence at Libertas. Therefore, the <mask>lerks would instead move to the Presidency. <mask> then told the <mask>lerks that senior colleagues wanted to use the Presidency for other uses. Therefore, they moved into Overvaal, the former home of Transvaal's administrators.Overvaal needed substantial refurbishing and <mask>k was angry that <mask> carried out a personal inspection to decide what the home needed, costs that the public works department would meet. FW <mask> later said: "She was deeply distressed by all the chopping and changing which she interpreted as a calculated attempt by <mask> himself to humiliate us... This latest humiliation became too much for her to swallow. She became very critical of <mask> and did not hesitate to voice her criticism." The <mask>ks later attended <mask>'s inauguration as president at the Union Buildings in Pretoria. Melanie Verwoerd would later recount that <mask> was the only person sitting in the packed public gallery as <mask> entered the room and those around her rose and clapped. One MP implored the former first lady to acknowledge the occasion: "Get up Marike, you are rude!", but <mask> <mask> began an affair with Elita <mask>, the wife of <mask>, a Greek shipping tycoon who had allegedly given <mask> and <mask>'s marriage ended in 1996 with FW announcing on Valentine's Day that he intended to divorce his wife of 37 years. <mask> was opposed to the divorce: "If you change your mind, I'll forgive everything – up to 70 times seven." However, FW replied: "I'm certain about my decision. Stop hoping." F. W. <mask> married <mask> a week after his divorce to <mask> was official.In 2000, she faced further emotional upheaval when her relationship with her fiancé and businessman Johan Koekemoer, collapsed. When the media revealed that he was facing impending bankruptcy, <mask> defended her fiancé, but soon after he faced a nervous breakdown and checked into a Pretoria clinic. In the later years of her life, she battled depression. Career
During her husband's presidency, <mask> was the leader of the National Party's women's wing. She also founded the Women's Outreach Foundation (WOF), an organisation that focused on the upliftment of rural women. In 1990 <mask>k called for women to play a more active role in the political process. In 1993, she was awarded the Woman for Peace Award in Geneva, Switzerland for promoting the well being and development of rural women.In 1994, <mask> and her entourage travelled to the United States for a tour of new educational projects in Los Angeles designed to interest African-Americans in science. The WOF was frequently in the news in the 1990s for criticising corruption among ANC leaders. The war of words between the ruling party and the former first lady escalated when the party dismissed her as "a bitter person unable to come to terms with the fact that she is an ex-first lady of this country." In 1998, <mask> published her autobiography, A Journey Through Summer and Winter, in which she explored her marriage of 39 years with FW <mask>. The book later earned some notoriety after it emerged that FW had censored a chapter that deals with her heartbreak after discovering her husband's affair with Elita <mask>. Later <mask>k published A Place Where the Sun Shines Again where she offered guidance to women facing divorce later in life. Murder
On 3 December 2001, <mask> was murdered at her Dolphin Beach apartment in Blouberg, Cape Town.It was originally reported that the former first lady had taken her own life. Her killer, 21-year-old Luyanda Mboniswa, worked as a security guard in the luxury secure complex where <mask> was living. Mboniswa violently gripped <mask>'s neck, breaking several bones in her throat and causing a blood vessel to burst in her eye. A steak knife was found embedded in her back and she also suffered several wounds to the head. Mboniswa was acquitted of a rape charge but a pathologist was not able to rule out penetration. Her ex-husband had, at the time of the discovery of her body, been in Stockholm for a celebration on the centennial of the Nobel Peace Prize, and quickly returned to South Africa to issue a statement saying "I have learned with great shock and sorrow of the circumstances of the tragic death of my former wife <mask>." Winnie Madikizela-Mandela, by then divorced from her husband Nelson, made a speech at the former First Lady's funeral in Pretoria, saying; "As a woman, I identify with the exhaustion of her emotional resources in helping to shape her husband's career."She had chosen to attend <mask>'s funeral rather than the funeral of ANC stalwart Joe Modise. <mask> bequeathed her R2 million estate and properties to her children. Luyanda Mboniswa was convicted of <mask>'s murder and sentenced to life imprisonment. References

External links

 <mask> <mask>k
 SABC obituaries
 Former SA first lady murdered

1937 births
2001 deaths
Afrikaner people
First Ladies of South Africa
North-West University alumni
People from Pretoria
People murdered in South Africa
South African murder victims
South African people of Dutch descent
South African women writers
South African writers
2001 crimes in South Africa
2001 murders in Africa
2000s murders in South Africa

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Frederik Willem de Klerk
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title: Gilbert Elliot-Murray-Kynynmound, 4th Earl of Minto

texts:
<mask>, 4th Earl of Minto,  (; 9 July 18451 March 1914), known as Viscount Melgund by courtesy from 1859 to 1891, was a British peer and politician who served as Governor General of Canada, the eighth since Canadian Confederation, and as Viceroy and Governor-General of India, the country's 17th. Early life and career
<mask> was born in London, the son of William Elliot-Murray-Kynynmound, 3rd Earl of Minto, and Emma, daughter of General Sir Thomas Hislop, 1st Baronet. After the death of his grandfather in 1859 he became known by the courtesy title of Viscount Melgund. After completing his education at Eton College and Trinity College, Cambridge, he was commissioned a Lieutenant in the Scots Guards in 1867, but left in 1870. He joined the 1st Roxburghshire Mounted Rifle Volunteer Corps as a captain in 1872. In 1874, in the capacity of a newspaper correspondent, he witnessed the operations of the Carlists in Spain; he took service with the Turkish army in the war with Russia in 1877 and served under Lord Roberts in the second Afghan War (1878–1879), having narrowly escaped accompanying Sir Louis Cavagnari on his fatal mission to Kabul. He acted as private secretary to Lord Roberts during his mission to the Cape in 1881, and was with the army occupying Egypt in 1882, thus furthering his military career and his experience of colonial administration.He was promoted Major in 1882. He was military secretary to the Marquess of Lansdowne during his governor-generalship of Canada from 1883 to 1885, and lived in Canada with his wife, Mary Caroline Grey, sister of Lord Grey, Governor General from 1904 to 1911, whom he had married in Britain on 28 July 1883. On this first Canadian visit, he was very active in raising a Canadian volunteer force to serve with the British Army in the Sudan Campaign of 1884. He served as Chief of Staff to General Middleton in the Riel Rebellion of 1885. When he was offered command of the North-West Mounted Police, he decided instead to pursue a political career in Britain. On his departure home to Britain, Canadian Prime Minister Sir John A. Macdonald apparently said to him, "I shall not live to see it, but some day Canada will welcome you back as Governor General". His political aspirations were checked with his defeat in the 1886 general election, where he stood as the Conservative candidate for Hexham.He then applied himself with great enthusiasm to promoting a volunteer army in Britain. In 1888 he was promoted colonel on assuming command of the South of Scotland Brigade. He resigned his commission in 1889. He succeeded to his father's earldom in 1891, becoming The Earl of Minto. Governor General of Canada
Macdonald's prediction came true when <mask> was named Governor General of Canada in the summer of 1898, having campaigned for the post after he learned of the retirement of Lord Aberdeen. Sir Wilfrid Laurier wrote that Lord <mask> "took his duties to heart" and a review of his life reveals an energetic man who welcomed many challenges and responsibilities. Lord <mask>'s term of office was marked by a period of strong nationalism which saw economic growth coupled with massive immigration to Canada.Relations with the United States were strained as border and fishing disputes continued to create problems between the two countries. In September 1901, after Queen Victoria's death in January, the Duke and Duchess of Cornwall and York (later to become King George V and Queen Mary) visited Canada, and travelled with Lady <mask> to western Canada and the Klondike. Following the tour, <mask> recommended Thomas Shaughnessy, President of the Canadian Pacific Railway, to the government at Westminster, via the Secretary of State for the Colonies, for a knighthood, as recognition for his service to the Duke and Duchess of York. Prime Minister Wilfrid Laurier, to whom Shaughnessy was no friend, opposed the idea; but, <mask> made the recommendation anyway, invoking the ire of Laurier and prompting the Prime Minister to draft a policy dictating that all Canadian nominees for honours must be approved by the prime minister before the list was sent to London. On 6 December 1901, Lord <mask> held a skating party on the Ottawa River, when Andrew George Blair's daughter Bessie, and potential rescuer Henry Albert Harper both drowned. Lord <mask>, like his predecessors, travelled throughout the young country—he crossed Quebec, Ontario and western Canada, visiting former battlegrounds where he had served during the North-West Rebellion. He rode throughout western Canada with the North-West Mounted Police, and enjoyed the Quebec countryside on horseback.Lord <mask>'s convictions about the importance of preserving Canadian heritage led to the creation of the National Archives of Canada. Lord and <mask> were sports enthusiasts and the Minto Skating Club, which they founded in 1903, has produced many famous ice skaters. They both excelled at the sport and hosted many lively skating parties during their time at Rideau Hall. In the summer, the <mask> family loved to bicycle and play lacrosse. In 1901, Lord <mask> donated the Minto Cup and appointed trustees to oversee its annual awarding to the champion senior men's lacrosse team of Canada (since 1937 the Cup has been awarded to the junior men's champions). He loved the outdoors, championed the conservation of natural resources and promoted the creation of national parks. In education and health, Lord Minto encouraged a forward-looking approach.He believed that Canada's progress depended on the cultivation of patriotism and unity, and this conviction was reflected in his desire to see a wider history curriculum developed in Canadian schools. In response to the health crisis posed by tuberculosis, he helped establish the first anti-tuberculosis foundation in Canada. Lord <mask> also took great interest in the development of the Canadian military and emphasized the need for training and professional development. He was appointed honorary Lieutenant-Colonel of the Governor General's Foot Guards Regiment on 1 December 1898 and was subsequently appointed Honorary Colonel, a tradition that has continued with the post of Governors General to this day. He was appointed a Privy Counsellor on 11 August 1902, following an announcement of the King's intention to make this appointment in the 1902 Coronation Honours list published in June. On his trip back to Britain in 1904, having finished his term as Canada's Governor General, Lord <mask> wrote in his journal "... so our life in Canada is over and it has been a great wrench parting from so many friends and leaving a country which I love, and which has been very full of interest to me". Viceroy and Governor General of India

In 1905, on the resignation of Lord Curzon of Kedleston, <mask> was appointed Viceroy and Governor-General of India, retiring in 1910.In this, he followed in the footsteps of his great-grandfather, the first Lord <mask>. When John Morley as Secretary of State for India wrote to <mask> arguing that "Reforms may not save the Raj, but if they don't, nothing else will", <mask> replied:

...when you say that "if reforms do not save the Raj nothing else will" I am afraid I must utterly disagree. The Raj will not disappear in India as long as the British race remains what it is, because we shall fight for the Raj as hard as we have ever fought, if it comes to fighting, and we shall win as we have always won. The reforms were called usually by the name "Morley–Minto Reforms" because of both John Morley and <mask> worked together to draw these reforms. They were passed by the British parliament in 1909 as the Indian Councils Act. He was succeeded by Lord Hardinge of Penshurst. For his lifetime of service, he was made a Knight of the Garter.Marriage
He married, on 28 July 1883, Lady Mary Caroline Grey, daughter of Charles Grey and Caroline Eliza Farquhar. They had five children:

 Lady Eileen Nina Evelyn Sibell Elliot-Murray-Kynynmound (13 December 188429 May 1938), married Lord Francis Montagu Douglas Scott (son of the 6th Duke of Buccleuch and Lady Louisa Hamilton), and had issue;
 Lady Ruby Florence Mary Elliot-Murray-Kynynmound (26 September 18865 November 1961), married Rowland Baring, 2nd Earl of Cromer, and had issue;
 Lady Violet Mary Elliot-Murray-Kynynmound (28 May 18893 January 1965), married, firstly, Lord Charles Petty-Fitzmaurice, and had issue, secondly, John Astor, 1st Baron Astor of Hever, and had issue;
 Victor Elliot-Murray-Kynynmound, 5th Earl of Minto (12 February 189111 January 1975);
 The Honourable Gavin William Esmond Elliot-Murray-Kynynmound (25 April 18956 August 1917; killed in action). Legacy

The Earl of Minto's popularity in Canada outlived him. In addition to a Minto Place in Rockcliffe, Ottawa and Minto Street in Vancouver and the SS Minto, a famous steamer on the Arrow Lakes, the gold-mining company town of Minto City in the Bridge River Country, established 1936, was named in honour of the Earl. Also named for the Earl was Mount Minto in the Atlin District of far northern British Columbia, the town of Minto, Ontario. In addition, Minto, New Brunswick was renamed in memory of him. The Earl of Minto and Lady Minto appeared on the obverse of the Canadian four-dollar bill in the 1900 and 1902 versions of this denomination.Indirectly, the town of Minto, North Dakota in the United States is named for Minto, Ontario, whence its settlers came. Minto Park in Kolkata (formerly Calcutta), India, commemorates him. The school from which Aligarh Muslim University evolved was named behind him as Minto Circle after his generous funding for the construction of the new school buildings. Minto Road, an area where most of the ministers of Bangladesh government have their official residence, is named after Lord <mask>. Minto Hospital and Minto Park (now officially renamed but popularly still known as such) in Lahore were also named after him. Minto Ophthalmic Hospital in Bangalore is also named after him. It is the oldest eye hospitals in India and one of the largest and busiest eye hospitals in the country.See also

 Bell Telephone Memorial
 Minto Cup
 Minto Circle
 Minto Eye Hospital
 Minto, Manitoba
 Rural Municipality of Minto

Notes

References

This entry incorporates text originally from the Governor General of Canada website. External links

Biography at the Dictionary of Canadian Biography Online
Lord <mask>, A Memoir (1924) at Project Gutenberg of Australia
Lady <mask>'s Fete
 Library of Congress: Arrival of the Governor General, <mask>, at Quebec
 Collection of Lord <mask>'s Public and Private Letters 1898–1904, published by the Champlain Society

Viceroys of India
1900s in British India
Governors General of Canada
1845 births
1914 deaths
Earls in the Peerage of the United Kingdom
Scots Guards officers
King's Own Scottish Borderers officers
British military personnel of the Second Anglo-Afghan War
British Army personnel of the Anglo-Egyptian War
People of the North-West Rebellion
Knights of the Garter
Knights Grand Commander of the Order of the Star of India
Knights Grand Commander of the Order of the Indian Empire
Knights Grand Cross of the Order of St Michael and St George
People educated at Eton College
Members of the Privy Council of the United Kingdom
Rectors of the University of Edinburgh
Conservative Party (UK) hereditary peers
Conservative Party (UK) parliamentary candidates

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Gilbert John Elliot Murray Kynynmound
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title: Ken Strauss

texts:
<mask> (born 1953) is a physician/author currently living in Spain. He is an Internist and Endocrinologist. For three decades he was Global Medical Director for BD, a leading medical and diagnostic enterprise. He is also Director for Safety in Medicine at the European Medical Association in Brussels. Early life, education and professional career

Born in New Orleans, <mask> was raised by missionary parents on the Caribbean island of Hispaniola. He studied at Columbia Bible College (now Columbia International University) from 1971 to 1975 and Trinity Evangelical Divinity School (1975–78) with a focus on the biblical languages of Greek and Hebrew. After this he embarked on medical studies.<mask> received his degree as a doctor from the University of South Carolina School of Medicine, Columbia, South Carolina, USA (1982–86). He did an Internal Medicine Internship and Residency at the Wake Forest University, North Carolina Baptist Hospital, Winston-Salem, North Carolina, USA (1986–89). His Endocrinology Fellowship was at the Harvard Medical School, Boston in the Beth Israel Hospital, Brigham & Women's Hospitals and Joslin Diabetes Center (1989–91). He has lived most of his life in Latin America and Europe and speaks Spanish and French in addition to his native English. He gives talks frequently to audiences throughout Europe, Africa, the Middle East and Asia on topics related to diabetes, HIV disease and patient safety. He has directed clinical trials throughout the world, developing medical tools ranging from high-tech molecular instruments to routine injection devices. He has published 102 scientific papers written by himself and is an author on nearly 200 written by others.Literary publications

 <mask> has published twenty-seven books, beginning with a novel, La Tendresse, published in 2002 by Black Ace Books of Forfar, Scotland. In it he juxtaposes the friendships and love affairs of its protagonist, Dr. Alain Hamilton, with the brutality of trench warfare during the First World War. In the NYU Literature, Arts & Medicine Database, Jack Coulehan writes: "Two dramatically different themes—tenderness and war—duke it out in this novel. The reality of war is unrelenting. Humanity descends into the deepest levels of hell. All that survives is technique (Dr. Hamilton's skill as a surgeon) and commitment (his dogged persistence in doing his job, despite the failures and hopelessness). The second theme is love.The intimate relationship with his colleague Elizabeth (‘la tendresse’) is the deepest he has ever experienced. It carries them both through the horrors of war." In another novel, Maria Lindisima, a chance encounter in Paris between Montse, a Catalan scientist, and Fernando, a Colombian entrepreneur, blossoms into a love affair just as Leo, a young American, begins a scheming entanglement with the two. Unknown to Montse, her lab has been infiltrated by the Pentagon (using Leo) to develop a virulent flu strain—nicknamed Maria Lindisima—as a biological weapon. When she finds out, she begins a race against time to produce a naked DNA vaccine, the sole protection against the virus. However, on a visit to Colombia with Fernando, the guerrilla group, the FARC, kidnaps them, thereby acquiring the strain. With Leo's connivance they release it, triggering a pandemic.Montse has succeeded in producing the saving vaccine but she remains captive in the Colombian jungle. Though a thriller, the book is a stinging indictment of America's thirst for world domination and the ends to which some will go to ensure it. In a third novel, Madness, an orphaned Jewish girl, Rachel, marries a soldier who is later driven mad by the horrors of the First World War. She must live with this madman during the chaos of post-war Germany. Her discovery of her Jewishness coincides with the rise of National Socialism. She escapes to Spain where she fights with the International Brigades against Franco and meets her true love, Janek, a Polish Jew. Both are captured by the fascists and are deported to Hitler's Germany.Rachel escapes and joins the White Rose, a group of German students who attempt to undermine the Nazis using clandestine pamphlets. She becomes the principal smuggler for the Hamburg branch and continues writing pamphlets when the others are captured. She is innocently betrayed by a little girl and is sentenced to death. Madness is Rachel's life story as written from Stadelheim Prison, Munich. Her last entry is January 29, 1945, the day she was beheaded. <mask> has also written Javea...Yes!, a romping post-apocalyptic bike ride across Europe, which has become a Mad Max world. Billy Poem is an ambitious children's book exploring the surreal world of the critically ill.It is told from the perspective of two children, lingering between life and death, who explore this magical world of ‘In Between’ as they lie in comas in Intensive Care. Their search leads them inside a mountain which hides the secrets of death. They bravely plunge in, seeking to find and defang it. Ugly Duckling is an alternative history of the 45th occupant of the White House with a surprise outcome that both Republicans and Democrats will be delighted with. A failed attempt at regime change is hijacked by the most unlikely source, a black African, who throws the whole playbook at Ugly before discovering the secret to his transformation, thank to a mysterious Rwandan woman, a Magnetiseuse Energéticienne. Beauty Like a Tightened Bow uses poetic prose to recount an unrequited love, which is imagined as a long ambling conversation. In his play Ship of Folly, Hearts of Gold Strauss tells the story of the Peace Ship chartered by Henry Ford which sailed from America to Europe in December 1915 with the grandiose intention of arbitrating the end of the First World War.On board were many champions of bizarre causes and social evangelists. Ford invested his fortune and reputation in the endeavour but, despite his sincere convictions and towering personality, he was betrayed by his own arrogance, naivety and petty prejudices. Ship of Folly is a cautionary tale in which Hearts of Gold are no match for powerful conspirators. In another play, Bananas, anyone?, the American invasion of the Dominican Republic in 1965 is parodied. <mask> lived through this revolution with his parents, who were missionaries there at the time. The play shows how it wounded and humiliated the country, as well as all involved. A third play, Ann and Rachid Rachid, is about Extraordinary Rendition and how this dragnet in the War on Terror so easily caught up innocents like Dr. Rachid Rachid.Additionally, <mask> has published several volumes of poetry, short stories, children's stories, theater and screenplays. All are available as ebooks on Kindle or paperbacks through Amazon. <mask> also regularly posts new work on his blog. Books

La Tendresse
Madness
Maria Lindisma
Javea...Yes! Billy Poem
Ugly Duckling
Beauty Like a Tightened Bow
Ship of Folly, Heart of Gold and Other Plays
To My Departed Children and Other Poems
Look, there's Ibiza and Other Stories
Terri and Jan and Other Stories
Golden Lads and Girls and Other Stories
La Tendresse and Other Plays
Lace and Other Plays
All My Children and Other Stories
This Man Has A Uterus and Other Stories
Lapland and Other Stories
Into Every Married Mind and Other Stories
Baby Yar and Other Stories
Brian and Helen and Other Stories
Wake Any Sleeping Dead and Other Poems and Tales
In No Order and Other Musings
You Gotta Be Kiddin’
That’s Wild, Man! Un Coup de Dés
The Discovery of Ella and Other Stories
Paul and the Law

Scientific publications

<mask>'s scientific interests are widespread. His interest in immunology has led to publications in HIV disease, cellular activation and natural killer cell function, tumor immunology, HLA-B27-related rheumatologic conditions and screening, transplant cross-matching and graph rejection, pathophysiology of multiple sclerosis, leukemia diagnosis and minimal residual disease, platelet activation in vascular disease and stem cell transplantation in cancer patients.Publications in endocrinology cover the subjects of diabetes management and education, efficacy of insulin injecting devices, safe injection technique, intensive glucose management, GP office management of diabetes and the epidemiology of diabetes in developing regions of Africa and Eastern Europe. Additionally, <mask> has published on peripheral and central line catheters, anesthesia and surgical devices, safety injection devices, sharps disposal units, spinal and epidural catheters and vaccination devices. Le Château du Jardin

Intended as a retreat for health care artists, Le Jardin des Arts, is located in le Château du Jardin, a property owned by <mask> and listed as an architectural heritage site in Belgium. The official site for Patrimoine Architectural Belge  describes it as follows:. Tongre-Notre-Dame is best known for its basilica dedicated to the Virgin Mary, but it also has some unexpected treasures, such as the Château du Jardin. Built in the mid-19th century, this mansion stands in the middle of extensive formally laid out grounds. Today, the Château du Jardin is the property of an endocrinologist, <mask>.He undertook the restoration of the residence with a view to holding medical seminars there. The Château du Jardin is a neo-classical, rectangular building. The frontage and rear external wall are two stories high, faced with finishing plaster and surmounted by a Mansard roof bordered with a wooden cornice. The façades have large rectangular window openings. Notes and references

Publications

HIV disease

Hulstaert F, K<mask>, M. Levacher, G. Vanham, L. Kestens, B. Bach. The staging and prognostic value of subset markers on CD8 cells in HIV disease. In Janossy G, Autran B. Miedema F (eds): Immunodeficiency in HIV Infection and AIDS, Karger Publishers, Basel, 1992:185-194.Bouscarat F, M. Levacher, M Dazza, K<mask>, P. Girard, C. Ruggeri, M. Sinet. Correlation of CD8 lymphocyte activation with cellular viremia and plasma HIV RNA levels in asymptomatic patients infected by human immunodeficiency virus type 1. AIDS Research and Human Retroviruses, 1996; 12:17-24. Bainbridge D, Lowdell M, Hannet H, <mask> K, Karpas A. Can repeated plasma donation by asymptomatic HIV-infected individuals delay the onset of AIDS? Phil. Trans.R. Soc, 1997; 352:763-770. Lopez A, Caragol I, Candeias J, Villamor N, Echaniz P, Ortuno F, Sempere A, <mask>, Orfao A. Enumeration of CD4+ T-cells in the peripheral blood of HIV-infected patients: interlaboratory study of the FACSCount system. Cytometry. 1999;38:231-7. Immunology

<mask>, Gonzalez H.  El syndrome de anticardiolipina. Acta Med Col 1988;13:46-49. <mask>W, Gonzalez-Buritica H, Khamashta MA, Hughes GR.Polymyositis-dermatomyositis: a clinical review. Postgrad Med J. 1989;65:437-43. Hulstaert F, I. Hannet, V. Deneys, V. Munhyeshuli, T. Reichert, M. DeBruyer, K<mask>. Age-related changes in human blood lymphocyte subpopulations. Clinical Immunology and Immunopathology, 1994; 70:152-158. Hulstaert F, J. Albrecht, I. Hannet, P. Lancaster, L. Buchner, J. Kunz, A. Falkenrodt, M. Tongio, F. DeKeyser, E. Veys, L. Noens, N. Mir, C. Costello, R. Becker, K<mask>.An optimized method for routine HLA-B27 screening using flow cytometry. Cytometry, 1994; 18:21-29. <mask>, F. Hulstaert, V. Deneys, A. Mazzon, I. Hannet, M. DeBruyere, T. Reichert, C. Sindic. The immune profile of multiple sclerosis: T-lymphocyte effects predominate over all other factors in cyclophosphamide-treated patients. Journal of Neuroimmunology 1995; 63:133-142. <mask>, I. Hannet, S. Engels, A. Shiba, D. Ward, S. Ullery, M. Jinguji, J. Valinsky, D. Barnett, A. Orfao, L. Kestens.

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