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On This Day In History: The Birth of Princess Caroline Mathilde of Saxe-Coburg and Gotha




On 22 June 1912 at Schloß Callenberg, Princess Caroline Mathilde Helene Ludwiga Auguste Beatrice of Saxe-Coburg and Gotha made her entrance into the world. Known as "Calma" en famille, the princess was the fourth child and second daughter of Duke Carl Eduard of Saxe-Coburg and Gotha (1884-1954) and Duchess Viktoria Adelheid (1885-1970; née Schleswig-Holstein). Calma had three brothers and one sister: Johann Leopold (1906-1972), Sibylle (1908-1972), Hubertus (1909-1943) and Friedrich Josias (1918-1998).

Princess Caroline Mathilde of Saxe-Coburg and Gotha marries Count Friedrich-Wolfgang zu Castell-Rüdenhausen

Calma of Saxe-Coburg and Gotha was married three times. In 1931, she wed Count Friedrich-Wolfgang zu Castell-Rüdenhausen (1906-k.i.a. 1940); the couple had three children before divorcing in 1938. In the same year as her divorce, Calma remarried Max Schnirring (1895-k.i.a. 1944), with whom she had three further children before becoming a widow. Lastly, in 1948, Calma wed Karl Otto Andrée (1912-1984): the couple were divorced in 1949.



Princess Caroline Mathilde died on 5 September 1983, aged seventy-one. She was a great-granddaughter of Queen Victoria of the United Kingdom. Her nephew Prince Andreas is the current Head of House Saxe-Coburg and Gotha.

Much more about Princess Calma and her family can be found in Eurohistory's book on the dynasty: The Coburgs of Europe

For more on the Royal Families of Europe, please subscribe to ERHJ by clicking on the link:



JUNE 21 = The Yankees Announce Lou Gehrig's Retirement



On June 21, 1939, the New York Yankees announced that Lou Gehrig (left), their long-time first baseman would be retiring from baseball.  "The Iron Horse", who had earned that mantle by appearing in what was then a world record 2,130 consecutive straight games had recently been diagnosed as having amyotrophic lateral sclerosis (ALS), a neuro-muscular disease which causes paralysis in those who have it, eventually resulting in death.

Lou Gehrig's Amazing Career in Baseball

Lou Gehrig, a player of amazing durability, and great offensive talent as a hitter had spent his entire career in Major League Baseball with the
New York Yankees from 1923 through 1939. He had been with then during their glorious period of dominance when they won an astonishing six World Championships between 1927 and 1938. Having come up to the Yankees in 1923, Gehrig took over the first baseman's job in 1925 from Wally Pipp. “I took the two most expensive aspirins in history.”  said Pipp, who sat out a 1925 game with a headache and lost his position to Lou Gehrig, who would play every game there for the Yankees for the remainder of his career. After that it was a ton of remarkable records for "The Iron Horse": he finished his career with an amazing lifetime batting average of .340. Add to that 2,271 runs batted in, 493 home runs a total of 1,195  runs batted in. Further, he led the American League in home runs three times, RBIs five times, and he put up eight seasons with 200+ hits.

Gehrig's Long Decline

   Starting with the 1938 season he seemed to drop off  the amazing standard which he had set for himself. He finished the season with a .295 batting average, 114 RBIs, 170 hits; a fine total for any player but not the spectacular numbers that Gehrig was used to. Gehrig himself remarked "I was tired mid-season. I don't know why, but I just couldn't get going again." As the 1939 season began. it was clear that he no longer possessed his former prowess.  He seemed slow on the base paths, and by the end of Spring Training he had not hit a single home run. When he was able to hit, he showed little power and during batting practice one afternoon, Joe DiMaggio watched in astonishment as the Yankees' hitting star missed 10 fat pitches in a row.  As the 1939 season moved through April Gehrig had only one RBI, and a lowly .143 batting average. Sports writer James Kahn wrote: "I think there is something wrong with him. Physically wrong, I mean. I don't know what it is, but I am satisfied that it goes far beyond his ball-playing...for some reason that I do not know, his old power isn't there ... He is meeting the ball, time after time, and it isn't going anywhere." Gehrig knew that he wasn't up to his own standard so on May 2, he went to Yankees manager Joe McCarthy and asked to be benched "for the good of the team."

The Diagnosis

Gehrig took a plane to Chicago and checked himself into the Mayo Clinic. There, after six days of tests, the doctors gave him the diagnosis: Gehrig was suffering from amyotrophic lateral sclerosis (ALS), a disease which deprives nerve cells of their ability to interact with the body's muscles. This disease causes rapidly increasing paralysis, difficulty with swallowing or speaking, and left Lou Gehrig with a life expectancy of fewer than three years. The cause of the disease was unknown then and now. And then, as now, there is no cure.

Lou Gehrig Appreciation Day....

  The Mayo Clinic made their findings public on June 19, 1939. This led the Yankees to  announce Gehrig's retirement on this day, June 21 of that year. The game played on July 4, 1939 was designated as "Lou Gehrig Appreciation Day" at Yankee Stadium. Ceremonies to honor this great player were held between games of a double-header. In it's coverage, the New York Time's John Drebinger wrote that the ceremony was "...perhaps as colorful and dramatic a pageant as ever was enacted on a baseball field.  61,808 fans thundered a hail and farewell." Dignitaries and former Yankees players lined up to speak in tribute to Gehrig, most of them
struggling to hold back their emotions.  Babe Ruth embraced his team mate (right). Then Lou himself stepped forward and delivered a short speech that summed up the man's character, and his indomitable spirit:
       "For the past two weeks you've been reading about a bad break. (pause) Today I consider myself the luckiest man on the face of the earth. When you look around, wouldn't you consider it a privilege to associate yourself with such fine-looking men as are standing in uniform in this ballpark today?... that I might have been given a bad break, but I've got an awful lot to live for. Thank you."

   The Baseball Writers' Association held a special winter meeting on Dec. 7 of 1939, during which Lou Gehrig was inducted to that hall of baseball honor as a result of a special election related to his illness. Lou Gehrig died on June 2, 1941 at his home in the Bronx, New York. His wife, Eleanor, with whom he had no children never remarried, saying: "I had the best of it. I would not have traded two minutes of my life with that man for 40 years with another." She dedicated the rest of her life to the support of ALS research.  Eleanor survived her husband by 43 years, passing away on her 80'th birthday, March 6, 1984.

  It is perhaps a sad thing that the disease amyotrophic lateral sclerosis
(ALS) has come to be known as  Lou Gehrig's Disease. Just as the
neurological disorder with which I must do battle every day, "Parkinson's Disease" has come to be known by that name after the doctor who first wrote about it, James Parkinson (who wrote "Essay on the Shaking Palsy" in 1817). With both maladies there is no known cause or cure, but scientists and doctors continue to study these disorders and make gains on them every day. Perhaps one day these names will come to be associated with the great victories that will  one day be achieved when a cure for each one is found.  For this we can only pray. But if you wish to do more than that try
  http://www.alsa.org/donate/   to help with research on ALS or go to www.michaeljfox.org/  to help with research on Parkinson's.


Sources =

https://en.wikipedia.org/wiki/Lou_Gehrig

 https://baseballhall.org/hall-of-famers/gehrig-lou

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3234454/

https://en.wikiquote.org/wiki/Baseball_(documentary)#Inning_5:_Shadow_Ball_(1930_to_1940)

https://www.biography.com/athlete/lou-gehrig

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3234454/












Update: Greek Royal Family Issues Statement, King Is OK, False Reports In Media

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The Greek Royal Family has issued a statement denying that King Constantine II was ever hospitalised. A spokesman said: "His Majesty King Constantine is in good health and is not in the hospital as the tabloids have published, if so, he would have made an official statement from his office." Numerous outlets in the Greek media had falsely reported that King Constantine II of Greece was admitted to hospital.

The King might be able to identify with this quip: "Rumours of my death have been greatly exaggerated."

For more on the Royal Families of Europe, please subscribe to ERHJ by clicking on the link:

Billy Danh

Billy Danh
Selfies Spring 2019










A Belated Happy Birthday to Twin Princes Dimitri and Michel of Yugoslavia



On 18 June 1958, twins Prince Dimitri and Prince Michael "Michel" of Yugoslavia were born at Boulogne-sur-Seine to Prince Alexander of Yugoslavia (1924-2016) and his first wife Princess Maria Pia of Savoy (b.1934). Their parents had married in a grand Gotha celebration at Cascais on 12 February 1955. Alexander and Pia divorced in 1967: Alexander went on to marry Princess Barbara of Yugoslavia (b.1942) in 1973, and Pia went on to wed Prince Michel of Bourbon-Parma (1926-2018) in 2003. Dimitri and Michel are the elder brothers of three half-siblings: the youngest of which, Prince Dushan of Yugoslavia, arrived in 1977.

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Prince Dimitri has worked as a jewellery designer for many years. He creates distinct and unique pieces that rely on his keen eye for all things beautiful, elegant, and timeless. The prince lives in New York City.

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Prince Michel studied at the European Business School in Paris. For some years, Michel worked in real estate. He now pursues his gift for photography.

For more on Prince Dimitri, please visit this link: Prince Dimitri

For more on Prince Michel, please visit this link: Michel de Yugoslavie - Photographie


For more on the Royal Families of Europe, please subscribe to ERHJ by clicking on the link:

The Duchess of Gloucester Celebrates Her 73rd Birthday

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Today the Duchess of Gloucester celebrates her seventy-third birthday.

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The duchess was born Birgitte Eva Henriksen on 20 June 1946 at Odense, Denmark. She is the daughter of lawyer Asger Preben Wissing Henriksen (1903-1984) and Vivian Vibeke Jeanne Fritze van Deurs (1914-1982). When her parents separated in 1966, Birgitte adopted her mother's surname as her own. In 1971, Birgitte went to work at the Danish Embassy in London.



On 9 July 1972, Birgitte van Deurs married Prince Richard of Gloucester (b.1944) at St Andrew's Church, Barnwell, Northamptonshire. The groom's brother, Prince William, served as best man; the wedding was attended by the Queen Mother, the Prince of Wales, and the Princess Margaret, among others. Six weeks after the wedding, Prince William of Gloucester was killed in a plane crash.

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Upon the death of his father in 1974, Prince Richard succeeded as Duke of Gloucester. The Duke and Duchess of Gloucester have proven discreet and reliable representatives of the Royal Family. The couple have three children: a son, Alexander, Earl of Ulster, and two daughters, Lady Davina and Lady Rose.

For more on the Royal Families of Europe, please subscribe to ERHJ by clicking on the link:

Traveling Together With Somebody You Know Well





As you can see in the Image - from One of our Recent Tweets.
here above -not so long ago it was Fathers Day,

When thinking of a Traveling Partner, you might not
directly think about Traveling with your Mom or Dad,

However it does, have some advantages, for example you (probably)
will travel well together, know each other well and will
be on the same page with a lot of things.
It will be a fun way to catch up, you will both be
out of your comfort zones, and will give an opportunity
to learn more about each other, and it offers
an opportunity to create memories together
to last a lifetime!
See this video:
Annual Mother Daughter Trips

Discover Highly Special Design Travel Products on Our Special  

Edelhert Design Travel Webstore


Your Thoughts:


Do you have any Stories about
Traveling Together (good or bad),
that you like to share?

Or any Fun Photo-links, you like to share?



Click
the Comment-link below this post
to write your Comments/Replies 


Yoon Jong Muc

Yoon Jong Muc
Competition Fall 2017










Aaron Copland: Appalachian Spring – Kaleidoscope Chamber Orchestra (HD 1080p)














The Kaleidoscope Chamber Orchestra performs Aaron Copland's Appalachian Spring. The concert was recorded at First Presbyterian Church in Santa Monica, on November 23, 2014.



Aaron Copland has long held a secure position in the cultural pantheon of America. Yet it took him some time to arrive at the style of directness and simplicity that sounds so "right"-as if he'd started out writing that way without having to struggle toward it. One of Copland's most inspiring quotes speaks to a belief in the resilient power of art that many have discovered in his own music: "So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning".

Copland composed Appalachian Spring as a ballet for Martha Graham's company in 1943-1944; in 1945 he arranged and reorchestrated the score into the familiar concert suite we hear. The full ballet was first performed on October 30, 1944 at the Library of Congress in Washington, D.C., while the orchestral suite was premiered on October 4, 1945 by the New York Philharmonic.

Appalachian Spring marked an important turning point not only in the composer's career but in the history of American music and has retained its bracing freshness despite close to seven decades of familiarity. This music conveys an unselfconscious beauty, as if Copland were merely transcribing something already there-"a home-spun musical idiom", as the composer himself termed it. Yet Copland also pointed out that this idiom represents "a kind of musical naturalness that we have badly needed" – an idiom that, in other words, had to be crafted afresh.

Appalachian Spring has come to epitomize Copland (even if it represents only one stage in a long career); it has even come to epitomize the "American voice" in classical music. In fact Copland, who was the son of Russian-Jewish immigrants, had tried out several styles before deciding to cultivate a more straightforwardly popular language. He had previously spent time studying in Paris and experimented with modernist ideas that he never entirely discarded. After the premiere of his Organ Symphony in 1925 caused a stir, writes Copland's biographer Howard Pollack, the conductor Walter Damrosch melodramatically turned to the audience and declared: "Ladies and gentlemen, when the gifted young American who wrote this symphony can compose, at the age of twenty-three, a work like this one, it seems evident that in five years more he will be ready to commit murder!"

But the Great Depression sharpened Copland's desire to communicate with a wider audience. During the 1930s he began to gain greater prominence through his music for ballet, theater, and film. In 1943, he was commissioned by the eminent art patron Elizabeth Sprague Coolidge to create a ballet on American themes for choreographer and dancer Martha Graham (1894-1991), a trailblazer in modern dance. The familiar title came later; Copland's working title was "Ballet for Martha" (now the subtitle), and he composed the music without any particular notions of Appalachia or springtime in mind. It was actually Graham who chose the title, derived from a section of Hart Crane's epic poem The Bridge. It's also worth noting that Copland composed this undiluted, classic evocation of a simple, folk-like America while living in Hollywood and Mexico.

Copland originally scored the ballet for a small chamber ensemble of 13 instruments. For the concert suite he cut out some of the original material, reducing the story to eight numbers. At the same time, Copland rescored the music for a fuller orchestra. "The larger palette", observes Pollack, "provided a new grandeur and brilliance to the work", while "some of the episodes acquired a whole new richness with full strings and brass".

Copland immediately establishes the pastoral scene in his idyllic, dreamy opening, expanding a simple three-note idea. (A more-assertive variant of this theme appears in the contemporaneous Fanfare for the Common Man.) That simplicity, though, is deceptive, and Copland unfurls a striking range of emotions from his basic material. As each of the characters is introduced, the music layers into bright, warm chords, like a dawn mist that slowly evaporates. The promise here of a fresh beginning is as bright and enveloping as the sunny textures of a Georgia O'Keefe canvas.

The action then begins with a sudden charge of energy. Copland indicates that "a sentiment both elated and religious gives the keynote to this scene". A gentle duo dance for the Bride and her Groom follows, and the tempo then quickens-with "suggestions of square dances and country fiddlers" – for the scene with the Revivalist preacher and his flock. The Bride's solo introduces even faster music and exciting rhythmic accents to reflect the "extremes of joy and fear and wonder" as she thinks of future motherhood.

A brief transition recalling the introductory music leads to the ballet's best-known sequence: a set of five variations on a Shaker melody which had been published in a mid-nineteenth-century collection under the title "Simple Gifts". Interestingly, this tune – first heard on solo clarinet, with decorative comments from the woodwinds – is the only pre-existing folk melody used in the score. Other sections of the music which sound folk-like only emphasize the composer's skill in fashioning an aura of spontaneity through his music. The ballet concludes with a moving coda beginning with muted strings: the music of the opening now rendered as a quiet, inward hymn. Copland distills his material to an even more lucid simplicity that is indeed, in his words, "quiet and strong".

Source: Thomas May (kennedy-center.org)



Aaron Copland (1900-1990)

♪ Appalachian Spring – Suite (1944)

Kaleidoscope Chamber Orchestra

First Presbyterian Church in Santa Monica, November 23, 2014

(HD 1080p)















Aaron Copland was one of the most respected American classical composers of the twentieth century. By incorporating popular forms of American music such as jazz and folk into his compositions, he created pieces both exceptional and innovative. As a spokesman for the advancement of indigenous American music, Copland made great strides in liberating it from European influence. Today Copland's life and work continue to inspire many of America's young composers.

Copland was born in Brooklyn, New York, on November 14, 1900. The child of Jewish immigrants from Lithuania, he first learned to play the piano from his older sister. At the age of sixteen he went to Manhattan to study with Rubin Goldmark, a respected private music instructor who taught Copland the fundamentals of counterpoint and composition. During these early years he immersed himself in contemporary classical music by attending performances at the New York Symphony and Brooklyn Academy of Music. He found, however, that like many other young musicians, he was attracted to the classical history and musicians of Europe. So, at the age of twenty, he left New York for the Summer School of Music for American Students at Fountainebleau, France.

In France, Copland found a musical community unlike any he had known. It was at this time that he sold his first composition to Durand and Sons, the most respected music publisher in France. While in Europe Copland met many of the important artists of the time, including the famous composer Serge Koussevitsky. Koussevitsky requested that Copland write a piece for the Boston Symphony Orchestra. The piece "Symphony for Organ and Orchestra" (1925) was Copland's entry into the life of professional American music. He followed this with "Music for the Theater" (1925) and "Piano Concerto" (1926), both of which relied heavily on the jazz idioms of the time. For Copland, jazz was the first genuinely American major musical movement. From jazz he hoped to draw the inspiration for a new type of symphonic music, one that could distinguish itself from the music of Europe.

In the late 1920s Copland's attention turned to popular music of other countries. He had moved away from his interest in jazz and began to concern himself with expanding the audience for American classical music. He believed that classical music could eventually be as popular as jazz in America or folk music in Mexico. He worked toward this goal with both his music and a firm commitment to organizing and producing. He was an active member of many organizations, including both the American Composers' Alliance and the League of Composers. Along with his friend Roger Sessions, he began the Copland-Sessions concerts, dedicated to presenting the works of young composers. It was around this same time that his plans for an American music festival (similar to ones in Europe) materialized as the Yaddo Festival of American Music (1932). By the mid-'30s Copland had become not only one of the most popular composers in the country, but a leader of the community of American classical musicians.

It was in 1935 with "El Salón México" that Copland began his most productive and popular years. The piece presented a new sound that had its roots in Mexican folk music. Copland believed that through this music, he could find his way to a more popular symphonic music. In his search for the widest audience, Copland began composing for the movies and ballet. Among his most popular compositions for film are those for "Of Mice and Men" (1939), "Our Town" (1940), and "The Heiress" (1949), which won him an Academy Award for best score. He composed scores for a number of ballets, including two of the most popular of the time: "Agnes DeMille's Rodeo" (1942) and Martha Graham's "Appalachian Spring" (1944), for which he won the Pulitzer Prize. Both ballets presented views of American country life that corresponded to the folk traditions Copland was interested in. Probably the most important and successful composition from this time was his patriotic "A Lincoln Portrait" (1942). The piece for voice and orchestra presents quotes from Lincoln's writings narrated over Copland's musical composition.

Throughout the '50s, Copland slowed his work as a composer, and began to try his hand at conducting. He began to tour with his own work as well as the works of other great American musicians. Conducting was a synthesis of the work he had done as a composer and as an organizer. Over the next twenty years he traveled throughout the world, conducting live performances and creating an important collection of recorded work. By the early '70s, Copland had, with few exceptions, completely stopped writing original music. Most of his time was spent conducting and reworking older compositions. In 1983 Copland conducted his last symphony. His generous work as a teacher at Tanglewood, Harvard, and the New School for Social Research gained him a following of devoted musicians. As a scholar, he wrote more than sixty articles and essays on music, as well as five books. He traveled the world in an attempt to elevate the status of American music abroad, and to increase its popularity at home. Through these various commitments to music and to his country, Aaron Copland became one of the most important figures in twentieth-century American music. On December 2, 1990, Aaron Copland died in North Tarrytown, New York.

Source: pbs.org/wnet/americanmasters/aaron-copland-about-the-composer































































More photos


See also


Yuan-Chen Li: “Wandering Viewpoint”, Concerto for Solo Cello and Two Ensembles – Michael Kaufman, Kaleidoscope Chamber Orchestra (HD 1080p)

Samuel Barber: Knoxville, Summer of 1915 – Maria Valdes, Kaleidoscope Chamber Orchestra (HD 1080p)

Leoš Janáček: Mládí (Youth), suite for wind sextet – Members of the Kaleidoscope Chamber Orchestra (HD 1080p)

Olivier Messiaen: L'Ascension, 4 meditations for orchestra – Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.6 in F major "Pastoral" – Kaleidoscope Chamber Orchestra (HD 1080p)

Sergei Prokofiev: Symphony No.1 in D major "Classical" – Kaleidoscope Chamber Orchestra (HD 1080p)

Gustav Mahler: Symphony No.4 in G major – Janai Brugger, Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.7 in A major – Kaleidoscope Chamber Orchestra (HD 1080p)

Ralph Vaughan Williams: The Lark Ascending – William Hagen, Kaleidoscope Chamber Orchestra (HD 1080p)

Wolfgang Amadeus Mozart: Symphony No.39 in E flat major – Kaleidoscope Chamber Orchestra (HD 1080p)

Sergei Prokofiev: Piano Concerto No.3 in C major – Irene Kim, Kaleidoscope Chamber Orchestra (HD 1080p)

Ludwig van Beethoven: Symphony No.5 in C minor – Kaleidoscope Chamber Orchestra (HD 1080p)


Kaleidoscope: Meet a different, colorful orchestra


EUROHISTORY: The Royal House of Bavaria...Shipped and Shipping!

Hello dear Readers and Friends,

Yesterday, we started shipping direct resale orders and all Amazon.com  orders of our latest book, THE ROYAL HOUSE OF BAVARIA, Volume I. This process concluded today and all pending orders have now been dispatched!









Again, you can purchase a dopy on AMAZON at:

https://www.amazon.com/dp/1944207090?ref=myi_title_dp


At Hoogstraten:

https://www.hoogstraten.nl


Librairie Galignani will also have copies of the book, as does AMAZON.co.uk

https://www.amazon.co.uk/Royal-House-Bavaria-1/dp/1944207090/ref=sr_1_1?keywords=The+royal+house+of+bavaria&qid=1560803284&s=gateway&sr=8-1


Enjoy the reading of our 30th book and let's toast for many more to come!

Eurohistory
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