Khoi Le
Selfies Spring/Summer 2019
-
Herşey Dahil Sadece 350 Tl'ye Web Site Sahibi Ol
Hızlı ve kolay bir şekilde sende web site sahibi olmak istiyorsan tek yapman gereken sitenin aşağısında bulunan iletişim formu üzerinden gerekli bilgileri girmen. Hepsi bu kadar.
-
Web Siteye Reklam Ver
Sende web sitemize reklam vermek veya ilan vermek istiyorsan. Tek yapman gereken sitenin en altında bulunan yere iletişim bilgilerini girmen yeterli olacaktır. Ekip arkadaşlarımız siziznle iletişime gececektir.
-
Web Sitemizin Yazarı Editörü OL
Sende kalemine güveniyorsan web sitemizde bir şeyler paylaşmak yazmak istiyorsan siteinin en aşağısında bulunan iletişim formunu kullanarak bizimle iletişime gecebilirisni
Royal British Engagement Interviews: A Filmography from The Princess Royal in 1973 to Princess Eugenie of York in 2018
Owing to the advent of around-the-clock media, members of the British royal family have sometimes given interviews to the press when their engagements were announced. Here one can find a compilation of clips of statements given by British royals after they became affianced.
In 1973, The Princess Anne (The Princess Royal) and Captain Mark Phillips:
In 1981, The Prince of Wales and Lady Diana Spencer (The Prince of Wales and the late Diana, Princess of Wales):
In 2011, Prince William of Wales and Miss Catherine Middleton (the Duke and Duchess of Cambridge):
In 2017, Prince Harry of Wales and Ms Meghan Markle (the Duke and Duchess of Sussex):
In 1986, Prince Andrew, Duke of York, and Sarah, Duchess of York:
In 2018, Princess Eugenie of York and Mr Jack Brooksbank:
In 1973, The Princess Anne (The Princess Royal) and Captain Mark Phillips:
In 1981, The Prince of Wales and Lady Diana Spencer (The Prince of Wales and the late Diana, Princess of Wales):
In 2011, Prince William of Wales and Miss Catherine Middleton (the Duke and Duchess of Cambridge):
In 2017, Prince Harry of Wales and Ms Meghan Markle (the Duke and Duchess of Sussex):
In 1986, Prince Andrew, Duke of York, and Sarah, Duchess of York:
In 2018, Princess Eugenie of York and Mr Jack Brooksbank:
In 1999, The Prince Edward and Miss Sophie Rhys-Jones (the Earl and Countess of Wessex):
For further news and articles about Europe's Gotha families, join Eurohistory!
Princess Beatrice of York and Count Edoardo Mapelli Mozzi Out On The Town in London
Princess Beatrice of York and Count Edoardo Mapelli Mozzi were photographed yesterday evening (9 July) after leaving Annabel's in London. The pair have been in a relationship since late 2018. Beatrice and Edoardo attended the wedding of Beatrice's second cousin-once-removed Lady Gabriella Windsor and Mr Thomas Kingston in May 2019.
Count Edoardo "Edo" Mapelli Mozzi (b.1983) is the son of Count Alessandro Mapelli Mozzi (b.1951) and his first wife Nicola Burrows. Beatrice of York and Count Edo have increasingly been seen together in public since the beginning of this year.
For further news and articles about Europe's Gotha families, join Eurohistory!
Brokoli Köftesi Tarifi
Brokoli diyet listelerinde oldukça popüler olan ancak insanların severek tüketmediği bir besindir. Tadı ve lezzeti tartışmaya açık bir konudur ancak genel olarak pek de sevildiği söylenemez. Bu vücut için oldukça faydalı olan besini sevilecek bir kıvama getirmek sizin elinizde. Vejeteryanların hoşuna gidecek bu tarifimizin adı etsiz brokoli köftesi elbette. Evde kolaylıkla hazırlayabileceğiniz bu tarifi çok seveceksiniz. İşte brokoli köftesi hazırlamak için yapılması gerekenler;
Brokoli Köftesi Malzemeleri
- 500 gr Brokoli
- 1 Adet Soğan
- 1 Çay Bardağı Bulgur
- 1 Adet Yumurta
- 3 Yemek Kaşığı Un
- Tuz, Karabiber, Kırmızı Biber vs...
Brokoli Köftesi Besin Değerleri (1 Porsiyon 280 gram)
Kalori : 249 Kalori
Karbonhidrat : 19 gr
Protein : 20 gr
Yağ : 13 gr
Brokoli Köftesi Nasıl Yapılır?
- Brokoliyi yıkayıp boş bir kaba alın ve sıcak suyla yumuşayıncaya kadar haşlayın.
- Haşlanmış brokoliyi bir kaba alın ve ezin. Bulguru da içine ekleyip karıştırın ve 10 dakika kadar bulgurun şişmesini bekleyin.
- Yumurta, un ve baharatları ekleyip yoğurun. Daha sonra karışımı köfte şeklinde parçalara bölün.
- İster az yağda kızartın, isterseniz de fırına atın. Şimdiden afiyet olsun.
Sitemizdeki diğer Fit Tarifleri merak ediyorsanız buraya tıklayabilirsiniz.
The Persistence of Sherlockian Scholarship
The new (Summer 2019) issue of Canadian Holmes, the journal of the Bootmakers of Toronto, includes my article on “Everything I Ever Needed to Know I Learned from Sherlock Holmes: Life Lessons from the Great Detective.”
It was a thrill to get my copy in hand and find out that I’m in such excellent company, as usual when traveling with Sherlockians. Other articles in the issue are by Barbara Rusch, Jayantika Ganguly, Cliff Goldfarb, Paul Thomas Miller, Suzanne Durkacz MacNeil, and Charles Prepolec.
With some surprise, I realized that this is the 10thperiodical in which my Sherlockian articles or fiction have appeared. Number 11 is on the horizon later this year when The Bean Home Newsletter, the publication of Friends of Freddy, reprints my Baker Street Journal article on “Freddy the Porcine Holmes.” (Freddy the talking pig is a barnyard detective who idolizes Holmes. But you probably know that.)
Many of the publications for which I have written are no longer with us, sadly. The includes The Sherlock Holmes Review, edited by Steven Doyle, in which my first fiction was published. “The Peculiar Persecution of John Vincent Harden,” a Holmes pastiche, appeared in two installments in 1990. I’ve had 16 books of mystery fiction and Sherlockiana published, and two more ready to go, but that was my first success in fiction-writing.
So I was excited and pleased at the word that the SHR, like Holmes himself, will soon make a return from the dead. But is there really room for another Sherlockian journal? Or is Sherlockian scholarship a mine that is close to being played out?
Yes to the first question, and no to the second! As a look at the high quality of material in the Baker Street Journal, The Sherlock Holmes Journal, and Canadian Holmes will attest, “the game” is not nearly over. Like Holmes himself, it will never die.
On This Day In History: Michael Fagan Breaks Into Buckingham Palace And Meets The Queen
Thirty-seven years ago today, on the morning of 9 July 1982, thirty-three year-old Michael Fagan (a depressed father of three whose marriage was falling apart) scaled the fourteen foot walls of Buckingham Palace and shimmied up a drainpipe: he then entered the palace through a window and somehow made his way into the bedroom of HM The Queen. Along the way, Fagan had broken a glass ashtray, cut his hand in the process, and was still carrying a piece of the glass when he entered the royal chamber.
The Queen was asleep and only awoke and became aware of Fagan's presence in her room when he moved a curtain. By all accounts, the Queen handled the situation with aplomb and a cool sense of calm. She used the telephone next to her bed to call for a policeman; when one did not arrive after six minutes, she phoned again. Her Majesty was able to get the attention of a maid who had been cleaning a nearby room, and, together, they took Fagan to a pantry on the pretence of finding Fagan a cigarette, which he had requested to calm his nerves. Next to arrive was a footman, who had been out walking the royal corgis - the Queen then had to keep her dogs away from Fagan, who was in a sufficient state of agitation. Finally, two policemen arrived, and Mr Fagan was arrested, not for trespassing, but for the theft of a bottle of wine. He went on to spend some time in a psychiatric hospital.
 |
| Report from The Guardian on 12 July 1982 |
For further news and articles about Europe's Gotha families, join Eurohistory!
Twenty Years of Marriage for Princess Alexia of Greece and Carlos Morales Quintana
On 9 July 1999, Princess Alexia of Greece and Denmark (b.10 July 1965) wed Spanish architect Carlos Javier Morales Quintana (b.31 December 1970) at St Sophia Cathedral in London. Alexia is the eldest child of King Constantine II of the Hellenes (b.1940) and Queen Anne-Marie (b.1946; née Denmark). Carlos is the son of Luis Miguel Morales y Armas and María Teresa Quintana y González. The couple had announced their engagement on 20 March; Alexia and Carlos had met in Barcelona in 1998.
After the Greek Orthodox religious ceremony, the 450 guests attended a reception at Kenwood House to celebrate the union of Princess Alexia and Carlos. According to the Times of London, three kings, eight queens, and eight crown princes/princesses were among the more than sixty royal attendees who joined in the festivities to mark the marriage of the eldest daughter of King Constantine and Queen Anne-Marie.
Princess Alexia of Greece and Denmark and Carlos Morales Quintana have four children: Arrietta (b.2002), Ana María (b.2003), Carlos (b.2005), and Amelia (b.2007). The family lives in Spain.
For further news and articles about Europe's Gotha families, join Eurohistory!
Changyong Shin plays Ludwig van Beethoven, Frédéric Chopin & Enrique Granados (HD 1080p)
The award-winning South Korean pianist Changyong Shin performs Ludwig van Beethoven's Piano Sonata No.30 in E major, Op.109, three waltzes by Frédéric Chopin, and Enrique Granados' Goyescas No.1 "Los Requiebros". Recorded live at The Greene Space at WNYC & WQXR, New York, on March 6, 2019.
✻
Passionate, inspired performances and brilliant technique are the hallmark of pianist Changyong Shin (b. 1994), First Prize winner of the 2018 Gina Bachauer International Artist Piano Competition, 2018 Rencontre Internationale des Pianistes "Prix Zygmunt Zaleski" in Paris, and 2017 Seoul International Piano Competition. With performances in South Korea, Italy, France, the UK, and across the United States, and a growing reputation for compelling interpretations, Shin is developing an international career as a soloist and chamber musician.
Highlights of Changyong Shin's 2018-2019 season include recitals at Korea's Seoul Art Center's IBK Hall; with Arts Symphony at Seoul Art Center Concert Hall and Seongnam Art Center; and recording a second album for the Steinway & Sons label for release in 2019-2020.
Recent credits include recitals at Italy's Barletta Piano Festival, the Kumho Cultural Foundation's Rising Star series, Paris' Salle Cortot Hall, New York City's Weill Recital Hall at Carnegie Hall, and Tennessee's Evelyn Miller Young Pianists Series. Orchestral engagements include the KBS Orchestra at Seoul's Lotte Concert Hall, Gwacheon Philharmonic Orchestra at Seoul Art Center, and the Hilton Head Symphony Orchestra. Festival credits include France's Zygmunt Zaleski Festival, Wisconsin's Green Lake Festival of Music, and the UK's Oxford Piano Festival. Shin's acclaimed January 2018 debut CD on the Steinway & Sons label, comprising works by Bach, Haydn, Mozart, and Beethoven, was listed as one of the "Best New Recordings of 2018" by WQXR.
A native of South Korea, 24-year-old Changyong Shin holds a Bachelor of Music from the Curtis Institute of Music and a master's degree in Music from The Juilliard School, where he is currently enrolled in the Artist Diploma program.
Source: thegreenespace.org
Highlights of Changyong Shin's 2018-2019 season include recitals at Korea's Seoul Art Center's IBK Hall; with Arts Symphony at Seoul Art Center Concert Hall and Seongnam Art Center; and recording a second album for the Steinway & Sons label for release in 2019-2020.
Recent credits include recitals at Italy's Barletta Piano Festival, the Kumho Cultural Foundation's Rising Star series, Paris' Salle Cortot Hall, New York City's Weill Recital Hall at Carnegie Hall, and Tennessee's Evelyn Miller Young Pianists Series. Orchestral engagements include the KBS Orchestra at Seoul's Lotte Concert Hall, Gwacheon Philharmonic Orchestra at Seoul Art Center, and the Hilton Head Symphony Orchestra. Festival credits include France's Zygmunt Zaleski Festival, Wisconsin's Green Lake Festival of Music, and the UK's Oxford Piano Festival. Shin's acclaimed January 2018 debut CD on the Steinway & Sons label, comprising works by Bach, Haydn, Mozart, and Beethoven, was listed as one of the "Best New Recordings of 2018" by WQXR.
A native of South Korea, 24-year-old Changyong Shin holds a Bachelor of Music from the Curtis Institute of Music and a master's degree in Music from The Juilliard School, where he is currently enrolled in the Artist Diploma program.
Source: thegreenespace.org
Ludwig van Beethoven (1770-1827)
♪ Piano Sonata No.30 in E major, Op.109 (1820)
i. Vivace ma non troppo. Adagio espressivo
ii. Prestissimo
iii. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Frédéric Chopin (1810-1849)
♪ Waltz in E flat major, Op.18 "Grande valse brillante" (1833)
♪ Waltz in A flat major, Op.34 No.1 (1835)
♪ Waltz in A flat major, Op.42 "The Two-Four Waltz" (1840)
Enrique Granados (1867-1916)
♪ Goyescas No.1 "Los Requiebros" (1911)
Changyong Shin, piano
The Greene Space at WNYC & WQXR, New York, March 6, 2019
(HD 1080p)
Ludwig van Beethoven: Piano Sonata No.30 in E major, Op.109
By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820-1823 were the last three piano sonatas, the Missa Solemnis and the Ninth Symphony. Even when compared to these imposing works, the E major Piano Sonata retains its status of a masterpiece. It is a remarkable work in several respects.
The first movement has a nearly unique structure: it opens with theme marked Vivace ma non troppo that almost immediately slows to an Adagio espressivo. Thereafter, the two contrasting tempos and utterances alternate. Scarlatti and Mozart had used such a scheme before, but never in such a bold and innovative fashion. On the surface, this short movement has a serene, almost angelic quality, but, like many other works written during this period, the composition's surface is merely one dimension among many. Indeed, nothing about this sonata is one-dimensional. Thus, for example, the subdued, brightly lit realm suggested by the beginning of the works eventually leads the listener to sections where the narrative slows down, conjuring up dark shadows that intimate feelings of longing and doubt.
The second movement, given its sonata form structure would be typical of a Beethoven first movement if it were not for its terse development and extreme brevity. There are two subject groups in this Prestissimo, with the first led by an assertive theme that more than vaguely suggests Schumann's piano style. More subdued at the outset, the second subject generates tension and energy as it progresses. Following a brief development, an interesting reprise leads to a concise coda.
The finale is twice as long as the previous two movements put together. It is a theme-and-variations scheme, whose main theme is marked Andante molto cantabile ed espressivo. The melody is beautiful, in style looking toward the Romantic movement that was then in its infancy. It is tranquil yet melancholy, pleased but valedictory. Some of the six variations generate further variations either through development (the third variation), or as a result of a two-tiered layout (the second variation). While the finale contains many lively moments, it is predominantly slow-to-moderate in tempo and generally subdued, gaining in confidence as the narrative proceeds. This movement concludes with the main theme played slowly and serenely. While the ending suggests a certain peaceful resolution of life's struggles and conflicts, it also reveals a feeling of resignation which is free of conflict and fear.
Source: Robert Cummings (allmusic.com)
Frédéric Chopin: Waltz in E flat major, Op.18 "Grande valse brillante"
Fréderic Chopin composed his Waltz in E flat major, Op.18 (also known as Grande valse brillante) in 1833. It was published the following year, being his first published waltz solo piano (although he had previously written a number of waltzes that were either destroyed or published posthumously). The title "Grande valse brillante" was also given by Chopin to his Waltzes Op.34, though in practice it is usually used in reference to Op.18. Many composers, including Stravinsky and Britten, have created orchestrations of this piece.
Source: musopen.org
Frédéric Chopin: Waltz in A flat major, Op.34 No.1
With its opening fanfares the Waltz in A flat major, Op.34 No.1 immediately recalls the ballroom, where its main theme, though harmonized in sixths, is clearly happy to be. One of the longest of Chopin's waltzes, it develops a glitteringly scored episode from the fanfare before modulating to D flat major for a dreamy middle section, itself extensive enough to assume its own ternary form. The A flat material is recalled to be succeeded by a coda which seems to signal a conventionally brilliant exit but which actually proceeds to a subtly allusive ending.
Source: Gerald Larner, 2009 (hyperion-records.co.uk)
Frédéric Chopin: Waltz in A flat major, Op.42 "The Two-Four Waltz"
Frédéric Chopin composed his Waltz in A flat major, Op.42, in 1840. It is a single piece movement, with a performance time of around 4 minutes. Though none of Chopin's polonaises, waltzes, or dances in general were intended to be actually danced, this waltz has been considered appropriate for use in the ballroom.
Source: musopen.org
Enrique Granados: Goyescas No.1 "Los Requiebros"
The immensely gifted Spanish pianist and composer Enrique Granados expressed his admiration for the starkly emotional canvasses and etchings of Francisco Goya (1746-1828) in a suite of evocative piano pieces that he called Goyescas (1911). The work's subtitle, Los Majos Enamorados, indicates an intention to depict the amorous adventures of the lower classes of Spanish society, the courting rituals and social interactions of the swains (majos) and the maids (majas) inhabiting the working class neighbourhoods of Madrid in the late 18th and early 19th centuries.
The first piece in the set, Requiebros (irtatious compliments), begins with the tale of a pick-up line and its reception. A guitar-like ourish opens the piece with the 8-syllable rhythm of the jota, a form of Spanish popular music danced and sung to the accompaniment of castanets. These latter are picturesquely represented in the score by means of twinkling mordents, snappy triplet figures, and scurrying inner voices, the throw-away character of which figures among the major technical challenges of this piece. Tempo changes of a stop-and-start character mark the various stages of the negotiation, but the sumptuous tonal banquet offered on the last page of the score leaves listeners in no doubt whatsoever as to how rapturously the flattering initiatives referred to in the title were welcomed.
Source: vanrecital.com
More photos
See also
7/24 Destekli Web Siteler | Herşey Dahil 150 tl Web Site Sahibi Ol
 |
7/24 DestekHer konuda yardıma hazır teknik ekibimizle 7/24 iletişim kurun. Kesintisiz deneyimin tadını çıkartın! |
7/24 Teknik Destekli Web Siteler
7/24 Destek Her konuda yardıma hazır teknik ekibimizle 7/24 iletişim kurun. Kesintisiz deneyimin tadını çıkartın!7/24 Destekli Web Siteler | Herşey Dahil 150 tl Web Site Sahibi Ol
|
7/24 Destek
Her konuda yardıma hazır teknik ekibimizle 7/24 iletişim kurun. Kesintisiz deneyimin tadını çıkartın!
|
Kayıtlar
