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Belit Sayı 4

By Music Archive at 15:00 belit, Conan, çeviri, çizgiroman, ilkhantok, türkçe No comments

Sayı 4

Myrtle Emma -- Home

By Türkçe Bayram at 06:13 No comments

Myrtle, Bill, Frank, Mother Elizabeth,

and Duke, in front of their Pigeon

Hollow Road house

This is the first installment of Myrtle Emma, the memoirs of Myrtle Emma Morris White. It's the longest of the pieces she wrote, but one of the most interesting and informative in terms of understanding "pre-modern" Mill Creek Hundred. I find it fascinating and important not because the life she's describing is unusual, but precisely because it's not. Although the Morris family were not farmers, their lifestyle would have been very similar to most residents of MCH from the early days until World War II or later. These writings are special because they give an amazing insight into how most people lived "out in the country", before electricity, plumbing, sewage, and for the most part, paved roads.

The house described in this piece is located on Pigeon Hollow Road, on the right side of Corner Ketch Road just above Paper Mill Road -- behind where Whiteman's Garage stood for many years. We'll talk more about the area in an upcoming segment, but I can reassure all that the Morris' stone house is still standing, and in fantastic shape. The current owners have done an amazing job with it, keeping the original structure and adding a large but tasteful addition in the rear. The stucco evident in the old photos has been removed, revealing the beautiful stone beneath. The front door has been removed and seamlessly filled in. The house is certainly historic, dating to at least the early 1800's. I hope to have more information on it in the near future. In the meantime, enjoy "Home", by Myrtle Emma White:

Home was a two-story stone house with an attic, a garage, and a porch. I lived there with my mother, father, three brothers and four sisters. It was shared space and belongings. There was no electricity or indoor plumbing.

By the front door, in a good spot for the light, was a washstand with a marble top. On it sat a water bucket and dipper, and a mirror hung over it. In the drawer were combs, toothbrushes, and shaving razors. A razor strop hung by the mirror and a rolling towel rack hung beside it. Behind the doors at the bottom were a wash basin, towels, wash cloths, and soap.

The kitchen was spacious, with a cook stove that burned wood and had a tank to heat water. On the stove top by the chimney were warming places. Big, square, green salt-and-pepper shakers sat on top of them. A wood box sat behind the stove with a kindling basket. My brother built garages for his toy cars and trucks with the small wooden sticks.

Myrtle's parents, Elizabeth and Franklin Morris, with Franklin's mother Martha

A pantry contained dishes, pots, and pans. The staples for cooking were always in jars and tins to keep the mice from them. Across from the stove, a large chest of drawers held knives, forks, and spoons, and the tablecloths that were used for special occasions. For everyday, there was an oilcloth cover on the big table. In back of the table was a deacon’s bench that we young ones sat on at mealtime. We were all right-handed so elbows weren’t a problem, but giggles were. Eating dinner was a somber affair. Food was precious and not to be played with or wasted.

The kitchen table was our play area when it wasn’t mealtime. We played games on it and would draw and cut paper dolls from the Sears catalog. We made kites from newspapers using flour-and-water paste and torn strips of cloth for tails. It was a delight to see them sail in the sky. Under the table was another play area. It was our tent, our house, our fort, and even our dream castle.

In the early evening before bedtime, when the Rayo kerosene lamp was still lit from having dinner, we would get our tablets with Indian heads on the covers, our crayons, and pencils that our father had sharpened with his pen knife to a nice point, and play games of tic tac toe or hang man, and draw the animals that lived on nearby farms. When we finished playing, it was all gathered together and put in the living room closet until another day.

I liked to draw and paint. On election day, my father worked at the voting polls. When he came home that night, he brought leftover ballots. On one side were pictures of stars, eagles, and plows, but the back was pure white. This was a treasure of good drawing paper. We used it to make many things— booklets we put together with brads we got at school, paper hats, or folded into airplanes we sailed from the porch.

Myrtle and Willie, standing behind Mary with Duke in her lap

Toys were few, but we shared everything. We had dolls, but no one had a special one. There were games—checkers, dominoes, and cards to play “go fish.” Mother had a wire bingo cage in which numbers tumbled around when you turned the crank on the side. There were cardboard markers you put on the cards. It was fun to get a bingo and we were learning our numbers, too. The boys had cars and trucks. They made tracks in the dirt for roads, and pretended to make engine noises and blow the horn. They liked to have wrecks.

Our baby sister had a cradle with rockers and a hood to keep out the drafts. Mother would move it near where we were playing and, with every whimper from her, we would rock it with our feet. She was used to our laughing and talking and would go to sleep. Our living room was smaller than the kitchen. It had a small chunk stove, a day bed, and chairs. On one side of the stove was a large closet for our coats, boots, gloves, hats, and scarves. The bottom shelf held our toys, games, and books.

In the winter, a sweet potato bin was on the other side of the stove. Our father grew just great sweet potatoes, but they would not keep in the cellar. Mother made a cretonne curtain for the bin. It was covered with a bright flower print. She grew sweet potato vines for decoration. She would cut the potato and use tooth picks to hold it in a jar of water. The potatoes would sprout leaves that grew around the window. Our father thought they were in the way, but we liked them. The windows in the house had wide sills. They could be used to sit in or to put things on until they got to their proper place.

Our clock was made of wood and had brass numbers and a long pendulum that swung back and forth. Our father had a schedule for winding it with a key that lay on the top. We learned to tell time, and knew when mealtime was, when our father came home from work and, most of all, when it was bedtime. We did a lot of things to stay up just a little longer, but were not too clever with our excuses. The constant ticking was a calming effect in a busy household.

Father had a radio that sat on the living room table. It had a wooden case and batteries and headphones. When he turned it on, the dial needle would jump around and we could hear static, squawking, and a whine. He would move the knob until it settled down. He listened to boxing and ball games. It was off-limits to us.

We didn’t care for the radio, but liked the record player that stood tall, with a lid to open, and a turntable with an arm and the needle. We would crank it up and climb on a chair to put the needle down on the record. Behind the doors on the bottom were slots for records. It was fun to hear the music and singing, even though we had heard it many times. We tried to mock the singers but never hit the high notes. We liked the records that played marches. They would excite us to march around the house and salute each other and think of our oldest brother who had joined the Army.

Going out the back door was a porch that was high off the ground because it was built over the garage. A railing went all the way around, with a gate on the side that was at ground level. The porch railing was solid and about waist high, with a gap between it and the porch floor. When we felt brave, we would walk along the outside edge, holding on for dear life. Sometimes we got too scared to come back and had to be rescued. We played a lot on the porch. It was nice to rock in the rockers and watch the clouds change shape.

Storms drove us inside. Mother did not like lightning. She would pull down the spring-rolled, dark green window shades to darken the kitchen. Sometimes a curtain would spring up with a clatter and bang, and it would scare us more than the thunder and lightning.

As there weren’t any outside lights, flashlights were a must. My father had one that was very long. I don’t know how many batteries it held. Sometimes on a dark night, we would go out on the porch and see the stars so bright, and we would see beams of light that we thought were searching for lost planes. The moon would come up and we would see all its phases on different nights. Sometimes we saw the northern lights. The night sky was always different, but we never went off the porch at night.

Myrtle, generations ahead of her time, photobombing Mary. I believe this
picture shows part of the back porch and the wall they threw the ball against

The yard we played in was off the porch gate. That side of the house had only an attic window, so we could bounce a ball off the wall and catch it. My favorite ball had a blue star on each end and a red band around the middle. A wooden wagon was used for play and work. We hauled wood and baskets of vegetables from the garden. My brother’s guinea pig liked to ride in the wagon, and our dolls had their turns too. Jumping rope was not easy. The rope was turned too fast or we would trip on it. We put it around our waist and played horse. With a whinny and a slap on the hip, we would go off on a trot.

The outhouse stood at the back of the far side of the yard. We called it the privy. A well-worn path went from the house, between the upper garden and the stacked woodpile. The privy had a tin roof and a hinged door with a wooden latch on the outside and a strong metal hook and eye on the inside. A pear tree branched over it. The pears were good to eat, but they just went to water when they were cooked. They were a nice shape and yellow with a pink tinge. The bees were busy with the rotten ones on the ground and, if you were inside and the wind blew, pears dropped onto the tin roof and made a surprising racket. Sometimes our brothers would throw clods of dirt from the garden. After dark, we would take the long flashlight to see our way. A trip to the privy was never pleasant.

Güllerle İlgili Bilmeniz Gereken Dev Arşiv | Post=1

By bayramcigerli at 01:12 No comments

Öncelikle herkese merhabalar bu yazımızda fırsat buldukça güllerle ilgili bilmeniz gereken herşeyi bu sayfamızda derleyerek veya kısa linkler verecez.

Bugüne değin güllerle ilgili merak ettiğiniz herşeye bu sayfamızdan kolaylıkla ulaşabilirsiniz. Bu sayfamızda yer alan linklerden neler öğrenebileceksiniz kısaca sizlere anlatalım.

1_ Gül nedir?

2_ Gülün ana vatanı neresidir?

3_ Gül çeşitleri

4_ Gül ile ilgili makale yazanlar

5_ Gül web siteleri

Güllerle İlgili Bilmeniz Gereken Dev Arşiv | Post=1

By bayram cigerli at 01:12 No comments

Öncelikle herkese merhabalar bu yazımızda fırsat buldukça güllerle ilgili bilmeniz gereken herşeyi bu sayfamızda derleyerek veya kısa linkler verecez.

Bugüne değin güllerle ilgili merak ettiğiniz herşeye bu sayfamızdan kolaylıkla ulaşabilirsiniz. Bu sayfamızda yer alan linklerden neler öğrenebileceksiniz kısaca sizlere anlatalım.
1_ Gül nedir?
2_ Gülün ana vatanı neresidir?
3_ Gül çeşitleri
4_ Gül ile ilgili makale yazanlar
5_ Gül web siteleri

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

By Music Archive at 02:07 Kaleidoscope Chamber Orchestra, Sergei Prokofiev No comments

The Kaleidoscope Chamber Orchestra performs Sergei Prokofiev's Symphony No.1 in D major, Op.25 ("Classical"). The concert was recorded at Zipper Hall at the Colburn School in Los Angeles, California, United States, on October 4, 2015.

✻

Prokofiev's Symphony No.1 represents the composer's earliest mature effort in a genre he returned to time and again for the remainder of his career. Though the symphony received a warm reception in Russia and abroad – and remains one of the composer's most frequently programmed works – Prokofiev's attitude toward it remained ambiguous, vacillating between dismissive and defensive.

The First Symphony is especially intriguing in light of the view of Prokofiev as a leading figure of the Russian avant-garde in the early decades of the twentieth century. The work's anachronistic "Classical" moniker seems particularly apt in respect to a number of its features. The symphony is in a familiar four-movement form, the two fast outer movements (Allegro and Vivace, respectively) bracketing a slow movement (Larghetto) and one inspired by a stylized dance (Gavotto); its textures are economical, its scoring appropriate to an orchestra of the late eighteenth or early nineteenth century; and it is of a decidely lighthearted, even humorous character, much in the spirit of the symphonies of Haydn. Indeed, it should be noted that the "Classical" subtitle was Prokofiev's own; scholar R.D. Darell has suggested that the composer may have chosen it partly to describe the work's character, partly because he hoped that the work would one day become a classic, and partly out of pure mischief directed at critics. (In regard to the last, Prokofiev wrote that he meant to "tease the geese.")

Though the symphony is at times sharply dissonant, it maintains a steadfastly tonal basis. Certainly, the "Classical" model is stretched in the work's harmonic language, which is marked by Prokofiev's characteristic ambiguous cadences and sudden shifts between tonal centers. Still, the work retains many of the trappings of Viennese Classicism, from the sonata-allegro form of the first movement, to the Mozartean gavotte and trio of the third, to the exuberant, witty finale. Despite the suggestion of its title, the "Classical" Symphony is not really neo-Classical along the lines of contemporaneous works by Stravinsky, but rather a work of elegant simplicity that evokes the spirit of high Viennese Classicism filtered through the more adventurous sensibilities of Prokofiev's own musical language.

Source: Alexander Carpenter (allmusic.com)

Sergei Prokofiev (1891-1953)

♪ Symphony No.1 in D major, Op.25 "Classical Symphony" (1916-1917)

i. Allegro [00:00]*
ii. Intermezzo. Larghetto [04:22]
iii. Gavotte. Non troppo allegro [08:27]
iv. Finale. Molto vivace [09:55]

Kaleidoscope Chamber Orchestra

Zipper Hall at the Colburn School, Los Angeles, California, United States, October 4, 2015

(HD 1080p)

* Start time of each movement

Kaleidoscope Chamber Orchestra: About

Vision. We envision a world where our commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives.

Mission. Kaleidoscope is a conductorless chamber orchestra dedicated to enriching lives through exhilarating concert experiences, artistic excellence, musician leadership, and connecting with the diverse communities of Los Angeles.

Core Values
• We believe that our collective of musicians has ideas that are worthy of respect and consideration; that each member has a voice worth hearing; that every person, given the chance and tools, can help to create great art.
• We believe that pursuing a democratic process within the orchestra will improve the quality of the performance, fulfill the collective vision of the ensemble, and create a unique experience not found in traditional orchestras.
• We believe in developing an infrastructure that supports, empowers, and values its musicians.
• We believe in bringing our performances and artistic process to audiences who have little or no exposure to symphonic music with the belief that the experience will enrich the lives of both the audience and the performers.

Artistic Intent. We perform orchestral music that speaks profoundly to our community and is both representative of its time and timeless, whether written today or centuries ago. We stretch the boundaries for what is thought possible without a conductor, both by musicians and audiences, to allow us all to grow through the process. We regularly collaborate with living composers because their music represents our time. We design programs that explore less conventional concert experiences and allow audiences to feel more personally connected to music and the musicians who perform it.

Community Engagement and Education. Kaleidoscope is committed to music education for all ages and is happy to offer a "pay what you can" model to eliminate the barrier of a set ticket price. We want everyone in Los Angeles to have the opportunity to experience great classical music in person by a professional orchestra, think about what that experience means, and pay what makes them happy. We also perform many additional free concerts in schools, hospitals, shelters, and other underserved parts of our community.

We recently started a music education program at a title I elementary school in Culver City, providing music instruction to 200 students each week. With additional funding, we are planning to expand this program to other grades and other schools in the future. Not only do we want every child in Los Angeles to love listening to music, we want every child to have the opportunity to read, play, and write music, too.

Source: kco.la