George Frideric (or Frederick) Handel, born Georg Friedrich Händel (23 February 1685–14 April 1759) was a German-born, British baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Born in a family indifferent to music, Handel received critical training in Halle, Hamburg and Italy before settling in London (1712), and became a naturalized British subject in 1727. He was strongly influenced both by the great composers of the Italian baroque and the middle-German polyphonic choral tradition.
Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. MusicologistWinton Dean writes that his operas show that “Handel was not only a great composer; he was a dramatic genius of the first order.” As Alexander’s Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honors, and he was buried in Westminster Abbey in London.
Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the baroque era, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining steadfastly popular. One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II of Great Britain, has been performed at every subsequent British coronation, traditionally during the sovereign’s anointing. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and historically informed musical performance, interest in Handel’s operas has grown.
Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust. His father, 63 when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. According to Handel’s first biographer, John Mainwaring, he “had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey’d to a room at the top of the house. To this room he constantly stole when the family was asleep”. At an early age Handel became a skilful performer on the harpsichord and pipe organ.
Handel and his father traveled to Weissenfels to visit either Handel’s half-brother, Carl, or nephew, Georg Christian, who was serving as valet to Duke Johann Adolf I. On this trip, young Handel was lifted onto an organ’s stool, where he surprised everyone with his playing. This performance helped Handel and the duke to convince his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of Halle’s Marienkirche. Zachow composed music for the Lutheran services at the church, and from him Handel learned about harmony and counterpoint, copying and analysing scores, and gained instruction on the oboe, violin, harpsichord and organ. In 1698 Handel played for Frederick I of Prussia and met Giovanni Bononcini in Berlin.
From Halle to Italy
In 1702, following his father’s wishes, Handel started studying law under Christian Thomasius at the University of Halle. He earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied, and in 1703 he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt. There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705. He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.
According to Mainwaring, in 1706 Handel traveled to Italy at the invitation of Ferdinando de’ Medici. Other sources say Handel was invited by Gian Gastone de’ Medici, whom Handel had met in 1703–1704 in Hamburg De’ Medici, who had a keen interest in opera, was trying to make Florence Italy’s musical capital by attracting the leading talents of his day. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La resurrezione and Il trionfo del tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707. Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, owned by the Grimanis. The opera, with a libretto by Cardinal Vincenzo Grimani, ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style, applauded for Il caro Sassone (“the dear Saxon”—referring to Handel’s German origins).
Move to London
In 1710, Handel became Kapellmeister to German prince George, the Elector of Hanover, who in 1714 would become King George I of Great Britain and Ireland. He visited Anna Maria Luisa de’ Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works. This work contains one of Handel’s favorite arias, Cara sposa, amante cara, and the famous Lascia ch’io pianga.
In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.
One of his most important patrons was The 3rd Earl of Burlington and 4th Earl of Cork, a young and incredibly wealthy member of an Anglo-Irish aristocratic family. For the young Lord Burlington, Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.
The conception of an opera as a coherent structure was slow to capture Handel’s imagination and he composed no operas for five years. In July 1717 Handel’s Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.
In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelveChandos Anthems. Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas. Another work, which he wrote for The 1st Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel’s lifetime it was his most performed work. Winton Dean wrote, “the music catches breath and disturbs the memory.”
In 1719 the Duke of Chandos became one of the composer’s important patrons and main subscribers to his new opera company, the Royal Academy of Music, but his patronage declined after Chandos lost money in the South Sea bubble, which burst in 1720 in one of history’s greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low and sold before 1720.
Royal Academy of Music (1719–34)
In May 1719, The 1st Duke of Newcastle, the Lord Chamberlain, ordered Handel to look for new singers. Handel traveled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged members of the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis. By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life. This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum. During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel’s operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived, was performed as a stopgap, waiting for the arrival of Faustina Bordoni.
In 1727 Handel was commissioned to write four anthems for the Coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since. In 1728 John Gay’s The Beggar’s Opera premiered at Lincoln’s Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time. After nine years the Royal Academy of Music ceased to function but Handel soon started a new company.
The Queen’s Theatre at the Haymarket (now Her Majesty’s Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house. Between 1711 and 1739, more than 25 of Handel’s operas premièred there. In 1729 Handel became joint manager of the theatre with John James Heidegger.
Handel traveled to Italy to engage new singers and also composed seven more operas, among them the comic masterpiece Partenope and the “magic” opera Orlando. After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolph Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support byFrederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel composed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.
Despite the problems the Opera of the Nobility was causing him at the time, Handel’s neighbor in Brook Street, Mary Delany, reported on a party she invited Handel to at her house on 12 April 1734 where he was in good spirits:
I had Lady Rich and her daughter, Lady Cath. Hanmer and her husband, Mr. and Mrs. Percival, Sir John Stanley and my brother, Mrs. Donellan, Strada [star soprano of Handel’s operas] and Mr. Coot. Lord Shaftesbury begged of Mr. Percival to bring him, and being a profess’d friend of Mr. Handel (who was here also) was admitted; I never was so well entertained at an opera! Mr. Handel was in the best humor in the world, and played lessons and accompanied Strada and all the ladies that sang from seven o’clock till eleven. I gave them tea and coffee, and about half an hour after nine had a salver brought in of chocolate, mulled white wine and biscuits. Everybody was easy and seemed pleased.
Opera at Covent Garden (1734–41)
In 1733 the Earl of Essex received a letter with the following sentence: “Handel became so arbitrary a prince, that the Town murmurs”. The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias. Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act, his last opera with a magic content, and Alexander’s Feast or the Power of Music based on John Dryden’s Alexander’s Feast starred Anna Maria Strada del Pò and John Beard.
In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing. In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly . To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience. It was even possible for him to write one of his most popular operas, Serse (including the famous aria Ombra mai fù, better known as “Handel’s largo”, he wrote for the famous castrato Caffarelli), just one year after his stroke.
Deidamia, his last opera, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.
Il trionfo del tempo e del disinganno, an allegory, Handel’s first oratorio was composed in Italy in 1707, followed by La resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure. Another 12 years had passed when an act of piracy caused him to take up Esther once again. Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly colored by the Coronation Anthems and Athaliah, his first English Oratorio. In these three oratorios Handel laid the foundation for the traditional use of the chorus which marks his later oratorios. Handel became sure of himself, broader in his presentation, and more diverse in his composition.
It is evident how much he learned from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus. Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas. Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the singers appeared in their own clothes.
In 1736 Handel produced Alexander’s Feast. John Beard appeared for the first time as one of Handel’s principal singers and became Handel’s permanent tenor soloist for the rest of Handel’s life. The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure “…it will be most excessive noisy”. Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo aria became the exception and not the rule. Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background. L’Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.
During the summer of 1741, The 3rd Duke of Devonshire invited Handel to Dublin, capital of the Kingdom of Ireland, to give concerts for the benefit of local hospitals. His Messiah was first performed at the New Music Hall in Fishamble Street on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick’s and Christ Church cathedrals participating. Handel secured a balance between soloists and chorus which he never surpassed.
In 1747 Handel wrote his oratorio Alexander Balus. This work was produced at Covent Garden Theatre, on March 23, 1748, and to the aria Hark! hark! He strikes the golden lyre, Handel wrote the acccompaniment for mandolin, harp, violin, viola, and violoncello.
The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly important in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.
In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance. In 1750 he arranged a performance ofMessiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death. His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London’s Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.
In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands. In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This did not improve his eyesight, but possibly made it worse. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey. More than three thousand mourners attended his funeral, which was given full state honors.
Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna, however four codicils distributed much of his estate to other relations, servants, friends and charities.
Handel owned an art collection that was auctioned posthumously in 1760. The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).
- Operas (42): Agrippina (1709); Rinaldo (1711); Rodelinda (1725); Serse (1738); Deidamia (1740); etc.
- Oratorios (29): Acis and Galatea (1718); Messiah (1741); Judas Maccabaeus (1746); Solomon, Susanna (1748); Jephtha (1752); etc.
- Cantatas and Chamber Duets: 120 Cantatas and 20 Chamber Duets
- Church Music: Utrecht Te Deum and Jubilate (1712 – 13); Chandos Anthems (1717 – 18)
- Orchestra: Water Music (c.1717); Music for Royal Fireworks (1749)
Listen: Water Music and Music for Royal Fireworks by Handel
- Instrumental and Chamber Music: 6 Concerti Grossi (1734):Organ Concerti; 7 Trio Sonatas (1739); 16 Keyboard Suites, 6 Fugues (1736)
Listen: Concerto Grosso by Handel
Handel’s compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its “Hallelujah” chorus, is among the most popular works in choral music and has become the centerpiece of the Christmas season. The Lobkowicz Palace in Prague holds Mozart’s copy of Messiah, complete with handwritten annotations. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op. 4 and Op. 7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.
Handel introduced previously uncommon musical instruments in his works: the viola d’amore and violetta marina (Orlando), the lute (Ode for St. Cecilia’s Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, French horn (Water Music), lyrichord, double bassoon,viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander’s Feast).
Between 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel’s works—however it was far from complete. Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).
The 105-volume Händel-Gesellschaft (“Handel Society”) edition was published between 1858 and 1902—mainly due to the efforts of Friedrich Chrysander. For modern performance, the realization of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.
The continuing Hallische Händel-Ausgabe edition was first inaugurated in 1955 in the Halle region in Saxony-Anhalt, Eastern Germany. It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition. The unification of Germany in 1990 removed communication problems, and the volumes issued have since shown a significant improvement in standards.
Between 1978 and 1986 the German academic Bernd Baselt catalogued Handel’s works in his Händel-Werke-Verzeichnis publication. The catalogue has achieved wide acceptance and is used as the modern numbering system, with each of Handel’s works designated an “HWV” number, for example Messiah is catalogued as “HWV 56.”
Handel’s works were collected and preserved by two men: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection, and the abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer’s birth calls them two men of the late eighteenth century “who have left us solid evidence of the means by which they indulged their enthusiasm.”
After his death, Handel’s Italian operas fell into obscurity, except for selections such as the aria from Serse, “Ombra mai fù”. The oratorios continued to be performed but not long after Handel’s death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions. The centenary of his death, in 1859, was celebrated by a performance of Messiah at The Crystal Palace, involving 2,765 singers and 460 instrumentalists, who played for an audience of about 10,000 people.
Since the early music revival many of the forty-two operas he wrote have been performed in opera houses and concert halls. Giulio Cesare(1724), Tamerlano (1724) and Rodelinda (1725) each on a libretto by Nicola Francesco Haym, stand out and are considered as masterpieces, each in a different style.
Recent decades have revived his secular cantatas and what one might call ‘secular oratorios’ or ‘concert operas’. Of the former, Ode for St. Cecilia’s Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel’s Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera’s great musical dramatists.
The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as “Haendel” in France. A different composer, Jacob Handl or Händl (1550 – 1591) is usually known by the Latin form Jacobus Gallus that appears in his publications.
Handel has generally been accorded high esteem by fellow composers, both in his own time and since. Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle. Mozart is reputed to have said of him, “Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt.” To Beethoven he was “the master of us all… the greatest composer that ever lived. I would uncover my head and kneel before his tomb.” Beethoven emphasized above all the simplicity and popular appeal of Handel’s music when he said, “Go to him to learn how to achieve great effects, by such simple means.”
Since 1831, when William Crotch raised the issue in his Substance of Several Lectures on Music, scholars have extensively studied Handel’s “borrowing” of music from other composers. Summarizing the field in 2005, Richard Taruskin wrote that Handel “seems to have been the champion of all parodists, adapting both his own works and those of other composers in unparalleled numbers and with unparalleled exactitude.” Among the composers whose music has been shown to have been re-used by Handel are Alessandro Stradella, Gottlieb Muffat, Alessandro Scarlatti, Domenico Scarlatti Giacomo Carissimi,Georg Philipp Telemann, Carl Heinrich Graun, Leonardo Vinci, Jacobus Gallus, Francesco Antonio Urio, Reinhard Keiser, Francesco Gasparini, Giovanni Bononcini, Agostino Steffani,Francesco Gasparini, Franz Johann Habermann, and numerous others.
In an essay published in 1985, John H. Roberts demonstrated that Handel’s borrowings were unusually frequent even for his own era, enough to have been criticized by contemporaries (notably Johann Mattheson); Roberts suggested several reasons for Handel’s practice, including Handel’s attempts to make certain works sound more up-to-date and more radically, his “basic lack of facility in inventing original ideas” – though Roberts took care to argue that this does not “diminish Handel’s stature”, which should be “judged not by his methods, still less by his motives in employing them, but solely by the effects he achieves.”
After Handel’s death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr’s Symphony No. 6, Op. 116, “The Age of Bach and Handel”, resembles two melodies from Handel’s Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. In 1822 Beethoven composed The Consecration of the House overture, which also bears the influence of Handel. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107for guitar, based on Handel’s Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel’s harpsichord suites,Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel’s themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel’s Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel’s Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel’s ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg’s Concerto for String Quartet and Orchestra in B-flat major (1933) was composed after Handel’s Concerto Grosso, Op. 6/7.
Handel is honored with a feast day on 28 July in the liturgical calendar of the Episcopal Church, with Johann Sebastian Bach and Henry Purcell. In the Lutheran Calendar of Saints, Handel and J.S. Bach share that date with Heinrich Schütz, and Handel and Bach are commemorated in the calendar of saints prepared by The Order of Saint Luke for the use of theUnited Methodist Church.
In 1942, Handel was the subject of the British biopic The Great Mr. Handel directed by Norman Walker and starring Wilfrid Lawson. It was made at Denham Studios by the Rank Organization, and shot in technicolor.


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It’s been a tumultuous (and wet!) start to 2023, with California weathering an extraordinary level of rain and snow over the past few weeks. Opportunities abound, but a storm-barraged populace’s frustrations and hazards are clear. Our hearts go out to those that have been impacted by these recent atmospheric events, and we appreciate the chance to center flood risk and community safety in the larger conversations about drought and water security.
We checked in with our Water for the Future team to get a window into our upcoming work, what’s on their minds when it comes to California weather extremes, and their hopes for the future.
“Recent storms are a reminder that even in an exceptional drought, floods can and do happen. We can plan for these inevitable swings by thinking about droughts during times of flood, and floods during times of drought. Flood-MAR is a simple concept that uses flood water to spread out onto land and recharge aquifers – but implementing it requires advance planning. We are very lucky to collaborate with many people, agencies, and organizations working toward making Flood-MAR a standard practice that can potentially reduce flood risk, recharge aquifers, and improve ecosystems.” – Aysha Massell, Water for the Future Program Director
“I think increasing and scaling adoption of recharge practices are both a major challenge and opportunity in California. Not only to protect from drought, but also during the heavy rains that we are seeing. We need to get as much water in the ground as we can to protect from droughts and to shave off peak flows and protect people and communities from flooding. During droughts, it’s hard to collect data on the impacts of recharge; hopefully, as water becomes available for recharge, we will start getting in more data that helps build confidence in the practice. This can also help provide the data points needed to ground-truth our decision-support tools!” – Taylor Broadhead, Project Manager, Water and Dairy Programs
“It’s important to build trust between different people and groups, especially between the farmers and other stakeholders in local watersheds. We provide the technical know-how for how to prepare farms to capture, infiltrate, and record excess surface flows. We facilitate policy goals when we work with the Central Valley irrigation districts and farmers to develop on-farm recharge programs. Our detailed knowledge is important so water managers can build a successful recharge program that supports willing partners.” – Rogell Rogers, Senior Agronomist
“Even with the floods, landslides, and other natural events currently impacting our coastal and inland communities alike, the surge of rain and snow battering our Golden State is hitting at such an important time. Since we began working on groundwater recharge approximately 12 years ago, California has only had 3 ‘wet’ years and far too many ‘critical’ and ‘dry’ years. And this trend of extremes is something we must continue to get used to managing.
Carefully maneuvering the complex landscape of legal, logistical, political, and other factors – and knowing that the next multi-year drought is just around the corner – fuels me to find ways to make an impact that can hopefully address at least a fraction of our thirsty demands.
All of this comes at such an important time because there is so much at stake. Like marginalized communities dependent on groundwater for their drinking water needs and farms whose families are already feeling the impacts of land coming out of production due to over-depleted aquifers. I truly hope people choose to set aside some of their differences and work to do what’s best for all Californians, including the flora and fauna.” – Joseph Choperena, Project Director, Water Resources
“Growing up in California, drought was frequently a topic of conversation. In recent weeks, the elusive rain that we await has filled our skies, land, and waterways.
I am excited about the opportunities that our work with Flood-MAR presents in combatting drought while preventing harmful flooding and providing benefits to communities and ecosystems.” – Roshni Katrak-Adefowora, Data and Science Communication Specialist
“As I lay awake last night hearing the creek-turned-river outside my back door getting louder and louder as the rain pounded down, all I could think of was the importance of diverting flood flows off swollen rivers to protect life and property downstream. The opportunity to achieve significant recharge this year has the bonus of reducing flood peaks. As we calculated in the DWR FloodMAR study for the Merced watershed, with full implementation of recharge programs coupled with reservoir management, climate change induced flood peaks can be reduced by 65%.
I am excited that this can be the year when farmers, irrigation districts, and the state can start to see the need, and use Flood-MAR to adapt to the flood effects of intensifying atmospheric rivers and replenish our drought-induced groundwater depletion. It takes floods to realize California’s recharge potential.” – Daniel Mountjoy, Director of Resource Stewardship
“These storms are an inflection point, really. Our water system as we currently know it, based around the State Water Project and Central Valley Project, was designed in the 1950s and ‘60s for more predictable precipitation patterns, a smaller population, and an overreliance on groundwater. We have to adapt to more frequent and more prolonged droughts, and irregular and intense periods of rain and snowfall.
This is our new climate pattern – or lack thereof. We can work together and modernize our system to recognize this new reality. With the kind of intense storm flows that we’ve seen this month, there is a point where you can divert water for agriculture, preserve environmental flows, and protect downstream communities, and that’s the sweet spot we want to hit.” – Charles Delgado, Policy Director
Sustainable Conservation’s in the news! As the media cycle covers flood, drought and frustration, we’re pleased to be able to highlight collaborative solutions that address multiple, critical water needs in California. Check out this recent coverage:
The Modesto Bee: What’s TID doing with storm runoff? Two of Newsom’s Cabinet members visit to see, also featured in the Sacramento Bee
KCRA 3 Sacramento: San Joaquin Valley farmers help replenish groundwater by flooding their fields
Science: Can California’s floods help recharge depleted groundwater supplies?
Agri-Pulse West: California does not track groundwater banking—but projects tapping flood flows show promise
Turlock Journal: Storm runoff offers recharge for drought-ridden farmland


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American International Group is a $50 stock. Yeah. Sure. But that’s what the market says it is today so it must be.
Shares of AIG are soaring today in part because the insurer’s new CEO Robert Benmosche tells a Reuters reporter that he doesn’t intend to conduct a firesale of the company’s divisions. He also says he’s been seeking guidance from former AIG CEO Hank Greenberg–the former Wall Street titan who just doesn’t know when to go away.
This is a great scoop for my Reuters colleague Adam Tanner. But come on. In my book, a CEO who jets off for a vacation to the Adriatic coast to a massive villa just days after taking over AIG doesn’t have a lot of credibility. So nice of Benmosche to take time out from his Croatian siesta to field phone calls from a reporter and reportedly wine and dine Greenberg.
At middday the stock was up nearly $11. Nearly 92 million shares have been traded already–more than four times the normal trading volume.
And it’s nearly doubled since AIG conducted a 1 for 20 reverse stock split in July. Shares have risen 71% since Benmosche took over on Aug. 10. Over the past two weeks, it’s been quite common for more than 100 million shares to change hands each day.
But does that “news” coming out of AIG really justify an nearly 30% pop in the stock on higher than normal volume? (There is some speculation of Greenberg putting together a bid to buyout AIG, but it is too ludicrous to repeat.)
What’s going on with AIG is more than just short covering, or mere speculation. It was easier to speculate in AIG when it was down in single digits–not at these levels.
It seems AIG has become a big momentum play for daytraders, hedge funds and of course–high-frequency traders.
To be sure, the surge in AIG shares is great news for the federal government, which effectively owns the insurer that needed a mega emergency bailout last fall. But what’s going on in AIG shares is beyond the pale and really calls for some sort of investigation, in light of the federal government’s big hand in managing the company.
This surge in AIG is making a mockery of the federal government’s intervention in the insurer and makes it appear that Wall Street has learned nothing from last fall’s events.
What a great way to mark the upcoming anniversary of Lehman Brothers’ collapse.

domain: finance


Why We Chose The Paramo Bentu Windproof: Eco-friendly, good features, innovative design
For some hillwalkers, Páramo gear is the best-kept secret in the outdoor industry. Unlike most other brands, they don’t use waterproof membranes, instead relying on Nikwax water repellency and clever two-layer constructions incorporating a mesh ‘pump liner’ to keep you warm, dry and comfortable. This innovative approach has garnered many fans, giving rise to a cult of outdoorsy types – Páramaniacs, if you will – who scoff at Gore-Tex and the like.
But even by Páramo standards, the Bentu jacket is an unusual beast. Ostensibly it’s a windproof, a breathable yet protective outer layer intended for breezy but mostly dry conditions. However, this is no featherlight and minimalist windshell – instead, it’s a fully-featured jacket equipped with a zoned pump liner in the hood and shoulders that, when worn with the Bentu Plus fleece, brings a great deal of wind and rain protection to the table.
Who is the Páramo Bentu Jacket For?
According to Páramo, it’s for ‘people who enjoy outdoor activities all year’. That’s because the Bentu is designed to work as a standalone layer in summer and in conjunction with the Bentu Plus fleece the rest of the year round to give the wearer a warm and protective system.
Now, at just over 400g, the Bentu jacket is more than twice as heavy as the lightest windshells. But it’s also more substantial, more protective and better equipped, with a proper hood and plenty of pockets. The weight alone means it’s probably not going to suit ‘fast and light’ types, but for general hillwalkers and even most climbers, it’s ideal.
Materials and Construction
The Bentu is made from Nikwax Windproof fabric, which is a tightly woven polyester treated with a Nikwax water repellent finish. It’s soft, supple and comfortable, though it has no stretch.
The hood and shoulders are also lined with Paramo’s unique mesh pump liner, as found in the Analogy waterproof garments. This provides an additional layer of weather protection and helps to move moisture away from the body, keeping you dry and comfortable through light to medium-heavy downpours. If a very heavy downpour does end up soaking the jacket, you can rest assured that the fabrics and Nikwax treatment will work away to ensure it dries up quickly – much faster than common waterproof fabrics.
Another great thing about Páramo’s wet weather systems is that, unlike regular waterproof systems, a small rip or tear won’t lead to any compromise in the protection. What’s more, you can simply repair any damage using a sewing kit. Technically then, this should last a lifetime.
As we’ve mentioned, the USP of the Bentu is that it combines with the Bentu Plus Fleece to form a waterproof garment system. But even when worn alone, that zoned Pump Liner in the hood and across the shoulders provides extra protection from on-off showers.
Otherwise, it has all of the features we look for in a proper hillwalking jacket. This includes a fully adjustable, peaked hood and plenty of pockets. There are two large chest pockets designed for easy access, both of which are big enough to hold an Ordnance Survey map. Additional storage comes from two zipped hand-warmer pockets, sensibly-placed so as to stay clear of a rucksack hip belt. The Velcro cuffs are fully adjustable but can also be easily pushed up and secured for cooling.
The fit is also better than the Páramo garments of old, which admittedly did have a bit of reputation for being somewhat baggy. In contrast, the cut of the Bentu is much more modern, and nicely sculpted (if not exactly trim fitting). However, it offers lots of articulation and has a scooped tail, with an elasticated hem for additional protection at the lower back.
This is a well-designed and fully-featured jacket that is best thought of as a ‘windproof plus’ – it’ll fend off drizzle and dreich much better than most lightweight windshells. It’s also a versatile beast, especially when combined with the Bentu Plus fleece as intended. That combo extends its use beyond the summer months, and also means you can get away without needing to carry a waterproof jacket. It’s still not quite as protective as a Nikwax Analogy waterproof though, so in the worst weather, we’d probably still pick something like the Velez, the Alta III or the Enduro.


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According to Pro Football Focus, a pair of Indianapolis Colts cornerbacks: Kenny Moore and Rock Ya-Sin have been named to their ‘NFL Week 14: PFF Team of the Week’ following each defensive back’s standout performance on Sunday against the Las Vegas Raiders:
PFF TEAM OF THE WEEK
Regarding Moore, the Colts standout slot cornerback had some rough moments early on in coverage this past Sunday, but seemingly caught fire.
With 3:35 left in the first half, Moore intercepted Raiders’ quarterback Derek Carr with an acrobatic ‘Odell Beckham Jr. rookie season-like snag’ in the corner of the end zone over star tight end Darren Waller—which may very well be the best interception you’ll ever see:
Moore wasn’t done for the day; however, as with 9:23 left in the fourth quarter, he stripped the football from Raiders wideout Hunter Renfrow on a tackle near Las Vegas’ own 28-yard line, which his teammate Taylor Stallworth recovered.
With the Colts already up 34-20 and firmly in Las Vegas’ scoring territory, that second turnover of the game for Moore may have very well sealed the win for Indianapolis.
Moore finished the game with 5 tackles (5 solo), an interception, a pass defensed, a forced fumble, and a QB hurry.
Also per PFF, Moore had 2 defensive stops (which is a tackle that constitutes a failure for the offense) and allowed 9 receptions on 12 targets (75% completion rate) in coverage for 118 receiving yards, a touchdown, an interception, and an NFL passer rating of 98.6—while committing one penalty in coverage.
However, his two forced turnovers were critical for the Colts and may have propelled their convincing victory over the Raiders—before it got further out of hand late.
Per PFF, for his outstanding efforts on Sunday, Moore received a +89.8 defensive grade overall—including a +93.0 coverage grade. It’s worth noting that Moore has the highest coverage grade of any PFF cornerback over the past two weeks.
Meanwhile, 2nd-year cornerback Rock Ya-Sin had a much more unheralded performance for the Colts—as there were no jaw-dropping interceptions or game-clinching forced fumbles.
Rather, Ya-Sin had two pivotal third-and-goal stops to force field goals, not touchdowns, on consecutive Raiders’ offensive drives to begin the 3rd quarter—including a pass disruption that was incomplete to Raiders’ wideout Nelson Agholor in the end zone and a touchdown-saving tackle on Agholor a drive later at the Colts’ 5-yard line:
While those plays weren’t sexy—and certainly won’t show up on Sportscenter anytime soon, they were big plays by Ya-Sin for the Colts, as it limited the Raiders to just 6 points, not 14 points—which further dictated how the game would be played, clearly in the Colts’ favor.
On the afternoon, Ya-Sin finished with 4 tackles (4 solo) and a pass defensed. Per PFF, he had two stops and was targeted 3 times in coverage, allowing 2 receptions (66% completion rate) for 8 receiving yards and an NFL passer rating of just 70.1.
During Sunday’s big win, Ya-Sin finished with a +87.2 overall defensive grade—which was highlighted by a +88.4 coverage and +77.8 tackling grade respectively.
Even though the young cornerback has taken some lumps recently this season, Ya-Sin has placed himself in good positions in coverage—he’s just been too grabby when he doesn’t need to be.
On Sunday, Colts fans saw firsthand what happens when Ya-Sin simply covers receivers straight up, still plays physical (but not unnecessarily), and just trusts his talent, instincts, and abilities—demonstrating sound coverage and tackling.

domain: sports


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These are the kind of meals I grew up on: meat, starch, veggie. And now I know why-they are satisfying and easy!
Honey Butter Pork Chops
- 4 tbsp butter, melted
- 2 tbsp honey
- 1.5 lbs pork tenderloin, trimmed or equivalent pork chops
- 1/2 tsp Cajun seasoning
- 1/2 tsp black pepper
- 3/4 cup water
- Mix together marinade ingredients: water, seasoning, pepper, butter, and honey.
- Marinate the tenderloin or chops for a minimum of 30 minutes.
- Grill pork over medium heat until internal temperature reads 145 degrees. Let meat rest 10 minutes before serving.

domain: food


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Local DAR Group to Celebrate Constitution Week
The members of the Prairie State Chapter NSDAR will have a very busy month in September. On Sept. 5 at 2:30, they will be at Trinity Lutheran School to observe some very important dates and events of this great country of ours.
On Sept. 2 the U.S. Treasury was established, 230 years ago. VJ Day, the formal surrender of Japan, ending World War II, was 74 years ago. On Sept. 5 the first session of Continental Congress was held, 245 years ago. On Sept. 9 Congress renamed the nation the United States of America, 243 years ago. Sept. 11 marks the 18th anniversary of the attack on the Twin Towers.
DAR members will celebrate Constitution Week from Sept. 17 through 24 with a program at the Carillon on Sept. 17 at 2:30 “Bells Across America.”
Sept. 18 Marks the founding of the Air Force in 1947. We will celebrate its 72nd birthday, and on Sept. 20 is POW-MIA Day, remembering the men who gave so much for our country.
Sept. 26 will be the first meeting for the 2019-2020 year for the Chapter. The group will meet at Jerry’s Grill at 11:30 and the program will include Tammy Stevens, Patriot James Gaston and the children’s book written by Tammy. The public is invited to attend all the programs. For more information call Ann at 618-267-8164 or Crystal at 618-545-3582.
Dates to remember are Sept. 5 at Trinity at 2:30, Sept. 11 at Fairview Park, Sept. 17 at the Carillon at 2:30, and Sept. 26 for the meeting at Jerry’s Grill at 11:30.

domain: history


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Iranian President Mahmoud Ahmadinejad gave no sign of movement ahead of Friday's U.N. Security Council deadline for Iran to suspend uranium enrichment. In a speech Thursday, the president even appeared to challenge the council to impose sanctions on Iran for its defiance.
"Did you imagine that you can impose anything on the Iranian nation or force it to retreat from its rights by frowning at us or by issuing resolutions?" Ahmadinejad told a crowd of thousands in western Iran. "You still don't know the power of the Iranian nation."
On the other side of the looming showdown, U.S. Secretary of State Condoleezza Rice urged the Security Council to take a tough line on Iran for its refusal to back down on enrichment, a process that a process that can produce fuel for power generators or material for nuclear bombs.
"In order to be credible, the Security Council of course has to act," Rice told reporters at a NATO foreign ministers' meeting in Sofia, Bulgaria, on Thursday.
"The Security Council is the primary and most important institution for the maintenance of peace and stability and security, and it cannot have its will and its word simply ignored by a member state," Rice said.
In his televised speech, Ahmadinejad made light of the prospect of the Security Council's taking steps against Iran for continuing to enrich uranium. The United States, France and Britain have said that if Iran flouts the council's ultimatum to cease enrichment by Friday, they will seek to make the demand compulsory.
"They must know that the Iranian nation will not give in one iota to oppression," Ahmadinejad said.
"The Iranian nation has acquired nuclear fuel production technology. It didn't get assistance from anybody and nobody can take it back," Ahmadinejad said.
He warned that the United States and its allies would regret it if they took steps that "violated" Iran's rights, reports AP.
Russian President Vladimir Putin has refused to go to the 77th UN General Assembly in September

domain: news


Future Market Insights (FMI), in its latest study on the backflow preventers market, offers a detailed value analysis of the backflow preventers market on the basis of various segments such as product type, material type, end use, and region.
By product type, the atmospheric vacuum breakers segment is projected to be a prominent segment in terms of unit sales. However, with respect to market size, the reduced pressure zones segment is expected to be a prominent segment in the global backflow preventers market. From a macroeconomic point of view, a positive outlook for the residential and commercial construction industry will create substantial opportunities for participants in the backflow preventers market across the globe.
The backflow preventers market report covers the market analysis through basis point analysis (BPS), incremental dollar opportunity index, market attractiveness analysis, and Y-o-Y growth. The market analysis for the backflow preventers market value has been considered in US $ million and market volume in ‘000 units, covering data for the historical period 2014–2018 and forecast period 2019–2029, with 2018 as the base year.
An Overview of the Backflow Preventers Market Report Chapters
This global backflow preventers market report consists of around 19 sections that elaborate on market numbers in terms of volume in ‘000 units and value in US$ at regional and global levels. The backflow preventers market report begins with an executive summary covering a gist of the report. The executive summary highlights the global backflow preventers market overview in terms of value through various segments. This section also includes an overview of the key supply- and demand-side trends in the global backflow preventers market, with analysis and recommendations from FMI’s point of view. The next section covers the global backflow preventers market introduction, including the taxonomy by different segments covered in the study; key success factors to the market; and definitions of the segments considered in the global backflow preventers market.
In the next section, we have included market viewpoints that include macroeconomic factors, forecast factors, and value chain analysis, along some qualitative data with reference to the global backflow preventers market. This section also covers the market dynamics, which includes several drivers responsible for the growth of the backflow preventers market, restraining factors, opportunities in the market, and trends with respect to global as well as regional markets.
For any queries linked with the report, ask an [email protected]https://www.futuremarketinsights.com/ask-question/rep-gb-7412
The next section of the global backflow preventers market report includes qualitative and quantitative analysis of the backflow preventers market by every segment considered. The report also includes an additional section with detailed analysis of the market for three emerging countries – China, India, and Australia.
This backflow preventers market report focuses on analysing the market opportunities, and getting a detailed understanding of the backflow preventers market. The report elaborates on the regional analysis, market dynamics, market intensity, market structure, and competition landscape of the backflow preventers market for the next ten years, i.e. 2019-2029.
Each section of the backflow preventers market report includes a qualitative and quantitative assessment of the market on the basis of historical data or developments and facts, and key opinions collected from various end-use industry participants through primary interviews, annual reports, newsletters, press releases, etc.
The report studies some of the major players in the backflow preventers market, such as Watts Water Technologies Company, Emerson Electric Co., Honeywell International, Zurn Industries LLC, TALIS Management Holding GmbH, EnviroFALK GmbH, Conbraco Industries Inc. Caleffi S.p.a. Hans Sasserath GmbH & Co. KG Gebr Kemper UK & Ireland Ltd, Beulco Gmbh & Co. Kg, and W.W. Grainger, Inc.
Backflow Preventers Market: Segmentation
By Product Type
- Atmospheric Vacuum Breakers
- Pressure Vacuum Breakers
By Material Type
- Stainless Steel
- Ductile Iron
Backflow Preventers Market: Research Methodology
The initial stage of the research study includes the formulation of assumptions, which are necessary for primary and secondary research. Further stages of research involved the triangulation of the data collected from these two approaches. To analyse the global backflow preventers market trends and opportunities for backflow prevention device providers, the market has been segmented on the basis of product type, material type, end use, and region.
For the analysis of service instances, we have considered FY 2018 as the base year. Basic data was collected from manufacturers’ annual reports, newsletters, public reports published by government, valve manufacturing organisations, private agencies, World Bank sources, etc. For final analysis of the market data, we considered demand-side as well as supply-side drivers and trends in various regional markets. We have forecasted the market data on the basis of key developments, regional trends, and production-consumption scenario of the backflow preventers market. For forecasting the market data, we have considered historic data for the period of 2014-2018.
Future Market Insights (FMI) is a leading provider of market intelligence and consulting services, serving clients in over 150 countries. FMI is headquartered in Dubai, the global financial capital, and has delivery centers in the U.S. and India. FMI’s latest market research reports and industry analysis help businesses navigate challenges and make critical decisions with confidence and clarity amidst breakneck competition. Our customized and syndicated market research reports deliver actionable insights that drive sustainable growth. A team of expert-led analysts at FMI continuously tracks emerging trends and events in a broad range of industries to ensure that our clients prepare for the evolving needs of their consumers.
Mr. Abhishek Budholiya
Unit No: AU-01-H Gold Tower (AU), Plot No: JLT-PH1-I3A,
Jumeirah Lakes Towers, Dubai,
United Arab Emirates
MARKET ACCESS DMCC Initiative
For Sales Enquiries: [email protected]
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The facility comprises approximately 150,700 square feet of production, warehouse, service and R&D space in addition to approximately 27,600 sq-ft for offices. ExOne is consolidating its five existing leased facilities in Augsburg, which currently occupy an aggregate of approximately 77,500 sq-ft, into its new facility. The move is intended to provide expansion capacity to support the company's global growth strategy.
"We are beginning to transition our activities, which include production, warehousing, a production service center, an R&D lab, as well as our European headquarters into our new location, and we expect to have completed our move through November," said Rainer Hoechsmann, chief development officer and general manager of ExOne GmbH. "We are proud to dedicate our state-of-the-art facility as the 'S. Kent Rockwell' 3D Printing Innovation Center' in honor of the leadership and significant financial support that Kent Rockwell has made in ExOne and its innovations in 3D binder jetting technology." Rockwell has been the leading executive of ExOne since his affiliated company purchased it in 2007, and guided the company through its initial public offering in February 2013.
In June, ExOne announced the planned August 1, 2014 opening of a new combined Production Service Center (PSC) and Machine Sales Center in the Lombardy region of Italy. Said Omar, most recently ExOne's European sales director, will be ExOne Italy's managing director.
The location, consisting of an approximately 3,300 square-foot leased facility, was selected due to its close proximity to foundries and operations supporting the aviation, automotive and other industries around Milan, Torino and Venetia. ExOne Italy's PSC will initially operate with one each of the company's S-Max and S-Print 3D printing machines. The company's largest capacity machine, the S-Max, prints sand molds and cores in a build box of 1.8 meters x 1 meter x 0.7 meters with a job box production time of about 24 hours. The mid-sized S-Print machine prints objects using silica sand or ceramic.
ExOne also provides 3D metal printing, and in May of this year the company's Material Applications Laboratory (ExMAL), qualified Inconel alloy 625, a nickel-based alloy. This material represented ExOne's first single metal alloy for 3D printing industrial applications at more than 99% density, utilizing its binder jetting technology.
Inconel alloy 625 is commonly used for components in the aerospace, chemical and energy markets, with applications including gas turbine blades, filtration and separation, heat exchanger and molding processes. The metal is desirable due to its oxidation and corrosion-resistant qualities, able to retain its strength even when subjected to extreme environments such as high pressure of wide temperature ranges. Inconel alloy 625 has been qualified for use on ExOne's M-Flex and X1-Lab 3D printing machines. The company began commercializing Inconel alloy 625 in June.
Rick Lucas, ExOne's chief technology officer, commented, "Our qualification of the more than 99% dense Inconel ally 625 further validates ExOne's binder jetting technology as a cost-effective 3D printing industrial solution. Our machines provide higher volumetric output per unit of time compared with other metal 3D printing technologies, and greater flexibility for simultaneously printing multiple parts. We believe that the ability to directly print highly dense metal components increases our competitive edge with both subtractive manufacturers and other metal 3D printing technologies."
In addition to a PSC in Japan and the newest one in Italy, ExOne has five PSC facilities in the United States (Huntington, PA; Auburn, WA; Troy, MI; Houston, TX; and Las Vegas, NV) Germany, Japan and Italy. According to company information, ExOne plans to have a total of 15 PSC's globally by the end of 2015. ExOne builds 3D printing machines at its facilities in the U.S. and Germany, and also supplies the associated materials, including consumables and replacement parts, and other services, including training and technical support necessary for purchasers of its machines to print products.


Over the last few decades, as wild orca research has expanded, researchers have described different forms or types of orcas.
Known as ecotypes, these distinct types of orcas differ in size, appearance, prey preferences, foraging techniques, dialects, behaviours, and social groups. Their ranges often overlap, but they are also genetically distinct – they don’t appear to interbreed, and rarely interact with other ecotypes.
Resident orcas are fish-specialists, named so because they tend to have small home ranges around areas of large fish populations. Residents are found on both sides of the North Pacific; the Northern and Southern communities almost exclusively eat salmon, while Residents in Alaska appear to be more generalist in their fish preference, eating multiple fish species including salmon, mackerel, halibut and cod. Research by the Far East Russia Orca Project (FEROP) has shown that fish-eating orcas off the coasts of Russia and Japan prefer salmon and mackerel. Resident orcas live in family groups within larger communities, divided by matrilines and pods, and offspring live with their mother for their entire lives. These communities are genetically and acoustically distinct from each other, and each has unique traits specific to their group, like the beach-rubbing behaviour of the Northern Residents.
Another North Pacific ecotype is Bigg’s, or transient, orcas. These are mammal-eating orcas, and like Residents, different communities of Bigg’s orcas specialize on different prey – from harbour seals to minke whales to gray whale calves. They live in small groups and travel frequently over large home ranges, from Southern California up to the Arctic Circle. Also very family-oriented, Bigg’s orcas live in smaller groups but form close associations with their relatives, and some offspring stay with their mother for life. Transient orcas have been recorded by FEROP in the Western North Pacific, and populations on both sides of the Pacific carry high loads of contaminants. As top predators, these mammal-eating orcas accumulate pollutants that are transferred through the food web and end up stored in the blubber of these whales.
The third ecotype found in the North Pacific, little is known about the elusive Offshore orcas, as they live far from land – mainly over the outer continental shelf - and are rarely encountered. Their large range stretches from Southern California to the Bering Sea, and their social structure and prey preferences are still unknown. They are usually seen in large groups with more than 50 individuals, and have been seen preying on both fish and sharks. The teeth of Offshore orcas are often worn down, indicating that they’re eating things with rough skin (like sharks). They are the smallest of the three North Pacific ecotypes, and are more closely related to Residents than to Bigg’s orcas, though all three ecotypes are genetically distinct.
North Atlantic Type 1
These small orcas live in closely related pods and appear to be generalist eaters. They are known to feed on large runs of herring and mackerel around Norway, Iceland, and Scotland; and some have been seen feeding on seals as well. Like other orca ecotypes, different communities have different prey preferences and have different home ranges. Type 1 orcas off Norway have been observed using a carousel feeding technique, herding herring into dense balls, then slapping with their tails to stun the fish. Research on Type 1 orcas is ongoing, and photo-identification studies are gradually revealing the size and population structure of these orcas; they may be more divided into separate populations than previously thought.
North Atlantic Type 2
Type 2 orcas prey primarily on other whales and dolphins, particularly minke whales. These rarely-seen orcas are large, with distinctive back-sloping eye patches, and like other mammal-eating orcas, they are especially threatened by high contaminant loads. Similar to the different ecotypes in the Pacific, the prey specializations of Type 1 and Type 2 orcas are reflected in their teeth – Type 1 orcas have very worn teeth from feeding on fish, while Type 2s have larger and sharper teeth for hunting other mammals.
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Kit is Let It Snow by Little Rad Trio.
What fun photos and the idea with these big beads is very creative. Super stacking of the bg papers. The colors in this mini are perfect with your pics.
Great job using the patterned papers. I love the fun photos and the white space LO design.
What fun photos. Great use of white space in the LO. and I love the use of your wordart.


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Providence Recognized as All-American City for Reading Program
Providence was named an All-America City by the National Civic League on July 2nd based on its ambitious plan to ensure that more children are reading at grade level by the end of third grade. Providence's plan was submitted by a community coalition that included the city's Mayor Angel Taveras, Rhode Island Kids Count, Ready to Learn Providence (a program of the Providence Plan), the Rhode Island education commissioner and other key members of the educational and nonprofit community.
Providence was also named a PaceSetter by The Campaign for Grade-Level Reading. Mayor Taveras received the honor for Providence's exemplary leadership and innovation in addressing the vexing challenges that keep many low-income students from learning to read proficiently.

domain: library


text: Because of the severe weather last week across North Texas, your electric bill may be significantly higher than usual. Oil and gas attorney Chrysta Castañeda says the first thing you should do is turn off auto-pay options on your bill. She says this will give you time to contact your energy provider, understand what you owe along with how your bill is calculated, and protest it if you so choose. If the contract between providers and generation companies allows them to pass on the costs to the retail customer, the electric generation companies will pass it along. That’s a downside to a deregulated market.

domain: economics


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H2O USB Colourful Humidifier 2W
Roll over image to zoom in
Click to open expanded view
- Colourful Rainbow Light and Compact design.
- Continuous Mist up to 4 hours, Intermittent Mist up to 6 hours.
- Ideal for in the office or in the car
- Ultra-quiet Design
This Unit can be connected via:
- Phone charger
- Power Bank
- Laptop USB
- USB Cable


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My lovely wife got me a single action airbrush for Christmas, and with the cold weather I really hadn’t gotten a chance to use it yet (mostly because it was cold and my air compressor is in the garage). This weekend I had some time after I mowed the lawn so I got out the paints I had started collecting and took to learning using an airbrush. The last time I would have used one would have been high school art class which was quite a while ago so I was starting from “newbie”.
My first project was a Walthers 60-ft box car I’ve had a while, it wasn’t something I “needed” and has been a donor project for previous weathering attempts. Last time I tried using a rust colored paint marker and got decent results, but not great. I picked up some Rust paint and went to town on it. I was basing it on a prototype I’d seen at a scrap yard a couple years ago shortly before it was scrapped.
The real one was pretty rust and so is this one, there are still some angles that need some work (crevices that still have bright silver paint visible). My main observation was the airbrush made a much more realistic rust, it’s not perfect but looks pretty cool in person.
The next project was my pulpwood car I had built a while back, I was trying to match the image (link). When I was at the hobby store the paint I picked out seemed right but looks a little too purple, I’ll have to go back and look for more colors (open to suggestions too)
I also have some white paint that I was intending for the car shops flat project and weathering. Now that I’m a little more comfortable with the airbrush I can start on the DM&IR 11 project as soon as I can find the right paints.


Posted: Jun 23, 2012 6:01 PM
University of Arizona Wildcat junior Nick Ross, a high jumper for the men's track and field team, has advanced to the final of the men's high jump competition at the U.S. Olympic Trials. The meet is being held at Hayward Field in Eugene, Ore. The final day of competition is July 1. June 26-27 are "rest days" and will have no competition taking place.
Ross cleared 7-1.75 (2.18m) on his final attempt in the high jump, good for a ninth-place finish in the preliminary round and a spot in the final. The final will take place on June 25 at 5:50 p.m. MST.
Former Wildcat Zack Lloyd finished in 14th place in the preliminary round of the men's shot put. He had a toss of 60-7.25 (18.47m) on the day. Additionally, former Wildcat LaTisha Holden clocked a time of 15.07 in the women's 100-meter hurdles. She took seventh place in heat two and 21st overall.
Junior Georganne Moline will run in the preliminary round of the 400-meter hurdles on June 28 at 5:30 p.m. The semifinal is on June 29 at 3:20 and the final is at 4:02 on July 1. Volunteer assistant coach Jill Camarena-Williams, junior Alyssa Hasslen and Gibson are all set to compete in the women's shot put. The preliminary round is at 5:40 p.m. on June 28 and the final is on June 29 at 3:30 p.m. Junior Brigetta Barrett and Liz Patterson, a former Wildcat, are both set to compete in the high jump. The preliminary portion of the event will take place on June 28 at 5 p.m. MST. Should they finish in the top 12 and make the final, they will jump on June 30 at 5 p.m. MST.
Alumnus Nick Mossberg will compete in the men's pole vault, the preliminary round is on June 25 at 5:30 p.m. The men's pole vault final is on June 28 at 5:05 p.m. Freshman Jovon Cunningham has a pending mark in the men's triple jump; the preliminary round is set for 4:30 p.m. on June 28. The final for that event is at 4:40 p.m. on June 30. Volunteer assistant coach Bernard Lagat will run in the preliminary round of the men's 5,000m meters on June 25 at 7 p.m. The final for the 5K is at 7:38 p.m. on June 28.
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Authors: Y Lamarche, D Sirounis, JG Abel, M Gao, L Ding, SV Lichtenstein
Reference: Can J Cardiol 2011; 27(5) Supplement S196 - Abstract 374
BACKGROUND: Several risk scoring systems can help predict surgical mortality and complications in cardiac surgery. Those systems have not been designed and are not validated in pa-tients admitted to an Cardiac Surgical Intensive Care Unit (CSICU) immediately after surgery.
METHODS: The British Columbia Cardiac Surgery Registry was used to build a model to identify predictors of thirty-day mortality after adult cardiac surgery. From January 2000 to December 2009, preoperative and intraoperative data from 30 500 patients operated in four hospitals were used to build a multiple logistic regressionmodel. Sixty percent of the patients were used in the derivation group. Forty percent of the patients were used as a validation group. Type of procedure was forced into the model whereas all other variable with a P value <0.05 were integrated into the ﬁnal model.
RESULTS: Mortality occurred in 2.6% of patients (n = 790). Preoperative factors identiﬁed in the model as predictors of operative mortality were age, female gender, emergency status, pulmonary hypertension, peripheral vascular disease, renal dysfunction, diabetes, peptic ulcer disease, history of alcohol abuse
and refusal of blood products. Intraoperative risk factors included intraaortic balloon pump, ventricular assist device or ECMO leaving the operating room; presence of any intraoperative complication reported by the surgeon, the use of inotropes, high dose vasopressors, red blood cell transfusion and cardiopulmonary bypass time. When used after surgery, the model had C-statistics of 0.86 and 0.86 in the training and validation set, respectively.
CONCLUSION: Preoperative and intraoperative variables could be used at admission to a CSICU to calculate a severity score predicting the surgical mortality. The score is simple, easy to use and was highly predictive in that population. External validation in other settings will be necessary. The score could be used to describe the acuity of patients after cardiac surgery in further cardiac surgical intensive care studies.

domain: health


Hornsby Shire Council – Design and Construct CDS P1009 Unit 4/4 GPT Projects
Optimal Stormwater was selected by Hornsby Shire Council to design and construct a new stormwater treatment solution upstream of an ecologically sensitive creek at Pike Road, Hornsby Heights. The existing Humegard GPT was severely underperforming, and Optimal Stormwater was able to make use of the existing Humegard as the diversion chamber for the new CDS P1009 unit, making this the first recorded time that a Humegard has been converted into a CDS Unit.
The site was rectified with a neat solution providing upstream protection of the creek and bioretention system. The Lane Cove Council reference is Jacky Zheng 02 9911 3656.


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By our Smarty friends at the Charlotte Mecklenburg Library
“There’s more to our history than slavery, jazz, sports, and civil rights marches,” says Mr. Mital in NBA Kareem Abdul-Jabbar’s book “What Color is my World?”. Mr. Mital has a point, so this African American History Month let’s recognize and respect the miles these Americans have walked, while also celebrating their many successes.
Charlotte Mecklenburg Library offers programs to highlight and celebrate the contributions of these Americans, some of which are listed below. If you loved “The Hate U Give” by Angie Thomas or are waiting to read it with us for Community Read 2019 this March (we hope you are!), below are some titles written by African American authors that you might enjoy while you wait.
All American Boys by Jason Reynolds and Brendan Kiely
This 2016 Coretta Scott King Author Honor book and recipient of the Walter Dean Myers Award for Outstanding Children’s Literature is co-written by Jason Reynolds and Brendan Kiely. Reynolds writes from sixteen-year-old Rashad’s point of view, while Kiely takes on Quinn’s. Rashad is mistakenly accused of stealing and is assaulted by a white police officer, and Quinn witnessed the beating. This title represents two voices in a thought-provoking national conversation.
Brown Girl Dreaming by Jaqueline Woodson
In vivid poems Jacqueline Woodson shares what it was like to grow up as an African American in the 1960s and 1970s, living with the remnants of Jim Crow and the growth of the civil rights movement. Each poem is full of emotion and accessible, giving the reader a glimpse inside the soul of a child just searching for her place in the world.
Young, Gifted and Black by Jamia Wilson
You might recognize the title of this book from Nina Simone’s “To Be Young, Gifted and Black.” This title highlights 52 black activists, politicians, artists, writers, scientists, and entertainers from around the world. While primarily focused on 20th and 21st century subjects, this is a diverse tribute to black movers and shakers across the centuries.
Celebrating African American History Month
Join us on Saturday, February 9th from 2-3:30pm at the Hickory Grove Branch to hear Captain Carl Gamble, former United States Air Force pilot and Vietnam War veteran, share his story of living his dream of becoming a pilot.
U.S. Colored Troops Living History
Saturday, February 9, 2019 from 2 p.m. – 4 p.m., Independence Regional Library is hosting Maurice Johnson, active member of the 102nd U.S. Colored Troops, in a presentation and discussion of African American troops from the Revolutionary War to the Civil War and after.
Musical Storytime with Mother Minter
Monday, February 11, 2019 from 11 a.m. – 12 p.m., Hickory Grove Library is hosting Mother Minter for a special musical storytime to celebrate African American History Month. Engage your preschoolers with books, activities, stories and songs that encourage language and pre-reading skill development in order to help them grow into successful readers.
Exploring African American Artists
On Wednesday February 27, 2019 from 3:30 p.m. – 5 p.m. at Sugar Creek Library, come celebrate and explore African American History through literacy, activities, and art.

domain: literature


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Susiana is a photographer based in Sydney. She graduated with a Diploma from TAFE Sydney Institute of Photography and is currently focussing on interior and people photography. Susiana takes every project seriously and her aim is to photograph her subjects to look their best. She loves taking photos of people and their passions, she wants to capture the beautiful side of life. Although life is not always sunshine and happiness, life is hope. When we genuinely seek it we will find its true meaning.
Nikon D610; Nikon D90
Nikon 18-35mm f/3.5-4.5; Nikon 24-70mm f/2.8; Nikon 50mm f/1.4; Nikon 85mm f/1.8; Nikon 105mm f/2.8; Nikon 18-200mm f/3.5-5.6; Sigma 35mm f/1.4


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A wage dispute between Walmart and Southeast Washington D.C. has sparked a controversial debate throughout the country.
D.C. city officials approved a law that would require Walmart to pay its employees what they call a living wage that is above the minimum wage requirement. A familiar story for the city of Sarasota.
"When people look at the history of Walmart they look at the city of Sarasota because we are one of the first people to vote them out of here," former city commissioner Fred Atkins is referring to the referendum placed on the 2012 November ballot. It required companies who get more than 100- thousand dollars in government subsidies to pay their employees above minimum wage.
"They wanted to take advantage of our CRA,which is a community redevelopment area, A HUD zone which is a federal tax increments zone that gives them tax breaks, our enterprise zone which is a hole another set of tax breaks," added Atkins.
Because of all the incentives, Walmart was the focus of the referendum. And, after the measure passed the company opted not to build on the site located off 301 and MLK. A move many say cost the city more than 200 jobs but Atkins disagrees.
"Walmart is the new plantation owner and they are creating bills for all of the people of the United States. All of us have to pay for Walmart employees, we have to pay for their housing we have to pay for their insurance we have to pay for their medicare we have to pay for their everything because Walmart gives them minimum wage and less than a full time job," said Atkins.
According to payscale.com Walmart pays their employees 3 percent less than the market scale. Similar companies like CVS and Home Depot pay 1 percent less.
"I think they should pay more than minimum wage, look at the society today.. the housing is higher the food is higher," said a walmart shopper.
Another shopper agreed saying, "People have to support their family the big ceo should be the only one to receive a high pay check."
"when they come to a community they compete against any and every body in the area and then they absorb their employees."
In addition to the low wages Atkins says big box stores like Walmart tend to force smaller mom and pop shops out of business. "When they come to a community they compete against any and every body in the area and then they absorb their employees."
Despite all the negatives Walmart is a very popular store. Last year they made $15.7 billion in profits and many say forcing a corporation to pay more than minimum wage is a bad move.
Walmart has already decided not to go forward with 3 of the 6 sites they were going to build in the DC area. The company says the fate the remaining three stores is up in the air.


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Gop Chairman Springer's Claims Are Ungrounded; Authors Of Taft-Hartley Labor Bill In Disagreement
This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about
Roberts, J. C.
Dale, Lena Mohler
Muncie Post-Democrat Newspaper
North and Central America
Ku Klux Klan (1915- )--Indiana--History
Further information on this record can be found at its source.