title: List of compositions by Frank Bridge

abstract: Below is a sortable list of compositions by Frank Bridge. The works are categorized by genre, Hindmarsh catalogue number (H.), date of composition and title. Revised references published in Frank Bridge: The Complete Works, 2016 are given in brackets [see below].

text:
# List of compositions by Frank Bridge

Below is a sortable **list of compositions by Frank Bridge**. The works are categorized by genre, Hindmarsh catalogue number (H.), date of composition and title. Revised references published in Frank Bridge: The Complete Works, 2016 are given in brackets \[see below\].

| Genre | H. | Date | Title | Scoring | Notes |
| --- | --- | --- | --- | --- | --- |
| Chamber music | 1 | 1900 | Piano Trio No.1 in D minor | for violin, cello and piano |  |
| Chamber music | 2 | 1900 | *Romance: Une Lamentatione d'amour* | for violin and piano |  |
| Chamber music | 3 | 1900 | String Quartet in B major | for 2 violins, viola and cello |  |
| Chamber music | 4 | 1900 | *3 Dances* 1. Adagio ben sostenuto e con tristezza (D minor) 2. Allegretto (D major) 3. Moto perpetuo (D minor) | for violin or cello and piano | revised 1911 |
| Vocal | 5 | 1901 | *Sonnet: When Most I Wink* | for voice and piano | words: *Sonnet 43* by William Shakespeare |
| Chamber music | 6 | 1901 | *Scherzo Phantastick* | for 2 violins, viola and cello |  |
| Chamber music | 7 | 1901 | String Quintet in E minor | for 2 violins, 2 violas and cello |  |
| Chamber music | 8 | 1901 | *Berceuse* in B major | for violin or cello and piano |  |
| Concertante | 8 | 1901 | *Berceuse* in B major | for violin and string orchestra | original for violin or cello and piano |
| Orchestral | 8 | 1901 | *Berceuse* in B major | for small orchestra | original version for violin or cello and piano |
| Piano | 8 | 1901 | *Berceuse* in B major | for piano | original version for violin or cello and piano; published in 1929 |
| Vocal | 9 | 1901 | *Berceuse* | for soprano and orchestra | words by Dorothy Wordsworth |
| Orchestral | 10 | 1901 | *Coronation March* | for orchestra | written for a competition celebrating the new King Edward VII |
| Organ | 11 | *c.*1901 | *Adagio ma non troppo* in G minor | for organ |  |
| Vocal | 12 | *c.*1901 | *If I Could Choose* | for voice and piano | words by Thomas Ashe |
| Vocal | 13 | *c.*1901 | *The Primrose* | for voice and piano | words by James Merrick |
| Vocal | 14 | 1902 | *The Hag* | for baritone and orchestra | words by James Merrick |
| Chamber music | 15 | 1902 | Piano Quartet in C minor | for violin, viola, cello and piano |  |
| Piano | 16 | 1902 | *Pensées Fugitives I* in F minor | for piano | Only the first of the intended *Pensées Fugitives* was actually completed; published by Thames Publishing |
| Orchestral | 17 | 1902 | *Valse Intermezzo à Cordes* in E minor | for string orchestra |  |
| Orchestral | 18 | 1901–1902 | *Trois Morceaux d'orchestre* (3 Pieces for Orchestra) 1. Chant de tristesse 2. Chant d'espérance 3. Chant de gaieté | for small orchestra |  |
| Chamber music | 19 | *c.*1902 | *Scherzetto* | for cello and piano (or orchestra) |  |
| Chamber music | 19a | *c.*1902 | *Scherzo* | for cello and piano | revised version of H.19 |
| Piano | 20 | 1902 | *Scherzettino* in G minor | for piano | published by Thames Publishing |
| Vocal | 21 | 1903 | *A Dirge* | for medium voice and piano | words by Percy Bysshe Shelley |
| Chamber music | 22 | 1903 | *Con Moto* | for violin and piano |  |
| Chamber music | 23 | 1903 | *Serenade* | for violin or cello and piano |  |
| Orchestral | 23 | 1903 | *Serenade* | for orchestra | original version for violin or cello and piano |
| Piano | 23 | 1903 | *Serenade* | for piano | original version for violin or cello and piano |
| Orchestral | \[24\] | 1903 | *Dramatic Overture* | for orchestra |  |
| Choral | \[25\] | 1903 | *Autumn* | for mixed chorus a cappella | words by Percy Bysshe Shelley |
| Vocal | \[26\] | 1903 | *The Devon Maid* | for medium voice and piano | words by John Keats |
| Vocal | \[27\] | 1903 | *Rising When the Dawn Still Faint Is* | for voice and piano | words by Heinrich Heine |
| Vocal | \[27a\] | 1903 | *Dawn and Evening* | for voice and piano or orchestra | words by Heinrich Heine |
| Vocal | \[28\] | 1903 | *2 Songs after Heine* 1. Where E'er My Bitter Teardrops Fall 2. E'en as a Lovely Flower | for tenor and piano |

2. also for tenor and small orchestra |
| Vocal | 28c | *c.*1903 | *The Mountain Voice* | for voice and piano | words by Heinrich Heine; incomplete |
| Piano | 29 | 1903 | *Moderato* in E minor | for piano | published by Thames Publishing |
| Orchestral | 30 | 1903 | *Mid of the Night*, Symphonic Poem | for orchestra |  |
| Vocal | 31 | 1903 | *Music When Soft Voices Die* | for high voice and piano | words by Percy Bysshe Shelley |
| Chamber music | 32 | 1903 | *Tempo di Mazurka* | for cello and piano |  |
| Vocal | 33 | 1903 | *Blow, Blow Thou Winter Wind* | for medium voice and piano | words by William Shakespeare |
| Vocal | 34 | 1903 | *Go Not, Happy Day* | for voice and piano | words by Alfred, Lord Tennyson |
| Vocal | \[35\] | *c.*1903 | *Remembrance* | for voice and piano | words by Percy Bysshe Shelley |
| Vocal | 36 | 1904 | *Night Lies on the Silent Highways* | for medium voice and piano | words by Heinrich Heine |
| Choral | 37 | 1904 | *Music When Soft Voices Die* | for mixed chorus a cappella | words by Percy Bysshe Shelley |
| Vocal | 38 | 1904 | *A Dead Violet* | for medium voice and piano | words by Percy Bysshe Shelley |
| Chamber music | 39 | 1904 | Sonata in E major | for violin and piano |  |
| Vocal | 40 | 1904 | *2 Songs* 1. Fall Now Cold My Thoughts 2. Fly Home My Thoughts | for voice and orchestra |  |
| Vocal | 41 | *c.*1904 | *Harebell and Pansy* | for voice and orchestra | incomplete |
| Vocal | 42 | 1904 | *Song Cycle* 1. Love 2. Life 3. Death | for voice and piano |

3. incomplete |
| Chamber music | 43 | 1904 | *3 Pieces* | for 2 violins, viola and cello |  |
| Chamber music | 44 | 1904 | *3 Novelletten* | for 2 violins, viola and cello |  |
| Chamber music | 45 | 1904 | *Romanze* | for violin and piano |  |
| Vocal | 46 | *c.*1904 | *Cradle Song* | for voice and piano | words by Alfred, Lord Tennyson |
| Chamber music | 47 | 1904 | *Élégie* | for cello and piano |  |
| Chamber music | 48 | 1904 | *Souvenir* | for violin and piano |  |
| Chamber music | 49 | 1904–1905 | Piano Quintet in D minor | for 2 violins, viola, cello and piano | original version in 4 movements |
| Chamber music | 49a | 1904–1905
1912 | Piano Quintet in D minor | for 2 violins, viola, cello and piano | revised version in 3 movements |
| Vocal | 50 | 1905 | *Lean Close Thy Cheek against My Cheek* | for voice and piano | words by Heinrich Heine |
| Vocal | 51 | 1905 | *Fair Daffodils* | for voice and piano | words by James Merrick |
| Piano | 52 | 1905 | *Capriccio No. 1* in A minor | for piano | published by Augener |
| Chamber music | 53 | 1905 | *2 Pieces* 1. Pensiero (F minor) 2. Allegretto (A major) | for viola and piano |

2. incomplete; The coda was completed by Paul Hindmarsh in 1980. |
| Piano | 54 | 1905 | *2 Solos for Piano* 1. A Sea Idyll (E major) 2. Capriccio No. 2 (F minor) | for piano | published by Houghton and Co. |
| Chamber music | 55 | 1905 | *Phantasie String Quartet* in F minor | for 2 violins, viola and cello | won second prize in the 1905 Cobbett Chamber Music Competition |
| Organ | 56 | 1905 | *First Book of Organ Pieces* 1. Allegretto grazioso (A major) 2. Allegro comodo (B major) 3. Allegro marziale e ben marcato (D major) | for organ | published by Winthrop Rogers |
| Vocal | 57 | 1905 | *Adoration* | for medium voice and piano or orchestra | words by John Keats |
| Piano | 58 | 1905 | *Étude Rhapsodique* in A minor | for piano | published by Thames Publishing |
| Chamber music | 59 | 1905 | *Amaryllis* in D major | for violin and piano |  |
| Chamber music | 60 | 1905 | *Norse Legend* in G minor | for violin and piano |  |
| Piano | 60 | 1905 | *Norse Legend* in G minor | for piano | original version for violin and piano |
| Orchestral | 60 | 1905, 1938 | *Norse Legend* in G minor | for small orchestra | original version for violin and piano |
| Vocal | 61 | 1905 | *So Perverse* | for medium voice and piano | words by Robert Bridges |
| Vocal | 62 | 1905 | *Tears, Idle Tears* | for medium voice and piano | words by Alfred, Lord Tennyson |
| Organ | 63 | 1905 | *3 Pieces for Organ* 1. Andante moderato (C minor) 2. Adagio (E major) 3. Allegro con spirito (B major) | for organ | published by Novello |
| Chamber music | 64 | *c.*1905 | *3 Pieces for String Quartet* | for 2 violins, viola and cello |  |
| Vocal | 65 | 1905–1906 | *2 Songs of Robert Bridges* 1. I Praise the Tender Flower 2. Thou Didst Delight My Eyes | for high baritone and orchestra | words by Robert Bridges |
| Piano | 66 | 1906 | *Dramatic Fantasia* | for piano | published by Thames Publishing |
| Chamber music | 67 | 1906 | *3 Idylls* | for 2 violins, viola and cello | movement 2 used as the theme of *Variations on a Theme of Frank Bridge* by Benjamin Britten |
| Piano | 68 | 1906 | *3 Sketches* 1. April 2. Rosemary 3. Valse Capricieuse | for piano | published by Winthrop Rogers |
| Orchestral | 68b | 1906, 1936 | *Rosemary* | for orchestra | orchestration of No. 2 of *3 Sketches* for piano, H.68 |
| Vocal | 69 | 1906 | *The Violets Blue* | for voice and piano or string quartet | words by Heinrich Heine |
| Chamber music | 70 | 1906 | String Quartet No. 1 in E minor | for 2 violins, viola and cello |  |
| Vocal | 71 | 1906 | *Come to Me in My Dreams* | for voice and piano | words by Matthew Arnold |
| Vocal | 72 | 1906 | *My Pent Up Tears Oppress My Brain* | for voice and piano |  |
| Vocal | \[73\] | *c.*1906 | *2 Recitations* 1. The Lovers' Quarrell 2. The Maniac | for speaker and piano |
1. words by Robert Browning
2. words by Matthew Gregory Lewis |
| Chamber music | 74 | 1906 | *The Rag* | for 2 violins, viola and cello |  |
| Chamber music | 75 | *c.*1904–1906 | *Valse Fernholt* | for violin, viola, cello and piano |  |
| Vocal | 76 | 1906–1907 | *3 Songs* 1. Far, Far from Each Other 2. Where Is It That Our Soul Doth Go? 3. Music When Soft Voices Die | for medium voice, viola obbligato and piano |
1. words by Matthew Arnold
2. words by Heinrich Heine
3. words by Percy Bysshe Shelley |
| Vocal | 77 | 1907 | *All Things That We Clasp* | for voice and piano | words by Heinrich Heine |
| Orchestral | 78 | 1907 | *Isabella*, Symphonic Poem | for orchestra | after John Keats |
| Chamber music | 79 | 1907 | *Phantasie Piano Trio* in C minor | for violin, cello and piano | won first prize in the 1908 Cobbett Chamber Music Competition |
| Chamber music | 80 | 1907 | *Gondoliera* in E minor | for violin and piano |  |
| Vocal | 81 | 1907 | *Love Is a Rose* | for voice and piano | words by Leah Durand |
| Chamber music | 82 | *c.*1907–1908 | *Allegro Appassionato* in B minor | for viola and piano |  |
| Chamber music | 83 | *c.*1907–1908 | *Morceau Characteristique* | for violin and piano |  |
| Orchestral | 84 | 1908 | *Dance Rhapsody* | for orchestra |  |
| Vocal | 85 | 1908 | *Dear, When I Look into Thine Eyes* | for voice and piano | words by Heinrich Heine |
| Chamber music | 86 | 1908 | *An Irish Melody* | for 2 violins, viola and cello | movement I from *Suite on Londonderry Air* for string quartet, co-composed with Hamilton Harty, J. D. Davis, Eric Coates and York Bowen |
| Orchestral | 86a | 1908, 1938 | *An Irish Melody* | for orchestra | original version for string quartet; based on *The Londonderry Air* |
| Chamber music | 87 | *c.*1908 | *3 Miniatures for Piano Trio, Set 1* 1. Minuet 2. Gavotte 3. Allegretto con moto | for violin, cello and piano |  |
| Chamber music | 88 | *c.*1908 | *3 Miniatures for Piano Trio, Set 2* 1. Romance 2. Intermezzo 3. Salterello | for violin, cello and piano |  |
| Chamber music | 89 | *c.*1908 | *3 Miniatures for Piano Trio, Set 3* 1. Valse Russe 2. Hornpipe 3. March Militaire | for violin, cello and piano |  |
| Piano | 90 | *c.*1906–1908 | *?* | for piano | "untitled" work |
| Choral | 91 | 1909 | *Hilli-Ho! Hilli-Ho!* | for mixed chorus a cappella | words by Thomas Moore |
| Choral | 92 | 1909 | *O Weary Hearts* | for mixed chorus a cappella | words by Henry Wadsworth Longfellow |
| Orchestral | 93 | 1909–1910 | *Suite* 1. Prelude 2. Intermezzo 3. Nocturne 4. Finale | for string orchestra |  |
| Chamber music | 94 | 1910 | *Phantasie Piano Quartet* in F minor | for violin, viola, cello and piano |  |
| Incidental | 95 | 1910 | *The Two Hunchbacks: 5 Entr'actes* |  | incidental music for the play by Émile Cammaerts |
| Chamber music | 96 | 1910 | *Cradle Song* in F major | for violin or cello and piano |  |
| Orchestral | 97 | 1911 | *Coronation March (Animo et Fide)* | for orchestra | written for a competition celebrating the new King George V |
| Incidental | 98 | 1911 | *The Pageant of London* | for military band and male chorus | incidental music for the Festival of Empire |
| Chamber music | 99 | 1911 | *Mélodie* in C minor | for cello or violin and piano |  |
| Orchestral | 100 | 1910–1911 | *The Sea*, Suite 1. Seascape 2. Sea Foam 3. Moonlight 4. Storm | for orchestra |  |
| Chamber music | 101 | 1911–1912 | *2 Pieces* 1. Caprice (D major) 2. Lament (C minor) | for 2 violas |
1. incomplete
 |
| Vocal | 102 | 1912 | *Isobel* | for voice and piano | words by Digby Goddard-Fenwick |
| Vocal | 103 | *c.*1912 | *Easter Hymn (Ein frölicher Gesang)* | for voice and piano | 17th century German Hymn arrangement |
| Choral | 103 | *c.*1912 | *Easter Hymn (Ein frölicher Gesang)* | for mixed chorus | original for voice and piano |
| Chamber music | 104 | *c.*1912 | *4 Short Pieces* 1. Meditation (C major) 2. Spring Song (G major) 3. Lullaby (D major) 4. Country Dance (B major) | for violin or cello and piano |  |
| Vocal | 105 | *c.*1912 | *O That It Were So* | for voice and piano or orchestra | words by Walter Savage Landor |
| Organ | 106 |
*c.*1901
1912
*c.*1901 | *Second Book of Organ Pieces* 1. Andante con moto (D major) 2. Andantino (F minor) 3. Allegro ben moderato (B minor) | for organ | originally published in *The Organ Loft*, Books 100 (December 1913), 103 (March 1914), and 105 (May 1914) |
| Chamber music | 107 | 1906–1912 | String Sextet in E major | for 2 violins, 2 violas and 2 cellos |  |
| Piano | 108 |
1901, 1912
1912
1912 | *3 Pieces* 1. Columbine 2. Minuet 3. Romance | for piano | published by Augener |
| Vocal | 109 | 1913 | *Strew No More Red Roses* | for voice and piano | words by Matthew Arnold |
| Choral | 110 | 1913 | *The Bee* | for mixed chorus a cappella |  |
| Orchestral | 111 | 1913 | *Dance Poem* | for orchestra |  |
| Piano | 112 | 1913–1914
1913
1914
1914
1914 | *4 Characteristic Pieces* 1. Solitude 2. Ecstasy 3. Sunset 4. Arabesque | for piano | published by Winthrop Rogers. First three published as *3 Poems* with Arabesque published separately. |
| Vocal | 113 | 1914 | *Where She Lies Asleep* | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
| Vocal | 114 | 1914 | *Love Went A-Riding* | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
| Chamber music | 115 | 1914–1915 | String Quartet No. 2 in G Minor | for 2 violins, viola and cello |  |
| Orchestral | 116 | 1914–1915 | *Summer*, Symphonic Poem | for orchestra |  |
| Orchestral | 117 | 1915 | *Lament (for Catherine, aged 9 "Lusitania" 1915)* | for string orchestra | also a version for piano; commemorating the sinking of RMS Lusitania |
| Piano | 117 | 1915 | *Lament for Catherine* | for piano | original for string orchestra; commemorating the sinking of RMS Lusitania |
| Brass Band | 117 | 1915 | *Lament for Catherine* | for brass band (arr. Hindmarsh) | original for string orchestra; commemorating the sinking of RMS Lusitania |
| Orchestral | 118 | 1915 | *2 Poems after Richard Jefferies* 1. The Open Air - Andante moderato e semplice 2. The Story of My Heart - Allegro con brio | for orchestra |  |
| Chamber music | 119 | 1916 | *2 Old English Songs* 1. Sally in Our Alley 2. Cherry Ripe | for 2 violins, viola and cello |  |
| Orchestral | 119 | 1916 | *2 Old English Songs* 1. Sally in Our Alley 2. Cherry Ripe | for string orchestra | original version for 2 violins, viola and cello |
| Piano | 119 | 1916 | *2 Old English Songs* 1. Sally in Our Alley 2. Cherry Ripe | for piano 4-hands | original version for 2 violins, viola and cello |
| Choral | 120 | 1916 | *Lullaby* | for female chorus and piano or string orchestra | words by Veronica Mason |
| Choral | 121 | 1916 | *The Graceful Swaying Wattle* | for 2-part chorus and piano or string orchestra | words by Veronica Mason |
| Choral | 122 | 1916 | *For God and King and Right* | for unison chorus and piano or orchestra | words by Veronica Mason |
| Choral | 123 | 1916 | *Peter Piper* | for chorus of 3 equal voices a cappella | traditional words |
| Vocal | 124 | 1917 | *Thy Hand in Mine* | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
| Chamber music | 125 | 1913–1917 | Sonata in D minor | for cello and piano |  |
| Piano | 126 | 1917 | *4 Characteristic Pieces* 1. Water Nymphs 2. Fragrance 3. Bittersweet 4. Fireflies | for piano | published by Winthrop Rogers |
| Piano | 127 | 1917 | *3 Miniature Pastorals, Set 1* | for piano | published by Winthrop Rogers |
| Piano | 128 | 1917 | *Fairy Tale*, Suite 1. The Princess 2. The Ogre 3. The Spell 4. The Prince | for piano | published by Augener |
| Vocal | 129 | 1917 | *To You in France* | for voice and piano | words by Helen Dircks; incomplete |
| Vocal | 130 | 1918 | *So Early in the Morning, O* | for high voice and piano | words by James Stephens |
| Vocal | 131 | 1918 | *Mantle of Blue* | for voice and piano or orchestra | words by Padraic Colum |
| Vocal | 132 | 1918 | *Blow Out, You Bugles* | for tenor and orchestra, or piano with optional trumpet | words by Rupert Brooke |
| Chamber music | 133 | 1918 | *Morning Song* | for cello and piano |  |
| Piano | 134 | 1918 | *3 Improvisations* 1. At Dawn 2. A Vigil 3. A Revel | for piano left-hand | written for pianist Douglas Fox, who lost his right arm in World War I; published by Winthrop Rogers |
| Choral | 135 | 1918 | *A Litany* | for female chorus with organ ad libitum | words by Phineas Fletcher |
| Vocal | 136 | 1918 | *The Last Invocation* | for voice and piano | words by Walt Whitman |
| Choral | 137 | 1918 | *Sister, Awake* | for female chorus (sopranos) and piano | words by Thomas Bateson |
| Vocal | 138 | 1918 | *Lay a Garland on My Hearse* | for 2-part vocal canon with piano | words by Beaumont and Fletcher |
| Organ | 139 | 1918 | *Lento (In Memoriam C.H.H.P.)* | for organ | originally written for the funeral service of Hubert Parry; published by H.F.W. Deane and Sons (No. 7 of *The Little Organ Book*) |
| Choral | 140 | 1916, 1918 | *A Prayer* | for mixed chorus and orchestra | words by Thomas à Kempis |
| Vocal | 141 | 1918 | *3 Variations on "Cadet Rousselle"* | for voice and piano | collaboration with Arnold Bax, John Ireland and Eugene Goossens. Bridge composed verses 1, 3 and 6 of the 12-verse song. |
| Orchestral | 141 | 1918 | *3 Variations on "Cadet Rousselle"* | for orchestra | original version for voice and piano |
| Vocal | 142 | 1919 | *When You Are Old* | for high voice and piano | words by William Butler Yeats |
| Vocal | 143 | 1919 | *Into Her Keeping* | for voice and piano | words by Henry Dawson Lowry |
| Choral | 144 | 1919 | *Lantido Dilly* | for female chorus and piano | anonymous words (17th century) |
| Vocal | 145 | 1919 | *What Shall I Your True Love tell?* | for voice and piano | words by Francis Thompson |
| Vocal | 146 | 1919 | *'Tis But a Week* | for voice and piano | words by Gerald Gould |
| Piano | 147 | *c.*1919 | *The Turtle's Retort*, One-step | for piano | originally published by Winthrop Rogers under the pseudonym John L. More |
| Piano | 148 | 1919–1920 | *The Hour Glass*, Suite 1. Dusk 2. The Dew Fairy 3. The Midnight Tide | for piano | published by Augener |
| Piano | 149 | 1921 | *3 Miniature Pastorals, Set 2* | for piano |  |
| Piano | 150 | 1921 | *3 Miniature Pastorals, Set 3* | for piano |  |
| Piano |  | 1921 | *Miniature Suite* 1. Chorale 2. Impromptu 3. Caprice 4. March | for piano | assembled by Paul Hindmarsh (including movement titles) from material originally intended for the *Miniature Pastorals* |
| Piano | 151 | 1921 | *Threads: 2 Intermezzi* 1. Andante molto moderato 2. Tempo di valse | for piano | incidental music to the play by Frank Stayton; orchestrated in 1938 |
| Incidental | 151 | 1921, 1938 | *Threads: 2 Intermezzi* 1. Andante molto moderato 2. Tempo di valse | for orchestra | incidental music to the play by Frank Strayton; original for piano |
| Piano | 152 | 1921 | *In the Shop*, Ballet | for piano 4-hands |  |
| Choral | 153 | 1922 | *Golden Slumbers* | for female chorus a cappella | words by Thomas Dekker |
| Choral | 154 | 1922 | *Hence care* | for female chorus a cappella | anonymous words (1595) |
| Chamber music | 155 | 1922 | *Sir Roger de Coverley: A Christmas Dance* | for 2 violins, viola and cello |  |
| Orchestral | 155 | 1922 | *Sir Roger de Coverley: A Christmas Dance* | for orchestra | original version for 2 violins, viola and cello |
| Orchestral | 155 | 1922, 1938 | *Sir Roger de Coverley: A Christmas Dance* | for string orchestra | original version for 2 violins, viola and cello |
| Choral | 156 | 1922 | *The Fairy Ring* | for female chorus with optional piano | anonymous words |
| Choral | 157 | 1922 | *A Spring Song* | for unison voices and piano or string orchestra | words by Mary Howitt |
| Choral | 158 | 1922, 1924 | *Pan's Holiday* | for female chorus and piano (1922) or string orchestra (1924) | words by James Shirley |
| Choral | 159 | 1922 | *Evening Primrose* | for female chorus and piano | words by John Clare |
| Piano | 160 | 1921–1924 | Sonata | for piano | sketches dated 1921–1922; published by Augener |
| Piano | 161 | 1921–1924
1921
1922
1924 | *3 Lyrics* 1. Heart's Ease 2. Dainty Rogue 3. The Hedgerow | for piano | published by Augener |
| Chamber music | 161a | 1921 | *Heart's Ease* | for violin and piano | original for piano |
| Piano | 162 | 1924 | *In Autumn* 1. Retrospect 2. Through the Eaves | for piano | published by Augener |
| Chamber music | 163 | 1925 | *The Pneu World* | for cello and piano | parody on the opening bars of *The Star-Spangled Banner* |
| Vocal | 164 | 1922–1925
1922
1924
1925 | *3 Songs of Rabindranath Tagore* 1. Day after Day 2. Speak to Me My Love 3. Dweller in My Deathless Dreams | for voice and piano or orchestra | words by Rabindranath Tagore |
| Vocal | 165 | 1925 | *Golden Hair* | for voice and piano | words by James Joyce |
| Piano | 166 | 1925 | *Vignettes de Marseille* 1. Carmelita 2. Nicolette 3. Zoraida 4. En fête | for piano | 3 movements also orchestrated as *Vignettes de Danse*; published by Thames Publishing |
| Orchestral | 166 | 1925, 1938 | *Vignettes de Danse* 1. Nicolette 2. Zoraida 3. Carmelita | for orchestra | 1938 orchestration of 3 movements from *Vignettes de Marseille* for piano |
| Vocal | 167 | 1925 | *Journey's End* | for tenor or high baritone and piano | words by Humbert Wolfe |
| Piano | 168 | 1925 | *Winter Pastoral* | for piano | published by Augener |
| Piano | 169 | 1926 | *Canzonetta (Happy South)* | for piano | also orchestrated; published by Hawkes and Sons |
| Orchestral | 169 | 1926 | *Canzonetta (Happy South)* | for small orchestra | original for piano |
| Piano | 170 | 1926 | *Graziella* | for piano | published by Hawkes and Sons |
| Piano | 171 | 1926 | *A Dedication* | for piano | published by Augener |
| Piano | 172 | *c.*1926 | *Hidden Fires* | for piano | published by Hawkes and Sons |
| Orchestral | 173 | 1927 | *There Is a Willow Grows Aslant a Brook*, Impression | for small orchestra | title taken from Act IV of William Shakespeare's Hamlet; Benjamin Britten transcribed the work for viola and piano |
| Orchestral | 174 | 1926–1927 | *Enter Spring*, Rhapsody (Symphonic Poem) | for orchestra |  |
| Chamber music | 175 | 1925–1927 | String Quartet No. 3 | for 2 violins, viola and cello |  |
| Chamber music | 176 | 1928 | *Rhapsody Trio* | for 2 violins and viola |  |
| Piano | 177 | 1928 | *Gargoyle* | for piano | published by Thames Publishing |
| Chamber music | 178 | 1928–1929 | Piano Trio No. 2 | for violin, cello and piano |  |
| Opera | 179 | 1909–1929 | *The Christmas Rose* |  | Children's Opera in 3 scenes; libretto by Margaret Kemp-Welch and Constance Cotterell |
| Concertante | 180 | 1929–1930 | *Oration*, Concerto Elegiaco | for cello and orchestra |  |
| Piano | 181 | 1931 | *Todessehnsucht* (Come Sweet Death) | for piano |  |
| Orchestral | 181 | 1931, 1936 | *Todessehnsucht* (Come Sweet Death) | for string orchestra | original version for piano |
| Concertante | 182 | 1931 | *Phantasm*, Rhapsody | for piano and orchestra |  |
| Chamber music | 183 | 1932 | Sonata | for violin and piano |  |
| Orchestral | 184 | 1934 | *A Royal Night of Variety*, Finale | for orchestra |  |
| Chamber music | 185 | 1934 | *A Merry, Merry Xmas* | for oboe, clarinet, trombone and piano |  |
| Chamber music | 186 | *c.*1935–1936 | Sonata | for viola and piano | incomplete, sketches only |
| Chamber music | 187 | *c.*1936 | *Movement for String Quartet* | for 2 violins, viola and cello |  |
| Chamber music | 188 | 1937 | String Quartet No. 4 | for 2 violins, viola and cello |  |
| Chamber music | 189 | 1934–1938
1937
1937
1937
1938 | *Divertimenti* 1. Prelude 2. Nocturne 3. Scherzetto 4. Bagatelle | for flute, oboe, clarinet and bassoon | first version dated 1934 |
| Organ | 190 | 1939 | *3 Pieces* 1. Prelude 2. Minuet 3. Processional | for organ | published by J. Curwen |
| Orchestral | 191 | 1940 | *Rebus*, Overture | for orchestra |  |
| Orchestral | 192 | 1940–1941 | *Allegro Moderato* | for string orchestra | fragment of a Symphony |

## Sources

* Hindmarsh, Paul. *Frank Bridge: A Thematic Catalogue, 1900-1941*. London: Faber Music, 1983.
* Hindmarsh, Paul. *Frank Bridge: The Complete Works*. Poynton: PHM Publishing, 2016


title: Matthew 3:1

abstract: Matthew 3:1 is the first verse of the third chapter of the Gospel of Matthew in the New Testament. This verse takes up the narrative some thirty years after Matthew 2:23, beginning the account of Jesus' ministry. This verse introduces the figure of John the Baptist.

text:
# Matthew 3:1

**Matthew 3:1** is the first verse of the third chapter of the Gospel of Matthew in the New Testament. This verse takes up the narrative some thirty years after Matthew 2:23, beginning the account of Jesus' ministry. This verse introduces the figure of John the Baptist.

## Content

In the King James Version of the Bible the text reads:

In those days came John the Baptist, preaching in the wilderness of Judaea,

The World English Bible translates the passage as:

In those days, John the Baptizer came, preaching in the wilderness of Judea, saying,

The Novum Testamentum Graece text is:

Ἐν δὲ ταῖς ἡμέραις ἐκείναις παραγίνεται Ἰωάνης ὁ βαπτιστὴς κηρύσσων ἐν τῇ ἐρήμῳ τῆς Ἰουδαίας,

For a collection of other versions see BibleHub Matthew 3:1. Other versions which refer to "John the Baptizer" include the Bible in Worldwide English (1996) and the Bible League International's Easy-to-Read Version (ERV, 2006).

## Analysis

Unlike the infancy narrative, this verse begins a section that is closely paralleled in Mark 1 and Luke 3. According to the theory of Markan Priority, both Matthew and Luke are rewritten versions of Mark. Keener notes that the hypothetical Q source also likely begins with John, explaining the overlap between Matthew and Luke in the non Markan-material, and why there is so little overlap in the nativity story.

The phrase "in those days" marks a substantial shift of time frame from the previous verse. Matthew nowhere indicates how long this break is, but Luke places it as some thirty years. Biblical commentator David Hill notes that "in those days" is frequently used as an indication that important events are taking place. To him the phrase thus more accurately means "in those crucial days". Other scholars, such as R. T. France and John Nolland, take a different view. They see the word *those* as a direct reference to Matthew 2:23 and thus treat the phrase as meaning "in those days that he lived in Nazareth".

This verse introduces the character of John the Baptist. Guthrie notes that John likely does not need much of an introduction to Matthew's largely Jewish readers, as he was a well-known figure at the time. Unlike Luke, Matthew gives none of John's early history: John is a much less important character in Matthew than in the other gospels, appearing only in a supporting role to Jesus. While Matthew and Luke refer to John the Baptist, Mark refers to him by the slightly different title "John the Baptizer". The word baptist is also somewhat controversial. To Anabaptists the correct translation is "John the Immerser".

### The wilderness

The wilderness of Judea mentioned in this verse is generally taken to refer to the region of Judea sloping down from the highlands to the Dead Sea. This was an arid area not well suited to habitation. The term is occasionally translated as desert, but there was enough moisture to allow for pastoralism, so some consider this translation incorrect. According to Pliny this region was home to the Essenes; it was also home to Qumran, where the Dead Sea Scrolls were found. Many feel that John the Baptist was influenced by these groups. The phrase "in Judea" does not exist in the comparable verse in Mark, and is an addition by the author of Matthew. Matthew previously used the same qualifier for Bethlehem in Matthew 2:5 and 2:6. While John may have been in Judea in this period, it is clear he was on the other side of Jordan River at a later date when he was captured and executed by Herod Antipas who ruled Galilee and Perea. It could also be that Matthew is vague, and referring to the immediate east side of the Jordan as also being Judea.

The wilderness had other connotations to the early readers of Matthew. Guthrie notes that at this time the wilderness was considered much closer to God in contrast with the corruption of the cities. An exile to the wilderness also links to Exodus, and later prophets such as Hosea predicted that the Israelites would one day be forced back to the wilderness. It was thus widely accepted that new prophets and religious leaders would come out of the wilderness. Other scholars disagree and see the wilderness as desolate and forbidding. In Matthew 4:1 the wilderness will be introduced as the location where Jesus encounters the devil.

## Commentary from the Church Fathers

Pseudo-Chrysostom: The Sun as he approaches the horizon, and before he is yet visible, sends out his rays and makes the eastern sky to glow with light, that Aurora going before may herald the coming day. Thus the Lord at His birth in this earth, and before He shows Himself, enlightens John by the rays of His Spirit's teaching, that he might go before and announce the Saviour that was to come. Therefore, after having related the birth of Christ, before proceeding to His teaching and baptism, (wherein he received such testimony,) he first premises somewhat of the Baptist and forerunner of the Lord. In those days, &c.

Saint Remigius: In these words we have not only time, place, and person, respecting St. John, but also his office and employment. First the time, generally; In those days.

Augustine: Luke describes the time by the reigning sovereigns (Luke 3:1.) But Matthew must be understood to speak of a wider space of time by the phrase ‘those days’ than the fifteenth year of Tiberius. Having related Christ's return from Egypt, which must be placed in early boyhood or even infancy, to make it agree with what Luke has told of His being in the temple at twelve years old, he adds directly, In those days, not intending thereby only the days of His childhood, but all the days from His birth to the preaching of John.

Saint Remigius: The man is mentioned in the words came John, that is, showed himself, having abode so long in obscurity.

Chrysostom: But why must John thus go before Christ with a witness of deeds preaching Him? First; that we might hence learn Christ's dignity, that He also, as the Father has, has prophets, in the words of Zacharias, And thou, Child, shalt be called the Prophet of the Highest. (Luke 1:76.) Secondly; That the Jews might have no cause for offence; as He declared, John came neither eating nor drinking, and they say, He hath a devil. The Son of Man came eating and drinking, and they say, Behold a gluttonous man. (Luke 7:33.) It needeth moreover that the things concerning Christ should be told by some other first, and not by Himself; or what would the Jews have said, who after the witness of John made complaint, Thou bearest witness of thyself, thy witness is not true. (John 8:13.)

Saint Remigius: His office; the Baptist; in this he prepared the way of the Lord, for had not men been used to be baptized, they would have shunned Christ's baptism. His employment; Preaching;

Rabanus Maurus: For because Christ was to preach, as soon as it seemed the fit time, that is, about thirty years of age, he began by his preaching to make ready the way for the Lord.

Saint Remigius: The place; the desert of Judæa.

Maximus the Confessor: Where neither a noisy mob would interrupt his preaching, and whither no unbelieving hearer would retire; but those only would hear, who sought to his preaching from motives of divine worship.

Jerome: (In. Is. 40:3.) Consider how the salvation of God, and the glory of the Lord, is preached not in Jerusalem, but in the solitude of the Church, in the wilderness to multitudes.

Hilary of Poitiers: Or, he came to Judæa, desert by the absence of God, not of population, that the place of preaching might witness the few to whom the preaching was sent.

Glossa Ordinaria: The desert typically means a life removed from the temptations of the world, such as befits the penitent.

## Sources

| Preceded by
**Matthew 2:23** | **Gospel of Matthew
Chapter 3** | Succeeded by
**Matthew 3:2** |
| --- | --- | --- |

## InfoBox

| Matthew 3:1 | |
| --- | --- |
| 2:233:2 | |
| *John the Baptist in the Wilderness* by Geertgen tot Sint Jans | |
| Book | Gospel of Matthew |
| Christian Bible part | New Testament |


title: List of P. League+ arenas

text:
# List of P. League+ arenas

The following list includes all current and former arenas used by current and defunct teams playing in the P. League+ (PLG).

Currently 2 home arenas were shared with Taiwan Professional Basketball League teams due to lack of qualified basketball arenas in Taiwan.

## Current arenas

| Image | Arena | Location | Team(s) | Capacity | Opened | Ref(s) |
| --- | --- | --- | --- | --- | --- | --- |
|  | **Fengshan Arena** | Kaohsiung City | Kaohsiung 17LIVE Steelers | 5,321 | 1977 |  |
|  | **NCKU Chung Cheng Gym** | Tainan City | Tainan TSG GhostHawks | 3,500 | 1975 |  |
|  | **Taipei Heping Basketball Gymnasium** | Taipei City | Taipei Fubon Braves | 7,000 | 2017 |  |
|  | **Taoyuan Arena** | Taoyuan City | Taoyuan Pauian Pilots | 6,470 | 1993 |  |

## Former arenas

| Team | Arena | Years used | Capacity | Opened | Location | Ref. |
| --- | --- | --- | --- | --- | --- | --- |
| Formosa Dreamers
**Formosa Taishin Dreamers** | Changhua County Stadium | 2020–2021
2023–2024 | 5,600 | 1985 | Changhua County |  |
| | Intercontinental Basketball Stadium | 2021–2024 | 3,000 | 2016 | Taichung City |  |
| | NTUS Gymnasium | 2021 (2 games) | 5,000 | 1961 | Taichung City |  |
| Hsinchu Toplus Lioneers
**Hsinchu JKO Lioneers** | Hsinchu County Stadium | 2020–2024 | 8,068 | 2005 | Hsinchu County |  |
| New Taipei Kings | Xinzhuang Gymnasium | 2021–2024 | 6,800 | 2002 | New Taipei City |  |
| Taoyuan Pauian Pilots
**Taoyuan Pilots** | Nanshan HS Gymnasium | 2022 (1 game) | 0 | 2006 | New Taipei City |  |
| | NTSU Multipurpose Gymnasium | 2021 (2 games) | 6,800 | 1986 | Taoyuan City |  |

## Preseason venues

| Arena | Years used | Capacity | Opened | Location | Ref. |
| --- | --- | --- | --- | --- | --- |
| Fengshan Arena | 2021, 2022 | 5,321 | 1977 | Kaohsiung City |  |
| Hsinchu County Stadium | 2020 | 8,068 | 2005 | Hsinchu County |  |
| Keelung Municipal Stadium | 2023 | 5,937 | 1981 | Keelung City |  |
| NCKU Chung Cheng Gym | 2024 | 3,500 | 1975 | Tainan City |  |
| NTU Sports Center | 2021 | 3,397 | 2001 | Taipei City |  |
| NTUS Gymnasium | 2020 | 5,000 | 1961 | Taichung City |  |
| Taipei Heping Basketball Gymnasium | 2020 | 7,000 | 2017 | Taipei City |  |
| Xinzhuang Gymnasium | 2021 | 6,800 | 2002 | New Taipei City |  |
|

## Awards

### Best Home Court

| Year | Team | Home court | Ref. |
| --- | --- | --- | --- |
| 2021 | Hsinchu JKO Lioneers | Hsinchu County Stadium |  |
| 2022 | Hsinchu JKO Lioneers | Hsinchu County Stadium |  |
| 2023 | Hsinchu JKO Lioneers | Hsinchu County Stadium |  |
| 2024 | Hsinchu Toplus Lioneers | Hsinchu County Stadium |  |


title: Triplex (film)

abstract: Triplex is a French film directed by Georges Lautner, and released in 1991.

text:
# Triplex (film)

***Triplex*** is a French film directed by Georges Lautner, and released in 1991.

## Crew

## Cast

1. JP. "Triplex (1991) - JPBox-Office". *www.jpbox-office.com*.

## InfoBox

| Triplex | |
| --- | --- |
| Directed by | Georges Lautner |
| Written by | Didier Van Cauwelaert |
| Starring | Patrick Chesnais, Cécile Pallas, François-Eric Gendron |
| Music by | Raymond Alessandrini |
| Release date | * 17 April 1991 (1991-04-17) |
| Country | France |
| Language | French |
| Box office | $515.000 |


abstract: Terminal Identifier – Address Resolution Protocol (TARP) is a protocol defined in Telcordia Technologies Generic Requirements document GR-253-CORE for SONET and used in OSS to resolve a TL1 TID to a CLNP address (NSAP) of a Network Element (NE). The protocol is used in a number of network devices. Steven R. Kim originally developed the protocol while working for Fujitsu Network Systems.

text:
# Terminal Identifier – Address Resolution Protocol

**Terminal Identifier – Address Resolution Protocol** (**TARP**) is a protocol defined in Telcordia Technologies (formerly Bellcore) Generic Requirements document GR-253-CORE for SONET and used in OSS to resolve a TL1 TID to a CLNP address (NSAP) of a Network Element (NE). The protocol is used in a number of network devices. Steven R. Kim originally developed the protocol while working for Fujitsu Network Systems.


title: Çaycuma

abstract: Çaycuma is a town in Zonguldak Province in the Black Sea region of Turkey. It is the seat of Çaycuma District. Its population is 30,255 (2022). The mayor is Bülent Kantarcı (CHP). Çaycuma is well known for yogurt in Zonguldak and Turkey. It consists of 11 neighbourhoods: Yeni Mahalle, Çay Mahallesi, Pehlivanlar, Istasyon, Gemiciler, Kayıkçılar, Karamusa, Karalar, Sofular, Velioğlu and Yeşiltepe.

text:
# Çaycuma

**Çaycuma** is a town in Zonguldak Province in the Black Sea region of Turkey. It is the seat of Çaycuma District. Its population is 30,255 (2022). The mayor is Bülent Kantarcı (CHP). Çaycuma is well known for yogurt in Zonguldak and Turkey. It consists of 11 neighbourhoods: Yeni Mahalle, Çay Mahallesi, Pehlivanlar, Istasyon, Gemiciler, Kayıkçılar, Karamusa, Karalar, Sofular, Velioğlu and Yeşiltepe.

## InfoBox

| Çaycuma | |
| --- | --- |
| Municipality | |
|  | |
| ÇaycumaLocation in Turkey | |
| Coordinates: 41°25′36″N 32°04′33″E / 41.42667°N 32.07583°E / 41.42667; 32.07583 | |
| Country | Turkey |
| Province | Zonguldak |
| District | Çaycuma |
| Government | |
| Mayor | Bülent Kantarcı (CHP) |
| Elevation | 40 m (130 ft) |
| Population (2022) | 30,255 |
| Time zone | UTC+3 (TRT) |
| Postal code | 67900 |
| Area code | 0372 |
| Website | www.caycuma.bel.tr |


title: Eugénie (play)

abstract: Eugénie is a play in five acts by Pierre Augustin Caron de Beaumarchais. It was first performed at the Comédie-Française on January 29, 1767. The premier of Eugénie was delayed for some time by the illness of one of its stars, Préville, who was to play the role of The Baron. There was much buzz about the play before the opening, and its premier was well-attended; but the audience's reception was lukewarm, evidently due to the play's long running-time. Beaumarchais and the cast spent the next two days revising the script, and the result was a greater success. Until the premiere of The Barber of Seville several years later, Eugénie was Beaumarchais's most famous play. It was adapted in English by Elizabeth Griffith as The School for Rakes in 1769—a direct translation was difficult to make as Beaumarchais, despite setting the story in England, demonstrated a poor understanding of British culture and law.

text:
# Eugénie (play)

***Eugénie*** is a play in five acts by Pierre Augustin Caron de Beaumarchais. It was first performed at the Comédie-Française on January 29, 1767.

The premier of *Eugénie* was delayed for some time by the illness of one of its stars, Préville, who was to play the role of The Baron. There was much buzz about the play before the opening, and its premier was well-attended; but the audience's reception was lukewarm, evidently due to the play's long running-time. Beaumarchais and the cast spent the next two days revising the script, and the result was a greater success. Until the premiere of *The Barber of Seville* several years later, *Eugénie* was Beaumarchais's most famous play. It was adapted in English by Elizabeth Griffith as *The School for Rakes* in 1769—a direct translation was difficult to make as Beaumarchais, despite setting the story in England, demonstrated a poor understanding of British culture and law.

## Plot

The plot was inspired by an actual incident which befell Beaumarchais's sister.

### Act One.

Eugénie and her aunt, Madame Murer, have come to London from their native Wales. They are accompanied by Eugénie's father Baron Hartley, who believes they're in town on business. In fact, Eugénie has secretly married The Earl of Clarendon and has come to visit him; they are staying in the Earl's *petite maison*, near his palace. Eugénie is dismayed that the Earl has gone out of town despite knowing about their plans to visit. Madame Murer—who is the only member of Eugénie's family that knows about the wedding—tries to reassure Eugénie that noblemen like the Earl simply have busy schedules. (It's of note that the script frequently indicates that Eugénie's father, the Baron, is not a nobleman.) Eugénie is even more concerned because she is already pregnant, and still hasn't told her father about her marriage, due to the insistence of Madame Murer and the Earl that it should be kept a secret. The Baron has even started to prepare an arranged marriage for her to someone else—an old military man by the name of Cowerly.

Eventually the Earl arrives to visit Eugénie. His valet, Drink, prepares to announce him, but chides his master: Drink knows that the Earl's marriage to Eugénie was not valid and in fact was completely staged. Furthermore, the Earl is preparing to marry someone else very soon. The Earl complains that another of his servants, his Steward who had pretended to be the minister at his fraudulent wedding, is also feeling regrets and will probably attempt to write to Madame Murer with the truth. He tells Drink to make sure to check any mail that's received at the house and withhold anything that looks like it might be from the Steward. Drink finally leaves to announce the Earl, during which time the Earl admits in monologue that he does truly love Eugénie but has been pressured by his uncle to marry someone else; he is so terrified of his uncle and so ashamed of his own behavior that he can't bring himself to confess what he's done.

When Eugénie and Madame Murer finally greet the Earl, Eugénie inquires as to why he has been so distant; the Earl responds with various lies which appease Eugénie. The Baron comes in and after meeting the Earl, congratulates him about his upcoming wedding to Lady Winchester, daughter of the Duke of Winchester. Eugénie and Madame Murer are horrified at this news, and the flustered Earl quickly lies and assures everyone that the stories of him getting married are just a rumor that's going around. The ladies retire and the two men exit together.

### Act Two.

Later, the Earl sneaks back into the house alone in order to talk with Drink: he instructs Drink to make sure that nobody comes to visit Eugénie or her family until after his wedding is concluded, and he specifically warns about the Baron's friend Captain Cowerly (the brother of Eugénie's fiancé Cowerly.) Meanwhile, Drink has intercepted the letter from the Steward and hidden it. Once the ladies are alone, Drink gives them the remainder of the mail, which includes the news that Eugénie's brother Sir Charles, an officer in the army, has been in a duel with his Colonel; the Colonel lost after being disarmed, but is now trying to have Charles assassinated. Eugénie worries over her brother and gives the news to her father. Soon afterward Captain Cowerly comes into the house, complaining that the servants were insisting that nobody was home and that he had to barge his way in. After being greeted, Cowerly inquires as to where Sir Charles is at. The Baron and Madame Murer are amazed that he already knows about Sir Charles's troubles, and Cowerly explains that not only has he already spoken with Charles in London, but in fact had assumed that the reason for the family's visit was because Charles was there. Gradually the conversation turns to Earl Clarendon, and Cowerly reveals the family is staying in the Earl's *petite maison* (a house where parties and sexual trysts are had) and confirms that the Earl is about to marry someone else. Eugénie becomes physically unwell at the news and is taken away by her aunt.

### Act Three.

Later, the Baron goes to comfort Eugénie. Eugénie decides she should not conceal the truth from her father anymore and admits to him that she has secretly married the Earl. The Baron is outraged by this news; just when he's beginning to calm down, Madame Murer enters and scolds him for his behavior and argues for the merits of the Earl. The Baron, meanwhile, argues that the Earl is a heartless womanizer. When Eugénie finally reveals she is already pregnant, the Baron is forced to give his blessing to the marriage; but both he and Eugénie remain confused as to why everyone seems to think the Earl is going to marry someone else if he is already married to Eugénie. They decide to ask Drink about what's going on. When Drink is called in, the Baron grabs him by the throat and demands answers; Drink is so frightened and confused that he mistakenly thinks they've learned that the marriage between the Earl and Eugénie was fraudulent, and winds up delivering to them the letter from the Steward since he believes they already know the contents. Eugénie and Madame Murer are horrified when they learn the truth, and the Baron is beside himself with outrage; he claims he will disown Eugénie, and storms off. Eugénie tearfully asks her aunt that they depart from London, but Madame Murer insists she should meet the Earl one more time—her plan is to call out a minister and to arm the servants, and have essentially a shotgun wedding for Eugénie and the Earl.

### Act Four.

When the Earl arrives at Madame Murer's request, he brings along a companion he had rescued from an attack in the street—this man, it turns out, is Eugénie's brother Sir Charles. When Madame Murer and the servants try to ambush the Earl, Sir Charles—feeling indebted for the Earl's help to him—comes to his defense and allows the Earl to escape; however, Sir Charles indicates that he expects to duel with the Earl later on to settle the matter of Eugénie's marriage honorably. Eugénie is rendered catatonic by the whole incident and is finally taken away to bed, while Sir Charles swears he will avenge her.

### Act Five.

The final act occurs very early in the morning; the family has been up all night fretting over Eugénie's condition, and they even seem to fear that she may die from grief. She is able to emerge from her room, in a weakened state, to try to convince Sir Charles not to fight the Earl—she insists that she'd rather be known as a "foresworn wretch" than to see the Earl harmed. Charles does not listen to her and leaves to fight the Earl: he returns almost immediately, lamenting that when he tried to fight the Earl, his sword shattered and the Earl escaped. Everyone assumes the Earl ran off to go through with this wedding to Lady Winchester. Later, to their surprise, the Earl forces his way into the house and throws himself at Eugénie's feet: he declares that he loves her and has done everything in his power to set things right, including admitting to his uncle all that he's done, and calling off the other wedding. Initially Eugénie seems to be so near death that she hasn't even heard him, but at last she gathers "what bits of energy remain" to reply with a rejection of his offer for marriage: she has been too badly mistreated to ever forgive him. The Earl pleads, and tries to get the Baron or Madame Murer to back him up, but they side with Eugénie. At last the Earl delivers a rousing speech in which he argues that, if Eugénie won't marry him for her own sake, then at least she should wed him for the sake of their child. This argument moves the Baron and he agrees to grant Eugénie to the Earl; at which news Eugénie's attitude (and health) do a complete turnaround, and she gladly accepts the Earl's hand.

de Beaumarchais, Pierre-Augustin Caron, and Talia Felix. "Eugenia." Createspace, 2011.


title: Paul Steck

abstract: Paul Steck was a French painter of landscapes, historical scenes, and several portraits from life.

text:
# Paul Steck

**Paul Steck** (born **Paul Albert Dugas**; 27 May 1866 – 8 July 1924) was a French painter of landscapes, historical scenes, and several portraits from life.

## Biography

Paul Steck was born in Troyes, France. He began his career studying under Jean-Léon Gérôme. In 1896 he was made a member of the Société des Artistes Français. In 1896, he exhibited works in the fifth *Salon de la Rose + Croix*. In 1900, he won a bronze medal at the Exposition Universelle. In 1911, he was appointed deputy director of the École nationale supérieure des arts décoratifs in Paris.

Museums in Dieppe, Montauban, and Rouen display his work. He died in Paris.

## Selected works


title: Peter Hemmel of Andlau

abstract: Peter Hemmel of Andlau was a late Gothic stained glass artist, whose workshop in Strasbourg was active between 1447 and 1501. Sometimes working alone and sometimes in collaboration with other stained-glass artists in the city, it mainly supplied religious buildings in what is now Austria, southern and eastern Germany, eastern France and northern Italy, though none of Hemmel's windows survive in Andlau itself.

text:
# Peter Hemmel of Andlau

**Peter Hemmel of Andlau** (c. 14201506) was a late Gothic stained glass artist, whose workshop in Strasbourg was active between 1447 and 1501. Sometimes working alone and sometimes in collaboration with other stained-glass artists in the city, it mainly supplied religious buildings in what is now Austria, southern and eastern Germany, eastern France and northern Italy, though none of Hemmel's windows survive in Andlau itself.

## Life

Hemmel was born in Andlau, now in the Bas-Rhin region of France, but became a citizen of Strasbourg as well as a landowner and counsellor. A document of 1466 refers to him marrying the widow of the painter Hans Hirtz. He died in Strasbourg.

Hemmel used templates drawing on the work of Rogier van der Weyden and Martin Schongauer. He used two-coloured and shaded glass in bright iron reds, bright blues, black-enamel and silver-yellow (produced with silver salts) to reproduce brocades, textiles and faces. He is also notable for his attention to details, such as in animals and plants, as seen in the Guilds Window in Ulm Minster.

For unclear reasons, Hemmel's name is consistently given as **Hans Wild** in the prominent *Handbuch der Kunstwissenschaft* (1919), although the art historian Hermann Schmitz correctly identifies all the works Hemmel is associated with.

## Works

## Bibliography

* (in German) Hermann Baumhauer, Joachim Feist: *Das Ulmer Münster und seine Kunstwerke*, Konrad Theiss Verlag, Stuttgart und Aalen 1977, ISBN 3-8062-0164-1
* (in German) Erhard John: *Die Glasmalereien im Ulmer Münster*, Langenau 1999, ISBN 3-88360-067-9
* (in German) Lawrence Lee; George Seddon; Francis Stephens: *Die Welt der Glasfenster - Zwölf Jahrhunderte abendländischer Glasmalerei in über 500 Farbbildern*, Farbbilder von: Sonia Halliday, Laura Lushington, Orbis Verlag, München 1992, ISBN 3-572-00524-8
* (in German) Wolfgang Lipp: *Begleiter durch das Ulmer Münster*, Langenau 1999, ISBN 3-88360-011-3
* (in German) Heinz Merten: *Andlau, Peter von.* In: *Neue Deutsche Biographie* (NDB). Band 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6, S. 270–272
* (in German) ADAC-Reiseführer: Elsass von 2005


title: Ucai

abstract: Ucai is a genus of beetles in the longhorn beetle family, Cerambycidae. It was erected in 2009 with the description of a new species from Brazil. A second species was described in 2014.

text:
# Ucai

***Ucai*** is a genus of beetles in the longhorn beetle family, Cerambycidae. It was erected in 2009 with the description of a new species from Brazil. A second species was described in 2014.

## Species

The following species are recognised in the genus *Ucai*:

## InfoBox

| *Ucai* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Subfamily: | Prioninae |
| Tribe: | Anacolini |
| Genus: | *Ucai*<br>Galileo & Martins, 2009 |
|
| Species | |
| 2 | |


title: List of cat registries

abstract: This is a complete list of cat registries worldwide. A cat registry's purpose is to register purebred cats which are recognized by the organization. The first cat registry was the National Cat Club, set up in 1887 in England. The Governing Council of the Cat Fancy was established in 1910. The National Cat Club was also the governing body of the cat fancy. Another registry called the Cat Club was started in 1898.

text:
# List of cat registries

This is a complete **list of cat registries** worldwide. A cat registry's purpose is to register purebred cats which are recognized by the organization. The first cat registry was the National Cat Club, set up in 1887 in England. The Governing Council of the Cat Fancy was established in 1910. The National Cat Club was also the governing body of the cat fancy. Another registry called the Cat Club was started in 1898.

## Present day

In the 21st century there are many cat registries. The International Cat Association (TICA) recognizes 71 standardized breeds, the Cat Fanciers' Association (CFA) recognizes 44, and the Fédération Internationale Féline (FIFe) recognizes 43. The New Zealand Cat Fancy recognizes and registers 55 cat breeds.

## The following is a list of cat registries worldwide


title: Visniak

abstract: Visniak was a brand of soft drinks made by the "Saturn-Visniak Beverage Co." in Sloan, New York. The name of the brand was taken from wiśnia, the Polish word for "cherry". The company was founded in 1959 and closed in 2004. It dissolved in 2009.

text:
# Visniak

**Visniak** was a brand of soft drinks made by the "Saturn-Visniak Beverage Co." in Sloan, New York. The name of the brand was taken from *wiśnia*, the Polish word for "cherry". The company was founded in 1959 and closed in 2004. It dissolved in 2009.

## Description

The label of the bottle said: "Pure, Healthful, Refreshing Beverage. Made with purified water, pure cane sugar and citric acid. Made in a modern, sanitary daylight plant". Visniak had several flavors, including: Cherry, Birch Beer, Ginger Ale, Club Soda, Cream Soda, Cola, Diet Cola, and Grapefruit drink. The sizes were 7 or 28 oz.

## Company

The company closed in 2004. The bottles could be returned, as there was a 20 cent deposit on each bottle. It is believed that the company's downfall came about because people were not returning the bottles, thus making it necessary to constantly buy new ones and cut into the profit margin. The Visniak bottles are considered collectible.


title: Paul Groves (Australian coach)

abstract: Paul Groves is a former Australian rules football coach who served as the head coach of the Western Bulldogs in the AFL Women's competition (AFLW) between 2017 and 2019 including to the club's first AFLW premiership in 2018.

text:
# Paul Groves (Australian coach)

**Paul Groves** is a former Australian rules football coach who served as the head coach of the Western Bulldogs in the AFL Women's competition (AFLW) between 2017 and 2019 including to the club's first AFLW premiership in 2018.

## Coaching career

### Early days

After playing amateur football at St Bedes/Mentone under future Western Bulldogs premiership coach Luke Beveridge between 2006 and 2008, Groves himself took up coaching football for the first time.

Groves first started coaching the women's game in 2011, when he assisted the AFL Victoria youth girls development team at the national championships that year. In 2013 he went on to become the head coach of the national championship winning Victorian Metropolitan girls side.

At the same time Groves worked in assistant roles in the youth boys game at the Sandringham Dragons before filling a similar position at the Calder Cannons in 2014.

In 2015 and 2016 he worked as the head coach of the Monash Blues in the Victorian Amateur Football Association.

He has also worked as the director of sport at Salesian College between 2010 and 2016. And is now the head of sport At St Bernards College

### AFL Women's

Groves was appointed as the inaugural head coach of the Western Bulldogs's AFL Women's side in June 2016.

He coached the side to two wins from seven matches in the league's inaugural season in 2017.

In June 2019 he stepped aside from coaching in order to pursue a teaching job.

## Coaching statistics

| Legend | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| W | Wins | L | Losses | D | Draws | W% | Winning percentage | LP | Ladder position | LT | League teams |

| Season | Team | Games | W | L | D | W % | LP | LT |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2017 | Western Bulldogs | 7 | 2 | 5 | 0 | 29% | 6 | 8 |
| **2018**# | Western Bulldogs | 8 | 6 | 2 | 0 | 75% | 1 | 8 |
| 2019 | Western Bulldogs | 7 | 2 | 5 | 0 | 29% | 5 (conf.) | 5 (conf.) |
| Career totals | | 22 | 10 | 12 | 0 | 45% |  | |

## InfoBox

| Paul Groves | | | |
| --- | --- | --- | --- |
| Groves in February 2017 | | | |
| Personal information | | | |
| Full name | Paul Groves | | |
| Date of birth | 1982 (age 4142) | | |
| Coaching career3 | | | |
| Years | **Club** | **Games (W–L–D)** |
| 20172019 | Western Bulldogs () | 22 (10–12–0) |
| 3 Coaching statistics correct as of 2019. | | | |
| Career highlights | | | |
|  | | | |


title: Eurovision Young Dancers 1999

abstract: The Eurovision Young Dancers 1999 was the eighth edition of the Eurovision Young Dancers, held at the Opéra de Lyon, in Lyon, France, on 10 July 1999. Organised by the European Broadcasting Union (EBU) and host broadcaster France 3, dancers from ten countries participated in the televised final. A total of sixteen countries took part in the competition. Czech Republic made their début while host country France, Netherlands, Switzerland and United Kingdom returned. Estonia and Slovakia decided not to participate. Both single dancers and couples younger than 20 could enter the competition, male or female. Single dancers had to perform 2 pieces of maximum 10 minutes in total, while couples could choose to perform 1 or 2 dances, but in total no longer than 10 minutes as well. The semi-final that took place in the same venue 6 days before the final. The non-qualified countries were Cyprus, Czech Republic, Hungary, Slovenia, Switzerland and United Kingdom. Katja Wünsche and Stegli Yohan of Germany won the contest, with Sweden and Spain placing second and joint third respectively.

text:
# Eurovision Young Dancers 1999

The **Eurovision Young Dancers 1999** was the eighth edition of the Eurovision Young Dancers, held at the Opéra de Lyon, in Lyon, France, on 10 July 1999. Organised by the European Broadcasting Union (EBU) and host broadcaster France 3, dancers from ten countries participated in the televised final. A total of sixteen countries took part in the competition. Czech Republic made their début while host country France, Netherlands, Switzerland and United Kingdom returned. Estonia and Slovakia decided not to participate.

Both single dancers and couples younger than 20 could enter the competition, male or female. Single dancers had to perform 2 pieces of maximum 10 minutes in total, while couples could choose to perform 1 or 2 dances, but in total no longer than 10 minutes as well. The semi-final that took place in the same venue 6 days before the final (4 July 1999).

The non-qualified countries were Cyprus, Czech Republic, Hungary, Slovenia, Switzerland and United Kingdom. Katja Wünsche and Stegli Yohan of Germany won the contest, with Sweden and Spain placing second and joint third respectively.

## Location

Opéra de Lyon, in Lyon, France, was the host venue for the 1999 edition of the Eurovision Young Dancers.

The Opéra Nouvel (*Nouvel Opera House*) in Lyon, France, is the home of the Opéra National de Lyon. The original opera house was re-designed by the distinguished French architect, Jean Nouvel between 1985 and 1993 in association with the agency of scenography dUCKS scéno and the acoustician Peutz. Serge Dorny was appointed general director in 2003.

## Format

The format consists of dancers who are non-professional and between the ages of 16–21, competing in a performance of dance routines of their choice, which they have prepared in advance of the competition. All of the acts then take part in a choreographed group dance during 'Young Dancers Week'.

Jury members of a professional aspect and representing the elements of ballet, contemporary, and modern dancing styles, score each of the competing individual and group dance routines. The overall winner upon completion of the final dances is chosen by the professional jury members.

The interval act was a performance by the hip-hop dance group "Kä-fig".

## Results

### Preliminary round

A total of sixteen countries took part in the preliminary round of the 1999 contest, of which ten qualified to the televised grand final. The following countries failed to qualify.

| Country | Participant | Dance | Choreographer |
| --- | --- | --- | --- |
| Cyprus | Dafni Mouyiassi | "The Sleeping Beauty" | M. Petipa |
| United Kingdom | Lara Glew | "La Bayadère" | M. Petipa |
| Hungary | Attila Bongar | "Le Corsaire" | M. Petipa |
| Czech Republic | Lukas Slavicky and Zuzana Zahradnikova | "Don Quixote" | M. Petipa |
| Slovenia | Ana Klasnja | "Variation of Giselle" | J. Coralli and J. Perrot |
| Switzerland | Laetitia Guggi | "La Bayadère" | M. Petipa |

### Final

Awards were given to the top three countries. The table below highlights these using *gold, silver, and bronze*. The placing results of the remaining participants is unknown and never made public by the European Broadcasting Union.

| Draw | Country | Participant | Dance | Choreographer | Result |
| --- | --- | --- | --- | --- | --- |
| 01 | Greece | Maria Boubouli | "Don Quixote" | M. Petipa | - |
| 02 | Netherlands | Ernst Meisner | "La fille mal gardée" | J. Dauberval | - |
| 03 | Spain | Clara Blanco | "Variation of Giselle" | J. Coralli and J. Perrot | 3 |
| 04 | France | Emmanuel Eggermont and Juliette Roudet | "Les Chiens" | J. Bouvier and R. Obadia | - |
| 05 | Poland | Marta Wojtaszewska and Marcin Krajewski | "Stars & Stripes" | G. Balanchine | - |
| 06 | Latvia | Elza Leimane | "Esmeralda" | J. Perrot | - |
| 07 | Finland | Aarne Ruutu | "La Sylphide" (James variation) | A. Bournonville | - |
| 08 | Germany | Katja Wünsche and Stegli Yohan | "Cinderella" | J. Neumeier | 1 |
| 09 | Belgium | Frederik Deberdt | "La Sylphide" | A. Bournonville | - |
| 10 | Sweden | Nathalie Nordquist | "Flower Festival in Genzano" | A. Bournonville | 2 |

## Jury members

The jury members consisted of the following:

## Broadcasting

A total of 20 countries broadcast the 1999 event, including Croatia, Ireland, Norway and Russia.

|
|  |
Broadcasters in participating countries
| Country | Broadcaster(s) | Commentator(s) |
| --- | --- | --- |
| Belgium | RTBF |  |
| Cyprus | CyBC |  |
| Czech Republic | ČT |  |
| Finland | Yle |  |
| France | France 3 | Agnes Letestu |
| | Mezzo |  |
| Germany | ZDF |  |
| Greece | ERT |  |
| Hungary | MTV |  |
| Latvia | LTV |  |
| Netherlands | NPS |  |
| Poland | TVP |  |
| Slovenia | RTVSLO |  |
| Spain | TVE |  |
| Sweden | SVT1 |  |
| Switzerland | DRS |  |
| | TSR |  |
| | TSI |  |
| United Kingdom | BBC |  |

|
|  |
Broadcasters in non-participating countries
| Country | Broadcaster(s) |
| --- | --- |
| Croatia | HRT |
| Ireland | RTÉ |
| Norway | NRK |
| Russia | RTR |

## InfoBox

| Eurovision Young Dancers 1999 | |
| --- | --- |
|  | |
| Dates | |
| Semi-final | 4 July 1999 |
| Final | 10 July 1999 |
| Host | |
| Venue | Opéra de Lyon, Lyon, France |
| Presenter(s) | Alex Taylor |
| Directed by | Guy Darmet |
| Executive producer | * Gilbert Plique * Michele Banaletti |
| Host broadcaster | France 3 |
| Website | youngdancers.tv/event/lyon-1999 |
| Participants | |
| Number of entries | 16 |
| Debuting countries | Czech Republic |
| Returning countries |  |
| Non-returning countries |  |
| Participation map * Participating countries     Did not qualify from the semi-final     Countries that participated in the past but not in 1999 | |
| Vote | |
| Voting system | A professional jury chose the finalists and the top 3 performances |
| Winning dancers | Germany<br>Stegli Yohan and Katja Wünsche |
|


title: Paul Steelman

abstract: Paul Curtis Steelman, a native of Atlantic City, New Jersey, is an American architect who is recognized as a designer of global entertainment, hospitality, and gaming architecture based in Las Vegas, Nevada, and Macau. Paul has designed buildings for the mavericks of the gaming industry, including Kirk Kerkorian, Steve Wynn, Sheldon Adelson, Francis Lui, Lawrence Ho, Tan Sri Dato' Lim Kok Thay, Tan Sri Dr Chen Lip Keong, Prince Albert of Monaco, Bob Stupak, Frank Modica, Phil Satre, Derek Stevens and Stanley Ho. His firm, Steelman Partners, designed the $240 million Sands Macau casino resort which was notable for going from "blueprint to opening in 600 days", building a reputation for rapid development sometimes referred to as "Sands speed." The project won praise for its "bright, airy design" and sunken stage which "allows everyone in the theater to get a spectacular view of the entertainment." According to Architectural Record, Steelman's firm had total revenue in 2016 of over $48 million and design revenues and in 2016 rated his company as the 91st largest architectural firm.

text:
# Paul Steelman

**Paul Curtis Steelman** (born September 23, 1955), a native of Atlantic City, New Jersey, is an American architect who is recognized as a designer of global entertainment, hospitality, and gaming architecture based in Las Vegas, Nevada, and Macau. Paul has designed buildings for the mavericks of the gaming industry, including Kirk Kerkorian, Steve Wynn, Sheldon Adelson, Francis Lui, Lawrence Ho, Tan Sri Dato' Lim Kok Thay, Tan Sri Dr Chen Lip Keong, Prince Albert of Monaco, Bob Stupak, Frank Modica, Phil Satre, Derek Stevens and Stanley Ho.

His firm, Steelman Partners, designed the $240 million Sands Macau casino resort which was notable for going from "blueprint to opening in 600 days", building a reputation for rapid development sometimes referred to as "Sands speed." The project won praise for its "bright, airy design" and sunken stage which "allows everyone in the theater to get a spectacular view of the entertainment." According to *Architectural Record*, Steelman's firm had total revenue in 2016 of over $48 million and design revenues and in 2016 rated his company as the 91st largest architectural firm.

## Beginnings

Steelman was born on September 23, 1955, in Atlantic City, New Jersey. He grew up in the small beach community of Longport, New Jersey, and graduated from Atlantic City High School in 1973. Paul began working as an architect in his father Edgar's architectural practice before graduating from Clemson University in 1977. He was employed by Wasleski Steelman, the city of Atlantic City, Golden Nugget Atlantic City Corporation and Resorts International, Atlantic City. In 1987, he founded his own firm.

## Career

Steelman worked on Steve Wynn's Mirage hotel which in 1989 became the first Strip hotel to focus on eating and entertainment in addition to gaming tables. Since then, he has worked on numerous projects, often in collaboration with casino developers.

In 1987, he founded his own architectural firm, Paul Steelman LTD, in Las Vegas, Nevada. His design mentors were Joel Bergman and Henry Conversano. The firm, now called Steelman Partners, owns and operates several other design companies including DSAA (interior design), Shop12 (lighting, theater, ride and attraction design), Inviro Studios (film animations), MARQI (branding and corporate identity), Competition Interactive (slot machine design and manufacturer), Steelman Development (commercial real estate), Steelman Aviation (airplane charter and management), and PCEG (EB5 Regional Center).

Steelman Partners has offices in Las Vegas, Nevada; Macau PRC; Zhuhai PRC; Phnom Penh, Cambodia; Ho Chi Minh City, Vietnam; and Amsterdam, Netherlands.

Paul Steelman and his firm have designed many casino projects around the world that include the following: Resorts World Las Vegas; Circa Resort and Casino; Sands Macau; Four Seasons Macau; City of Dreams Shopping Center Macau; Hard Rock Casino Macau; Galaxy Macau; Harrahs, California; Harrahs AK-Chin, Arizona; Harrahs Tunica, Mississippi; Harrahs Vicksburg, Mississippi; Harrahs Kansas City; Caesar's Indiana; Caesars Magical Empire, Las Vegas; JW Marriott, Las Vegas; Showboat, Las Vegas; Stratosphere, Las Vegas; Casinos Locarno, Switzerland; Thun Casino, Switzerland; Casino Rheinfelden, Switzerland; Swiss Casino Zurich, Switzerland; Swiss Casino St Gallen, Switzerland; MGM Casino and Theme Park, Las Vegas; Treasure Island Expansions and Renovations, Las Vegas; Beau Rivage, Mississippi, Hard Rock Biloxi, Mississippi, Foxwoods Resort Casino, Connecticut; Showboat Atlantic City, New Jersey; Steel Pier Atlantic City, New Jersey; Solaire Resort & Casino, Philippines; Sochi Casino, Russia; Grand Casino Riviera, France; Casino Grand Via, Spain; Grand Casino, Finland; The Grand Ho Tram, Vietnam; Star Gold Coast, Australia; Seminole Casino, Florida; Sun City Entertainment Center, South Africa, The Casino at the Empire, London; London Clubs, Bahamas; Nagaworld, Cambodia.

Currently Steelman is designing Casino Van Dom, Vietnam; Naga 3 at NagaWorld, Cambodia; Imperial Pacific, Saipan; Lotus Cam Ranh Bay, Vietnam; Genting Malaysia Master Plan; Galaxy Media Center, Macau; Galaxy 1000 Room Hotel, Macau; Naga Vladivostok; and Scotts Valley Casino in California.

Steelman worked for billionaire Phil Ruffin on designing the a 2,750-room casino called the *Montreux*, an entertainment property modeled after a Swiss-themed lakefront hotel which includes a 465-foot-tall observation wheel which "scoops riders from the floor above the casino," according to a report in *Forbes* magazine. The design's interior was a "mix of glass artwork, waterfalls and reflective surfaces," similar to boutique hotels in New York or Los Angeles, according to a report in the *Las Vegas Sun*. Steelman's firm designed a $6.2 billion tourism development in Ho Chi Minh City, Vietnam in 2010. A reporter commented on his design style:

> Steelman is wiser than most when it comes to the logistics of moving gamblers through sin dens ... Steelman has, over the last 20 years, come up with 70-odd design rules to keep visitors in a gleeful state as they evenly spread their dollars among betting tables, shops, theaters and restaurants.
>
> reporter Matthew Miller in *Forbes*, 2006

One Steelman design invention was a sleek transformable ballroom inside a casino that can undergo several makeovers within a single day, enabling event organizers to use the space for different purposes, and transform it in less than two hours:

> Hold a fashion show in the morning, a poker tournament in the afternoon and a boxing match at night. The ideal length for any spectacle in a casino is less than 90 minutes.
>
> reporter Matthew Miller in *Forbes*, 2006

Steelman received a gaming manufacturing and distribution license from the State of Nevada on February 23, 2017, for his subsidiary company, Competition Interactive LLC. Competition Interactive has designed a new skill based slot machine named Running Rich Racing, which will be placed in casinos in 2017.

Steelman's firm has employed architects who later founded their own architecture firms, such as Gemie Knisely of GK3 and Kim Daoust and Jordan Bañares of Tandem. Steelman was featured in *Asian Gaming* annual publication entitled "Asian Gaming 50" as 32nd in 2008 and as 33rd in 2009.

## Personal life

Paul Steelman is married to Maryann Steelman (RN Registered Nurse). They have two children Stephen Steelman a film director and Suzanne Steelman a graduate Architect working at Steelman Partners. Paul and Maryann have hosted fundraisers at their home to support the Las Vegas Philharmonic Orchestra.

Paul serves on the board of directors for The Lou Ruvo Brain Institute in Las Vegas, The Federal Law Enforcement Foundation in New York, and The Clemson School of Architecture at Clemson University in South Carolina.

## InfoBox

| Paul Steelman | |
| --- | --- |
|  | |
| Born | (1955-09-23) September 23, 1955<br>Atlantic City, NJ, USA |
| Nationality | American |
| Alma mater | Clemson University |
| Occupation | Architect |
|  | |
| Buildings | Sands Macau, Solaire Resort & Casino, The Grand Ho Tram, Galaxy Macau Phase II, Resorts World Las Vegas, Circa Resort & Casino |
|  | |


title: Peter Hofmann

abstract: Peter Hofmann was a German tenor who had a successful performance career within the fields of opera, rock, pop, and musical theatre. He first rose to prominence as a heldentenor at the Bayreuth festival's Jahrhundertring in 1976, where he drew critical acclaim for his performance of Siegmund in Richard Wagner's Die Walküre. He was active as one of the world's leading Wagnerian tenors over the next decade, performing roles like Lohengrin, Parsifal, Siegmund and Tristan at major opera houses and festivals internationally. Hofmann's busy and demanding schedule in combination with an "imperfect vocal technique", led to intermittent vocal problems which became more prominent in the singer's opera performances in the late 1980s. These difficulties led him to completely abandon his opera career in 1989 in favor of pursuing a full-time career in popular music. Hofmann had already spent portions of his opera career performing and recording popular music, and he had already achieved success with tours and recordings of classic rock during the mid to late 1980s. He continued to perform pop and rock songs until his retirement from performance for health reasons in 1999. He had been diagnosed with Parkinson's disease in 1994.

text:
# Peter Hofmann

**Peter Hofmann** (22 August 1944 – 30 November 2010) was a German tenor who had a successful performance career within the fields of opera, rock, pop, and musical theatre. He first rose to prominence as a heldentenor at the Bayreuth festival's *Jahrhundertring* (*Centenary Ring*) in 1976, where he drew critical acclaim for his performance of Siegmund in Richard Wagner's *Die Walküre*. He was active as one of the world's leading Wagnerian tenors over the next decade, performing roles like Lohengrin, Parsifal, Siegmund and Tristan at major opera houses and festivals internationally.

Hofmann's busy and demanding schedule in combination with an "imperfect vocal technique", led to intermittent vocal problems which became more prominent in the singer's opera performances in the late 1980s. These difficulties led him to completely abandon his opera career in 1989 in favor of pursuing a full-time career in popular music. Hofmann had already spent portions of his opera career performing and recording popular music, and he had already achieved success with tours and recordings of classic rock during the mid to late 1980s. He continued to perform pop and rock songs until his retirement from performance for health reasons in 1999. He had been diagnosed with Parkinson's disease in 1994.

## Early life and education

Hofmann was born in Marienbad, German Sudetenland (now modern Mariánské Lázně, Czech Republic), and grew up in Darmstadt. In his youth, before receiving any training in classical music, he was a singer in a rock band. He was a youth decathlon competitor and served seven years in the West German Armed Forces, during which time he began studying singing privately. After being honorably discharged with a financial bonus, he entered the Hochschule für Musik Karlsruhe where he was trained as an opera singer.

## Opera career

Hofmann made his professional opera debut in 1972 as Tamino in Wolfgang Amadeus Mozart's *The Magic Flute* at Theater Lübeck. He sang his first Siegmund in Richard Wagner's *Die Walküre*, a role which he became closely associated with, at the Wuppertal Opera in 1974. It was as Siegmund that Hofmann first drew international acclaim when he performed the role in the historic *Jahrhundertring* (*Centenary Ring*) at the Bayreuth Festival in 1976, celebrating the centenary of both the festival and the first performance of the complete cycle, conducted by Pierre Boulez and staged by Patrice Chéreau, recorded and filmed in 1979 and 1980. He was also heard at Bayreuth as the title heroes in *Parsifal* (both 1976 and 1978) and *Lohengrin* (1979 and 1982), as Tristan in *Tristan und Isolde* (1986), and Walther in *Die Meistersinger von Nürnberg* (1988).

He subsequently appeared in Stuttgart, Paris, Vienna, London, Chicago, and San Francisco. He is best known for singing the heldentenor roles of Wagner, he has performed Siegmund, Lohengrin, Parsifal, Tristan and Loge, notably at the Bayreuth Festival where he first appeared in 1976. He was heard at the Metropolitan Opera from 1980 to 1988, in *Lohengrin*, *Parsifal*, *Die Meistersinger* and *Die Walküre*.

## Light music career

At the same time as singing classic roles in opera, Hofmann was also busy performing and recording popular music. He performed concerts of Elvis Presley songs and other classic rock songs on tour across Europe. He made a number of pop albums which sold well in Europe such as *Rock Classics* (1982) and *Love Me Tender: Peter Hofmann Sings Elvis Presley* (1992). In 1987, Hallmark released *Songs for the Holidays*, an album featuring Hofmann and his wife Deborah Sasson (née O'Brien, Miss Massachusetts 1971) (de).

By the late 1980s, Hofmann had abandoned opera completely in favour of musical theatre. From 1990 to 1991, he played the title role in *The Phantom of the Opera*, in the original Hamburg production, making 300 appearances in the show. He also hosted a TV show in Germany.

## Personal life and later years

Hofmann was married and divorced twice, the second time to singer Deborah Sasson from 1983 to 1990 (Correction required: Note: Spouse: Sabine Zimmerer (m. 2007–2010), Deborah Sasson (m. 1983–1990). His divorces cost him a fortune, and he lived the last years of his life in relative poverty.

Peter Hofmann moved to Bayreuth and spent his time writing his autobiography and supporting research through the Peter Hofmann Parkinson Project. After battling Parkinson's disease for more than a decade, he died of pneumonia in November 2010 at the age of 66.

## Recordings

From Bayreuth, Hofmann appeared as Siegmund in the 1980 *Die Walküre* (with Dame Gwyneth Jones as Brünnhilde) conducted by Pierre Boulez, in Patrice Chéreau's 1976 *Ring* production (Deutsche Grammophon), and in the title role of the 1982 *Lohengrin* (opposite Karan Armstrong as Elsa) conducted by Woldemar Nelsson (EuroArts), in Götz Friedrich's production.

In the studio, he made a 1978 recording of *Die Zauberflöte* under French conductor Alain Lombard with Dame Kiri Te Kanawa and Kathleen Battle, then *Fidelio* (conducted by Sir Georg Solti, 1979), *Parsifal* (opposite Dunja Vejzovic's Kundry, led by Herbert von Karajan, 1979–80; also opposite Waltraud Meier's Kundry, led by James Levine, live 1985), *Orfeo ed Euridice* (1982) and *Der fliegende Holländer* (with José van Dam and Vejzovic, conducted by von Karajan 1981–83). A 1986 performance as Lohengrin at the Metropolitan Opera, conducted by James Levine, was released on Pioneer Classics in 2000. Hofmann is also heard in Leonard Bernstein's "live" recording of *Tristan und Isolde* (1981).

## Sources

* *The Oxford Dictionary of Opera*, by John Warrack and Ewan West (1992), 782 pages, ISBN 0-19-869164-5


# List of census-designated places in South Dakota

Census-designated places (CDPs) are unincorporated communities lacking elected municipal officers and boundaries with legal status. South Dakota has 79 census designated places.

## Census-designated places

| Rank | CDP | Population | County |
| --- | --- | --- | --- |
| 1 | Rapid Valley | 8,260 | Pennington |
| 2 | Pine Ridge | 3,308 | Oglala Lakota |
| 3 | Black Hawk | 2,892 | Meade |
| 4 | Dakota Dunes | 2,540 | Union |
| 5 | Colonial Pine Hills | 2,493 | Pennington |
| 6 | North Spearfish | 2,221 | Lawrence |
| 7 | North Eagle Butte | 1,954 | Dewey |
| 8 | Rosebud | 1,587 | Todd |
| 9 | Oglala | 1,290 | Oglala Lakota |
| 10 | Fort Thompson | 1,282 | Buffalo |
| 11 | Porcupine | 1,062 | Oglala Lakota |
| 12 | Green Valley | 928 | Pennington |
| 13 | Kyle | 846 | Oglala Lakota |
| 14 | Antelope | 826 | Todd |
| 15 | Ashland Heights | 754 | Pennington |
| 16 | Wanblee | 725 | Jackson |
| 17 | Lake Madison | 683 | Lake |
| 18 | Johnson Siding | 659 | Pennington |
| 19 | Manderson-White Horse Creek | 626 | Oglala Lakota |
| 20 | Lower Brule | 613 | Lyman |
| 21 | Shindler | 584 | Lincoln |
| 22 | Parmelee | 562 | Todd |
| 23 | Meadow View Addition | 538 | Minnehaha |
| 24 | Goodwill | 513 | Roberts |
| 25 | Lake Poinsett | 493 | Hamlin |
| 26 | Blucksberg Mountain | 462 | Meade |
| 27 | Allen | 420 | Bennett |
| 28 | Marty | 402 | Charles Mix |
| 29 | Wounded Knee | 382 | Oglala Lakota |
| 30 | Anderson | 371 | Minnehaha |
| 31 | Bullhead | 348 | Corson |
| 32 | Little Eagle | 319 | Corson |
| 33 | Pine Lakes Addition | 314 | Minnehaha |
| 34 | Renner Corner | 305 | Minnehaha |
| 35 | White Horse | 276 | Todd |
| 36 | Okreek | 269 | Todd |
| 37 | Spring Creek | 268 | Todd |
| 38 | Chester | 261 | Lake |
| 39 | Soldier Creek | 227 | Todd |
| 40 | Two Strike | 209 | Todd |
| 41 | Long Hollow | 192 | Roberts |
| 42 | St. Onge | 191 | Lawrence |
| 43 | Agency Village | 181 | Roberts |
| 44 | Bath | 172 | Brown |
| 45 | La Plant | 171 | Dewey |
| 46 | Brant Lake | 159 | Lake |
| 47 | Norris | 152 | Mellette |
| 48 | Whitehorse | 141 | Dewey |
| 49 | Vale | 136 | Butte |
| 50 | Vivian | 119 | Lyman |
| 51 | Corn Creek | 105 | Mellette |
| 52 | Morningside | 105 | Beadle |
| 53 | Mansfield | 93 | Brown<br>Spink |
| 54 | Richland | 89 | Union |
| 55 | New Holland | 76 | Douglas |
| 56 | Forestburg | 73 | Sanborn |
| 57 | Kidder | 57 | Marshall |
| 58 | Harrison | 52 | Douglas |
| 59 | Winfred | 52 | Lake |
| 60 | Bath Corner | 49 | Brown |
| 61 | Kaylor | 47 | Hutchinson |
| 62 | Ferney | 43 | Brown |
| 63 | Fedora | 37 | Miner |
| 64 | Waverly | 37 | Codington |
| 65 | Okaton | 36 | Jones |
| 66 | Running Water | 36 | Bon Homme |
| 67 | Green Grass | 35 | Dewey |
| 68 | Loomis | 34 | Davison |
| 69 | Cow Creek | 30 | Sully |
| 70 | Prairie City | 23 | Perkins |
| 71 | Crocker | 19 | Clark |
| 72 | Gann Valley † | 14 | Buffalo |
| 73 | Ola | 13 | Brule |
| 74 | Aurora Center | 12 | Aurora |
| 75 | Hamill | 11 | Tripp |
| 76 | St. Charles | 11 | Gregory |
| 77 | Milltown | 10 | Hutchinson |
| 78 | Bijou Hills | 6 | Brule |
| 79 | Storla | 6 | Aurora |