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Tag: Petrenko
Essay: Reflecting On A Romanian Festival's Past, Present, & Possible Future
In art, classical, COVID19, Europe, festival, opera, Stravinsky, writing
This year's edition of the Enescu Festival came to a close with a sharp contrast of good news and bad news. The good news is that Romanian conductor Cristian Măcelaru, currently Music Director of the Orchestre National de France in Paris and Chief Conductor of the Orchestre National de France, will be entering the role of Artistic Director of the Festival, taking over from Vladimir Jurowski, who this autumn has begun his tenure as Music Director of Bayerische Staatsoper, in addition to his duties as Chief Conductor and Artistic Director with the Rundfunk Sinfonieorchester Berlin. Along with duties in France and Germany, Măcelaru is also Music Director of the Cabrillo Festival of Contemporary Music in California, and Artistic Director and Principal Conductor of the World Youth Symphony Orchestra at the Interlochen Arts Center in Michigan. He won a Grammy Award in 2020 for conducting Wynton Marsalis' Violin Concerto with Nicola Benedetti and the Philadelphia Orchestra (Decca Classics). Timișoara is his hometown, which is where the next Enescu Festival is set to take place, in 2023. With such intercontinental experience, particularly within the realm of administration and festivals, Măcelaru may very well be the right man for the right job, coming in at just the right time, but just how much of that precious time he'll be spending in Romania as a whole, especially in the coming months, remains, like much of the festival, an ever-shifting question mark. Classical, as a whole, has largely gone back to a sort of normal (ish), with an added frenzy provided by playing a massive, years-long game of catch-up, following months (sometimes years) of non-activity. Măcelaru's responsibilities, like those of many other conductors right now, are mounting, outside of whatever tentative plans may already exist for 2023.
The bad news for the Romanian festival is that it's losing its longtime General Director. Mihai Constantinescu is stepping down from what has been, one may safely assume, a hectic quarter-century of service. Very much a force behind the biennial fest, Constantinescu was also a continual presence who could be seen at any number of live presentations, backstage and in the audience, always talking to numerous people in-person or on the phone, via email, in messages. Along with arranging for artists (this year's edition hosted 3500 of them according to the festival website), Constantinescu regularly liaised with branches of government, major sponsors, and all manner of management, marketing, publicity and touring teams to produce a busy, buzzy fest spread over several venues in Bucharest proper, as well as towns across the country. To see him at any point during the festival was to see the contemporary concept of "hustling" well and truly manifest. And no wonder: this year's festival, its 25th, hosted a total of 78 concerts in Bucharest, and 13 events in other cities. That's a scaleback given its usual size and sprawl, and one wonders how that sprawl might translate from Bucharest (population 1.83 million) to the smaller city of Timișoara (population roughly 306,000). Geographically the city is closer to the Hungarian town of Szeged than to Bucharest; having a more westerly locale may give the festival a more immediate presence (and easier, driveable access) through central and Western Europe, which may well benefit those visiting organizations, but proximity aside, the city has another reason for being an interesting choice for the future. Timișoara was the site of government demonstrations in 1989 that spread nationwide, ones that led to the execution of dictator Nicolae Ceaușescu (1918–1989) and his wife on Christmas Day of that year; whether or not these events enter into or influence the shape of the festival is a huge question mark. The festival, for all its ambition, could certainly do with a more specific vision. It will be interesting to see, over the coming weeks and months, the extent to which Constantinescu's exit, Măcelaru's entrance, the roles of history, memory, and geography might play. The question, as ever, remains: will audiences follow, go, support – locals included, or perhaps especially?
The Enescu Festival is one of the world's Top 5 classical festivals, as its website proudly notes. This year's fest featured continual enforcement of health codes, ones that become more stringent toward the closing in late September. Masks backstage became not optional, but de rigeur, for artists and visitors alike. What with an alarming pandemic situation (one which has steadily worsened in the weeks since the final note sounded), conductor and former Festival Artistic Director Lawrence Foster made an impassioned plea for vaccinations from the stage of the ornate Romanian Athenaeum, a landmark in the city opened in 1888. Before a small if attentive audience, Foster was leading an in-concert performance of Berg's Lulu with the Transylvania Philharmonic Chamber Orchestra of Cluj-Napoca, in a reduced orchestration by German conductor/composer Eberhard Kloke and featuring young German soprano Annika Gerhards in the title role. During his speech, Foster (who revealed he'd had COVID 19 himself) also saluted the work of Constantinescu and shared his own personal memories of working with the outgoing General Director. One had the impression everyone, onstage and off, was simply grateful to be there, in this, of all years. Yet the fact the festival (which Yehudi Menuhin supported in its earliest iterations) exists into the 21st century is a noteworthy thing. Since its inception in 1958, it has hosted a good number of big names, sometimes more than once (Joyce Di Donato, Valery Gergiev, Yuja Wang, Gautier Capuçon) with concerts through most of September presented every other year, alternating with the Enescu Competition for young musicians. Local audiences are given numerous opportunities to experience the work of artists and orchestras who don't normally appear otherwise, and to experience live work that isn't normally played or programmed across much of the country. Those benefits extend to tourists; tickets (and indeed, hotels, food, attractions) can be had for a fraction of the cost of going to Vienna, Paris, or Munich. The savings are concomitant with difficult historical and political details in a place that still struggles to fit a terribly difficult past with a very fraught future, and some Romanian musicians have quietly complained that the Enescu Festival gets the lion's share of funding (it being a big glamorous event that attracts foreign talent and visitors), while local companies are left to wither. While the festival features numerous Romanian musicians, artists, and orchestras, at my visit to the country in 2019, I kept hearing, repeatedly, sentiments that "the system isn't fair" and "we feel ignored." Such criticism isn't new but is indeed valid, and worth heeding; there is a sharp and visibly distressing disparity between Western and Eastern EU countries.
The country has one of the widest gaps between rich and poor in the EU, and according to political scientist Iulian Chifu, who was an adviser to Romania's president between 2011 and 2014, "corruption is the new communism." Romania, with its painful past and seemingly-inert present, with a lack of socio-political willpower enmeshed with widespread (and again, distressing) corruption, horrific rising COVID rates (roughly 15,000 a day), government officials at odds with health officials, immense church influence across swaths of society, and a rapidly rising tide of right-wing political populism, such criticism feels both spiky on the surface and sharp around the edges; such realities have the very real potential to take a big bite (or two, or more) out of the country's biggest and arguably most famous festival. The sentiment of many in Bucharest (and the wider country) of feeling ignored, of having their concerns be ignored, still strongly influences my memories of the city three years on, recalling the many sites that confirm the country's painful past whilst at the same time trying, desperately, to paper it over. The immense Palace of the Parliament, built in 1977 by dictator Nicolae Ceaușescu , stands like a stern monolith in the middle of Bucharest, and its ghosts, even in the day, seem eerily intact; passing by after dark is shudder-inducing. It was surreal to visit the truly excellent National Museum of Contemporary Museum (MNAC), which is housed in one of the palace's wings; even with its modern renovations and inspiring collection of abstract works, the building renders the presence of its creator a little too present, with its windows that look down menacingly upon various passers-by. A disparate group of elements always seems to be living next to each other in Bucharest, and no single can be discerned, let alone resolved; history, art, money, power, corruption, poverty, inequality, stagnation, and some form of glamour (which the festival has certainly celebrated and promoted) are neighbours in this post-communist society. The delicate layers of sonic magic from a concert just experienced seemed to wilt like petals with every evil glint from those palace windows, and the choice to run across the street, as it turns out, was obvious, and not only owing to impatient traffic lights and the aggressive drivers who seem to dominate the city's roads.
One side of the garden of the Stavropoleos Church and Monastery in Bucharest. Photo: mine. Please do not reproduce without express written permission.
Several ideas for repurposing the palace were tossed around after the 1989 revolution; possibilities included a casino, a mall, a Dracula theme park (!) before the decision came to maintain it, and to house Romania's government within. For all its grim history and overblown pretentiousness, the structure gives a shred of order to what is a mostly chaotic urban layout. Wherever I wandered; I always managed to reorient myself in relation to its sprawling centrality. As Shaun Walker noted of Bucharest in The Guardian in 2019, "Decaying art nouveau mansions mingle with brutalist communist architecture. The city sprawls over a huge area and traffic is appalling. Masterplans for urban renewal have been written and ignored. The quarter around the Palace of the Parliament is perhaps the only area with orderly streets and layout, but has a soulless feel. "The whole ensemble makes no sense in relation to the rest of the city, and does not fit on the city's main transport axises," said Andrei Popescu, an urban planner and tour guide." That delicate – some might say dysfunctional – infrastructure comes to light in ways one wishes weren't so intermingled with the festival's functioning, but geography, politics, the simple reality of Eastern Europe and the EU in the 21st century all make that impossible. Zig-zags of streets, punctuated by wide avenues pregnant with a seemingly endless zipper of roaring cars are, together with sidewalks, cracked, uneven, poorly lit, crumbling. They extend well past the immediate festival area into the touristy Old Town (surely a tip-off of a title), where the tiny if utterly delightful Stavropoleos Church and Monastery sits, a quietly elegant Orthodox jewel. Forget the giant Orthodox cathedral-monoliths dotting the city (including the one beside the palace itself); small is definitely beautiful, as the Stavropoleos so quietly, beautifully proves. A visit there, and a silent sit in the adjacent gardens, is good, and needed, medicine for the soul.
Close by is the bustling Romanian restaurant Caru' cu Bere. Stained glass and wood panelling inside, with an expansive patio at the front, it (like the fest favorite, Romanian restaurant La Mama) features a distinctly Eastern European mix of offhand service, huge portions, reasonable price tags, rich, garlicky flavours and spicing that simultaneously embrace tradition and cross continents, their rich tastes intermingling with cigarette smells and loud laughs. Don't go to such places if you're alone, or rather, do go, but solo diners should be fully prepared to be largely ignored and exposed to numerous many happy young faces enjoying an extended summer. Many of them belong to visiting musicians in orchestras from everywhere; I heard Finnish, Russian, Italian, English, Norwegian, German, and French the times I visited these establishments, and others like them, through the afternoons and evenings between and around concerts. It was fascinating to see an assortment of musicians there, sometimes hours after a performance (or before), a concert in which they'd been more dressed, less free, but oh, young, beautiful, eyeballing every move of maestro, as if on some kind of shabby-chic safari. Oh, to be a young musician in Bucharest on a sunny day or starry evening during the festival, sipping beer in a garden with fellow minstrels, gossiping about the soloist, fidgeting with hair, smirking at the Sala's notoriously poor acoustics, as the (male) musicians, spread around pushed-together tables, smile and nod silently, staring at bare shoulders and pert bosoms, holding up empties at the frowning, perspiring servers who would invariably scurry back with a full tray, plates of little sausages, fried potatoes, glinting shards of vinegar-dressed cucumber. Clouds of smoke would hang in the humid evening air like thought bubbles containing that word so present on everyone's lips and minds: freedom.
Some way or another, the lot of them realized that concept, with varying degrees of success, at (perhaps ironically) the Sala Palatului, an acoustically dire hall built under the country's Communist regime in 1959-1960, with its shabby velvet seats and worn floors and thick walls, amidst air so still and sweltering one could carve it with that little sausage knife. Modern sounds, amidst old Communist history; contradiction as balance. It would be the jolt the festival (country) needs, but oh the sound was (is) so bad. Whether or not Culture Minister Bogdan Gheorghiu will give a green light to that long-needed, much-requested new facility is an open question. With a background in theatre and television, Gheorghiu was, at the time of his appointment in May 2019, the fourth person to hold the position since 2015. Worth noting here is the Arena Națională, the largest sports arena in Romania, was opened in 2011, and cost €234 million. Earlier this year it hosted the UEFA European qualifying matches. Without going into tiresome false equivalency arguments around sports and arts, and populism and culture, what is notable is the just how quickly the government gears will turn, when, why, and for whom; it is a truth universally acknowledged that a small country in possession of a smaller budget must be in want of a big audience, with bigger wallets. "Every government from 2003 wanted to build a new hall, but every government refused to do it," Constantinescu told me in 2019, "they told us in the beginning,"We'll do it" but when the moment came, said, "We don't have money or time" and "Oh, you need a different (location) for this hall." It's stupid, this is the best situated place in Bucharest – the hotels are here, the underground, buses – why move it? Bucharest doesn't have so many places where you can situate a big hall."
Inside the Sala Palatului in Bucharest. Photo: mine. Please do not reproduce without express written permission.
When Jurowski presented an in-concert version of Enescu's 1931 opera Œdipe at the Sala in 2017, Bachtrack writer Aksel Tollåli noted that "the loudness of the magnificently played orchestral climaxes was swamped, reducing what could and should have been a tidal wave of sound into a trickle." At the close of this year's festival Jurowski commented that "I think what it most needs is a concert hall. It has been promised to us by so many ministers of culture, I have seen three or four who have come and gone; they all made this promise, which remains unfulfilled to this day." Any given performance at the venue at least during festival time, requires spending money on a seat near the front, or else much will be lost sonically; I did this, more than once, and found a better if no less troubling acoustical experience. Sitting further back one will observe audience members shaking fans and programs back and forth, dabbing foreheads with embroidered hankies, anxiously awaiting the appearance of a nattily-dressed soloist playing that popular violin or piano or cello piece, then exiting at intermission or more notably during any not-mainstream work that might come after, Enescu symphonies included. They want what they know; sometimes, usually, the festival obliges.
"I've always observed it's a vicious circle," Jurowski said at a press conference just prior to the start of his tenure in 2017, "(that) conductors and orchestras come, visiting the festival, and all they usually put on their programs is hits." Audiences, as anyone who's been to the fest will attest, eat it up. Why shouldn't they? Having performed Brahms' famous Violin Concerto in D Major at the fest in 2019, violinist Julia Fischer (performing with the Rundfunk Sinfonieorchester Berlin, led by Jurowski) was greeted with such sustained, loud, and enthusiastic applause, it seemed impossible to oblige with anything less than an intensely-delivered encore. (Attendees certainly would've liked more, something violinist Ray Chen did provide thereafter, following a performance with the State Academic Symphony Orchestra of Russia Evgeny Svetlanov and conductor Gabriel Bebeșelea.) Similarly, Grieg's Piano Concerto in A minor, performed in 2019 by Leif Ove Andsnes and the Oslo Philharmonic and led by conductor Vasily Petrenko, was wildly received. Petrenko, an affable presence and meticulous conductor, indulged the packed Sala, following a sweeping performance of Tchaikovsky's Symphony No. 5, with warm smiles to the audience and directions to clap along. He was met with cheers, whistles, numerous camera-phones held aloft before-during-after. In a small room set aside for media interviews at the hall the day before, Petrenko said he felt it was a "duty" for him to perform contemporary works alongside the so-called hits; on the program for one of his concerts with the Oslo Phil was Morgon i skogen (Forest Morning) by Norwegian composer Øyvind Torvund (b. 1976.) Neither the instinct nor the inherent risk to pair the new, and mostly strange, with the known, and mostly beloved, is confined strictly to Western orchestras, many wringing their hands over how to strike the right balance while attracting their own set of new and old audiences. "I think classical music should be alive," Petrenko said, his blue eyes shining, "it should not be a museum, and the only way to have it alive is to perform new pieces. And I think it is the duty of every conductor and orchestra to perform music of local composers – if a piece is not played, it does not have a chance; we have to give a chance for them. If we don't, who will?"
Indeed, Enescu himself, whose 140th birthday was marked this year, is among those "local composers" to whom Petrenko was referring, and his work has been a mainstay of the festival. This year, he took the opportunity, in his new capacity as Music Director of the Royal Philharmonic Orchestra, to lead a series of works over two nights that prominently featured the work of Enescu. The composer's Strigoii, which started out as a piano sketch for an oratorio in 1916 and was "assembled" in the 1970s by Romanian composer Cornel Țăranu (with orchestration by conductor/composer Sabin Pautza) was presented in Romania for the very first time this year, by the George Enescu Philharmonic under the direction of conductor Gabriel Bebeşelea (who has become something of a champion for the work, recording it in 2018 with Capriccio Records and the Rundfunk Sinfonieorchester Berlin). Cristian Măcelaru led the Orchestre National de France in a pair of concerts over two consecutive nights featuring the music of Shostakovich, Ravel, Dutilleux, Messiaen, Grieg, as well as Enescu, the latter featuring multimedia visual accompaniment by Romanian theatre director Nona Ciobanu and Slovenian artist Peter Kosir, part of the festival's ambitious integration of various art forms through the medium of music.
Claims that the festival may have had some hand in the ascension of Enescu's opera Œdipe, first presented in Paris in 1936, and being presented this season at both Komische Oper Berlin and Opera de Paris, speak to a certain optimism of influence, but such claims are not entirely accurate, especially if one considers the number of years opera houses plan in advance (at minimum four; usually more) and the demands being placed on the industry for new – but not too new – material. Wiener Staatsoper presented the opera as far back as 1997; La Monnaie/De Munt produced a staging (a co-production with Gran Teatre del Liceu and Teatro Colon) in 2010, one that was later produced (and revived) at Dutch National Opera. The Royal Opera Covent Garden staged Œdipe in 2016; the Salzburg Festival in 2018. It was also staged in Romania, by the Opera Națională București, in 2015 and again in 2019. Certain houses, under pressure to present newer material and to expand the so-called 'canon' of core repertoire (Verdi, Wagner, Puccini) might wish to embrace the sole opera of a Romanian conductor/composer/violinist, famous for his widely (some might argue overly) programmed Romanian Rhapsodies, inviting their respective audiences to experience a work that, while new, isn't so far afield sonically; the work clearly references the music of Strauss, Debussy, and Ravel, thus retaining a perceived "safety" in having European roots. (It's worth noting the opera is usually marketed sans the tiresome cliched Eastern exoticism that usually tends to otherwise characterize many Western initiatives involving the work of composers from Romania and much of the former Eastern bloc.) The opera has as its basis a widely-known story taken from Greek mythology, giving directors a wide palate of opportunities for creative presentation. Programming Œdipe is an expansion of the canon, those in charge might say, one that comes with risk – just the right amount of risk. Being just that much outside the known canon will mean, of course, finding the right artists for its realization, but listing a performance/production on a CV is an assured feather in the cap for any singer, one that can open potential doors to future parts, conductors, recordings, houses. The vocal writing is, in places, fiendishly difficult, with the lead baritone role required to maintain an immense energy and vocal flexibility throughout the opera's nearly three-hour running time. Yes, the opera itself is a thing of immense beauty, but featuring the work as part of a season in Europe (or further afield) seems less a symbol of the Enescu Festival's reach than a considered business decision for houses in what is, more than ever, a tenuous time for the industry, with repeated pushes and pulls to expand, explore, include, exemplify, examine, exhume, and execute as warranted. Between those demands, and threats to funding, drops in audience attendance, ever-changing quilts of venue entry and visitor restrictions (not enforced in some places and roundly criticized for enforcement in others), well… what's an opera company to do? The sight of baritone Christopher Maltman stalking around the Opera Bastille stage recently (in Wajdi Mouawad's thoughtful, beautiful production), his eyes covered by a patchwork of tiny, mirrored squares, seemed more relevant than ever. Reflect; refract; rethink. Revive, over and over.
Constantinescu admitted over the course of a lengthy and involved conversation (part of a feature eventually published in the Winter edition of Opera Canada magazine that also featured the thoughts of Petrenko) that he agreed with Petrenko's sentiments around avoiding a sort of musical ossification. "We need to present the work of people who are alive," he told me, but he added a vital detail: Romanian audiences have not had the privilege of hearing many works by Western composers, the very works other audiences may know and take for granted, since they live in places where the funding, education, and public support for such things exists and is regularly cultivated. "Vivaldi, Gluck, Handel and Couperin are names that are not often performed in (regular) season concerts in Bucharest," he said, his eyes widening behind his owl-like glasses. "This is the goal of the festival: to educate people." Such didactic instinct was realized in many offerings, particularly over the past four years, in drims and drams. The 2019 program saw the Romanian premiers of Strauss' Die Frau Ohne Schatten (presented by Jurowski and the RSB), Britten's Peter Grimes (performed by the Romanian National Radio Orchestra and Radio Academy Choir, led by Paul Daniel) and Schoenberg's Moses und Aron (conducted by Lothar Zagrosek and performed by the Orchestra and Choir of the George Enescu Philharmonic together with Vocal Consort Berlin). Composer/conductor Lera Auerbach presented a number of her own works at the Radio Sala; Mark-Anthony Turnage premiered his new song cycle with tenor Allan Clayton and the Britten Sinfonia.
At the 2021 edition, Jurowski presented a series of works recognizing the 50th anniversary of the passing of composer Igor Stravinsky (1882-1971), leading eclectic and demanding works (Les Noces, Renard, The Flood) which had never been performed live before in Romania; included in the first evening of his and the RSB's two consecutive concert evenings was the work of Romanian composer Anatol Vieru (1926-1998). Czech composer Ondřej Adámek (b. 1979) enjoyed the premiere of his new work, "Where are you?", written especially for Magdalena Kožená & Sir Simon Rattle, by the musical couple together with the London Symphony Orchestra. The Mahler Chamber Orchestra, led by concertmaster Matthew Truscott and featuring soloist Yuja Wang, featured works by Haydn, Janáček, Stravinsky, and Shostakovich; members of the Berlin Philharmonic (including Noah Bendix-Balgley and Stephan Koncz) presented Enescu's Piano Trio and Mozart's Piano Quartet No. 1 (both pieces, rather interestingly, in G minor), while the Royal Concertgebouw Orchestra closed the festival with two concerts, the first featuring Rachmaninoff's Rhapsody on a Theme of Paganini paired with the music of Carl Nielsen (led by Alan Gilbert) and the second comprised of Enescu's Pastorale-Fantaisie, Wagner's Tannhäuser overture, and Bruckner's Symphony No. 7 (led by Daniel Harding). The sheer scale and ambition of the festival, particularly amidst the realities of this year's pandemic, cannot be underestimated – nor can the realities of such future ambitions be ignored; while such realizations are certainly worth applauding, their direct experience can be, for want of a better word, totally exhausting, with little to any space given, in practical or theoretical terms, for contemplation of them in isolation, or more especially, broader relation to one another. Is there a connection? Should one attempt to be found? Whither the events of 1989? Themes given to the festival by its own team (this year's was "The Sound Of Love"; in 2019, "The World In Harmony") feel, somehow, too ephemeral, too vague. Together with data, such elements reveal and conceal simultaneously in a strange, Soviet-style bit of politicking. One would ask for something – not bigger and more impressive and more wow, but more substantial, meatier, more solid, and not from its foreign attendees from from its extant (make that shifting) leadership. The figures trumpeted on the Enescu Festival website are impressive, but obvious. Indeed it was "the world's largest classical music festival of 2021" (bien sur) far more telling is the number of locals who attended in lieu of foreigners scared off or stuck by travel restrictions. I found myself happy to read this, but equally curious to know if these indoor attendees comprised the same audience who'd attended free presentations across the street in years past, at the giant outdoor screens which had been set up with rows of folding chairs, spaces which were half-occupied most daytimes, with mothers and prams and older people, stopping, sitting briefly, cocking heads and enjoying ice cream cones, before moving along, cloth shopping bags in hand. Perhaps this is just the sort of social milieu that might play into the 2023 edition and somehow (one hopes) shape future programming choices. Rethink, reframe, revive; se poate spera.
Inside the Sala Palatului. Photo: mine. Please do not reproduce without express written permission.
A part of the infrastructure to which Walker alludes in his Guardian piece has an influence in shaping the perception of the music experienced live, in content as in performance. Works with noticeably little to no energy live, or delivered in a sort of rote manner, are suddenly, owing to the shared frenetic pace of Strada Știrbei Vodă and Calea Victoriei outside, infused with a manic quality. The effect also works in reflection, acting as a nifty sort of mirror to those concerts in which joy and good humour arise naturally, and there are plenty of those performances as well. The streets outside are bustling, sizeable thoroughfares; renamed after the 1989 revolution, they act as sharp lines of demarcation between festival venues (the Sala, together with the smaller Sala Radio and the Athenaeum, located opposite/behind-ish) and bars, restaurants, cultural attractions, as well as the many hotels used by artists and guests alike. How busy, how rushed, how intense it all felt being in the midst of it all. The festival itself, with its team of kind and ever-patient publicists, assistants, and other personnel, works hard, and is determined to shape a specific impression – Very Impressive, Very Big, Very Wow; like a happier, better version of that giant palace, perhaps. But it can all be too impressive, too big, too wow; the pace and sheer variety can be overwhelming, frenzied, mentally/emotionally/creatively/spiritually exhausting. (I can only imagine what it must be like for visiting artists.) Visits to the Stavropoleos: regular, and required – that, or after a concert, sheer solitude and silence. Following a beautiful performance (usually of a work I hadn't heard live before) in a hot, stilted venue, the last thing I wanted to do was to rush off to yet another presentation – usually a midnight presentation of an opera. Nu, mulțumesc. I wanted to sit and simply be with the rather miraculous sounds I'd heard sitting in a hot hall in high heels and slowly-dampening hair over the past how-many hours. There was no respite at any bar or restaurant or street, large or small; the winding paths to my own hotel weren't poetic, they were decrepit, depressing, scary to navigate even in flat sandals. (But oh, I was so grateful for the large bathtub, a rarity in Romanian hotels, or so I was told; I may well have had the biggest one in the city.) The race of footsteps along dim, cracked yellow-lit pathways shadowed by low-hanging branches and peppered with cars, the giggles and glass-clinks like staccato shots in the open-air gardens, the echoes in the long, goldfish-bowl-like, quasi-chic bars of hotels – the quiet contemplation of such creative experience one wished for, in conversation or alone, was simply impossible.
In downtown Bucharest. Photo: mine. Please do not reproduce without express written permission.
Still, it's tough to look at the festival in any careful way without being perceived as mean or peevish. It's Eastern Europe, goes the (mostly Western) thinking, what did you expect? Well. I am not sure who is served by fluffy travelogues that ignore on-the-ground realities; certainly such reports fall into the "favourable content" category so favoured by online publishers (and marketers), but I'm not sure they do the artists, the administration, the organizations (visiting and local), or the country as a whole any favours. The city, once described to me as a sort of "shabby-chic Paris" by a previous visitor, is, as Walker noted, a hard-scrabble hodge-podge of new and old, have and have-not, blazingly modern in some sections, achingly dilapidated in others, a terrible if terribly real reflection of the country's widening social divides. The Enescu Museum, a short walk from the festival locale proper, and with no real connection to the festival itself beyond the composer's name (bizarrely), is in a horrendous state of disrepair. Perhaps there is a charm in the cracks, the discoloration, the water marks on the ceiling, the curling edges of paper and the worn velvet surfaces, but it's one that can be experienced, or understood, as a visitor without romanticizing its actual, lived realities for so many; such romanticizing only serves to reduce the direct experience of its people, particularly the many young people I noted working in service positions across the city. They don't want pity; they want to leave.
My mornings during my visit were largely were spent in a tiny cafe located with small wire chairs and shaky tables set out on a slanted, cracked sidewalk framed by yawning old trees and lining a narrow, similarly-cracked street hosting fast-moving cars. The servers at the cafe were all young, multilingual, polite; most were students, all of them hoped to leave Bucharest, in the near future, most probably for good. One server warmed up to conversation after consecutive days of my asking for extra milk for my coffee, and asked, with a cheeky grin, if I wanted a whole cow set on the pavement tomorrow. He wasn't planning on staying in his country of birth much longer.
"There's nothing here for us," he said, "unless you are willing to work in a corrupt way, and then you can only go so far." Where would he like to go?
Maybe Germany, although he didn't think his German was good enough. Possibly France, probably Spain. Had he been? "Yes, Madrid is fantastic!" A broad smile, as he collected my empty mug. "Better coffee than here." Had he been to any Enescu Festival concerts? "Only one, but that hall is so hot and awful. We go for other things here, you know, big musicals." Did I know about them? Yes, I'd seen the posters outside the venue. "Sometimes I'll go for those, but I don't want to sit there sweating to music I didn't know. And the tickets for the festival…" he said, waving at a persistent fly with his free hand, his brown eyes rolling up, "pfffft, I'd rather spend my money on other things. Maybe I'm a bad patriot, but… I don't care, really. I'm too busy trying to survive, you know?"
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Vasily Petrenko: "You Have To Be Very Brave"
In classical, interviews, music
Photo: Svetlana Tarlova
"Life is full — I'm not complaining!"
Vasily Petrenko was between sessions when we spoke recently, juggling recording all the Beethoven Piano Concertos with the Royal Liverpool Philharmonic Orchestra and pianist Boris Giltburg (for future release on Naxos Records), with new season announcements, an upcoming London performance, and recent news of his Met Opera debut this autumn.
The chatty Saint Petersburg native is indeed busy. He has many titles: Chief Conductor of the Oslo Philharmonic Orchestra; Chief Conductor of the Royal Liverpool Philharmonic Orchestra; Chief Conductor of the European Union Youth Orchestra; Principal Guest Conductor of the State Academic Symphony Orchestra of Russia. In 2020 he steps down as music director of the Oslo orchestra (a position to which he was appointed in 2013-14); a year later, he leaves his position with Liverpool as well, though his long-standing relationship with the RLPO (he will have been with then fifteen years by then) will continue with Petrenko becoming Conductor Laureate. All of this movement is very much done with purpose: at the start of the 2021-2022 season, Petrenko becomes Music Director of London's Royal Philharmonic Orchestra. He's set to lead his first concert with them since the announcement was made of his appointment last July; a highly-anticipated program featuring the music of Brahms and Strauss unfolds next month at London's Royal Festival Hall.
With numerous accolades, awards, and a sizeable array of acclaimed recordings and appearances, Petrenko is, and has been, a man on the move since his early days in Russia, studying at the St Petersburg Conservatoire and participating in masterclasses with conductors Mariss Jansons and Yuri Temirkanov. The winner of numerous international conducting competitions (including First Prize in the Shostakovich Choral Conducting Competition in 1997), Petrenko received the prestigious Young Artist of the Year Award from Gramophone in 2007; a full decade later he was awarded their Artist of the Year (voted on by the public). He won the Male Artist of the Year at the Classical Brit Awards in 2010, and has appeared with a range of prestigious orchestras (including the Gewandhaus Leipzig, the London Symphony Orchestra, the Orchestre National de France, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Cleveland Orchestra, NHK Symphony Tokyo, to name just a few), and festivals, including the BBC Proms, Edinburgh, Aspen, and Ravinia. Tomorrow and Sunday evenings (May 16 / 19), he leads his Royal Liverpool Philharmonic Orchestra (RLPO) in a series of concerts with cellist Alban Gerhardt featuring Russian repertoire (Prokofiev, Shostakovich, Glazunov, Tchaikovsky, Khachaturian, Kabalevsky), before jetting off to Norway for concerts with soprano Veronique Gens and the Oslo Philharmonic featuring the music of Rimsky-Korsakov, Ravel, and Respighi.
Lest you think Petrenko's output is limited to symphonic work, think again. He has over thirty operas in his repertoire; in 2010, he appeared at both Glyndebourne (Verdi's Macbeth) and Opéra National de Paris (Tchaikovsky's Eugene Onegin), but more recently conducted staged productions of Mussorgsky's Boris Godunov at the Bayerische Staatsoper (2016) and Shostakovich's Lady Macbeth of Mtsensk at Opernhaus Zürich (2016-17). Concert performances have also been plentiful — of Verdi's Falstaff with the RLPO (in conjunction with the European Opera Centre) and Rimsky-Korsakov's The Golden Cockerel (with the Netherlands Radio Philharmonic Orchestra; both 2017). In November, Petrenko will make his Metropolitan opera debut conducting Tchaikovsky's The Queen of Spades, with a stellar cast which includes soprano (and 2015 Operalia winner) Lise Davidsen, with whom Petrenko has previously worked.
The maestro's warmth and dynamism are palpable whether onstage, in recordings, or indeed, in conversation. His reading of Ravel's Daphnis et Chloé Suite No. 2 with the Berlin Philharmonic in 2018 glowed with bold strings and ripe, round phrasing that warmly captured the work's dancelike underpinnings; likewise his appearance last October at Cadogan Hall with the State Academic Symphony Orchestra of Russia ("Evgeny Svetlanov"), where he led energetic if densely-woven performances of works by Tchaikovsky and Rachmaninoff, the latter's Symphony No. 2 being, as Bachtrack's Mark Pullinger rightly notes, "as brooding, as melancholic, as passionate an account as you'd wish to hear." Elgar's Chanson de matin was the encore that evening, which was perfectly fitting, considering Petrenko's recordings of the English composer with the RLPO (in 2015, 2017, and 2019; Onyx) are genuinely excellent. Petrenko's reading of Elgar works gave me a whole new insight into a sound world I had always felt closed off from; there was something about the composer's output that always seemed cold, distant, impenetrable. How wrong I was, and how deeply grateful I am for Petrenko's readings; they brim a lively, warm energy, a keen forward momentum, effervescent textures and poetic nuance, underlining the joy, drama and humanity so central to Elgar's canon.
Photo: Onyx
Released in March of this year, Petrenko and the RLPO's recording of the Serenade For String Orchestra, Op. 20 (together with the famous Enigma Variations) boasts gorgeous modulations, with an intriguing emphasis on the lyricism of the sparky cello and bass lines in the first movement (Allegro piacevole); the interplays and contrasts with a silken violin section that swells with operatic grandeur in the piece's Larghetto, delicately swirling and swooping around a songlike cello section. It's all so conversational and engaging, so dynamic and thoughtful, so casual and smart, all at once… rather like the conductor himself.
Between recording Beethoven Concertos, Petrenko recently offered a waterfall of insights on everything from the new seasons in both Oslo and Liverpool and the importance of new works within orchestral programming, to growing up in Saint Petersburg and thoughts on his Met debut later this year.
The 2019-2020 seasons for both the Oslo Philharmonic and the Royal Liverpool Philharmonic certainly offer a lot to chew on.
We do have a lot — in Oslo it's the orchestra's centenary year, so we have a lot of projects related to the anniversary, including outdoor concerts for 20,000 people and tours to mainland Europe and other places. We also have concerts which reflect the past, so there will be one exactly mirroring the orchestra's first concert – we'll perform what was performed in 1919. And there's plenty there with Liverpool too, like with the Mahler cycle starting from January 2020. So that's a lot of symphonies!
Oslo Philharmonic CEO Ingrid Røynesdal said the the centenary season had been built around the theme of "Yesterday / Today / Tomorrow" and will feature fifteen new commissions; what role do you see new works playing within future programming?
I think for audiences it's a matter of trust for conductor and orchestra, that even if the public does not know the name of the composer on the poster, they are still coming because they trust it'll be great music. Here in Liverpool when I started to perform Hindemith for the very first time, people didn't know the composer and didn't turn out. Some asked, "Who or what is a Hindemith — is it a skin disease?" Later I was insisting he be performed — I really admire his works, and think he deserves much wider recognition. It isn't contemporary music but it's music of the 20th century. And later the audiences started to pack the house, even for contemporary works, including his pieces. We did a few different things — chamber works, choral works. It's a matter of trust. I tried to put other names back on the map, and did so, quite successfully.
Photo: Mark McNulty
It is, for a conductor and an orchestra, a duty; it's a must. I feel really obliged to perform as much contemporary music as I can, especially contemporary music of the local place where the orchestra is based, so in Liverpool English composers, and in Oslo, regional composers of Scandinavia; if we won't give them a chance, who will? If the piece is not performed, nobody knows if it's good or bad, it stays virtual — but time and the public will tell which will be a masterpiece, which will be neglected or forgotten. I think the vox populi will decide over the years which pieces of music become masterpieces, but to give them a chance to decide, we have to perform them, so I'm always up to do new commissions and also to perform a piece a second or third time. Contemporary music is so often performed once and under-rehearsed at that — and then of course it's not given a second chance, a second look; it can just go to the trash bin, which is not what it deserves. So for me I'm trying to find a way where you're not performing a new piece for 200 people who think they're gurus of contemporary music, but for a full house. To program that you have to be very careful; it's just one item of programming which will also include a famous work, so the main and general public will come and then they can discover something new and be moved.
This is not even in the very contemporary vein, but this past January I did Sibelius Four, which is one of the less performed symphonies by him. It's very dark and very profound and much more difficult to absorb rather than the First, the Second, or the Fifth; it was the main piece, and we were expecting that it would not be full, but a lot of people came, and they said it was the best concert of the season! So you have to be very brave, and believe in contemporary music, and in yourself, and do it as much as you can.
That echoes something Johannes Moser said to me recently, that very often the public's exposure to contemporary works is linked to a mediocre performance, so they assume that's how all of it sounds.
If you look into the history of many pieces which are now considered as masterpieces, their first (presentations) were not big successes. It's only after the second or third run, when the orchestra is more familiar with a new piece, and it feels more musical and less technical for them, that they can they recognize it as good. I should confess to the marketing department that I'd like to perform a contemporary piece twice in same concert: once at the beginning; then whatever music in the middle; then again at the very end. That may give quite a different perspective for the public. It's challenging because of the general strategy but maybe that's how you can program (contemporary music) better than how it is done now.
Cadogan Hall. Photo: mine. Please do not reproduce without permission.
That brings to mind something you'd said to The Scotsman last year in relation to your new role with the Royal Philharmonic about using various London venues for various types of repertoire; that seems important within the broader context of shaping public perceptions of certain works.
With the Royal Philharmonic, we will be quite lucky, performing quite extensively at Royal Albert Hall, Royal Festival Hall, and Cadogan Hall. London does not have an ideal, let's say, concert hall, but those three venues, they can cover different pieces. Royal Albert Hall, of course, is perfect for big symphonies — Strauss and the Don Juans, big Bruckner works, Elgar, Mahler, oratorios, and various potentially semi-staged operas — it's a coliseum, it's made for that. Then Royal Festival Hall is probably for the main romantic and post-romantic things, like Tchaikovsky, Rachmaninoff, Shostakovich, Stravinsky, Britten, that kind of thing can be done there. And then Cadogan Hall is for pieces written earlier, like the music of Beethoven, Schubert, Brahms, ideally, or after, like neo-classical, contemporary music, with relatively small orchestras — that can work there very well also. So I think the variety of different pieces of music is related to the size and abilities of each hall.
And performing at a variety of venues is good for community-building, something you've been incredibly committed to throughout your time in both Oslo and Liverpool. For the RLPO, you told The Guardian in 2015 that you wanted to see the kids in the youth program become full-fledged members of the RLPO.
Yes in five or ten years — ideally, yes. I think for any orchestra to go into the society of the place they're based and to be part of that community is very, very important. It's a thing I've done here in Liverpool and I've done it in Oslo too — the orchestra and I are coming much more frequently into universities and such, sometimes I've done things like lectures, which they appreciate, and also I do all the pre-concert talks there before every single concert, either offstage or onstage, which brings people an understanding. It's something which we always need to remember with any orchestra: we are there for the public; the public is not there for us.
Where did that come from, that urge to connect with community? Was it your background in Russia, and the way culture seems to be so woven into everyday life there?
I guess part of it came from Saint Petersburg, or Leningrad, which, in the 1980s and 1990s, growing up there was this sense of living in a very big village. It's a huge city, five million inhabitants, it's a city where every citizen used to know at least, how to get to a certain street, they knew the city extremely well and were ready to help each other, and literally were ready to talk to each other on the streets or wherever else, and that was also reflected in Philharmonic programs and at the Mariinsky and Kirov Ballet programs. Culture is a big part of Russian and Soviet society, and I'm quite glad that nowadays it's sort of returned back, slowly, to the level of how it was in Soviet times.
With the State Academic Symphony Orchestra of Russia and pianist Barry Douglas at Cadogan Hall in October 2018. (Photo: mine. Please do not reproduce without permission)
You know, you can say a lot of bad things about the Communists, but the attention they directed toward culture was huge — in a good and in a bad way — but the profession of musician in the Soviet Union was one of the most prestigious professions of all, for many reasons — huge competitions, relatively good salaries by Soviet standards; it was highly prestigious. People were respecting a lot of the artists, the singers and the musicians; all the people of art. That had been neglected (after the fall of Communism) partly because it was much more business-oriented, but now it seems to me this way is being brought back slowly, so the Moscow Philharmonic, as an umbrella of organizations, they sell an incredible amount of tickets, something like 500,000 subscriptions or something. Those in Moscow and Saint Petersburg are very active in culture; it is a part of the common life to go to the theatre or the Philharmonic Hall and to other concert halls, to the opera — literally almost every citizen tries to go at least every other week, and it is a very knowledgeable public, a public who understands the values and the essence (of art), and I'm really glad that it's continued.
So yes, probably, (the awareness of community) came from that point, the understanding that culture itself can improve the quality of life of everyone, of every individual — there's a message that we are there to improve your quality of life, mentally, emotionally, physically, all sorts of things.
I'm not sure opera is perceived that way in some places, though. You're in NYC in the fall, making your Met Opera debut with Pique Dame (The Queen Of Spades) — what ideas or approaches do you bring with you from Oslo, Liverpool, Petersburg…?
People quite often ask me, "What's the difference between conducting an opera and conducting a conducting symphonic orchestra?" and I say: when you conduct an orchestra, you're driving a car; when you conduct an opera, you're driving a truck. You have to think about the size and your responsibility when you're conducting opera, and how it's different. Your ability is obviously different when you have just a small car; the maneuverability is bigger, of course you can turn and twist immediately. With a big truck, you have to think about where it will move, and you also have to think about others; however, with a big truck you can bring more goods. And so of course the difference is that you are in charge, probably, if not indirectly in opera, of many other people — not just singers, not just dancers, but for instance light engineers, curtain makers, you have to acknowledge and know many more things than just the music. It's also about physics — where the choir is, how they're moving — everything can affect the performance. On the other hand, with the music plus the visual aspects, you can have a huge emotional impact on the public, all of the visual details are much more direct than just the sounds, to your mind and to the minds of the listeners, or the viewers.
Inside the Metropolitan Opera. (Photo: mine. Please do not reproduce without permission.)
The Met is a very big house too.
It is a big house, and I've heard from many people — and this is what I'm saying to singers and to orchestras in other places which are big —that even if the house is big, quite naturally you start to play or sing louder, which is not necessary, because it leads to too-loud performances. So for me I want to find the balance and delicacy of the score, and in Pique Dame there are many delicate, quiet moments; probably the main climaxes happen in the quiet moments rather than the loud moments — the psychological climaxes — and so, we'll work on those moments. If there is coherence between what's going on visually onstage and what it says in the music, that can make an incredible effect.


Mr. Kengo Fukui was named Senior Managing Executive Officer, Chief Director of Building Business and Director in Tokyo Tatemono Co., Ltd. effective January 1, 2019. He joined the Company in April 1980. His previous titles include Executive Officer, Director of Corporate Sales Promotion, Director of Planning, Manager of Fukuoka Office and Manager of Kyushu Office in the Company.


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text:
Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C
Joseph Dynlacht, E. D. Wieder, M. H. Fox
The local anesthetic procaine greatly sensitizes cells to hyperthermia. Though it is generally accepted that procaine is a membrane-active agent that increases membrane fluidity in cells, the mechanism by which it potentiates heal killing is unknown. In this paper we report changes in intracellular pH (pH(i)) of Chinese hamster ovary (CHO) cells healed at 42.0 or 45.0°C in the presence of procaine. The pH(i) was measured with flow cytometry using the dye 1,4-diacetoxy-2,3-dicyanobenzene (ADB). Studies were carried out using cells grown at normal pH (7.3) or cells placed in low-pH (6.6) medium 4 h prior to and during healing (acute low-pH treatment). Low-pH-adapted cells (PHV2), which were obtained previously by continuous culture in pH 6.6 medium, were also used. Normal cells heated in the presence of procaine at pH 7.3 underwent a large decrease in pH(i) compared to cells heated without procaine. Procaine had little additional effect on the intracellular pH of cells in medium with a pH of 6.6 for 4 h before and during 30 min of heating. PHV2 cells exposed to chronic low-pH conditions were resistant to acidification when heated with or without procaine. The surviving fraction of cells heated with procaine was significantly lower under all pH conditions than that of cells heated without procaine. Cells heated at 42.0°C with procaine also became greatly acidified and their survival was reduced. These data suggest that the reduction in pH(i) caused by procaine may be part of the mechanism of heat sensitization, but cannot account for it entirely. Furthermore, the degree of procaine sensitization and intracellular acidification is dependent on the extracellular pH, with a larger effect occurring at pH 7.3 than at pH 6.6.
Radiation Research
Chinese hamsters
Cricetulus
local anesthetics
membrane fluidity
Dynlacht, J., Wieder, E. D., & Fox, M. H. (1991). Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C. Radiation Research, 128(1), 14-18.
Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C. / Dynlacht, Joseph; Wieder, E. D.; Fox, M. H.
In: Radiation Research, Vol. 128, No. 1, 1991, p. 14-18.
Dynlacht, J, Wieder, ED & Fox, MH 1991, 'Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C', Radiation Research, vol. 128, no. 1, pp. 14-18.
Dynlacht J, Wieder ED, Fox MH. Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C. Radiation Research. 1991;128(1):14-18.
Dynlacht, Joseph ; Wieder, E. D. ; Fox, M. H. / Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C. In: Radiation Research. 1991 ; Vol. 128, No. 1. pp. 14-18.
@article{2c58aaacef324af4903d4f75ed7954d9,
title = "Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C",
abstract = "The local anesthetic procaine greatly sensitizes cells to hyperthermia. Though it is generally accepted that procaine is a membrane-active agent that increases membrane fluidity in cells, the mechanism by which it potentiates heal killing is unknown. In this paper we report changes in intracellular pH (pH(i)) of Chinese hamster ovary (CHO) cells healed at 42.0 or 45.0°C in the presence of procaine. The pH(i) was measured with flow cytometry using the dye 1,4-diacetoxy-2,3-dicyanobenzene (ADB). Studies were carried out using cells grown at normal pH (7.3) or cells placed in low-pH (6.6) medium 4 h prior to and during healing (acute low-pH treatment). Low-pH-adapted cells (PHV2), which were obtained previously by continuous culture in pH 6.6 medium, were also used. Normal cells heated in the presence of procaine at pH 7.3 underwent a large decrease in pH(i) compared to cells heated without procaine. Procaine had little additional effect on the intracellular pH of cells in medium with a pH of 6.6 for 4 h before and during 30 min of heating. PHV2 cells exposed to chronic low-pH conditions were resistant to acidification when heated with or without procaine. The surviving fraction of cells heated with procaine was significantly lower under all pH conditions than that of cells heated without procaine. Cells heated at 42.0°C with procaine also became greatly acidified and their survival was reduced. These data suggest that the reduction in pH(i) caused by procaine may be part of the mechanism of heat sensitization, but cannot account for it entirely. Furthermore, the degree of procaine sensitization and intracellular acidification is dependent on the extracellular pH, with a larger effect occurring at pH 7.3 than at pH 6.6.",
author = "Joseph Dynlacht and Wieder, {E. D.} and Fox, {M. H.}",
journal = "Radiation Research",
publisher = "Radiation Research Society",
T1 - Effect of procaine on the intracellular pH of Chinese hamster ovary cells heated at 42.0 or 45.0°C
AU - Dynlacht, Joseph
AU - Wieder, E. D.
AU - Fox, M. H.
N2 - The local anesthetic procaine greatly sensitizes cells to hyperthermia. Though it is generally accepted that procaine is a membrane-active agent that increases membrane fluidity in cells, the mechanism by which it potentiates heal killing is unknown. In this paper we report changes in intracellular pH (pH(i)) of Chinese hamster ovary (CHO) cells healed at 42.0 or 45.0°C in the presence of procaine. The pH(i) was measured with flow cytometry using the dye 1,4-diacetoxy-2,3-dicyanobenzene (ADB). Studies were carried out using cells grown at normal pH (7.3) or cells placed in low-pH (6.6) medium 4 h prior to and during healing (acute low-pH treatment). Low-pH-adapted cells (PHV2), which were obtained previously by continuous culture in pH 6.6 medium, were also used. Normal cells heated in the presence of procaine at pH 7.3 underwent a large decrease in pH(i) compared to cells heated without procaine. Procaine had little additional effect on the intracellular pH of cells in medium with a pH of 6.6 for 4 h before and during 30 min of heating. PHV2 cells exposed to chronic low-pH conditions were resistant to acidification when heated with or without procaine. The surviving fraction of cells heated with procaine was significantly lower under all pH conditions than that of cells heated without procaine. Cells heated at 42.0°C with procaine also became greatly acidified and their survival was reduced. These data suggest that the reduction in pH(i) caused by procaine may be part of the mechanism of heat sensitization, but cannot account for it entirely. Furthermore, the degree of procaine sensitization and intracellular acidification is dependent on the extracellular pH, with a larger effect occurring at pH 7.3 than at pH 6.6.
AB - The local anesthetic procaine greatly sensitizes cells to hyperthermia. Though it is generally accepted that procaine is a membrane-active agent that increases membrane fluidity in cells, the mechanism by which it potentiates heal killing is unknown. In this paper we report changes in intracellular pH (pH(i)) of Chinese hamster ovary (CHO) cells healed at 42.0 or 45.0°C in the presence of procaine. The pH(i) was measured with flow cytometry using the dye 1,4-diacetoxy-2,3-dicyanobenzene (ADB). Studies were carried out using cells grown at normal pH (7.3) or cells placed in low-pH (6.6) medium 4 h prior to and during healing (acute low-pH treatment). Low-pH-adapted cells (PHV2), which were obtained previously by continuous culture in pH 6.6 medium, were also used. Normal cells heated in the presence of procaine at pH 7.3 underwent a large decrease in pH(i) compared to cells heated without procaine. Procaine had little additional effect on the intracellular pH of cells in medium with a pH of 6.6 for 4 h before and during 30 min of heating. PHV2 cells exposed to chronic low-pH conditions were resistant to acidification when heated with or without procaine. The surviving fraction of cells heated with procaine was significantly lower under all pH conditions than that of cells heated without procaine. Cells heated at 42.0°C with procaine also became greatly acidified and their survival was reduced. These data suggest that the reduction in pH(i) caused by procaine may be part of the mechanism of heat sensitization, but cannot account for it entirely. Furthermore, the degree of procaine sensitization and intracellular acidification is dependent on the extracellular pH, with a larger effect occurring at pH 7.3 than at pH 6.6.
JO - Radiation Research
JF - Radiation Research

redpajama_set_name: RedPajamaCommonCrawl


text:
Canadian researchers and industry partners jointly-develop new recommendations to combat 'superbugs' in Canada
Embargoed until
Tuesday, February 15, 2022, at 11 a.m. EDT
A new proposal developed by an interdisciplinary team of McMaster University researchers and members of the Canadian Antimicrobial Innovation Coalition (CAIC) calls upon Canadian public health officials to make necessary changes to how novel antibiotics are approved, procured, and accessed in Canada in order to slow the spread of antimicrobial resistance (AMR).
AMR occurs when microbes develop ways to protect themselves from the effects of antimicrobial medications, such as antibiotics. These resistant microbes are colloquially known as 'superbugs.'
Today, new antibiotics — drugs with efficacy against these superbugs — are approved for use in other jurisdictions but remain unavailable to Canadian patients. Furthermore, there is a global decline in the development of novel antibiotics that necessitates policy incentives in Canada and other industrialized countries to spur new product innovation.
"This proposal provides an important tool for policymakers, health providers and other stakeholders in the health ecosystem to inform the development, testing and implementation of economic incentive models to better address AMR in Canada," says Wes Miyai, project steering committee member and Associate Director, Public Health and External Affairs at Merck Canada.
In fact, new research published in Clinical Infectious Diseases reveals that, of 18 novel antibiotics approved and commercially launched in 14 high-income countries over the past decade, only two have been introduced in Canada — the fewest on the entire list. Meanwhile, other countries, like the U.S., have introduced as many as 17 new antibiotics within the same span.
"We believe that this can be rectified through incentivization and regulatory improvements, as other G7 countries are doing," says Lori Burrows, associate director of the Michael G. DeGroote Institute for Infectious Disease Research (IIDR), and project lead. "But having these newer antibiotics commercially launched here is just part of the equation. Canada must also expand front-line access to these medications through measures related to data, costs, distribution, and supply and demand."
Some of the recommendations put forth in this proposal include:
Expediting and streamlining the marketing approval of select priority antibiotics that have already been approved by the EMA in the EU or the FDA in the US
Creating specific funding envelope(s) to encourage appropriate utilization of new antibiotics for hospital settings, which could also be applied to community settings
Establish national forecasts for antibiotics required by Canadian patients, including for those not yet approved here
The proposal also calls upon the Canadian government to encourage pharmaceutical companies to bring their products to the Canadian market through an incentive model that is based on an antibiotic's overall value to the Canadian health care system, thereby delinking sales volume from pharmaceutical return on investment.
"Part of the reason we're seeing drugs approved elsewhere but not here in Canada is because approval costs are high, our population is relatively small, and physicians try to use new antibiotics only as a last resort, to reduce the chance of resistance to them developing," Burrows explained. "These factors make it unlikely that companies will see a return on their investment; however, guaranteeing revenue for manufacturers – similar to what the government did to purchase COVID-19 vaccines – reduces those financial risks and encourages companies to bring these life-saving medications to the Canadian market."
Previous reporting by the Council of Canadian Academies revealed the devastating social and economic consequences of leaving AMR unchecked in Canada. The report, When Antibiotics Fail, shows that 26% of infections in Canada are currently resistant to the drugs used to treat them, but that this rate is expected to rise to 40% by 2050. If these forecasts are accurate, AMR is anticipated to cost nearly 400,000 Canadian lives and $388 billion in GDP losses over the next 30 years. More concerning is the fact that these forecasts were made before the COVID-19 pandemic, which has shown to have exacerbated AMR considerably.
"The COVID-19 pandemic has shown us what life is like when we have an infectious disease for which we have no viable treatments," said Pamela Fralick, President of Innovative Medicines Canada, a member organization of CAIC. "It has also shown us how the federal and provincial governments can coordinate in the face of emerging public health threats. While AMR is a slower-moving pandemic, it is worsening every day. Rewarding innovation and having more treatment options accessible here in Canada will help slow the development of resistance, saving lives and reducing pressure on our healthcare system in the process."
This project was supported by and developed in partnership with the Canadian Antimicrobial Innovation Coalition (CAIC), a non-profit alliance of industry organizations including Merck, GlaxoSmithKline, Innovative Medicines Canada, and more.
Relevant images may be found at:
https://macdrive.mcmaster.ca/d/b8e06c859de24c8387f1/
The full proposal is available at:
https://iidr.mcmaster.ca/MAAC/
About CAIC
The Canadian Antimicrobial Innovation Coalition (CAIC) is composed of Canada's key players in biomedical innovation, biopharmaceutical, diagnostic and research industries. CAIC's mandate is to help protect Canadians from the rise in antimicrobial resistance (AMR), by positioning Canada to be a leader in AMR research and product development, economic growth, and investment. Our current Steering Committee Members include representatives of : Adapsyn, BD-Canada, bioMérieux Canada inc. DeNovaMed Inc, Fedora Pharmaceuticals, GSK Inc., Merck Canada Inc., saNOtize Inc. For more information visit www.amrinnovation.ca and follow us on Twitter @CanadaAMR.
Posted in Press Releases
Le chef de file de l'industrie biomédicale et des groupes de recherche forment une coalition contre la résistance aux antimicrobiens
Posted on November 25, 2020 February 14, 2022 by gatta gatta
Pour marquer la semaine mondiale de la sensibilisation aux antimicrobiens, le chef de l'industrie biomédicale canadienne et les organismes de recherche se sont réunis pour former la Canadian Antimicrobial Innovation Coalition (CAIC). Le groupe visera à accélérer la réponse du Canada contre la résistance aux antimicrobiens (RAM) par le biais de l'innovation biomédicale, de comités consultatifs et d'un meilleur accès au marché. La RAM représente la résistance aux médicaments permettant de traiter les infections causées par des bactéries, des champignons, des virus et des parasites pathogènes.
« L'émergence et la propagation rapides d'infections résistantes aux médicaments dans le Canada représentent un véritable problème de santé publique qui ne sera qu'exacerbé par l'épidémie de la COVID-19 », explique Sameeh Salama, président du comité de direction de la CAIC et conseiller scientifique en chef de Fedora Pharmaceuticals. « Selon le Conseil des académies canadiennes, il est hautement plausible que, d'ici 2050, 40 % de toutes les infections bactériennes résisteront aux antibiotiques et causeront par le fait même la mort de 396 000 personnes ainsi qu'une perte financière de 388 milliards de dollars. La formation d'une coalition comme la CAIC n'a jamais été aussi importante. »
La RAM se produit lorsqu'une bactérie évolue pour contrer les effets d'un médicament, ce qui est empiré lorsque les antibiotiques sont mal employés. Les antibiotiques actuels perdent en efficacité, ce qui est très alarmant étant donné que nous n'en créons pas suffisamment de nouveaux pour les remplacer. La Coalition travaillera étroitement avec les secteurs de santé, les gouvernements et d'autres partenaires d'industrie du Canada pour encourager l'innovation en thérapeutique, en diagnostics, en vaccins et en traitements alternatifs, tout en encourageant l'utilisation appropriée d'antibiotiques existants.
« Au Canada, nous nous trouvons dans un moment critique où nous devons unir nos efforts pour assurer que les Canadiens ne vivront pas continuellement les effets négatifs de la RAM », raconte Wes Miyai, vice-président du comité de direction de la CAIC et directeur associé de la santé publique et des affaires étrangères chez Merck Canada. « La crise de la COVID-19 a déjà accéléré le développement de la RAM à cause de la hausse des prescriptions fréquentes d'antibiotiques et des traitements administrés pour lutter contre cette infection virale. La CAIC a comme objectif d'améliorer l'emploi des antibiotiques et d'autres antimicrobiens pour protéger la vie des Canadiens. »
La CAIC est une organisation à but non lucratif fondée par ses membres. Elle s'engage à s'attaquer à la RAM en prenant immédiatement, en conjonction avec les efforts du gouvernement, les mesures suivantes pour protéger tous les Canadiens contre la RAM :
Rassembler les organismes de réglementation, les responsables des politiques publiques, les chercheurs et les fabricants pour franchir les barrières de la recherche, du développement et de l'adoption de produits et des investissements relatifs à la lutte contre la RAM.
Défendre les projets de politiques, les procédures de recherche et les règlements visant à renforcer nos efforts dans notre combat contre la RAM au Canada.
Contribuer au cadre d'action pancanadien contre la résistance aux antimicrobiens et pour l'optimisation de leur utilisation, en accordant une attention particulière à la recherche et à l'innovation.
Le Canada a déjà soulevé la menace de la RAM et le besoin urgent d'agir lorsque l'Agence de la santé publique a publié en 2017 l'article Lutter contre la résistance aux antimicrobiens et optimiser leur utilisation; un cadre d'action pancanadien. Ce plan était le résultat d'un effort conjoint entre les gouvernements fédéral, provinciaux et territoriaux, ainsi qu'avec les universités, les ONG et les experts de l'industrie représentant la santé humaine et animale et toutes les sphères des secteurs de l'agriculture.
La CAIC soutient fortement la déclaration canadienne de la résistance aux antimicrobiens. Ses membres sont tous bien établis dans les secteurs de la recherche biopharmaceutique, du diagnostic et de la recherche pour apporter leurs conseils sur les nouveaux modèles d'entreprise, ce qui nous aidera à faciliter l'accès aux nouveaux antibiotiques, diagnostics et vaccins au Canada et partout dans le monde.
À propos de la CAIC
La Canadian Antimicrobial Innovation Coalition (CAIC) est composée d'acteurs majeurs dans les secteurs de l'innovation biomédicale, de la recherche biopharmaceutique, du diagnostic et de la recherche. Le mandat de la CAIC est de protéger les Canadiens contre la croissance de la résistance aux antimicrobiens (RAM) en faisant du Canada un chef de file en matière de recherche, de développement de produits, de croissance économique et d'investissements relatifs à la RAM. Les membres actuels de notre comité de direction représentent les entreprises suivantes : Adapsyn, BD-Canada, bioMérieux Canada inc. DeNovaMed Inc, Fedora Pharmaceuticals, GSK Inc., Merck Canada Inc. et saNOtize Inc. Pour plus d'information, visitez www.amrinnovation.ca et suivez-nous sur Twitter au CanadaAMR.
Leading Biomedical industry and Research-Based Groups Launch Coalition against Antimicrobial Resistance
To mark World Antimicrobial Awareness Week, Canada's leading biomedical industry and research-based organizations have come together to form the Canadian Antimicrobial Innovation Coalition (CAIC). The group will work to accelerate Canada's response to antimicrobial resistance (AMR) through biomedical innovation, regulatory advisory, and market access. AMR is the resistance to medicines that help treat infections caused by pathogenic bacteria, fungi, viruses, and parasites.
"The rapid emergence and spread of drug resistant infections in Canada is a serious public health concern that will only be exacerbated with the COVID-19 outbreak," says Sameeh Salama, Chair of CAIC's Steering Committee and Chief Scientific Officer at Fedora Pharmaceuticals. "According to the Canadian Council of Academies, by 2050, it is highly plausible that 40% of all bacterial infections would be resistant to antibiotics, having contributed to 396,000 lives lost and shrinking the Canadian economy by $388 billion. The development of a coalition such as CAIC has never been more vital."
AMR happens when bacteria evolve to counteract the effect of a drug, and is made worse by the misuse of antibiotics. As the threat of existing antibiotics losing their effectiveness grows, not enough new antibiotics are being created to replace them. The Coalition will work with Canada's health sectors, governments and other industry partners to foster innovation in therapeutics, diagnostics, vaccines and alternative treatments while also encouraging appropriate use of existing antibiotics.
"In Canada, we are at a critical juncture where we must coordinate our efforts to ensure Canadians won't experience the continued negative effects of AMR," said Wes Miyai, Vice-Chair of CAIC's Steering Committee and Associate Director, Public Health/External Affairs at Merck Canada. "The COVID-19 crisis has already accelerated the pace of AMR through the use of antimicrobials routinely prescribed in addition to treatments for the viral infection. CAIC will work to improve the use of antibiotics and other antimicrobials, helping to protect the lives of Canadians."
CAIC is in the process of being established as a non-profit, membership-based organization. The Coalition is committed to tackling AMR by immediately taking the following steps in conjunction with government efforts to protect all Canadians against AMR:
Unite regulators, public policymakers, researchers, and manufacturers to overcome barriers to AMR research, product development and adoption, and investment.
Advocate for policy initiatives, research mechanisms, and regulation aimed at strengthening efforts to combat AMR in Canada.
Contribute to the Pan-Canadian Framework for Action on Tackling Antimicrobial Resistance and Antimicrobial Use, with a specific focus on research and innovation.
Canada has already recognized the threat of AMR and the urgent need for action with the Public Health Agency of Canada's September 2017 release of a Pan-Canadian Framework for Action for Tackling Antimicrobial Resistance and Antimicrobial Use. This was the result of a coordinated effort between federal, provincial, and territorial governments, as well as academics, NGOs, and industry experts representing human and animal health and agriculture sectors at all levels.
CAIC strongly supports the Canadian Declaration on Antimicrobial Resistance. Its members are well positioned in the biopharmaceutical, diagnostic and research industries to advise on new business models that will help improve access to new antibiotics, diagnostics and vaccines both in Canada and around the world.


7ft Hinged Tree With Foliage Made From A Mixture Of Pe And Pvc Material. The Feel-real Range Of Pe Or Polyethylene Trees, Give The Most Realistic Look And Feel Ever Seen On An Artificial Tree.
This Tree Has 450 Warm White Leds.
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Watch: Canada remove the GST on menstruation products. Now!
Did you know that households across Canada are paying GST on menstrual hygiene products?
According to the Government of Canada all menstrual hygiene products are considered a non-essential item or luxury.
Let the government know we are essential!
DEADLINE TO MAIL PETITIONS IS APRIL 27, 2015.


text:
Speonomus normandi es una especie de escarabajo del género Speonomus, familia Leiodidae. Fue descrita por René Jeannel en 1906. Se encuentra en Francia.

Subespecies
Se reconocen las siguientes:

 S. n. bergesi
 S. n. hydrophilus
 S. n. normandi

Referencias

normandi

redpajama_set_name: RedPajamaWikipedia


Hotel controls the air conditioner. It was not on and we had to keep the windows open. This was was a problem because one of us had bad allergies.
Explore Kochi with Expedia.com.tw's Travel Guides to find the best flights, cars, vacation packages and more!


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'Homeland's' new trailer, and more news to note
What's up with all of the spoiler-rific teaser trailers lately? First ABC drops a "Scandal" bomb with Olivia Pope sipping wine on the beach, and then "Homeland" gives us a sneak peek at season four that made our eyes pop. Thankfully, though, both clips raise more questions than answers.
[youtube https://www.youtube.com/watch?v=NQYkGeeSfJ4?feature=player_embedded&w=450&h=360%5D
[youtube https://www.youtube.com/watch?v=K8ZM6lt8BxM?rel=0&w=450&h=315%5D
Kim Kardashian's ice bucket challenge is complete, thanks to Ellen DeGeneres:
[youtube https://www.youtube.com/watch?v=zuFytc9YLDs?feature=player_profilepage&w=450&h=360%5D
On Taylor Swift's new album, there's a song called "Bad Blood," about a female artist with whom Swift doesn't exactly get along. She doesn't name names, of course, but everyone's thinking the track is really about Katy Perry: [HuffPost]
We think it's cute that Michelle Money and Cody Sattler from "The Bachelor: Paradise" want to get hitched. Maybe they'll be one of the few "Bachelor" couples who make it! [Us Weekly]
So, we take it that Jennifer Lopez's upcoming movie "The Boy Next Door" is a twisted version of "The Graduate"?
Next entry »'Nurse Jackie' to end its run, and more news to note
« Previous entryMichael C. Hall is the new 'Hedwig,' and more news to note


The LA Galaxy Academy are unbeaten at the prestigious Istria Youth Cup in Croatia this week.
The Galaxy Under-16 side led by Brian Kleiban and Andrew May are undefeated in three matches, and on Thursday they picked up their biggest win yet: a 2-1 win over FC Barcelona. Croatian head coach Zlatko Dalic was in attendance as the Los Angeles club earned their win.
Johnathan Perez and Mauricio Cuevas found the back of the net as the Galaxy defeat the famed La Masia side led by wunderkind Xavi Simons. Cuevas opened the scoring with a brilliant Olimpico off a corner kick in the fifth minute. Perez doubled the scoring with a far post finish just a minute into the second half.
The Galaxy U-16's victory over Barcelona ends a successful week that saw Los Angeles earn a pair of draws against Slavia Prague and Red Bull Salzburg. On Tuesday, a second-half comeback helped the Galaxy earn a thrilling 3-3 draw with Slavia Prague, with goals from Alex Alvarado, Mauricio Cuevas, and Marci Kileen. On Matchday one, Jonathan Perez scored the lone tally as the Galaxy drew Red Bull Salzburg, 1-1.
The Galaxy will now take on Dinamo Zagreb in the third-place match on Saturday at 2 am PT.


BBA Pumps announces the launch of the new BA100K - a diesel driven 4" solids handling mobile pump set.
New Grundfos COMFORT PM recirculating pump uses AUTOADAPT to cut residential energy costs up to 85%.
Through its Bran+Luebbe brand, SPX offers a range of highly effective PowerMon continuous and fully automatic on-line analysers.
Jayanthi Iyengar has joined Xylem Inc as senior vice president and chief innovation and technology officer.
Veolia has selected Italian pump manufacturer Caprari as a preferential partner for water pumping solutions under a three-year global framework agreement.
Xylem Inc. has launched a new YouTube channel dedicated to its Flygt brand.
Initial trial delivered a 57 percent reduction in energy consumption.
EBARA held seminars on pumps under the theme "Irrigation and Drainage" on May 27 and 28, at Royal University of Agriculture in Phnom Penh, Cambodia.
New variable speed pump is the only 115V VSP with a permanent magnet motor for the ultimate in energy efficiency.
Pump distributor Tencarva Machinery Co LLC has relocated its Nashville, Tennessee operations to a new facility on Kraft Drive in the city.
ITT showcases pump, valve and monitoring solutions for the global chemical marketplace at ACHEMA.


even if you only know a few things about me, you should know that i love snail mail. i love sending it. i love receiving it. i love writing postcards from my travels and random cards just because. i love the process of jotting down a note to someone – some of mine are only a sentence or two – sending it off, and knowing it will brighten someone's day in 2 days to a week or so, for those farther away. writing cards is my jam.
send a card. every day. for 365 days.
you don't have to have a reason. it doesn't have to be a holiday. you can make every day a holiday.
so when i saw that one of kid president's suggestions was to send a card every day for an entire year, i decided that 2018 was the year to make it happen. i always have an overstock of notecards and postcards [last year i sent my final one from my nepal trip in 2012, if that tells you anything], and i figured this would be a good way to use them up.
just a sampling of the many cards that have made their way around the world. memphis, tennessee. august 2018.
i admittedly did not write a card every single day, often waiting until the end of the week and writing 7 or 8 in one sitting, but i was pretty consistent in making sure they got written and sent. in the end i probably fell 10-20 short, but i figure sending over 300 cards to friends and family around the world is a pretty good feat. i love hearing from people that they received their cards, and i feel like i have received more handwritten notes in the process.
there is something about a handwritten note – however long – that adds a little extra happy to your day. even though my year of writing is over, i will continue to write to people in the hopes it can bring a smile to their faces.
This is great! I ended up starting something similar myself recently but am tentatively just aiming for the end of the month! I'm so impressed you stuck with it for a year and sent so many! Yay for snail mail!
Thank you! It was a fun project, and I was surprised by how much I enjoyed it. Need to start writing some again. Good luck with your goal!


Designed for ease of installation, the Ezydeck™ Modular Decking System is produced in 4 different styles of square tiles allowing the home owner to create individual patterns limited only by imagination. Assembly is a simple matter of clicking together adjacent tiles using the unique plastic locking system to give a stable, even and attractive decking surface.
Click here to buy or for more information, visit Ezydeck.com.
Floorings.com is also happy to provide I-Deck hard wood deck tiles in a number of different hardwood species. These I-Deck tiles use a special I-Connect system, which makes assembling your deck easy and fun.
Click here to purchase I-Deck tiles and the I-Connect connectors and get started on building your new deck today.
A very high grade decking is called ipé (pronounced ee-pay). An exotic wood species, ipé appears richly distinctive. It is extremely dense, and naturally beautiful.
A fine Brazilian hardwood, Cambara is valued for its deep reddish-brown heartwood, ease of drying, straight grain, decay resistance and finishing qualities. Cambara exceeds many species in its durability and mechanical properties.
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With EB-TY Hidden Deck Fasteners, you get the world's premier Hidden Deck-Fastening System for Ipe, composites and all types of decking materials.


Design, manufacture and install cleaning and disinfection systems for the Food, Dairy and Beverage industries.
Operating since 1989, the company has built a reputation for providing solutions to our client's specific needs. We are associated with high profile clients within the industry and work closely with original equipment manufacturers (OEM's) all the way through to end users. We set the standards for cleaning with specialist knowledge on high risk food preparation as well as the control of Listeria and other food spoilage organisms.
Our modern manufacturing site near Northwich has facilities to manufacture pump sets, control panels and hygiene systems to a high quality standard as well as being specifically designed; built to customers individual requirements. From supply only to fully installed systems with service backup we serve the food industry both in our home markets and overseas.
Our skilled workforce has experience in the food industry and related engineering sectors. We are trained to carry out work where chemical hazards may exist on existing caustic ring mains and CIP systems; all our engineers are IOSH trained. H&M are accredited with the Safe contractor status.


Healing Properties – Turquoise is the travelers stone. It is the perfect stone for those taking a trip, adventure or even entering a new phase in life or looking for adventure. It is a very protective stone and one of my favorite legends about this stone comes from the Tibet, Nepal and Mongolia area, where we spent a lot of time. Many of the families in this area are nomadic and the grandmothers would give pieces of turquoise to everyone in the family for the seasons they were out with the yaks and herds of animals to ensure they all arrive back home safely.
Chakra information – Turquoise can be worn for the solar plexus chakra or the third chakra. This chakra is located above the naval. The prime function of the solar plexus chakra is energy, vitality, will power, desire, power and personal authority.


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The Symphony No. 38 in C major, Hoboken I/38, is an early and festive symphony by Joseph Haydn.  The symphony was composed some time between 1765 and 1769.  Because of the virtuosic oboe parts in the final two movements, it has been suggested that the work's composition may have coincided with the employ of the oboist Vittorino Colombazzo in the fall of 1768. The symphony is popularly called the Echo Symphony, a nickname that, like all other named Haydn symphonies, did not originate with the composer.

Nickname (Echo)
It is typically referred to as the "Echo" Symphony because of the use of mimicry motif (or echo) in the cadential phrasing of the second movement. The echo effect is created by scoring the leading line for unmuted first violins and the response from  muted second violins.

This innovation in scoring expands upon an earlier common baroque practice of cadential phrase-repetition.

Movements
The work is scored for two oboes, bassoon, two horns, trumpets, timpani and strings with continuo.  There are four movements:

Allegro di molto,
Andante molto in F major,
Menuet e Trio (Trio in F major),
Allegro di molto,

The "Echo" slow movement is scored for strings only.

The trio of the minuet contains a virtuosic solo oboe part that spans the entire range of the instrument and contains leaps of almost two octaves.

The finale is another showpiece for the solo oboe which includes virtuosic display, notes held fermata and a spot for a cadenza.  It is not in typical concerto form, but is a mixture between concerto and sonata forms.

It has been suggested that the first two movements were composed before Haydn knew of the engagement with the soloist Colombazzo as they have a completely different character than the two oboe-centric movements that round up the work.

See also
List of symphonies by name

References

Symphony 038
Compositions in C major


ColorCO Photography is currently owned and operated by one single photographer, Cody. I'm a Colorado Native and an outdoor enthusiast at heart.
Where does the name ColorCO Photography come from?
I came up with the name due to my love and passion for the great state of Colorado. Colorado's long-standing tagline has been "Colorful Colorado" which led me to name my business after that, hence the shortened 'ColorCO' name.
I've worked in the corporate setting for the majority of my adult life and always strived to have more creative freedom in the workplace. Most of my corporate work experience has been in a consulting and customer experience role and also became my strength. Although I was always destined to work for myself in a more artistic capacity, the 10+ years of working in a corporate setting has helped me develop and fine tune my attention to the inner workings of the business world..... my client's world.
Most importantly, I have the best travel and adventure partner anyone could ever ask for. Her name is CoCo and she enjoys the outdoors as much as I do (maybe more). She's 80% Rottweiler and 20% Labrador and 110% Adorable! She goes everywhere with me, with the exceptions of restaurants, airplanes and photoshoots. She was a rescue animal who was returned due to aggression issues. 6-months after I adopted her, her attitude and demeanor changed for the better and is now one of the most well-behaved pups anyone can ask for. She's living proof that anyone can change!