Letter dated 21st February, 2019 submitted to Managing Director Mahila Vikas Samabaya Nigam, Bhubaneshwar application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
In light of the notificationdated 07/04/2016, our Chartered Accountants members are not allowed to respondto tenders that are for conducting statutory audit where minimum fee of theassignment is not prescribed.
Letter dated 21st February, 2019 submitted Bihar Rural Livelihood Promotion Society application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 19th February, 2019 submitted to District Panchayat Rural Dev. Officer, Malda application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 11th February, 2019 submitted to Regional PF Commissioner EPFO, Amritsar-143001 for application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 11th February, 2019 submitted to West Bengal State Rural Livelihood Mission for application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 7th February, 2019 submitted to Dr. P.K. Gupta Registrar Indian Institute of Foreign Trade for application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 6th February, 2019 submitted to The Regional Deputy Director Health and Medical Services for application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter dated 5th February, 2019 submitted to The General Manager Finance & IFA Bihar State Food & Civil Supply Corporation Ltd. for application from practicing firms of Chartered Accountants within India who are willing to appointed as an Auditor.
Letter submittedto The CEO AligarhSmart City Limited for application from practicing firms of CharteredAccountants within India who are willing to appointed as an Auditor.
NationalInstitute Of Technology Calicut for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
O/oPr. Chief Commissioner of IT for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
SRTGNBhavan for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
Agartala MunicipalCorporation for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
Departmentof Medical, Health & Family Welfare for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
OSCPS for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
MissionDirector, National Health Mission for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
IndianRed Cross Society for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
Secretary,BSDMA for application frompracticing firms of Chartered Accountants within India who are willing toappointed as an Auditor.
A representationdated 25th September, 2018 was submitted to Shri Arun Jaitley,Hon'ble Minister of Finance, Ministry of Finance, Government of India whereinit was strongly suggested that QCBS be adopted for evaluation process of allthe tenders meant for professional services.


So happy the weekend is finally here even if it is stinking hot with a high of 109 degrees today and triple digits for the rest of the week!
The pups are not happy with the heat, Leela has been moping around pouting about the lack of walks.
We've been enjoying some time indoors catching up on house stuff and finally saw Man of Steel and thoroughly enjoyed it! I did step out for a little shopping and turns out shopping in triple digit heat isn't that bad because there aren't too many people crazy enough to do it. :-) I also grabbed this week's salad trio from Baagan which was wonderful.
The spicy red sauce on the spiral sliced zucchini has a surprisingly powerful spicy kick and the toasted pine nut salad had a great tangy flavor and crunch.
I've been keeping meals simple this weekend while enjoying some down time after a crazy week, like this plate.
Steamed broccoli and cauliflower with Gardein Crispy Chick'n vegan alternative with a spicy dipping sauce. Simple and a little plain, but tasty and fun.
Also plenty of cool salads and smoothies in this heat! I created another super simple avocado dressing to go with them and I am loving avocado dressings lately because they're such a great source of healthy, whole fats with fiber and protein. I've been trying to cut back on using oils in dressings and other raw recipes opting for whole fats from seeds, avocados, and nuts instead.
The texture of this dressing is very thick and creamy, perfect for me.
I coated a simple salad of carrot ribbons, tomato, red pepper, and hemp seeds in it for a perfect cool lunch.
The dill flavor is nicely strong in this dressing making a cool treat.
Hope it cools down for you soon! We're "just" in the 90's, fine with me but lots of people are miserable. Thanks for the inspiration and encouragement on using more "whole" fats, I am trying to do that as well!
It finally cooled down today in the city! I went to socal this past weekend and the over 100 temps were killing me! Stay cool!!
Oh, yum! That last picture gave me a great idea. How about dehydrating those dressing-coated carrot ribbons and dehydrating them? Carrot chips?
Hope it cools off for you soon. I'm in a sweatshirt in NY today. What a diverse country!


text:
Plan Your Long Weekend Around These 14 Must-Visit Spots In Marikina
There's more to this city than shoes and food, though it won't hurt to come for those!
by Miguel R. Llona
Past and present (and shoes!) will always mix in the city of Marikina.
Marikina City is known for a lot of things: order and cleanliness, shoes, food, and of course, floods. Other than the last bit (unavoidable but controllable , given the river in the middle of it), all these paint a picture of a colorful city that continues to flourish, as evidenced by the influx of businesses and establishments in recent years.
Though it's not quite the shoe capital it once was, echoes of this former identity still linger despite numerous areas succumbing to gentrification, thanks to the preservation of its cultural landmarks, and the presence of some heritage houses. Without further ado, let's explore the old and new sights that breathe life into this beautiful city.
PHOTO: Tala Singson
Lilac Street: Resto central
Marikina's transformation into a foodie haven can be traced to the success of Lilac Street. This road that connects Marikina to Antipolo was once lined with barbershops, car washes and old houses until restaurants began replacing them, as residents saw the area's potential to attract outsiders. Lilac's success as a homegrown food hub has since inspired dozens of food entrepreneurs to open restaurants in other areas of Marikina.
It wasn't long before multi-storey commercial buildings elbowed their way onto Lilac Street, each one containing three to five businesses ranging from restaurants, nail salons, spas, or barber shops. However, it's the houses converted into restaurants that leave a lasting impression. Hunchos, Dapo at Tisa, and Miguel & Maria are all bungalows given a second life, making them favorites for residents of surrounding villages because of the comfort that goes along with their great food.
Let's not forget Genesis Pandesal, every Marikeño's favorite panaderya even though there's only one item on its menu—bite-size, tasty pandesals you won't regret trying.
Lilac St., Concepcion Dos, Marikina City
READ: An Ancestral House Turned Into A Colorful Home and Restaurant in Marikina
Lamp Quarters: Old-fashioned food park
It's easy to label Lamp Quarters as just another food park, being located in Marikina's "food park center" together with Epic Warehouse Grill and the recently closed Crave and Truck Parks. What distinguishes it from its neighbors is the comfort it provides compared to the smoky, open-air ambiance of food parks, as it brings together seven indoor restaurants instead of food stalls.
The place has an old-school vibe with its brick-and-steel aesthetic, which should appeal to both the young and old crowd. Lamp Quarters has something for everyone with the variety of cuisines it houses. Craving ramen? Try Tongara. Looking for ribs and seafood? Ahlee's is the place for you. Kapampangan cuisine? Silyo is your choice. How about milk tea? Well, Bubba Lab is there for you. The courtyard layout opens up an al fresco area for the inuman crowds, where they won't be able to disturb the restaurant diners—a luxury that most food parks don't have.
Gil Fernando St., Centro De Buenviaje Sto. Nino, Marikina City
Rise & Grind Cafe: It'll perk you up
This cafe's location in a sleepy part of Concepcion Uno couldn't be more ideal. Vehicles rarely ply this street, and its neighboring houses are as quiet as mornings in the countryside. It's a perfect spot for your morning coffee, though Rise & Grind Cafe fashions itself as your go-to place for lunch, dinner, and after-work drinks as well. Aside from catering to coffee lovers, the place is large enough to accommodate parties and gatherings because of its spacious function room and al fresco areas.
Opened in 2016, the café offers an array of Filipino dishes, with some of their items bordering on the exotic such as crispy froglets and kalderetang kambing. The menu also boasts of premium yet affordable items such as Australian lamb steaks and US ribeye steaks, both seasoned with pink Himalayan salt. The country-style interiors are littered with trinkets the owners collected from their travels. That makes for a typical coffee shop look,
Molina St., Concepcion Uno, Marikina City
DITO: Bahay ng Sining
Despite a number of artists residing in Marikina (the late Abdulmari Imao lived here!), it has never been known for having a thriving art scene. The issue lies in the lack of avenues for artists to display their craft—a void that playwright BJ Crisostomo sought to fill when he opened DITO: Bahay ng Sining, a café/theater space. "The dream was to provide a venue for any kind of artist, whether they be theater actors, spoken word artists, musicians, or visual artists," says Crisostomo.
Throughout its six-year existence, DITO has staged plays, spoken word events and musical performances, often partnering up with unknown or struggling artists. The café section has since closed, but plays are still being staged in the theater every month and the space is being rented out for other events. Crisostomo reveals that he plans to relocate DITO to another area of Marikina next year, but until then, check out their Facebook page for announcements of upcoming plays.
Trax Manila Records
Vinyl record shops are a rare sight nowadays, so knowing there's one in Marikina should be music to any audiophile's ear. Owner Tristan Trajano, a vinyl record enthusiast, buys from record stores abroad, which he then sells in his own shop, Trax Manila Records. Customers can browse through rows of records with an eclectic mix of genres, such new wave, post-punk, hip-hop, disco and classical music.
Trax has been around for three years, though the past few months have seen the record store expand with a café and listening area. The new space was designed by Trajano himself, who decked it with tables, chairs, his own paintings, and customized speakers made in Novaliches—ideal for listening to jazz music. Customers can order coffee from the counter (only P75!) and pop in any record from the store in the turntable. You can even bring your own vinyl records should you want a sound trip of your own!
60 Sapphire St., SSS Village, Concepcion Dos, Marikina City
Zara & Flowers: Sweet florals
Trax and this flower shop are easy to miss, both of them located along a one-way street within SSS Village. This is a can't-miss place if you're looking for bouquets, however. Aside from classic roses, Zara & Flowers stocks up on tulips, lisianthuses, chrysanthemums, Ecuadorian roses, and other flowers depending on the season, with most of them imported from Bukidnon and as far as Bangkok, Jakarta, or Vietnam. Customers can even have customized bouquets made based on their budget, with the minimum price set at P400.
Originally a passion project by florist EJ Zara, the shop will soon blossom into something bigger, with plans of becoming a floral cafe underway. Floral cafés in France will inspire the new incarnation, with homegrown and artisanal coffee on the menu and bouquets decorating each table. "We want to become a place for self-care and mindfulness," says Zara, who also works as a life coach. With a place emanating with the aroma of flowers and coffee, that won't be too hard to achieve.
Marikina River Park: A city staple
Marikina's history is directly tied to the river that runs through it. Marikeños hold their breath when its waters rise, while their breath is taken away when it is calm, thanks to the River Park that affords them a view of this magnificent river. This riverside park stretches for over 11 kilometers, peppered with parks such as the Chinese pagoda and trails perfect for jogging and biking.
The River Park was a project of the local government in the early 1990s, meant to rehabilitate the river and reduce flooding. It's been well maintained over the years, becoming a popular site for parades, festivals, and bazaars. Those looking to stroll along the river can access the park through Riverbanks Center or take the U-turn under the Marikina Bridge. You can even rent a bike from one of numerous renters along the park, should you feel like cycling down its winding pathways.
Riverbanks Mall: Great outlet store shopping
If you don't feel like walking along the River Park, a stroll inside Riverbanks Mall within the Riverbanks Center would be an enticing alternative. It'll leave you with lighter pockets though, what with the mall boasting numerous outlet stores selling branded items at reduced prices. Brands such as Accel, Puma, and Guess offer discounts up to 70% off, while the Nike and Adidas outlets are bursting with discounted items, being some of the largest outlet stores in the country.
Bonifacio Ave., Marikina City
Marikina Shoe Museum: A repository of shoe history
Calling Marikina the "shoe capital of the Philippines" feels wrong today. Bigger shoe manufacturers from around the world have weakened the local industry, though there really was a time when Marikina was worthy of the "shoe capital" nickname. Marikina's Shoe Museum, built by then mayor Bayani Fernando in 2001, transports people back to that time when business was booming and the city was the envy of the world.
The museum is a former rice mill of the Tuason family, spacious enough to house numerous shelves of shoes and exhibit displays. A tour costs P50 and lasts 30 minutes, with a tour guide walking you through not only the history of Marikina's shoe industry but also different shoes from around the world, shoemaking equipment, and specially designed shoes by Marikeños for competitions. A mezzanine dedicated to the shoe collection of Imelda Marcos, meant to be the highlight of the tour, reveals the former First Lady's extravagance with over 250 pairs of her shoes on display.
J.P. Rizal St., San Roque, Marikina City
READ: Plan Your Weekend Around These 8 New Spots in Antipolo
Industriya Marikina: Restaurant with sole
If the shoe museum reminds people of Marikina's illustrious past as a shoe capital, Industriya actually immerses them in it. A former tannery for snake and frog skins, Dr. Alfredo Cheng and family revived it from its state of decrepitude into a place that celebrates Marikina's glory days. "We wanted to bring back the history of Marikina, what it used to be in the 1960s and 70s compared to now," says Dr. Cheng, whose family once ran the factory and exported ladies' shoes to different countries.
The factory's second life sees it as a quaint restaurant and events space. The Cheng family repurposed materials from the old structure into furniture and decor, creating several conversation pieces in the process. Large machinery now stand like sculptures in certain areas, shoelasts decorate the stair banisters, and old leather was used to cover dining chairs and tables. While the place evokes nostalgia, its menu does its best to root you in the present with its mix of Filipino, Asian and Japanese cuisine.
23 M.A. Roxas St., Calumpang, Marikina City
Puto Avenue
Just past the shoe museum is a row of vendors where cars usually stop by, impeding the flow of cars along this stretch of J.P. Rizal. You can't blame them though, not when they want to buy some delicious puto and kutsinta. Though bite-sized, these rice cakes are sweeter and more flavorful compared to the bigger varities. You can buy a pack or bilao of brown puto, or grab the assorted selection that includes putong ube and white puto. Packs can cost from P50 to P100, a good deal for a snack you can share with a lot of people.
J.P. Rizal, Calumpang, Marikina City
Marikina City Public Market
Marikina's public market is a reflection of its good governance in the past two decades. The market is as clean as most of the city's public areas and as organized as your mother's closet, being divided into a wet and dry section. In the wet section, you can find the usual offerings such as seasonal fruits and vegetables, meat and fish, while the dry section has its own building with two floors chockfull of handicrafts, costumes, flowers, fabrics and textiles.
Equally interesting is the area surrounding the market, where surprises await the curious. A shop called Joaquin Shoe Supply, located along E. Dela Paz St., has all the tools and materials you need for making bespoke leather shoes.
Right across is a place called Jerzil's where you can buy your daily supply of Arabica and Liberica coffee beans. There are other shops selling different kinds of wares, with most outsiders heading to Marikina for the next item on this list...
Sto. Nino, Marikina City
Leather shops
Dela Paz, one of the side streets in Marikina's bayan, is lined with stores hawking scrap leather you can buy on the cheap. Various enterprising folk flock to this area looking for materials to make shoes, bags, and other accessories with. The leather can be bought per kilo or yard for as low as P90, though the price varies depending on the item. While the low prices are enticing, their quality isn't assured since they're just excess pieces from tanneries and factories, so be sure to needle the vendors into giving you the usable ones.
Dela Paz St., Marikina City
St. Paul of the Cross Parish
Marikina is home to a number of historical churches, such as the Immaculate Concepcion Parish along Bayan-Bayanan Ave., and the Our Lady of the Abandoned Church in San Roque. St. Paul of the Cross located in SSS Village isn't as old as the previous two, but once its renovation is finished, it stands to be the crown jewel of the city.
Compared to the circular structure of the old church, the new structure follows the cruciform layout of traditional churches. Parish priest Eymard Balatbat, with donations of townspeople and other patrons funding the renovation, started the project five years ago. With its tasteful design elements and impressive craftsmanship, the church should inspire pride among its parish that helped build it into reality.
Rainbow St., SSS Village, Concepcion Dos, Marikina City
PHOTOS Tala Singson; ARTICLE by Miguel R. Llona

redpajama_set_name: RedPajamaCommonCrawl


In bright light, the Christmas tree looks pretty enough… but somehow still awaiting its true moment.
Candlelight works its magic. The whole tree glows with a soft radiance. The light picks out the glitter of ornaments from the pools of darkness deep among the branches. The candles burn silently, yet flicker perceptibly from moment to moment. The rising air sets strands of tinsel subtly in motion, shimmering in the light. The tree is alive.
More photos from Christmas 2011 are here, and from Christmas 2012 here.
This entry was posted in Life, Photography and tagged Christmas, Christmas Tree, Christmas Tree Candles, Photography, postaweek, Weekly Photo Challenge. Bookmark the permalink.
Love the candles on the tree.
Mine is still up!!! Lovely!
I love the candles on the tree, they do bring a special illumination to it.
They are more work, but most definitely worth it! Thanks!!
That's beautiful christmas tree you have there. I love Christmas trees!
I grew up with real candles on our Christmas tree – always a bit of a fire hazard but creating a mood all its own. Thanks for stopping by my blog.


152 publications, including 86 papers in international peer-reviewed journals, 1 scientific book, 2 monographies, 5 peer-reviewed book-chapters, and 53 other articles. Of these 61 papers are ISI-listed journal publications with 1651 citations, cf. Web of Science, June 2008).
** = Papers that have received citations to pass the 1 pct threshold level set to select highly cited papers to be listed in ISI Essential Science Indicators (cf. Highly Cited Papers Thresholds) in the "Environment/Ecology" category.
§ = Papers recommended by the Faculty 1000 within Biology.
¶ = Papers selected as Editors' Choice in Science, or subjected full Editorial papers in Science or Nature (e.g., Perspective papers or News & Views papers).
Barbet-Massin, M., Walther, B. A., Thuiller, W., Rahbek, C., and Jiguet F. In press. Potential impacts of climate change on the winter distribution of Afro-Palaearctic migrant passerines. Biology Letters.
Colwell, R. K., Gotelli, N. J., Rahbek, C., Entsminger G. L., Farrell C., and Graves G. R. In press. Peaks, plateaus, canyons, and craters: The complex geometry of simple mid-domain effect models. Evolutionary Ecology Research.
Hole, D., Willis, S., Pain, D., Fishpool, L., Butchart, S., Collingham, Y., Rahbek, C., and Huntley, B. In press. Projected impacts of climate change on a continent-wide protected area network. Ecology Letters.
Fjeldså, J., and C. Rahbek. 1998-b. Priorities for conservation in Bolivia, illustrated by a continent-wide analysis of bird distributions. Pages 313-327 In W. Barthlott and M. Winiger, editors. Biodiversity - a challenge for development research and policy. Springer Verlag, Heidelberg.
Biodiversiteten er i tilbagegang – også på statens arealer. / Ejrnæs, Rasmus; Svenning, Jens-Christian; Bruun, Hans Henrik; Heilmann-Clausen, Jacob; Rahbek, Carsten; Hansen, Morten D. D.
Geological and climatic influences on mountain biodiversity. / Antonelli, Alexandre; Kissling, W. Daniel; Flantua, Suzette G. A.; Bermúdez, Mauricio A.; Mulch, Andreas; Muellner-riehl, Alexandra N.; Kreft, Holger; Linder, H. Peter; Badgley, Catherine; Fjeldså, Jon; Fritz, Susanne A.; Rahbek, Carsten; Herman, Frédéric; Hooghiemstra, Henry; Hoorn, Carina.
I: Nature Geoscience, Bind 11, Nr. 10, 01.10.2018, s. 718-725.
GlobTherm, a global database on thermal tolerances for aquatic and terrestrial organisms. / Bennett, Joanne M.; Calosi, Piero; Clusella-Trullas, Susana; Martinez, Brezo; Sunday, Jennifer; Algar, Adam C.; Araujo, Miguel B.; Hawkins, Bradford A.; Keith, Sally; Kühn, Ingolf; Rahbek, Carsten; Rodriguez, Laura; Singer, Alexander; Villalobos, Fabricio; Angel Olalla-Tarraga, Miguel; Morales-Castilla, Ignacio.
I: Scientific Data, Bind 5, 180022, 2018.
Mechanism, Process, and Causation in Ecological Models : A Reply to McGill and Potochnik. / Connolly, Sean R.; Keith, Sally A.; Colwell, Robert K.; Rahbek, Carsten.
I: Trends in Ecology and Evolution, Bind 33, Nr. 5, 2018, s. 305-306.
Trait evolution, resource specialization and vulnerability to plant extinctions among Antillean hummingbirds. / Dalsgaard, Bo; Kennedy, Jonathan David; Simmons, Benno I.; Baquero, Andrea C.; Gonzalez, Ana Maria Martin; Timmermann, Allan; Maruyama, Pietro K.; McGuire, Jimmy A.; Ollerton, Jeff; Sutherland, William J.; Rahbek, Carsten.
I: Proceedings of the Royal Society B: Biological Sciences, Bind 285, Nr. 1875, 20172754, 2018.
A roadmap for global synthesis of the plant tree of life. / Eiserhardt, Wolf L.; Antonelli, Alexandre; Bennett, Dominic J.; Botigué, Laura R.; Burleigh, J. Gordon; Dodsworth, Steven; Enquist, Brian J.; Forest, Félix; Kim, Jan T.; Kozlov, Alexey M.; Leitch, Ilia J.; Maitner, Brian S.; Mirarab, Siavash; Piel, William H.; Perez-Escobar, Oscar A.; Pokorny, Lisa; Rahbek, Carsten; Sandel, Brody; Smith, Stephen A.; Stamatakis, Alexandros; Vos, Rutger A.; Warnow, Tandy; Baker, William J.
I: American Journal of Botany, Bind 105, Nr. 3, 2018, s. 614-622.
Environmental variation is a major predictor of global trait turnover in mammals. / Holt, Ben G.; Costa, Gabriel C.; Penone, Caterina; Lessard, Jean-Philippe; Brooks, Thomas M.; Davidson, Ana D.; Hedges, S. Blair; Radeloff, Volker C.; Rahbek, Carsten; Rondinini, Carlo; Graham, Catherine H.
I: Journal of Biogeography, Bind 45, Nr. 1, 2018, s. 225-237.
Expansion in geographical and morphological space drives continued lineage diversification in a global passerine radiation. / Kennedy, Jonathan D.; Borregaard, Michael K.; Marki, Petter Z.; Machac, Antonin; Fjeldså, Jon; Rahbek, Carsten.
I: Proceedings of the Royal Society B: Biological Sciences, Bind 285, Nr. 1893, 20182181, 19.12.2018.
A global mismatch in the protection of multiple marine biodiversity components and ecosystem services. / Lindegren, Martin; Holt, Benjamin George; MacKenzie, Brian Royce; Rahbek, Carsten.
I: Scientific Reports, Bind 8, 4099, 2018.


The secret society of Zvezeda plots to conquer the world, led by a little girl.
It's a goofy show. The main characters are a little girl with a stuffed animal, a mad scientist who doesn't wear enough clothes, a swordsman with an eyepatch, and a giant man who loves fancy cakes. They fight against things like smoking and do household chores with the power of udo and little moeblob slimes.
It starts with a bang and ends with a bang. But the middle is a giant puddle of mush. Many of the middle episodes were pointless plotwise and also not particularly funny. Still, it's definitely worth a watch.
Storytelling – B – Great, except a few middle episodes. The smoking episode was the best.
Voice – A – Nothing quite like it. Weird powers, weird characters, and gratuitous use of masks.
Attention Grab – B – I dozed off in a few of the middle episodes. Otherwise very entertaining.
Production – A – Excellent animation. Love the visual style.
>It starts with a bang and ends with a bang.
It was the reverse for me. I found the first and last episodes to easily be the weakest. For me it was the charming and relatively funny mush that made this worth the watch. Anime so rarely seems to be aware of how stupid it is, and willingly take shots at itself, so it was kind of refreshing.
Some of the mush was pretty good. Like the hot springs episode and some of the stuff with the mask. Other parts was crap, like the underground quest for udo.
I could never get past the first episode of Excel Saga, but if you say so.


text:
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         this.ctrlRefresh.Size = new System.Drawing.Size(59, 23);
         this.ctrlRefresh.TabIndex = 1;
         this.ctrlRefresh.Text = "Refresh";
         this.ctrlRefresh.UseVisualStyleBackColor = true;
         this.ctrlRefresh.Click += new System.EventHandler(this.ctrlRefresh_Click);
         //
         // groupBox2
         //
         this.groupBox2.Controls.Add(this.ctrlCancel);
         this.groupBox2.Controls.Add(this.ctrlRawProgress);
         this.groupBox2.Controls.Add(this.ctrlProgressBar);
         this.groupBox2.Controls.Add(this.ctrlUpload);
         this.groupBox2.Controls.Add(this.ctrlSelectFile);
         this.groupBox2.Controls.Add(this.ctrlSelectedFile);
         this.groupBox2.Controls.Add(this.label2);
         this.groupBox2.Location = new System.Drawing.Point(15, 261);
         this.groupBox2.Name = "groupBox2";
         this.groupBox2.Size = new System.Drawing.Size(322, 148);
         this.groupBox2.TabIndex = 5;
         this.groupBox2.TabStop = false;
         this.groupBox2.Text = "Segment upload";
         //
         // ctrlCancel
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         this.ctrlCancel.Location = new System.Drawing.Point(87, 116);
         this.ctrlCancel.Name = "ctrlCancel";
         this.ctrlCancel.Size = new System.Drawing.Size(67, 23);
         this.ctrlCancel.TabIndex = 11;
         this.ctrlCancel.Text = "Cancel";
         this.ctrlCancel.UseVisualStyleBackColor = true;
         this.ctrlCancel.Click += new System.EventHandler(this.ctrlCancel_Click);
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         this.ctrlRawProgress.Name = "ctrlRawProgress";
         this.ctrlRawProgress.Size = new System.Drawing.Size(309, 20);
         this.ctrlRawProgress.TabIndex = 10;
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         this.ctrlRawProgress.TextAlign = System.Drawing.ContentAlignment.MiddleCenter;
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         this.ctrlProgressBar.Size = new System.Drawing.Size(309, 16);
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         this.ctrlUpload.Name = "ctrlUpload";
         this.ctrlUpload.Size = new System.Drawing.Size(75, 23);
         this.ctrlUpload.TabIndex = 8;
         this.ctrlUpload.Text = "Upload";
         this.ctrlUpload.UseVisualStyleBackColor = true;
         this.ctrlUpload.Click += new System.EventHandler(this.ctrlUpload_Click);
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         // ctrlSelectFile
         //
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         this.ctrlSelectFile.Name = "ctrlSelectFile";
         this.ctrlSelectFile.Size = new System.Drawing.Size(83, 23);
         this.ctrlSelectFile.TabIndex = 7;
         this.ctrlSelectFile.Text = "Select File";
         this.ctrlSelectFile.UseVisualStyleBackColor = true;
         this.ctrlSelectFile.Click += new System.EventHandler(this.ctrlSelectFile_Click);
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         this.ctrlSelectedFile.Location = new System.Drawing.Point(6, 48);
         this.ctrlSelectedFile.Name = "ctrlSelectedFile";
         this.ctrlSelectedFile.ReadOnly = true;
         this.ctrlSelectedFile.Size = new System.Drawing.Size(220, 20);
         this.ctrlSelectedFile.TabIndex = 6;
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         this.label2.Text = "File";
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         // groupBox3
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         this.groupBox3.Name = "groupBox3";
         this.groupBox3.Size = new System.Drawing.Size(320, 54);
         this.groupBox3.TabIndex = 6;
         this.groupBox3.TabStop = false;
         this.groupBox3.Text = "Status";
         //
         // ctrlStatus
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         this.ctrlStatus.ForeColor = System.Drawing.Color.Red;
         this.ctrlStatus.Location = new System.Drawing.Point(14, 16);
         this.ctrlStatus.Name = "ctrlStatus";
         this.ctrlStatus.Size = new System.Drawing.Size(300, 23);
         this.ctrlStatus.TabIndex = 3;
         this.ctrlStatus.TextAlign = System.Drawing.ContentAlignment.MiddleLeft;
         //
         // groupBox4
         //
         this.groupBox4.Controls.Add(this.ctrlEventsList);
         this.groupBox4.Location = new System.Drawing.Point(14, 43);
         this.groupBox4.Name = "groupBox4";
         this.groupBox4.Size = new System.Drawing.Size(321, 85);
         this.groupBox4.TabIndex = 7;
         this.groupBox4.TabStop = false;
         this.groupBox4.Text = "Available Events";
         //
         // ctrlEventsList
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         this.ctrlEventsList.FormattingEnabled = true;
         this.ctrlEventsList.Location = new System.Drawing.Point(10, 19);
         this.ctrlEventsList.Name = "ctrlEventsList";
         this.ctrlEventsList.Size = new System.Drawing.Size(305, 56);
         this.ctrlEventsList.TabIndex = 4;
         this.ctrlEventsList.SelectedIndexChanged += new System.EventHandler(this.ctrlEventsList_SelectedIndexChanged);
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         // ctrlCopyToClip
         //
         this.ctrlCopyToClip.Location = new System.Drawing.Point(196, 95);
         this.ctrlCopyToClip.Name = "ctrlCopyToClip";
         this.ctrlCopyToClip.Size = new System.Drawing.Size(119, 23);
         this.ctrlCopyToClip.TabIndex = 4;
         this.ctrlCopyToClip.Text = "Copy RTMP Url";
         this.ctrlCopyToClip.UseVisualStyleBackColor = true;
         this.ctrlCopyToClip.Click += new System.EventHandler(this.ctrlCopyToClip_Click);
         //
         // FormListLiveEvents
         //
         this.Controls.Add(this.groupBox4);
         this.Controls.Add(this.groupBox3);
         this.Controls.Add(this.groupBox2);
         this.Controls.Add(this.groupBox1);
         this.Controls.Add(this.ctrlQuery);
         this.Name = "FormListLiveEvents";
         this.Size = new System.Drawing.Size(350, 480);
         this.groupBox1.ResumeLayout(false);
         this.groupBox2.ResumeLayout(false);
         this.groupBox2.PerformLayout();
         this.groupBox3.ResumeLayout(false);
         this.groupBox4.ResumeLayout(false);
         this.ResumeLayout(false);

      }

      #endregion

      private System.Windows.Forms.Button ctrlQuery;
      private System.Windows.Forms.GroupBox groupBox1;
      private System.Windows.Forms.ListBox ctrlLiveEventDetail;
      private System.Windows.Forms.Button ctrlRefresh;
      private System.Windows.Forms.Button ctrlFinish;
      private System.Windows.Forms.Button ctrlDelete;
      private System.Windows.Forms.GroupBox groupBox2;
      private System.Windows.Forms.Button ctrlSelectFile;
      private System.Windows.Forms.TextBox ctrlSelectedFile;
      private System.Windows.Forms.Label label2;
      private System.Windows.Forms.Button ctrlUpload;
      private System.Windows.Forms.OpenFileDialog ctrlVideoChooser;
      private System.Windows.Forms.Label ctrlRawProgress;
      private System.Windows.Forms.ProgressBar ctrlProgressBar;
      private System.Windows.Forms.Button ctrlCancel;
      private System.Windows.Forms.GroupBox groupBox3;
      private System.Windows.Forms.Label ctrlStatus;
      private System.Windows.Forms.GroupBox groupBox4;
      private System.Windows.Forms.ListBox ctrlEventsList;
      private System.Windows.Forms.Button ctrlCopyToClip;
   }
}

redpajama_set_name: RedPajamaGithub


I hate to put in my oar when things get contentious like this but having done a fair amount of business with both Paul and Thomas and I would not hesitate to say that I think both are trustworthy gentlemen to deal with.
I think we should chalk this up to a bit of "keyboard disconnect" and move on.
I am gone for over 3 years and within days of my return I read things like this. It's the reason I got away from the hobby in the first place. This should be somewhere that we all can come and forget about all the hard stuff going on in our lives and in the world and just have fun. I mean, this is supposed to be fun, right? I just hate to see it when people don't get along.
Both of you guys are respected in the prop community and I was glad to see you both here when I returned.
I know what you mean Vince, I agree. Thomas and I have not fallen out before actually and because we do have our discussions behind closed doors it was a surprise, regardless of intent. What's done is done but he hasn't quite annoyed me enough to be off my Christmas card list, yet... .
For the record I'm not boasting anything here as the best in existance with my display as my pics are very brief and over 2 years old. It's like when some people say man you have the best ESB stuff and all that, it's the same reason I don't post, I'm not fussed, doesn't mean I don't appreciate the comments but I have no great desire to be #1 as to tell you the truth from my colaborations with some good people I'm not going to say I deserve recognition as a complete solo effort. I'm certainly proud of what I have, I know there are very few who would appreciate the same quest, expense and sacrifice to that level over the years but everyone who takes this hobby seriously would follow a similar path regardless and while progression and evolution is present as well as luck, at times, you can never count that anyone would be #1 forever. The fact is there is enough room in the play ground. It's playing nice that can be the issue, at times.
Ok, than i got something wrong. So all these Elstree sets on ebay (armor, helmet, boxes) during the past years were different to each other and go from ANH to ESB right? Do they still sell from time to time? I contacted them a few times and never got a reply.
No, you didn't get it wrong as they sold those sets originally under the Paul Harrison name, so the PH and later over time Pete's version the DK which if I recall was actually prior. Then Steve took Elstree over and things went on from there. I got my stuff in person and later had dealings but the confusion is this. People tend to remember EMI and Elstree back in the days so like an ILM cast or LFL they attach a name to it so it's up to people with the knowledge or resources to filter it out, see what is connected with what and how it relates. Take the chestbox for example, how many versions come under the Elstree name or associated to a UK mould, European or US. These things often relate even having many differences. Even the same item from a family can have a later example cleaned up, details removed etc, etc and in turn it becomes some form of variant even related. It's very frustrating and why if you collect these variants it becomes very expensive over time. If I could buy just one of everything the Vader quest would be done and dusted and I would have additionally saved myself a lot of time and I'm sure we are all in a similar boat.
Ok, now that brings some light into this thing So thats why you have sold all these different types of ANH and ESB chestboxes right?
If you don't behave I'll get some good quotes for you... Of course, many different things out there. I shouldn't say this and hope a couple of people aren't put out by this but some guys online that are part of this community right here, right now, own excellent props that they don't want to do a run of and don't want to get into the politics etc. What they own would let open the flood gates and add further authentic items into the discussion but for whatever reason that's not only their wish but how they want things.
Thanks for the replies, Paul and for clarifying that. I apologize to you and the Den if the thread itself was a bit over the top but I think you know me pretty well that I can sometimes be a bit direct about things, and I admit I let myself get a bit too impatient because of my curiosity about the sources of things. I have nothing but high regard for both your knowledge of Vader (especially ESB ), your unwavering integrity, and your exceptional contributions to the hobby, especially to this forum, and I hope this didn't put a damper on things for us. By way of compliment, I hope that my SL ANH mask will be able to look as nice in the paintwork as you have achieved with yours, and hopefully we'll see some more nicer images of your stuff sometime.
For those who chimed in to try to bring some understanding to this, I also appreciate it.
Paul, this has nothing to do with whose is best or the SL, and I wouldn't take it too seriously because it is just an honest question about the source.
I've asked you twice via email where your armor is from and you ignored me.
I asked you in your ANH helmet thread what helmet is it and you ignored me.
I was seriously interested in your armor for sale, but then the thread is locked and I feel that a question like that should be permitted on a for sale thread, or any other question about an item up for sale in a public thread.
When have I ever ignored a question from you about my stuff?
I was also going to say that we can delete this thread if it offends you and I don't mind that because I just wanted to get a simple answer to a simple question.
We need to not assume guilt or wrongful motivation if someone doesn't respond exactly the way we want them to. Give it a chance.
Well, In hindsight I guess it's a surprise with our dedication and passion to the hobby that we haven't banged heads for all these years. All's forgiven because like Vince said the Den is meant to be better than that, doesn't mean we can't dissect and analyse Vader to death but I do appreciate the words Thomas and in turn if I used the word jealousy inappropriately perhaps I was quick to see red.
Thanks to both of you for making peace publicly. It is good to see and I appreciate seeing it!
You know, as I watched the beginning of the thread, my initial thoughts were "Oh crap, here we go again. I thought the last few years of nonsense was finally behind us." But then seeing how quickly it got resolved, I marveled at the fact that we've grown as individuals - hopefully matured (although we have this weird fixation on putting fiberglass pieces on a male mannequin that doesn't appear to go away).
I think there is a difference between our level of passion and our ability to articulate what we want to say properly that doesn't start a flame war. Maybe we can all work on that for 2013 and onward. But yet it's this weird combo that makes us true geeks.
if they are offering it in public it should be public knowledge on the source of what makes it authentic.
and members should be allowed to ask questions publicly about it and get answers publicly.
unless of course it was locked due to incriminating acts.?? im only speculating why it would be locked.
not implying that there is something shady going on about it. i dont know.
but that does seem odd to me the thread would be locked if its for sale.
please Paul i know i maybe late with my response. but i want to make it clear. my post wasn't questioning you or your honesty.
and i may have commented hastily. and probably should have worded my comment differently. but i wasn't jumping on the band wagon so to speak. even though my comment may have appeared that way. i agreed with Thomas, solely on the fact that if something is posted for sale publicly it shouldn't be locked so questions could be asked about it publicly. that doesn't mean you have to answer them publicly because you could do that with a pm. im totally new to all of this prop culture. but i was only posting my opinion. and that i wasn't insinuating that you couldn't be trusted.
becasue i know first hand that you can Paul. and that you are a trustworthy honest person. and that i consider you extremely creditable. after all i purchased your GH master set of armor from you here on this very forum last year.
it was actually my very first "authentic" prop that has direct linage to the film ANH. which i cant thank you enough for selling it to me seems how i was so new to the hobby and forum.
if i felt that you weren't creditable or trustworthy enough i wouldn't have bought it off of you. but after talking with you you made me feel that i could trust you. becasue you knew how i was very skeptical of anyone that i didn't know when it came to star wars props. becasue i told you about how i had a horrible first time experience purchasing star wars props. becasue i was taken for 1300 dollars by Phil Snavely for a an ANH helmet and set of armor.
i apologize if my comments made you feel that i thought you couldn't be trusted. becasue that was not my intentions. becasue i know for fact that you can be. and i would purchase form you again. im glad things were resolved as well. next time i comment ill make sure to really think it out before i hit that button.


text:
Das Musikwerk Die Jahreszeiten ist ein 1801 uraufgeführtes weltliches Oratorium von Joseph Haydn (Hob. XXI:3) nach einem Libretto von Gottfried van Swieten. Es war das letzte seiner vier Oratorien.

Komposition, Premiere und Rezeption

Haydn wurde zur Komposition der Jahreszeiten durch den großen Erfolg seines vorhergehenden Oratoriums Die Schöpfung (1798) angeregt, das zu dieser Zeit in ganz Europa aufgeführt wurde. Wie bei jenem Werk wurde das Libretto zu Die Jahreszeiten von Baron Gottfried van Swieten verfasst, einem österreichischen Adligen, der auch einen großen Einfluss auf Mozarts Karriere gehabt hatte. Van Swietens Libretto war dessen eigene deutsche Wiedergabe eines Auszugs aus dem englischen Versepos von James Thomsons The Seasons.

Die Komposition war wegen seiner angegriffenen Gesundheit mühsam für Haydn. Gemäß seinem frühen Biografen Georg August Griesinger soll er sich zudem "oft bitterlich über den unpoetischen Text" van Swietens beklagt haben. Er brauchte zwei Jahre, um Die Jahreszeiten fertigzustellen.

Die Premiere am 24. April 1801 in Wien wurde zwar ein Erfolg, der aber nicht dem der Schöpfung vergleichbar war. Auch in der Folgezeit wurden Die Jahreszeiten deutlich seltener aufgeführt als das frühere Oratorium.

Der Grund für die geringere Beliebtheit wird weniger bei der Musik als beim Libretto gesucht. Oratorien wurden typischerweise zu christlichen Themen geschrieben und bezogen ihre Textgrundlagen häufig aus der Bibel oder Heiligengeschichten. Das Libretto der Jahreszeiten dagegen ist weitgehend deskriptiv auf den Jahres- und Tageskreis bezogen. Lediglich der Finalsatz spricht als wertvoller anerkannte Themen an (die Bedeutung des Lebens, das ewige Leben). Diese Schlusspassagen sind auffallenderweise keine Übersetzungen aus dem Gedicht von Thomson, sondern originale Arbeiten van Swietens.

Die Jahreszeiten entsprechen somit inhaltlich weder einem religiös geprägten Oratorium noch dem Ideal eines Kunstwerks im Geiste der Aufklärung, ihre heiteren wie eindringlichen Naturschilderungen und Verklärungen des Landlebens zeigen vielmehr Einfluss der Philosophie Rousseaus. Die Position Haydns in diesem Spannungsfeld ist nicht letztgültig zu klären. Griesinger berichtet, Haydn habe sich eher distanziert zum Text von So löhnet die Natur den Fleiß geäußert, der eine nüchterne Arbeitsethik verklärt: Er sei zwar sein ganzes Leben lang ein fleißiger Mann gewesen, wäre jedoch nie auf die Idee gekommen, "den Fleiß in Noten zu setzen". Albert Christoph Dies, ebenfalls ein früher Biograf Haydns, erzählt andererseits, dass Haydn sich vom Text zu Juhe! Der Wein ist da angeregt fühlte, in der Schlussfuge musikalisch die Trunkenheit darzustellen. Dies gibt einen Ausspruch Haydns so wieder: "Mein Kopf … war so voll von dem tollen Zeuge: es lebe der Wein, es lebe das Faß! daß ich alles darüber und darunter gehen ließ; ich nenne daher die Schlußfuge die besoffene Fuge."

Van Swieten soll Haydn teilweise detaillierte Anweisungen zur Komposition gegeben haben. Bezüglich einer Stelle ist das in einem Brief von Haydn an August Eberhard Müller bezeugt, der für den Musikverlag Breitkopf & Härtel den Klavierauszug der Jahreszeiten anfertigte. Es geht um die Passage "Und aus dem Sumpfe quakt der Frosch" im Terzett und Chor Die düstren Wolken trennen sich, an der Haydn in der Partitur eine lautmalerische Figur eingesetzt hatte: "[D]iese ganze Stelle als eine Imitazion eines frosches ist nicht aus meiner feder geflossen; es wurde mir aufgedrungen diesen französischen Quark niederzuschreiben; mit dem ganzen Orchester verschwindet dieser elende gedanke gar bald, aber als Clavierauszug kann derselbe nicht bestehen." Die Bezeichnung als "französisch" bezieht sich gemäß Griesinger auf den Komponisten André-Ernest-Modeste Grétry, von dem die Idee stamme, deren Übernahme van Swieten gewünscht habe. Wohl durch eine Indiskretion Müllers gelangte dieses Briefzitat zu dem Redakteur Karl Spazier, der es im Dezember 1801 in seine Rezension einer Leipziger Aufführung der Jahreszeiten aufnahm; diese wurde in Spaziers Zeitung für die elegante Welt veröffentlicht. Gottfried Christoph Härtel und Griesinger, der als Mittler zwischen dem Verlag und Haydn tätig war, hofften beide, dass van Swieten diese peinliche öffentliche Referenz nicht zu Gesicht bekommen werde, doch im März 1802 war es so weit. Griesinger schrieb an Härtel, van Swieten habe geschimpft: "Dem Haydn wolle er die Äusserung, dass ihm das Froschgequäk aufgedrungen worden sey, mit Salz und Pfeffer einreiben und es sey eine eclatante Indiscretion, dass Sie Haydnsche Briefe abdruken lassen." Dank Griesingers diplomatischem Geschick beruhigte sich van Swieten aber bald wieder: "Der Sturm ist jetzt vorüber."

Besetzung

Die Jahreszeiten ist für ein großes spätklassisches Orchester geschrieben, zumeist vierstimmigen Chor und drei Vokalsolisten, die archetypisch das Landvolk repräsentieren: Simon (Bass), Lukas (Tenor), und Hanne (Sopran). Die Besetzung der Solostimmen ist somit die gleiche wie in der Schöpfung.

Das Orchester besteht aus zwei Flöten (2. auch Piccolo), zwei Oboen, zwei Klarinetten, zwei Fagotten und Kontrafagott, vier Waldhörnern, zwei (im Schlusschor drei) Trompeten, Kesselpauke, Triangel, Tamburin, zwei Posaunen und Bassposaune sowie dem üblichen Streicherensemble mit erster und zweiter Violine, Viola, Cello, und Kontrabass. Für die Secco-Rezitative: Cembalo oder Hammerklavier (Violoncello und Kontrabass ad libitum).

Inhalt

In vier in sich geschlossenen Kantaten wird der Verlauf der Jahreszeiten aus Sicht des Bauernvolks beschrieben: Der Pächter Simon (Bass), dessen Tochter Hanne (Sopran) und der junge Bauer Lukas (Tenor) treten als Erzählstimmen auf.

Der Frühling ist die Zeit der Saat und der Hoffnung: In der düsteren Einleitung wird das Ende des Winters beschrieben, bevor heitere Gesänge die Freuden des Lenz verkünden. Nachdem der Ackermann, den Haydn die wohlbekannte Melodie aus der Symphonie mit dem Paukenschlag nachpfeifen lässt, die Saat ausgebracht hat, wird um Segen und Regen gebeten. Mit einem fulminanten Freudenlied geht der Frühling zu Ende.

Im zweiten Teil wird ein Tag im Sommer geschildert: Nach der Morgendämmerung weckt der Hahn die Hirten auf, bevor die Sonne "in flammender Majestät" aufgeht. Der friedlichen, pastoralen Szenerie setzt ein dramatisches Gewitter ein Ende – das sich genauso schnell verzieht, wie es aufgekommen ist: Abendfrieden macht sich breit, als die ersten Sterne aufgehen.

Der Herbst ist in drei Teile gegliedert: Der Landmann freut sich über die reiche Ernte, die sogleich eingeholt wird, und Hanne und Lukas schwören sich ewige Liebe und Treue. Danach geht es vom Feld in den Wald und Chor und Solostimmen besingen die erfolgreiche Jagd auf einen Hirschen. In der abschließenden Weinlese wird in den Weinbergen übermütig gesungen, getanzt und vor allem getrunken.

Mit dem Winter legt sich dichter Nebel über das Land und Dunkelheit macht sich breit. Ein verirrter Wanderer findet Schutz in einem belebten Bauernhaus. Dort wird in der warmen Stube gesponnen, geschwätzt und gesungen – Hanne erzählt zur Unterhaltung der anderen eine schelmische Liebesgeschichte. Die anschließende Arie des Simons erweitert die Thematik um eine metaphysisch-religiöse Ebene und stellt den Verlauf der Jahreszeiten dem eines Menschenlebens gegenüber. In einem sich immer weiter steigernden Wechselgesang zwischen Solostimmen und Chor wird die Hoffnung besungen, aus dem ewigen Winter des Todes Erlösung im himmlischen, immerwährenden Frühling zu finden.

Musiknummern und Text
Die Jahreszeiten sind in vier Teile aufgeteilt: "Der Frühling", "Der Sommer", "Der Herbst" und "Der Winter".

Der Frühling

1.    Einleitung und Rezitativ
Simon
Seht, wie der strenge Winter flieht!
Zum fernen Pole zieht er hin.
Ihm folgt auf seinen Ruf
der wilden Stürme brausend Heer
mit grässlichem Geheul.

Lukas
Seht, wie vom schroffen Fels der Schnee
in trüben Strömen sich ergießt!

Hanne
Seht, wie vom Süden her,
durch laue Winde sanft gelockt,
der Frühlingsbote streicht!

2.    Chor des Landvolks
Alle
Komm, holder Lenz!
Des Himmels Gabe, komm!
Aus ihrem Todesschlaf
erwecke die Natur.

Mädchen und Weiber
Er nahet sich, der holde Lenz,
schon fühlen wir den linden Hauch,
bald lebet alles wieder auf.

Männer
Frohlocket ja nicht allzufrüh!
Oft schleicht, in Nebel eingehüllt,
der Winter wohl zurück und streut
auf Blüt' und Keim sein starres Gift.

Alle
Komm, holder Lenz!
Des Himmels Gabe, komm!
Auf uns're Fluren senke dich!
Komm, holder Lenz, o komm
und weile länger nicht!

3.    Rezitativ
Simon
Vom Widder strahlet jetzt
die helle Sonn' auf uns herab.
Nun weichen Frost und Dampf,
und schweben laue Dünst' umher.
Der Erde Busen ist gelöst,
erheitert ist die Luft.

4.    Arie
Simon
Schon eilet froh der Ackermann
zur Arbeit auf das Feld,
in langen Furchen schreitet er
dem Pfluge flötend nach.
In abgemess'nem Gange dann
wirft er den Samen aus;
den birgt der Acker treu und reift
ihn bald zur gold'nen Frucht.

5.    Rezitativ
Lukas
Der Landmann hat sein Werk vollbracht
und weder Müh' noch Fleiß gespart.
Den Lohn erwartet er
aus Händen der Natur
und fleht darum den Himmel an.

6.    Bittgesang
Terzett und Chor
Sei nun gnädig, milder Himmel!
Öffne dich und träufe Segen
über unser Land herab!
Lass deinen Tau die Erde wässern!
Lass Regenguss die Furchen tränken!
Lass deine Lüfte wehen sanft!
Lass deine Sonne scheinen hell!
Uns sprießet Überfluss alsdann,
und deiner Güte Dank und Ruhm.

7.    Rezitativ
Hanne
Erhört ist unser Fleh'n,
der laue West' erwärmt und füllt
die Luft mit feuchten Dünsten an.
Sie häufen sich; nun fallen sie,
und gießen in der Erde Schoß
den Schmuck und Reichtum der Natur.

8.    Freudenlied
Hanne
O wie lieblich ist der Anblick
der Gefilde jetzt!
Kommt, ihr Mädchen,
lasst uns wallen
auf der bunten Flur!

Lukas
O wie lieblich ist der Anblick
der Gefilde jetzt!
Kommt, ihr Burschen, lasst uns wallen
zu dem grünen Hain!

Hanne
Seht die Lilie,
seht die Rose,
seht die Blumen all!

Lukas
Seht die Auen,
seht die Wiesen,
seht die Felder all!

Mädchen und Burschen
O wie lieblich ist der Anblick
der Gefilde jetzt!
Lasst uns wallen
auf der bunten Flur!
Lasst uns wallen
zu dem grünen Hain!

Hanne
Seht die Erde,
seht die Wasser,
seht die helle Luft!

Lukas
Alles lebet,
alles schwebet,
alles reget sich.

Hanne
Seht die Lämmer,
wie sie springen!

Lukas
Seht die Fische,
welch Gewimmel!

Hanne
Seht die Bienen,
wie sie schwärmen!

Lukas
Seht die Vögel,
welch Geflatter!

Chor
Alles lebet,
alles schwebet,
alles reget sich.

Mädchen
Welche Freude,
welche Wonne
schwellet unser Herz!

Burschen und Mädchen
Süße Triebe,
sanfte Reize
heben uns're Brust.

Simon
Was ihr fühlet,
was euch reizet,
ist des Schöpfers Hauch.

Mädchen und Burschen
Lasst uns ehren,
lasst uns loben,
lasst uns preisen ihn!

Männer
Lasst erschallen,
ihm zu danken,
eure Stimmen hoch!

Chor
Lasst erschallen,
ihm zu danken,
uns're Stimmen hoch!
Ewiger, mächtiger, gütiger Gott!

Terzett
Von deinem Segensmahle
hast du gelabet uns.

Männer
Mächtiger Gott!

Terzett
Vom Strome deiner Freuden
hast du getränket uns,
gütiger Gott!

Chor
Ewiger, mächtiger, gütiger Gott!

Simon
Ewiger!

Lukas
Mächtiger!

Hanne
Gütiger Gott!

Chor
Ehre, Lob und Preis sei dir,
ewiger, mächtiger, gütiger Gott!

Der Sommer

9.    Einleitung und Rezitativ
Lukas
In grauem Schleier rückt heran
das sanfte Morgenlicht;
mit lahmen Schritten weicht vor ihm
die träge Nacht zurück.
Zu düstern Höhlen flieht
der Leichenvögel blinde Schar;
ihr dumpfer Klageton
beklemmt das bange Herz nicht mehr.

Simon
Des Tages Herold meldet sich;
mit scharfem Laute rufet er
zu neuer Tätigkeit
den ausgeruhten Landmann auf.

10.  Arie und Rezitativ
Simon
Der munt're Hirt versammelt nun
die frohen Herden um sich her;
zur fetten Weid' auf grünen Höh'n
treibet er sie langsam fort.
Nach Osten blickend steht er dann
auf seinem Stabe hingelehnt,
zu seh'n den ersten Sonnenstrahl,
welchem er entgegenharrt.

Hanne
Die Morgenröte bricht hervor,
wie Rauch verflieget das leichte Gewölk,
der Himmel pranget im hellen Azur,
der Berge Gipfel in feurigem Gold.

11.  Terzett und Chor
Terzett
Sie steigt herauf, die Sonne, sie steigt,
sie naht, sie kommt,
sie strahlt, sie scheint.

Chor
Sie scheint in herrlicher Pracht,
in flammender Majestät!
Heil, o Sonne, Heil!
Des Lichts und Lebens Quelle, Heil!
O du, des Weltalls Seel' und Aug',
der Gottheit schönstes Bild!
Dich grüßen dankbar wir!

Terzett
Wer spricht sie aus, die Freuden alle,
die deine Huld in uns erweckt!
Wer zählet sie, die Segen alle,
die deine Mild' auf uns ergießt!

Chor
Die Freuden, o, wer spricht sie aus?
Die Segen, o, wer zählet sie?

Hanne
Dir danken wir, was uns ergötzt.

Lukas
Dir danken wir, was uns ergötzt.

Simon
Dir danken wir, was uns ergötzt.

Terzett
Dem Schöpfer aber danken wir,
was deine Kraft vermag.

Chor
Heil, o Sonne, Heil!
Des Lichts und Lebens Quelle, Heil!
Dir jauchzen alle Stimmen,
dir jauchzet die Natur!

Terzett und Chor
Dir jauchzet die Natur!

12.  Rezitativ
Simon
Nun regt und bewegt sich alles umher,
ein buntes Gewühl bedecket die Flur.
Dem braunen Schnitter neiget sich der Saaten wallende Flut,
die Sense blitzt, da sinkt das Korn;
doch steht es bald und aufgehäuft in festen Garben wieder da.

Lukas
Die Mittagssonne brennet jetzt
in voller Glut und gießt
durch die entwölkte Luft
ihr mächtiges Feu'r in Strömen hinab.
Ob den gesengten Flächen schwebt
im nieder'n Qualm ein blendend' Meer
von Licht und Widerschein.

13.  Cavatine
Lukas
Dem Druck erlieget die Natur.
Welke Blumen,
dürre Wiesen,
trock'ne Quellen:
Alles zeigt der Hitze Wut,
und kraftlos schmachten Mensch und Tier,
am Boden hingestreckt.

14.  Rezitativ
Hanne
Willkommen jetzt, o dunkler Hain,
wo der bejahrten Eiche Dach
den kühlen Schirm gewährt,
und wo der schlanken Espe Laub
mit leisem Gelispel rauscht.
Am weichen Moose rieselt da
in heller Flut der Bach,
und fröhlich summend irrt und wirrt
die bunte Sonnenbrut.
Der Kräuter reinen Balsamduft
verbreitet Zephirs Hauch,
und aus dem nahen Busche tönt
des jungen Schäfers Rohr.

15.  Arie
Hanne
Welche Labung für die Sinne!
Welch' Erholung für das Herz!
Jeden Aderzweig durchströmet
und in jeder Nerve bebt
erquickendes Gefühl.
Die Seele wachet auf
zum reizenden Genuss,
und neue Kraft erhebt
durch milden Drang die Brust.

16.  Rezitativ
Simon
O seht! Es steiget in der schwülen Luft
am hohen Saume des Gebirgs
von Dampf und Dunst ein fahler Nebel auf.
Emporgedrängt dehnt er sich aus
und hüllet bald den Himmelsraum
in schwarzes Dunkel ein.

Lukas
Hört, wie vom Tal ein dumpf' Gebrüll
den wilden Sturm verkünd't!
Seht, wie von Unheil schwer
die finst're Wolke langsam zieht
und drohend auf die Eb'ne sinkt.

Hanne
In banger Ahnung stockt
das Leben der Natur.
Kein Tier, kein Blatt beweget sich,
und Todesstille herrscht umher.

17.  Chor
Ach, das Ungewitter naht!
Hilf uns, Himmel!
O wie der Donner rollt!
O wie die Winde toben!
Wo flieh'n wir hin!
Flammende Blitze durchwühlen die Luft,
von zackigen Keilen berstet die Wolke,
und Güsse stürzen herab.
Wo ist Rettung?
Wütend rast der Sturm,
der weite Himmel entbrennt.
Himmel, hilf uns!
Wo ist Rettung?
Weh' uns Armen!
Schmetternd krachen Schlag auf Schlag,
die schweren Donner fürchterlich.
Weh' uns, weh' uns!
Erschüttert wankt die Erde
bis in des Meeres Grund.

18.  Terzett mit Chor
Lukas
Die düster'n Wolken trennen sich,
gestillet ist der Stürme Wut.

Hanne
Vor ihrem Untergange
blickt noch die Sonn' empor.
Und von dem letzten Strahle glänzt
mit Perlenschmuck geziert die Flur.

Simon
Zum langgewohnten Stalle kehrt,
gesättigt und erfrischt
das fette Rind zurück.

Lukas
Dem Gatten ruft die Wachtel schon.

Hanne
Im Grase zirpt die Grille froh.

Simon
Und aus dem Sumpfe quakt der Frosch.

Terzett
Die Abendglocke tönt!
Von oben winkt der helle Stern,
und ladet uns zur sanften Ruh.

Männerchor
Mädchen, Bursche, Weiber, kommt!
Unser wartet süßer Schlaf,
wie reines Herz, gesunder Leib
und Tagesarbeit ihn gewährt.
Mädchen, Bursche, Weiber, kommt!

Frauenchor
Wir geh'n, wir folgen euch.

Chor
Die Abendglocke hat getönt;
von oben blinkt der helle Stern
und ladet uns zur sanften Ruh.

Der Herbst

19.  Einleitung und Rezitativ
Hanne
Was durch seine Blüte
der Lenz zuerst versprach;
was durch seine Wärme
der Sommer reifen ließ;
zeigt der Herbst in Fülle
dem frohen Landmann jetzt.

Lukas
Den reichen Vorrat fährt er nun
auf hochbelad'nen Wagen ein.
Kaum fasst der weiten Scheune Raum,
was ihm sein Feld hervorgebracht.
Sein heit'res Auge blickt umher,
es misst den aufgetürmten Segen ab,
und Freude strömt in seine Brust.

20.  Terzett und Chor
Simon
So lohnet die Natur den Fleiß,
ihn ruft, ihn lacht sie an,
ihn muntert sie durch Hoffnung auf,
ihm steht sie willig bei;
ihm wirket sie mit voller Kraft.

Hanne und Lukas
Von dir, o Fleiß, kommt alles Heil.
Die Hütte, die uns schirmt,
die Wolle, die uns deckt,
die Speise, die uns nährt,
ist deine Gab', ist dein Geschenk.
O Fleiß, o edler Fleiß, von dir kommt alles Heil.

Hanne
Du flößest Tugend ein,
und rohe Sitten milderst du.

Lukas
Du wehrest Laster ab
und reinigest der Menschen Herz.

Simon
Du stärkest Mut und Sinn
zum Guten und zu jeder Pflicht

Terzett
O Fleiß, von dir kommt alles Heil.

Chor
O Fleiß, o edler Fleiß,
von dir kommt alles Heil.

21.  Rezitativ
Hanne
Seht, wie zum Haselbusche dort
die rasche Jugend eilt!
An jedem Aste schwinget sich
der Kleinen lose Schar,
Und der bewegten Staud' entstürzt
gleich Hagelschau'r die lock're Frucht.

Simon
Hier klimmt der junge Bau'r
den hohen Stamm entlang,
die Leiter flink hinauf.
Vom Wipfel, der ihn deckt,
sieht er sein Liebchen nah'n
und ihrem Tritt entgegen
fliegt dann im trauten Scherze
die runde Nuss herab.

Lukas
Im Garten steh'n um jeden Baum
die Mädchen, groß und klein,
dem Obste, das sie klauben,
an frischer Farbe gleich.

22.  Duett
Lukas
Ihr Schönen aus der Stadt, kommt her!
Blickt an die Töchter der Natur,
die weder Putz noch Schminke ziert!
Da seht mein Hannchen, seht!
Ihr blüht Gesundheit auf den Wangen;
ihr Auge lacht Zufriedenheit,
und aus dem Munde spricht das Herz,
wenn sie mir Liebe schwört.

Hanne
Ihr Herrchen, süß und fein, bleibt weg!
Hier schwinden eure Künste ganz,
und glatte Worte wirken nicht;
man gibt euch kein Gehör.
Nicht Gold, nicht Pracht kann uns verblenden.
Ein redlich Herz ist, was uns rührt,
und meine Wünsche sind erfüllt,
wenn treu mir Lukas ist.

Lukas
Blätter fallen ab,
Früchte welken hin,
Tag' und Jahr' vergeh'n,
nur meine Liebe nicht.

Hanne
Schöner grünt das Blatt,
süßer schmeckt die Frucht,
heller glänzt der Tag,
wenn deine Liebe spricht.

Beide
Welch' ein Glück ist treue Liebe!
Uns're Herzen sind vereinet;
trennen kann sie Tod allein.

Lukas
Liebstes Hannchen!

Hanne
Bester Lukas!

Beide
Lieben und geliebet werden
ist der Freuden höchster Gipfel,
ist des Lebens Wonn' und Glück.

23.  Rezitativ
Simon
Nun zeiget das entblößte Feld
der ungebet'nen Gäste Zahl,
die an den Halmen Nahrung fand
und irrend jetzt sie weiter sucht.
Des kleines Raubes klaget nicht
der Landmann, der ihn kaum bemerkt;
dem Übermaße wünscht
er doch nicht ausgestellt zu sein.
Was ihn dagegen sichern mag,
sieht er als Wohltat an,
und willig fröhnt er dann zur Jagd,
die seinen guten Herrn ergötzt.

24.  Arie
Simon
Seht auf die breiten Wiesen hin!
Seht, wie der Hund im Grase streift!
Am Boden suchet er die Spur
und geht ihr unablässig nach.
Jetzt aber reißt Begierd' ihn fort;
er horcht auf Ruf und Stimme nicht mehr;
er eilet zu haschen – da stockt sein Lauf.
Und steht er unbewegt wie Stein.
Dem nahen Feinde zu entgeh'n,
erhebt der scheue Vogel sich,
doch rettet ihn nicht schneller Flug.
Es blitzt, es knallt, ihn erreichet das Blei
und wirft ihn tot aus der Luft herab.

25.  Rezitativ
Lukas
Hier treibt ein dichter Kreis
die Hasen aus dem Lager auf.
Von allen Seiten hingedrängt,
hilft ihnen keine Flucht.
Schon fallen sie und liegen bald
in Reihen freudig hingezählt.

26.  Chor der Landleute und Jäger
Männerchor
Hört das laute Getön',
das dort im Walde klinget!

Frauenchor
Welch' ein lautes Getön
durchklingt den ganzen Wald!

Alle
Es ist der gellenden Hörner Schall,
der gierigen Hunde Gebelle.

Männer
Schon flieht der aufgesprengte Hirsch,
ihm rennen die Doggen und Reiter nach.

Alle
Er flieht, er flieht. O wie er sich streckt!
Ihm rennen die Doggen und Reiter nach.
O wie er springt! O wie er sich streckt!
Da bricht er aus den Gesträuchen hervor,
und läuft über Feld in das Dickicht hinein.

Männer
Jetzt hat er die Hunde getäuscht;
zerstreuet schwärmen sie umher.

Alle
Die Hunde sind zerstreut;
sie schwärmen hin und her.

Jäger
Tajo, tajo, tajo!

Männer
Der Jäger Ruf, der Hörner Klang
versammelt auf's Neue sie.

Alle
Ho, ho, ho! Tajo! Ho, ho!
Mit doppeltem Eifer stürzet nun
der Haufe vereint auf die Fährte los.

Jäger
Tajo!

Frauen
Von seinen Feinden eingeholt,
an Mut und Kräften ganz erschöpft,
erlieget nun das schnelle Tier.

Männer
Sein nahes Ende kündigt an
des tönenden Erzes Jubellied,
der freudigen Jäger Siegeslaut.

Jäger
Halali!

Frauen
Den Tod des Hirsches kündigt an
des tönenden Erzes Jubellied,
der freudigen Jäger Siegeslaut.

Jäger
Halali!

Alle
Den Tod des Hirsches kündigt an
des tönenden Erzes Jubellied,
der freudigen Jäger Siegeslaut.
Halali!

27.  Rezitativ
Hanne
Am Rebenstocke blinket jetzt
die helle Traub' in vollem Safte,
und ruft dem Winzer freundlich zu,
dass er, zu lesen sie, nicht weile.

Simon
Schon werden Kuf' und Fass
zum Hügel hingebracht,
und aus den Hütten strömet
zum frohen Tagewerke
das munt're Volk herbei.

Hanne
Seht, wie den Berg hinan
von Menschen alles wimmelt!
Hört, wie der Freudenton
von jeder Seit' erschallet!

Lukas
Die Arbeit fördert lachender Scherz
vom Morgen bis zum Abend hin,
und dann erhebt der brausende Most
die Fröhlichkeit zum Lustgeschrei.

28.  Chor
Alle
Juhhe! Juhhe! Der Wein ist da,
die Tonnen sind gefüllt.
Nun lasst uns fröhlich sein,
Und juhhe, juhhe, juch!
aus vollem Halse schrei'n!

Männer
Lasst uns trinken!
Trinket, Brüder!
Lasst uns fröhlich sein!

Frauen
Lasst uns singen!
Singet alle!
Lasst uns fröhlich sein!

Alle
Juhhe, juhhe, juh! Es lebe der Wein!

Männer
Es lebe das Land, wo er uns reift!
Es lebe das Fass, das ihn verwahrt!
Es lebe der Krug, woraus er fließt!
Kommt, ihr Brüder!
Füllt die Kannen!
Leert die Becher!
Lasst uns fröhlich sein!

Alle
Heida! Lasst uns fröhlich sein!
Und juhhe, juhhe, juh!
aus vollem Halse schrei'n!
Juhhe, juh! Es lebe der Wein!

Frauen
Nun tönen die Pfeifen
Und wirbelt die Trommel.
Hier kreischet die Fiedel,
Da schnarret die Leier
und dudelt der Bock.

Männer
Schon hüpfen die Kleinen
und springen die Knaben;
dort fliegen die Mädchen
im Arme der Bursche
den ländlichen Reih'n.

Frauen
Heisa, hopsa! Lasst uns hüpfen!

Männer
Ihr Brüder, kommt!

Frauen
Heisa, hopsa! Lasst uns springen!

Männer
Die Kannen füllt!

Frauen
Heisa, hopsa! Lasst uns tanzen!

Männer
Die Becher leert!

Alle
Heida, lasst uns fröhlich sein!
Und juhhe, juhhe, juh!
aus vollem Halse schrei'n!

Männer
Jauchzet, lärmet!
Springet, tanzet!
Lachet, singet!
Nun fassen wir den letzten Krug!

Alle
Und singen dann in vollem Chor
dem freudenreichen Rebensaft!
Heisa, hei, juhhe, juh!
Es lebe der Wein, der edle Wein,
der Grillen und Harm verscheucht!
Sein Lob ertöne laut und hoch
in tausendfachem Jubelschall!
Heida, lasst uns fröhlich sein!
Und juhhe, juhhe, juh!
aus vollem Halse schrei'n!

Der Winter

29.  Einleitung und Rezitativ
Simon
Nun senket sich das blasse Jahr,
und fallen Dünste kalt herab.
Die Berg' umhüllt ein grauer Dampf,
der endlich auch die Flächen drückt,
und am Mittage selbst
der Sonne matten Strahl verschlingt.

Hanne
Aus Lapplands Höhlen schreitet her
der stürmisch düst're Winter jetzt.
Vor seinem Tritt erstarrt
in banger Stille die Natur.

30.  Cavatine
Hanne
Licht und Leben sind geschwächet,
Wärm' und Freude sind verschwunden.
Unmutsvollen Tagen
folget schwarzer Nächte lange Dauer.

31.  Rezitativ
Lukas
Gefesselt steht der breite See,
gehemmt in seinem Laufe der Strom.
Im Sturze vom türmenden Felsen hängt
gestockt und stumm der Wasserfall.
Im dürren Haine tönt kein Laut;
die Felder deckt, die Täler füllt
ein' ungeheu're Flockenlast.
Der Erde Bild ist nun ein Grab,
wo Kraft und Reiz erstorben liegt,
wo Leichenfarbe traurig herrscht,
und wo dem Blicke weit umher
nur öde Wüstenei sich zeigt.

32.  Arie
Lukas
Hier steht der Wand'rer nun,
verwirrt und zweifelhaft,
wohin den Schritt er lenken soll.
Vergebens suchet er den Weg;
ihn leitet weder Pfad noch Spur.
Vergebens strenget er sich an
und watet durch den tiefen Schnee;
er find't sich immer mehr verirrt.
Jetzt sinket ihm der Mut,
und Angst beklemmt sein Herz,
da er den Tag sich neigen sieht,
und Müdigkeit und Frost
ihm alle Glieder lähmt.
Doch plötzlich trifft sein spähend' Aug'
der Schimmer eines nahen Lichts.
Da lebt er wieder auf;
vor Freude pocht sein Herz.
Er geht, er eilt der Hütte zu,
wo starr und matt er Labung hofft.

33.  Rezitativ
Lukas
Sowie er naht, schallt in sein Ohr,
durch heulende Winde nur erst geschreckt,
heller Stimmen lauter Klang.

Hanne
Die warme Stube zeigt ihm dann
des Dörfchens Nachbarschaft,
vereint in trautem Kreise,
den Abend zu verkürzen
mit leichter Arbeit und Gespräch.

Simon
Am Ofen schwatzten hier
von ihrer Jugendzeit die Väter.
Zu Körb' und Reusen flicht
die Weidengert' und Netze strickt
der Söhne munt'rer Haufe dort.
Am Rocken spinnen die Mütter,
am laufenden Rade die Töchter,
und ihren Fleiß belebt
ein ungekünstelt frohes Lied.

34.  Lied mit Chor
Frauen und Mädchen
Knurre, schnurre, knurre!
Schnurre, Rädchen, schnurre!

Hanne
Drille, Rädchen, lang und fein,
drille fein ein Fädelein
mir zum Busenschleier!
Weber, webe zart und fein,
webe fein das Schleierlein
mir zur Kirmesfeier!
Außen blank und innen rein,
muss des Mädchens Busen sein,
wohl deckt ihn der Schleier.
Außen blank und innen rein,
fleißig, fromm und sittsam sein,
locket wack're Freier.

35.  Rezitativ
Lukas
Abgesponnen ist der Flachs,
nun steh'n die Räder still.
Da wird der Kreis verengt
und von dem Männervolk umringt,
zu horchen auf die neue Mär,
die Hanne jetzt erzählen wird.

36.  Lied mit Chor
Hanne
Ein Mädchen, das auf Ehre hielt,
liebt einst ein Edelmann,
da er schon längst nach ihr gezielt,
traf er allein sie an.
Er stieg sogleich vom Pferd und sprach:
Komm, küsse deinen Herrn!
Sie rief vor Angst und Schrecken: Ach!
Ach ja, von Herzen gern.

Chor
Ei, ei, warum nicht nein?

Hanne
Sei ruhig, sprach er, liebes Kind,
und schenke mir dein Herz!
Denn meine Lieb' ist treu gesinnt,
nicht Leichtsinn oder Scherz.
Dich mach ich glücklich:
Nimm dies Geld, den Ring, die gold'ne Uhr,
und hab' ich sonst, was die gefällt,
o sag's und ford're nur!

Chor
Ei, ei, das klingt recht fein!

Hanne
Nein, sagt sie, das wär' viel gewagt:
Mein Bruder möcht' es seh'n,
und wenn er's meinem Vater sagt,
wie wird mir's dann ergeh'n!
Er ackert uns hier allzunah,
sonst könnt' es wohl gescheh'n.
Schaut nur, von jenem Hügel da
könnt ihr ihn ackern seh'n.

Chor
Ho, ho, was soll das sein?

Hanne
Indem der Junker geht und sieht,
schwingt sich das lose Kind
auf seinen Rappen und entflieht
geschwinder als der Wind.
Lebt wohl, rief sie, mein gnäd'ger Herr,
so räch' ich meine Schmach.
Ganz eingewurzelt stehet er
und gafft ihr staunend nach.

Chor
Ha, ha, das war recht fein.

37.  Rezitativ
Simon
Von dürrem Oste dringt
ein scharfer Eishauch jetzt hervor.
Schneidend fährt er durch die Luft,
verzehret jeden Dunst
und hascht des Tieres Odem selbst.
Des grimmigen Tyranns,
des Winters Sieg ist nun vollbracht,
und stummer Schrecken drückt
den ganzen Umfang der Natur.

38.  Arie
Simon
Erblicke hier, betörter Mensch,
erblicke deines Lebens Bild!
Verblühet ist dein kurzer Lenz,
erschöpfet deines Sommers Kraft.
Schon welkt dein Herbst dem Alter zu,
schon naht der bleiche Winter sich
und zeiget dir das off'ne Grab.
Wo sind sie nun, die hoh'n Entwürfe,
die Hoffnungen von Glück,
die Sucht nach eitlem Ruhme,
der Sorgen schwere Last?
Wo sind sie nun, die Wonnetage,
verschwelgt in Üppigkeit.
Und wo die frohen Nächte,
im Taumel durchgewacht!
Verschwunden sind sie wie ein Traum,
nur Tugend bleibt.
Sie bleibt allein,
und leitet uns unwandelbar
durch Zeit- und Jahreswechsel,
durch Jammer oder Freude
bis zu dem höchsten Ziele hin.

39.  Terzett und Chor
Simon
Dann bricht der große Morgen an,
der Allmacht zweites Wort erweckt
zu neuem Dasein uns,
von Pein und Tod auf immer frei.

Lukas und Simon
Die Himmelspforten öffnen sich;
der heil'ge Berg erscheint.
Ihn krönt des Herren Zelt,
wo Ruh' und Friede thront.

Chor
Wer darf durch diese Pforten geh'n?

Terzett
Der Arges mied und Gutes tat.

Chor
Wer darf besteigen diesen Berg?

Terzett
Von dessen Lippen Wahrheit floss.

Chor
Wer darf in diesem Zelte wohnen?

Terzett
Der Armen und Bedrängten half.

Chor
Wer wird den Frieden dort genießen?

Terzett
Der Schutz und Recht der Unschuld gab.

Chor
O seht, der große Morgen naht!
O seht, er leuchtet schon!
Die Himmelspforten öffnen sich,
der heil'ge Berg erscheint!
Vorüber sind, verbrauset sind
die leidenvollen Tage,
des Lebens Winterstürme.
Ein ew'ger Frühling herrscht,
und grenzenlose Seligkeit
wird der Gerechten Lohn.

Terzett
Auch uns werd' einst ein solcher Lohn!
Lasst uns wirken, lasst uns streben!

Chor
Lasst uns kämpfen, lasst uns harren,
zu erringen diesen Preis!
Uns leite deine Hand, o Gott!
Verleih' uns Stärk' und Mut!
Dann singen wir,
dann geh'n wir ein
in deines Reiches Herrlichkeit.
Amen.

Literatur
 Ullrich Scheideler: Die Jahreszeiten. Hob. XXI:3. In: Silke Leopold, Ullrich Scheideler (Hrsg.): Oratorienführer. Metzler und Bärenreiter, Stuttgart/Weimar und Kassel 2000, S. 314–317.
 James Thomson, Wolfgang Schlüter: The Seasons/Die Jahreszeiten. Engeler, Weil am Rhein, Basel 2003, ISBN 3-905591-68-5.
 Sabine M. Gruber: Mit einem Fuß in der Frühlingswiese. Ein Spaziergang durch Haydns Jahreszeiten mit Sprachbildern von Nikolaus Harnoncourt. Residenz, St. Pölten, Salzburg 2009, ISBN 978-3-7017-1517-6.
 Armin Raab: Die Jahreszeiten. In: Armin Raab, Christine Siegert, Wolfram Steinbeck (Hrsg.): Das Haydn-Lexikon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0, S. 353–360.

Siehe auch
 Die vier Jahreszeiten (Vivaldi, 1725)
 Die Tageszeiten (Telemann, 1757)

Weblinks
 Erstdruck des Librettos in: Allgemeine musikalische Zeitung, Jg. 3, Mai 1801, Beilage VII, S. XIX–XXVI
 Noten im International Music Score Library Project
 Die Jahreszeiten: MIDI/MP3-Version, mit Text und Übungsdateien für Choristen

Einzelnachweise

Werk von Joseph Haydn
Oratorium
Weltliches Chorwerk
Chorwerk aus dem 19. Jahrhundert
Musik 1801

redpajama_set_name: RedPajamaWikipedia


text:
Gazetted 10 Oct 1995
Dated 3 October 1995.
CARMEN LAWRENCE
Minister for Human Services and Health
2. Regulation 48 (Prescribed business—definition of "health insurance business" in subsection 67 (4) of the Act)
2.1 Subparagraph 48 (1) (b) (vi):
Omit the subparagraph, substitute:
"(vi) if a law of a State or Territory relating to workers' compensation does not apply to the person—an event occurring while the person:
(A) is undertaking an activity that is part of a program known as a "labour market program" that is part of the program known as the "Employment Program" administered by the Department of Employment, Education and Training; or
(B) is travelling to a place in order to attend the place for the purposes of undertaking the activity, or travelling from a place after having attended that place for those purposes.".
1. Notified in the Commonwealth of Australia Gazette on 10 October 1995.
2. Statutory Rules 1954 No. 35 as amended by 1957 No. 71; 1958 No. 63; 1962 Nos. 55, 70 and 113; 1965 Nos. 17, 94 and 185; 1966 No. 99; 1967 No. 86; 1969 Nos. 91 and 220; 1970 Nos. 70 and 166; 1971 Nos. 28, 76, 103 and 138; 1972 No. 79; 1973 Nos. 17, 75, 111, 221, 225 and 267; 1974 Nos. 52, 104, 105, 113 and 263; 1975 Nos. 14, 49, 66, 100, 124, 165 and 207; 1976 Nos. 113, 217 and 227; 1977 Nos. 11, 34, 51 and 112; 1978 Nos. 66, 178, 208 and 266; 1979 Nos. 59, 107, 208 and 231; 1980 Nos. 84, 292 and 309; 1981 Nos. 43, 97, 115, 232 and 318; 1982 Nos. 38, 82, 84, 250 and 284; 1983 Nos. 45, 247 and 267; 1984 Nos. 66, 161, 200, 308, 322 and 427; 1985 Nos. 86, 136, 186, 187, 206 and 288; 1986 Nos. 47, 53, 208, 330, 353 and 360; 1987 Nos. 50, 76, 100 and 310; 1989 Nos. 291, 292 and 334; 1990 Nos. 24, 86, 114, 292, 335 and 396; 1991 Nos. 40, 41, 232, 262, 263, 310 and 339; 1992 Nos. 136 and 187; 1993 Nos. 48, 85, 153, 260, 261, 273, 280 and 284; 1994 Nos. 2, 9, 106, 139, 201, 253, 256, 296, 349 and 451; 1995 Nos. 1, 14, 34, 52, 109, 116, 161, 220 and 288.


The decision to exclude the Ktunaxa, Secwepemc and Syilx Okanagan Nations from direct participation in the Columbia River Treaty (CRT) renegotiation is a direct betrayal of any commitment to reconciliation and to the implementation of the UN Declaration on the Rights of Indigenous Peoples (UNDRIP).
The Columbia River Treaty (CRT), originally signed in 1964, is the largest international water storage agreement between Canada and the United States. Three dams were constructed in Canada, with reservoirs hundreds of kilometres in length. It has had a significant impact on Indigenous peoples in the area, and residents of the Columbia River Basin continue to live with the devastating impacts of the CRT and its destructive legacy. The Treaty dams and reservoirs inundated 270,000 acres of Canadian ecosystems and displaced more than two thousand people, with inadequate-to-no consultation.
The impacts of the Columbia River Treaty dams on the communities and environment of the Columbia Basin cannot be overstated. These nations have been leading the work to restore ecological function to the Columbia River system, including the restoration of salmon. This is not only a question of respecting Indigenous rights; Indigenous leadership and knowledge would be invaluable at the Treaty table from an ecosystem and habitat restoration perspective in order to move toward establishing more natural flows of water.
On June 26, Sierra Club BC sent a letter to Minister Chrystia Freeland of Global Affairs Canada, urging her government to include First Nations at the table for the Columbia River Treaty renegotiation.
The UN Declaration on the Rights of Indigenous Peoples states governments can't approve projects that affect Indigenous territory without their "free, prior and informed consent." Ottawa has pledged to uphold the principle of the UN declaration, but there is a disappointing lack of follow-through, in this case as well as other energy projects in Canada such as the Trans Mountain pipeline and tankers project, or the Site C dam.
It is crucial that the Canadian government include the Ktunaxa Nation, Syilx Okanagan Nation and Secwepemc Nation in the CRT renegotiation on a government-to-government basis and that this be remedied before the next formal negotiation session in August 2018. Trudeau spoke highly of a nation-to-nation relationship on the world stage, but we have yet to see this promise in action.
To read Sierra Club BC's full letter, please click here. To send your own letter to Minister Freeland, calling on Canada to uphold UNDRIP and include the Ktunaxa, Secwepemc and Syilx Okanagan Nations in the renegotiation of the Columbia River Treaty, click here.


text:
Cameron Chronicles Season 5, Episode 11: 'College Basketball Talk with Patrick Felts'
Thanks to the continual growth of AJ Griffin, Duke is well-positioned as the No. 2 team in the country.
Photo by Sarabesh Natarajan | The Chronicle
By Max Rego | @maxrego_
As the men's basketball season rolls on, the contenders are starting to separate themselves.
With Duke on break until Tuesday's matchup with Georgia Tech, the latest episode of Cameron Chronicles delves into the general college landscape.
Host Max Rego sat down with Patrick Felts, the founder and director of the Student Media Poll, a venture consisting of student journalists nationwide that ranks the top 25 teams in football, men's basketball and women's basketball. Felts is a sophomore at Indiana University, and a former sports football and women's basketball beat for the Indiana Daily Student.
The two discussed Felts' initial goals for the Student Media Poll and what he has planned for the future, as well as the landscape of the men's game through nearly two months of play.
Check out the Student Media Poll here.
Make sure to subscribe to our feed on Apple Podcasts, Spotify and Stitcher so you can get your episodes delivered right to your device. Stay tuned for more episodes throughout the season.
Cameron Chronicles Season 5, Episode 10: 'Holiday Compilation'
By Max Rego | January 1, 2022
Max Rego
Max Rego is a Trinity junior and sports managing editor for The Chronicle's 117th volume.
Share and discuss "Cameron Chronicles Season 5, Episode 11: 'College Basketball Talk with Patrick Felts'" on social media.


text:
Harare Magazine
Harare's leading lifestyle Magazine
Creativity is Alive and Well in Zimbabwe
By Oriane Lee Johnston / December 2, 2021
Interview with Saki Mafundikwa
Saki Mafundikwa is the founder and director of the Zimbabwe Institute of Vigital Arts (ZIVA), a design and new media training college in Harare. He has an MFA in Graphic Design from Yale University. He returned home in 1998 to found ZIVA after working in New York City as a graphic designer, art director and design educator. His book, Afrikan Alphabets: the Story of Writing in Afrika, was published in 2004. Besides being of historical importance, it is also the first book on Afrikan typography. It is currently out of print.
His award-winning first film, Shungu: The Resilience of a People, had its world premiere at 2009's International Documentary Film Festival Amsterdam (IDFA). Active on the international lecture circuit, he was a speaker at TED2013 in Long Beach, California.
He keynoted the first ever Pan African Design Institute (PADI) conference in Ghana in February 2019. He spoke at the TED/PMI event in Dar-es-Salaam in September 2019. He has also run workshops for design students in Europe, North, South and Central America, and Africa. He currently delivers lectures and conducts workshops on Zoom for international students.
Saki Mafundikwa TED/PMI 2019
He has been published widely on design and cultural issues and is currently working on a revised edition of Afrikan Alphabets, which he hopes will be published in 2022. He is also working on the definitive documentary on the life and work of The Lion of Zimbabwe, and Chimurenga music guru, Thomas Mapfumo.
He lives, works and farms in Harare, Zimbabwe.
The globally-recognized visual communicator, design educator, artist, author, filmmaker and farmer dedicated to sharing Zimbabwean culture sat down with Harare Magazine to discuss the design world in Zimbabwe.
"Art was not taught in school when I grew up in Zimbabwe. I taught myself drawing through observation of nature and everyday life. As a kid, I always doodled, and my doodles were always letter forms. I didn't know the letters I saw in books were printed by printing presses. I thought they were hand-drawn. And so, I developed a natural love of typography from a very young age. Only when I went to university the US in 1980 did I realize that what I had been doing forever was called 'graphic design.'"
Saki Mafundikwa continued to live in the US for eighteen years, receiving an MFA in Graphic Design from Yale University then working in New York City as an art director, graphic designer and art educator, including at the prestigious Cooper Union.
HM: Why did you come back to Zimbabwe so early on in your professional life?
SM: "It was the most natural thing for me to come home from the US and start a school of design here. Because I figured, my God, how many hundreds of young people in Zimbabwe would never know there is a field called graphic design? It was the right thing to do, because I felt so fortunate to have discovered it."
When Saki returned home in 1998 to start Zimbabwe's first graphic design and new media college, Zimbabwe Institute of Vigital Arts (ZIVA), the enrolment was low and slow. People thought it was a "New York thing." Most parents worried that their kids would not find employment in Zim.
SM: "I don't want them to find employment," I would respond, much to the parents' amazement. And while they processed that for a bit, I would add, "I want our young people to be entrepreneurs! I don't want to train worker bees; I want to them to start their own studios!
"It was a new kind of thinking in a country where getting a job and a company car was the dream of many. I explained that if you have a laptop and an internet connection, you don't even need an office. I had learned this the hard way, back in New York, when I was laid off from my art director job. My wife was pregnant with our first son and I freaked out. I saw an ad in the paper for a design job and went for an interview; my heart sank upon seeing 20 people ahead of me and I didn't think I had a chance. But I hit it off immediately with the interviewer, who hired me on the spot and promised more work. All of a sudden, I was busier than when I had a full-time job. The best part was working at home so I could help care for the new addition to our family.
"Well, fast-forward to 2020––the world's workforce did just that, and with the advent of Zoom, we have "the new normal." A lot of the ZIVA graduates work from home now. Most of my own remote creative work today is virtual with clients around the world, so I can pass the overflow on to my former students."
HM: Are most ZIVA graduates still in Zimbabwe? And how many of your graduates are working in the field, compared to those who have gone on to other livelihoods?
SM: "A lot of them leave Zimbabwe initially, but they invariably return home – though a few have established strong businesses in their host countries – especially South Africa. Rodrick Chakaipa, Farai Mandimika, Joseph Madzivanyika, and former ZIVA instructor, Chanetsa Mukanahana come to mind. They are all doing extremely well in Johannesburg. I do not know of anyone who has gone on to another profession; all my graduates are working in the creative field.
"In the early days we had the odd student whose interest was primarily Animation. To think I used to send them away! Later on, we introduced Animation as a stand-alone programme and it was incredibly popular. It is one of the most popular art fields in Zim today, with great potential––and could be a very profitable aspect of Zim's Creative Industries. I'm all for a homegrown Animation industry where we animate the very rich stories of Zimbabwe. Tsuro na gudo, and so many more. These stories, besides being very entertaining, also carry life lessons for all generations, which is part of my mission as an educator.
"It is sad that top animation studios like Triggerfish in South Africa are owned and run by Zimbabweans who had to leave this country, where there is no government support for the Creative Industries at all and no financial incentives for young creatives to stay here. Zim would benefit immensely from getting on board this lucrative train. Jamaica, a few years ago, decided to grow an Animation industry by injecting millions of dollars into the new industry and is now a serious player on the Caribbean and international Animation scene.
"Zimbabwe is blessed with creative spirit. A visit to the National Art Gallery or the sculpture parks strewn across the country, and abroad, attest to this despite all the economic, political and social problems bedevilling our beautiful country. To have run ZIVA for more than twenty years without funding is nothing short of a miracle. Curiously, I have witnessed growth in the number of advertising agencies in Harare, though it remains a mystery in a country with as depressed an economy as ours where these agencies get clients."
HM: Beyond government financial support for Creative Industries in Zim, are there other means of support that you can imagine?
SM: "There are a lot of wealthy people in Zim, some quite fabulously wealthy; they could take it upon themselves to become patrons of the Arts, as philanthropists do in other countries. My school, ZIVA, for example, could not access funding from international arts organisations who were leery of investing in Zimbabwe, yet the funding we need could readily come from local sources. Perhaps it's a matter of educating and reaching out to them. Who can do that?"
HM: What keeps you in Zimbabwe today?
SM: "It is home. Beyond being an artist, I am foremost a farmer in love with this land. That's the reason. I travel out of the country to lecture, teach, design projects, my livelihood – but I do still want to make a difference creatively and culturally at home, to contribute to developing my country. But after pushing uphill for over twenty years, I'm getting weary… and older. One can only do so much here. Zimbabwe breaks my heart… but not my spirit.
"For the time being, ZIVA is on hiatus while we figure a way of offering our courses online like the many other colleges worldwide. We do, however, face challenges of connectivity here in Zim – and whatever connectivity we have is quite cost prohibitive. We have to work our way around that if we are to advance into the future. I believe it can be done with the support of local partners. I haven't given up hope; it's not my style to!"
HM: Can you say something about the current global interest in African design?
SM: "The whole decolonisation of design education globally has rekindled interest in design from locales that were never thought of in terms of design. I am on the forefront of that movement. I spoke about that at TED2013 before "decolonisation" became a buzzword. Come to think of it, the very idea of returning home in 1998 to found ZIVA was an act of decolonisation!"
HM: What are you most proud of?
SM: "The proudest moment of my career was being the first Zimbabwean to give a TED talk! TED 2013 in California: The Young, The Wise, The Undiscovered. Others had spoken at localised TEDx events.
HM: And what is your favourite recent project?
SM: "TED asked me to design their stage and auditorium for TEDGLOBAL 2017 in Arusha, Tanzania. I'd never designed a stage set before but I jumped at the project with much gusto! This was an important homecoming to the African continent, and a ton of collaborative work went into creating an authentic experience from the curation of talks to the music to the graphics and stage design. The results pleased everyone who attended or viewed that event."
HM: What advice would you give, or do you give, to artistically-creatively-inclined talented young people at home today?
SM: "I encourage them never to give up! Far too many parents and families strongly discourage their talented offspring from following a career in the arts. They say that the arts are not lucrative professions. Parents encourage STEM and I believe in STEAM. Note that STEM represents Science, Technology, Engineering and Maths. While STEAM represents STEM plus the Arts: humanities, language arts, dance, drama, music, visual art, design and new media. I explain to them how potentially lucrative the Arts can be, and to support and believe in that.
"Africa is the source of it all. Let us come back to the source. The western world is looking to Africa again for inspiration. This time they won't walk in and simply take our arts and culture – rather, they want to learn from us; there will be mutual respect for each other's intellectual and creative property. There will be an equal flow of information and knowledge from north to south and vice-versa. That is the new order, and we are creating it now. ZIVA is a small step in this direction. We are asking people who care, to join us, invest with us and chart the way forward."
http://www.sakimafundikwa.com
Oriane Lee Johnston
Born and based on the west coast of Canada, Oriane Lee Johnston's journeys have taken her from meditating in a Buddhist monastery in Burma, to trail riding in the sacred mountains of Ecuador, to exploring the wilderness of Zimbabwe on horseback. In Canada, her coaching practice combines natural horsemanship, mindfulness meditation and Equine Guided Learning. Her writing has appeared in The Zambezi Traveler, Harare Magazine, Canadian Horse Journals, and online journals Equitrekking.com, voicesforbiodiveristy.com, Ecology.com, and Lifeasahuman.org.
whitehorsesanctuary.com orianelee.com/africalife
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