text:
Wave power in India
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India has a long coastline of 7517 km[1] marked along by numerous estuaries and gulfs which makes it attractive for the development of marine energy projects. India's wave power potential is around 40-60GW.[2] However, compared to the developments in other renewable energy technologies, ocean energy technologies like wave and tidal are in their nascent stages of development in India.[3]
Contents
[hide]
1 Resources
2 Vizhinjam wave energy plant
3 Economics
4 Benefits
5 Challenges
6 Administration and policy
7 References
Resources[edit]
Wave power depends upon the height of the wave and its period. Primary estimates of wave energy potential along Indian coast is around 5-15 MW/m, so the theoretical estimated potential comes out to be around 40-60 GW.[2] A study by IIT Madras and Credit Rating Information Services of Indian Ltd (CRISIL) have shown that western coast has higher wind power potential compared to eastern coast.[3] They have identified potential locations for wave power development along the west coast of India in Maharashtra, Goa, Karnataka and Kerala. Kanyakumari located at the southern tip of Indian peninsula has the highest power owing to the effects of refraction and strong winds.[3] With currently available technologies, amount of power that can be generated using wave energy is much less than the theoretical estimated potential.
Capacity Utilization factor for wave energy in India is in the range of 15-20%.[3]
Vizhinjam wave energy plant[edit]
Wave energy research in India was initiated in 1983 when the Department of Ocean Development of Government of India provided funds to Indian Institute of Technology, Madras, for carrying out the research.[4] This led to the establishment of a 150 kW Pilot wave energy plant in 1991 at Vizhinjam in Thiruvananthapuram, Kerala.
Vizhinjam wave energy plant was the world’s first wave power plant working on Oscillating Water Column (OWC) technology.[3] This technology utilizes the change in levels of water inside caisson as waves approach. As the water level increases in the caisson, the air inside is compressed, which is then used to drive an air turbine.[3] The power generated from this plant, however, varied a lot throughout the year and maximum power was generated only during the monsoon months.[3] After a long duration of being out of use, it was planned to be utilized for powering a Reverse Osmosis Desalination plant in 2004.[3][5] This project also was not successful and the wave energy plant was finally decommissioned in 2011.[3][5]
Vizhinjam Wave Power Plant in the backdrop[6]
Economics[edit]
Wave energy is amongst the most capital intensive form of renewable energy. Current cost of wave energy varies between 34 and 63 c€/kWh.[3]According to a study by IIT Madras and CRISIL, wave energy technologies would require about 10 GW of cumulative capacity to become cost competitive.[3]
Benefits[edit]
Wave energy is a clean and renewable source of energy. Since waves are present always, wave power is more consistent in electricity generation when compared to renewable energy sources like wind and solar. They can be a good source of energy generation for off grid coastal areas and islands. Wave energy often used to power the desalination plants. Wave energy turbines when combined with offshore breakwaters can help achieve the protection of sea shores.[3]
Challenges[edit]
There are several challenges that need to be addressed to make electricity generation from wave energy commercially viable.Technological challenges include low turbine efficiencies, high turbine costs, unavailability of grid connections at potential sites, lack of experience and unpredictable environmental conditions.[3] Owing to inadequate data, it is challenging to estimate the impact of wave power generation on marine ecosystem.[3] Moreover, investment in wave power is perceived as risky investment by financial institutions because of high capital cost and lack of operational experience.[3]
Administration and policy[edit]
The Ministry of Earth Sciences in Government of India oversees the development of wave energy in India with National Institute of Ocean Technology, Chennai being a participating institution.[7] The ministry envisions development of wave energy to power Low Temperature Thermal Desalination (LTTD) plants and to meet the lighting requirements of small islands.[8]
India government has set a target of achieving 40% cumulative electrical power capacity from non fossil fuel resources by 2030. It plans to enhance the renewable power installed capacity to 175 GW by the end of 2022 which includes 60 GW from wind power, 100 GW from solar power, 10 GW from biomass power and 5 GW from small hydro power.[9] There is however no specific target for wave power capacity enhancement.
References[edit]
Jump up ^ Husain, Majid. Indian And World Geography. 2nd ed., Mcgraw Hill Education (India) Private Limited, 2014.
^ Jump up to: a b Ocean energy in India | Energy from tidal and waves. (n.d.). Retrieved October 05, 2017, from http://www.eai.in/ref/ae/oce/oce.html
^ Jump up to: a b c d e f g h i j k l m n o "Study on Tidal & Waves Energy in India - Indian Renewable Energy ...." 31 Dec. 2014, http://www.ireda.gov.in/writereaddata/AFD_Final%20Report_Study_on_Tidal_and_Waves_Energy.pdf. Accessed 5 Oct. 2017.
Jump up ^ RAJYA SABHA STARRED QUESTION NO. * 310- Technology to harness Wave Energy. (2012, September 03). Retrieved from http://moes.gov.in/writereaddata/files/RS_310_11_15_2012.pdf
^ Jump up to: a b "India takes giant leap on Green Energy Targets." http://pib.nic.in/newsite/printrelease.aspx?relid=161622. Accessed 5 Oct. 2017
Jump up ^ "File:VIZHINJAM FISHING HARBOUR.jpg". Wikipedia. 2012-03-22.
Jump up ^ "Wave Energy". 2007-06-13. Retrieved 2017-10-08.
Jump up ^ "Ocean Energy and Fresh Water | Ministry of Earth Sciences". www.moes.gov.in. Retrieved 2017-10-08.
Jump up ^ "India takes giant leap on Green Energy Targets". pib.nic.in. Retrieved 2017-10-08.
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Twelve-bar blues
From Wikipedia, the free encyclopedia
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For the Scott Weiland album, see 12 Bar Blues (album).
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (August 2017) (Learn how and when to remove this template message)
Typical boogie woogie bassline on twelve-bar blues progression in C, chord roots in red. Play (help·info)
The twelve-bar blues or blues changes is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.
The blues can be played in any key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".[1]
Contents
[hide]
1 Structure
1.1 Variations
2 Lyrical patterns
3 Notes
4 References
5 Sources
6 Further reading
7 External links
Structure[edit]
The most common or standard twelve-bar blues progressions variations, in C. (Benward & Saker, 2003, p. 186) Play A (help·info), B (help·info), C (help·info), D (help·info), and E (help·info) as boogie woogie basslines. For example, Robert Johnson's "Sweet Home Chicago" (1936) uses A.
In the key of C, one basic blues progression (E from above) is as follows.[2] (For the most commonly used patterns see the section "Variations", below.)
See also: Popular music symbols
C C C C
F F C C
G G C C

or
C7 C7 C7 C7
F7 F7 C7 C7
G7 G7 C7 C7
Different notations
Chord
Function
Numerical
Roman
numeral
Tonic
T 1 I
Subdominant
S 4 IV
Dominant
D 5 V
Chords may be also represented by a few different notation systems such as sheet music and electronic music. A basic example of the progression would look like this, using T to indicate the tonic, S for the subdominant, and D for the dominant, and representing one chord. In Roman numeral analysis the tonic is called the I, the sub-dominant the IV, and the dominant the V. (These three chords are the basis of thousands of pop songs, which thus often have a blues sound even without using the classical twelve-bar form.)
Using said notations, the chord progression outlined above can be represented as follows.[3]
Functional notation:
T T T T
S S T T
D D T T
Roman-numeral notation:
I I I I
IV IV I I
V V I I
The first line takes four bars, as do the remaining two lines, for a total of twelve bars. However, the vocal or lead phrases, though they often come in threes, do not coincide with the above three lines or sections. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues.
Variations[edit]
"W.C. Handy, 'the Father of the Blues', codified this blues form to help musicians communicate chord changes."[4] Many variations are possible. The length of sections may be varied to create eight-bar blues or sixteen-bar blues.
In the original form, the dominant chord continued through the tenth bar; later on the V–IV–I–I "shuffle blues" pattern became standard in the third set of four bars:[5]
I I I I
IV IV I I
V IV I I
Play (help·info)
The common quick to four or quick-change (quick four[6]) variation uses the subdominant chord in the second bar:
I IV I I
IV IV I I
V IV I I
These variations are not mutually exclusive; the rules for generating them may be combined with one another (or with others not listed) to generate more complex variations.
Seventh chords are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
Using a seventh chord
I IV I I7
IV IV7 I I7
V IV I V7
When the last bar contains the dominant, that bar may be called a turnaround; otherwise the last four measures is the blues turnaround.
Basic jazz blues progression
I7 IV7 IVo I7 v7 I7
IV7 IVo I7 III7 VI7
ii7 V7 III7 VI7 II7 V7
Play (help·info)
In jazz, twelve-bar blues progressions are expanded with moving substitutions and chordal variations. The cadence (or last four measures) uniquely leads to the root by perfect intervals of fourths.
Bop V/ii arpeggio, in second measure, upwards from third (C♯) to ninth (B♭): A7♭9(Spitzer 2001, 62) the dominant of D minor (ii in C major) Play (help·info).
The Bebop blues:[7]
Bebop blues
I7 IV7 I7 v7 I7
IV7 ♯IVo7 I7 V/ii♭9
ii7 V7 I7 V/ii♭9 ii7 V7
Play (help·info)
This progression is similar to Charlie Parker's "Now's the Time", "Billie's Bounce", Sonny Rollins's "Tenor Madness", and many other bop tunes.[7] "It is a bop soloist's cliche to arpeggiate this chord [A7♭9 (V/ii = VI7♭9)] from the 3 up to the ♭9."[7]
Minor blues (Spitzer 2001, p. 63)
i7 i7 i7 i7
iv7 iv7 i7 i7
♭VI7 V7 i7 i7
Play (help·info)
There are also minor twelve-bar blues, such as John Coltrane's "Equinox" and "Mr. P.C.",[8] and "Why Don't You Do Right?", made famous by Lil Green with Big Bill Broonzy and then Peggy Lee with the Benny Goodman Orchestra.[citation needed] The chord on the fifth scale degree may be major (V7) or minor (v7), in which case it fits a dorian scale along with the minor i7 and iv7 chords, creating a modal feeling.[8] Major and minor can also be mixed together, a signature characteristic of the music of Charles Brown.[9]
While the blues is most often considered to be in sectional strophic form with a verse-chorus pattern, it may also be considered as an extension of the variational chaconne procedure. Van der Merwe (1989) considers it developed in part specifically from the American Gregory Walker, though the conventional account would consider hymns to have provided the repeating chord progression or harmonic formulae of the blues.[10]
Lyrical patterns[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)
The lyrics of most blues songs consist of verses of three lines, of which the first two are the same or vary slightly in wording, often with an interjection in the second line:
I hate to see the evening sun go down,
Yes, I hate to see that evening sun go down
'Cause it makes me think I'm on my last go 'round
—  W. C. Handy, "St. Louis Blues"[citation needed]
However, many songs using the blues chord progression have lyrics that are not in the three-line form. For instance, "I'm Moving On" has a verse in the first four bars and a chorus in the final eight bars:
That big eight-wheeler rollin' down the track
Means your true lovin' daddy ain't comin' back.

I'm movin' on, I'll soon be gone
You were flyin' too high for my little old sky
So I'm movin' on.
—  Hank Snow, I'm Moving On[citation needed]
Here is an example showing the twelve-bar blues pattern and how it fits with the lyrics of a given verse. One chord symbol is used per beat, with "-" representing the continuation of the previous chord:
I        -     -      -      IV     -   -    -             I - - - I7 - - - Woke up this morning with an awful aching head IV - - - IV7 - - - I - - - I7 - - - Woke up this morning with an awful aching head V - - V7 IV - - IV7 I - - - I - V V7 My new man had left me, just a room and an empty bed.

—  Bessie Smith, "Empty Bed Blues"[citation needed]
Another example, "Johnny B. Goode" (written and first recorded by Chuck Berry), applies a "shuffle" or "light 'swing'" rhythm to one of the more common twelve-bar progressions:[citation needed]
Line Pickup Measure 1 Measure 2 Measure 3 Measure 4
1 Deep B♭ (I) down in Lou'siana, close to B♭ (I) New Orleans, way B♭ (I) back up in the woods among the B♭ (I) evergreens,
2 There E♭ (IV) stood a log cabin, made from E♭ (IV) earth and wood, where B♭ (I) lived a country boy named B♭ (I) Johnny B. Goode.
3 He F (V) never really learned to read or F7 (V7) write too well, but he could B♭ (I) play a guitar just like a- B♭ (I) -ringin' a bell.
Notes[edit]
References[edit]
Jump up ^ Thomas 2002, p. 85.
Jump up ^ Benward & Saker 2003, p. 186.
Jump up ^ Kernfeld 2007
Jump up ^ Fruteland (2002), p. 18
Jump up ^ Tanner and Gerow 1984, p. 37, cited in Baker 2004: "This alteration [V–IV–I rather than V–V–I] is now considered standard."
Jump up ^ National Guitar Workshop (2003), p. 34
^ Jump up to: a b c Spitzer (2001,) p. 62
^ Jump up to: a b Spitzer (2001), p. 63.
Jump up ^ Perna, Alan di (April, 1991). "Jazzin' the Blues with Charles Brown", Musician: Issues 147-152, p.180; no. 150, p.80. "Brown alternates between an Fmin7 and a B7. Minor to major, just like the man says." Amordian Press.
Jump up ^ Middleton 1990, pp. 117–118.
Sources[edit]
Benward, Bruce, and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition. Boston: McGraw-Hill. ISBN 978-0-07-294262-0.
Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5.
Doll, Christopher (2009). "Transformation in Rock Harmony: An Explanatory Strategy". Gamut (2): 1–44.
Jackson, Fruteland (2002). Beginning Delta Blues Guitar. Alfred Publishing. ISBN 978-0-7390-3006-6.
Gerow, Maurice and Tanner, Paul (1984). A Study of Jazz, Dubuque, Iowa: William C. Brown Publishers, p. 37, cited in Baker, Robert M. (2005).
Greene, Ted (1971/1992). Chord Chemistry: For Guitar. Alfred Music. ISBN 9781457455292.
Kernfeld, Barry, ed. (2007). "Blues progression". The New Grove Dictionary of Jazz;. 2nd Edition. Oxford, UK: Oxford University Press.
Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
National Guitar Workshop (2003). Electric Bass for Guitarists. Alfred Publishing. ISBN 0-7390-3335-2.
Spitzer, Peter (2001). Jazz Theory Handbook. Mel Bay. ISBN 978-0-7866-5328-7.
Thomas, John (2002). Voice Leading for Guitar: Moving Through the Changes. Berklee Press. ISBN 0-634-01655-5.
van der Merwe, Peter (1989). Origins of the Popular Style. Oxford: Clarendon Press. ISBN 0-19-316121-4. Cited in Middleton (1990).
Further reading[edit]
Axelsson, Lars; Strängliden, Eddie, eds. (2007). "Johnny B. Goode". 100 Lätta Låtar: Gitarr [100 Easy Songs: Guitar]. 100 Lätta Låtar. 1. Erhrlingförlagen AB. Arc Music Corp. ISBN 978-91-85662-11-1.
Shipton, Alyn (2007). A New History of Jazz, 2nd. ed., Continuum, pp. 4–5. ISBN 9780826429728.
External links[edit]
Anonymous (8-14-08). "Blues Chord Progressions and Variations: Common variations in the twelve bar form", How to Play Blues Guitar.com.
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Carnegie Hall
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Carnegie Hall (disambiguation).
Not to be confused with Carnegie Hill.
Carnegie Hall
Address
Seventh Avenue / 57th Street (Isaac Stern Place)
New York City
United States
Public transit
57th Street–Seventh Avenue
Owner
The City of New York
Operator
Carnegie Hall Corporation
Type
Concert hall
Capacity
Stern Auditorium: 2,804
Zankel Hall: 599
Weill Recital Hall: 268
Construction
Opened
April 1891
Architect
William Tuthill
Carnegie Hall
U.S. National Register of Historic Places
U.S. National Historic Landmark
NYC Landmark
Coordinates
40°45′54″N 73°58′48″W / 40.76500°N 73.98000°W / 40.76500; -73.98000Coordinates: 40°45′54″N 73°58′48″W / 40.76500°N 73.98000°W / 40.76500; -73.98000
Architectural style
Renaissance Revival
NRHP reference #
66000535
Significant dates
Added to NRHP
October 15, 1966[1]
Designated NHL
December 29, 1962[2]
Designated NYCL
June 20, 1967
Carnegie Hall (/ˈkɑːrnɪɡi/,[3] also frequently /kɑːrˈneɪɡi/[4] or /kɑːrˈnɛɡi/) is a concert venue in Midtown Manhattan in New York City, United States, located at 881 Seventh Avenue, occupying the east side of Seventh Avenue between West 56th Street and West 57th Street, two blocks south of Central Park.
Designed by architect William Burnet Tuthill and built by philanthropist Andrew Carnegie in 1891, it is one of the most prestigious venues in the world for both classical music and popular music. Carnegie Hall has its own artistic programming, development, and marketing departments, and presents about 250 performances each season. It is also rented out to performing groups. The hall has not had a resident company since 1962, when the New York Philharmonic moved to Lincoln Center's Philharmonic Hall (renamed Avery Fisher Hall in 1973 and David Geffen Hall in 2015).[5]
Carnegie Hall has 3,671 seats, divided among its three auditoriums.
Contents
[hide]
1 Venues
1.1 Main Hall (Stern Auditorium/Perelman Stage)
1.2 Zankel Hall
1.3 Weill Recital Hall
1.4 Other facilities
2 Architecture
3 History
3.1 Renovations and additions
3.2 Management
3.3 Carnegie Hall Archives
3.4 Carnegie Hall joke
4 Finances
5 World premieres
6 Other buildings named Carnegie Hall
7 See also
8 References
9 Further reading
10 External links
Venues[edit]
Carnegie Hall contains three distinct, separate performance spaces.
Main Hall (Stern Auditorium/Perelman Stage)[edit]
Isaac Stern Auditorium
The Isaac Stern Auditorium seats 2,804 on five levels and was named after violinist Isaac Stern in 1997 to recognize his efforts to save the hall from demolition in the 1960s.[6] The hall is enormously high, and visitors to the top balcony must climb 137 steps. All but the top level can be reached by elevator.[7]
The main hall was home to the performances of the New York Philharmonic from 1892 until 1962. Known as the most prestigious concert stage in the U.S., almost all of the leading classical music, and more recently, popular music, performers since 1891 have performed there. After years of heavy wear and tear, the hall was extensively renovated in 1986 (see below).
The Ronald O. Perelman Stage is 42 feet deep. The five levels of seating in the Stern Auditorium begin with the Parquet level, which has twenty-five full rows of thirty-eight seats and four partial rows at stage level, for a total of 1,021 seats. The First Tier and Second Tier consist of sixty-five boxes; the First Tier has 264 seats at eight seats per box and the Second Tier seats 238, with boxes ranging from six to eight seats each. Second from the top is the Dress Circle, seating 444 in six rows; the first two rows form an almost-complete semicircle. At the top, the balcony seats 837. Although seats with obstructed views exist throughout the auditorium, only the Dress Circle level has structural columns.[8]
Zankel Hall[edit]
Zankel Hall, which seats 599, is named after Judy and Arthur Zankel. Originally called simply Recital Hall, this was the first auditorium to open to the public in April 1891. Following renovations made in 1896, it was renamed Carnegie Lyceum. It was leased to the American Academy of Dramatic Arts in 1898, converted into a cinema, which opened as the Carnegie Hall Cinema in May 1961 with the film White Nights by Luchino Visconti and was reclaimed for use as an auditorium in 1997. The completely reconstructed Zankel Hall is flexible in design and can be reconfigured in several different arrangements to suit the needs of the performers. It opened in September 2003.[9][10]
The 599 seats in Zankel Hall are arranged in two levels. The Parterre level seats a total of 463 and the Mezzanine level seats 136. Each level has a number of seats which are situated along the side walls, perpendicular to the stage. These seats are designated as boxes; there are 54 seats in six boxes on the Parterre level and 48 seats in four boxes on the Mezzanine level. The boxes on the Parterre level are raised above the level of the stage. Zankel Hall is accessible and its stage is 44 feet wide and 25 feet deep—the stage occupies approximately one fifth of the performance space.[11]
Weill Recital Hall[edit]
The Joan and Sanford I. Weill Recital Hall seats 268 and is named after Sanford I. Weill, a former chairman of the board, and his wife Joan. This auditorium, in use since the hall opened in 1891, was originally called Chamber Music Hall (later Carnegie Chamber Music Hall); the name was changed to Carnegie Recital Hall in the late 1940s, and finally became Joan and Sanford I. Weill Recital Hall in 1986.
The Weill Recital Hall is the smallest of the three performance spaces, with a total of 268 seats. The Orchestra level contains fourteen rows of fourteen seats, a total of 196, and the Balcony level contains 72 seats in five rows.[12]
Other facilities[edit]
The building also contains the Carnegie Hall Archives, established in 1986, and the Rose Museum, which opened in 1991. Until 2009 studios above the Hall contained working spaces for artists in the performing and graphic arts including music, drama, dance, as well as architects, playwrights, literary agents, photographers and painters. The spaces were unusual in being purpose-designed for artistic work, with very high ceilings, skylights and large windows for natural light. In 2007 the Carnegie Hall Corporation announced plans to evict the 33 remaining studio residents, some of whom had been in the building since the 1950s, including celebrity portrait photographer Editta Sherman and fashion photographer Bill Cunningham. The organization's research showed that Andrew Carnegie had always considered the spaces as a source of income to support the hall and its activities. The space has been re-purposed for music education and corporate offices.[13][14]
Architecture[edit]
Closeup view of Carnegie Hall
Carnegie Hall is one of the last large buildings in New York built entirely of masonry, without a steel frame; however, when several flights of studio spaces were added to the building near the turn of the 20th century, a steel framework was erected around segments of the building. The exterior is rendered in narrow Roman bricks of a mellow ochre hue, with details in terracotta and brownstone. The foyer avoids typical 19th century Baroque theatrical style with the Florentine Renaissance manner of Filippo Brunelleschi's Pazzi Chapel: white plaster and gray stone form a harmonious system of round-headed arched openings and Corinthian pilasters that support an unbroken cornice, with round-headed lunettes above it, under a vaulted ceiling. The famous white and gold auditorium interior is similarly restrained. The firm of Adler and Sullivan of Chicago, noted for the acoustics of their theaters, were hired as consultant architects though their contributions are not known.
History[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2017) (Learn how and when to remove this template message)
Andrew Carnegie, 1913
Carnegie Hall is named after Andrew Carnegie, who funded its construction. It was intended as a venue for the Oratorio Society of New York and the New York Symphony Society, on whose boards Carnegie served. Construction began in 1890, and was carried out by Isaac A. Hopper and Company. Although the building was in use from April 1891, the official opening night was May 5, with a concert conducted by maestro Walter Damrosch and great Russian composer Pyotr Ilyich Tchaikovsky.[15][16] Originally known simply as "Music Hall" (the words "Music Hall founded by Andrew Carnegie" still appear on the façade above the marquee), the hall was renamed Carnegie Hall in 1893 after board members of the Music Hall Company of New York (the hall's original governing body) persuaded Carnegie to allow the use of his name. Several alterations were made to the building between 1893 and 1896, including the addition of two towers of artists' studios, and alterations to the smaller auditorium on the building's lower level.
Carnegie Hall in 1895
Carnegie Hall in 1910
The hall was owned by the Carnegie family until 1925, when Carnegie's widow sold it to a real estate developer, Robert E. Simon. When Simon died in 1935, his son, Robert E. Simon, Jr., became owner. By the mid-1950s, changes in the music business prompted Simon to offer Carnegie Hall for sale to the New York Philharmonic, which booked a majority of the hall's concert dates each year. The orchestra declined, since it planned to move to Lincoln Center, then in the early stages of planning. At the time, it was widely believed that New York City could not support two major concert venues. Facing the loss of the hall's primary tenant, Simon was forced to offer the building for sale. A deal with a commercial developer fell through, and by 1960, with the New York Philharmonic on the move to Lincoln Center, the building was slated for demolition to make way for a commercial skyscraper. Under pressure from a group led by violinist Isaac Stern and many of the artist residents, special legislation was passed that allowed the City of New York to buy the site from Simon for $5 million (which he would use to establish Reston, VA), and in May 1960 the nonprofit Carnegie Hall Corporation was created to run the venue. It was designated a National Historic Landmark in 1962.[2][17][18]
Most of the greatest performers of classical music since the time Carnegie Hall was built have performed in the Main Hall, and its lobbies are adorned with signed portraits and memorabilia. The NBC Symphony Orchestra, conducted by Arturo Toscanini, frequently recorded in the Main Hall for RCA Victor. On November 14, 1943, the 25-year old Leonard Bernstein had his major conducting debut when he had to substitute for a suddenly ill Bruno Walter in a concert that was broadcast by CBS,[19] making him instantly famous. In the fall of 1950, the orchestra's weekly broadcast concerts were moved there until the orchestra disbanded in 1954. Several of the concerts were televised by NBC, preserved on kinescopes, and have been released on home video.
Many legendary jazz and popular music performers have also given memorable performances at Carnegie Hall including Benny Goodman, Duke Ellington, Glenn Miller, Billie Holiday, the Dave Brubeck Quartet, Violetta Villas, Judy Garland, Harry Belafonte, Charles Aznavour, Ike & Tina Turner, Paul Robeson, Nina Simone, Shirley Bassey, James Gang and Stevie Ray Vaughan, all of whom made celebrated live recordings of their concerts there.
The hall has also been the site of many famous lectures, including the Tuskegee Institute Silver Anniversary Lecture by Booker T. Washington, and the last public lecture by Mark Twain, both in 1906.
Sissieretta Jones became the first African-American to sing at the Music Hall (renamed Carnegie Hall the following year), June 15, 1892.[20][21] The Benny Goodman Orchestra gave a sold-out swing and jazz concert January 16, 1938. The bill also featured, among other guest performers, Count Basie and members of Duke Ellington's orchestra.
Rock and roll music first came to Carnegie Hall when Bill Haley & His Comets appeared in a variety benefit concert on May 6, 1955.[22] Rock acts were not regularly booked at the Hall however, until February 12, 1964, when The Beatles performed two shows[23] during their historic first trip to the United States.[24] Promoter Sid Bernstein convinced Carnegie officials that allowing a Beatles concert at the venue "would further international understanding" between the United States and Great Britain.[25] "Led Zeppelin became the first hard rock act to play Carnegie Hall since the Rolling Stones tore the place up some five years ago." Two concerts were performed October 17, 1969.[26] Since then numerous rock, blues, jazz and country performers have appeared at the hall every season.[27] Jethro Tull released the tapes recorded on its presentation in a 1970 Benefit concert, in the 2010 re-release of the Stand Up album. Ike & Tina Turner performed a concert April 1, 1971, which resulted in their album What You Hear is What You Get. The Beach Boys played concerts in 1971 and 1972, and two songs from the show appeared on their Endless Harmony Soundtrack. Chicago recorded its 4-LP box set Chicago at Carnegie Hall in 1971.
Renovations and additions[edit]
The building was extensively renovated in 1986 and 2003, by James Polshek, who became better known through his post-modern planetarium at the American Museum of Natural History. Polshek and his firm, Polshek Partnership, were involved since 1978 in four phases of the Hall's renovation and expansion including the creation of a Master Plan in 1980; the actual renovation of the main hall, the Stern Auditorium, and the creation of the Weill Recital Hall and Kaplan Rehearsal Space, all in 1986;[28] the creation of the Rose Museum, East Room and Club Room (later renamed Rohatyn Room and Shorin Club Room, respectively), all in 1991; and, most recently, the creation of Zankel Hall in 2003.[9][10]
The renovation was not without controversy. Following completion of work on the main auditorium in 1986, there were complaints that the famous acoustics of the hall had been diminished.[29] Although officials involved in the renovation denied that there was any change, complaints persisted for the next nine years. In 1995, the cause of the problem was discovered to be a slab of concrete under the stage. The slab was subsequently removed.[30]
Carnegie Hall Tower
In 1987–1989, a 60-floor office tower, named Carnegie Hall Tower, designed by César Pelli & Associates, was completed next to the hall on the same block. New backstage space and banquet spaces, contained within the tower, connect with the main Carnegie Hall building.
In June 2003, tentative plans were made for the Philharmonic to return to Carnegie Hall beginning in 2006, and for the orchestra to merge its business operations with those of the venue. However, the two groups abandoned these plans later in 2003.[31]
In 2014, Carnegie Hall opened its Judith and Burton Resnick Education Wing, which houses 24 music rooms, one of which is large enough to hold an orchestra or a chorus. The $230 million project was funded with gifts from Joan and Sanford I. Weill and the Weill Family Fund, Judith and Burton Resnick, Lily Safra and other donors, as well as $52.2 million from the city, $11 million from the state and $56.5 million from bonds issued through the Trust for Cultural Resources of the City of New York.[32]
The 2015–2016 Season celebrates a 125th Anniversary and the launch of an unprecedented commissioning project of at least 125 new works with 'Fifty for the Future" coming from Kronos (25 by female composers and 25 by male composers.)
Management[edit]
Since July 2005, the Executive and Artistic Director of Carnegie Hall is Sir Clive Gillinson, formerly managing director of the London Symphony Orchestra.
Carnegie Hall Archives[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)
Unexpectedly, for most concert-goers, it emerged in 1986 that Carnegie Hall had never consistently maintained an archive. Without a central repository, a significant portion of Carnegie Hall's documented history had been dispersed. In preparation for the celebration of Carnegie Hall's centennial in 1991, the management established the Carnegie Hall Archives.
Carnegie Hall joke[edit]
Rumor is that a pedestrian on Fifty-seventh Street, Manhattan, stopped Jascha Heifetz and inquired, "Could you tell me how to get to Carnegie Hall?" "Yes," said Heifetz. "Practice!"[33]
This old joke has become part of the folklore of the hall, but its origins remain a mystery. According to The New York Times, the main player in the story has been described at various times as either an unnamed man, violinist Jascha Heifetz or the pianist Arthur Rubinstein.[34] On its webpage, Carnegie Hall quotes the wife of violinist Mischa Elman as having perhaps the best story of its origin: "One day, after a rehearsal that hadn’t pleased Elman, the couple was leaving Carnegie Hall by the backstage entrance when they were approached by two tourists looking for the hall’s entrance. Seeing his violin case, they asked, 'How do you get to Carnegie Hall?' Without looking up and continuing on his way, Elman simply replied, 'Practice.'"[35]
Finances[edit]
The hall's operating budget for the 2008–2009 season was $84 million. For 2007–2008, operating costs exceeded revenues from operations by $40.2 million. With funding from donors, investment income and government grants, the hall ended that season with $1.9 million more in total revenues than total costs.
World premieres[edit]
Main article: World premieres at Carnegie Hall
Other buildings named Carnegie Hall[edit]
Several other concert halls also bear the Carnegie name.
Carnegie Hall, a 540-seat venue in Andrew Carnegie's native Dunfermline, Scotland, opened in 1937.
420-seat Carnegie Hall in Lewisburg, West Virginia.
Carnegie Library and Theatre in Covington, Kentucky.
1928-seat Carnegie Music Hall on the main site of the Carnegie Museums of Pittsburgh and the main branch of the Carnegie Library of Pittsburgh.
Carnegie Hall on the North Side of Pittsburgh, formerly known as Allegheny, Pennsylvania, attached to the Carnegie Library.
Carnegie Music Hall attached to the Carnegie library in the suburb of Braddock, Pennsylvania. This was built as part of an 1893 addition to the Braddock Carnegie Library. As of April 2014, it is undergoing restoration.
1022-seat Carnegie Music Hall annexed to the Carnegie library in the suburb of Homestead, Pennsylvania.
Carnegie Music Hall attached to the Carnegie library in the suburb of Carnegie, Pennsylvania.
Carnegie also built a Library and Music Hall in the suburb of Duquesne, Pennsylvania that was demolished in 1968.
See also[edit]
Carnegie Hall – a 1947 film featuring the venue as the setting for the plot and numerous performances
List of museums and cultural institutions in New York City
List of concert halls
Judy at Carnegie Hall
Benny Goodman and his Orchestra at Carnegie Hall, January 16, 1938
Chicago at Carnegie Hall 1971 four LP vinyl box set by the rock band Chicago
Matilda Sissieretta Joyner Jones, first African-American to sing at Carnegie Hall
Alliance for the Arts Advocacy organization for Carnegie Hall
National Register of Historic Places listings in Manhattan from 14th to 59th Streets
List of National Historic Landmarks in New York City
List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
References[edit]
Jump up ^ National Park Service (2007-01-23). "National Register Information System". National Register of Historic Places. National Park Service.
^ Jump up to: a b "Carnegie Hall". National Historic Landmark summary listing. National Park Service. September 9, 2007. Archived from the original on November 6, 2007.
Jump up ^ Although Andrew Carnegie pronounced his name with the stress on the second syllable, the building is generally pronounced with the stress on the first syllable.
Jump up ^ Pollack, Michael (June 20, 2004). "F.Y.I.: Tomato, Tomahto". The New York Times. Retrieved November 14, 2014. Mr. Carnegie was, of course, born Scottish, and the correct pronunciation of his name is car-NAY-gie,
Jump up ^ Thomasini, Anthony (September 25, 2015). "Music: Lang Lang opens Philharmonic Season as Avery Fisher Hall is Renamed". The New York Times. Retrieved December 25, 2015.
Jump up ^ "The A to Z of Carnegie Hall: S is for Stern". Carnegie Hall. September 23, 2013. Retrieved November 14, 2014.
Jump up ^ "Information: Accessibility". Carnegie Hall. Retrieved November 14, 2014.
Jump up ^ Carnegie Hall. "Stern Auditorium-Perelman Stage Rentals". Retrieved May 5, 2015.
^ Jump up to: a b Dunlap, David W. (January 30, 2000). "Carnegie Hall Grows the Only Way It Can; Burrowing Into Bedrock, Crews Carve Out a New Auditorium". The New York Times. Retrieved November 14, 2014.
^ Jump up to: a b Muschamp, Herbert (September 12, 2003). "Architecture Review; Zankel Hall, Carnegie's Buried Treasure". The New York Times. Retrieved November 14, 2014.
Jump up ^ Carnegie Hall. "Zankel Hall Rental". Retrieved May 5, 2015.
Jump up ^ Carnegie Hall. "Weill Recital Hall". Retrieved May 5, 2015.
Jump up ^ Goodman, Wendy (December 30, 2007). "Great Rooms: Bohemia in Midtown". New York. Retrieved November 14, 2014.
Jump up ^ Pressler, Jessica (October 20, 2008). "Editta Sherman, 96-Year-Old Squatter". New York. Retrieved November 14, 2014.
Jump up ^ "Tchaikovsky in America". Carnegie Hall official website. Retrieved 2017-09-05.
Jump up ^ 1891 Andrew Carnegie’s new Music Hall opens
Jump up ^ Greenwood, Richard (May 30, 1975). "National Register of Historic Places Inventory: Carnegie Hall" (PDF). National Park Service. Retrieved November 14, 2014.
Jump up ^ "National Register of Historic Places Inventory: Carnegie Hall—Accompanying Photos" (PDF). National Park Service. May 30, 1975. Retrieved November 14, 2014.
Jump up ^ Playbill and CBS announcement, concert on November 14, 1943
Jump up ^ Lee, Maureen D. (May 2012). Sissierettta Jones, "The Greatest Singer of Her Race," 1868–1933. University of South Carolina Press.
Jump up ^ Hudson, Rob. "From Opera, Minstrelsy and Ragtime to Social Justice: An Overview of African American Performers at Carnegie Hall, 1892–1943". The Black Past: Remembered and Reclaimed. Retrieved November 14, 2014.
Jump up ^ "Stars assist the blind". The New York Times. May 7, 1955. Retrieved November 14, 2014.
Jump up ^ "The Beatles at Carnegie Hall". It All Happened – A Living History of Live Music.
Jump up ^ Wilson, John S. (February 13, 1964). "2,900-Voice Chorus Joins The Beatles". The New York Times. Retrieved November 14, 2014.
Jump up ^ Schaffner, Nicholas (July 1977). The Beatles Forever. New York: Fine Communications. p. 14. ISBN 978-1567310085.
Jump up ^ "October 17, 1969, New York, NY US". Led Zeppelin Timeline. ledzeppelin.com. October 17, 1969. Retrieved December 25, 2015.
Jump up ^ "This installment of our A to Z of Carnegie Hall series looks at the letter R—for "Rock '". The A to Z of Carnegie Hall: R is for Rock 'n' Roll. September 22, 2012. Retrieved December 25, 2015.
Jump up ^ "History of the Hall: Timeline—1986 Full interior renovation completed". Carnegie Hall. Retrieved November 14, 2014.
Jump up ^ Walsh, Michael (February 16, 1987). "Sounds in the night". Time. 129 (7).
Jump up ^ Kozinn, Alan (September 14, 1995). "A Phantom Exposed: Concrete at Carnegie". The New York Times. Retrieved November 14, 2014.
Jump up ^ "N.Y. Philharmonic, Carnegie Merger Off". Billboard. Associated Press. October 8, 2003. Retrieved November 14, 2014.
Jump up ^ Cooper, Michael (September 12, 2014). "Carnegie Hall Makes Room for Future Stars: Resnick Education Wing Prepares to Open at Carnegie Hall". The New York Times. Retrieved November 14, 2014.
Jump up ^ Cerf, Bennett (1956). The Life of the Party: A New Collection of Stories and Anecdotes. Garden City, New York: Doubleday. p. 335.
Jump up ^ Pollak, Michael (November 29, 2009). "The Origins of That Famous Carnegie Hall Joke". The New York Times.
Jump up ^ "History FAQ: Who created the "How do you get to Carnegie Hall?" joke?". Carnegie Hall. Retrieved November 14, 2014.
Further reading[edit]
Richard Schickel, The World of Carnegie Hall, 1960.
External links[edit]
Wikimedia Commons has media related to Carnegie Hall.
Official website
Carnegie Hall at Google Cultural Institute
Carnegie Hall and its events on NYC-ARTS.org
Honors Performance Series, Carnegie Hall performance opportunity for elite student musicians
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The Paying Guests
From Wikipedia, the free encyclopedia
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This article is about the Sarah Waters novel. For the 2009 Bollywood film, see Paying Guests. For the George Gissing novel, see The Paying Guest.
The Paying Guests
First edition
Author
Sarah Waters
Cover artist
Duncan Spilling
Country
United Kingdom
Language
English
Publisher
Virago Press
Publication date
August 2014
Media type
Print
Pages
576
ISBN
0-349-00436-6
The Paying Guests is a 2014 novel by Welsh author Sarah Waters. It was shortlisted for the Baileys Women's Prize for Fiction[1] and named 'Fiction Book of the Year' by The Sunday Times who said that "this novel magnificently confirms Sarah Waters' status as an unsurpassed fictional recorder of vanished eras and hidden lives."[2]
Contents
[hide]
1 Plot introduction
2 Inspiration
3 Reception
4 References
5 External links
Plot introduction[edit]
The book is set in 1922 in Camberwell.[3] where spinster Frances lives with her genteel mother Mrs Wray and mourns the death of her brothers in the Great War. Her father has died leaving considerable debts and they are obliged to take in lodgers: Lilian and Leonard Barber of the 'clerk class'. The guests bring with them colour, fun and music but also stir dangerous desires in Frances.
Inspiration[edit]
Waters wrote "Having set my two previous books in the 1940s I thought I’d venture back a couple of decades, and in the pursuit of information about British domestic life in the interwar years I began looking at murder cases; I went to them purely, really, for the sake of their incidental detail. But two cases caught my attention, that of Edith Thompson and Frederick Bywaters in 1922, and of Alma Rattenbury and Percy Stoner in 1935 – both cases involving a husband, his wife and her young male lover, in which a moment’s reckless violence had fatal consequences for almost everyone concerned."[4] And in an interview with The New York Times "I thought how interesting it would be if the lover was a female lover". Waters continues "The impact of the First World War was to shake things up enormously, loosening up old mores, fashions and behaviors. The early ’20s were like the waist of an hourglass. Lots of things were hurtling toward it and squeezing through it and then hurtling out the other side."[5]
"I wanted The Paying Guests, above all, to achieve two things: to evoke, convincingly, the intricate fabric of interwar domesticity; and then to set that fabric thrumming with desire, transgression and moral crisis".[4]
Reception[edit]
Lucy Daniel in The Telegraph is full of praise "One of the things that brings her characters to life is that Waters is very good at describing physical contact, gestures, deeds. People recede from each other even as they become more physically entangled. Even living at such close quarters, her characters remain a mystery to one another. Finally the novel seems a discussion of the very nature of intimacy. As charming as the period details are, it would be easy to fall into quaintness, with appealing costumes, Edwardian parlance, and slipping into the pantry for a quick fondle. But Waters saves it by the eerie power of her writing."[6]
Hannah Britt in The Daily Express writes "A lengthy novel, The Paying Guests takes a while to really get going and the first third could arguably be much shorter. However, when the drama kicks in, it’s worth the wait...The 1920s setting is a joy to read. One of Waters’ strengths is the apparent ease with which she conjures up a sense of period.". "As the narrative unfolds into a tense and dramatic court case, their plight tugs on the heart-strings. The novel’s conclusion when it arrives is satisfying, if slightly predictable and the loose ends are nicely tied. A great rainy day read, The Paying Guests is raunchy, romantic and thoroughly entertaining. Another triumph for Sarah Waters, it is unputdownable."[7]
Rachel Cusk in The Guardian is however critical "As Frances and Mrs Barber progress towards an affair. Waters's plain-spoken description of this relationship immediately begins to undermine the novel's integrity as a period piece: the sexual perspective is designed for the modern reader, and starts to resemble a costume drama. Its pastiche propriety and faux-Edwardian prose (people are forever "colouring" and "crimsoning" and "putting themselves tidy") become irritants; and the novel's descent into melodrama as a murder is committed – and the inspector called – turns this engaging literary endeavour into a tiresome soap opera."[3]
Arifa Akbar in The Independent also has some reservations, concluding "Waters’s historical fictions have shown her to be adept at tight, intricate plotting, most dazzlingly illustrated in the breathtaking plot twist in Fingersmith. If this is Waters’s early 20th-century crime novel, it does not match the imagination of this earlier Victorian crime novel. Perhaps Waters does not want to put on a fireworks display of plot surprises. She does give us a poignant love story which symbolically sees in the death of the old order, the death of the old-fashioned husband and maybe the birth of an era of love without secrets. Yet we find ourselves wishing for a few more fireworks all the same."[8]
References[edit]
Jump up ^ BAILEYS Women's Prize for Fiction » Shortlist Retrieved 2015-11-09.
Jump up ^ The year's best fiction, The Sunday Times, 30 November 2014 Retrieved 2015-11-09.
^ Jump up to: a b Satire meets costume drama, The Guardian, Friday 15 August 2014 Retrieved 2015-11-09.
^ Jump up to: a b Sarah Waters: ‘I wanted The Paying Guests to be sexy without being a romp’, The Guardian, 6 June 2015 Retrieved 2015-11-11.
Jump up ^ Weaving a Tale of Love and Death in London, The New York Times, Sept 9th 2014 Retrieved 2015-11-09.
Jump up ^ 'eerie, virtuoso writing', Sarah Waters’s sensational novel won’t disappoint her legion of fans, The Telegraph, 30 Aug 2014 Retrieved 2015-11-09.
Jump up ^ 'raunchy and romantic' novel is 'unputdownable', The Daily Express, Aug 29, 2014 Retrieved 2015-11-09.
Jump up ^ Novel tackles big themes but lacks bite, The Independent, 21 August 2014 Retrieved 2015-11-09.
External links[edit]
Official website
VIDEO: The Paying Guests is 'at heart a love story', says author Sarah Waters
Sarah Waters interview: 'I pay attention to women's secret history and lives'
[show]
v
t
e
Works of Sarah Waters
Novels
Tipping the Velvet (1998)
Affinity (1999)
Fingersmith (2002)
The Night Watch (2005)
The Little Stranger (2009)
The Paying Guests (2014)
Television/film adaptations
Tipping the Velvet (2002)
Fingersmith (2005)
Affinity (2008)
The Night Watch (2011)
The Handmaiden (2016)
Stage adaptations
Tipping the Velvet (2015)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Paying_Guests&oldid=834210129"
Categories:
Novels set in London
2014 British novels
Novels by Sarah Waters
1922 in fiction
Camberwell
Novels set in the 1920s
Historical romance novels
Historical crime novels
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This page was last edited on 4 April 2018, at 14:15.
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