Aarushhh/wikipedia-simple-splitted huggingface dataset:
The Japanese clock is a device made to tell the time according to Japanese tradition.

These clocks were introduced to Japan via Jesuit missionaries in the 16th century.

In 1612, the clockmaker of Philip II of Spain created a working timepiece which became a gift for Tokugawa Ieyasu.

One of the major features of the Japanese clock is that it has a mechanism for measuring unequal temporal hours. Usual clock tells hours at same intervals, but in the Japanese traditional timekeeping practice, a day had six daytime units from sunrise to sunset and six night units from sunset to sunrise. Then the Japanese clock was designed to adapt to this practice.

References

Clocks
Japanese culture
was a  after Kahō and before Jōtoku.  This period started in December 1096 and ended in November 1097.  The reigning emperor was .

Events of the Eichō Era
 1096 (Eichō 1): Fujiwara no Moromichi was raised to the second rank of the first class.

 1096 (Eichō 1): During the summer, a series of great dengaku dance performances took place in the streets and in open areas near the city.  The participants were drawn from the aristocracy and from the common people.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection

Japanese eras
The Polonaise in A major, Op. 40, No. 1 (nicknamed the "Military" Polonaise) is a piece of music for solo piano. It was composed by Frédéric Chopin.  It was published in 1838, with the Polonaise in C minor, Op. 40, No. 2. Anton Rubinstein wrote that the Polonaise in A major is the symbol of Polish glory, while the Polonaise in C minor is the symbol of Polish tragedy.

The polonaise is a Polish dance in 3/4 time. It has a distinctive rhythmic pattern which this polonaise follows unflinchingly. The A major Polonaise is written in an A-B-A form, with the B section being a "Trio". The polonaise opens with an A major chord. It continues in a vigorously masculine manner. The tempo indication is Allegro con brio (Fast, with bravura). The trio section begins in D major. The short passage following the first section of the trio is distinguished with trills for both hands on low C-sharps an octave apart. These trills suggest drum rolls.
Charles Rosen writes, "Polonaises had been written by many composers before, including Bach, Mozart, and Beethoven; Schubert, in fact, wrote lots of them. But nothing like the violence of Chopin’s military polonaises, ... The military polonaises were certainly understood as political statements of patriotism for his country, which was struggling to obtain its freedom ... these military polonaises have a decidedly popular character ..."

References

Other websites 
 Polonaises sheet music available at Musopen:
No. 1
No. 2

Solo piano pieces
Compositions by Frédéric Chopin
Kinderszenen (original spelling Kinderscenen, (), Opus 15, is a set of 13 pieces for solo piano by Robert Schumann. It was published in 1838. Schumann was looking back on his childhood when composing these pieces. He had originally written 30 movements for Scenes from Childhood. He chose only 13 for the final set. The unused movements were published years later in Bunte Blätter, Opus 99, and Albumblätter (). 

Schumann originally titled the work Leichte Stücke (). The titles for the individual pieces were only added after the music was complete. Schumann described the titles as "nothing more than delicate hints for execution and interpretation". Timothy Taylor has discussed Schumann's choice of titles for this work in the context of the changing situation of music in 19th century culture and economics. In 1974, Eric Sams noted that there is no known complete manuscript of Kinderszenen.

Movements

References

Other websites 
 MSN Movies page on Robert Schumann
Solo piano pieces
Compositions by Robert Schumann
Giselle; or, The Wilis is a romantic ballet in two acts. Jules-Henri Vernoy de Saint-Georges and Théophile Gautier wrote the story of the ballet. They based it on a short prose passage in Heinrich Heine's De l'Allemagne. They also used Victor Hugo's poem "Fantômes". Adolphe Adam wrote the music. Jean Coralli and Jules Perrot designed the dances. Carlotta Grisi danced the role of Giselle in the first production. The scenery was created by Pierre Cisceri. 

The story is set in Germany during the Renaissance. Giselle is a peasant girl. She falls in love with Albrecht. He is a nobleman pretending to be a peasant boy. Giselle is shocked to discover Albrecht is going to marry the princess Bathilde. Her heart breaks. She goes mad (insane, crazy) and dies. One night, she rises from her grave. She wants to protect Albrecht from the Wilis. The Wilis are the ghostly spirits of dead girls. They force men to dance to their deaths.
The ballet was first performed in Paris on Monday 28 June 1841 at the Théâtre de l'Académie Royale de Musique. It was a great success. It was staged almost at once by other ballet companies in Europe, Russia, and the United States. Grisi was declared another Taglioni. Taglioni was the age's greatest ballerina. Ballet historian Grace Robert writes "Giselle ... is the archetype of the ballets of the romantic age".

Story
Story

Act 1 
The ballet opens on an autumn morning in Germany. Giselle and Albrecht are in love. Hilarion is in love with Giselle, too. She does not love him though. He grows jealous. He promises to take revenge. Albrecht's gentle manners arouse Hilarion's suspicions. Albrecht is really a Duke. He is pretending to be a peasant. The peasant boys and girls start a waltz. Giselle asks Albrecht to dance with her. Giselle's mother says her daughter has a weak heart. She will die if she does not give up dancing. She is afraid that Giselle will become one of the Wilis. The Wilis are ghostly female spirits. They dance men to death.
A hunting horn is heard in the distance. Albrecht becomes nervous. He hurries away with the peasants. The Prince of Courland, his daughter Bathilde, and their courtiers enter. They are looking for a place to rest after the hunt. Giselle and her mother bring them food and drink. Bathilde takes an interest in Giselle. They each say that they are in love, and soon to be married. Albrecht returns with the peasants. Bathilde says he is her future husband. Giselle is shocked. She goes mad and dies in her mother's arms. Albrecht is chased away by the peasants.

Act 2
Act 2 
 

It is midnight in a dark wood. A pool of water is in the distance. Gamekeepers enter. Hilarion warns them that the spot is haunted by the Wilis. The gamekeepers run away. The Queen of the Wilis rises from the weeds to call the Wilis together. Giselle is about to become one of them. She rises from her grave. She dances. Albrecht enters to pray at Giselle's grave. He sees Giselle. They dance. The Wilis trap Hilarion. They force him to dance. They throw him into the pool to his death. The Queen of the Wilis wants Albrecht to die too. Giselle does not want this. She wants to save his life. Day breaks. The Wilis disappear. Giselle returns to her grave. Bathilde and the courtiers enter. They are looking for Albrecht. He falls into their arms exhausted.
Background 
The French Revolution (17891799) created a French middle class. These people did not like tastes and values of the aristocracy. These tastes and values had influenced French art and literature since the reign of Louis XIV. The power of the aristocracy had ended with the Revolution. Thousands of aristocrats had died on the guillotine, or in massacres. Many died in prisons, or had fled France for safety in other lands. 

After the Revolution, French ballet directors and designers turned their attention to stories based on the Greek and Roman mythologies. The aristocracy liked these stories. The directors and designers however turned instead to the stories the middle class liked. These stories were based on real life, real places, past times, everyday people, and the supernatural.
Two ballets with such stories caused great excitement in Paris in the 1830s. In November 1831, Meyerbeer's opera Robert le diable had its first performance. It included a short ballet called The Ballet of the Nuns. In this little ballet, dead nuns rise from their graves. They dance in the moonlight. The public loved this ballet. In March 1832, the ballet La Sylphide was performed. This ballet is about a beautiful sylph (fairy). She loves James, a young Scotsman. Tragedy occurs. James accidentally kills the sylph.
This ballet brought Marie Taglioni before the French public.  She was the first to dance en pointe. She did this for artistic reasons rather than spectacle. She was also the first to wear the white, bell-shaped, calf-length ballet skirt. This skirt is now considered an essential feature of the romantic ballet. Poet and critic Théophile Gautier attended the first performance of La Sylphide. His ideas for Giselle would show touches of La Sylphide ten years later. It would be set in a real place and in the past, for example, and would be about everyday people and supernatural women.

Story development
Story development 

In an 1841 news article announcing the first performance of Giselle, Théophile Gautier recorded his part in the creation of the ballet. He had read Heinrich Heine's description of the Wilis in De l'Allemagne, and thought these evil spirits would make a "pretty ballet". He planned their story for Act 2, and settled upon a verse by Victor Hugo called "Fantômes" to provide the inspiration for Act 1. This verse is about a beautiful 15 year old Spanish girl who loves to dance. She becomes too warm at a ball, and dies of a chill in the cool morning. 

Heine's prose passage in De l'Allemagne tells of supernatural young women called the Wilis. They have died before their wedding day and rise from their graves in the middle of the night to dance. Any young man who crosses their path is forced to dance to his death. In another book, the Wilis are said to be jilted young women who have died and become vampires. This is assumed to be the reason that they hate men.
Gautier thought Heine's Wilis and Hugo's fifteen year old Spanish girl would make a good ballet story. His first idea was to present an empty ballroom glittering with crystal and candlelight. The Wilis would cast a spell over the floor. Giselle and other dancers would enter and whirl through the room, unable to resist the spell to keep them dancing. Giselle would try to keep her lover from partnering other girls. The Queen of the Wilis would enter, lay her cold hand on Giselle's heart, and the girl would drop dead.  

Gautier was not satisfied with this story. It was basically a succession of dances with one moment of drama at its end. He had no experience writing ballet stories so he called upon Vernoy de St. Georges, a man who had written many stories for the ballet.  St. Georges liked Gautier's basic idea of the frail young girl and the Wilis. He wrote the story of Giselle as it is known today in three days, and sent it to Léon Pillet, the director of the Paris Opéra.
Pillet wanted to present a beautiful young Italian dancer named Carlotta Grisi to the public. He considered La Sylphide, but Adèle Dumilâtre reminded him that the role had been promised to her. A ballet in preparation, La Rosière de Gand, was suggested, but Grisi objected. The role was too long and the story was not suitable for dance. Pillet needed a good story, and he found it in Giselle. Grisi liked the story as much as Pillet did, so Giselle was put into development at once.

Music 

Adolphe Adam was a popular writer of ballet and opera music in early 19th-century France. He wrote with great speed. He completed Giselle in about two months. The music was written in the smooth, song-like style of the day called cantilena. This style is well known to music lovers from Bellini's opera Norma and Donizetti's Lucia di Lammermoor.
Adam used several leitmotifs in the ballet. A leitmotif is a short musical phrase that is associated with a certain character, event, or idea. Adam's leitmotifs are heard several times throughout the ballet. A leitmotif is associated with Giselle, and another with Albrecht. Hilarion's motif marks his every entrance. It suggests the Fate theme in Beethoven's Fifth Symphony. Another leitmotif is associated with the "he loves me, he loves me not" flower test in Act 1. This leitmotif is heard again in the mad scene, and in Act 2 when Giselle offers flowers to Albrecht. The Wilis have their own motif. It is heard in the overture, in Act 1 when Berthe tells the story of the Wilis, and in the mad scene. It is heard again in Act 2 when the Wilis make their first entrance.  The hunting horn motif marks sudden surprises. This motif is heard when Albrecht is exposed as a nobleman.
The music was completely original with Adam. A critic noted however that Adam had borrowed eight bars from a romance by a Miss Puget and three bars from the huntsman's chorus in Carl Maria von Weber's opera Euryanthé. In addition, two pieces by Friedrich Burgmüller were put into the ballet. One was a waltz called "Souvenir de Ratisbonne". The other music was a group of dances performed by Giselle's friends. It is unknown who put these pieces into the ballet.

One dance historian writes:

Dance and pantomime
Jean Coralli and Jules Perrot designed the dances for Giselle. Perrot and Carlotta Grisi were lovers, and Perrot designed all of Grisi's dances and all of her pantomime. Everyone in the Paris dance world knew that Perrot had designed Grisi's dances, and Coralli said so, but Perrot was given no official credit in the printed materials such as posters and programs. This was most likely done to prevent Perrot from collecting royalties (money, profits) on the ballet. Perrot liked bold touches and planned several rapid aerial swoops on wires in Act 2 for Giselle. Grisi was afraid of these swoops. A stage hand was brought in to test the swoops. He crashed face-first into the scenery. The swoops were abandoned.
Cyril Beaumont writes that Giselle is made up of two elementsdance and mime. Act 1 features short mimed scenes, he points out, and episodes of dancing which are fused with mime. In Act 2, mime has become fused entirely with dance. He writes that the choreographic vocabulary is composed of a small number of simple steps: 
Movements: developpe, grand rond de jambe
Poses: arabesque, attitude
Gliding steps: chasse, glissade, pas de basque, pas de bouree
Hopping steps: ballone, temps leve
Turning steps: pirouette, petit tour, tour en l'air
Leaping steps: (vertical) ballotte, entrechat, sisonne, rond de jambe en l'air saute, (horizontal) cabriole, jete, grande jete, soubresaut
Beaumont speculates that the simple steps were deliberately planned to allow the "utmost expressiveness."
Parts of Giselle have been cut or changed since the ballet's first night. Giselle's Act 1 pantomime scene in which she tells Albrecht of her strange dream is cut. The peasant pas de deux in Act 1 is cut back a bit. The Prince of Courland and his daughter Bathilde used to make their entrance on horseback, but today they walk on. In the original production, the Prince and Bathilde were present at Giselle's death, but now they leave the scene before she dies. The machines used to make Giselle fly and to make her disappear are no longer used. A trapdoor is sometimes employed to make Giselle rise from her grave and then to make her sink into it at the end of Act 2.
At the end of Act 2, Bathilde formerly entered with the courtiers to search for Albrecht. He took a few unsteady steps toward them and collapsed into their arms. This moment was an artistic parallel to the Act 1 finale when the peasants gathered about the dead Giselle.  Now, Bathilde and the courtiers are cut, and Albrecht slowly leaves the stage alone.

Ethnic music, dance, and costume 

Ethnic music, dance, and costume were a large part of romantic ballet.  At the time Giselle was written, people thought of Germany when they heard a waltz because the waltz was of German origin. Giselle makes her first entrance to the music of a waltz, and the audience would have known at once that the ballet was set in Germany. Adam wrote three waltzes for Giselle: two for Giselle and one for the Wilis. Adam wrote that the "Giselle Waltz" in Act 1 has "all the German color indicated by the locality." People agreed. One critic wrote: "A lovely waltz ... in the Germanic spirit of the subject".
At first, Gautier thought that some of the dancers in the Act 2 waltz for the Wilis should dress in ethnic costume and dance ethnic steps. Adam put bits of French, Spanish, German, and Indian -sounding music in the waltz for this purpose. Gautier's "ethnic" idea was dropped as the ballet developed however, and it has not been picked up by modern producers. Today, Act 2 is a ballet blanca "white" ballet in which all the ballerinas and the corps de ballet are dressed in full, white, bell-shaped skirts and the dances have a geometric design.

Original designs

Costumes
Costumes 

The historical period for Giselle is not indicated in the story. Paul Lormier, the chief costume designer at the Paris Opéra, probably consulted Gautier on this matter. It is also possible that Pillet had the ballet's budget in mind and decided to use the many Renaissance-style costumes in the Opéra's wardrobe for Giselle. These costumes were said to have been those from Rossini's William Tell (1829) and Berlioz's Benvenuto Cellini (1838). Lormier certainly designed the costumes for the principal characters. His costumes were in use at the Opéra until the ballet was dropped from the repertory in 1853.
Giselle was revived in 1863 with new costumes by Lormier's assistant, Alfred Albert. Albert's costumes are closer to those of modern productions than those of Lormier, and were in use at the opera until 1868. The ballet was revived again in 1924 with scenery and costumes by Alexandre Benois. He wanted to revive the costumes of the original production but dropped the idea, believing the critics would charge him with a lack of imaginative creativity.

Sets 
Pierre Luc Charles Ciceri was the chief set designer at the Paris Opéra from 1815 to 1847. He designed the sets for the first production of Giselle. Gautier was not specific about the ballet's locale, but placed it in "some mysterious corner of Germany ... on the other side of the Rhine". This would have been the eastern side.
Giselle was two months in rehearsal. This was a very long rehearsal time for the period. Even so, Ciceri did not have enough time to design sets for both acts and focused on the second act. The sets for the first act were actually those designed for the 1838 ballet, La Fille du Danube by Adam. An illustration from Les Beautés de l'Opera of 1845 shows Giselle's cottage with a roof of straw on the left, and Albrecht's cottage on the right. The two cottages are framed by the branches of two large trees on either sides of the stage. Between the two cottages, in the distance, appears a castle and slopes covered with vineyards. Although this scene was not designed for Giselle, it has remained the model for most modern productions. Ciceri's set was in use until the ballet was dropped from the repertoire in 1853. At that time, Gautier noticed that the sets were falling apart: "Giselle's cottage has barely three or four straws on its roof."
The Act 2 illustration from Les Beautés shows a dark wood with a pool of water in the distance. The branches of aged trees create an arch overhead. Beneath these branches on the left is a marble cross with 'Giselle' written on it. From one of its arms hangs the crown of grape leaves Giselle wore as Queen of the Vintage. On the stage, thick weeds and wildflowers (200 bulrushes and 120 branches of flowers) were the undergrowth. The gas jets of the footlights and those overhead suspended in the flies were turned low to create a mood of mystery and terror. 

A circular hole was cut into the backdrop and covered with a transparent material. A strong light behind this hole represented the moon. The light was occasionally manipulated to suggest the passage of clouds. Gautier and St. Georges wanted the pool to be made of large mirrors. Pillet rejected this idea because of its cost. In the 1868 revival however, the mirrors were acquired for this scene.
Adam thought Ciceri's backdrop for Act 1 was "not so good ... it is all weak and pale" but he liked the set for Act 2: "[Ciceri's] second act is a delight, a dark humid forest filled with bulrushes and wild flowers, and ending with a sunrise, seen at first through the trees at the end of the piece, and very magical in its effect." The sunrise also delighted the critics.

First performance 

The balletomanes of Paris became very excited as the opening night of Giselle approached. News reports kept their interest alive. Some reports said that Grisi had had an accident. Some reports said that the conductor was ill with a tumour. Still others said that the stage hands feared for their safety.
Hopes that the ballet would be ready in May were dashed. Opening night was postponed several times. Grisi was absent for a few days and her return was delayed to protect her health. Lighting, trapdoors, and scene changes needed further rehearsals. Cuts were made in Grisi's role to spare the dancer's health. Instead of returning to her tomb at the end of the ballet, it was decided Giselle would be placed on a bed of flowers and sink slowly into the earth. This touch preserved the romantic mood of the Act 2 finale.

 
 
At last, on Monday 28 June 1841, the curtain rose on Giselle in the Salle Le Peletier. Grisi played Giselle with Lucien Petipa as her lover Albrecht, M. Simon as the gamekeeper Hilarion, and Adèle Dumilâtre as Myrtha, the Queen of the Wilis. Typical of the theatrical practices of the time, Giselle was preceded by an excerpt from another productionin this case, the third act of Rossini's opera, Moise.
In spite of the chief machinist shouting orders to his crew that could be heard by the audience, Giselle was a great success. Grisi was a sensation. Ballet-goers regarded her as another Taglioni, the greatest ballerina of the period.

Characters in the first performance

 Duke Albert of Silesia, in the attire of a villager
 The Prince of Courland
 Wilfride, the Duke's squire
 Hilarion, the game-keeper
 An Old Peasant Man
 Bathilde, the Duke's fiancée
 Giselle, a peasant girl
 Berthe, Giselle's mother
 Myrtha, Queen of the Wili
 Zulmé, a Wili
 Moyne, a Wili
Contemporary reviews and comments 
Giselle was a great artistic and commercial success. Le Constitutionnel praised Act 2 for its "poetic effects". Moniteur des théâtres wrote that Grisi "runs [and] flies across the stage like a gazelle in love". One critic made a detailed analysis of the music in La France Musicale. He thought the Act 1 waltz "ravishing", and noted that the scene of Berthe's narrative was filled with "quite new" harmonic modulations. He praised other moments in Act 1 (especially the mad scene), and was in raptures with the music of Act 2, singling out the entrance of the Wilis and the viola solo played through Giselle's last moments. He thought the flute and harp music accompanying Giselle as she disappeared into her grave at ballet's end "full of tragic beauty."
Coralli was praised for the Act 1 peasant pas de deux and for the "elegance" of Act 2. Coralli followed a suggestion made by Gautier and picked the most beautiful girls in the company to play the peasants and the Wilis. One observer thought the selection process cruel: the almost-beautiful girls were turned away without a second thought.

Grisi and Petipa were great successes as the tragic lovers. Gautier praised their performance in Act 2, writing that the two dancers made the act "a real poem, a choreographic elegy full of charm and tenderness ... More than one eye that thought it was seeing only [dance] was surprised to find its vision obscured by a tearsomething that does not often happen in a ballet ... Grisi danced with a perfection ... that places her in the ranks between Elssler and Taglioni ... Her miming surpassed every expectation ... She is nature and artlessness personified."
Giselle made 6500 francs between June and September 1841. This was twice the amount for the same time period in 1839. Grisi's salary was increased to make her the top earner among the dancers at the Opéra. Souvenirs were sold. Pictures of Grisi as Giselle were printed, and sheet music arrangements were made for social dancing. The sculptor Emile Thomas made a statuette of Giselle in her Act 2 costume. A silk cloth was manufactured called façonné Giselle, and Madame Lainné, a milliner, sold an artificial flower called 'Giselle'. The ballet was parodied at the Théâtre du Palais-Royal in October 1841.

Early productions
Early productions 

Giselle was performed in Paris from its debut in 1841 to 1849. It was then dropped from the repertory. Grisi always danced the title role. The ballet was revived in 1852 and 1853, but without Grisi. The work was dropped from the repertory after 1853. It was revived in 1863 for a Russian ballerina then dropped in 1868. It was revived almost 50 years later in 1924 for the debut of Olga Spessivtzeva. This production was revived in 1932 and 1938.

Giselle was produced by other ballet companies in Europe and America almost immediately after its first night. The British had their first taste of Gisellenot with the ballet but with a drama based on the ballet called Giselle, or The Phantom Night Dancers by William Moncrieff. He had seen the ballet in Paris the same year. The play was performed on 23 August 1841 at the Theatre Royal, Sadler's Wells.
The actual ballet was first staged in London at Her Majesty's Theatre on 12 March 1842 with Grisi as Giselle and Perrot as Albrecht. The dances were credited to Perrot and one Deshayes. It was revived many times, once in 1884 with a Mlle. Sismondi in the role of Albrecht. This production was received with little enthusiasm. It was preceded by the operetta Pocahontas.
The ballet was staged by Diaghilev's Ballets Russes in 1911 at the Royal Opera, Covent Garden with Tamara Karsavina and Nijinsky as Giselle and Albrecht. Anna Pavlova danced Giselle with her own company in 1913. Alicia Markova danced the role with the Vic-Wells Ballet in 1934, and Margot Fonteyn took the role in 1937 when Markova left the company. The English loved Giselle. In 1942, for example, three different companies were dancing the ballet in London.
Giselle was first performed in Russia at the Bolshoi Theatre, St. Petersburg, on 18 December 1842. Gedeonov, the Director of the St. Petersburg Imperial Theatres, sent his Ballet Master Titus to Paris to find a new ballet for ballerina Elena Andreyanova. Titus picked Giselle. The Ballet Master then staged the work completely from memory in St. Petersburg. Perrot produced Giselle in St. Petersburg in 1851. He made many changes to the ballet in his years of service to the Imperial Ballet. In the 1880s, Ballet Master Marius Petipa made many changes to the Perrot production.
Giselle was first staged in Italy at Teatro alla Scala in Milan on 17 January 1843. The music however was not Adam's, but that of one N. Bajetti. The dances were not the original either, but those of one A. Cortesi. It is possible, but unknown if, the ballet was first staged in the provincial theatres.

In 1844, American ballerina Mary Ann Lee arrived in Paris to study with Coralli for a year. She returned to the United States in 1841 with the directions for Giselle and other ballets. Lee was the first to present Giselle in the United States. She did this on 1 January 1846 in Boston at the Howard Athenæum. George Washington Smith played Albrecht. Lee danced Giselle (again with Smith) on 13 April 1846 at the Park Theatre in New York City.

Modern productions
Nijinsky was going to dance Albrecht for the first time in St. Petersburg in January 1911. The Czar and his family would be present. Diaghilev wanted Nijinsky to wear the Renaissance-style costume he had worn in Paris the same month. It was easier to dance in than the thick pants of traditional Russian Albrechts, but his genitals (though covered) could be detected. He was ordered not to wear it. Nijinsky said that he only wanted to dance well. According to Stravinsky, Nijinsky wore not much more than the tightest tights and a padded athletic supporter (jockstrap).  The next day, the angry director of the Imperial Theatres ordered Nijinsky to apologize. Complaints about the dancer were collected here and there. Nijinsky knew Diaghilev would give him work, so he resigned. On 24 January 1911 he was officially dismissed from the Imperial Theatres.
Structure 
Act I
no.1 Introduction
no.2 Scène première
no.3 Entrée d'Albrecht
no.4 Entrée de Giselle
no.5 Scène dansante
interpolation - Pas de deux pour Mlle. Maria Gorshenkova (Ludwig Minkus; 1884; this piece was only included in Imperial-era productions)
no.6 Scène de Hilarion
no.7 Retour de la vendange
interpolation - Pas de cinq pour Mlle. Carlotta Grisi (Cesare Pugni; 1850; only included for Grisi's performance)
no.8 Valse
no.9 Scène dansante
no.10 Le récit de Berthe
no.11 Scène: Le chasse royale
no.12 Scène de Hilarion
no.13 Marche des vignerons
interpolation - Variation pour Mlle. Elena Cornalba (aka Pas seul) (likely composed by Riccardo Drigo, c. 1888)
interpolation - Pas de deux pour Mlle. Nathalie Fitzjames (aka Peasant pas de deux)
Fashioned from Souvenirs de Ratisbonne by Johann Friedrich Franz Burgmüller, c.1841 –
a. Entrée
b. Andante
c. Variation
d. Variation
interpolation - supplemental female variation (Mariinsky Theatre staging) (Riccardo Drigo?; from the ballet Cupid's Prank; 1890.)
e. Variation
f. Coda
no.14 Galop générale
no.15 Grand scène dramatique: La folie de Giselle
Act II
no.16 Introduction et scène
no.17 Entrée et danse de Myrthe
no.18 Entrée des Wilis
no.19 Grand pas des Wilis
no.20 Entrée de Giselle
no.21 Entrée d'Albrecht
no.22 L'apparition de Giselle
no.23 La mort de Hilarion
no.24 Scène des Wilis
no.25 Grand pas d'action —
a. Grand adage
b. Variation de Giselle
c. Variation d'Albert
interpolation - Variation pour Mlle. Adèle Grantzow (likely composed by Cesare Pugni; 1867)
d. Coda
no.26 Scène finale

Notes

References

Other websites 
 
 "Fantômes" Hugo's original poem in French
 The Earliest Russian Giselles - discusses the first interpretors of the role of Giselle in imperial Russia
 Some dance history of Giselle by Suzanne McCarthy for the Royal Ballet 

Ballets choreographed by Jules Perrot
Ballets
1841
IONIS School of Technology and Management (IONIS STM) is a French private graduate school in information technology, computer science, energy, biotechnology and management.
It was made in 2009 and is in Le Kremlin-Bicêtre.

The school delivers 14 Master of Business Administration (MBA) recognized by French State and can teach both technical and management aspects.

Bibliography 
 La double compétence : l’antidote à l’obsolescence professionnelle, Ivry-sur-Seine, FYP Éditions, 2019, 192 p. (ISBN 978-2-36405-176-8)

References

Other websites 
 Official website

Technical colleges and universities in France
2009 establishments in France
was a  after Eichō and before Kōwa.  This period started in November 1097 and ended in August 1099.  The reigning emperor was .

Events of the Jōtoku Era
 1097 (Jōtoku 1, 1st month): Minamoto no Tsunenobu died at age 82.

 1097 (Jōtoku 1, 4th  month): The emperor visited the temple at Gion.

 1097 (Jōtoku 1, 10th  month): The emperor visited the home of Fujiwara no Moromichi.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection

Japanese eras
was a  after Jōtoku and before Chōji.  This period started in August 1099 and ended in February 1104.  The reigning emperor was .

Events of the Kōwa Era
 1099 (Kōwa 1, 6th month): Fujiwara no Moromichi died at age 38; and Moromichi's son, Fujiwara no Tadazane took over his father's role in court.

 1100 (Kōwa 2): Tadazane  is given the office of Minister of the Right (udaijin).

 1101 (Kōwa 3, 2nd month): Fujiwara no Morozane died at age 60.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection

Japanese eras
Robert Vince (born April 8, 1962) is a Canadian director, producer, writer and screenwriter. He is the director of the Air Buddies movies and the brother of William Vince. Vince is the CEO of PeyPix Productions.

References

Other websites
 

Canadian movie directors
Writers from Vancouver
1962 births
Living people
was a  after Kōwa and before Kashō.  This period started in February 1104 and ended in April 1106.  The reigning emperor was .

Events of the Chōji era
 1104 (Chōji 1, 3rd month): The emperor visited Sonshō-ji in northeastern Kyoto.

 1105 (Chōji 2, 6th month): A red snow was reported in a number of Japanese provinces.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection

Japanese eras
Roux  is a cooking mixture of wheat flour and butter (or other fat). It is the basis of many types of French sauce for cooking.

Roux is the thickening agent of three of the mother sauces of classical French cuisine: sauce béchamel, sauce velouté and sauce espagnole.  Clarified butter, vegetable oils, or lard are commonly used fats. It thickens gravy, other sauces, soups and stews. It is made from equal parts of flour and fat by weight. 

When used in Italian cooking, roux is traditionally equal parts of butter and flour. In Cajun cuisine, roux is almost always made with oil instead of butter and is dark brown in colour. This lends much richness of flavour, but less thickening power. Hungarian cuisine uses rendered lard or vegetable oil instead of butter for the preparation of roux (called rántás in Hungarian).

References 

French food
Sauces
The "Minute Waltz" is the nickname for the Waltz in D flat major, Op. 64, No. 1 by Frederic Chopin. It was written in 1847. It is a piece of music for the piano. It is sometimes called "The Waltz of the Little Dog" (). This is because Chopin was watching a little dog chase its tail when he wrote it.  The little dog was "Marquis". He belonged to Chopin's friend George Sand. Marquis had befriended Chopin. The composer mentioned Marquis in several of his letters. In one letter dated 25 November 1846, Chopin wrote: "Please thank Marquis for missing me and for sniffing at my door."  

The waltz was published by Breitkopf & Härtel. It was the first of three waltzes in a collection of waltzes called Trois Valses, Op. 64.  The publisher gave the waltz its popular nickname "Minute". The word here means small or little. The tempo marking is Molto vivace (), but Chopin did not intend the waltz to be played in one minute as some believe. A typical performance will last between one and a half to two and a half minutes.
The time signature is 3/4. The waltz is 138 measures long with one fifteen-measure repeat. The waltz is written in ternary, or ABA form. The A section is characterized by a whirling line of eighth notes and triplets over the "om-pah-pah" rhythm of the waltz. The whirling line of the A section is abandoned in the B section. This section consists of a consistent half note and quarter note pattern from bar to bar. The B section breaks off and a long trill heralds the return of the A section, which is repeated in full. The waltz ends with a descending scale. 

In popular culture, Minute Waltz was used on Pretty Little Liars, The Girlfriend Experience, One Tree Hill, and Sex and the City.

References

Other websites 
 Minute Waltz sheet music available at Musopen.com
 Quatre Mains version for Piano Duet.
 Free recording of Minute Waltz

Compositions by Frédéric Chopin
Solo piano pieces
Waltzes
Lesbian, gay, bisexual, and transgender (LGBT) persons in Cyprus may face legal challenges not experienced by non-LGBT residents. Both male and female same-sex sexual activity are legal in Cyprus and civil unions became legal in November 2015.

In Cyprus, the socially conservative Eastern Orthodox Church has a significant influence over public opinion when it comes to LGBT-rights. However, ever since Cyprus sought membership in the European Union it has had to change its human rights legislation, including its laws regarding sexual orientation and gender identity.

LGBT rights in Turkish Republic of Northern Cyprus
Same-sex sexual activity is Legal within the Turkish Republic of Northern Cyprus since the 7th of February in 2014. Previous laws allowed three years prison sentences, according to articles 171 and 173 of its criminal code. Female homosexuality was not criminalised. Arrests for Homosexuality have occurred as recently as 2011.
The Laws were a legacy of British colonial rule, left over after the Island gained Independence in the 1960s. While the south decriminalised homosexuality in 1998 in order to accede to the European Union (EU) in 2004, the North's disputed status means it lies outside the EU's jurisdiction. On the 27th of January in 2014, the Assembly of the Republic, the Northern Cypriot Parliament, voted to abolish the criminal code provisions that outlawed Same-sex relations between men and males, becoming the last territory in do so within Europe in order to decriminalise Sexual relations between consenting, Adult men. The Bill was signed into Law, and published in the official gazette on the 7th of February in 2014. It took immediate effect upon publication.

Calls have been made by non-governmental organisations to legalise Same-sex marriage. In 2012, the Communal Democracy Party proposed a law that would have Legalised Same-sex marriages, but the Legislation was opposed by the then-ruling National Unity Party.
Legislative summary

Cyprus
Cyprus
was a  after Kajō and before Ten'ei.  This period started in August 1108 ended in July 1110.  The reigning emperor was .

Events of the Tennin Era
 1108 (Tennin 1): Minamoto no Tameyoshi became clan leader of the Seiwa Genji after the death of Minamoto no Yoshiie.

 1108 (Tennin 1): Mount Asama erupts, causing widespread damage.

 1109 (Tennin 2, in the 1st month): The emperor visited Iwashimizu Shrine and the Kamo Shrines.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection
'

Japanese eras
Lesbian, gay, bisexual, and transgender (LGBT) people in Turkey may face legal challenges not experienced by non-LGBT residents. Homosexuality is legal in the Republic of Turkey, but the law does not include sexual orientation or gender identity in its civil rights laws and there is no legal recognition for same-sex couples. But sexual reassignment surgery is allowed and legal sex change has been possible since 1988. On the 9th of August in 1858, the Ottoman Caliph decriminalised homosexuality. This affected many countries in the three continents of the Old World, respectively. When Turkey became a solo nation in 1920, it didn’t see a need to change this law. Omer Akpinar, who is with KAOS LG, which is one of the largest LGBT organizations in Turkish Republic, told Mashable that their organization was never censored
. Jack Scott, a British writer who moved to Turkey with his partner and who is the author of Perking the Pansies: Jack and Liam Move to Turkey, said his  talking to the real estate company Quest Turkey.
References

Turkey
Turkey
The Sonata No. 16 in C major, K. 545, is a piece of music for solo piano. It was composed by Wolfgang Amadeus Mozart. On 26 June 1788, he added the piece to his catalogue as "a little Piano Sonata for beginners". He may have written the piece for a pupil. If he did, that pupil is not known. In the end, the story behind the sonata is a mystery.

On 2 August 1788 Mozart wrote a letter to his sister Nannerl. She was living in Salzburg. He had sent her some pieces for the piano. He wrote, "Indeed you have every reason to be vexed with me! But will you really be so, when you receive by this mail coach my very latest compositions for the keyboard? Surely not! This, I hope, will make everything all right again." This passage might refer to the Sonata in C. But it may refer to other keyboard compositions Mozart wrote the same year.
The manuscript is lost. The piece was not published during Mozart's lifetime. It was first published in February 1805 by the Bureau des arts et d'Industrie in Vienna. It was titled "Sonate facile pour le pianoforte" (). At least three more editions were published within a short time. Breitkopf & Härtel did not include it in their Oeuvres complettes. A typical performance lasts about 14 minutes.

Music
Music 

The first movement is written in sonata form. It is in the key of C major. The tempo marking is Allegro (Fast). The opening theme is accompanied by an Alberti bass played in the left hand. A bridge passage composed of scales follows, arriving at a cadence in G major, the key in which the second theme is then played. A codetta follows to conclude the exposition. The exposition is repeated. The development starts in G minor and modulates through several keys. The recapitulation begins in the subdominant key of F major. According to Charles Rosen, the practice of beginning a recapitulation in the subdominant was "rare at the time [the sonata] was written"..
The second movement is in the key of G major, the dominant key of C major. The music modulates to the dominant key of D major, and then back to G major in which the exposition is heard again. For the development, the music modulates to G minor, then B♭ major, then C minor, then G minor and finally back to G major, at which point the recapitulation occurs followed by a short coda.

The third movement is in rondo form. It is in the tonic key of C major. The first theme is lively. It sets the mood of the piece. The second theme is in G major. It has an Alberti bass in the left hand. The first theme appears again. A third theme is in a minor key. It modulates through different keys before returning to C major. The first theme appears again. It is followed by a coda, and the rondo ends in C major. 

The finale was transcribed to F major. It was put together with a solo piano arrangement of the second movement of the violin sonata in F major. It became the Piano Sonata in F major, K. 547a.

References
References

Other websites 

Complete score  

Piano Sonata 16
The Minuet in G, WoO 10, No. 2 is a piece of music for the piano. It was composed by Ludwig van Beethoven. The piece  was originally written for orchestra. This version was lost. Only an arrangement for piano exists. It is a very popular piece, especially among beginning pianists.

Music 
The piece is composed in what is called ternary form or ABA form. This means that the piece has three distinct sections. The first and the third sections (the A sections) are the same. The second section (the B section) is entirely different music. The B section often provides a contrast in some way to the A section. The tempo marking for the Minuet in G is Moderato. The meter is 3/4.
The A section is composed of two 8 bar passages for a total of 16 bars. The tune is characterized by a repetitious but elegant dotted eighth note and sixteenth note legato pattern. The first 8 bars are played and repeated. This passage begins in the tonic key of G major, and modulates to the dominant key of D major. The second 8 bars are played and repeated. This passage begins in the dominant key of D major, and modulates to the tonic key of G major. The first phrase of this passage begins with 4 bars of principally quarter notes. The phrase returns to the dotted eighth note pattern at its close. Thus, the entire A section begins and ends in the tonic key with brushes on the dominant here and there. The right hand is occupied with playing mostly thirds and sixths through the A section. The left hand plays only  quarter notes.
Like the A section, the B section (or the Trio) is composed of two 8 bar passages for a total of 16 bars. Like the A section, it begins in the tonic key of G major, and modulates to the dominant key of D major at the end of the first 8 bars. This passage is repeated. The second 8 bars begin in the dominant key and end in the tonic key. These 8 bars are repeated. The entire B section is characterized by flowing, uninterrupted eighth notes in the right hand.  The left hand plays quarter notes but briefly joins the right hand in playing eighth notes at the beginning of the second 8 bar passage.  The left hand returns to playing quarter notes as the passage closes. When the B section is completed and all the repeats have been taken, the piece returns the A section. This return is usually played without performing the repeats.

Other websites 
Minuet orchestral performance by the Philadelphia Orchestra
Minuet free scores at IMSLP

Compositions by Ludwig van Beethoven
Solo piano pieces
was a  after Tennin and before Eikyū.  This period started in July 1110 and ended in July 1113.  The reigning emperor was .

Events of the Ten'ei Era
 1109 (Ten'ei 1, in the 5th month): Emperor Toba visited Hosho-ji where he donated a Buddhist manuscript which had been created using gold characters on blue paper.

 1110 (Ten'ei 1, in the 6th month): The Miidera-ji burned down.

Related pages
 Heian period

References

Other websites
 National Diet Library, "The Japanese Calendar" -- historical overview plus illustrative images from library's collection

Japanese eras
1110 establishments
1110s establishments in Japan
1113 disestablishments
12th-century disestablishments in Japan
Come on Over is an album released by country music singer Shania Twain. 
It was released in 1997. 
It is the biggest selling album by a female country singer. 
All of the songs were written by Shania Twain and Mutt Lange. 

Singles released off of the album include the title track, "That Don't Impress Me Much", "Man! I Feel Like A Woman!", 
"Honey, I'm Home", "You're Still The One", "From This Moment On", "You've Got A Way", "Love Gets Me Every Time," "Don't Be Stupid!", "When", "Rock This Country!", and "I'm Holding On To Love (To Save My Life)".

Shania Twain albums
1997 albums
Up! is the fourth studio album released by country music artist Shania Twain. It was released in 2002. Shania Twain and Mutt Lange wrote all of the songs. Singles released off the album include the title track, "It Only Hurts When I'm Breathing", "Ka-Ching!", "I'm Gonna Getcha Good!", "Forever and For Always", "She's Not Just A Pretty Face", and "When You Kiss Me".

Shania Twain albums
2002 albums
The John Newbery Medal is a literary award of the American Library Association (ALA).

The medal is given to writers of books for children.

History
The Newbery Medal has been given since 1922.  It was the first children's literary award in the world.  It is named for John Newbery, an 18th century English publisher of books for children.

Since 1971, there has also been the "Newbery Honor". Each year, one or more books are named "Newbery Honor books". Some books from before 1971 were also named Newbery Honor books.

Recipients

Books with a yellow background won the Newbery Medal. Books with a white background are Newbery Honor Books.

Related pages
 Kate Greenaway Medal

References

Other websites
 Newbery Medal Home Page, American Library Association
 Interview with Newbery Judge, on Beyond the Margins

Literary awards
Children's literature
Lists of books
was a town in Minamikoma District, Yamanashi, Japan.

On March 8, 2010, two towns combined to become a new town. Masuho and Kajikazawa became Fujikawa.

Other websites
Masuho official website  (in Japanese)

Towns in Japan
Settlements in Yamanashi Prefecture
Fujikawa  is a town in Minamikoma District, Yamanashi, Japan.

On March 8, 2010 the towns of Masuho and Kajikazawa combined to become the new town of "Fujikawa".

Other websites

 Fujikawa official website  

Towns in Japan
Settlements in Yamanashi Prefecture
Muroran  is a city and port in Iburi, Hokkaidō, Japan.  It is the capital city of Iburi Subprefecture.

Gallery

Sister cities 
Shizuoka, since 1976
Knoxville, Tennessee, since 1991
Joetsu, since 1995

Other websites 

 Muroran official website  
 English page in Official site 

Cities in Hokkaido