copy & paste of:
http://goldbergweb.com/en/news/espana/2005/05/31107.php.

Disc of the year 2004: Griselda, Akademie für Alte Musik Berlin

For the first time, we have also requested one recording from this
list to be awarded the Goldberg prize of Record of the Year. This has
fallen to Griselda, an opera by Alessandro Scarlatti, recorded by
René Jacobs on the harmonia mundi label.

Novelty and quality are two adjectives that are combined in this
triple CD set containing Alessandro Scarlatti's last opera,
considered his masterpiece. This is an important recording that will
undoubtedly help to raise the composer's profile.
Maricarmen Gómez
***
Scarlatti's final opera is another operatic masterpiece that has lain
undisturbed for far too long. Thankfully, the indefatigable René
Jacobs and a stellar cast have now rescued it from undeserved
oblivion.
Brian Robins
***
The last opera (1721) of a misunderstood musician. Previously
recorded by Freni, this version returns Griselda to its roots. Even
though the men are more successful than the women and Act III has
been cut, Jacobs constantly keeps the listener on the edge of his
seat!
Olivier Rouvière

SCARLATTI, A. Griselda.
Akademie für Alte Musik Berlin. René Jacobs
Harmonia mundi. hm HMC 901805.07

Liner notes from compact discs Deutsche Grammophon Gesellschaft No.
00289 477 098-2 (2 CD).

* Archiv Produktion's new signings Andrea Marcon and the Venice
Baroque Orchestra, among the foremost performers of early music, have
chosen attractive yet controversial repertoire for their first
release on the silver label.
* An interesting debate among musicologists regarding the authorship
of the serenata Andromeda liberata has yet to be resolved.  On one
side is a young French musicologist who feels he has proved that the
work was entirely composed by Vivaldi.  Opposing his view are
cautious Vivaldi scholars who believe that only one aria was actually
composed by Vivaldi, while the remainder was composed by other
leading composers active in Venice, among them Albinoni.  Andrea
Marcon, who knows a thing or two about Vivaldi as well, is convinced
that this is a Vivaldi score.  And a beautiful score.
* In the end it doesn't really matter who actually wrote the piece –
we'll leave that to the academics.  Worst case is it is the world
premier of gorgeous music that includes a newly discovered Vivaldi
aria.  Best case:  it's all composed by Vivaldi.  Either way, you
win:  this unjustly neglected score finally is performed and
recorded.  The serenata is scored for five voices and an orchestra of
trumpets, horns, oboes, strings, and continuo.  The work in two acts
is based on the Greek myth of Perseus.
* On 8 October the work will finally return to Venice for a
performance at Teatro Ridotto, featuring the cast of the recording.
Andrea Marcon and VBO will tour the work in late 2004 in Europe and
the U.S.

Andromeda liberata - A Venetian Mystery
With the recording of Andromeda liberata - their début on Archiv
Produktion - Andrea Marcon and the Venice Baroque Orchestra have
scored a real coup.  This is a newly rediscovered, full-concert-
length work that languished in obscurity for some 275 years.  Usually
it's in attics, boxrooms or junkrooms that sensational finds like
this one are made.  But in the case of Andromeda liberata it was the
venerable archive of the Conservatorio Benedetto Marcello in Venice
where, in April 2002, the French musicologist Olivier Fourés happened
upon the manuscript of an anonymous, early 18th-century serenata.
When a discovery of the magnitude of Andromeda liberata takes place,
the reaction is rather like a volcanic eruption.  Regarding the
work's authorship, the scholarly world is, at least for the time
being, divided in its opinion.  Fourés has been able to prove beyond
doubt that the aria "Sovvente il sole" was written by Antonio Vivaldi
and, on the basis of various indications, he has suggested the
possibility that the entire work may have been composed by Vivaldi.
Nevertheless there is mounting evidence that points to a composite
score, a "pasticcio", bringing together pieces by different
composers.  The renowned Vivaldi specialist Michael Talbot has found
unmistakable signs that some of Vivaldi's leading Italian
contemporaries - for example, Giovanni Porta and Tomaso Albinoni -
were involved in the composition.  The pasticcio was a popular form
in Baroque music, and an extraordinarily practical one, because it
allowed already existing musical pieces to be recycled by assembling
them in new combinations.
As for the question,  "Was it Vivaldi or not?",  the Venice Baroque
Orchestra has followed that debate only insofar as it serves the
interests of their thrilling recording, about to be issued on Archiv
Produktion.  Andrea Marcon, the orchestra's founder and director,
considers Vivaldi's authorship to be entirely plausible, but his and
his musicians' overriding concern has been that of making this
exciting, sparkling score accessible to a wider audience.  The
Baroque sound world here finds ideally sympathetic exponents:  the
Venice Baroque Orchestra is made up of outstanding instrumentalists
who have specialized in the interpretation of early music.  After
hearing them in concert one London critic declared that it was like
hearing Vivaldi's Four Seasons for the very first time.  Now, in this
recording, posterity actually will be hearing Andromeda liberata for
the very first time in over 275 years.
For that we owe a debt of gratitude to musicologist Olivier Fourés.
With the meticulousness of a detective, he tracked down the
historical facts behind its genesis.  The trail led to Cardinal
Pietro Ottoboni, who returned to his native Venice on 21 July 1726
after 14 years of political banishment.  Ottoboni was a great music
lover, and numerous concerts were organized in his honour during the
summer and autumn of 1726.  It was at one of these concerts that the
serenata entitled Andromeda liberata received its first performance.
The questions raised by this spectacular discovery are as fascinating
as the serenata itself, the plot of which - in modern terms - could
be described as a tale of abduction with a happy ending.  It derives
from the Greek myth of Andromeda's marriage to Perseus.  The fair
Andromeda is the daughter of Cepheus and Cassiopeia, rulers of
Ethiopia.  Queen Cassiopeia's vanity arouses the indignation of the
sea-nymphs, who regard themselves as even more beautiful than she is.
Revenge comes swiftly:  the sea-god Poseidon sends a sea-monster to
ravage Ethiopia.  In his despair the king asks the oracle how he can
save his country, and is told that the only way is to sacrifice his
daughter.  The young woman is left naked and chained to a rock to be
devoured by the sea-monster.  Looking down, the young Perseus beholds
the princess in her plight.  He slays the monster, releases Andromeda
and promptly falls in love with her.  In gratitude for rescuing her,
the royal couple bestow on Perseus their daughter's hand in marriage.
Why should this of all subjects have been chosen for musical setting
to celebrate Ottoboni's return?  A number of symbolic parallels with
political overtones can be drawn.  The young Perseus serving as
redeemer represents Cardinal Ottoboni, while Andromeda embodies the
suffering city of Venice.  The antagonist Daliso, an invented
character in the composition, could stand for the diplomatic hurdles
that Ottoboni needed to overcome in order to return to his beloved
native city.
Andromeda liberata, the serenata recorded here, is both a magnificent
musical piece of Venice and yet another enigma of this city, which to
this day has lost none of its mysterious allure.  In the hands of
Andrea Marcon and the Venice Baroque Orchestra the work opens a
window into the Baroque era - the orchestra's artistic director is a
fierce advocate of emotionally charged music making, even, and
especially, when the music is Baroque:  "Without your own emotion,
affetto, and understanding, you are far from the real Baroque.  Of
course, there's not only one valid interpretation:  anyone who
believes that idea is absolutely wrong.  Even after our years of
experience in the field, there is still so much to learn!"  And
although there is no end to learning, nor any definitive solution yet
to the puzzle of Andromeda liberata's authorship, there is one thing
that can safely be said:  this recording with the Venice Baroque
Orchestra is the invitation to an exhilarating musical journey to "La
Serenissima".
Ulrike Brenning, 7/2004.

--- In baroquemusiclovers@yahoogroups.com, realsongeur
<no_reply@y...> wrote:

Good morning to all of you.
This article & interview published by the internet site of "Goldberg"
tells us more about the work that has been recorded by Deutsche
Grammophon with the Sonatori de la Gioiosa Marca conducted by Andrea
Marcon.  Is this 'Andromeda liberata' by Vivaldi or not?  It is and
will probably stay an open question...
I can't send both the article and the interview in the same mail;  it
is divided in two mails.
Good reading.
C. Songeur.

1.  The article

Copy & paste of:
http://goldbergweb.com/en/news/italie/2005/03/31101.php.

Specialists have long been aware of an anonymous serenata entitled
Andromeda liberata housed in the musical archives of Venice's
Benedetto Marcello Conservatory.
The forgotten score aroused minimal interest, however, until French
musicologist Olivier Fourès identified one of its arias as having
been composed by Vivaldi. "Sovvente il sole" is a staggering largo in
A minor with an obligato violin part; the work is also included in a
precious autograph collection of arias which is preserved, like
Andromeda, in the Marcello Conservatory.
The attested presence of a Vivaldi aria in the anonymous and
generously proportioned serenata has catapulted Andromeda into the
limelight of musical topicality, and the question on everyone's lips
is whether the Red Priest could have written the entire work. An
impassioned and sometimes even tumultuous debate has animated
Vivaldian musicology for over two years, with the opposing sides
defending radically different positions.
The official opinion of the Venetian Instituto Italiano Antonio
Vivaldi, the heart and soul of Vivaldi research is, according to
Professor Michael Talbot, its principal researcher, that
only "Sovvente il sole" was composed by Vivaldi.
Talbot, who is also known for his work on Albinoni, clearly perceives
the hand of that composer - Vivaldi's Venetian `ancestor' - in
Andromeda, as well as that of Giovanni Porta, a reputed choir master
and prolific composer. The Instituto Vivaldi holds that Andromeda is
a simple pasticcio, a compilation of works by a variety of composers,
of which Vivaldi's contribution is but one element.
Olivier Fourès, on the other hand, who carried out a painstaking and
fascinating study on the subject, believes that Vivaldi's
participation in the work was much more extensive. In his view the
piece was composed for the triumphal return of Cardinal Ottoboni to
Venice in 1726, and could be the Vivaldi vocal complement to the so-
called "Manchester Sonatas", which were dedicated to Ottoboni the
same year. Fourès, to support his position, cites numerous typically
Vivaldian marks in the score; paper dating has shown that the same
paper was used for both the Manchester Sonatas and Andromeda.

--- In baroquemusiclovers@yahoogroups.com, realsongeur
<no_reply@y...> wrote:
> --- In baroquemusiclovers@yahoogroups.com, realsongeur
> <no_reply@y...> wrote:
>
> Good morning to all of you.
> This article & interview published by the internet site
of "Goldberg"
> tells us more about the work that has been recorded by Deutsche
> Grammophon with the Sonatori de la Gioiosa Marca conducted by
Andrea
> Marcon.  Is this 'Andromeda liberata' by Vivaldi or not?  It is and
> will probably stay an open question...
> I can't send both the article and the interview in the same mail;
it
> is divided in two mails.
> Good reading.
> C. Songeur.
>
> 1.  The article

2.  The interview

Copy & paste of:
http://www.goldbergweb.com/en/magazine/interviews/2005/02/30767.php.

ARTICLE AND INTERVIEW WITH ANDREA MARCON: THE ANDROMEDA CONTROVERSY
Specialists have long been aware of an anonymous serenata entitled
Andromeda liberata housed in the musical archives of Venice's
Benedetto Marcello Conservatory. The forgotten score aroused minimal
interest, however, until French musicologist Olivier Fourès
identified one of its arias as having been composed by
Vivaldi. "Sovvente il sole" is a staggering largo in A minor with an
obligato violin part; the work is also included in a precious
autograph collection of arias which is preserved, like Andromeda, in
the Marcello Conservatory.

The attested presence of a Vivaldi aria in the anonymous and
generously proportioned serenata has catapulted Andromeda into the
limelight of musical topicality, and the question on everyone's lips
is whether the Red Priest could have written the entire work. An
impassioned and sometimes even tumultuous debate has animated
Vivaldian musicology for over two years, with the opposing sides
defending radically different positions. The official opinion of the
Venetian Instituto Italiano Antonio Vivaldi, the heart and soul of
Vivaldi research is, according to Professor Michael Talbot, its
principal researcher, that only "Sovvente il sole" was composed by
Vivaldi. Talbot, who is also known for his work on Albinoni, clearly
perceives the hand of that composer - Vivaldi's Venetian `ancestor' -
in Andromeda, as well as that of Giovanni Porta, a reputed choir
master and prolific composer. The Instituto Vivaldi holds that
Andromeda is a simple pasticcio, a compilation of works by a variety
of composers, of which Vivaldi's contribution is but one element.
Olivier Fourès, on the other hand, who carried out a painstaking and
fascinating study on the subject, believes that Vivaldi's
participation in the work was much more extensive. In his view the
piece was composed for the triumphal return of Cardinal Ottoboni to
Venice in 1726, and could be the Vivaldi vocal complement to the so-
called "Manchester Sonatas", which were dedicated to Ottoboni the
same year. Fourès, to support his position, cites numerous typically
Vivaldian marks in the score; paper dating has shown that the same
paper was used for both the Manchester Sonatas and Andromeda.
Andrea Marcon and the Venice Baroque Orchestra decided, in the midst
of this intensive debate, to record their flamboyant interpretation
of the work. The album's release on Archiv will allow listeners to
make up their own minds about the controversy, records in hand. They
will doubtless conclude when listening to the work that the musical
truth probably lies somewhere between the two opposing positions.
Andrea Marcon expressed himself on this debate and other questions in
conversation with Frédéric Delaméa.

Your Andromeda liberata recording has raised a great deal of
controversy about the work's authorship. Is it by Vivaldi? Porta?
Albinoni? Or is it a pasticcio? Contradictory theses have sprung up,
and the scientific debate has sometimes been overshadowed by
passionate feelings on both sides. The controversy should not,
however, mask the fact that the score is a major and splendid
discovery that illustrates the art of the Venetian serenata in the
1720s, quite apart from the issue of its authorship. Before going
into that question, however, could you explain your reasons for
deciding to record Andromeda?

When Olivier Fourès first mentioned Andromeda to me in Japan in
January 2003, I was surprised that no one seemed to have noticed that
it included a Vivaldi aria. Andromeda was indeed known to Vivaldi
specialists, but Olivier Fourès was the first person to realise that
this wonderful aria, which is also part of a separate autograph kept
in the same library, was part of the Andromeda score. It's actually
quite interesting that "Sovvente il sole" is the only authentic
Vivaldi score in all of Venice! As soon as I saw a copy of Andromeda,
I realised it was a large-scale serenata with a whole string of
magnificent, inspired arias.

How does Andromeda differ from other Venetian serenatas in terms of
vocal registration, orchestration, and the role of the chorus? How
does it compare to Vivaldi's La Senna festegiante and Albinoni's Il
concilio de'pianeti, both of which date from the same period?

The structure of the Venetian serenata was extremely varied,
depending upon the person for whom it was written or the event it
celebrated. There is a clear structural difference, for example,
between the lavish Senna festegiante and the sober serenata which
Vivaldi wrote for the wedding of the French king Louis XV. Andromeda
has many elements in common with the large-scale La Senna, for
instance, including its bipartite form, the use and composition of
the chorus and the distribution of its arias. The work calls for five
singers, on the other hand, as compared to the three required for
both La Senna and Albinoni's Climene. Andromeda was certainly
composed to commemorate an exceptional event: Cardinal Ottoboni's
ceremonious visit to Venice after a long period of exile. His stay
began on 25 July 1726 and ended on 4 December of the same year. The
Andromeda score is dated 18 September 1726.

That leads us to the question of the work's authorship. At the
moment, only the aria with obligato violin is indisputably Vivaldi's.
What is your opinion on the rest of the score?

The authorship remains an open question. As you've noticed, our CD
was identified as being by "Vivaldi and others". This was done to
accommodate the Instituto Vivaldi, which does not recognise that
Vivaldi may have written other parts of the work. But no one to this
day has been able to establish the identity of the other composer or
composers with any certainty. Even though some of the arias are
indisputably written in Albinoni's style, and others are not
typically Vivaldian, I cannot imagine that Andromeda includes only
one composition by Vivaldi. If the work is a pasticcio, Vivaldi may
have written a third or a quarter of it (which comes from a
collection that belonged to Cardinal Ottoboni). Apart from that, the
copyists, who have been numbered 8 and 9 by Paul Everett and Michael
Talbot, can easily be identified as having copied other Vivaldi
compositions.
The debate about the work's authorship makes me wonder about the role
of intuitive reasoning in musical analysis. It's hard not to notice
certain things when listening to the work: arias like "Ruscelletti
limpidetti" and "Ma piace et mi diletta" are extremely similar to the
arias Vivaldi was writing in the early- and mid- 1720s. "Si, rinforzi
in te la spene", on the other hand, immediately calls up Albinoni's
style during the same period. How do you feel about this type of
reasoning when it comes to the thorny question of authorship?
I usually trust my intuition, even though doing so is not generally
approved of by musicologists. Because of this, I'm unable to exclude
the possibility that the arias "Ruscelletti limpidetti", "Madre,
lascia ch'io pianga", "Mi piace e mi deletta", "Lo so, barbari fati",
and "Peni che vuol penar", and the duet "Sposo amato/Cara sposa"
(whose theme is identical in part to that of Elpina's aria "Cento
donzelle festose e belle" in La fida Ninfa) are by Vivaldi. I have
not succeeded in identifying elements in these pieces that are
completely at odds with the Vivaldi style. All the other arias
also "speak" Venetian so well that if the work is in fact a
pasticcio, it is easy to image that it is made up of works from the
most important Venetian composers of the time. Andromeda is a very
original serenata – not to say an exceptional one – from whichever
way one looks at it.

Intuitive reasoning is still a rather dangerous tool. We know from
studying other scores from the period that Vivaldi's style, and to a
lesser extent that of Albinoni, influenced the works of a number of
their contemporaries. I'm thinking in particular of Vinci's Farnace,
which is full of Vivaldi-like passages. In cases like this, shouldn't
we admit that scientific analysis should take precedence over
intuition?

Musicology will naturally proceed in the usual way. But it's also
natural, and even vitally important, that musicologists exchange
ideas with performers, and that performers have the final word in
whether or not a work should be recorded. With Andromeda, I felt the
work deserved to be recorded, and the record company trusted me. I
think I can say without the shadow of a doubt that we have recorded
one of the most beautiful Venetian serenatas known today, and that
all the controversy we caused has only helped to further knowledge
about Vivaldi's music and Venetian eighteenth-century music.

Let's talk about the performance. Your reading of Andromeda is full
of original choices. These are especially interesting as far as the
instrumentation and the continuo are concerned. Can you tell us how
you made your decisions about these exciting things?

A.M.: In Vivaldi's time the recitatives were considered to be the
most important musical element in a vocal composition – an opera, a
serenata or a cantata – because they helped the action along. The
comprehension, the declamation and the expression of each word and
each phrase were of capital importance in doing justice to the
recitative. It is important to respect scrupulously the accents at
the end of the verses and to carefully think out the accompaniment,
which in Andromeda is played by two archlutes and two harpsichords.

How do you feel about the oboe playing colla parte with the violin in
a Venetian work like this?

If there is one aria with oboe obligato in a serenata or an opera
(which is the case in the Andromeda aria "Lo so, barbari fati"), it's
unthinkable to me that it was not also heard in other parts of the
work. On the contrary, it was common in Vivaldi's time for the oboe
to double the violin parts, but of course only when the doubling was
compatible with the string writing. This way of thinking led me to
use horns and trumpets in the three choruses.

What criteria guided you in choosing your vocalists?

I looked for singers who had qualities I considered fundamental for
this type of music: expression, pronunciation, virtuosity, technique
and coloratura. I especially sought singers capable of feeling the
sentiments expressed in the music in the first person, as it were, in
order to convey them to the listener. I believe that the affetto is
the true soul of music.

Your recording's release will be followed with an extensive tour,
starting in Venice and continuing in the United States and Holland.
What do you feel are the conditions that allow a work like this to be
performed in public, but without any staging?

I believe, generally speaking, that serenate can be performed in
concert version with no difficulty. Andromeda would lend itself well
to sober staging, though.

Do you think it's possible to reduce recitatives in concert? If so
under what conditions?

Recitatives were often brief in serenate, and served to move the
dramatic action forward. In Andromeda's case the recitatives are very
concise but also very intense. Therefore I didn't think if was
necessary to cut them.

Everything circles back to Vivaldi: you are from Venice, you're the
founder of the first Venetian baroque orchestra of international
importance, your reputation and that of the Venice Baroque Orchestra
are built on your interpretations of the Vivaldi repertoire, in
particular your wonderful anthology of unpublished violin concertos.
However, despite your notable concert series of Vivaldi opera arias
(I especially recall a memorable performance of arias from Tito
Manlio in Venice in 1999, with Lorenzo Regazzo and Sara Mingardo),
you have never conducted a complete Vivaldi opera, and have never
recorded the Red Priest's lyric works. Why is that? Can we look
forward to your becoming more involved in a repertoire in which you
have so much to say, as your Andromeda clearly shows?

Yes, I've always dreamed of conducting a Vivaldi opera. The Venice
Baroque Opera also dreams of playing one. For the time being, I'm
very happy to have "freed" Andromeda…and I'm definitely planning to
continue exploring the Venetian vocal repertoire in general and
Vivaldi in particular in years to come.

Translated by Marcia Hadjimarkos.

I am self employed and just refinanced my mortgage for half the rate, which will
save me thousands per year. This free service can help. 
http://www.greatrefi.com/?a=rcc1 take 30 seconds and fill out this free form
"No credit card? No problem. Just dial 800-211-9293 Only $0.99/min with a $4.99
connect fee"

I'm Adam Whiting, director of the Summer Chamber Music Concert
Series--friends home for the summer from music conservatories across the
country, who wish to bring the joy of classical chamber music to the
communities which have encouraged us since childhood.

Visit us
www.adamwhiting.com/scmcs

Check out our calendar. More coming soon!
www.adamwhiting.com/scmcs/calendar.html

THIS SUNDAY 7:00PM!
06/19/05 7:00pm
@ Tualatin United Methodist Church
20200 SW Martinazzi Ave
Tualatin, OR 97062
503-692-1820
Alberta Hardy, violin
Laura Trupp, violin
Lauren Freeman, viola
Andrew Dunn, cello
Adam Whiting, piano


July 2005
07/06/05 12:00noon Wednesday
@ The Old Church
1422 SW 11th Ave
Portland, OR 97201
503-222-2031


August 2005
08/19/05 7:30pm Friday
@ Mt. Carmel Lutheran Church
515 SW Maplecrest Ct
Portland, OR 97219
503-244-5143, 503-774-6781

08/24/05 12:00noon Wednesday
@ The Old Church
1422 SW 11th Ave
Portland, OR 97201
503-222-2031


Hope to see you there!
Adam
503-632-3512 home
216-225-8430 cell
scmcs@...
www.adamwhiting.com

To those who use the CLASSICALmanac please note that substancial
corrections and updates have been made to the JUNE 24 entry:
http://www.geocities.com/musiclassical/JUN/24.html
Thanks for any contributions or corrections.
---Robert

I'm Adam Whiting, director of the Summer Chamber Music Concert
Series--friends home for the summer from music conservatories across the
country, who wish to bring the joy of classical chamber music to the
communities which have encouraged us since childhood.

Visit us
www.adamwhiting.com/scmcs

Check out our calendar. More coming soon!
www.adamwhiting.com/scmcs/calendar.html


THIS SUNDAY!
06/26/05 7:15pm
@ Sunday Calvin Presbiterian Church
10445 S.W. Canterbury Lane
Tigard, OR 97224-4811
503-639-3273
Andrew Dunn, cello
Kira Whiting, piano


July 2005
07/05/05 7:30pm Tuesday
@ Mary's Woods Chapel
17400 Holy Names Dr.
Lake Oswego, Oregon 97034
503-675-2092

07/06/05 12:00noon Wednesday
@ The Old Church
1422 SW 11th Ave
Portland, OR 97201
503-222-2031

07/24/05 7:00pm Sunday
@ Tualatin Presbyterian Church
9230 SW Siletz Dr
Tualatin, OR 97062
503-692-4160


August 2005
08/19/05 7:30pm Friday
@ Mt. Carmel Lutheran Church
515 SW Maplecrest Ct
Portland, OR 97219
503-244-5143, 503-774-6781

08/24/05 12:00noon Wednesday
@ The Old Church
1422 SW 11th Ave
Portland, OR 97201
503-222-2031


I hope to see you there!
Adam
503-632-3512 home
216-225-8430 cell
adam@...
www.adamwhiting.com

Good morning to all of you.
Has anyone seen the curious 'Dido and Aeneas' conducted by Cremonesi
and enscened/choreographed by Waltz?
What do you think of that?
Have a nice week-end.
C. SOngeur.

I got an incredible interest rate on my home loan, I am self employed I
refinanced my home. This service can help. 
http://tpbaj.com/i/LzMvaW5kZXgvd2F6ZWUvenJyZTNkcHp1 take 30 seconds and fill out
this free form to save money

LIVE-8 Concert and United States of America

The U.S. Department of State has launched a new webpage, U.S. Aid to Africa, in
both English and French, on its international website http://usinfo.state.gov.
Created as a central source for information, the page highlights the breadth and
depth of assistance the United States Government provides to the African
continent to reduce poverty, respond to natural disasters and civil unrest,
alleviate hunger, deal with the AIDS pandemic, and support good governance and
economic polices.
The page was developed to support the discussions of poverty and debt reduction
for African countries during the Group of Eight Industrialized Nations (G-8)
summit in Gleneagles, Scotland July 6-8.

Available in English at: http://usinfo.state.gov/af/africa/aid_to_africa.html
Available in French at:
http://usinfo.state.gov/fr/home/regions/africa/aid_to_africa.html



---------------------------------
Yahoo! Sports
  Rekindle the Rivalries. Sign up for Fantasy Football

[Non-text portions of this message have been removed]

Sorry for the blank messages--technical difficulties... hopefully just a
spat between my mailer and Yahoo, and not the entire world!


I'm Adam Whiting, director of the Summer Chamber Music Concert
Series--friends home for the summer from music conservatories across the
country, who wish to bring the joy of classical chamber music to the
communities which have encouraged us since childhood.

Visit us
www.adamwhiting.com/scmcs

Check out our calendar. More coming soon!
www.adamwhiting.com/scmcs/calendar.html

THIS TUESDAY
07/05/05 7:30pm
@ Mary's Woods Chapel
17400 Holy Names Dr.
Lake Oswego, Oregon 97034
503-675-2092
Dan Crane, violin
Andrew Dunn, cello
Adam Whiting, piano
Kira Whiting, piano

THIS WEDNESDAY
07/06/05 12:00noon
@ The Old Church
1422 SW 11th Ave
Portland, OR 97201
503-222-2031
Dan Crane, violin
Andrew Dunn, cello
Adam Whiting, piano
Kira Whiting, piano



I hope to see you there!
Adam
503-632-3512 home
216-225-8430 cell
adam@...
www.adamwhiting.com

If you are alone, call this number 800-211-9293. Connect with Real Singles from
your local area instantly. A true Match is only one phone call away
800-211-9293. Meet people with common interests and desires now. Check this out.
800-211-9293

Trust me it has never been easier to refinance your home loan at a better
interest rate saving you thousands. Check out this free service. 
http://tpbaj.com/i/LzEvaW5kZXgvd2F6ZWUvbDY4dml3amhsdGhldnF3YXF6ZGJh take 30
seconds and fill out this free form to save money

Dear friends,
    I found series of materials on United Nations, which were nice and smooth
reads. I recommend looking at them, and get to know more about what exactly UN
can do for us... .
Check it out, by clicking this link: http://persian.usinfo.state.gov
Best Regards,
Massoud


---------------------------------
Yahoo! for Good
  Click here to donate to the Hurricane Katrina relief effort.

[Non-text portions of this message have been removed]

Greetings,

My name is Tina and I'm a new member.  I would like to invite you to
join our new Group, The Art of Writing Music & Literature.  Here's
the
link for you:

http://groups.yahoo.com/group/theartofwritingmusic/

Please join this wonderful new Group.

Best Wishes,

Tina

To Whom It May Concern,

This is what we have been sending world wide but
for some reason every one wants to keep our true
story quiet, a secret. Why? Through our suffering
we have been trying to get our story out for over
3 years now. Every one refuses to speak about it.

Will some Editor or Reporter have the courage to
take our story and let the public know?

Why has the USA Government and the Media kept this
quiet when my husband was working on a System that
deals with National Security to keep the American
People safe from Terrorist Attacks? Why did they
not even bother speaking to my husband about the
System? Over 3 years later it could of been set up
already but it is not.

Why did the Government say they would welcome any
one with Technology and give them immediate
citizenship but instead they left us on the street
to starve and die? Why?

Would You?

Would you shake the hand of the most powerful
man in the world, the Commander in Chief if he
left you on the street to suffer, starve and
die knowing full well your situation after you
begged and pleaded for his help?

Even though your forum has nothing to do with
this please help us by passing our site to all
your friends and acquaintances and help with
the Boycott. Examine who is being Boycotted.

Human Rights Violations and Extreme Inhumane
Treatments committed against myself,Annette
Martini and my disable husband Anthony Martini
in the USA by the Bush Administration and US
Immigration.

Examine the Evidence carefully and the Proof...

See what two crooked attorneys did to us and
got away with it because they are attorneys.

I,Annette Martini and my husband Anthony Martini
are fighting back through our website because no
one is listening and no one is helping!!!

Please pass this website to all your friends
and send a fax to all Senators and Congress and
tell them how disgusted you are with what
happened us.

While the US Media is constantly talking about
illegals examine what the Federal Government and
US Immigration do to the LEGALS!!! Inhumane!!!

US Immigration knew our situation and that we had
no one to help us and we were on the street but
did not care and kept slamming the phone in our
face.

In spite of all the letters we wrote to the White
House,President George W. Bush and Former Attorney
General John Ashcroft and Alberto Gonzales pleading
for their help and emergency financial support
telling them we would even consider it a loan so we
can get an apartment and start working and get back
on our feet, every one ignored us for over 3 years
and did not care. They left us on the street to
suffer,starve and did not care if we died.

Examine the threats of US Immigration Employees to
us as two people that are LEGAL here..telling us they
were going to use us as their sexual plaything and
make sure our file would not be processed but instead
they would throw us out of United States even though
we are here Legally and do have an A# to prove it.

Examine the threats and nasty comments of some
people that have been posted... I cannot for the life
of me believe how cruel so many have been and how no
one cares if we die.

United Way..Salvation Army..Churches...all refused to
help us... The Red Cross said,"We do not help people
that are down on their luck." They only help people
in disasters.

Everywhere we went to, to ask for help they refused
and turned us away.

Please support us by going to our site and passing it
around to every one you know...do not let the Media
win by keeping what happened to us silent...

The US Media have kept our story quiet for 3 years
now while we still suffer among hostile people who do
not want to help us.

We have sent our site around the world and the Media
around the world but everyone is keeping this quiet.
We cannot believe that the Media refuses to do our
story. We know it is because it is political and it
is the Bush Administration that has done this to us
and no one wants to talk about it. They would rather
we would die and that way it would all go away.

Will you help to get our true story out?

Do Not Let The US Media Win....Please pass our site
around. Please do not keep our true story of Extreme
Inhumane treatments against us quiet by doing nothing.

I am fighting back through our website for my disabled
husband and I and for our unborn child that I lost on
the hot street of Florida because of all the pain and
suffering inflicted upon us by all involved and the
hospital in Florida that refused to take me in.

I pleaded with First Lady Laura Bush and the President
not to leave us on the street for Christmas and we have
passed 3 Christmas with no answer and no help and the
4th Christmas is soon coming.

Who will be so kind as to pass our true story around
to make sure it does not die? Who will be so kind as to
tell the Media and their Government what has been done
to us.

Who is brave enough to stand up for Justice and help
us change Laws so that people who are in dire straits
never again have to beg and beg and end up being
ignored and starving on the streets because they have
no support,no home, no telephone to take care of
themselves even though they have the talents to work
for themselves.

I am a piano teacher, a writer, musician but with no
apartment and no home, no telephone and no piano how
can I teach?

My husband is a computer expert who develops software
and is a national security expert. With no apartment,
no telephone and no help how on earth can we support
ourselves.

My husband has designed some websites through the
librairies,universities which did not cost us
anything. Through those sites at the moment we
barely make enough to eat.

What do we get in return? The wrath of nasty people
that keep asking how come we have websites. What they
do not understand is if we did not have those websites
we most certainly would be dead today over 3 years
later. They would of found us dead on the sidewalk.

We placed a donation button on our site. Instead of
getting kindness from people we have received so many
nasty emails with people angry we have a donation
button on our site. Why? Would it make those people
feel good if we died from starvation.

I sit and shake my head not believing the hunger pains
I and my husband have had to go through and the anger
of the people who constantly turn their backs on us.
Why are people turning their backs on a couple who's
husband is an expert in National Security for the good
of the people of the USA?

We have been struggling to survive and try to get back
on our feet for over 3 years in the USA and many more
years from the country we came from. We came here for
Freedom and instead we are living in extreme inhumane
conditions enduring the hatred of people telling us to
go back where we came from even though we are Legal
and do have an A# to prove it.

Everywhere we turn the door is slammed in our face. At
the moment I see no light or hope but the indifference
of humankind. Do you understand what it feels like to
have so many turn their backs on us and complain and
call us names to others instead of helping? Do you
understand how much hard work it is to get our story
out by ourselves because the Media refuses to do our
story? Do you understand what it feels like to be
treated like animals by ignorant people?

While we have seen Hurricanes all around us in Florida
and neighboring States, we have seen everyone getting
help around us but we can never get help from anyone.

Please pass our site around the world. Please do not
get angry at a couple who are fighting back against
all those who did them wrong and trying to find help
so they can survive in these  hostile conditions and
get back on their feet and get themselves an
apartment so they can start taking care of themselve
properly.

Go to our website and read everything there....

http://www.annettemartini.us

Thank you so much

Annette Martini and Anthony Martini

I should probably be a little compassionate with Ms. Martini's last
posting about all their hardships and conspiracy theories but this is
really getting rediculous.  For god sakes this is supposed to be a
group about baroque music.  There is so much we could be discussing
within in that area, but instead all we have anymore are people's
pleas for donations, and complaints against the UN, and people
advertising for this or that.  Ugh!  Maybe I'm wasting my breath here,
but I think it's time somebody actually moderated this group and made
sure that off-topic B.S. isn't tolerated.  But with so few people who
participate with on-topic messages anyway, maybe it doesn't matter.

How about this as a topic for conversation: where is there a good
forum to have REAL discussions about baroque music?

David R.

For a message board on Baroque discussions that is well moderated and
has over a hundred discussion threads try

  http://groups.msn.com/Classical-ContemporaryMusic/welcome1.msnw

You will need to join if you want to participate in discussions other
wise all messages are available to all.

There are actually 22 messageboards for this group, Baroque being one
of them.  There are separate messageboards for Handel and Bach.
There are also photo albums for each messageboard.

Welcome all to Chris Frigon's forum on any and all music from Western
Civilization. There are 22 active message boards on the music of:
21st Century, Live Music, Recordings, American Music, 1945-1999,
Modern, Ancient World, Middle Ages, Renaissance, Baroque, JS Bach,
Handel, Haydn, Mozart, Beethoven, Schubert, Classical, Romanticism,
Brahms, Interpretation and Proportions. Also web pages for
Masterpieces of Music before 1750, Women in Music, and much more.
Over 700 pictures in albums Join us and the variety of our
discussions.

There is also a "Composer's Forum" for those so inclined.

Cheers,
Chris

Please notice on our cover page at http://musiclassical.com
under ENTRIES BY TOPIC in the left column- we have added links to
additional news of BALLET; CLASSICAL MUSIC; DANCE; OPERA and SYMPHONY.
By checking these links daily you will find the latest published news
regarding these topics.

Friends,
    I saw this very detailed information on Green Card Lottery, which i thought
it be of use for everyone. Please do not trust third party organizations,
companies or individuals to fill out your forms. You don't need to pay a dime.
This document is very clear and right to the point.
You can find it on: http://persian.usinfo.state.gov
Please share it with your friends and family, or if you have a blog, you may
want to link to it, there as well.

ÇØáÇÚÇÊ ÑÇÌÚ Èå �Ñíä ˜ÇÑÏ áÇÊÇÑی - ÏæÑ ÌÏیÏ ÝÑÏÇ ÔÑæÚ ãíÔæÏ
Çیä ÌÇ ÑÇ ˜áí˜ ˜äíÏ: http://persian.usinfo.state.gov

The link to the article itself is:
http://persian.usinfo.state.gov/persian/index/products/products_listing_fa/DV_20\
07_Diversity_Lottery_media_advisory.html

Best regards,
-Massoud



---------------------------------
Yahoo! for Good
  Click here to donate to the Hurricane Katrina relief effort.

[Non-text portions of this message have been removed]

Some of my    friends have managed to meet a few nice ones off this thing (here
is the place they told me: http://www.thislinkiscool.info/gmtkz , but what do
you guys reckon? Myself, I actually think it is pretty awesome from what I've
seen, and Im  considering getting on there later on this evening. If you don't  
know what it is, basically its like a matchingplace, but has few added things I
noticed. Stuff like messenger, vidchat,         picsrate, etc. Best part is you
can talk to ppl on vidchat even if you don't have it enabled yourself.