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Edward Benjamin Britten was born at Lowestoft, Suffolk, England, on Saint Cecilia’s Day, November 2. Aldeburgh, Suffolk, on December 4, 1. On June 1. 2 of that year he had been created Baron Britten of Aldeburgh in the Queen’s Birthday Honors, making him the first musician to be elevated to the peerage. The Serenade was written in 1. Peter Pears and horn player Dennis Brain, and was first performed by those artists with Walter Goehr and his orchestra in London on October 1. The San Francisco Symphony first performed the Serenade in March 1. Jon Garrison and then- SFS principal horn David Krehbiel were the soloists and Edo de Waart conducted; in the most recent SFS performances, in November 1. Neil Mackie and David Krehbiel were soloists and Iona Brown conducted. The Serenade is dedicated to Edward Sackville- West, brother of the famous Vita, himself a music critic, and of assistance to Britten in selecting the poems for this work. Performance time: about twenty- five minutes. The precocious author- composer was six or seven. The summer he was fourteen, he wrote Quatre Chansons fran. They were not performed until 1. Britten’s poetic imagination and of an astonishingly sure technique. Edward Benjamin Britten was born at Lowestoft, Sussex, England. Britten the boy was full of good ideas. We are privileged to continue publishing his program notes. Shop britten a boy was born sheet music, music books, music scores & more at Sheet Music Plus, the World's Largest Selection of Sheet Music. Britten's War Requiem. Saturday, November 2 at 7:30 p.m. Program Notes by Elizabeth Schwartz. That same summer of the French Songs, someone asked him at a tennis party what he wanted to be when he grew up. A year later, he started at a new school and on his first day was identified by the music teacher—with obvious disapproval—as “the little boy who likes Stravinsky.” And it was not just the musical climate. The future composer of Our Hunting Fathers, the War Requiem, Who Are These Children?, and Owen Wingrave had left his previous school in disgrace as the author of an essay that his biographer, Michael Kennedy, describes as “an impassioned criticism of hunting and extended.. But by then something had happened that made all the difference. At ten, he had heard Frank Bridge conduct his suite The Sea, and he “was knocked sideways.” At thirteen, he was equally stunned by Bridge’s rhapsody, Enter Spring. This time, his viola teacher, Audrey Alston, under whose guidance he had done his first writing for strings, took him to see Bridge, and before long the boy was taking lessons, “mammoth” ones, with that remarkable man. Bridge, a comfortable member of the English “pastoral school” as a young man, had become a lonely figure in the twenties: He was a pacifist (there, too, he would leave his mark on Britten) and, unlike nearly all of his compatriots, he found what Stravinsky, Bart. From his pupil’s account, not to mention Britten’s achievement, Bridge must have been an inspired and inspiring teacher. More than thirty years later Britten recalled: “In everything he did for me, there were perhaps above all two cardinal principles. One was that you should try to find yourself and be true to what you found. The other—obviously connected with it—was his scrupulous attention to good technique, the business of saying clearly what was in one’s mind.”. As Britten entered his twenties, some things went well, others not. In 1. 93. 4, he heard a broadcast of Wozzeck—it was the British premiere, a concert performance conducted by Adrian Boult—and he knew at once that he wanted to study with Alban Berg. At that point, in perfect exemplification of English insularity and anti- professionalism, Sir Hugh Allen, director of the Royal College of Music, intervened by advising Britten’s parents to refuse permission because Berg was “not a good influence.” Britten surmised that “there was some confusion in my parents’ minds- -thinking that ! Wood’s Promenade concerts; and the BBC provided the occasional opportunity (its musical activities were then guided by Edward Clark, a student of Webern). He was increasingly in demand as a composer for documentary films, the important publishing house of Boosey & Hawkes took him on, and he was even getting played abroad. Britten’s loyalty to left- wing and pacifist causes and his ties to such writers as W. H. Auden and Christopher Isherwood also made him a suspect figure. So, of course, did that then undiscussable issue, his homosexuality. When Auden and Isherwood moved to the United States in January 1. Britten made arrangements to follow suit. His companion on the journey—for life, as it turned out—was the tenor Peter Pears, whom he had met three years before, at which time they had given a benefit recital for the Republican side in the Spanish Civil War. Britten’s ties to Suffolk County (the one on Long Island now, not his own home county in East Anglia) even included assuming the conductorship for the 1. Suffolk Friends of Music Orchestra. The American professional world was beginning to take notice as John Barbirolli in New York, Eugene Goossens in Cincinnati, Serge Koussevitzky in Boston, and Eugene Ormandy in Philadelphia all programmed works by Britten. Britten’s American experience, agreeable and stimulating though it was, made him realize how deeply rooted he was in England. During a stay in Escondido, California in the summer of 1. BBC magazine The Listener an article by E. M. Forster about the East Anglian poet, George Crabbe. That sentence struck home. It brought to the surface his feeling that he must return to England, and it was in Crabbe’s The Borough that he found the material for Peter Grimes, the opera that was a milestone in his life and in the history of British music. It was hard to get passage during the war, but on March 1. Britten wrote in the Mayers’ visitors book, “The end of the week- end (see Aug. A month later he and Pears were home. Hymn to Saint Cecilia, and A Ceremony of Carols—were quickly introduced in the composer’s homeland and had a more positive reception than most of his prewar compositions. The big project at hand was Peter Grimes (which Koussevitzky had commissioned just prior to Britten’s departure from the US), but before that, and as the first music he wrote after his return to England, Britten wrote the Serenade. Dennis Brain’s father, Aubrey, was England’s most eminent performer on the French horn and was himself the son of a superb horn player; Aubrey’s brother Alfred was principal horn of the New York Symphony and, later, the Los Angeles Philharmonic. But Dennis, who made his debut at seventeen (he and his father can be heard in the 1. Busch Chamber Players recording of the Brandenburg Concerto No. In his book The French Horn, Reginald Morley- Pegge calls him “the first horn player of genius since Punto . In an obituary article, Britten wrote that Brain’s help was “invaluable in writing the . Passages which seemed impossible even for his prodigious gifts were practiced over and over again before any modifications were suggested, such was his respect for a composer’s ideas. Happily, he was amply recorded, not only in solo and chamber music, but as principal horn in the Royal Philharmonic and the Philharmonia orchestras. No other singer in our time except Callas had a voice so instantly and unmistakably recognizable. Sir Peter, as he had become in 1. His was not a conventionally beautiful voice, but it had a range of color, a flexibility, an intensity and penetration—Michael Kennedy speaks of “monastic ecstasy”—altogether exceptional. It was, furthermore, in the service of a level of intelligence, taste, and poetic fantasy not often encountered. These qualities, combined with his technical address, made him one of those performers whose presence changes the world of music. The roles that Britten wrote for him (and happily we have Albert Herring to remind us of his comic gift), as well as the many songs, make up a vivid composite portrait of one of the great artists of our time. The Serenade is the most famous of his cycles in that genre. Fifteen years later, the Serenade also acquired a sequel in the Nocturne, a deeper, darker, less immediately obliging, and therefore much less known work that also extends the idea of pairing the tenor voice with an obbligato instrument, in that instance a different one for each of the seven songs. At the same time, it is clear that when it came to poetry, Britten had a mind of his own as well as extensive knowledge and profound love. Britten directs that the player must use the natural harmonics of his instrument only, not the valves, so that certain notes sound exotically and evocatively out of tune to our ears. I know of no settings of his verse other than this one (Britten uses four of ten stanzas). The music is of inspired simplicity, consisting mainly of descending triads and fragments of scales, but charmingly responsive to the text (“A very little little Flock”). As the sun descends, so does the horn, coming to rest on a tonic pedal throughout the last stanza. All his life, from the Simple Symphony to the 1. Phaedra, Britten had a remarkably imaginative touch with string orchestra. Listening to this song, we can also understand with special force what Britten had in mind when he said (apropos Peter Grimes): “One of my chief aims is to try to restore to the musical setting of the English language a brilliance, freedom, and vitality that have been curiously rare since the death of Purcell.”. The horn had the stage to itself in the Prologue, receded to the role of agreeable seconder of the tenor’s motions in “Pastoral,” and stepped very much to the fore in “Nocturne.” Now, in “Elegy,” the horn is the protagonist, singing a wide- ranging song against a quiet but restlessly syncopated accompaniment. Blake’s brief and frightening poem is set as a short recitative in the middle of that song, almost like something inserted with a caret as an afterthought. The strings add just one fierce punctuation to this recital. Alone, and very high, with great slides from octave to octave. The strings strike in with new material of their own; at the climax, they are joined by the horn in a ringing molto forte. The song vanishes in pianissimo, with the voice again (almost) alone. Atomic absorption Spectroscopy. Atomic Absorption. Spectroscopy. Elena. Sevostianova. The study of absorption. Academic Press Dictionary of Science and Technology)1. Elements detectable by. Vol.4, No.1 (2011), 49-55 SAMPLE PREPARATION FOR FAAS Nabil Ramadan Bader 50 concentration. Atomic Absorption And Atomic Fluorescence Spectrometry Haiying Liu Department of Chemistry. Michigan Technological University. 3 - Atomic Absorption Spectroscopy Introduction Atomic-absorption (AA) spectroscopy uses the absorption of light to measure the concentration of gas-phase atoms. Since samples are usually liquids or solids. Atomic Absorption Spectrometer Varian SpectrAA Model 220FS The Instrument The instrument consists of: A flame Lamps to produce the correct wavelength of light A detector A system to aspirate solutions into the flame A computer. Atomic Absorption Spectroscopy, Page 2 II. Certified 1000 ppm AAS standards (Fe, Zn, Mn, Sb, Cu) provided by instructor. Nitric acid (2% v/v), prepare 1 L. Unknown sample (solid) provided by instructor. Determination!of!Calcium!by!Atomic!Spectroscopy!!! CHEM!334!Quantitative!Analysis!Laboratory!!! ColoradoState!University! Atomic absorption. Specifically, a detector. Any atom has its own distinct pattern of wavelengths at which. This allows for the qualitative analysis of a pure sample. In order to tell how much. It can be done producing a calibration curve. For this process, a known. However, as the concentration of the target atom in the. Thus, one runs. a series of known concentrations of some compound, and records the. A straight line can then be drawn between all of the known points. The use of special light sources and. The phenomenon of atomic. AA) was first observed in 1. Fraunhofer. lines in the sun's spectrum. It was not until 1. Australian physicist Sir Alan Walsh demonstrated that atomic absorption could. Atomic absorption analysis involves. The incident light beam is attenuated by. Beer's law. The process of atomic. AAS) involves two steps: 1. Upon. the absorption of ultraviolet or visible light, the free atoms undergo. To obtain the. best results in AA, the instrumental and chemical parameters of the system must. A common method is to introduce a liquid sample into a flame. Upon. introduction, the sample solution is dispersed into a fine spray, the spray is. It is therefore important to set the instrument parameters such that. The light produced by the hollow- cathode lamp is emitted from excited. Therefore the radiant. This method provides both sensitivity and selectivity since. To reduce background. Top of the document. Instrumentation. Figure 2. Perkin- Elmer. Spectrophotometer Model. In atomic absorption. A graphite furnace AAS. In. flame AAS (see photo above), we aspirate a sample into a flame using a nebulizer. The flame is lined up in a beam of light of. The flame (thermal energy) causes the atom to. When the. atoms make their transition, they absorb some of the light from the beam. The. moreconcentrated the solution, the more light energy is absorbed! The light beam is. The lamp must be. The light. passed through the flame is received by the monochromator, which is set to accept. The detector measures the intensity of the. When some of the light is absorbed by metal, the beam's. The detector records that reduction as absorption. That. absorption is shown on output device by the data system. The instrument will record the absorption generated by. By plotting the absorption versus the concentrations of. We. can then look at the absorption for a sample solution and use the calibration. Top of the document. Techniques of Measurement and EPA. Methods Using FAASAtomic absorption. The EPA. employs this technique for determining the metal concentration in samples from. A) Sample preparation. Depending on the. Table 1. lists the EPA method number for sample processing in terms of the environmental. For more detail information, readers could. EPA document SW- 8. Hydrochloric acid digestion is not suitable. B) Calibration and. As with other analytical. EPA. QA/QC demands calibration through several steps including interference check. The idealized. calibration or standard curve is stated by Beer's law. Unfortunately. deviations from linearity usually occur, especially as the concentration of. Figure 3 shows an idealized and deviation of response curve. It is desirable to work in the linearity response range. The rule. of thumb is that a minimum of five standards and a blank should be prepared in. Idealized/deviation. If the sample. concentration is too high to permit accurate analysis in linearity response. C) EPA method for metal. Flame atomic absorption. They are normally. For some elements, the temperature or type of flame. If flame and analytical conditions are not properly used. Graphite furnace atomic. The major advantage of this technique is that the detection limit can. It is applicable for relatively clean samples, however. It is important for the analyst to. Table 2 lists the available. EPA manual SW- 8. Table 2. EPA methods for determination of metals by direct aspiration. Analyte. Method number. Analyte. Method number. Analyte. Method numberaluminum. Aberyllium. 70. 90cadmium. Asodium. 77. 70strontium. D) Interferences. Since the concentration. Factors that may affect. The following are the most common interferences: A) Spectral interferences. The interference. This. usually occurs when using organic solvents, but can also happen when. B) Formation of compounds. The most common example is the formation. C) Ionization of the. This is commonly happens to barium, calcium. D) Matrix interferences due. E) Broadening of a. The most common line. Doppler effect. This effect arises because atoms will have different. Lorentz effect. This effect occurs as a result of the concentration of. Quenching effect. In a low- pressure spectral source, quenching collision can. Self absorption or self- reversal effect. The atoms of the same kind as that emitting radiation will. This effect. becomes serious if the vapor, which is absorbing radiation is considerably. Top of the document. Operating instructions for Perkin- Elmer. Spectrophotometer Model 4. Lamp installment. Gas ignition. Burner alignment. Calibration. 5. Atomic Absorption Resources. EPA document SW- 8. Atomic. Absorption Spectrometry; Theory, Design and Applications. Barnes & Noble Inc., New York. Analytical. Atomic Spectroscopy. Plenum Press, New York. Handbook of Atomic. Absorption Analysis. CRC Press, Boca Raton. Scientific. journals related to Atomic Absorption Spectroscopy: Journal of. Analytical Atomic Spectrometry. Published by: Royal Society of. Chemistry. Spectrochimica. Acta Part B: Atomic Spectroscopy Published by: Elsevier Science. Reference. standards for Atomic Absorption Spectroscopy. Top of the document. Please. address your questions to Elena. Building Performance. This information is published by the Ministry of Business, Innovation and Employment’s Chief Executive. It is a general guide only and, if used, does not relieve any person of the obligation to consider any matter to which the information relates according to the circumstances of the particular case. Expert advice may be required in specific circumstances. Where this information relates to assisting people: with compliance with the Building Act, it is published under section 1. 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