999 resultados para Guerre franco-allemande (1870-1871) -- Récits personnels


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4th ed. of no. 1; 3rd ed. of no. 2; 2nd ed. no. 7, 10 and 11.

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v.1-48. Waverley novels. 1865-1868.--v.49-60. Poetical works. 1868.--v.61-90. Miscellaneous works. 1870-1871.-v.91-100. Memoirs of Sir Walter Scott, by J. G. Lockhart. 1869.

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Mode of access: Internet.

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Vol. 8, pts. 1-2, 1870-1871, bound in 1 vol. Each pt. has separate t.p.

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"Zeitungen und zeitschriften": v.3, p.[603]-605.

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Vol. 10 contains "Sonmaire". Actes de la délégation de Tours et de Bordeaux. Conclusions de la Commission. Annexes. -- Rapport spécial sur l'administration de la justice en province (1870-1871).

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Mode of access: Internet.

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The monarch butterfly, Danaus plexippus, is one of Australia's best-known exotic butterflies, being first recorded here in the spring/summer of 1870/1871. However, the source of the original population is unknown. Using historical records we suggest that the most likely source of the founder population was from Vanuatu and/or New Caledonia. Many almost simultaneous 'first records' for the butterfly in Australia suggest that a large, well-distributed population was present when first noticed. While such a population may have developed from a limited number of individuals flying across the Coral Sea, the well documented, very dramatic appearance of large monarch populations in Australia does not appear to fit this model. Rather, we hypothesise that large numbers of monarchs were carried to Australia on cyclonic winds: no fewer that 3 cyclones hit the Queensland coast in early 1870. If one or more of these cyclones tracked from the Vanuatu/New Caledonia chain, then they may have transported monarchs. Once established on the central/northern Queensland coast, natural migration would account for the appearance of butterflies further south.

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t.1. La guerre-La Commune. Paris-Provine. - t.2. La Commune. Paris-Versailles-La Province.

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The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).