Nova Express

Nova Express is a 1964 novel by American author William S. Burroughs. It was written using the ‚fold-in‘ method, a version of the cut-up method, developed by Burroughs with Brion Gysin, of enfolding snippets of different texts into the novel. It is part of The Nova Trilogy, or „Cut-Up Trilogy,‘ together with The Soft Machine and The Ticket That Exploded. Burroughs considered the trilogy a „sequel“ or „mathematical“ continuation of Naked Lunch.

Nova Express was nominated for the Nebula Award for Best Novel in 1965. It is listed in David Pringle’s 1985 book Science Fiction: The 100 Best Novels.

Grove Press printed a ‚Restored‘ edition in 2014, edited by Oliver Harris, which made a number of corrections and added an introduction and extensive notes. The introduction argued for the care with which Burroughs used his methods and established the text’s complex manuscript histories.

Nova Express is a social commentary on human and machine control of life. The Nova Mob—Sammy the Butcher, Izzy the Push, The Subliminal Kid, and others—are viruses, „defined as the three-dimensional coordinate point of a controller.“ „which invade the human body and in the process produce language.“ These Nova Criminals represent society, culture, and government, and have taken control. Inspector Lee and the rest of the Nova Police are left fighting for the rest of humanity in the power struggle. „The Nova Police can be compared to apomorphine, a regulating instance that need not continue and has no intention of continuing after its work is done.“ The police are focused on „first-order addictions of junkies, homosexuals, dissidents, and criminals; if these criminals vanish, the police must create more in order to justify their own survival.“ The Nova Police depend upon the Nova Criminals for existence; if the criminals cease to exist, so do the police. „They act like apomorphine, the nonaddictive cure for morphine addiction that Burroughs used and then promoted for many years.“

Control is the main theme of the novel, and Burroughs attempts to use language to break down the walls of culture, the biggest control machine. He uses inspector Lee to express his own thoughts about the world. „The purpose of my writing is to expose and arrest Nova Criminals. In Naked Lunch, Soft Machine and Nova Express I show who they are and what they are doing and what they will do if they are not arrested. […] With your help we can occupy The Reality Studio and retake their universe of Fear Death and Monopoly.“ As Burroughs battles with the self and what is human, he finds that language is the only way to maintain dominance over the „powerful instruments of control,“ which are the most prevalent enemies of human society.

While Naked Lunch was an initial shock to the literary community, Nova Express was considered the end of Burroughs’s stylistic experiment and of the Nova Trilogy. The novel received more praise on its own, as it was often compared to the other books in the trilogy and Naked Lunch. Eric Mottram stated that although „Burroughs’s repetitive narcotic and homoerotic fantasies become tedious in sections of his third novel … it is from these obsessions that his most powerful work develops.“

Reviewing the novel for a genre audience, Judith Merril compared Nova Express to „the surreality of certain dreams, or the intense fascination of a confusion of new impressions in real life.“

A. M. Esmonde

Aaron Michael Esmonde (pen name A. M. Esmonde, born 20 August 1977, Swansea, Wales) is a horror, scifi and fantasy novelist, director and producer. The vampire horror novel Blood Hunger (2010) was his first work to be published, followed by the popular zombie novel Dead Pulse. Both ebook editions ranked in the top 100 (free) horror and fantasy charts, Blood Hunger position #13 with Dead Pulse reaching #39. In May 2014 his third novel The Final Version a science fiction thriller was released, with the free ebook ranking at #12 in the USA science fiction cyber punk chart on 31 August 2014 and #42 in the UK dystopian science fiction chart on 30 August 2014.

A. M. Esmonde was also a producer on the film Terminus (2010), which was directed by Sean P. Parsons, and acts as a prelude story to the Blood Hunger novel. He also produced the related short Revamped (2009). In 2013, he became an associate producer of ‚Call Girl‘ the first film in David P. Baker’s ‚City of Sin‘ and the ‚Crime Lord‘ TV series. Also, 2013 saw him direct a revenge themed music video, ‚Say My Name‘, for the rock band V0iD.

Нежинцев, Евгений Саввич

17 марта 1904(1904-03-17)


10 апреля 1942(1942-04-10) (38 лет)




Евгений Саввич Нежинцев (17 марта 1904 — 10 апреля 1942) — русский советский поэт.

Евгений Саввич Нежинцев родился 17 марта 1904 года в Киеве. Там же учился в гимназии. Начав работать в пятнадцать лет, сменил несколько видов деятельности: был табельщиком, сторожем, конторщиком, подручным слесаря. Затем учился на электротехническом факультете в Киевском политехническом институте. Будучи рабкором газеты «Пролетарская правда» сочинял стихи и писал заметки на производственные темы. В 1927 году после окончания института был направлен на строительство Волховской гидроэлектростанции, затем переведён в Ленинград на должность инженера Ленэнерго.

После начала Великой Отечественной войны Евгений Нежинцев ушёл добровольцем в отряд народного ополчения, но из-за болезни на фронт не попал.

Евгений Саввич Нежинцев умер от голода в Ленинграде 10 апреля 1942 года.

Первый стихотворный сборник Е. С. Нежинцева был выпущен в 1930 году в Киеве под названием «Яблочная пристань». На следующий год был издан второй сборник стихов — «Рождение песни». С 1931 года — член Всероссийского союза писателей.

Также занимался переводом стихотворений, рассказов, повестей с английского, французского, украинского языков. Переводил произведения Т. Шевченко, И. Франко, М. Коцюбинского, современных украинских поэтов.

Рукописи поэта хранятся в Центральном государственном архиве литературы и искусства Санкт-Петербурга.

М. Бенина, Е. Семёнова. Советские поэты, павшие на Великой Отечественной войне. — Академический Проект, 2005. — 576 с. — ISBN 5-7331-0320-5.

History of the Jews in Regensburg

The history of the Jews in Regensburg, Germany, reaches back over 1,000 years. The Jews of Regensburg are part of Bavarian Jewry; Regensburg was the capital of the Upper Palatinate and formerly a free city of the German empire. The great age of the Jewish community in this city is indicated by the tradition that a Jewish colony existed there before the common era; it is undoubtedly the oldest Jewish settlement in Bavaria of which any records exist.

The earliest historical reference to Jews in Ratisbon (Regensburg) is in a document of 981, where it is stated that the monastery of St. Emmeram bought a piece of property from the Jew Samuel (Aronius, „Regesten,“ No. 135). The Jewish quarter, „Judæorum habitacula,“ is mentioned as early as the beginning of the 11th century (1006–28), and is the oldest German ghetto to which there is any reference in historical sources (Aronius, l.c. No. 150). The Jews were granted their first privileges there in a charter of 1182. Therein Emperor Frederick I. confirmed the rights they had received by the favor of his predecessors, and assigned to them, as to their coreligionists throughout the empire, the status of chamber servants (see Kammer knechtschaft). But their political position became complicated later by the circumstance that the emperor transferred them to the dukes of Lower Bavaria without releasing them from their obligations as chamber servants. To these overlords the Jews of Ratisbon were pawned in 1322 for the yearly sum of 200 pounds of Ratisbon pfennigs; but they were also subject to taxation by the municipal council of the city, though they received some compensation in the fact that thereby they secured the protection of the city council against the excessive demands of the emperor and the dukes.

During the first Crusade (1096) the community suffered like many others in Germany. An old chronicle says with reference to the persecutions that took place in Franconia and Swabia in 1298 (See Rindfleisch): „The citizens of Ratisbon desired to honor their city by forbidding the persecution of the Jews or the slaying of them without legal sentence.“ The wave of fanaticism which swept over Germany in 1349 was checked at Ratisbon, in a similar spirit, by the declaration of the magistrates and the citizens that they would protect and defend their Jews. The municipal council again shielded them by punishing only the guilty when, in 1384, a riot occurred because some Jews had been convicted of giving false returns of their property to the tax-assessor. The protestations of the magistrates, however, could not protect their wards against the exactions of the emperor Wenzel when (1385–90) he replenished his purse by contributions levied upon the German Jews. In the following years they were again heavily taxed by both emperor and dukes, and in 1410 the magistrates, tired of ineffectual protest, took part in the game of spoliation by making an agreement with the duke that the Jews should pay 200 florins a year to him and 60 pounds a year to the city, extraordinary taxes to be divided between the two.. This marks the turning-point in the history of the Jews of Ratisbon, who were henceforth abandoned to their fate; religious intolerance and social prejudice threatened their very existence.

After the Jews had been expelled from the various Bavarian territories Duke Ludwig the Wealthy, Palsgrave of the Rhine, demanded in 1452 that the Jews should be driven from Ratisbon as well. Though the city council did not at first accede to this demand, it ordered the Jews henceforth to wear the badge. A chronic persecution now began, aided especially by the clergy; and a number of sensational accusations of ritual murder were brought against the community and its rabbi, presaging its approaching destruction despite the repeated and energetic intervention of the emperor. In 1486 the duke placed their taxation entirely in the hands of the city council, „that the expulsion might be effected the sooner.“ The preacher of the cathedral, Dr. Balthazar Hubmaier, incited the people from the pulpit, and the more prudent counselors who still dared to take the part of the Jews were mockingly called „Jew kings.“ The ghetto was threatened with boycott, although imperial influence shielded it until the interregnum following the death of Emperor Maximilian in 1519. Then 500 Jews had to leave the city, after they themselves had demolished the interior of their venerable synagogue, on the site of which a chapel was built in honor of the Virgin. According to a chronicle the exiles settled, under the protection of the Duke of Bavaria, on the opposite bank of the Danube, in Stadt-am-Hof, and in villages in the vicinity; from these they were expelled in the course of the same century.

The first cemetery of the community of Ratisbon was situated on a hillock, still called the „Judenau.“ In 1210 the congregation bought from the monastery of St Emmeram a plot of ground, outside the present Peterthor, for a new cemetery, which was destroyed in the course of excavations made in the city in 1877. It served as a burial-ground for all the Jews of Upper and Lower Bavaria, and, in consequence of the catastrophe of February 21, 1519, mentioned above, more than 4,000 of its gravestones are said to have been either demolished or used in the building of churches. The synagogue that was destroyed was an edifice in Old Romanesque style, erected between 1210 and 1227 on the site of the former Jewish hospital, in the center of the ghetto, where the present Neue Pfarre stands. The ghetto was separated from the city itself by walls and closed by gates.

Jewish cemetery in Schillerstraße

The entrance hall of the Regensburg Synagogue, 1519

The double-naved interior with bimah between columns, 1519

The „ḥakme Regensburg“ of the 12th century were regarded far and wide as authorities, and a number of tosafists flourished in this ancient community. Especially noteworthy were Rabbi Ephraim ben Isaac (d. about 1175), one of the most prominent teachers of the Law and a liturgical poet, and Rabbi Baruch ben Isaac, author of the „Sefer ha-Terumah“ and of tosafot to the treatise Zebaḥim; but the best known of all was Rabbi Judah ben Samuel he-Ḥasid (died 1217), the author of the „Sefer Ḥasidim“ and of various halakic and liturgical works. The Talmudic school of Ratisbon became famous in the 15th century; a chronicle of 1478 says, „This academy has furnished ‚doctores et patres‘ for all parts of Germany.“ Rabbi Israel Bruna (15th century) narrowly escaped falling a victim to an accusation of ritual murder. The chronicler Anselmus de Parengar gives an interesting description of the magnificent apartments of the grand master Samuel Belassar. Shortly before the dispersion of the community Rabbi Jacob Margolioth, the father of the convert and anti-Jewish writer Antonius Margarita, was living at Ratisbon; he is referred to in the „Epistolæ Obscurorum Virorum“ as the „Primus Judæorum Ratisbonensis“. Finally, the learned Litte (Liwe) of Ratisbon may be mentioned, the author of the „Samuelbuch“, which paraphrased the history of King David in the meter of the „Nibelungenlied“.

In 1669 Jews were again permitted to reside in Ratisbon; but it was not until April 2, 1841, that the community was able to dedicate its new synagogue. Rabbi Isaac Alexander (born Ratisbon August 22, 1722) was probably the first rabbi to write in German. His successor appears to have been Rabbi Weil, who was succeeded by Sonnentheil and the teacher Dr. Schlenker. From 1860 to 1882 the rabbinate was occupied by Dr. Löwenmeyer of Sulzburg, who was followed in January, 1882, by Dr. Seligmann Meyer, the editor of the „Deutsche Israelitische Zeitung“. The present (1905) total population of Ratisbon is 45,426, of whom about 600 are Jews.

Mathias Wenzel Jäckel

Mathias Wenzel Jäckel (auch: Mätthäus Wenzel Jäckel; sorbisch: Maćij Wjacław Jakula; tschechisch: Matěj Václav Jäckel; * 11. September 1655 in Wittichenau/Kulow; † nach 16. Januar 1738 in Prag) war ein sorbischer Bildhauer des böhmischen Barock.

Mathias Wenzel Jäckel soll das Bildhauerhandwerk bei dem Dresdner Bildhauer Melchior Barthel erlernt haben. Um 1684 gründete er in Prag eine eigene Bildhauerwerkstatt, in der in den nächsten Jahrzehnten unzählige Kunstwerke geschaffen wurden. Die Auftraggeber waren zumeist kirchliche Einrichtungen und Orden. Zu den bekanntesten Werken zählen die für die Prager Karlsbrücke geschaffenen Statuen „Hl. Anna mit Jesuskind“ (1707) und „Madonna mit hl. Bernhard“ (1709).

Für das Kloster St. Marienstern in Panschwitz-Kuckau schuf Jäckel 1718 eine Statue des Schmerzensmannes und 1720 eine Mater dolorosa. Ebenso werden die Mariensäule, die Nepomuksäule und die Dreifaltigkeitssäule auf dem Klosterplatz, sowie das Kruzifix und die Muttergottes von 1725 an der Westfassade als seine Arbeiten angesehen. 1722–1723 schuf er für die Pfarrkirche seines Geburtsortes Wittichenau den Altar aus Stuckmarmor.

Aleš Brezavšček

Aleš Brezavšček (* 30. November 1972 in Mojstrana) ist ein ehemaliger slowenischer Skirennläufer. Er startete vorwiegend in den Disziplinen Abfahrt und Super-G sowie in der Kombination. Er erreichte zwei Top-10-Platzierungen im Weltcup und einen siebenten Platz in der Kombination bei den Olympischen Winterspielen 1998.

Bei Juniorenweltmeisterschaften fuhr Brezavšček viermal unter die schnellsten zehn. Sein bestes Ergebnis war ein siebenter Platz im Super-G 1991. Im Jahr 1996 wurde er Slowenischer Meister in der Abfahrt und im Super-G. Seine ersten Punkte im Weltcup gewann Brezavšček am 2. Dezember 1995 mit Platz 19 im Super-G von Vail. Während der nächsten 13 Monate kam er nur ein weiteres Mal unter die besten 30, bis er am 12. Januar 1997 in der Kombination von Chamonix den zehnten Platz erreichte. Anschließend konnte er sich zwar mehrmals knapp in den Punkterängen, also unter den besten 30, platzieren, doch weitere Spitzenresultate blieben im Weltcup zunächst aus, bis er am 12. Dezember 1998 überraschend den siebenten Platz in der Abfahrt von Val-d’Isère und damit sein bestes Weltcupergebnis erreichte. Bis zum Ende der Saison 1998/99, nach der er seine Karriere beendete, konnte er sich noch sechsmal zwischen Rang 20 und 30 platzieren.

Brezavšček nahm von 1996 bis 1999 an drei Weltmeisterschaften teil. Seine besten Ergebnisse dabei waren der elfte Platz in der Abfahrt 1999 und der 13. Platz in der Kombination 1996. Bei den Olympischen Winterspielen 1998 in Nagano erreichte er den siebenten Platz in der Kombination sowie Rang 28 im Super-G. In der Olympiaabfahrt schied er aus.

Laszlo B. Kish

Laszlo Bela Kish (né: László Bela Kiss) is a physicist and professor of Electrical and Computer Engineering at Texas A&M University. His activities include a wide range of issues surrounding the physics and technical applications of stochastic fluctuations (noises) in physical, biological and technological systems, including nanotechnology. His earlier long-term positions include the Department of Experimental Physics, University of Szeged, Hungary (JATE, 1982–1997), and Angstrom Laboratory, Uppsala University, Sweden (1997–2001). During the same periods he had also conducted scientific research in short-term positions, such as at the Eindhoven University of Technology (Netherlands, 1986, 1997), University of Cologne (Germany, 1989, 1990), National Research Laboratory of Metrology (Japan, 1991), University of Birmingham (United Kingdom, 1993), and others.

He received his MS in physics from Attila József University (JATE), Hungary, 1980; and Doctoral degree in Solid State Physics, at JATE in 1984. He had no official PhD adviser, though his mentors were Laszlo Vize and Miklos Torok. He received a Docent in Solid State Physics (habilitation) from Uppsala University, Sweden in 1994. He received a Doctor of Science (Physics), from the Hungarian Academy of Sciences in 2001.

His main areas of interest have been related to stochastic fluctuations (noise), especially those related to the relevant laws, limits and applications, including the addressing of new or open questions, or exposing fashionable misconceptions. He has/had been working in many related fields, (see his list of publications) such as 1/f noise and its models, stochastic resonance, high-Tc superconductors, noise at percolation and biased percolation, nanoparticles and their lognormal size distribution, self-organized criticality, universal conductance fluctuations, the error–speed–power dissipation issues of physical informatics, noise as information and information carrier, chemical and biological sensing, secure communication, unconventional computation, vibration-induced fluctuation analysis of soils, electronic device noise vs its degradation, weight fluctuations of memory devices during/after writing/deletion of information, etc. He has often played the role of a critic. His inventions and co-inventions include fluctuation-enhanced sensing, SEPTIC method (prompt bacterium detection), secure communication with Johnson-like noise (), speed–error–energy limits of computers, zero-signal-power communication, „information theoretically secure computer hardware“, noise-based logic, and others.

He was the founding editor-in-chief of Fluctuation and Noise Letters (2001–2008), where he is currently Honorary Editor (2009–present). Kish is the founder of the international conference series (held at various locations at every 3rd years since 1996 when he chaired the first meeting). He is co-founder of SPIE’s international conference series (with D. Abbott) and the conference series (with David K. Ferry and He Wen). He coauthored the HTML document available for download from the internet, The Dancer and the Piper: Resolving Problems with Government Research Contracting.

He was the recipient of the year 2001 Benzelius Prize of the Royal Society of Science of Sweden for his activities on fluctuation-enhanced chemical sensing. In 2011, he received the title of from Uppsala University, Sweden for his achievement in „research and technical applications of random fluctuations and noise.“ In 2012, he received the title of from the University of Szeged for his „outstanding research work and achievements.“


Christianshavn is a neighbourhood in Copenhagen, Denmark. Part of the Indre By District, it is located on the island of Amager and separated from the rest of the city centre by the Inner Harbour. It was founded in the early 17th century by Christian IV as part of his extension of the fortifications of Copenhagen. Originally, it was laid out as an independent privileged merchant’s town with inspiration from Dutch cities but it was soon incorporated into Copenhagen proper. Dominated by canals, it is the part of Copenhagen with the most nautical atmosphere.

For much of the 20th century a working-class neighbourhood, Christianshavn developed a bohemian reputation in the 1970s and it is now a fashionable, diverse and lively part of the city with its own distinctive personality, with residents tending to see themselves first as Christianshavners and then as Copenhageners. Businessmen, students, artists, hippies and traditional families with children live side-by-side.

Administratively, Christianshavn has been part of Indre By since 2007, but it still has its own local council.

Christianshavn covers an area of 3.43 km², and includes three minor islands to the north, jointly referred to as Holmen. It has a population of 10,140 and a population density of 2,960 per km².

To the south and east Christianshavn is defined by its old ramparts. To the west Christianshavn borders on the Inner Harbour that separates it from Slotsholmen and the rest of Copenhagen’s city centre.

In 1612, Christian IV initiated an ambitious programme to fortify Copenhagen. During the period 1618-1623, he erected earthen embarkments with five bastions in the marshy area between Copenhagen and the island of Amager. At the same time the idea was hatched of creating a new merchant town in the area. In 1639 the little merchant and fortress town of Christianshavn was established. However, competition from Copenhagen soon proved too strong for the little town, and by 1674 it was incorporated into its larger neighbour.

The fortifications were further developed with six more bastions in the 1660s, and seven more bastions between 1682-1692. Additional reinforcements occurred between 1779–1791, and again in 1810-1813. Even though the fortifications around the Inner City were being dismantled in the late 19th century, Christianshavn’s fortifications continued in use into the 20th century. Some areas were opened up in the late 1910s-1920s, and the final areas were made public space in 1961.

The fortifications are a part of the total fortification system around the old part of Copenhagen, and are one of Denmark’s best preserved fortifications from the 17th century. Today the area around the fortifications is a park area.

Christianshavn is a lively, primarily residential area. It is quartered by the Christianshavn Canal, running north-south along its length, and Torvegade, the main thoroughfare of Christianshavn, running east-west, connecting Amager Side Copenhagen to the city centre across Knippelsbro. Where the canal and the street intersects, at the geographical centre of Christianshavn, lies the square Christianshavns Torv. Along the eastern shoreline of the island runs Christianshavns Vold which now serves as the principal greenspace of the neighbourhood.

The Lower City Side of Christianshavn, also known as Christiansbro, is the most affluent part of the neighbourhood, with several modern residential developments built on the grounds of the former B&W Shipyard. Several headquarters are also found in the area, including most notably the Danish headquarters of Nordea along its entire harbourfront, while its most important historic building is Christian’s Church. On the other—Rampar Sidet—side of the canal, the area is dominated by historic residential buildings and institutions.

Christianshavn’s Upper City Side, stretching along Strandgade from Torvegade to the Trangaven Canal, is dominated by old renovated warehousess and merchant’s houses.A number of large institutions are located in the area, including the Ministry of Foreign Affairs. Cultural institutions include Danish Architecture Centre and the North Atlantic House. On the other side of the canal, Christianshavn’s Upper Rampart Side is the densest and most neglected part of the neighbourhood with around half of Christianshavn’s 10,000 inhabitants living in that area. It is in this area that the Church of Our Saviour and Christiania are found.

Holmen is characterized by a mixture of old military buildings and new residential developments and is the home of many creative business like advertising agencies and architectural practices as well as creative educational institutions like Royal Danish Academy of Fine Arts and the Danish Film School.

Freetown Christiania, a partially self-governing neighborhood which has established semi-legal status as an independent community in an area of abandoned military barracks, appears as a „city within the city“. It has a considerable population and is a venue for many cultural events as well as experimental and idiosyncratic „Architecture Without Architects“.

Christianshavn metro station is located at Christianshavns Torv at the intersection of Christianshavn Canal and Torvegade. The station serves both the M1 and M2 lines of the Copenhagen Metro.

The 901 & 902 lines of the Copenhagen Harbour Buses have a stop at Christianshavn at the end of Knippelsbro.

Søren Kierkegaard’s pseudonymous author, Hilarius Bookbinder, mentioned it in Stages on Life’s Way (1845) „Langebro [Long Bridge] has its name from its length; that is, as a bridge it is long but is not much of a roadway, as one easily finds out by passing over it. Then when one is standing on the other side in Christianshavn, it in turn seems that the bridge must nevertheless be long, because one is far, very far away from Constantinople.“ (Stages on Life’s Way p. 277, 288)

The Church of Our Saviour in Christianshavn appears in a chapter of Jules Verne’s A Journey to the Center of the Earth. The character Axel is made to climb the winding spire for five consecutive days by his uncle to cure him of his Acrophobia before their descent into the volcano.

Christianshavn has been immortalised in the then extremely popular Danish 1970s television series „Huset på Christianshavn“ (English: The House on Christianshavn), one of Danish television’s most popular shows ever.

The action of Peter Høeg’s novel Miss Smilla’s Feeling for Snow sets off in the public housing projects ‚Det Hvide Snit‘ (English: The White Cut, popular Danish for leukotomy) in Christianshavn.

Christianshavns Kanal, named for the canal, is the last track on Danish band Gasolin’s 1973 debut album Værsgo.


The Pipers, St Buryan

The Pipers are a pair of standing stones near The Merry Maidens stone circle located 2 miles (3 km) to the south of the village of St Buryan, in Cornwall, United Kingdom.

The Pipers are on a northeast to southwest alignment which points almost directly at The Merry Maidens. The two stones stand in separate fields about 90 metres apart. The southwest stone is the taller of the two, measuring 4.7 metres high—there are two longitudinal cracks down the northwest side, and one down the southeast side. The northeast stone is 4.2 metres high and is of rectangular section—the stone leans to the northwest.

The name of these two stones derives from a legend that they were in fact two pipers who were turned to stone for playing music on the Sabbath for the nearby dancing Merry Maidens. A different legend states that the two stones were set up following a 10th-century battle in which the Anglo-Saxon English, led by Aethelstan, fought the Cornish Celts, led by Howel and supported by the Danes. The Pipers were said to mark the positions of the two opposing leaders.

The stones were first recorded by William Borlase in 1754. His descendent William Copeland Borlase excavated the stones in 1871 with no result.

Media related to The Pipers (St Buryan) at Wikimedia Commons

Divertissement (Roussel)

Divertissement is een compositie van Albert Roussel. Divertissement staat daarbij voor afleiding, amusement. Het gecomponeerde stuk is dan ook “licht” van karakter. De speelsheid komt ook naar voren uit de bezetting waarvoor Roussel het werk schreef: blaaskwintet en piano. De combinatie van genre en bezetting maakte het ten tijde van de compositie lastig uit te voeren, omdat het werk niet echt paste binnen de klassieke kamermuziek en de bezetting destijds ongebruikelijk was. Tegenwoordig is de combinatie van blaaskwintet en piano redelijk gangbaar. Het eendelig werk bestaat uit een zeven minuten durend rondo.

Het werk werd voor het eerst gespeeld aan het Société moderne d’instruments à vent (Frans voor ‚Moderne vereniging voor blaasinstrumenten‘) op 10 april 1906. De muziek past goed bij de naam van de vereniging. Voor wat betreft de stijl werd Roussel bij dit werk beïnvloed door La Mer van Claude Debussy. Roussel zou in die periode de stijl van zijn leraar Vincent d’Indy langzaam inruilen voor die van de impressionisten