Specialized types such as the depressed-center flatcar ( aka " well car ") exist for oversize items or the Schnabel car for even larger and heavier loads.

* Schnabel car, a specialized type of railroad freight car

Consumers Energy | Consumers Power Company Schnabel car with an electrical transformer in Texas in 2008

Schnabel car with an electrical transformer near Koblenz in May 2009

A Schnabel car is a specialized type of railroad freight car.

When a Schnabel car is empty, the two lifting arms are connected, and the car can usually operate at normal freight train speeds.

The largest Schnabel car in operation, owned by ABB, carries road number CEBX 800, and is used in North America, although it was built by Krupp in Germany in 1982.

Retrieved May 6, 2005 – basic definition of a Schnabel car.

# redirect Schnabel car

The weapon was moved long distances via rail on a variant of a Schnabel car ; the whole chassis was hung between two huge pedestal-mounted swiveling arms fixed to five-axle bogies.

I, for one, rather regret that Schnabel didn't collaborate with the Budapest Quartet, whose rugged, athletic playing was a good deal closer to this pianist's interpretative outlook than the style of the Belgian group.

Babylonian astronomers before Kidinnu's time apparently already knew the Saros cycle ( old eclipse observations were collected in tables organised according to the Saros cycle since the late 5th century BC ) and the Metonic cycle ( the dates of the lunar calendar in the Saros tables follow a regular 19-year pattern of embolismic months at least since 498 BC ); both cycles are also used in System B. Schnabel computed specific years ( first 314 BC and later 379 BC ) for the origin of the System B lunar theory, but Franz Xaver Kugler and Otto E. Neugebauer later disproved Schnabel's calculations.

Artur Schnabel complained once that " Steinway refused to let me use their pianos Steinway pianos owned by Steinway unless I would give up playing the Bechstein piano – which I had used for so many years – in Europe.

Schnabel was known for his intellectual seriousness as a musician, avoiding pure technical bravura.

Schnabel remained under Leschetizky's tutelage for seven years, between 1891 and 1897.

The young Schnabel once heard Brahms play in a performance of his first piano quartet ; for all the missed notes, said Schnabel, it " was in the true grand manner.

Schnabel was best known for his devotion to the core German composers, especially the Viennese classics of Mozart, Beethoven and Schubert.

Schnabel was known for championing the then-neglected sonatas of Schubert and, even more so, Beethoven, including his more challenging late works.

While on a tour of Spain, Schnabel wrote to his wife saying that during a performance of Beethoven's Diabelli Variations he had begun to feel sorry for the audience.

Schnabel did much to popularize Beethoven's piano music, making the first complete recording of the sonatas, completing the set for the British label HMV in 1935.

( Schnabel 1997, Puthoff 1996, Kress 1977 / 1999, Smith 2005 ) As research continued, the SRI team published papers in Nature, in Proceedings of the IEEE ( Puthoff & Targ, 1976 ), and in the proceedings of a symposium on consciousness for the American Association for the Advancement of Science ( Puthoff, et al., 1981 ).

In the 1960s, he authored a series of plays for German radio stations presenting forgotten or little known and-in his opinion-vastly underrated authors, as e. g. Johann Gottfried Schnabel, Karl Philipp Moritz, Leopold Schefer, Karl Ferdinand Gutzkow, et al.

When pianist Artur Schnabel undertook his pioneering complete recording of the Beethoven sonatas in the 1930s, he told EMI that if he didn't complete the cycle, they should have Kempff complete the remainder-even though the two pianists took noticeably different approaches to the composer ( for example, Schnabel preferred extremely fast or slow tempos, while Kempff preferred moderate ones ).

In the pre-war years, Legge pioneered " subscription " recordings, by which the public were invited to pay in advance for their copies of future recordings, thus making it economically possible for EMI to make such " niche " but classic recordings as the songs of Hugo Wolf ( sung by Elena Gerhardt ) and the complete piano works of Beethoven ( played by Artur Schnabel ).

The film was written by Schnabel and Michael Thomas Holman, who was also credited for story development, with story by Lech J. Majewski and John F. Bowe.

Schnabel and his studio assistant Greg Bogin created paintings " in the style of " Basquiat for the film.

So laden is the film with the innumerable coincidences of Basquiat and Schnabel's enthusiasms ( among others, for pajamas and surfing ) that the movie should be more appropriately called My Basquiat … To a remarkable degree, the movie succeeds, by dint of its authorial slant, in popularizing the myth of Basquiat as a young, gorgeous, doomed, yet ultimately transcendent black male artist, even as it extends and reinflates the myth of Schnabel as a protean, Picassoid white male painter … Yet for all one's apprehension about the very idea of Schnabel making such a film, Basquiat turns out to be a surprisingly good movie … It is also an art work.

Specialized Schnabel cars with up to 72 wheels have been built for carrying large heavy items.

Two Schnabel cars without loads in Japan

Artur Schnabel was one of the greatest Schubert-Beethoven-Mozart players of all time, and any commentary of his on this repertory is valuable.

But Schnabel was a great teacher in addition to being a great performer, and the fact that four of the ten versions I listened to are by Schnabel pupils ( Clifford Curzon, Frank Glazer, Adrian Aeschbacher, and Victor Babin ) also sheds light on the master's pedagogical skills.

Certain pianistic traits are common to all five Schnabelian renditions, most notably the `` Schnabel trill '' ( which differs from the conventional trill in that the two notes are struck simultaneously ).

Returning once again to the Schnabel reissue, I am beguiled anew by the magnificence of this pianist's musical penetration.

* 1882 – Artur Schnabel, Polish pianist ( d. 1951 )

* " Sean Penn ," interview with Julian Schnabel and Dennis Hopper, Interview ( New York ) Sept. 1991

* August 15 – Artur Schnabel, Austrian-born Jewish classical pianist ( b. 1882 )

* April 17 – Artur Schnabel, Polish pianist ( d. 1951 )

Larry Rivers, Brett Whiteley, Christo, Arman, Francesco Clemente, Julian Schnabel, Ching Ho Cheng, David Remfry, Philip Taaffe, Ralph Gibson, Frida Kahlo, Diego Rivera, Robert Crumb, Jasper Johns, Edie Sedgwick, Claes Oldenburg, Vali Myers, Donald Baechler, Herbert Gentry, Willem De Kooning, Robert Mapplethorpe, Lynne Drexler, Nora Sumberg and Henri Cartier-Bresson have all spent time at the hotel.

P. Schnabel, in a series of papers ( 1923 – 27 ), interpreted the phrase as an assignment of authorship.

P. Schnabel, in a series of papers ( 1923 – 27 ), interpreted the phrase as an assignment of authorship.

Schnabel also asserted that Kidinnu discovered precession when distinguishing between sidereal and tropical years ; Neugebauer contested this and current scholarship considers this conclusion to be unfounded.

Schnabel placed Kidinnu in Sippar, but Otto E. Neugebauer showed that Schnabel based this conclusion on a misreading of the cuneiform tablet.

* < cite id = CITEPittler1982 > Pittler, M. S., Powers, D. M., and Schnabel, D. L.