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Bargiel ’ s father Adolph was a well-known piano and voice teacher while his mother Mariane had been unhappily married to Clara ’ s father, Friedrich Wieck.
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Bargiel and father
When his friend Adolph Bargiel, father of Woldemar Bargiel, had an affair with her, she divorced Wieck in 1824.
Bargiel and Adolph
He became a friend of a music teacher, Adolph Bargiel, at his first position with a Baron von Seckendorff in Querfurth, and in 1815 he composed a group of songs which he sent to Carl Maria von Weber.
She then married Adolph Bargiel.
Bargiel and was
Woldemar Bargiel ( 3 October 182823 February 1897 ) was a German composer of classical music.
Bargiel was born in Berlin, and was the half brother of Clara Schumann.
While Bargiel did not write a lot of music, most of what he composed was well thought out and shows solid musical craftsmanship.
Bargiel and well-known
Bargiel received his first lessons at home and later with the well-known Berlin teacher of music theory Siegfried Wilhelm Dehn.
Bargiel and piano
Upon the suggestion of Schumann and the recommendation of Mendelssohn, Bargiel at age 16 went to study at the famous Leipzig Conservatory with some of the leading men of music: Ignaz Moscheles ( piano ) and Niels Gade ( composition ), and also with Julius Rietz.
Bargiel and teacher
* February 23 – Woldemar Bargiel, composer and teacher, 68
Bargiel and married
On October 8, 1987, Arnaz married Amy Laura Bargiel.
Bargiel and Friedrich
Loeffler decided to become a violinist and studied in Berlin with Joseph Joachim, Friedrich Kiel and Woldemar Bargiel, then with Joseph Massart ( and composition with Ernest Guiraud ) in Paris.
Bargiel and .
* Jeremy Bargiel: Sam's best friend.
* October 3 – Woldemar Bargiel, composer ( d. 1897 )
Two days later it made its official appearance also in the Berliner Musik-Zeitung Echo with more than twenty signatures, including Woldemar Bargiel, Albert Dietrich, Carl Reinecke, and Ferdinand Hiller.
He completed his studies at the Hochschule für Musik in Berlin, under Woldemar Bargiel.
His first ( privately ) printed works, two Romanzen ( lieder ) appeared in 1894, the year he began studies with Bargiel.
Woldemar Bargiel.
Subsequently, Bargiel held positions at the conservatories in Cologne and Rotterdam ( where he met Hermine Tours, his future wife, sister of the composer Berthold Tours ) before accepting a position at the prestigious Hochschule fur Musik in Berlin where he taught for the rest of his life.
Besides teaching and composing, Bargiel served with Brahms as co-editor of the complete editions of Schumann's and Chopin's works.
’ and s
The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industry ’ s image and help mediate labor disputes.
The International Encyclopedia of the Social Sciences defines psychological altruism as " a motivational state with the goal of increasing another ’ s welfare ".
Psychological altruism is contrasted with psychological egoism, which refers to the motivation to increase one ’ s own welfare.
One way is a sincere expression of Christian love, " motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one ’ s own life and existence ".
Another way is merely " one of the many modern substitutes for love, ... nothing but the urge to turn away from oneself and to lose oneself in other people ’ s business.
* David Firestone-When Romney ’ s Reach Exceeds His Grasp-Mitt Romney quotes the song
" Swift extends the metaphor to get in a few jibes at England ’ s mistreatment of Ireland, noting that " For this kind of commodity will not bear exportation, and flesh being of too tender a consistence, to admit a long continuance in salt, although perhaps I could name a country, which would be glad to eat up our whole nation without it.
George Wittkowsky argued that Swift ’ s main target in A Modest Proposal was not the conditions in Ireland, but rather the can-do spirit of the times that led people to devise a number of illogical schemes that would purportedly solve social and economic ills.
In response, Swift ’ s Modest Proposal was " a burlesque of projects concerning the poor ", that were in vogue during the early 18th century.
Critics differ about Swift ’ s intentions in using this faux-mathematical philosophy.
Charles K. Smith argues that Swift ’ s rhetorical style persuades the reader to detest the speaker and pity the Irish.
Swift ’ s specific strategy is twofold, using a " trap " to create sympathy for the Irish and a dislike of the narrator who, in the span of one sentence, " details vividly and with rhetorical emphasis the grinding poverty " but feels emotion solely for members of his own class.
Swift ’ s use of gripping details of poverty and his narrator ’ s cool approach towards them create " two opposing points of view " that " alienate the reader, perhaps unconsciously, from a narrator who can view with ' melancholy ' detachment a subject that Swift has directed us, rhetorically, to see in a much less detached way.
Once the children have been commodified, Swift ’ s rhetoric can easily turn " people into animals, then meat, and from meat, logically, into tonnage worth a price per pound ".
Swift uses the proposer ’ s serious tone to highlight the absurdity of his proposal.
In making his argument, the speaker uses the conventional, text book approved order of argument from Swift ’ s time ( which was derived from the Latin rhetorician Quintilian ).
James Johnson argued that A Modest Proposal was largely influenced and inspired by Tertullian ’ s Apology: a satirical attack against early Roman persecution of Christianity.
Johnson notes Swift ’ s obvious affinity for Tertullian and the bold stylistic and structural similarities between the works A Modest Proposal and Apology.
He reminds readers that " there is a gap between the narrator ’ s meaning and the text ’ s, and that a moral-political argument is being carried out by means of parody ".
’ and father
Antoninus ’ father and paternal grandfather died when he was young and he was raised by Gnaeus Arrius Antoninus, his maternal grandfather, reputed by contemporaries to be a man of integrity and culture and a friend of Pliny the Younger.
Rousseau believed that young boys should avoid formal schooling and pursue instead an “ education direct from nature .” Ampère ’ s father actualized this ideal by allowing his son to educate himself within the walls of his well-stocked library.
The French Revolution ( 1787 – 99 ) that began during his youth was also influential: Ampère ’ s father was called into public service by the new revolutionary government, becoming a justice of the peace in a small town near Lyon.
) Ampère ’ s maturation corresponded with the transition to the Napoleonic regime in France, and the young father and teacher found new opportunities for success within the technocratic structures favoured by the new French emperor.
Her father ’ s marriage to Julia was his third marriage.
In 12 BC, Agrippina ’ s father died.
Germanicus ’ father, Drusus the Elder, was the second son of the Empress Livia Drusilla by her first marriage to praetor Tiberius Nero, and was the Emperor Tiberius ’ s younger brother and Augustus ’ s stepson.
The press was continued after Aldus ’ s death in 1515 by his wife and her father until his son Paolo ( 1512 – 1574 ) took over.
In 1984, Titan the main shipping company of the Papanicolaou ’ s was in trouble, so Livanos's father George bought out the Papanicolaou's shares in ALL, while Gauntlett again became a shareholder with a 25 % holding in AML.
Cuyp probably first encountered a painting by van Goyen in 1640 when van Goyen was, as Stephen Reiss points out “ at the height of powers .” This is noticeable in the comparison between two of Cuyp ’ s landscape paintings inscribed 1639 where no properly formed style is apparent and the landscape backgrounds he painted two years later for two of his father ’ s group portraits that are distinctly van Goyenesque.
Cuyp ’ s third stylistic phase ( which occurred throughout his career ) is based on the influence of his father.
As has been mentioned and as will be explained in depth below, there are pieces where Aelbert provided the landscape background for his father ’ s portraits.
During his youth he was " shaped " by his father and was regarded as an outstanding member of the Bahá ’ í exile community.
As a teenager he was his father ’ s amanuensis and was regularly seen debating theological issues with the learned men of the area.
At the age of 24, ` Abdu ' l-Bahá was clearly chief-steward to his father and an outstanding member of the Bahá ’ í community.
His death devastated the family – particularly his mother and father – and the grieving ` Abdu ' l-Bahá kept a night-long vigil beside his brother ’ s body.
On 8 March 1873, at the urging of his father, the twenty-eight-year-old ` Abdu ’ l-Bahá married Fátimih Nahrí of Isfahán ( 1847 – 1938 ) a twenty-five-year-old noblewoman.
Her father was Mírzá Muḥammad ` Alí Nahrí of Isfahan an eminent Bahá ’ í of the city and prominent aristocrat.
The marriage of ` Abdu ’ l-Bahá to one woman and his choice to remain monogamous, from advice of his father and his own wish, legitimised the practice of monogamy to a people whom hitherto had regarded polygamy as a righteous way of life.
Like many artists, Watterson incorporated elements of his life, interests, beliefs and values into his work — for example, his hobby as a cyclist, memories of his own father ’ s speeches about ‘ building character ’, and his views on merchandising and corporations.
The name Cushi, Zephaniah ’ s father, means ‘ Ethiopian ’.
Beatrix ’ s father, Rupert William Potter ( 1832 – 1914 ), was educated in Manchester and trained as a barrister in London.
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