ca:Naxos cs:Naxos da:Naxos de:Naxos (Begriffsklärung) et:Naxos el:Νάξος (αποσαφήνιση) es:Naxos fr:Naxos (homonymie) ko:낙소스 nl:Naxos ja:ナクソス no:Naxos pl:Naxos pt:Naxos scn:Naxos simple:Naxos sk:Naxos fi:Naxos
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
He has written the standard modern textbook on continuo playing on the lute and related instruments: (review)
The following textbook is in preparation:
From 1974 to 1990 Nigel North played in baroque operas, baroque orchestras and chamber groups and accompanied singers in concerts, participating in over 100 recordings. Notable groups and people with whom he has worked:
With Andrew Manze (violin) and John Toll (harpsichord) he formed the ensemble Romanesca in 1988; they played together for the next 10 years.
His solo lute debut was a Bach programme at the Wigmore Hall in 1977; in 1985 he performed all of Bach's lute works for the first time in London. Numerous recitals and recordings followed and from 1984 to 2001 he toured worldwide.
He has made transcriptions for lute of Bach's solo violin works and solo cello suites, which he has performed at the Wigmore Hall and recorded on a 4 CD set, ''Bach on the Lute'' (1994–1998). He has published an edition of these transcriptions for lute tablature, classical guitar and staff notation.
Other notable recordings include the complete lute works of John Dowland (4 CDs on Naxos Records), and a series of CDs of music by 17th-century French lutenists.
Category:English classical guitarists Category:Living people Category:1954 births Category:British performers of early music Category:English lutenists
de:Nigel North fi:Nigel NorthThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Cormac McCarthy |
---|---|
birth name | Charles McCarthy |
birth date | July 20, 1933 |
birth place | Providence, Rhode Island, U.S. |
nationality | American |
occupation | Novelist, playwright |
genre | Southern Gothic, Western, modernist |
notableworks | ''Blood Meridian'', ''Suttree'', ''The Border Trilogy'', ''No Country for Old Men'', ''The Road'' |
influences | Herman Melville, Fyodor Dostoevsky, William Faulkner, Ernest Hemingway, MacKinlay Kantor |
website | http://www.randomhouse.com/kvpa/cormacmccarthy/ |
children | Cullen McCarthy, son (with Lee Holleman) John McCarthy, son (with Jennifer Winkley) |
signature | Cormac McCarthy signature.svg }} |
His previous novel, ''Blood Meridian,'' (1985) was among ''Time'' magazine's list of 100 best English-language books published between 1923 and 2005 and placed joint runner-up in a poll taken in 2006 by ''The New York Times'' of the best American fiction published in the last 25 years. Literary critic Harold Bloom named him as one of the four major American novelists of his time, alongside Don DeLillo, Thomas Pynchon and Philip Roth, and called ''Blood Meridian'' "the greatest single book since Faulkner’s ''As I Lay Dying''". In 2010 ''The Times'' ranked ''The Road'' first on its list of the 100 best fiction and non-fiction books of the past 10 years. He is frequently compared by modern reviewers to William Faulkner. McCarthy has been increasingly mentioned as a candidate for the Nobel Prize in Literature.
In the summer of 1965, using a Traveling Fellowship award from The American Academy of Arts and Letters, McCarthy shipped out aboard the liner ''Sylvania'', hoping to visit Ireland. While on the ship, he met Anne DeLisle, who was working on the ship as a singer. In 1966, they were married in England. Also in 1966, McCarthy received a Rockefeller Foundation Grant, which he used to travel around Southern Europe before landing in Ibiza, where he wrote his second novel, ''Outer Dark''. Afterward he returned to America with his wife, and ''Outer Dark'' was published in 1968 to generally favorable reviews.
In 1969, McCarthy and his wife moved to Louisville, Tennessee, and purchased a barn, which McCarthy renovated, even doing the stonework himself. Here he wrote his next book, ''Child of God'', based on actual events. ''Child of God'' was published in 1973. Like ''Outer Dark'' before it, ''Child of God'' was set in southern Appalachia. In 1976, McCarthy separated from Anne DeLisle and moved to El Paso, Texas. In 1979, his novel ''Suttree'', which he had been writing on and off for twenty years, was finally published.
Supporting himself with the money from his 1981 MacArthur Fellowship, he wrote his next novel, ''Blood Meridian, or the Evening Redness in the West'', which was published in 1985. The book has grown appreciably in stature in literary circles. In a 2006 poll of authors and publishers conducted by ''The New York Times Magazine'' to list the greatest American novels of the previous quarter-century, ''Blood Meridian'' placed third, behind only Toni Morrison's ''Beloved'' and Don DeLillo's ''Underworld''.
McCarthy finally received widespread recognition in 1992 with the publication of ''All the Pretty Horses'', which won the National Book Award and the National Book Critics Circle Award. It was followed by ''The Crossing'' and ''Cities of the Plain'', completing the Border Trilogy. In the midst of this trilogy came ''The Stonemason'', McCarthy's second dramatic work. He had previously written a film for PBS in the 1970s,'' The Gardener's Son''. McCarthy's next book, 2005's ''No Country for Old Men'', stayed with the western setting and themes, yet moved to a more contemporary period. It was adapted into a film of the same name by the Coen Brothers, winning four Academy Awards and more than 75 film awards globally. McCarthy's book, ''The Road'' (2006) won international acclaim and the Pulitzer Prize for literature. A film adaptation (2009) was directed by John Hillcoat, written by Joe Penhall, and starred Viggo Mortensen and Kodi Smit-McPhee. Also in 2006, McCarthy published the play ''The Sunset Limited''.
McCarthy is at work on three new novels. One is set in 1980s New Orleans and follows a young man as he deals with the suicide of his sister. According to McCarthy, this will be his first work to feature a prominent female character. He also states that the new novel is "long".
McCarthy now lives in the Tesuque, New Mexico, area, north of Santa Fe, with his wife, Jennifer Winkley, and their son, John. He guards his privacy. In one of his few interviews (with ''The New York Times''), McCarthy reveals that he is not a fan of authors who do not "deal with issues of life and death," citing Henry James and Marcel Proust as examples. "I don't understand them," he said. "To me, that's not literature. A lot of writers who are considered good I consider strange." McCarthy remains active in the academic community of Santa Fe and spends much of his time at the Santa Fe Institute, which was founded by his friend, physicist Murray Gell-Mann.
Talk show host Oprah Winfrey chose McCarthy's 2006 novel ''The Road'' as the April 2007 selection for her Book Club. As a result, McCarthy agreed to his first television interview, which aired on ''The Oprah Winfrey Show'' on June 5, 2007. The interview took place in the library of the Santa Fe Institute; McCarthy told Winfrey that he does not know any writers, and much prefers the company of scientists. During the interview he related several stories illustrating the degree of outright poverty he has endured at times during his career as a writer. He also spoke about the experience of fathering a child at an advanced age, and how his now-eight-year-old son was the inspiration for ''The Road''. McCarthy noted to Oprah that he prefers "simple declarative sentences" and that he uses capital letters, periods, an occasional comma, a colon for setting off a list, but "never a semicolon." He does not use quotation marks for dialogue and believes there is no reason to "blot the page up with weird little marks".
According to ''Wired'' magazine, McCarthy's Olivetti Lettera 32 typewriter was put up for auction at Christie's. The Olivetti Lettera 32 has been in his care for 46 years, since 1963. He picked up the used machine for $50 from a pawn shop in Knoxville, Tennessee. McCarthy estimates he has typed around five million words on the machine, and maintenance consisted of "blowing out the dust with a service station hose". The typewriter was auctioned on Friday, December 4, 2009 and the auction house, Christie’s, estimated it would fetch between $15,000 and $20,000; it sold for $254,500. The Olivetti's replacement for McCarthy to use is another Olivetti, bought by McCarthy’s friend John Miller for $11. The proceeds of the auction are to be donated to the Santa Fe Institute, a nonprofit interdisciplinary scientific research organization.
Cullen McCarthy (born 1962), son (with Lee Holleman)
;Marriages:
Lee McCarthy, née Holleman, (1961) divorced
Category:1933 births Category:American novelists Category:Living people Category:MacArthur Fellows Category:People from El Paso, Texas Category:People from Knoxville, Tennessee Category:People from Santa Fe, New Mexico Category:Pulitzer Prize for Fiction winners Category:United States Air Force airmen Category:Western (genre) writers Category:Writers from New Mexico Category:Writers from Tennessee Category:Writers from Texas Category:21st-century novelists Category:Postmodern writers
bn:করম্যাক ম্যাকার্থি ca:Cormac McCarthy cs:Cormac McCarthy cy:Cormac McCarthy da:Cormac McCarthy de:Cormac McCarthy es:Cormac McCarthy fr:Cormac McCarthy ga:Cormac McCarthy ko:코맥 매카시 it:Cormac McCarthy he:קורמק מקארתי la:Cormac McCarthy hu:Cormac McCarthy nl:Cormac McCarthy ja:コーマック・マッカーシー no:Cormac McCarthy pl:Cormac McCarthy pt:Cormac McCarthy ru:Маккарти, Кормак fi:Cormac McCarthy sv:Cormac McCarthy th:คอร์แม็ค แม็คคาร์ธี tr:Cormac McCarthy uk:Кормак Маккарті zh:戈馬克·麥卡錫This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1874 Strauss heard his first Wagner operas, ''Lohengrin'' and ''Tannhäuser''. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of ''Tristan und Isolde''. In later life, Richard Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn.
In 1882 he entered Munich University, where he studied Philosophy and Art History, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's ''Serenade'' for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man and decided that Strauss should be his successor as conductor of the Meiningen orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His remarkably mature Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire.
Richard Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but the marriage, to all appearances, was essentially happy and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final ''Four Last Songs'' of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles.
The Strausses had one son, Franz, in 1897. Franz married Alice von Grab, a Jewish woman, in a Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian.
After 1890 Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the ''Daphne-Etude'' for solo violin, and the string ''Sextet'' which is the overture to his final opera ''Capriccio''. His last independent chamber work, an Allegretto in E for violin and piano, dates from 1940.
The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem ''Don Juan'' (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: ''Death and Transfiguration'' (''Tod und Verklärung'', 1889), ''Till Eulenspiegel's Merry Pranks'' (''Till Eulenspiegels lustige Streiche'', 1895), ''Thus Spoke Zarathustra'' (''Also sprach Zarathustra'', 1896), ''Don Quixote'' (1897), ''Ein Heldenleben'' (''A Hero's Life'', 1898), ''Sinfonia Domestica'' (''Domestic Symphony'', 1903) and ''An Alpine Symphony'' (''Eine Alpensinfonie'', 1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."
In 1905, Strauss produced ''Salome'', based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that ''Salome'' was "stupendous", and Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera.
Strauss's next opera was ''Elektra'' (1909), which took his use of dissonance even further, in particular with the Elektra chord. ''Elektra'' was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language somewhat, which resulted in operas such as ''Der Rosenkavalier'' (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created ''Ariadne auf Naxos'' (1912), ''Die Frau ohne Schatten'' (1918), ''Die ägyptische Helena'' (1927), and ''Arabella'' (1932). For ''Intermezzo'' (1923) Strauss provided his own libretto. ''Die schweigsame Frau'' (1934), was composed with Stefan Zweig as librettist; ''Friedenstag'' (1935–6) and ''Daphne'' (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and ''Die Liebe der Danae'' (1940) was with Joseph Gregor. Strauss's final opera, ''Capriccio'' (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.
In 1933, Strauss wrote in his private notebook:
I consider the Streicher-Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence – the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent.
Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary:
Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic.
Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the ''Reichsmusikkammer'', the State Music Bureau. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal:
In November of 1933, the minister Goebbels nominated me president of the ''Reichsmusikkammer'' without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers.
Strauss privately scorned Goebbels and called him "a pipsqueak." In order to gain Goebbels' cooperation, however, in extending the German music copyright laws from 30 years to 50 years, in 1933 Strauss dedicated an orchestral song, ''Das Bächlein'' ("The Little Brook") to him.
Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, ''Die schweigsame Frau'', with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich.
On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated:
Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none.
This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as ''Reichsmusikkammer'' president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's ''Olympische Hymne'', which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Arturo Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again," when Strauss had accepted the presidency of the ''Reichsmusikkammer''. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother from being sent to concentration camps.
When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including the Berlin intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of his son Franz's Jewish mother-in-law, Marie von Grab. Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored.
In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. Strauss was unable, however, to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and his son Franz were abducted by the Gestapo and imprisoned for two nights. Only Strauss's personal intervention at this point was able to save them, and he was able to take the two of them back to Garmisch, where they remained under house arrest until the end of the war.
The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom.
In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of ''Rosenkavalier'' and ''Salome''." Lt. Weiss, who, as it happened, was also a musician, nodded in recognition. An 'Off Limits' sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late masterpiece, his Oboe Concerto, before the end of the year.
The ''Four Last Songs'', composed shortly before Strauss's death, deal poetically with the subject of dying. The last, "At Sunset" (''Im Abendrot''), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem, ''Death and Transfiguration'' – symbolizing the transfiguration and fulfillment of the soul after death.
During his lifetime Strauss was considered the greatest composer of the first half of the 20th century, and his music had a profound influence on the development of 20th-century music. There were few 20th-century composers who compared with Strauss in terms of orchestral imagination, and no composer since Wagner made a more significant contribution to the history of opera. And Strauss's late works, modelled on "the divine Mozart at the end of a life full of thankfulness," are perhaps the most remarkable works by any octogenarian composer.
Strauss himself declared in 1947 with characteristic self-deprecation, "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century."
His 1929 performances of ''Till Eulenspiegel'' and ''Don Juan'' with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings; even the original 78 rpm discs had superior sound for their time, and the performances were top-notch and quite exciting at times, despite a noticeable mistake by the Horn soloist in the famous opening passage of ''Till Eulenspiegel''.
One of the more interesting of Strauss's recordings is perhaps the first complete performance of his ''An Alpine Symphony'', made in 1941 and later released by EMI, because Strauss used the full complement of percussion instruments required in this spectacular symphony. The intensity of the performance rivaled that of the digital recording Herbert von Karajan made many years later with the Berlin Philharmonic.
Music critic Harold C. Schonberg in ''The Great Conductors'' (1967), says that while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 in G minor and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning the Beethoven 7th symphony, Schonberg wrote, "There is almost never a ''ritard'' or a change in expression or nuance. The slow movement is almost as fast as the following ''vivace''; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" Schonberg also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity."
Peter Gutmann's 1994 review for ''ClassicalNotes.com'' says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutman wrote:
The Koch CDs represent all of Strauss's recordings of works by other composers. The best of his readings of his own famous tone poems and other music are collected on DGG 429 925-2, 3 CDs. It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels.
Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers.
There were many other recordings, including some taken from radio broadcasts and concerts, during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor.
In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard ''Schlagobers'' ("Whipped Cream") ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser and are of remarkable fidelity.
Strauss also made live-recording player piano music rolls for the Hupfeld system, all of which survive today.
Richard Strauss was the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the ''Alpine Symphony''.
Category:1864 births Category:1949 deaths Category:20th-century classical composers Category:German conductors (music) Category:Opera composers Category:Opera managers Category:People from Munich Category:People from the Kingdom of Bavaria Category:Royal Philharmonic Society Gold Medallists Category:Recipients of the Pour le Mérite (civil class) Category:Romantic composers Category:Ballet composers Category:German composers Category:Honorary Members of the Royal Philharmonic Society Category:General Directors of the Vienna State Opera Category:Music directors of the Berlin State Opera Category:Members of the Bavarian Maximilian Order for Science and Art Category:German atheists
ar:ريتشارد شتراوس an:Richard Strauss bar:Richard Strauss bs:Richard Strauss bg:Рихард Щраус ca:Richard Strauss cv:Рихард Штраусс cs:Richard Strauss da:Richard Strauss de:Richard Strauss et:Richard Strauss el:Ρίχαρντ Στράους es:Richard Strauss eo:Richard Strauss eu:Richard Strauss fa:ریشارد اشتراوس fr:Richard Strauss gl:Richard Strauss ko:리하르트 슈트라우스 hy:Ռիխարդ Շտրաուս hr:Richard Strauss io:Richard Strauss id:Richard Strauss is:Richard Strauss it:Richard Strauss he:ריכרד שטראוס ka:რიხარდ შტრაუსი sw:Richard Strauss la:Richardus Strauss lv:Rihards Štrauss lb:Richard Strauss lt:Richard Strauss hu:Richard Strauss mk:Рихард Штраус nl:Richard Strauss ja:リヒャルト・シュトラウス no:Richard Strauss oc:Richard Strauss pl:Richard Strauss pt:Richard Strauss ro:Richard Strauss ru:Штраус, Рихард sq:Richard Strauss simple:Richard Strauss sk:Richard Strauss sl:Richard Strauss sr:Рихард Штраус sh:Richard Strauss fi:Richard Strauss sv:Richard Strauss tr:Richard Strauss uk:Ріхард Штраус vi:Richard Strauss zh:理查德·施特劳斯This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
The World News (WN) Network, has created this privacy statement in order to demonstrate our firm commitment to user privacy. The following discloses our information gathering and dissemination practices for wn.com, as well as e-mail newsletters.
We do not collect personally identifiable information about you, except when you provide it to us. For example, if you submit an inquiry to us or sign up for our newsletter, you may be asked to provide certain information such as your contact details (name, e-mail address, mailing address, etc.).
When you submit your personally identifiable information through wn.com, you are giving your consent to the collection, use and disclosure of your personal information as set forth in this Privacy Policy. If you would prefer that we not collect any personally identifiable information from you, please do not provide us with any such information. We will not sell or rent your personally identifiable information to third parties without your consent, except as otherwise disclosed in this Privacy Policy.
Except as otherwise disclosed in this Privacy Policy, we will use the information you provide us only for the purpose of responding to your inquiry or in connection with the service for which you provided such information. We may forward your contact information and inquiry to our affiliates and other divisions of our company that we feel can best address your inquiry or provide you with the requested service. We may also use the information you provide in aggregate form for internal business purposes, such as generating statistics and developing marketing plans. We may share or transfer such non-personally identifiable information with or to our affiliates, licensees, agents and partners.
We may retain other companies and individuals to perform functions on our behalf. Such third parties may be provided with access to personally identifiable information needed to perform their functions, but may not use such information for any other purpose.
In addition, we may disclose any information, including personally identifiable information, we deem necessary, in our sole discretion, to comply with any applicable law, regulation, legal proceeding or governmental request.
We do not want you to receive unwanted e-mail from us. We try to make it easy to opt-out of any service you have asked to receive. If you sign-up to our e-mail newsletters we do not sell, exchange or give your e-mail address to a third party.
E-mail addresses are collected via the wn.com web site. Users have to physically opt-in to receive the wn.com newsletter and a verification e-mail is sent. wn.com is clearly and conspicuously named at the point of
collection.If you no longer wish to receive our newsletter and promotional communications, you may opt-out of receiving them by following the instructions included in each newsletter or communication or by e-mailing us at michaelw(at)wn.com
The security of your personal information is important to us. We follow generally accepted industry standards to protect the personal information submitted to us, both during registration and once we receive it. No method of transmission over the Internet, or method of electronic storage, is 100 percent secure, however. Therefore, though we strive to use commercially acceptable means to protect your personal information, we cannot guarantee its absolute security.
If we decide to change our e-mail practices, we will post those changes to this privacy statement, the homepage, and other places we think appropriate so that you are aware of what information we collect, how we use it, and under what circumstances, if any, we disclose it.
If we make material changes to our e-mail practices, we will notify you here, by e-mail, and by means of a notice on our home page.
The advertising banners and other forms of advertising appearing on this Web site are sometimes delivered to you, on our behalf, by a third party. In the course of serving advertisements to this site, the third party may place or recognize a unique cookie on your browser. For more information on cookies, you can visit www.cookiecentral.com.
As we continue to develop our business, we might sell certain aspects of our entities or assets. In such transactions, user information, including personally identifiable information, generally is one of the transferred business assets, and by submitting your personal information on Wn.com you agree that your data may be transferred to such parties in these circumstances.