Duchy of Sleswig Herzogtum Schleswig / Hertugdømmet Slesvig
Fiefdom of the Danish Crown
1058–1866 →
Coat of arms
Capital	Schleswig
Language(s)	Danish, German, North Frisian
Government	Duchy
Duke
- 1058-1095	Olaf I of Denmark
- 1863-1866	Christian IX of Denmark
History
- Established	1058
- Disestablished	1866

Schleswig or Southern Jutland (Danish: Sønderjylland or Slesvig; German: Schleswig; Low German: Sleswig; North Frisian: Slaswik or Sleesweg) is a region covering the area about 60 km north and 70 km south of the border between Germany and Denmark; the territory has been divided between the two countries since 1920, with Northern Schleswig in Denmark and Southern Schleswig in Germany. The region is also known archaically in English as Sleswick.

The area's traditional significance lies in the transfer of goods between the North Sea and the Baltic Sea, connecting the trade route through Russia with the trade routes along the Rhine and the Atlantic coast (see also Kiel Canal).

History[link]

Roman sources place the homeland of the Jute tribe north of the river Eider and that of the Angles to its south who in turn abutted the neighbouring Saxons. Towards the end of the Early Middle Ages, Schleswig formed part of the historical Lands of Denmark as Denmark unified out of a number of petty chiefdoms in the 8th to 10th centuries (The heyday of the Viking incursions).

During the early Viking Age, Haithabu - Scandinavia's biggest trading centre - was located in this region, which is also the location of the Danewerk. This construction, and in particular its great expansion around 737, has been interpreted as an indication of the emergence of a unified Danish state.^[1]

In May 1931 scientists of the National Museum of Denmark announced the finding of eighteen Viking graves with the remains of eighteen men in them. The discovery came during excavations in Schleswig. The skeletons indicated that the men were bigger proportioned than twentieth-century Danish men. Each of the graves was laid out from east to west. Researchers surmised that the bodies were entombed in wooden coffins originally, but only the iron nails remained.^[2]

During the 10th century, ownership over the region between the Eider River and the Danevirke became a source of dispute between the Holy Roman Empire and Denmark, resulting in several wars. In 974, Otto II, Holy Roman Emperor concluded a successful campaign by erecting a fortress, which was razed to the ground by Sweyn Forkbeard in 983.

Schleswig on Jutland.

Schleswig prior to its partition (also encompassing Ribe as well as the Baltic islands of Fehmarn and Ærø, identified as 9a and 4b, respectively).

By the early Middle Ages the population of Schleswig consisted of Danes to the north of Danevirke and Schlei and on the peninsula Schwansen, North Frisians on the west coast below a line slighly south of the present border and on the islands, and Saxon (or Low German) in the far South. During the 14th century the population on Schwansen began to speak German, but otherwise the ethnic borders remained remarkably stable until around 1800 with the exception of the population in the towns that became increasingly German from the 14th century onwards.

High Middle Ages[link]

In 1027, Conrad II and Canute the Great settled their mutual border at the Eider.^[3] In 1115, king Niels created his nephew Canute Lavard - a son of his predecessor Eric I - Earl of Schleswig, a title used for only a short time before the recipient began to style himself Duke.^[4] In 1230s, Southern Jutland (Duchy of Slesvig) was allotted as an appanage to Abel Valdemarsen, Canute's great-grandson, a younger son of Valdemar II of Denmark. Abel, having wrested the Danish throne to himself for a brief period, left his duchy to his sons and their successors, who pressed claims to the throne of Denmark for much of the next century, so that the Danish kings were at odds with their cousins, the dukes of Slesvig.

Early modern times[link]

Feuds and marital alliances brought the Abel dynasty into a close connection with the German Duchy of Holstein by the 15th century. The latter was a fief subordinate to the Holy Roman Empire, while Schleswig remained a Danish fief. These dual loyalties were to become a main root of the dispute between the German states and Denmark in the 19th century, when the ideas of romantic nationalism and the nation-state won popular support. The title Duke of Schleswig was inherited in 1460 by the hereditary kings of Norway who were also regularly elected kings of Denmark simultaneously, and their sons (unlike Denmark which was not hereditary). This was an anomaly – a king holding a ducal title, which he as king was the fount of and its liege lord. The title and anomaly survived presumably because it was already co-regally held by the king's sons. Between 1544 and 1713/20 the ducal reign had become a condominium, with the royal House of Oldenburg and its cadet branch House of Holstein-Gottorp jointly holding the stake. A third branch in the condominium, the short-lived House of Haderslev, was already extinct in 1580 by the time of John the Elder.
Following the reformation when Latin was replaced as the medium of church service by the vernacular languages, the diocese of Schleswig was divided and an autonomous archdeaconry of Haderslev created. On the west coast the Danish diocese of Ribe stopped about 5 km north of the present border. This created a new cultural dividing line in the duchy because German was used for church services and teaching in the diocese of Schleswig and Danish was used in the diocese of Ribe and the archdeaconry of Haderslev. This line corresponds remarkably well with the present border.

19th century and the rise of nationalism[link]

From around 1800 to 1840 the Danish speaking population on the Angel peninsula between Schleswig and Flensburg began to switch to Low German and in the same period many North Frisians also switched to Low German. This linguistic change created a new defacto dividing line between German and Danish speakers north of Tønder and south of Flensburg. From around 1830 large segments of the population began to identify with either German or Danish nationality and mobilized politically. In Denmark, the National Liberal Party used the Schleswig Question as part of their agitation and demanded that the Duchy be incorporated in the Danish kingdom under the slogan "Denmark to the Eider". This caused a conflict between Denmark and the German states over Schleswig and Holstein which led to the Schleswig-Holstein Question of the 19th century. When the National Liberals came to power in Denmark, in 1848, it provoked an uprising of ethnic Germans who supported Schleswig's ties with Holstein. This led to the First War of Schleswig. Denmark was victorious and the Prussian troops were ordered to pull out of Schleswig and Holstein following the London Protocol of 1852.

Denmark again attempted to integrate Schleswig, by creating a new common constitution (the so called November Constitution) for Denmark and Schleswig in 1863, but the German Confederation, led by Prussia and Austria, defeated the Danes in the Second War of Schleswig the following year. Prussia and Austria then assumed administration of Schleswig and Holstein respectively under the Gastein Convention of 14 August 1865. However, tensions between the two powers culminated in the Austro-Prussian War of 1866. In the Peace of Prague, the victorious Prussians annexed both Schleswig and Holstein, creating the province of Schleswig-Holstein. Provision for the cession of northern Schleswig to Denmark was made pending a popular vote in favour of this. In 1878, however, Austria went back on this provision, and Denmark, in a Treaty of 1907, with Germany, recognized that, by the agreement between Austria and Prussia, the frontier between Prussia and Denmark had finally been settled.^[5]

Modern times[link]

The Treaty of Versailles provided for a plebiscite to determine the ownership of the region.^[6] Thus, two referendums were held in 1920, resulting in the partition of the region. Northern Schleswig joined Denmark, whereas Central Schleswig voted, by an 80% majority, to remain part of Germany. In Southern Schleswig, no referendum was held, as the likely outcome was apparent. The name Southern Schleswig is now used for all of German Schleswig. This decision left substantial minorities on both sides of the new border.

Following the Second World War, a substantial part of the German population in Southern Schleswig changed their nationality and declared themselves as Danish. This change was caused by a number of factors, most importantly the German defeat and an influx of a large number of refugees from eastern Germany, whose culture and appearance differed from the local Germans, who were mostly descendents of Danish families that had changed their nationality in the 19th century. The change created a temporary Danish majority in the region and a demand for a new referendum from the Danish population in South Schleswig and some Danish politicians, including prime minister Knud Kristensen. But the majority in the Danish parliament refused to support a referendum in South Schleswig, fearing that the "new Danes" were not genuine in their change of nationality. This proved to be the case and, from 1948 the Danish population began to shrink again. By the early 1950s, it nevertheless had stabilised at a level four times higher than the pre-war number.

In the Copenhagen-Bonn declaration of 1955, Germany and Denmark promised to uphold the rights of each other's minority population. Today, both parts co-operate as a Euroregion, despite a national border dividing the former duchy. As Denmark and Germany are both part of the Schengen Area, there are no controls at the border.

Dukes and rulers[link]

Danish Map of Southern Jutland (1918)

Name and naming dispute[link]

In the 19th century, there was a naming dispute concerning the use of Schleswig or Slesvig and Sønderjylland (Southern Jutland). Originally the duchy was called Sønderjylland (Southern Jutland) but in the late 14th century the name of the city Slesvig (now Schleswig) started to be used for the whole territory. The term "Sønderjylland" was hardly used between the 16th and 19th centuries, and in this period the name "Schleswig" had no special political connotations. But around 1830, some Danes started to re-introduce the archaic term Sønderjylland to emphasize the area's history before its association with Holstein and its connection with the rest of Jutland. Its revival and widespread use in the 19th Century therefore had a clear Danish nationalist connotation of laying a claim to the territory and objecting to the German claims. "Olsen's Map", published by the Danish cartographer Olsen^{[citation needed]} in the 1830s that used this term, aroused a storm of protests by the duchy's German inhabitants. Even though many Danish nationalists, such as the National Liberal ideologue and agitator Orla Lehmann, used the name "Schleswig", it began to assume a clear German nationalist character in the mid 19th century – especially when included in the combined term "Schleswig-Holstein". A central element of the German nationalistic claim, was the insistence on Schleswig and Holstein being a single, indivisible entity. Since Holstein was legally part of the German Confederation, and ethnically entirely German, with no Danish population, use of that name implied that both provinces should belong to Germany, and their connection with Denmark weakened or altogether severed. After the German conquest in 1864, the term Sønderjylland became increasingly dominant among the Danish population, even though most Danes still had no objection to the use of "Schleswig" as such (it is etymologically of Danish origin) and many of them still used it, themselves, in its Danish version "Slesvig". An example is the founding of De Nordslesvigske Landboforeninger (The North Schleswig Farmers Association). The naming dispute was resolved with the 1920 plebiscites and partition, each side applying its preferred name to the part of the territory remaining in its possession – though both terms can, in principle, still refer to the entire region. Northern Schleswig was, after the 1920 plebiscites, officially named The Southern Jutland districts (de sønderjyske landsdele), while Southern Schleswig became a part of the German province Schleswig-Holstein.

See also[link]

• Coat of arms of Schleswig
• Danevirke
• German Bight
• Jutland
• Hedeby
• History of Schleswig-Holstein
• North Frisian Islands
• Schleswig-Holstein Question
• Traditional districts of Denmark
• Region Sønderjylland-Schleswig

References[link]

Coordinates: 55°10′N 9°15′E / 55.167°N 9.25°E / 55.167; 9.25

Charlie Haden
Haden in Pescara Italy, 1990
Background information
Birth name	Charles Edward Haden
Born	(1937-08-06) August 6, 1937 (age 74)
Origin	Shenandoah, Iowa, U.S.
Genres	Free jazz Mainstream jazz Post-bop Hard bop
Occupations	Double bassist
Instruments	Double bass
Years active	1957–present
Associated acts	Ornette Coleman, Pat Metheny, Liberation Music Orchestra, Quartet West

Charles Edward Haden (born August 6, 1937)^[1] is an American jazz musician. He is a double bassist, probably best known for his long association with saxophonist Ornette Coleman. Haden is also known for his signature lyrical bass lines.

Early life[link]

Haden was born in Shenandoah, Iowa, and raised in a musical family, which often performed together on the radio playing country music and American folk songs. Haden made his professional debut as a singer when he was two years old, and continued singing with his family until he contracted a mild form of polio when he was 15.^[1] The polio damaged his throat muscles and vocal cords, and as a result, Haden was unable to control his pitch while singing. A few years before contracting polio, Haden had become interested in jazz, and began playing his older brother's double bass. Eventually he set his sights on Los Angeles, and to save money for the trip took a job as house bassist for ABC-TV's Ozark Jubilee in Springfield, Missouri.

Career[link]

Early period[link]

Charlie Haden in 1981

Haden moved to Los Angeles in 1957. His first recordings were made that year with Paul Bley. He began recording with Ornette Coleman shortly after, including the important The Shape of Jazz to Come.^[1] Haden's folk-influenced style complemented the microtonal, Texas blues elements of Coleman. Haden would enter Keith Jarrett's trio and his 'American Quartet' from 1967 to 1976 with Paul Motian and Dewey Redman.^[1] He also played in the collective Old and New Dreams.^[1]

He went on to lead the Liberation Music Orchestra in the 1970s. Largely arranged by Carla Bley, their music was very experimental, exploring the realms of free jazz and political music at the same time; the first album focused specifically on the Spanish Civil War. The LMO has had a shifting membership comprising a "who's who" of jazz instrumentalists. Through Bley's arranging, they have concentrated on a wide palette of brass instruments, including tuba, French horn, and trombone, in addition to the more standard trumpet and reed section. The LMO's 1982 album The Ballad of the Fallen commented again on the Spanish Civil War as well as the political instability and United States involvement in Latin America. In 1990, the orchestra returned with Dream Keeper, a more heterogeneous album which drew on American gospel music and South African music to comment on politics in Latin America and apartheid in South Africa. The album featured choral contributions from the Oakland Youth Chorus.

In 1971, while on tour with the Ornette Coleman Quartet in Portugal (at the time under a fascist dictatorship), Haden decided to dedicate a performance of his "Song for Che" to the anticolonialist revolutionaries in the Portuguese colonies of Mozambique, Angola, and Guinea-Bissau. The following day, he was detained at Lisbon Airport, jailed, and interrogated by the DGS (the Portuguese secret police). He was promptly released the same day after the intervention of the American cultural attaché, though he was later interviewed by the FBI in the United States about his choice of dedication.^[2]

Later period[link]

Thematic exploration of genres not typically considered to be jazz standards became one of the signature approaches of the Charlie Haden Quartet West. Started in 1987, the Quartet consists of Ernie Watts on sax, Alan Broadbent on piano, and Larance Marable on drums. Quartet West's albums feature lush, romantic arrangements by Broadbent, often with strings, of music from the 1930s and 1940s, often music associated with films of that period.

Haden has also performed and recorded in a number of duos with pianists including Hank Jones (with whom he recorded Steal Away, and Come Sunday, both collections of American folk and gospel tunes), Kenny Barron, and Denny Zeitlin. He has also recorded two albums of Cuban music with the pianist Gonzalo Rubalcaba, Nocturne and Land of the Sun.

A brief collaboration with Joe Henderson and Al Foster, players not normally associated with Haden or his immediate circle, showcased Haden's playing in a more hard-driving jazz context.

In 1989, Haden was featured at the Montreal Jazz Festival, and performed in concert every night of the festival, with different combos and bands. Each of these events was recorded, and most have been released in the series The Montreal Tapes.

In late 1996, he collaborated with Pat Metheny on the album Beyond the Missouri Sky (Short Stories), exploring the music that influenced them in their childhood experiences in Missouri with what they call "contemporary impressionistic Americana".

Haden reconvened the Liberation Music Orchestra in 2005, with largely new members, for the album Not In Our Name, released on Verve Records. The album dealt primarily with the contemporary political situation in the United States. Haden's 2008 release, Rambling Boy, features several members of his immediate family, along with Béla Fleck, Pat Metheny, Elvis Costello, and others. The album, released on 23 September 2008, hearkens back to his days of playing Americana and bluegrass music with his parents on their radio show. A concert tour with Quartet West (with a new drummer) took place in the late summer of that year.

In 2012, Haden was a recipient of the NEA Jazz Masters Award.

Family[link]

His son Josh Haden is a bass guitarist and singer. He recorded with 1980s punk band Trecherous Jaywalkers (who recorded for SST Records), and is presently a member of Spain. His triplet daughters, Petra, Tanya and Rachel Haden, are all musicians. Petra and Rachel were in that dog.; Petra was a member of progressive folk group The Decemberists, Rachel played in the rock band The Rentals, and Tanya is married to actor Jack Black.

Discography[link]

As leader[link]

Haden in Gent, Belgium, 2007

• As Long as There's Music with Hampton Hawes (Artists House, 1976 [1978])
• Closeness (Horizon, 1976)
• The Golden Number (Horizon, 1977)
• Gitane with Christian Escoude (All Life, 1978)
• Magico with Jan Garbarek and Egberto Gismonti (ECM, 1979)
• Folk Songs with Jan Garbarek and Egberto Gismonti (ECM, 1979)
• Time Remembers One Time Once with Denny Zeitlin (ECM, 1981)
• Etudes with Geri Allen and Paul Motian (Soul Note, 1987)
• Silence with Chet Baker, Enrico Pieranunzi and Billy Higgins (Soul Note, 1987)
• First Song with Enrico Pieranunzi and Billy Higgins (Soul Note, 1990 [1992])
• In Montreal with Egberto Gismonti (ECM, 1989 [2001])
• Dialogues with Carlos Paredes (Antilles, 1990)
• Steal Away with Hank Jones (Verve, 1995)
• Night and the City with Kenny Barron (Verve, 1996)
• Beyond the Missouri Sky (Short Stories) with Pat Metheny (Verve, 1997)
• None But the Lonely Heart with Chris Anderson (Naim, 1997)
• Nocturne with Gonzalo Rubalcaba (Verve, 2001)
• American Dreams with Michael Brecker (Verve, 2002)
• Land of the Sun with Gonzalo Rubalcaba (Verve, 2004)
• Nightfall with John Taylor (Naim, 2004)
• Heartplay with Antonio Forcione (Naim, 2006)
• Rambling Boy (Decca, 2008)

The Montreal Tapes

• The Montreal Tapes: Tribute to Joe Henderson (Verve, 1989 [2004])
• The Montreal Tapes: with Geri Allen and Paul Motian (Verve 1989 [1997])
• The Montreal Tapes: with Don Cherry and Ed Blackwell (Verve, 1989 [1994])
• The Montreal Tapes: with Gonzalo Rubalcaba and Paul Motian (Verve 1989 [1997])
• The Montreal Tapes: with Paul Bley and Paul Motian (Verve, 1989 [1994])
• The Montreal Tapes: Liberation Music Orchestra (Verve, 1989 [1997])

With the Liberation Music Orchestra

• Liberation Music Orchestra (Impulse!, 1969)
• The Ballad of the Fallen (ECM, 1982)
• Dream Keeper (Blue Note, 1990)
• Not in Our Name (Verve, 2005)

With Old and New Dreams

• Old and New Dreams (Black Saint, 1976)
• Old and New Dreams (ECM, 1979)
• Playing (ECM, 1980)
• A Tribute to Blackwell (Black Saint, 1987)

With Quartet West

• Quartet West (Verve, 1986)
• In Angel City (Verve, 1988)
• The Private Collection (Naim, 1987-88 [2007])
• Haunted Heart (Verve, 1991)
• Always Say Goodbye (Verve, 1993)
• Now Is the Hour (Verve, 1996)
• The Art of the Song (Verve, 1999)
• Sophisticated Ladies (EmArcy, 2010)

As sideman[link]

With Geri Allen

• In the Year of the Dragon (JMT, 1989)
• Segments (DIW, 1989)
• Live at the Village Vanguard (DIW, 1990)

With Ray Anderson

• Every One of Us (Gramavision, 1992)

With Ginger Baker

• Going Back Home (Atlantic, 1994)
• Falling off the Roof (Atlantic, 1996)

With Gato Barbieri

• The Third World (Flying Dutchman, 1969)

With Kenny Barron

• Wanton Spirit with Roy Haynes (1994)

With Beck

• Odelay (DGC, 1994)

With Carla Bley

• Escalator Over The Hill (JCOA, 1971)
• Musique Mecanique (Watt, 1978)

With Paul Bley

• Live at the Hillcrest Club (Inner City, 1958)
• Memoirs (Soul Note, 1990)

With Jane Ira Bloom

• Mighty Lights (Enja, 1982)

With Dusan Bogdanovich

• Early to Rise (Palo Alto, 1983)

With Charles Brackeen

• Rhythm X (Strata East, 1968)

With Michael Brecker

• Michael Brecker (Impulse!, 1987)
• Don't Try This at Home (Impulse!, 1988)
• Nearness of You: The Ballad Book (Verve, 2000)

With Gavin Bryars

• Farewell to Philosophy (Point, 1995)

With Ruth Cameron

• First Songs (Polygram, 1997)
• Road House (Verve, 1999)

With Don Cherry

• Brown Rice (EMI, 1975)
• Art Deco (A&M, 1988)

With Ornette Coleman

• The Shape of Jazz to Come (Atlantic, 1959)
• Change of the Century (Atlantic, 1959)
• This Is Our Music (Atlantic, 1960)
• The Art of the Improvisers (Atlantic, 1959-60 [1970])
• To Whom Who Keeps a Record (Atlantic, 1959-60 [1975])
• Free Jazz: A Collective Improvisation (Atlantic, 1961)
• Friends and Neighbors: Live at Prince Street (Flying Dutchman, 1970)
• Science Fiction (Columbia, 1971)
• Soapsuds, Soapsuds (Artists House, 1971)

With Alice Coltrane

• Journey in Satchidananda (Impulse!, 1971) - on one track, "Isis and Osiris"
• John Coltrane: Infinity (Impulse!, 1972)
• Eternity (Warner Bros., 1975)
• Translinear Light (Impulse!, 2004)

With John Coltrane

• The Avant-Garde with Don Cherry (Atlantic, 1960)

With James Cotton

• Deep in the Blues (Verve, 1995)

With Robert Downey Jr.

• The Futurist (Sony, 2004)

With Dizzy Gillespie

• Rhythmstick (1990)

With Tom Harrell

• Form (Contemporary, 1990)

With Joe Henderson

• The Elements (Milestone, 1973)
• An Evening with Joe Henderson (Red, 1987)
• The Standard Joe (Red, 1991)

With Fred Hersch

• Sarabande (Sunnyside, 1986)

With Mark Isham

• Songs My Children Taught Me (Windham Hill, 1991)

With Keith Jarrett

• Life Between The Exit Signs (Votrex, 1967)
• Somewhere Before (Atlantic, 1968)
• The Mourning of a Star (Atlantic, 1971)
• El Juicio (The Judgement) (Atlantic, 1971)
• Birth (Atlantic, 1971)
• Expectations (Columbia, 1971)
• Fort Yawuh (Impulse!, 1973)
• Treasure Island (Impulse!, 1974)
• Death and the Flower (Impulse!, 1974)
• The Survivors' Suite (ECM, 1977)
• Eyes of the Heart (ECM, 1979)
• Jasmine (ECM, 2010)

With Rickie Lee Jones

• Pop Pop (Geffen, 1991)

With Lee Konitz

• Alone Together (Blue Note, 1996) with Brad Meldhau
• Another Shade of Blue (Blue Note, 1997)
• Live at Birdland (ECM, 2011) with Brad Mehldau & Paul Motian

With David Liebman

• Sweet Hands (Horizon, 1975)

With Abbey Lincoln

• The World Is Falling Down (Verve, 1990)
• You Gotta Pay the Band (Verve, 1991)
• A Turtle's Dream (Verve, 1994)

With Joe Lovano

• Universal Language (Blue Note, 1992)

With Michael Mantler

• The Jazz Composer's Orchestra (JCOA, 1968)

With Harvey Mason

• With All My Heart (RCA, 2004)

With John McLaughlin

• My Goal's Beyond (1970)

With Helen Merrill

• You and the Night and the Music (1998)

With Pat Metheny

• 80/81 (ECM, 1980)
• Rejoicing (ECM, 1983)
• Song X with Ornette Coleman (Geffen, 1985)
• Secret Story (Geffen, 1992)

With Mingus Dynasty

• Chair in the Sky (Elektra, 1980)

With Paul Motian

• Conception Vessel (ECM, 1972)
• On Broadway Volume 1 (JMT, 1988)
• On Broadway Volume 2 (JMT, 1989)
• On Broadway Volume 3 (JMT, 1991)

With Bheki Mseleku

• Star Seeding (Polygram, 1995)

With Yoko Ono

• Yoko Ono/Plastic Ono Band (1970)

With Joe Pass

• 12-string Guitar Movie Themes (World Pacific, 1964)

With Art Pepper

• Living Legend (Contemporary, 1975)
• So In Love (Artists House, 1979)
• Art 'N' Zoot with Zoot Sims (Pablo, 1981)

With Enrico Pieranunzi

• Fellini Jazz (Cam Jazz, 2003)
• Special Encounter (Cam Jazz, 2005)

With Dewey Redman

• Soundsigns (Galaxy, 1978)

With Joshua Redman

• Wish (Warner Bros., 1993)

With Gonzalo Rubalcaba

• Discovery - Live at Montreux (Blue Note, 1990)
• The Blessing (Blue Note, 1991)
• Suite 4 Y 20 (Blue Note, 1992)
• Imagine (Blue Note, 1994)

With Roswell Rudd

• Everywhere (Impulse!, 1966)

With Pee Wee Russell and Henry "Red" Allen

• The College Concert (Impulse!, 1966)

With Dino Saluzzi

• Once Upon a Time - Far Away in the South (ECM, 1985)

With David Sanborn

• Another Hand (Elektra, 1991)

With John Scofield

• Time on My Hands (Blue Note, 1989)
• Grace Under Pressure (Blue Note, 1991)

With Archie Shepp

• Mama Too Tight (Impulse!, 1967)

With Alan Shorter

• Orgasm (Verve, 1968)

With Wadada Leo Smith

• Divine Love (ECM, 1978)

With Ringo Starr

• Ringo Rama (2003)

With Masahiko Togashi

• Session In Paris (Take One, 1979)

With Denny Zeitlin

• Carnival (Columbia, 1964)
• Live at the Trident (Columbia, 1965)
• Zeitgeist (Columbia, 1967)
• Tidal Wave (Quicksilver, 1983)

References[link]

External links[link]

Wikimedia Commons has media related to: Charlie Haden

• Charlie Haden Official Web site
• Charlie Haden interview on Democracy Now!, September 1, 2006
• Official Documentary Website
• Charlie Haden at the Internet Movie Database
• Interview by Ethan Iverson
• All About Jazz Charlie Haden Discography
• NPR interview

Philippe Jaroussky
Philippe Jaroussky, 2011 Misteria Paschalia Festival, Kraków Philharmonic
Born	Philippe Jaroussky (1978-02-13) February 13, 1978 (age 34) Maisons-Laffitte, France
Occupation	opera singer
Years active	1999–present
Website
www.philippejaroussky.fr

Philippe Jaroussky (born 13 February 1978 in Maisons-Laffitte, France)^[1] is a French sopranist countertenor. He began his musical career with the violin, winning an award at the Versailles conservatory and then took up the piano before turning to singing. He is noted for a virtuosic coloratura technique and for compelling and enlivened interpretations of baroque cantatas and operas.

Jaroussky was inspired to sing by the Martinique-born countertenor Fabrice di Falco.^[2] He received his diploma from the Early Music Faculty of the Conservatoire de Paris. Since 1996, he has studied singing with Nicole Fallien.^[3] He has formed his own ensemble called Artaserse, and also often performs with the Ensemble Matheus under Jean-Christophe Spinosi and with L'Arpeggiata under Christina Pluhar.

Reception and awards[link]

According to La Terrasse, "this young singer with the tone of an angel and the virtuosity of the devil has come into the limelight in only a few years as the great new French vocal talent."^{[citation needed]} He received the 2007 best French lyrical artist award. Jaroussky was awarded "The Best Singer of the Year" at the Echo Classic Awards, 2008.

Discography[link]

• Alessandro Scarlatti: Sedecia, Re di Gerusalemme. Lesne, Pochon, Harvey, Padmore. Il Seminario Musicale, Gérard Lesne. Virgin Veritas (rec. November 1999, École Sainte-Geneviève, Versailles, France)
• Claudio Monteverdi: L'incoronazione di Poppea. Laurens, Oliver, Schofrin, Oro. Ensemble Elyma, Gabriel Garrido. K617 (rec. July/August 2000, Chiesa San Martino, Erice, Italy)
• Pierre Menault: Vêpres pour le Pére la Chaize. Greuillet, Janssens, Lombard, van Dyck. Ensemble La Fenice, Jean Tubéry. K617 (rec. April 2001, chiesa Saint-Lazare, Avallon, France)
• Giovanni Battista Bassani: La morte delusa. Galli, del Monaco, Piolino, Sarragosse. Ensemble La Fenice, Jean Tubéry. Opus 111 (rec. August 2001, Delft, Nederland)
• Antonio Vivaldi: Catone in Utica. Edwards, Laszczkowski, Cangemi, Faraon. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. November 2001, Théâtre Municipal, Tourcoing, France)
• Antonio Vivaldi: La Verità in cimento. Rolfe-Johnson, Stutzmann, Laurens, Mingardo. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. September 2002, Église de Daoulas, Bretagne, France)
• Solo recital: Benedetto Ferrari: Musiche varie. Ensemble Artaserse. Ambroisie (rec. October/December 2002, Chapelle Jésus-Enfant – Paroisse Ste. Clothilde, Paris, France)
• George Frideric Handel: Agrippina. Gens, Perruche, Smith, Grégoire, di Falco. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. March 2003, Théâtre Municipal, Tourcoing, France)
• Solo recital: Un concert pour Mazarin. Ensemble La Fenice, Jean Tubéry. Virgin Classics, 2004 (rec. June 2003, Abbaye de Saint-Michel, Thiérache, France)
• Claudio Monteverdi: Selva morale e spirituale. Spiritualità e liturgia / I salmi vespertini / Vespro dei Martiri / L'eloquenza divina. Ensemble Elyma, Gabriel Garrido. Ambronay Edition (rec. 2003/2004, Festival d'Ambronay, France)
• Antonio Vivaldi: Orlando furioso. Larmore, Lemieux, Cangemi. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. June 2004, Église de Daoulas, Bretagne, France)
• Claudio Monteverdi: L'Orfeo. van Rensburg, Gerstenhaber, Thébault, Gerstenhaber, Gillot, Kaïque. La Grande Écurie, Jean-Claude Malgoire. Dynamic (rec. October 2004, Théâtre Municipal, Tourcoing, France)
• Solo recital: Antonio Vivaldi: Virtuoso cantatas. Ensemble Artaserse. Virgin Veritas (rec. October 2004, Chapelle des sœurs auxiliaires, Versailles, France)
• Antonio Vivaldi: Griselda. Lemieux, Cangemi, Kermes, Ferrari, Davies. Ensemble Matheus, Jean-Christophe Spinosi. Naïve – Opus 111 (rec. November 2005, Salle Surcouf, Foyer du Marin, Brest, France)
• Solo recital: Beata Vergine, Motets à la Vierge entre Rome et Venise, Grandi, Legrenzi, Cavalli, Antonio Rigatti, Giovanni Paolo Caprioli, Frescobaldi, Sances, Ensemble Artaserse. Virgin Classics (rec. December 2005, Église Notre-Dame du Liban, Parigi, France)
• Solo recital: Vivaldi Heroes. Ensemble Matheus, Jean-Christophe Spinosi. Virgin Classics (rec. October 2006, Auditorium de l'Ecole Nationale de Musique, Brest, France)
• Solo recital: Carestini, the story of a castrato. Le Concert d'Astrée, Emmanuelle Haïm. Virgin Classics, 2007
• J. S. Bach: Magnificat – G. F. Handel: Dixit Dominus. Dessay, Deshayes, Spence, Naouri. Le Concert d'Astrée, Emmanuelle Haïm. Virgin Classics, 2007
• Antonio Vivaldi: Nisi Dominus and Stabat Mater. Philippe Jaroussky, Lemieux. Ensemble Matheus, Jean-Christophe Spinosi. Naïve (rec. July 2007, Salle Surcouf, Brest (France))
• Solo recital: Opium – Mélodies françaises. Philippe Jaroussky, Jerôme Ducros. Virgin Classics, 2009. – songs by Debussy, Hahn, Fauré, César Franck, Massenet, Ernest Chausson, André Caplet, Saint-Saëns, Paul Dukas, Guillaume Lekeu, Cécile Chaminade, Gabriel Dupont, Vincent d'Indy.
• Via Crucis. Claudio Monteverdi, Benedetto Ferrari, Heinrich Ignaz Franz von Biber, Giovanni Legrenzi, Luigi Rossi, Tarquinio Merula, L'Arpeggiata, dir. Christina Pluhar, Philippe Jaroussky, Nuria Rial, Enzo Gragnaniello, Barbara Furtuna. Jean-Philippe Guissani, Giovanni Antonio, Pandolfi Mealli, Roccu Mambrini, Toni Casalonga, Nando Acquaviva, Lorenzo Allegri, Virgin Classics, 2010.
• Solo recital: J. C. Bach Opera arias. Le Cercle de l'Harmonie, dir. Jérémie Rhorer Virgin. – awarded the Diapason d'Or de l'Année 2010 in France.
• Solo recital: Caldara in Vienna (Forgotten Castrato Arias) Philippe Jaroussky / Concerto Köln, Emmanuelle Haïm
• Vivaldi Ercole sul Termodonte Diana Damrau, Vivica Genaux, Romina Basso, Patrizia Ciofi, Joyce DiDonato, Rolando Villazón, Philippe Jaroussky, Topi Lehtipuu, dir. Fabio Biondi, Europa Galante, Virgin Classics. 2011

References[link]

External links[link]

Wikimedia Commons has media related to: Philippe Jaroussky

• Concerts Parisiens
• Philippe Jaroussky International Forum
• Performance of aria "Vedrò con mio diletto" (Vivaldi, "Il Giustino") on YouTube
• Philippe Jaroussky recordings on Virgin Classics
• Philippe Jaroussky videos on MaleSopranos.com
• New York Times Sunday Magazine profile
• Official website (French)