Mount Vesuvius
Monte Vesuvio
Mt. Vesuvius as seen from the ruins of Pompeii, which was destroyed in the eruption of AD 79. The active cone is the high peak on the left side; the smaller one on the right is part of the Somma caldera wall.
Elevation	1,281 m (4,203 ft)
Prominence	Gran Cono
Location
Mount Vesuvius Province of Naples,  Italy
Coordinates	40°49′N 14°26′E / 40.817°N 14.433°E / 40.817; 14.433Coordinates: 40°49′N 14°26′E / 40.817°N 14.433°E / 40.817; 14.433
Geology
Type	Somma volcano
Age of rock	25,000 years before present to 1944 age of volcano = c. 17,000 years to present
Volcanic arc/belt	Campanian volcanic arc
Last eruption	1944
Climbing
Easiest route	Walk

Mount Vesuvius (Italian: Monte Vesuvio, Latin: Mons Vesuvius) is a stratovolcano in the Gulf of Naples, Italy, about 9 kilometres (5.6 mi) east of Naples and a short distance from the shore. It is the only volcano on the European mainland to have erupted within the last hundred years, although it is not currently erupting. The two other major active volcanoes in Italy, Etna and Stromboli, are located on the islands of Sicily and Stromboli respectively.

Mount Vesuvius is best known for its eruption in AD 79 that led to the burying and destruction of the Roman cities of Pompeii and Herculaneum. They were never rebuilt, although surviving townspeople and probably looters did undertake extensive salvage work after the destructions. The towns' locations were eventually forgotten until their accidental rediscovery in the 18th century.

The eruption also changed the course of the Sarno River and raised the sea beach, so that Pompeii was now neither on the river nor adjacent to the coast. Vesuvius itself underwent major changes – its slopes were denuded of vegetation and its summit changed considerably due to the force of the eruption. Vesuvius has erupted many times since and is today regarded as one of the most dangerous volcanoes in the world because of the population of 3,000,000 people living nearby and its tendency towards explosive (Plinian) eruptions. It is the most densely populated volcanic region in the world.^[1]

Mythology[link]

Vesuvius has a long historic and literary tradition. It was considered a divinity of the Genius type at the time of the eruption of 79 AD: it appears under the inscribed name Vesuvius as a serpent in the decorative frescos of many lararia, or household shrines, surviving from Pompeii. An inscription from Capua^[2] to IOVI VESVVIO indicates that he was worshipped as a power of Jupiter; that is, Jupiter Vesuvius.^[3]

The historian Diodorus Siculus relates a tradition that Hercules, in the performance of his labors, passed through the country of nearby Cumae on his way to Sicily and found there a place called "the Phlegraean Plain" (phlegraion pedion, "plain of fire"), "from a hill which anciently vomited out fire ... now called Vesuvius."^[4] It was inhabited by bandits, "the sons of the Earth," who were giants. With the assistance of the gods he pacified the region and went on. The facts behind the tradition, if any, remain unknown, as does whether Herculaneum was named after it. An epigram by the poet Martial in 88 AD suggests that both Venus, patroness of Pompeii, and Hercules were worshipped in the region devastated by the eruption of 79.^[5] Whether Hercules was ever considered some sort of patron of the volcano itself is debatable.^{[citation needed]}

Origin of the name[link]

Vesuvius was a name of the volcano in frequent use by the authors of the late Roman Republic and the early Roman Empire. Its collateral forms were Vesaevus, Vesevus, Vesbius and Vesvius.^[6] Writers in ancient Greek used Οὐεσούιον or Οὐεσούιος. Many scholars since then have offered an etymology. As peoples of varying ethnicity and language occupied Campania in the Roman Iron Age, the etymology depends to a large degree on the presumption of what language was spoken there at the time. Naples was settled by Greeks, as the name Nea-polis, "New City", testifies. The Oscans, a native Italic people, lived in the countryside. The Latins also competed for the occupation of Campania. Etruscan settlements were in the vicinity. Other peoples of unknown provenience are said to have been there at some time by various ancient authors.

On the presumption that the language is Greek, Vesuvius might be a Latinization of the negative οὔ (ve) prefixed to a root from or related to the Greek word σβέννυμι = "I quench", in the sense of "unquenchable".^[6][7] In another derivation it might be from ἕω "hurl" and βίη "violence", "hurling violence", *vesbia, taking advantage of the collateral form.^[8]

Some other theories about its origin are:

• From an Indo-European root, *eus- < *ewes- < *(a)wes-, "shine" sense "the one who lightens", through Latin or Oscan.^[9]
• From an Indo-European root *wes = "hearth" (compare e.g. Vesta)

Physical appearance[link]

A view of the crater wall of Vesuvius, with the city of Torre del Greco in the background

Vesuvius is a distinctive "humpbacked" mountain, consisting of a large cone (Gran Cono) partially encircled by the steep rim of a summit caldera caused by the collapse of an earlier and originally much higher structure called Monte Somma.^[10] The Gran Cono was produced during the eruption of AD 79. For this reason, the volcano is also called Somma-Vesuvius or Somma-Vesuvio.

The caldera started forming during an eruption around 17,000^[11][12] (or 18,300)^[13] years ago and was enlarged by later paroxysmal eruptions^[14] ending in the one of AD 79. This structure has given its name to the term "somma volcano", which describes any volcano with a summit caldera surrounding a newer cone.^[15]

The height of the main cone has been constantly changed by eruptions but is 1,281 m (4,203 ft) at present. Monte Somma is 1,149 m (3,770 ft) high, separated from the main cone by the valley of Atrio di Cavallo, which is some 5 km (3.1 mi) long. The slopes of the mountain are scarred by lava flows but are heavily vegetated, with scrub and forest at higher altitudes and vineyards lower down. Vesuvius is still regarded as an active volcano, although its current activity produces little more than steam from vents at the bottom of the crater. Vesuvius is a stratovolcano at the convergent boundary where the African Plate is being subducted beneath the Eurasian Plate. Layers of lava, scoria, volcanic ash, and pumice make up the mountain. Their mineralogy is variable, but generally silica-undersaturated and rich in potassium, with phonolite produced in the more explosive eruptions.^[16]

Formation[link]

A view of Somma-Vesuvius, from a convent on the Sorrento Peninsula

Vesuvius was formed as a result of the collision of two tectonic plates, the African and the Eurasian. The former was pushed beneath the latter, deeper into the earth. As the water-saturated sediments of the oceanic African plate were pushed to hotter depths in the earth, the water boiled off and caused the melting point of the upper mantle to drop enough to create partial melting of the rocks. Because magma is less dense than the solid rock around it, it was pushed upward. Finding a weak place at the Earth's surface it broke through, producing the volcano.

The volcano is one of several which form the Campanian volcanic arc. Others include Campi Flegrei, a large caldera a few kilometres to the north west, Mount Epomeo, 20 kilometres (12 mi) to the west on the island of Ischia, and several undersea volcanoes to the south. The arc forms the southern end of a larger chain of volcanoes produced by the subduction process described above, which extends northwest along the length of Italy as far as Monte Amiata in Southern Tuscany. Vesuvius is the only one to have erupted within recent history, although some of the others have erupted within the last few hundred years. Many are either extinct or have not erupted for tens of thousands of years.

Eruptions[link]

An aerial photo of Vesuvius

Mount Vesuvius has erupted many times. The famous eruption in 79 AD was preceded by numerous others in prehistory, including at least three significantly larger ones, the best known being the Avellino eruption around 1800 BC which engulfed several Bronze Age settlements. Since 79 AD, the volcano has also erupted repeatedly, in 172, 203, 222, possibly 303, 379, 472, 512, 536, 685, 787, around 860, around 900, 968, 991, 999, 1006, 1037, 1049, around 1073, 1139, 1150, and there may have been eruptions in 1270, 1347, and 1500.^[14] The volcano erupted again in 1631, six times in the 18th century, eight times in the 19th century (notably in 1872), and in 1906, 1929, and 1944. There has been no eruption since 1944, and none of the post-79 eruptions were as large or destructive as the Pompeian one.

The eruptions vary greatly in severity but are characterized by explosive outbursts of the kind dubbed Plinian after Pliny the Younger, a Roman writer who published a detailed description of the AD 79 eruption, including his uncle's death.^[17] On occasion, eruptions from Vesuvius have been so large that the whole of southern Europe has been blanketed by ash; in 472 and 1631, Vesuvian ash fell on Constantinople (Istanbul), over 1,200 kilometres (750 mi) away. A few times since 1944, landslides in the crater have raised clouds of ash dust, raising false alarms of an eruption.

Before AD 79[link]

Scientific knowledge of the geologic history of Vesuvius comes from core samples taken from a 2,000 m (6,600 ft) plus bore hole on the flanks of the volcano, extending into Mesozoic rock. Cores were dated by potassium-argon and argon-argon dating.^[18] The mountain started forming 25,000 years ago. Although the area has been subject to volcanic activity for at least 400,000 years, the lowest layer of eruption material from the Somma mountain lies on top of the 34,000 year-old Campanian Ignimbrite produced by the Campi Flegrei complex, and was the product of the Codola plinian eruption 25,000 years ago.^[10]

It was then built up by a series of lava flows, with some smaller explosive eruptions interspersed between them. However, the style of eruption changed around 19,000 years ago to a sequence of large explosive plinian eruptions, of which the AD 79 one was the last. The eruptions are named after the tephra deposits produced by them, which in turn are named after the location where the deposits were first identified:^[19]

• The Basal Pumice (Pomici di Base) eruption, 18,300 years ago, VEI 6, saw the original formation of the Somma caldera. The eruption was followed by a period of much less violent, lava producing eruptions.^[13]
• The Green Pumice (Pomici Verdoline) eruption, 16,000 years ago, VEI 5.^[10]
• The Mercato eruption (Pomici di Mercato) — also known as Pomici Gemelle or Pomici Ottaviano — 8000 years ago, VEI 6, followed a smaller explosive eruption around 11,000 years ago (called the Lagno Amendolare eruption).^[10]
• The Avellino eruption (Pomici di Avellino), 3800 years ago, VEI 5, followed two smaller explosive eruptions around 5,000 years ago. The Avellino eruption vent was apparently 2 km west of the current crater, and the eruption destroyed several Bronze Age settlements of the Apennine culture. Several carbon dates on wood and bone offer a range of possible dates of about 500 years in the mid-2nd millennium BC. In May 2001 near Nola Italian archaeologists using the technique of filling every cavity with plaster or substitute compound recovered some remarkably well-preserved forms of perishable objects, such as fence rails, a bucket and especially in the vicinity thousands of human footprints pointing into the Apennines to the north. The settlement had huts, pots, and goats. The residents had hastily abandoned the village, leaving it to be buried under pumice and ash in much the same way that Pompeii was later preserved.^[20][21] Pyroclastic surge deposits were distributed to the northwest of the vent, travelling as far as 15 km (9.3 mi) from it, and lie up to 3 m (9.8 ft) deep in the area now occupied by Naples.^[22]

The volcano then entered a stage of more frequent, but less violent, eruptions until the most recent Plinian eruption, which destroyed Pompeii.

The last of these may have been in 217 BC.^[14] There were earthquakes in Italy during that year and the sun was reported as being dimmed by a haze or dry fog. Plutarch wrote of the sky being on fire near Naples and Silius Italicus mentioned in his epic poem Punica^[23] that Vesuvius had thundered and produced flames worthy of Mount Etna in that year, although both authors were writing around 250 years later. Greenland ice core samples of around that period show relatively high acidity, which is assumed to have been caused by atmospheric hydrogen sulfide.^[24]

Fresco of Bacchus and Agathodaemon with Mount Vesuvius, as seen in Pompeii's House of the Centenary.

The mountain was then quiet for hundreds of years and was described by Roman writers as having been covered with gardens and vineyards, except at the top which was craggy. Within a large circle of nearly perpendicular cliffs was a flat space large enough for the encampment of the army of the rebel gladiator Spartacus in 73 BC. This area was doubtless a crater. The mountain may have had only one summit at that time, judging by a wall painting, "Bacchus and Vesuvius", found in a Pompeiian house, the House of the Centenary (Casa del Centenario).

Several surviving works written over the 200 years preceding the AD 79 eruption describe the mountain as having had a volcanic nature, although Pliny the Elder did not depict the mountain in this way in his Naturalis Historia:^[25]

• The Greek historian Strabo (ca 63 BC–AD 24) described the mountain in Book V, Chapter 4 of his Geographica^[26] as having a predominantly flat, barren summit covered with sooty, ash-coloured rocks and suggested that it might once have had "craters of fire". He also perceptively suggested that the fertility of the surrounding slopes may be due to volcanic activity, as at Mount Etna.
• In Book II of De Architectura,^[27] the architect Vitruvius (ca 80-70 BC -?) reported that fires had once existed abundantly below the mountain and that it had spouted fire onto the surrounding fields. He went on to describe Pompeiian pumice as having been burnt from another species of stone.
• Diodorus Siculus (ca 90 BC–ca 30 BC), another Greek writer, wrote in Book IV of his Bibliotheca Historica that the Campanian plain was called fiery (Phlegrean) because of the mountain, Vesuvius, which had spouted flame like Etna and showed signs of the fire that had burnt in ancient history.^[28]

Eruption of AD 79[link]

In the year of AD 79, Mount Vesuvius erupted in one of the most catastrophic and famous eruptions of all time. Historians have learned about the eruption from the eyewitness account of Pliny the Younger, a Roman administrator and poet.^[29]

Mount Vesuvius spawned a deadly cloud of stones, ash and fumes to a height of 20.5 miles, spewing molten rock and pulverized pumice at the rate of 1.5 million tons per second, ultimately releasing a hundred thousand times the thermal energy released by the Hiroshima bombing.^[30] The towns of Pompeii and Herculaneum were obliterated by pyroclastic flows.^[30][29] An estimated 16,000 people died from the eruption.

Precursors and foreshocks[link]

Computer-generated imagery of the eruption of Vesuvius in BBC/Discovery Channel's co-production Pompeii

The AD 79 eruption was preceded by a powerful earthquake seventeen years beforehand on 5 February, AD 62, which caused widespread destruction around the Bay of Naples, and particularly to Pompeii.^[31] Some of the damage had still not been repaired when the volcano erupted.^[32] The deaths of 600 sheep from "tainted air" in the vicinity of Pompeii indicates that the earthquate of 62 may have been related to new activity by Vesuvius^[33]

The Romans grew accustomed to minor earth tremors in the region; the writer Pliny the Younger even wrote that they "were not particularly alarming because they are frequent in Campania". Small earthquakes started taking place on 20 August, 79^[32] becoming more frequent over the next four days, but the warnings were not recognised.^[34]

Scientific analysis of the eruption[link]

Vesuvius erupting. Painting by Norwegian painter J.C. Dahl, 1826

Reconstructions of the eruption and its effects vary considerably in the details but have the same overall features. The eruption lasted two days. The morning of the first day was perceived as normal by the only eyewitness to leave a surviving document, Pliny the Younger. In the middle of the day an explosion threw up a high-altitude column from which ash began to fall, blanketing the area. Rescues and escapes occurred during this time. At some time in the night or early the next day pyroclastic flows in the close vicinity of the volcano began. Lights were seen on the mountain interpreted as fires. People as far away as Misenum fled for their lives. The flows were rapid-moving, dense and very hot, knocking down wholly or partly all structures in their path, incinerating or suffocating all population remaining there and altering the landscape, including the coastline. These were accompanied by additional light tremors and a mild tsunami in the Bay of Naples. By evening of the second day the eruption was over, leaving only haze in the atmosphere through which the sun shone weakly.

The latest scientific studies of the ash produced by Vesuvius reveals a multi-phase eruption.^[35] The initial major explosion produced a column of ash and pumice ranging between 15 kilometres (49,000 ft) and 30 kilometres (98,000 ft) high, which rained on Pompeii to the southeast but not on Herculaneum upwind. The chief energy supporting the column came from the escape of steam superheated by the magma, created from ground water seeping over time into the deep faults of the region.

Subsequently the cloud collapsed as the gases expanded and lost their capability to support their solid contents, releasing it as a pyroclastic surge, which reached Herculaneum but not Pompeii. Additional explosions reinstituted the column. The eruption alternated between Plinian and Peléan six times. Surges 3 and 4 are believed by the authors to have destroyed Pompeii.^[36] Surges are identified in the deposits by dune and cross-bedding formations, which are not produced by fallout.

Another study used the magnetic characteristics of over 200 samples of roof-tile and plaster fragments collected around Pompeii to estimate equilibrium temperature of the pyroclastic flow.^[37]. The magnetic study revealed that on the first day of the eruption a fall of white pumice containing clastic fragments of up to 3 centimetres (1.2 in) fell for several hours.^[38] It heated the roof tiles up to 140 °C (284 °F).^[39] This period would have been the last opportunity to escape.

The collapse of the Plinian columns on the second day caused pyroclastic density currents (PDCs) that devastated Huerculaneum and Pompeii. The depositional temperature of these pyroclastic surges ranged up to 300 °C (572 °F).^[40] Any population remaining in structural refuges could not have escaped, as the city was surrounded by gases of incinerating temperatures. The lowest temperatures were in rooms under collapsed roofs. These were as low as 100 °C (212 °F).^[41]

The Two Plinys[link]

The only surviving eyewitness account of the event consists of two letters by Pliny the Younger to the historian Tacitus.^[42] Observing the first volcanic activity from Misenum across the Bay of Naples from the volcano, approximately 35 kilometres (22 mi), the elder Pliny launched a rescue fleet and went himself to the rescue of a personal friend. His nephew declined to join the party. One of the nephew's letters relates what he could discover from witnesses of his uncle's experiences.^[43] In a second letter the younger Pliny details his own observations after the departure of his uncle.^[44]

The two men saw an extraordinarily dense cloud rising rapidly above the mountain. This cloud and a request by messenger for an evacuation by sea prompted the elder Pliny to order rescue operations in which he sailed away to participate. His nephew attempted to resume a normal life, continuing to study, and bathing, but that night a tremor awoke him and his mother, prompting them to abandon the house for the courtyard. Further tremors near dawn caused the population abandoned the village and caused wave action in the Bay of Naples.

The early light was obscured by a black cloud through which shone flashes, which Pliny likens to sheet lightening, but more extensive. The cloud obscured Point Misenum near at hand and the island of Capraia (Capri) across the bay. Fearing for their lives, the population began to call to each other and move back from the coast along the road. Pliny's mother requested him to abandon her and save his own life, as she was too corpulent and aged to go further, but seizing her hand he led her away as best he could. A rain of ash fell. Pliny found it necessary to shake off the ash periodically to avoid being buried. Later that same day the ash stopped falling and the sun shone weakly through the cloud, encouraging Pliny and his mother to return to their home and wait for news of Pliny the Elder. The letter compares the ash to a blanket of snow.

Pliny’s uncle Pliny the Elder was in command of the Roman fleet at Misenum, and had meanwhile decided to investigate the phenomenon at close hand in a light vessel. As the ship was preparing to leave the area, a messenger came from his friend Rectina (wife of Bassus) living on the coast near the foot of the volcano explaining that her party could only get away by sea and asking for rescue. How the messenger escaped remains unexplained. Suddenly grasping the full significance of events, Pliny ordered the immediate launching of the fleet galleys to the evacuation of the coast. He continued in his light ship to the rescue of Rectina's party.

He set off across the bay but in the shallows on the other side encountered thick showers of hot cinders, lumps of pumice and pieces of rock. Advised by the helmsman to turn back he stated "Fortune favors the brave" and ordered him to continue on to Stabiae (about 4.5 km from Pompeii).

Pliny and his party saw flames coming from several parts of the mountain, which Pliny and his friends attributed to burning villages. After staying overnight, the party was driven from the building by an accumulation of material, presumably, tephra, which threatened to block all egress. They woke Pliny, who had been napping and emitting loud snoring. They elected to take to the fields with pillows tied to their heads to protect them from rockfall. They approached the beach again but the wind prevented the ships from leaving. Pliny sat down on a sail that had been spread for him and could not rise even with assistance when his friends departed, escaping ultimately by land.^[45]

In the first letter to Tacitus, his nephew suggested that his death was due to the reaction of his weak lungs to a cloud of poisonous, sulphurous gas that wafted over the group. However, Stabiae was 16 km from the vent (roughly where the modern town of Castellammare di Stabia is situated) and his companions were apparently unaffected by the fumes, and so it is more likely that the corpulent Pliny died from some other cause, such as a stroke or heart attack.^[46] An asthmatic attack is also not out of the question. His body was found with no apparent injuries on the next day, after dispersal of the plume.

Casualties from the eruption[link]

Pompeii, with Vesuvius towering above

Along with Pliny the Elder, the only other noble casualties of the eruption to be known by name were Agrippa (a son of the Jewish princess Drusilla and the procurator Antonius Felix) and his wife.^[47]

An estimated 16,000 citizens in the Roman vicinities of Pompeii and Herculaneum perished due to hydrothermal pyroclastic flows.^[48][49][50] By 2003, around 1,044 casts made from impressions of bodies in the ash deposits had been recovered in and around Pompeii, with the scattered bones of another 100.^[51] The remains of about 332 bodies have been found at Herculaneum (300 in arched vaults discovered in 1980).^[52] What percentage these numbers are of the total dead or the percentage of the dead to the total number at risk remain completely unknown.

Thirty-eight percent of the 1044 were found in the ash fall deposits, the majority inside buildings. These are thought to have been killed mainly by roof collapses, with the smaller number of victims found outside of buildings probably being killed by falling roof slates or by larger rocks thrown out by the volcano. The remaining 62% of remains found at Pompeii were in the pyroclastic surge deposits,^[51] and thus were probably killed by them – probably from a combination of suffocation through ash inhalation and blast and debris thrown around. In contrast to the victims found at Herculaneum, examination of cloth, frescoes and skeletons show that it is unlikely that high temperatures were a significant cause. Herculaneum, which was much closer to the crater, was saved from tephra falls by the wind direction, but was buried under 23 metres (75 ft) of material deposited by pyroclastic surges. It is likely that most, or all, of the known victims in this town were killed by the surges.

People caught on the former seashore by the first surge died of thermal shock. No boats have been found, indicating they may have been used for the earlier escape of some of the population. The rest were concentrated in arched chambers at a density of as high as 3 persons per square meter. As only 85 metres (279 ft) of the coast have been excavated, the casualties waiting to be excavated may well be as high as the thousands.^[53]

Later eruptions from the 3rd to the 19th century[link]

An eruption of Vesuvius seen from Portici, by Joseph Wright (ca. 1774-6)

Since the eruption of 79 AD, Vesuvius has erupted around three dozen times. It erupted again in 203, during the lifetime of the historian Cassius Dio. In 472, it ejected such a volume of ash that ashfalls were reported as far away as Constantinople. The eruptions of 512 were so severe that those inhabiting the slopes of Vesuvius were granted exemption from taxes by Theodoric the Great, the Gothic king of Italy. Further eruptions were recorded in 787, 968, 991, 999, 1007 and 1036 with the first recorded lava flows. The volcano became quiescent at the end of the 13th century and in the following years it again became covered with gardens and vineyards as of old. Even the inside of the crater was filled with shrubbery.

Vesuvius entered a new phase in December 1631, when a major eruption buried many villages under lava flows, killing around 3,000 people. Torrents of boiling water were also ejected, adding to the devastation. Activity thereafter became almost continuous, with relatively severe eruptions occurring in 1660, 1682, 1694, 1698, 1707, 1737, 1760, 1767, 1779, 1794, 1822, 1834, 1839, 1850, 1855, 1861, 1868, 1872, 1906, 1926, 1929, and 1944.

Eruptions in the 20th century[link]

The eruption of 1906 killed over 100 people and ejected the most lava ever recorded from a Vesuvian eruption.

Ash is swept off the wings of a North American B-25 Mitchell medium bomber of the 340th Bombardment Group on March 23, 1944 after the eruption of Mount Vesuvius.

The last major eruption was in March 1944. It destroyed the villages of San Sebastiano al Vesuvio, Massa di Somma, Ottaviano, and part of San Giorgio a Cremano.^[54] From 18 March to 23 March 1944, lava flows appeared within the rim. There were outflows. Small explosions then occurred until the major explosion took place on 18 March 1944.^[55]

At the time of the eruption, the United States Army Air Force (USAAF) 340th Bombardment Group was based at Pompeii Airfield near Terzigno, Italy, just a few kilometers from the eastern base of the mountain. The tephra and hot ash damaged the fabric control surfaces, the engines, the Plexiglass windshields and the gun turrets of the 340th's B-25 Mitchell medium bombers. Estimates ranged from 78 to 88 aircraft destroyed.^[56]

The eruption could be seen from Naples. Different perspectives and the damage caused to the local villages were recorded by USAAF photographers and other personnel based nearer to the volcano.^[57]

The future[link]

The 1822 eruption was one of five explosive subplinian eruptions which have taken place since the 1631 eruption. The eruption column rose to about 14 kilometres (8.7 mi).

Large plinian eruptions which emit lava in quantities of about 1 cubic kilometre (0.24 cu mi), the most recent of which overwhelmed Pompeii, have happened after periods of inactivity of a few thousand years. Subplinian eruptions producing about 0.1 cubic kilometres (0.024 cu mi), such as those of 472 and 1631, have been more frequent with a few hundred years between them. Following the 1631 eruption until 1944 every few years saw a comparatively small eruption which emitted 0.001-0.01 km³ of magma. It seems that for Vesuvius the amount of magma expelled in an eruption increases very roughly linearly with the interval since the previous one, and at a rate of around 0.001 cubic kilometres (0.00024 cu mi) for each year. This gives an extremely approximate figure of 0.06 cubic kilometres (0.014 cu mi) for an eruption after 60 years of inactivity.^[58]

Magma sitting in an underground chamber for many years will start to see higher melting point constituents such as olivine crystallising out. The effect is to increase the concentration of dissolved gases (mostly steam and carbon dioxide) in the remaining liquid magma, making the subsequent eruption more violent. As gas-rich magma approaches the surface during an eruption, the huge drop in pressure caused by the reduction in weight of the overlying rock (which drops to zero at the surface) causes the gases to come out of solution, the volume of gas increasing explosively from nothing to perhaps many times that of the accompanying magma. Additionally, the removal of the lower melting point material will raise the concentration of felsic components such as silicates potentially making the magma more viscous, adding to the explosive nature of the eruption.

The government emergency plan for an eruption therefore assumes that the worst case will be an eruption of similar size and type to the 1631 VEI 4^[59] one. In this scenario the slopes of the mountain, extending out to about 7 kilometres (4.3 mi) from the vent, may be exposed to pyroclastic flows sweeping down them, whilst much of the surrounding area could suffer from tephra falls. Because of prevailing winds, towns to the south and east of the volcano are most at risk from this, and it is assumed that tephra accumulation exceeding 100 kg/m² – at which point people are at risk from collapsing roofs – may extend out as far as Avellino to the east or Salerno to the south east. Towards Naples, to the north west, this tephra fall hazard is assumed to extend barely past the slopes of the volcano.^[58] The specific areas actually affected by the ash cloud will depend upon the particular circumstances surrounding the eruption.

The area around the volcano is now densely populated.

The plan assumes between two weeks and 20 days' notice of an eruption and foresees the emergency evacuation of 600,000 people, almost entirely comprising all those living in the zona rossa ("red zone"), i.e. at greatest risk from pyroclastic flows.^[1][60] The evacuation, by trains, ferries, cars, and buses is planned to take about seven days, and the evacuees will mostly be sent to other parts of the country rather than to safe areas in the local Campania region, and may have to stay away for several months. However the dilemma that would face those implementing the plan is when to start this massive evacuation, since if it is left too late then thousands could be killed, while if it is started too early then the precursors of the eruption may turn out to have been a false alarm. In 1984, 40,000 people were evacuated from the Campi Flegrei area, another volcanic complex near Naples, but no eruption occurred.^[60]

Ongoing efforts are being made by the government at various levels (especially of Regione Campania) to reduce the population living in the red zone, by demolishing illegally constructed buildings, establishing a national park around the upper flanks of the volcano to prevent the erection of further buildings^[60] and by offering financial incentives to people for moving away.^[61] One of the underlying goals is to reduce the time needed to evacuate the area, over the next 20 or 30 years, to two or three days.^[62]

The volcano is closely monitored by the Osservatorio Vesuvio in Naples with extensive networks of seismic and gravimetric stations, a combination of a GPS-based geodetic array and satellite-based synthetic aperture radar to measure ground movement, and by local surveys and chemical analyses of gases emitted from fumaroles. All of this is intended to track magma rising underneath the volcano. Currently no magma has been detected within 10 km of the surface, and so the volcano is classified by the Observatory as at a Basic or Green Level.^[63]

Vesuvius today[link]

The area around Vesuvius was officially declared a national park on 5 June 1995.^[64] The summit of Vesuvius is open to visitors and there is a small network of paths around the mountain that are maintained by the park authorities on weekends.

There is access by road to within 200 metres (660 ft) of the summit (measured vertically), but thereafter access is on foot only. There is a spiral walkway around the mountain from the road to the crater.

See also[link]

Mountains portal

• List of volcanic eruptions by death toll
• List of volcanoes in Italy
• Vesuvius National Park
• Volcanic Explosivity Index

References[link]

Bibliography[link]

• Guest, John; Cole, Paul; Duncan, Angus; Chester, David (2003). "Chapter 2: Vesuvius". Volcanoes of Southern Italy. London: The Geological Society. pp. 25–62. 
• Sigurdsson, Haraldur (2002). "Mount Vesuvius before the Disaster". In Jashemski, Wilhelmina Mary Feemster; Meyer, Frederick Gustav. The natural history of Pompeii. Cambridge UK: The Press Syndicate of the University of Cambridge. pp. 29–36 
• Sigurdsson, Haraldur; Carey, Steven (2002). "The Eruption of Vesuvius in AD 79". In Jashemski, Wilhelmina Mary Feemster; Meyer, Frederick Gustav. The natural history of Pompeii. Cambridge UK: The Press Syndicate of the University of Cambridge. pp. 37–64 
• Waldstein, Sir Charles; Shoobridge, Leonard Knollys Haywood (1908). Herculaneum, past, present & future. London: Macmillan and Co. 
• Zanella, E.; Gurioli, L.; Pareschi, M.T.; Lanza, R. (2007). "Influences of urban fabric on pyroclastic density currents at Pompeii (Italy): Part II: temperature of the deposits and hazard implications". Journal of Geophysical Research (American Geophysical Union, Earth-prints) (112). http://www.earth-prints.org/bitstream/2122/2370/1/1245.pdf. 

External links[link]

Wikimedia Commons has media related to: Vesuvio

• Purcell, N., R. Talbert, T. Elliott, S. Gillies. "Places: 433189 (Vesuvius M.)". Pleiades. http://pleiades.stoa.org/places/433189. Retrieved March 8, 2012. 
• Fraser, Christian (10 January 2007). "Vesuvius escape plan 'insufficient'". BBC News (Naples: BBC). http://news.bbc.co.uk/2/hi/europe/6247573.stm. Retrieved 11 May 2010. 
• Garrett, Roger A.; Klenk, Hans-Peter (April 2005). "Vesuvius' next eruption". Geotimes. http://www.geotimes.org/apr05/NN_Vesuvius.html. Retrieved 2006-12-08. 
• "Vesuvius: The making of a catastrophe: Il problema ignorato". Global Volcanic and Environmental Systems Simulation (GVES). 1996-2003. http://www.westnet.com/~dobran/index.html. 

v t e Major volcanoes of Italy Roman comagmatic region Vulsinian district · Ciminian district Campanian volcanic arc Mount Vesuvius · Phlegraean Fields · Mount Epomeo · Mt. Etna · Ustica · Vulcano · Stromboli · Lipari

Frank Ticheli
Ticheli (left) with a student at University of Minnesota on November 17, 2010.
Born	Frank Ticheli (1958-01-21) January 21, 1958 (age 54) Monroe, Louisiana, U.S.
Occupation	Composer
Years active	1991–present

Frank Ticheli (born January 21, 1958 in Monroe, Louisiana) is an American composer of orchestral, choral, chamber, and concert band works. He lives in Los Angeles, California, where he is a Professor of Composition at the University of Southern California.^[1] A number of his works are particularly notable, as they have become standards in concert band repertoire.

Biography[link]

He graduated from L.V. Berkner High School in Richardson, Texas and earned a Bachelor of Music in Composition from Southern Methodist University, where he studied with Donald Erb and Jack Waldenmaier. He went on to receive his master's and doctoral degrees in composition from the University of Michigan, where he studied with William Albright, Leslie Bassett, George Wilson, and William Bolcom.

Subsequently, Ticheli was an Assistant Professor of Music at Trinity University in San Antonio, Texas. There, he served on the board of directors of the Texas Composers Forum and was a member of the advisory committee for the San Antonio Symphony's "Music of the Americas" project. From 1991 to 1998, Ticheli was composer-in-residence with the Pacific Symphony Orchestra in Orange County, California. Since 1991, he has been a Professor of Composition at the University of Southern California's Thornton School of Music. In 2011, he endowed the "Frank Ticheli Composition Scholarship" to be awarded each year to an incoming graduate student in composition.

He has been the recipient of numerous awards, including the Arts and Letters Award, Goddard Lieberson Fellowship, and Charles Ives Scholarship, all from the American Academy of Arts and Letters, the National Band Association/Revelli Memorial Prize, the A. Austin Harding Award, and First Prize in the Texas Sesquicentennial Orchestral Composition Competition, the Britten-on-the-Bay Choral Composition Contest, and the Virginia CBDNA Symposium for New Band Music. In addition to these awards, Ticheli has been named a national honorary member of Phi Mu Alpha and Kappa Kappa Psi.

Grants and commissions have come from Chamber Music America, the American Music Center, Pacific Symphony, Pacific Chorale, Worldwide Concurrent Premieres, Inc., Prince George's Philharmonic Orchestra, Adrian Symphony, City of San Antonio, Stephen F. Austin State University, University of Michigan, Trinity University, and the Indiana Bandmasters Association, and many others. His work, Angels in the Architecture, for concert band with soprano soloist, was commissioned by Kingsway International and received its premiere performance in July 2008 by a massed band of young musicians from Australia and the U.S. at the Sydney Opera House.

Recent works include RIFFS FOR STEVEN, a work for solo drumset and orchestra featuring drummer Peter Erskine; CONCERTO FOR CLARINET for soloist Håkan Rosengren, premiered by the Lithuanian National Orchestra and first performed in America by the Round Top Festival Orchestra, JoAnn Falletta, conductor; and SONGS OF LOVE AND LIFE, for soprano soloist and 18 players, composed for conductor, Allan McMurray.

Works[link]

Ticheli's works are published by Manhattan Beach Music, Encore Music Publishers, Helicon Music, and PP Music Publishers and are recorded by Koch International Classics, Klavier, Albany, and Mark Records. They include the following:^[2]

For orchestra[link]

• Riffs for Steven (2010)
• An American Elegy (2008)
• Angels in the Architecture (2009)
• Shooting Stars (2004)
• Symphony No. 1 (2001)
• Blue Shades (2002)
• Radiant Voices (1993)
• On Time's Stream (1995)
• Postcard (1995)
• Pacific Fanfare (1995)
• Images of a Storm (1983)

For solo with orchestra[link]

• Concerto for Clarinet and Orchestra (2011)
• Symphony No. 1 (solo tenor or baritone in mvt. 4 only) (2001)
• An American Dream (with solo soprano) (1998)
• Playing With Fire (for seven-piece jazz band and orchestra) (1992)
• Concerto for Trumpet and Orchestra (1990)

For chorus[link]

• Constellation: Three Poems of Sara Teasdale (2010)
• Earth Song (2007)
• The Song Within (2004)
• There Will Be Rest (2000)

For concert band/wind ensemble[link]

• Songs of Love and Life, for soprano and 18 players (2012)
• Concerto for Clarinet and Concert Band (2011)
• San Antonio Dances (2011)
• Rest (2011)
• Amen! (2009)
• Angels in the Architecture (2009)
• The Tyger (2008)
• Symphony No. 1 (transcribed by Gary Green)
• Wild Nights! (2007)
• Nitro (2006)
• Sanctuary (2006)
• Abracadabra (2005)
• Joy Revisited (2005)
• Joy (2005)
• Symphony No. 2 (2004) - winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest
• Ave Maria (2004)
• A Shaker Gift Song (2004)
• Pacific Fanfare (2003)
• Loch Lomond (2002)
• Simple Gifts: Four Shaker Songs (2002)
• An American Elegy (2000)
• Vesuvius (1999)
• Shenandoah (1999)
• Blue Shades (1997)
• Sun Dance (1997)
• Cajun Folk Songs II (1997)
• Postcard (1994)
• Gaian Visions (1994)
• Amazing Grace (1994)
• Cajun Folk Songs (1990)
• Fortress (1989)
• Portrait of a Clown (1998)
• Music for Winds & Percussion (1988)
• Concertino for Trombone and Band (1987)

For chamber ensemble[link]

• Concerto for Clarinet (2011)
• Out of the Blue (2004)
• Songs of Tagore (1992)
• Back Burner (1989)
• Here We Stand (1989)
• Concertino for Trombone (1987)
• The First Voice (1987)
• String Quartet (1986)
• Fantasy (1984)
• Two Songs of Loss (1983)
• Humouresque (1980)
• Poltergeists (1980)
• No Time (1980)
• Three Movements (1979)
• Trio for Brass (1978)

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)

External links[link]

• "An Interview with Frank Ticheli", Band Director
• The Music of Frank Ticheli Frank Ticheli's official website by Manhattan Beach Music
• Composition Faculty The Thornton School of Music's faculty biographies
• "Frank_Ticheli", Wind Repertory Project
• Composer's Collection: Frank Ticheli

Sufjan Stevens
Sufjan at the Independent Music Awards, Webster Hall, New York City.
Background information
Born	(1975-07-01) July 1, 1975 (age 36)
Origin	Detroit, Michigan, United States
Genres	Indie folk, baroque pop, indie pop, electronica
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, bass guitar, banjo, piano, xylophone, vibraphone, English Horn, oboe, drums, recorder[1]
Years active	1999–present
Labels	Asthmatic Kitty Sounds Familyre Orchard
Associated acts	Cryptacize, Danielson Famile, Denison Witmer, Marzuki, My Brightest Diamond, Rosie Thomas, The Welcome Wagon, The National, Nico Muhly, Bryce Dessner
Website	www.asthmatickitty.com/sufjan-stevens

Sufjan Stevens ( /ˈsuːfjɑːn/ SOOF-yahn; born July 1, 1975) is an American singer-songwriter and musician born in Detroit, Michigan. Stevens first began releasing his music on Asthmatic Kitty, a label co-founded with his stepfather, beginning with the 1999 release, A Sun Came. He is best known for his 2005 album, Illinois, which hit number one in the Billboard Top Heatseekers chart, and for the song "Chicago".

Stevens has released albums of varying styles, from the electronica of Enjoy Your Rabbit and the lo-fi folk of Seven Swans to the symphonic instrumentation of Illinois and Christmas-themed Songs for Christmas. Stevens makes use of a variety of instruments, often playing many of them himself on the same recording,^[2] and writes music in various time signatures. Though he has repeatedly stated an intent to separate his beliefs from his music,^[3][4] Stevens also freely draws from the Bible and other spiritual traditions, incorporating mystical elements into his music often.

Biography[link]

Early life[link]

Stevens was born in Detroit and lived there until the age of nine, when his family moved to Petoskey, Michigan. In Petoskey he attended the Petoskey High School, the prestigious Interlochen Arts Academy and graduated from Harbor Light Christian School. He went on to attend Hope College in Holland, Michigan and earned a Master of Fine Arts from The New School in New York City.^[5]

Sufjan is an Arabic or Persian name^[6] meaning "comes with a sword".^[7] It predates Islam and most famously belonged to Abu Sufyan, a figure from early Islamic history. The name was given to Stevens by the founder of Subud, an inter-faith spiritual community to which his parents belonged when he was born.^[8]

A multi-instrumentalist, Stevens is known for his use of the banjo, but also plays guitar, piano, drums, and several other instruments, often playing all of these on his albums through the use of multitrack recording. While in school, he studied the oboe and English horn, which he also plays on his albums. This multitude of instruments, including string and horn orchestrations, figure prominently in his compositions, giving his music a symphonic sound.

Stevens currently lives in Kensington, Brooklyn, in New York City,^[9] where he makes up the Brooklyn staff of Asthmatic Kitty Records.^[10] His brother Marzuki Stevens is a nationally recognized marathon runner.^[11]

Career[link]

Stevens performing at the Pabst Theater in Milwaukee

Stevens began his musical career as a member of Marzuki, a folk-rock band from Holland, Michigan. He also played (and continues to play) various instruments for Danielson Famile. While in school at Hope College, Stevens wrote and recorded his debut solo album, A Sun Came, which he released on Asthmatic Kitty Records. He later moved to New York City, where he was enrolled in a writing program at the New School for Social Research.

While in New York, Stevens composed and recorded the music for his second album, Enjoy Your Rabbit, a song cycle based around the animals of the Chinese Zodiac that delved into electronica.

Stevens followed this with the first album to be released as a part of his "Fifty States Project", a collection of folk songs and instrumentals inspired by his home state of Michigan. The result, the expansive Michigan included odes to cities including Detroit and Flint, the Upper Peninsula, and vacation areas such as Tahquamenon Falls. Melded into the scenic descriptions and characters are his own declarations of faith, sorrow, love, and the regeneration of Michigan.

Following the release of Michigan, Stevens compiled a collection of songs recorded previously into a side project, the album Seven Swans, which was released in March 2004.

Next he released the second in the 50 states project, titled Illinois. Among the subjects explored on Illinois are the cities of Chicago, Decatur and Jacksonville; the World's Columbian Exposition of 1893, the state's observance of a holiday in honor of Casimir Pulaski, the poet Carl Sandburg, and the serial killer John Wayne Gacy.

Over the 2005 winter holidays, Stevens recorded an album with Rosie Thomas and Denison Witmer playing banjo and providing vocals. In April 2006, Pitchfork erroneously announced that Stevens and Thomas were having a baby together, but were forced to print a retraction.^[12][13][14] Witmer and Thomas later admitted it was an April Fools' prank.^[15] In December 2006, the collaborative recordings were digitally released by Nettwerk as a Rosie Thomas album titled These Friends of Mine. The album was released in physical form on March 13, 2007.

On September 11, 2006, in Nashville, Tennessee, Stevens debuted a new composition, a ten minute-plus piece titled "Majesty Snowbird".^[16][17] On November 21, 2006, a five CD box set Songs for Christmas was released, which contains originals and Christmas standards recorded every year since 2001 (except 2004). Stevens undertook in the project initially as an exercise to make himself 'appreciate' Christmas more.^[18] The songs were the work of an annual collaboration between Stevens and different collaborators, including minister Vito Aiuto; the songs themselves were distributed to friends and family.

In April 2007, in Brooklyn and Philadelphia, Stevens made unannounced appearances on Thomas's tour in support of this album. In 2007 he did a Take-Away Show acoustic video session shot by Vincent Moon standing on a roof in Cincinnati.^[19] In 2007, he played shows sporadically, including playing at the Kennedy Center to celebrate the tenth anniversary of the Millennium Stage concerts.^[20] He was commissioned by the Brooklyn Academy of Music to create a "music and film work" titled The BQE, described as "a symphonic and cinematic exploration of New York City's infamous Brooklyn-Queens Expressway".^[21] It premiered at BAM's Next Wave festival on November 1–3, 2007.^[22] Stevens has also worked as an essayist, contributing to Asthmatic Kitty Records' "Sidebar" feature and Topic Magazine.^[23] He wrote the introduction to the 2007 edition of The Best American Nonrequired Reading, a short story about his early childhood education and learning to read titled How I Trumped Rudolf Steiner and Overcame the Tribulations of Illiteracy, One Snickers Bar at a Time.^[24][25] That winter, he hosted an "Xmas Song Exchange Contest" in which winner Alec Duffy won exclusive rights to the original Stevens song "The Lonely Man of Winter." The track has never been uploaded, and can now only be heard by attending private listening parties at Duffy's home in Brooklyn.^[26][27]

Stevens has contributed to the music of Denison Witmer, Soul Junk, Half-handed Cloud, Brother Danielson, Danielson Famile, Serena Maneesh, Castanets, Will Stratton, Shannon Stephens, Clare & the Reasons, and Liz Janes. In 2007 alone, Stevens played piano on The National's album Boxer, produced and contributed many instrumental tracks to Rosie Thomas's album These Friends of Mine, multiple instruments on Ben + Vesper's album All This Could Kill You and oboe and vocals to David Garland's new album Noise in You.

He has contributed covers of Tim Buckley ("She Is"), Joni Mitchell ("Free Man in Paris"), Daniel Johnston ("Worried Shoes"), John Fahey ("Variation on 'Commemorative Transfiguration & Communion at Magruder Park"), The Innocence Mission ("The Lakes of Canada"), Bob Dylan ("Ring Them Bells") and The Beatles ("What Goes On") to various tribute albums. His versions of "Free Man in Paris" and "What Goes On" are notable for only retaining the lyrics of the original, as Stevens has taken his own interpretation on the melody and arrangement. His rendition of "The Star Spangled Banner" has a similar rearranged melody and arrangement as well as a whole new verse.^[28]

His song "The Tallest Man, The Broadest Shoulders" was featured in the 2006 British comedy-drama Driving Lessons, starring Harry Potter's Julie Walters and Rupert Grint. In 2008, he produced Welcome to the Welcome Wagon, the debut album of Brooklyn-based husband and wife duo Vito and Monique Auito, The Welcome Wagon.

In February 2009, Stevens contributed "You Are the Blood" to the AIDS benefit album Dark Was the Night produced by the Red Hot Organization. In April 2009, Stevens uploaded a song about director Sofia Coppola online.^[29] This song was written while Stevens was in college, from a series of songs about names.

Stevens recalled:

"[...] A few weeks later, our dog got hit by a snowplow and I forgot all about the problem of names. Until college, when I learned to play the guitar, and, as an exercise, started writing songs (very poorly executed) in the same way that Henry Ford produced the automobile: assembly-line-style. I wrote songs for the days of the week (poor Monday!). Songs for the planets (poor Pluto!). Songs for the Apostles (poor Judas!). And, finally, when all else failed, I started a series of songs for names. [...] Each piece was a rhetorical, philosophical, musical rumination on all the possible names I had entertained years before when my parents had given me the one chance to change my own. Oh fates! I sang these songs in the privacy of my dorm room, behind closed doors, pillows and cushions stuffed in the air vents so no one would hear. And then I almost failed Latin class, my grades plummeted, my social life dissolved into ping pong tournaments in the residence halls, and, gradually, my interest in music (or anything divine, creative, fruitful, enriching) completely waned. I turned to beer. And cigarettes. And TV sitcoms. And candy bars. Oh well! A perfectly good youth wasted on junk food! That is, until a few months ago, when I came across some of the old name songs, stuffed onto tape cassettes, 4-track recorders, forgotten boxes, forgotten shelves, forgotten hard drives. It was like finding an old diary, or a high school yearbook, senior picture with lens flare and pockmarks, slightly cute and embarrassing. What was I thinking? [...]"^[30]

In September 2009, Stevens began performing four new songs while on his Fall tour, "All Delighted People", "Impossible Soul", "Too Much" and "Age of Adz".^[31] That year Stevens contributed to an album with his step father, Lowell Brams, entitled Music For Insomnia. The album was released December 8, 2009.^[32]

In November 2009, Stevens admitted to Exclaim! Magazine, in regard to the fact that he recently called his fifty-state project a joke, that "I don't really have as much faith in my work as I used to, but I think that's healthy. I think it's allowed me to be less precious about how I work and write. And maybe it's okay for us to take it less seriously."^[33]

In June 2010, The National's Bryce Dessner claimed Stevens is currently at work on his next full length album and stated the band is playing on the new album.^[34]

The Fifty States Project[link]

Beginning with Michigan, Stevens announced an intent to write an album for each of the fifty U.S. states.

Stevens spent the second half of 2004 researching and writing material for the second of these projects, this time focusing his efforts on Illinois. As with Michigan, Stevens used the state of Illinois as a leaping-off point for his more personal explorations of faith, family, love, and location. Though slated for general release on July 5, 2005, the album was briefly delayed by legal issues regarding the use of Superman in the original album cover artwork. In the double vinyl release, a balloon sticker has been placed over Superman on the cover art of the first 5,000 copies. The next printings had an empty space where the Superman image was, as with the CD release.^[35]

The widely acclaimed Illinois was the highest-rated album of 2005 on the Metacritic review aggregator site, based on glowing reviews from Pitchfork Media, The Onion A/V Club, Spin, Billboard, Entertainment Weekly, Rolling Stone, The New York Times, KEXP, and The Guardian.^[36] The 2006 PLUG Independent Music Awards awarded Stevens with the Album Of The Year, Best Album Art/Packaging, and Male Artist Of The Year. Pitchfork Media, No Ripcord, and Paste Magazine named Illinois as the editors' choice for best album of 2005 and Stevens received the 2005 Pantheon prize, awarded to noteworthy albums selling fewer than 500,000 copies, for Illinois.^[37] In April 2006, Stevens announced that 21 pieces of music he had culled from the Illinois recording sessions would be incorporated into a new album, called The Avalanche,^[38] which was released on July 11, 2006.

The next states to be taken on in the project have been reported as Oregon and Rhode Island.^[39] In late 2005 and early 2006 Stevens played a new instrumental track titled "The Maple River". There are various Maple Rivers in the U.S., in Minnesota, Iowa, North or South Dakota. There is also evidence to suggest the possibility of a New York album. Not only is Stevens's current residence in New York City, but at the footnote of his writing piece titled "Friend Rock", Stevens stated that he was reading a biography on Robert Moses, who is a notable New Yorker.^[40] In late 2007, Stevens debuted several new songs about New York, including "BQE", a track about the Brooklyn-Queens Expressway, one of many urban developments designed and spearheaded by Robert Moses.

Stevens made brief mention to a possible collaboration with Asthmatic Kitty labelmate Rafter on an album about California.^[41] Stevens also recorded "The Lord God Bird"^[42] about the reported sighting of an ivory-billed woodpecker, thought to be extinct, in Arkansas (known as the 'lord god' or 'great god' bird because of its breathtaking appearance). This was in connection with a National Public Radio piece in which "independent radio producers Dan Collison and Elizabeth Meister were curious about how Stevens writes his songs."

"Sufjan Stevens is not going to write a record for each of the 50 states after all" was the original text included on the online liner notes for their Mews Too: An Asthmatic Kitty Compilation disc released on February 7, 2006.^[43] This statement was possibly included as a joke, as the text has since been removed and the current liner notes related to Stevens reads, "18. Sufjan Stevens can fold a fitted-sheet (he once worked as a professional folder in a commercial laundromat)."

In an article published on February 24, 2008, in New York Magazine, Stevens implied that New Jersey could be the target of his next state project. After he gave a brief quote about the New Jersey Turnpike, he was asked, "So is this the next musical project?" Sufjan joked, "New Jersey, the musical—an ode to the turnpike."^[44]

The Guardian published an interview with Stevens on October 27, 2009, in which he stated in relation to the Fifty States Project: "I have no qualms about admitting it was a promotional gimmick".^[45]

[edit] The BQE

On May 31, 2007, Asthmatic Kitty announced that Stevens would be premiering a new project titled The BQE in early November 2007. The project, dubbed a "symphonic and cinematic exploration of New York City's infamous Brooklyn-Queens Expressway", was manifested in a live show. The BQE featured an original film by Stevens (shot in Super 8 mm film and standard 16 mm), while Stevens and a backing orchestra provided the live soundtrack. The performance used 36 performers which included a small band, a wind and brass ensemble, string players, horn players, and hula hoopers. There were no lyrics to the music. The BQE was commissioned by the Brooklyn Academy of Music as part of their Next Wave Festival and performed on three consecutive nights from November 1–3, 2007.

The performance sold out the 2,109 seat BAM Opera House without any advertising.^[46] After three weeks of rehearsing the piece with the three dozen musicians^[47] involved, he presented the 30-minute composition. The BQE was followed by an additional one hour of concert by Stevens and his orchestra. The BQE won the 2008 Brendan Gill Prize.^[48]

The multimedia package was released on October 20, 2009. The release included a CD of the show's soundtrack, a DVD of Brooklyn-Queens Expressway footage that accompanied the original performance (not a film of the performance itself), a 40-page booklet with liner notes and photos, and a stereoscopic 3D View-Master reel. A limited edition version that features the soundtrack on 180-gram vinyl and a 40-page BQE-themed comic book starring the show's hula hooping wonder women, the Hooper Heroes, was also released.

[edit] Run Rabbit Run

On October 6, 2009 Stevens' label released an album of versions of his 2001 album Enjoy Your Rabbit rearranged for strings and performed by the Osso String Quartet, entitled Run Rabbit Run.^[49]

[edit] All Delighted People and The Age of Adz

Stevens returned to recording and touring in 2010 after a hiatus—he's pictured here performing in 2011

In 2010, Stevens was featured on The National's album High Violet, released in May, and sang backing vocals for the band on The Late Show with David Letterman.^[50] Following the release of High Violet, band frontman Matt Berninger mentioned that Stevens was recording a new album in the band's studio and that The National would appear on some of the tracks. In early August, Stevens announced North American tour dates across dozens of cities. On August 20, 2010, Stevens suddenly and unexpectedly released a new collection of tracks, the All Delighted People EP, for digital download. The EP is built around two versions of the title track, "All Delighted People."^[51] The EP surprisingly rose to #27 on the Billboard 200 albums solely through its digital sales.^[52] On August 26, Asthmatic Kitty announced that Stevens would release his newest full length album, The Age of Adz, on October 12.^[53] NPR streamed the album until it was released on October 12, 2010.^[54]

The two albums featured a wide range of arrangements, from orchestral to electronic. Song lengths were also extended; the track "Djohariah" from All Delighted People is 17 minutes long, while "Impossible Soul" from The Age of Adz is 25 minutes long. The albums also feature many styles from disco to folk.

Stevens has stated in interviews that in 2009/10, he suffered from a mysterious debilitating virus infection that affected his nervous system. He experienced chronic pain and was forced to stop working on music for several months.^[55] He said: "The Age of Adz, is, in some ways, a result of that process of working through health issues and getting much more in touch with my physical self. That's why I think the record's really obsessed with sensation and has a hysterical melodrama to it."^[56]

On October 12, 2010, Stevens began his North American tour in Montreal, featuring virtually all new material. The tour lasted just over a month and ended on November 15, 2010 in New York.

Stevens toured Australia and New Zealand in early 2011, featured as part of The Sydney Festival, and appeared on-stage with The National during the last of three sold-out Auckland shows.^[57] He also toured Europe and the United Kingdom in April and May 2011, playing there for the first time in five years.^[58] His shows mostly consisted of new material, but he did play many older tracks from Seven Swans and Illinois. Stevens ended the Age of Adz tour with two shows in Prospect Park, Brooklyn, New York.

On February 27, 2012, it was announced Stevens would release a collaborative EP called Beak & Claw on March 20th with artists Son Lux and Serengeti under the name s / s / s on the Anticon record label.^[59]

Themes[link]

Stevens' stage shows feature elaborate lighting, costumes, and choreography

Many of his songs have spiritual allusions. He says he does not try to make music for the sake of preaching. "I don't think music media is the real forum for theological discussions," says Stevens. "I think I've said things and sung about things that probably weren't appropriate for this kind of forum. And I just feel like it's not my work or my place to be making claims and statements, because I often think it's misunderstood."^[4]

Such themes are most notable on his album Seven Swans, the songs "Abraham", "Seven Swans", "To Be Alone with You", "He Woke Me Up Again", "We Won't Need Legs to Stand" and "The Transfiguration" refer to Christian themes. In "Abraham", Stevens recounts the Old Testament story in the Book of Genesis. The lyrics of "The Transfiguration" appear to follow the Biblical accounts of Matthew 17:1–8, Mark 9: 1–8, and Luke 9:28–36. The title of "All the Trees of the Fields Will Clap Their Hands" is a quote from Isaiah 55:12.^[60]