Name	Inje
Native name	인제
Native name lang	Korean
Settlement type	County
Translit lang1	Korean
Translit lang1 type1	Hangul
Translit lang1 info1	인제군
Translit lang1 type2	Hanja
Translit lang1 info2	麟蹄郡
Translit lang1 type3
Translit lang1 info3	Inje-gun
Translit lang1 type4
Translit lang1 info4	Inje-gun
Imagesize	280px
Subdivision type	Country
Subdivision name
Subdivision type1	Region
Subdivision name1	Gwandong
Population blank1 title	Dialect
Population blank1	Gangwon
Area total km2	1646.33
Population as of	2000
Population total	34120
Population density km2	21
Parts type	Administrative divisions
Parts	1 eup, 5 myeon
Blank emblem type	Emblem of Inje

Inje County (Inje-gun) is a county in Gangwon Province, South Korea. It has the lowest population density of any South Korean county.

History

Since the first inhabitants came to the Korean peninsula, there have been people living in Inje county. Surrounded by clear and clean rivers and streams and magnificent Soraksan. Inje is located in the mid-east of Gangwon-do, it was at first called Jeojokhyeon in the Goguryeo Kingdom, Heejaehyeon in the Silla Kingdom, Inje in the Goryeo Dynasty, Youngsohyeon and again later Inje in the Joseon Dynasty and finally raised to the status of Inje county on August, 1896.

Environment

Inje is located in the Taebaek Mountains and has a landscape dominated by Flora. Many species inhabit several areas of the county, not only mountains but rivers also.

Fauna

Asiatic Black Bear : It populates a wide area from Siberia to Afghanistan and Thailand as well as certain Asian islands such as Taiwan and Japan. In Korea, the Asiatic Black Bear can be found in the areas of Paekdusan, Seoraksan, Jirisan. The Asiatic Black Bear is becoming rare in South Korea. It usually lives in broadleaf forest on peaks higher than 1,500m, finding lots of fruits like wild grapes, wild berries, fruits of Acfinidia arguta, especially with acorns. The Asiatic Black Bear has developed a good sense of smell and hearing however cannot see very well.

* Musk deer : Among the Musk deers in the northern hemisphere, this species in the North-East is divided into 7 subspecies. This subspecies found in the mountains around Mokpo and Jeonranamdo is also reported to be distributed Manchuria, Amur, Ussuri and Eastern Siberia as well as South Korea.

Flora

Senecio koreanus : The Senecio Koreanus is a Korean Endemic Species.

* Carex chordorhiza : The Carex Chordorhiza is a perennial plant growing with sphagnum in a swamp, at first grows straight and then crawls laterally to take root. From its joint it grows a flower stem of up to 20 cm. Its leaves are flat and 1~1.5cm wide with colors of gray and green. The heads are egg-like and numbered 2~4 which are 5~7cm long. Male flowers come out upward but female ones downward without any bracts.

* Megaleranthis saniculifolia : Megaleranthis Saniculifolia is also a Korean Endemic Species and clings to Ranunculaceae. It inhibits the Jeombongsan, Sobaeksan, Jirisan and Taebaeksan areas. Living in the swamps or ridges in deep mountains, the perennial plant sprouts in stubbles. It's between 30 and 40cm tall. Leaves come from the root of the plant and are divided into three parts at the end, a long leafstalk may be split into 2 to 3 parts again.

Daecheong peak

Daecheong Peak is the highest peak in the Mt. Seorak ranges and is located near at the boundary of Inje county and Yangyang county with an altitude of 1,708m.

The beautiful snow scenes around Daecheong peak are widely renouned my many people. Inje county is quite cold from early November, with snow falling around its higher peaks. In 2007, the first heavy snow of the year was recorded as early as Nov. 16.

Ice fishing festival

Because of its cold climate, lots of ice fishing festivals often occur in Inje and also the wider Gangwon-do area. However, the ice fishing in Inje is one of the main attractions in winter with 6,000 tourists per weekday and over 10,000 on weekends.

References

External links

Inje County government home page

Category:Gangwon Category:Populated places in South Korea Category:Inje

Name	Vivica A. Fox
Caption	Vivica A. Fox, Los Angeles, California on May 22, 2010
Birth name	Vivica Anjanetta Fox
Birth date	July 30, 1964 was born in South Bend, Indiana, the daughter of Everlyena, a pharmaceutical technician, and William Fox, a private school administrator. She is a graduate of Arlington High School in Indianapolis, Indiana and Golden West College with an Associate Art degree in Social Sciences. Fox also hosted her own VH1 reality series entitled Glam God (2008).
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Vivica A. Fox, Mario Lopez to Appear on "Dancing With the Stars"

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Wolfgang Amadeus Mozart (, English see fn.), baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.

Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of Mozart's death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.

Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

Biography

Family and early years

Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart at 9 Getreidegasse in Salzburg, capital of the sovereign Archbishopric of Salzburg, in what is now Austria but, at the time, was part of the Bavarian Circle in the Holy Roman Empire. His only sibling to survive past birth was Maria Anna (1751–1829), called "Nannerl". Wolfgang was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself "Wolfgang Amadè Mozart" as an adult, but there were many variants.

His father Leopold (1719–1787) was from Augsburg. He was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg, a minor composer, and an experienced teacher. In the year of Mozart's birth, his father published a violin textbook, Versuch einer gründlichen Violinschule, which achieved success.

; painted in 1763 on commission from Leopold]]When Nannerl was seven, she began keyboard lessons with her father; and her three-year-old brother would look on, evidently fascinated. Years later, after his death, she reminisced:

He often spent much time at the clavier, picking out thirds, which he was always striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five, he was already composing little pieces, which he played to his father who wrote them down.

These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch.

Biographer Maynard Solomon notes that, while Leopold was a devoted teacher to his children, there is evidence that Wolfgang was keen to make progress beyond what he was being taught. His first ink-spattered composition and his precocious efforts with the violin were on his own initiative and came as a great surprise to Leopold. Leopold eventually gave up composing when his son's outstanding musical talents became evident. He was Wolfgang's only teacher in his earliest years and taught his children languages and academic subjects as well as music.]]

1762–1773: Years of travel

During Mozart's youth, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition, in 1762, at the court of the Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zurich, Donaueschingen, and Munich. During this trip, Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, whom Mozart visited in London in 1764 and 1765. The family again went to Vienna in late 1767 and remained there until December 1768.

These trips were often arduous. Travel conditions were primitive; the family had to wait for invitations and reimbursement from the nobility. They endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764) then both children (The Hague, autumn 1765).

After one year in Salzburg, father and son set off for Italy, leaving Wolfgang's mother and his sister at home. This travel lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son's abilities as a performer and a rapidly maturing composer. Wolfgang met G. B. Martini, in Bologna, and was accepted as a member of the famous Accademia Filarmonica. In Rome, he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel. He wrote it out in its entirety from memory, only returning to correct minor errors—thus producing the first illegal copy of this closely guarded property of the Vatican.

In Milan, Mozart wrote the opera Mitridate, re di Ponto (1770), which was performed with success. This led to further opera commissions. He returned with his father later twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold hoped these visits would result in a professional appointment for his son in Italy, but these hopes were never fulfilled.

Toward the end of the final Italian journey, Mozart wrote the first of his works to be still widely performed today, the solo cantata Exsultate, jubilate, K. 165.

1773–1777: The Salzburg court

After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had a great number of friends and admirers in Salzburg and had the opportunity to work in many genres, composing symphonies, sonatas, string quartets, serenades, and a few minor operas. Several of these early works are still performed today. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K. 216, K. 218, K. 219—are now staples of the repertoire. In 1776 he turned his efforts to piano concertos, culminating in the E-flat concerto K. 271 of early 1777, considered by critics to be a breakthrough work.

Despite these artistic successes, Mozart grew increasingly discontent with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year; Mozart also longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salzburg was largely reserved for visiting troupes.

Two long expeditions in search of work (both Leopold and Wolfgang were looking) interrupted this long Salzburg stay: they visited Vienna, from 14 July to 26 September 1773, and Munich, from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera La finta giardiniera.

1777–1778: The Paris journey

In August 1777, Mozart resigned his Salzburg position and, on 23 September, ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich. Since Archbishop Colloredo would not give Leopold leave to travel, Mozart's mother Anna Maria accompanied him.

Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. There were prospects of employment in Mannheim, but they came to nothing, and Mozart left for Paris on 14 March 1778 to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment. He fell into debt and took to pawning valuables. The nadir of the visit occurred when Mozart's mother took ill and died on 3 July 1778. There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.

While Wolfgang was in Paris, Leopold was pursuing opportunities for him back in Salzburg, and, with the support of local nobility, secured him a post as court organist and concertmaster. The yearly salary was 450 florins, but Wolfgang was reluctant to accept. After leaving Paris on 26 September 1778, he tarried in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she made it plain that she was no longer interested in him. Mozart finally reached home on 15 January 1779 and took up the new position, but his discontent with Salzburg was undiminished.

Among the better known works that Mozart wrote on the Paris journey are the A minor piano sonata K. 310/300d and the "Paris" Symphony (no. 31); these were performed in Paris on 12 June and 18 June 1778. for his gallery; Mozart with the Order of the Golden Spur which he received in 1770 as a 14-year old from Pope Clement XIV in Rome.]]

1781: Departure to Vienna

In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich. The following March the composer was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. Mozart, fresh from the adulation he had earned in Munich, was offended when Colloredo treated him as a mere servant and particularly when the archbishop forbade him to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary. The resulting quarrel came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted but in a grossly insulting way: the composer was dismissed literally "with a kick in the ass", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.

Early Vienna years

Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". Aloysia, who had earlier rejected Mozart's suit, was now married to the actor Joseph Lange, and Mozart's interest shifted to the third daughter, Constanze. The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly broke up in April 1782. Mozart also faced a very difficult task in getting his father's permission for the marriage. The couple were finally married on 4 August 1782, in St. Stephen's Cathedral, the day before Leopold's consent arrived in the mail.

In 1783, Wolfgang and Constanze visited his family in Salzburg. Leopold and Nannerl were, at best, only polite to Constanze, but the visit prompted the composition of one of Mozart's great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.

Mozart met Joseph Haydn in Vienna, and the two composers became friends (see Haydn and Mozart). When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn's Opus 33 set from 1781. Haydn in 1785 told the visiting Leopold: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition."

From 1782 to 1785 Mozart mounted concerts with himself as soloist, presenting three or four new piano concertos in each season. Since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant). The concerts were very popular, and the concertos he premiered at them are still firm fixtures in the repertoire. Solomon writes that during this period Mozart created "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre". Mozart also bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300. and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.

On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit ("Beneficence"). Freemasonry played an important role in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on various occasions he composed Masonic music. (See Mozart and Freemasonry.)

1786–1787: Return to opera

Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. However, around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, and also met with success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by the composer's father, as Leopold had died on 28 May 1787.

In December 1787 Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and only required Mozart to compose dances for the annual balls in the Redoutensaal. However, even this modest income became important to Mozart when hard times arrived. Court records show that Joseph's aim was to keep the esteemed composer from leaving Vienna in pursuit of better prospects.

In 1787 the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart. No reliable records survive to indicate whether the two composers ever met. (See Mozart and Beethoven.)

1788–1790

, made by Dora Stock during Mozart's visit to Dresden, April 1789]] Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank. This was a difficult time for musicians in Vienna because Austria was at war, and both the general level of prosperity and the ability of the aristocracy to support music had declined.

By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund. Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a pitiful sequence of letters pleading for loans" survives. Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed. Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.

Around this time Mozart made long journeys hoping to improve his fortunes: to Leipzig, Dresden, and Berlin in the spring of 1789 (see Mozart's Berlin journey), and to Frankfurt, Mannheim, and other German cities in 1790. The trips produced only isolated success and did not relieve the family's financial distress.

1791

Mozart's last year was, until his final illness struck, a time of great productivity—and by some accounts a time of personal recovery. He composed a great deal, including some of his most admired works: the opera The Magic Flute, the final piano concerto (K. 595 in B-flat), the Clarinet Concerto K. 622, the last in his great series of string quintets (K. 614 in E-flat), the motet Ave verum corpus K. 618, and the unfinished Requiem K. 626.

Mozart's financial situation, a source of extreme anxiety in 1790, finally began to improve. Although the evidence is inconclusive, it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He probably also benefited from the sale of dance music written in his role as Imperial chamber composer. and the Little Masonic Cantata K. 623, premiered on 15 November 1791.

Final illness and death

in 1819]] Mozart fell ill while in Prague for the premiere on 6 September of his opera La clemenza di Tito, written in 1791 on commission for the Emperor's coronation festivities. He was able to continue his professional functions for some time, and conducted the premiere of The Magic Flute on 30 September. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart was nursed in his final illness by Constanze and her youngest sister Sophie, and attended by the family doctor, Thomas Franz Closset. It is clear that he was mentally occupied with the task of finishing his Requiem. However, the evidence that he actually dictated passages to his student Süssmayr is very slim.

Mozart died at 1 a.m. on 5 December 1791 at the age of 35. The New Grove gives a matter-of-fact description of his funeral:

The cause of Mozart's death cannot be known with certainty. The official record has it as "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Researchers have posited at least 118 causes of death, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The most widely accepted hypothesis is that Mozart died of acute rheumatic fever.

Mozart's sparse funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended. Indeed, in the period immediately after his death, Mozart's reputation rose substantially: Solomon describes an "unprecedented wave of enthusiasm" for his work; biographies were written (first by Schlichtegroll, Niemetschek, and Nissen; see Biographies of Mozart); and publishers vied to produce complete editions of his works.

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven's these are mostly not preserved, as Constanze sought to destroy them after his death. (See: Mozart's compositional method.) He was raised a Roman Catholic and remained a member of the Church throughout his life. (See Mozart and Roman Catholicism.)

Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with the Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his older colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.

He enjoyed billiards and dancing (see Mozart and dance), and kept pets: a canary, a starling, a dog, and also a horse for recreational riding. He had a fondness for scatological humor, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, but also in his correspondence with his sister and parents. Mozart even wrote scatological music, a series of canons that he sang with his friends. See: Mozart and scatology.

Works, musical style, and innovations

Style

" (K. 626) in Mozart's own handwriting. It is located at the Mozarthaus in Vienna.]] Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant, a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, but also dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491, the Symphony No. 40 in G minor, K. 550, and the opera Don Giovanni. Charles Rosen makes the point forcefully:

It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.

Especially during his last decade, Mozart exploited chromatic harmony to a degree rare at the time, with remarkable assurance and to great artistic effect.

Mozart always had a gift for absorbing and adapting valuable features of others' music. His travels helped in the forging of a unique compositional language. In London as a child, he met J.C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his own practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A Major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, and tone color, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.

Influence

Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between Classical and Romantic eras. More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of the training of classical musicians.

Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn, and he traveled to Vienna in 1787 hoping to study the older composer. Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote (WoO 58) to Mozart's D minor piano concerto K. 466.

A number of composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Frédéric Chopin's Variations on "Là ci darem la mano" from Don Giovanni (1827) and Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331. Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, "Mozartiana" (1887), as a tribute to Mozart.

Köchel catalogue

For unambiguous identification of works by Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves our knowledge of the dates and authenticity of individual works.

See also

The Complete Mozart Edition, 180 compact discs arranged into 45 themed volumes released by Philips Classics Records in 2000.

Mozart effect

Mozart family

Mozart in fiction

Mozartkugel

Mozarteum

Mozarthaus Vienna

Notes

References

Fradkin, Robert A. (1996) The well-tempered announcer: a pronunciation guide to classical music. Bloomington: Indiana University Press. ISBN 025321064X.

Further reading

External links

Mozarthaus Salzburg

Salzburg Tourist Office – Salzburg City Tourist Board website.

Digitized, scanned Material (Books, Sheet music)

"Mozart" Titles; Mozart as author from archive.org

"Mozart" Titles; Mozart as author from books.google.com

Digital Mozart Edition (Internationale Stiftung Mozarteum)

"Mozart" titles from Gallica

From the British Library

*Mozart's Thematic Catalogue (view with "Turning the Pages")

*Mozart's Musical Diary

*Background information on Mozart and the Thematic Catalogue

Letters of Leopold Mozart und Wolfgang Amadeus Mozart (Badische Landesbibliothek)

Sheet music (Scores)

Complete sheetmusic (scores) from the Neue Mozart-Ausgabe (Internationale Stiftung Mozarteum)

"Mozart" Titles from the Munich Digitisation Centre (MDZ)

"Mozart" Titles from the University of Rochester

Free typeset sheet music of Mozart's works from Cantorion.org

Mozart as author from archive.org

Mozart as author from books.google.com

* Category:Classical era composers Category:German composers Category:Opera composers Category:Organ improvisers Category:Viennese composers Category:Austrian classical pianists Category:Child classical musicians Category:People from Salzburg Category:Austrian Roman Catholics Category:Knights of the Golden Spur Category:1756 births Category:1791 deaths

Name	Malcolm McLaren
Background	solo_singer
Birth name	Malcolm Robert Andrew McLaren
Born	January 22, 1946 Stoke Newington, London, England
Died	April 08, 2010 Switzerland was an English performer, impresario, self-publicist and former manager of the Sex Pistols and the New York Dolls. As a solo artist, McLaren had an innovative career which helped introduce hip hop to the United Kingdom.
Title	Articles and topics related to Malcolm McLaren
State	collapsed

Category:1946 births Category:2010 deaths Category:Alumni of Goldsmiths, University of London Category:Alumni of the Central Saint Martins College of Art and Design Category:British people of Jewish descent Category:Burials at Highgate Cemetery Category:Cancer deaths in Switzerland Category:Deaths from mesothelioma Category:English businesspeople Category:English dance musicians Category:English music managers Category:English people of Portuguese descent Category:English people of Scottish descent Category:English songwriters Category:Participants in British reality television series Category:People from Stoke Newington Category:Sex Pistols Category:Sony Radio Academy Award Gold winners

:"Liberata" redirects here. For the folk saint with this name, see Wilgefortis.

Name	Saint Marina
Birth date	119 AD
Death date	139 AD
Feast day	July 18
Imagesize	200px
Caption	Santa Marina, by Francisco de Zurbarán.

Saint Marina of Aguas Santas (Marina of Orense) (119–139 AD) is a Spanish saint. She is a virgin martyr associated with the town of Aguas Santas, in the province of Ourense. The story of her life as it has been preserved is a mixture of fact and fiction. She is venerated as one of nine sisters, one of whom is Saint Liberata (Santa Librada).

Legend

She is said to have been born in Balcagia (today Baiona) to Lucius Castelius Severus, Roman governor of Gallaecia and Lusitania, and Calsia, his wife. Marina was one of nine daughters. Calsia, frightened that her husband would interpret this multiple birth as a sign of infidelity, ordered her servant Sila to drown the girls in the Miñor River.

Disobeying her mistress, Sila, secretly a Christian, left Calsia's daughters in the care of several families. Marina and her sisters were baptized by the bishop Saint Ovidius (Ovid, Ovidio) and brought up in the Christian faith. When they were twenty, they were accused of being Christians and brought before their father the governor. He recognized them as his own daughters, and asked them to renounce their faith, promising them luxuries.

The sisters refused and were imprisoned. They managed to escape and were ultimately martyred for their faith. A spring of water gushed out of the spot where they were beheaded; the spot was called Aguas Santas ("Holy Waters").

Veneration

Marina's legend is similar to that told of another Spanish saint, the virgin martyr Quiteria. Her legend was sometimes also confused with that of Margaret of Antioch, who was sometimes also called Marina. Due to a confusion with the popular figure of Wilgefortis, Liberata is sometimes represented as martyred on a cross.

The saint is no longer included in the Roman Martyrology, but previous versions —Baronius introduced her in the second edition—describe her as: Gallaeciae in Hispania sanctue Marinae virginis et martyris.

The spread of her cult is attested by the fact that many churches were dedicated to her not only in Galicia and Astorga, but also at Córdoba and Seville.

Popular devotion traditionally places the date of death for Marina and Liberata (one of her sisters) on January 18, 139. The feast of Marina is celebrated on July 18. Liberata's feast day is celebrated on July 20, which is the date for the translation of her relics from the city of Sigüenza to Baiona in 1515. Liberata (in Spanish Librada) is the patron saint of Sigüenza, after bishop Bernard of Toledo brought her relic from his native Aquitaine. The chapel dedicated to her in the transept of the city's cathedral, with a splendid reredos and the relics of the saint, was constructed at the expense of Bishop Fadrique de Portugal.

References

External links

Santa Marina at the Spanish Wikipedia Santa Marina di Orense

Category:119 births Category:139 deaths Category:Spanish saints Category:Spanish Roman Catholic saints

Category:2nd-century Christian female saints Category:2nd-century Christian martyr saints

Name	Hans Zimmer
Landscape	yes
Background	non_performing_personnel
Birth name	Hans Florian Zimmer
Born	September 12, 1957
Origin	Frankfurt, Germany
Instrument	Piano, keyboard, guitar
Genre	Film score
Occupation	Film composer
Years active	1977–present
Label	Remote Control Productions
Url	http://www.hans-zimmer.com

Hans Florian Zimmer (born September 12, 1957) is a German film score composer and music producer. For nearly three decades he has composed music for over 100 films including some critically acclaimed film scores, such as The Lion King, Gladiator, and The Dark Knight. Some of his recent works are Frost/Nixon (2008), Angels & Demons (2009), Sherlock Holmes (2009), Inception (2010), and Megamind (2010).

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions.

His works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. Zimmer is also ranked Number 72 on the list of the "Top 100 living geniuses", published by The Daily Telegraph.

Early life and career

Zimmer was born in Frankfurt am Main, Germany, and moved to London as a teenager, where he attended Hurtwood House school. In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend." Zimmer began his career playing keyboards and synthesizers. He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles' music video for the 1979 song "Video Killed the Radio Star". After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox). In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments. Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1988 film The Last Emperor, which won the Academy Award for Best Original Score.

Hollywood film scoring

A turning point in Zimmer's career occurred with the 1988 film Rain Man. In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?". Zimmer’s score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.

A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."

1991's Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.

For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Disney Animation Studios approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M. Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Music (Original Score), a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.

Zimmer's score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music. Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen. Zimmer was hired as the composer for the two subsequent films in the series, Pirates of the Caribbean: Dead Man’s Chest (2006) and (2007).

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard. Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production. Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

"Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having "you are the composer, you are the arranger, you are the orchestrator" - it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits."

Zimmer works with other composers through his company Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly. His colleagues at the studio have included Steve Jablonsky, James Dooley, Geoff Zanelli, Henning Lohner, Harry Gregson-Williams, Mark Mancina, John Van Tongeren, John Powell and Thomas J.Bergersen.

In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent. He has received a range of honors and awards, including the Lifetime Achievement Award in film Composition from the National Board of Review, the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival, ASCAP’s Henry Mancini Award for Lifetime Achievement, and BMI's Richard Kirk Award for lifetime achievement in 1996. Recent work includes the Spanish language film Casi Divas Sherlock Holmes and The Burning Plain (2009). He composed the theme for the television boxing series The Contender, and worked with Lorne Balfe on the music for , which was his first video game project.

In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long term friend Ronni Chasen, who was shot dead in Beverly Hills the previous month.

Zimmer lives in Los Angeles with his wife Suzanne, and has four children.

Discography

Composer

{| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"| 1982

Moonlighting (with Stanley Myers)

1984

(with Stanley Myers)

Eureka (with Stanley Myers)

Success Is the Best Revenge (with Stanley Myers)

1985

My Beautiful Laundrette (with Stanley Myers)

Insignificance (with Stanley Myers)

1986

Separate Vacations (with Stanley Myers)

The Lightship (with Stanley Myers)

Castaway (with Stanley Myers)

1987

Terminal Exposure (with Stanley Myers)

Going for Gold (TV) - Opening and closing title themes

1988

Burning Secret

Rain Man (Oscar Nomination)

Paperhouse (with Stanley Myers)

Nightmare at Noon (with Stanley Myers)

Maniac City (with Stanley Myers)

A World Apart

First Born (TV Movie)

Taffin (with Stanley Myers)

The Nature of the Beast (with Stanley Myers)

Spies Inc. (with Fiachra Trench)

The Fruit Machine

1989

Black Rain

Driving Miss Daisy

Twister

Diamond Skulls

New Music in Films

1990

Chicago Joe and the Showgirl (with Shirley Walker)

Green Card

Pacific Heights

Fools of Fortune

Days of Thunder

Bird on a Wire

Dark Obsession (with Stanley Myers)

1991

Thelma & Louise

Regarding Henry

Backdraft

K2

White Fang (with Basil Poledouris)

1992

Toys

Radio Flyer

Where Sleeping Dogs Lie (with Mark Mancina)

A League Of Their Own

The Power of One

(with Mark Mancina) - Main Theme

1993

Younger and Younger

The House of the Spirits

True Romance (theme based on Gassenhauer by Carl Orff)

Point of No Return

Calendar Girl

Cool Runnings (with Nick Glennie-Smith)

1994

Drop Zone

Renaissance Man

I'll Do Anything

The Lion King (Golden Globe & Oscar Winner)

The Critic

1995

Nine Months

Beyond Rangoon

Crimson Tide (Grammy Winner)

Two Deaths

Something to Talk About (with Graham Preskett)

1996

The Preacher's Wife (Oscar Nomination)

The Fan

Muppet Treasure Island

The Whole Wide World (with Harry Gregson-Williams)

The Rock (with Nick Glennie-Smith and Harry Gregson-Williams)

Broken Arrow

| style="width:50%;"| 1997

As Good As It Gets (Oscar Nomination)

The Peacemaker

Smilla's Sense of Snow (with Harry Gregson-Williams)

1998

The Thin Red Line (Oscar Nomination)

The Prince of Egypt (Golden Globe & Oscar Nomination)

The Last Days

1999

Chill Factor (with John Powell)

2000

An Everlasting Piece

Gladiator (with Lisa Gerrard) (Golden Globe Winner, Oscar Nomination)

The Road to El Dorado (with John Powell)

2001

Black Hawk Down

Riding in Cars with Boys

Pearl Harbor (Golden Globe Nomination)

Hannibal

Invincible (with Klaus Badelt)

The Pledge (with Klaus Badelt)

2002

The Ring

(Golden Globe Nomination)

2003

The Last Samurai (Golden Globe Nomination)

Something's Gotta Give (Last-minute replacement score, composed with several other composers)

(uncredited, with Klaus Badelt et al.)

Matchstick Men

Tears of the Sun

''Johnny English (theme song co-written with Robbie Williams)

2004

Spanglish (Golden Globe Nomination)

Laura's Star (with Nick Glennie-Smith)

Shark Tale

King Arthur

Thunderbirds

2005

The Weather Man (with James S. Levine)

Der kleine Eisbär 2 - Die geheimnisvolle Insel (with Nick Glennie-Smith)

Madagascar (with Heitor Pereira, James Dooley)

Batman Begins (with James Newton Howard)

2006

The Da Vinci Code (Golden Globe Nomination)

The Holiday

2007

The Simpsons Movie

2008

Casi Divas

The Dark Knight (with James Newton Howard) (Grammy Winner)

Kung Fu Panda (with John Powell)

The Burning Plain (with Omar Rodríguez-López)

Frost/Nixon (Golden Globe Nomination)

2009

Angels & Demons

Sherlock Holmes (Oscar Nomination)

It's Complicated (with Heitor Pereira)

Call of Duty: Modern Warfare 2 (Video Game) (Main Themes - Score Producer)

2010

The Pacific (Main theme only; score composed by Geoff Zanelli and Blake Neely)

Despicable Me

Inception

Megamind (with Lorne Balfe)

How Do You Know

2011

Rango

Kung Fu Panda 2 (with John Powell)

Winnie the Pooh (with Henry Jackman)

Jealous of the Birds (Documentary)

The Dilemma

Ra.One (First Bollywood project)

Sherlock Holmes 2

2012

The Dark Knight Rises (with James Newton Howard)

|}

Executive score producer

{| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"| 1987

The Last Emperor (Music by Cong Su, Ryuichi Sakamoto and David Byrne)

1996

Twister (Music by Mark Mancina)

White Squall (Music by Jeff Rona)

1997

Face/Off (Music by John Powell)

The Borrowers (Music by Harry Gregson-Williams)

1998

Antz (Music by Harry Gregson-Williams and John Powell)

Endurance (Music by John Powell)

With Friends Like These... (Music by John Powell)

2002

Live from Baghdad (Music by Steve Jablonsky)

2001

I Am Sam (Music by John Powell)

2003

(Music by Klaus Badelt)

2004

Ella Enchanted (Music by Nick Glennie-Smith)

House of D (Music by Geoff Zanelli)

2005

All the Invisible Children (Music by Ramin Djawadi)

Blood+ (Music by Mark Mancina)

The Island (Music by Steve Jablonsky)

Wallace and Gromit: The Curse of the Were-Rabbit (Music by Julian Nott)

| style="width:50%;"| 2006

Ask The Dust (Music by Heitor Pereira and Ramin Djawadi)

Curious George (Music by Heitor Pereira)

Over the Hedge (Music by Rupert Gregson-Williams)

The Prestige (Music by David Julyan)

Urmel Aus Dem Eis (Music by James Dooley)

2007

August Rush (Music by Mark Mancina)

Bee Movie (Music by Rupert Gregson-Williams)

Transformers (Music by Steve Jablonsky)

2008

Vantage Point (Music by Atli Örvarsson)

Babylon A.D. (Music by Atli Örvarsson)

Running the Sahara (Music by Heitor Pereira)

Iron Man (Music by Ramin Djawadi)

2009

Monsters vs. Aliens (Music by Henry Jackman)

The 4th Kind (Music by Atli Örvarsson)

(Music by Steve Jablonsky)

Sherlock Holmes

2010

Season of the Witch (Music by Atli Örvarsson)

(Music by Harry Gregson-Williams)

A Nightmare on Elm Street (Music by Steve Jablonsky)

Clash of the Titans (Music by Ramin Djawadi)

2011

(Music by Steve Jablonsky)

The Eagle (Music by Atli Örvarsson)

Ironclad (Music by Lorne Balfe)

|}

Awards

Nominations are listed below. Nominations won are listed in bold. {| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"|

Academy Awards

1989: Rain Man

1994: The Lion King

1997: The Preacher's Wife

1998: As Good As It Gets

1999: The Prince of Egypt

1999: The Thin Red Line

2001: Gladiator

2010: Sherlock Holmes

| style="width:50%;"|

Golden Globe Awards

1995: ''The Lion King

1999: The Prince of Egypt

2001: Gladiator

2002: Pearl Harbor

2003: (Best Original Song)

2004: The Last Samurai

2005: Spanglish

2007: The Da Vinci Code

2009: Frost/Nixon

2011: Inception

|} {| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"|

Grammy Awards

1991: Driving Miss Daisy

1994: The Lion King (Best Instrumental Arrangement With Accompanying Vocals)

1994: The Lion King (Best Musical Album For Children)

1996: Crimson Tide

2001: Gladiator (Shared with Lisa Gerrard)

2007:

2007: The Da Vinci Code

2009: The Dark Knight (Shared with James Newton Howard)

| style="width:50%;"|

BAFTAS

1992: Thelma & Louise

1995: The Lion King

2001: Gladiator (Shared with Lisa Gerrard)

2009: The Dark Knight (Shared with James Newton Howard)

|} {| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"|

Saturn Awards

1993: Toys - Shared with Trevor Horn

1996: Crimson Tide

1997: The Rock (Shared with Harry Gregson-Williams and Nick Glennie-Smith)

1999: The Prince of Egypt

2001: The Road to El Dorado (Shared with John Powell)

2001: Gladiator (Shared with Lisa Gerrard)

2006: Batman Begins (Shared with James Newton Howard)

2009: The Dark Knight (Shared with James Newton Howard)

2010: Sherlock Holmes

| style="width:50%;"|

Satellite Awards

1999: The Thin Red Line

2001: Gladiator

2002: Hannibal

2004: The Last Samurai

2007: The Da Vinci Code

2011: Inception

|} {| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"|

Emmys

2010: The Pacific (Outstanding Music Composition For A Miniseries, Movie Or A Special) | style="width:50%;"|

Tonys

1998: The Lion King (musical) (Best Original Score)

|} {| style="width:100%;" |- style="vertical-align:top;" | style="width:50%;"|

Annies

2008: Kung Fu Panda (Music in an Animated Feature Production)

2008: Secrets of the Furious Five (Music in an Animated Television Production or Short Form )

| style="width:50%;"|

Classical BRIT Awards

2001: Gladiator (Album of the Year) (Shared with Lisa Gerrard)

2008: The Dark Knight (Shared with James Newton Howard)

|}

References

External links

Interview with Hans Zimmer in Film Score Monthly

Interview with Hans Zimmer about Sherlock Holmes from C Music TV

Focus.De

Category:Best Original Music Score Academy Award winners Category:Grammy Award winners Category:German film score composers Category:German composers Category:People from Frankfurt Category:1957 births Category:Living people *1

Name	Brian McKnight
Background	solo_singer
Born	June 05, 1969
Origin	Buffalo, New York, United States
Instrument	Vocals, Piano, Keyboards, Guitar, Trumpet, Drums
Voice type	Tenor
Genre	R&B;, soul, quiet storm
Occupation	Singer, Songwriter, Producer
Years active	1988–present
Label	Mercury (1988–1997) Motown (1998–2005) Warner Bros. (2006–2008) E1 Music (2009-)
Url	Official site Official MySpace

Brian McKnight (born June 5, 1969) is an American singer, songwriter, arranger, producer, and R&B; musician, as well as currently hosting his own evening talk show. He is a multi-instrumentalist who plays nine instruments: piano, guitar, bass guitar, drums, percussions, trombone, tuba, flugelhorn and trumpet.

Biography

McKnight was born in Buffalo, New York. His musical career began in childhood when he became a member of his church, NY choir and a band leader for his high school, Sweet Home High School. In 1987, McKnight's older brother, Claude, and his band, Take 6, signed a record deal with Warner Brothers. This encouraged McKnight to shop his own demo tapes and by the age of 19, he'd signed his first recording deal with Mercury Records subsidiary, Wing Records. From 2006 to 2010 he hosted a radio show, The Brian McKnight Morning Show with Pat Prescott on KTWV The Wave in Los Angeles, CA. The show was at one time simulcasted on KHJZ-FM, Smooth Jazz 95.7 The Wave in Houston, TX from 6am-9am CST, but this station has changed its format. On January 26, 2009, Brian McKnight hosted "The Brian McKnight show" from 7PM-Midnight on 98.7 KISS FM in New York City.

In October 2007, McKnight made his Broadway debut in the show Chicago.

In 2009, he appeared in the second season of Celebrity Apprentice. Each celebrity played to raise money for the charity of their choice; McKnight elected to play for Youthville USA.

From September 2009 to May 2010, The Brian McKnight Show, a late night talk show premiered in syndication. The show is a combination of talk and variety. The show was cancelled on May 29, 2010 due to low ratings and will not return for a second season. Although he promised to pay employees and staff in full, no one who worked on the show has received any payment.

Religion

Brian McKnight is a Seventh-day Adventist. He grew up attending Emmanuel Temple Seventh-day Adventist Church in Buffalo. He also attended Oakwood University, a Seventh-day Adventist university, in Huntsville, Alabama from 1987-1989. McKnight explains, concerning his musical beginnings in the church:

"I'm the fifth generation of Seventh Day Adventists and the youngest of four brothers. When I was still very small, we formed a gospel quartet. Our models were the great gospel groups, the Swan Silvertones and Mighty Clouds of Joy. The McKnight brothers were serious singers. The reputation went out: these boys could shout. My big brothers—Claude (a part of the gospel group Take 6), Freddie and Michael—man, they were my heroes. Each was a leader in his own right. Outside church, they listened to jazz. Church music thrilled me, but jazz stimulated me."

Discography

Brian McKnight discography

**Brian McKnight (1992)

*I Remember You (1995)

*Anytime (1997)

*Back at One (1999)

*Superhero (2001)

*U-Turn (2003)

*Gemini (2005)

*Ten (2006)

*Evolution of a Man (2009)

Awards and nominations

American Music Awards

**1999, Favorite R&B;/Soul Album: Anytime (Nominated) 2010

BET Awards

*2007, BET J Cool Like Dat: (Nominated)

*Grammy Awards

*2005, Best R&B; Male Vocal Performance: "What We Do Here" (Nominated)

*2004, Best R&B; Male Vocal Performance: "Shoulda, Coulda, Woulda" (Nominated)

*2003, Best R&B; Performance by a Duo or Group: "All the Way" w/ Kenny G (Nominated)

*2002, Outstanding Song Written for a Motion Picture of Television Series: "Win" from Men of Honor (Nominated)

*2002, Best Male Pop Vocal Performance: "Still" (Nominated)

*2002, Best Pop Collaboration w/ Vocals: "My Kind of Girl" w/ Justin Timberlake (Nominated)

*2002, Best R&B; Song: "Love of My Life" (Nominated)

*2002, Best R&B; Male Vocal Performance: "Love of My Life" (Nominated)

*2001, Best Male Pop Vocal Performance: "6, 8, 12" (Nominated)

*2001, Best R&B; Male Vocal Performance: "Stay or Let It Go" (Nominated)

*2001, Best R&B; Performance by a Duo or Group: "Coming Back Home" w/ Bebe Winans & Joe (singer) (Nominated)

*2000, Best R&B; Album: Back at One (Nominated)

*2000, Best Short-Form Music Video: "Back at One" (Nominated)

*1999, Best R&B; Male Vocal Performance: "The Only One For Me" (Nominated)

*1999, Best Male Pop Vocal Performance: "Anytime" (Nominated)

*1994, Best Pop Collaboration w/ Vocals: "Love Is" w/ Vanessa L. Williams (Nominated)

McKnight holds a record, having received 16 nominations without a win.

*

*2002, Outstanding Male Artist: Superhero (Nominated)

*2001, Outstanding Male Artist: "Stay or Let It Go" (Nominated)

*2000, Outstanding Male Artist: "Back at One" (Winner)

*MTV Video Music Awards

*2000, Best R&B; Video: "Back at One" (Nominated)

*1998, Best R&B; Video: "Anytime" (Nominated)

*Soul Train Awards

*2002, Best R&B;/Soul Male Single: "Love of My Life" (Nominated)

*2000, Best R&B;/Soul Single Male: "Back at One" (Nominated)

*2000, Best R&B;/Soul Male Album: Back at One (Nominated)

*1999, Best R&B;/Soul Male Album: "Anytime" (Winner)

References

Music.Yahoo.com

External links

Brian McKnight official website

Brian McKnight entertainment website

Brian McKnight's Biography from VH1

Brian McKnight's Profile from VIBE

Brian McKnight Fans Website

Blogs.OrlandoSentinel.com

Category:American rhythm and blues guitarists Category:American soul guitarists Category:American tenors Category:American pianists Category:American musicians Category:American record producers Category:Songwriters from New York Category:American trumpeters Category:American rhythm and blues singers Category:American multi-instrumentalists Category:American Seventh-day Adventists Category:Motown artists Category:Warner Music Group artists Category:People from Buffalo, New York Category:African American singers Category:1969 births Category:Living people Category:Participants in American reality television series Category:The Apprentice (U.S. TV series) contestants