Sources
Sources
803. Professor Peter Paret, Dec 2004, “Notes on the Paret and Cassirer Families,” Jim Falk archives, p. 28.
804. Sabine Burg and Petra Kaufmann, “Bernfeld, Siegfried,” http://www-gewi.uni-graz.at/dilthey/piluwe/druck/ausdruck.php?id=16 ;, 17 Apr 2006.
See also Cassirer Miscellaneous Album http://genealogy.meta-studies.net/ZDocs/Cassirer/C...ellaneous/index.html
See also Cassirer Miscellaneous Album http://genealogy.meta-studies.net/ZDocs/Cassirer/C...ellaneous/index.html
805. Professor Peter Paret, Dec 2004, “Notes on the Paret and Cassirer Families,” Jim Falk archives, p. 29.
806. “Peter Paret,” http://en.wikipedia.org/wiki/Peter_Paret, 5 Oct 2007.
807. Per Wastberg, “Warrier of the Imagination,” http://www.nobel.se/literature/articles/wastberg/.
808. Steven Lee Gruzd, “Family tree of Steven lee Gruzd, as at 14 November 2001,” http://awt.ancestory.netscape.com/cgi-bin/igm.cgi?...83373436&ti=4317.
809. Steven Gruzd, “Genealogical Data,” http://www.geocities.com/stevengruzd/dat0.htm, 2003.
810. Harry Ransom Humanities Research Center at the Universit of Texas at Austin, “Nadine Gordimer, 1923-,” http://www.hrc.utexas.edu/research/fa/gordimer.html.
811. Human Sciences Research Council of South Africa, “Living Treasures: Nadine Gordimer,” http://www.hsrc.ac.za/research/npa/SCI/news/20030122_5.html, 2004, See also “Living Treas - Nadine Gordimer” in Notes on Families - Cassirer folders.
812. Jonathan Steele, “White Magic,” http://www.guardian.co.uk/Archive/Article/0,4273,4286023,00.html, 27 Oct 2001.
813. JewishGen, 29 Jan 2013, “The JewishGen Holocaust Database,” http://data.jewishgen.org/wconnect/wc.dll?jg~jgsearch~model2~[jg0001]jg0231.
814. www.ballon-bitterfeld.de/ballonfahren/ bitterfelder-kette.htm.
815. http://home.t-online.de/home/orie.buch/litera.htm.
eg. 234 Goethe's nut/mother - the letters of the Mrs. Rath Goethe. Collected and hrsg. v. Albert Koester. 2 Bde. Lpz. [ Poeschel ] 1905
eg. 234 Goethe's nut/mother - the letters of the Mrs. Rath Goethe. Collected and hrsg. v. Albert Koester. 2 Bde. Lpz. [ Poeschel ] 1905
816. http://hcl.harvard.edu/loebmusic/isham-specialcollections-BMEObooks.html.
eg. Belmonte, Carola. The Mrs. in the life Mozart . Augsburg: Publishing house of brothers Reichel, 1905. Merritt Room mash 4196,100,23 BMEO
(Belmonte, Carola. Die Frauen im Leben Mozarts. Augsburg: Verlagsbuchhandlung Gebrüder Reichel, 1905. Merritt Room Mus 4196.100.23 BMEO)
eg. Belmonte, Carola. The Mrs. in the life Mozart . Augsburg: Publishing house of brothers Reichel, 1905. Merritt Room mash 4196,100,23 BMEO
(Belmonte, Carola. Die Frauen im Leben Mozarts. Augsburg: Verlagsbuchhandlung Gebrüder Reichel, 1905. Merritt Room Mus 4196.100.23 BMEO)
817. http://www.luise-berlin.de/Ehrung/c/cassirer_hugo.htm, 3 February 2004.
818. R. Koehler & U. Kratz-Whan, Der juedische Friedhof Schoenhauser Allee, Haude & Spener, 53, Berlin, 1992.
Transmitted by Irene Newhouse, email, 12 August 2005 “Re: another data point”, Jim Falk email archives.
Transmitted by Irene Newhouse, email, 12 August 2005 “Re: another data point”, Jim Falk email archives.
819. Martine Wolff, “Re: Eva Cassirer,” 18 June 2009, Jim Falk email archives.
Details of the painting can be found at:
http://search.iisg.nl/search/search?action=transfo...t=Cassirer%2C%20Hugo
File: Hugo_Cassirer2.jpg
Details of the painting can be found at:
http://search.iisg.nl/search/search?action=transfo...t=Cassirer%2C%20Hugo
File: Hugo_Cassirer2.jpg
820. Ruth Cohn Bolletino (ed), “Observations on the disintegration of the self: An experimental case for holism,” Advances in Mind-Body Medicine, Vol 16, pp. 57-77, 2000, http://www.asanet.org/sectionsexgend/awards.html.
821. “High Fidelity Beethoven,” http://www.soundfountain.com/amb/treasures.html#APPELB, 23 Jul 2007.
The rest of this article reads:
The liner notes of Westminster WL 5075 deal extensively with the structure and the nature of Beethoven's Op. 111 and Op. 2 No. 2. There are however no data about the pianist Kurt Appelbaum with whom Westminster started a complete cycle of Beethoven Sonatas. From six discs produced only the one containing Sonatas Nos. 9 and 24 was well received (WL 5090). Westminster apparently abandoned the project and substituted Appelbaum for Paul Badura-Skoda but Demotte says that the wisdom of this choice was to be questioned because Badura-Skoda was much too young.
However, in hindsight, WL 5075 gives a remarkable example of what was feasable as far as High Fidelity is concerned. It is amazing how clear and clean and well defined and also how natural the sound of the grand piano is captured and engraved in the disc. The sleeve says "Copyright 1951" and at the time the extremely high sound quality was recognized by engineers, critics and record collectors alike. If the standard of technique was already that high in 1951 why were not more records produced in the same technical vein at the time and also in the years thereafter? Westminster's recording quality in later years never reached the same height and as far as dynamics were concerned lost the superiority and many recordings had dull sound. Specifically the cycle with Wilhelm Kempff on Deutsche Grammophon (in the USA released on American Decca) could not at all be recommended because of low recording quality.
Even if Appelbaum lacks the necessary lightness, seriousness, playfullness and humor to explore Beethoven's realm, this recording is nevertheless pleasing to the ear.
The rest of this article reads:
The liner notes of Westminster WL 5075 deal extensively with the structure and the nature of Beethoven's Op. 111 and Op. 2 No. 2. There are however no data about the pianist Kurt Appelbaum with whom Westminster started a complete cycle of Beethoven Sonatas. From six discs produced only the one containing Sonatas Nos. 9 and 24 was well received (WL 5090). Westminster apparently abandoned the project and substituted Appelbaum for Paul Badura-Skoda but Demotte says that the wisdom of this choice was to be questioned because Badura-Skoda was much too young.
However, in hindsight, WL 5075 gives a remarkable example of what was feasable as far as High Fidelity is concerned. It is amazing how clear and clean and well defined and also how natural the sound of the grand piano is captured and engraved in the disc. The sleeve says "Copyright 1951" and at the time the extremely high sound quality was recognized by engineers, critics and record collectors alike. If the standard of technique was already that high in 1951 why were not more records produced in the same technical vein at the time and also in the years thereafter? Westminster's recording quality in later years never reached the same height and as far as dynamics were concerned lost the superiority and many recordings had dull sound. Specifically the cycle with Wilhelm Kempff on Deutsche Grammophon (in the USA released on American Decca) could not at all be recommended because of low recording quality.
Even if Appelbaum lacks the necessary lightness, seriousness, playfullness and humor to explore Beethoven's realm, this recording is nevertheless pleasing to the ear.
822. Jay Walljasper, “Technology cannot replace transcendence,” http://www.consciouschoice.com/citizen/citizen1503.html, March 2002.
1-25, 26-50, 51-75, 76-100, 101-125, 126-150, 151-175, 176-200, 201-225, 226-250, 251-275, 276-300, 301-325, 326-350, 351-375, 376-400, 401-425, 426-450, 451-475, 476-500, 501-525, 526-550, 551-575, 576-600, 601-625, 626-650, 651-675, 676-700, 701-725, 726-750, 751-775, 776-800, 801-825, 826-850, 851-875, 876-900, 901-925, 926-950, 951-975, 976-1000, 1001-1025, 1026-1050, 1051-1075, 1076-1100, 1101-1125, 1126-1150, 1151-1175, 1176-1200, 1201-1225, 1226-1250, 1251-1275, 1276-1300, 1301-1325, 1326-1350, 1351-1375, 1376-1400, 1401-1425, 1426-1450, 1451-1475, 1476-1500, 1501-1525, 1526-1550, 1551-1575, 1576-1600, 1601-1625, 1626-1650, 1651-1675, 1676-1700, 1701-1725, 1726-1750, 1751-1775, 1776-1800, 1801-1825, 1826-1850, 1851-1875, 1876-1900, 1901-1925, 1926-1937