![]() He was able to keep going and get around to his P12 grid slot as planned, but it was an abnormal sight for the drivers as they tested their cars prior to the race getting underway. The Mercedes driver was taking in his pre-race laps to the grid and was testing the limits while heading to the downhill entry of Turn 5, but went too deep and ran into the gravel trap. On the Romanian mine entrances „Noroc bun!” is used - same as for saluting other miners (by contrast, in German this miner-salut is Glück auf!).George Russell took to the gravel on his way to the grid for the Spanish Grand Prix, in a moment not usually seen before the race. ![]() In Romania, the greeting "Doamne ajută", which means "God helps" or "God bless", is often used. ![]() Inscription Zdar Boh! can be seen on many mine entrances, monuments or logos. In Slovakia, the literal Slovak translation of grüß Gott, Zdar Boh! is used as the traditional greeting of miners. In Bavaria, guten Tag is considered prim and distant and sometimes leads to misunderstandings. Use of the greeting guten Tag ('good day') is less prevalent, but there are those who dislike grüß Gott on account of its religious nature. In its standard German form, grüß Gott is mostly stressed on the second word and in many places is used not only in everyday life, but is also common in the official communications of the aforementioned states. This is likewise shortened this to pfiat' di/eich or, if the person is addressed formally pfia Gott in Altbayern, Austria, and South Tyrol ( Italy). A common farewell analogous to grüß Gott is pfiat' di Gott, a contraction of "behüte dich Gott" ('God protect you'), which itself is not common at all. In Bavaria and Austria griaß di and griaß eich are commonly heard, although their Standard German equivalents are not uncommon either. The greeting's pronunciation varies with the region, with, for example, grüß dich sometimes shortened to grüß di (the variation grüß di Gott may be heard in some places). Like many other greetings, grüß Gott can range in meaning from deeply emotional to casual or perfunctory. In Brazil (Portuguese) the very direct forms fique com Deus (" stay with God") and vai com Deus (" go with God") is very common today. In Finland, a religious group named Laestadians uses the form "Jumalan terve" ("God's greeting"). A religious origin is still obvious in French adieu, Spanish adiós, Italian addio, Portuguese adeus, and Catalan adéu (" to God", probably a contraction of " I entrust you to God"). Also similar to the Catalan formal expression adéu-siau ( "be with God", in archaic Catalan). For example, people wish one another a simple 'good day' in France ( bonjour), Poland ( dzień dobry), Spain ( buenos días), and Portugal ( bom dia), while in Irish the popular greeting is Dia dhuit (singular) or Dia dhaoibh (plural, meaning 'God with you' in both cases), similar to the English goodbye, a contraction of God be with ye today, goodbye has a less obviously religious meaning. Such a religious expression in a greeting only exists in a few countries. In addition, in Middle High German, the verb grüßen ( grüezen) used to mean not only 'to greet' but also 'to bless', so the greeting in fact preserves the original meaning 'God bless you', though even speakers in Southern Germany and Austria are only very rarely aware of this and think it means 'may God greet you'. Grüß Gott is however the shortened form of both (es) grüße dich Gott and its plural (es) grüße euch Gott (literally in modern German 'may God greet you'). It is sometimes misunderstood by speakers from other regions to mean the imperative greet God(!) and therefore often receives a sarcastic response from Northern (and thus mainly Protestant) Germans such as "If I see Him" ("Wenn ich Ihn sehe") or "Hopefully not too soon" ("Hoffentlich nicht so bald"). The greeting, along with its variants, has long been the most common greeting in Southern Germany and Austria, with an epicenter in Schwaben, more than Baden or Bavaria. The expression grüß Gott ( German pronunciation: from grüß dich Gott, originally '(may) God bless (you)') is a greeting, less often a farewell, in Southern Germany and Austria (more specifically the Upper German Sprachraum, especially in Bavaria, Franconia, Swabia, Austria, and South Tyrol). JSTOR ( April 2010) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification.
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![]() Except for the innovative scordatura method, Xenakis employs the cello in a conventional manner, i.e. ![]() With Nomos alpha he ‘invented’ a ‘new’ instrument, ‘reconceptualised from the ground up’, which, however, contains the ‘memory’ of the traditional cello in its physical shape and attributes with traces of identifiable cello sound and the player’s gestures. Xenakis had a fresh perspective on the instruments – their sonorities and potential for colours and textures. For the performer, the discovery and the process of mastering the work marks the beginning of a re-evaluation not only of the particular cello techniques involved in the piece, but, in many ways, the fundamental questions of interpretation and performance. Nomos alpha by Xenakis is one of the most significant late twentieth-century compositions that embody this predication. 73) with contemporary studies compiled and edited by Siegfried Palm, Pro musica nova: Studien zum Spielen neuer Musik: für Violoncello and the set of Ten Preludes by Sofia Gubaidulina, the article explores the interactions, interrelationships and interdependencies that exist in the superficially different approaches to cello technique. By juxtaposing the orthodox cello method by David Popper (Hohe Schule des Violoncello-Spiels Op. I argue that the extended and ‘extreme’ techniques employed by Xenakis to convey the sound architecture of Nomos alpha must be viewed as a part of a global perspective on the traditions of cello playing. ![]() Focusing on Nomos alpha by Iannis Xenakis – one of the most complex works for solo cello of the twentieth century – the article investigates the dynamics of these interactions and how the traditions established in the course of the nineteenth and twentieth centuries might support the expanding domain of new techniques and approaches to the cello. Within the broad area of ‘technique’, I believe that traditional and contemporary technical styles can evolve through a fluid process of interactions – a ‘dialogue’ that is enlivened by tensions, transitional turns and mycelial exchanges. This article seeks to elucidate this notion, highlighting the inherent continuity between the development of the cello’s technical and expressive capacities. In my performance practice and pedagogy, I approach the inter-related elements of playing the cello – technique, interpretation and performance – as a single integrated domain. |
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