Heinz Kruse Vidéos
artiste lyrique, musicien ou musicienne
- Heldentenor
- Allemagne
Dernière mise à jour
2024-05-08
Actualiser
Guillamat Prost Marchetti Toyama Kawaguchi Kageyama Sacks Shani Blanch Kruse Topology 1995 2013 2015 2017 2020 2021
This talk was part of the of the online workshop on "Interdisciplinary Challenges in Nonequilibrium Physics" held April 12 - 16, 2021. Discontinuities within orientational fields configure topological defects [1]. They are often present in materials featuring orientational, nematic, order, and can be found in very diverse areas, which span a vast range of length scales [2]. Interestingly, in active nematic systems, topological defects imply not only strong orientational gradients but also well-defined flow and stress patterns in very localized regions [3]. Recent works have shown the influence of these defects in determining the dynamics of living systems, from cell monolayers [4–6] to simple organisms [7]. Here, we study how nematic monolayers composed of muscle cells self-organize and evolve under circular confinement, which enforces a topological charge S=+1. Under strong confinements, with size competing with the characteristic nematic correlation length, the formation of half-integer defects (s=±1/2) is hampered, resulting in spontaneous cellular arrangements with one single integer defect (s=+1) at the center of the islands, namely, rotating spirals and quasi-static asters [8]. These singularities imply distinct mechanical fields, which lead, eventually, to the localized expression of muscle-specific proteins and the formation of 3D nematic cellular protrusions [9]. [1] P. G. de Gennes and J. Prost, The Physics of Liquid Crystals (Clarendon Press, 1995). [2] M. C. Marchetti, J. F. Joanny, S. Ramaswamy, T. B. Liverpool, J. Prost, M. Rao, and R. A. Simha, Hydrodynamics of Soft Active Matter, Rev. Mod. Phys. 85, 1143 (2013). [3] L. Giomi, Geometry and Topology of Turbulence in Active Nematics, Phys. Rev. X 5, 031003 (2015). [4] G. Duclos, C. Erlenkamper, J.-F. Joanny, and P. Silberzan, Topological Defects in Confined Populations of Spindle-Shaped Cells, Nat Phys 13, 58 (2017). [5] T. B. Saw, A. Doostmohammadi, V. Nier, L. Kocgozlu, S. Thampi, Y. Toyama, P. Marcq, C. T. Lim, J. M. Yeomans, and B. Ladoux, Topological Defects in Epithelia Govern Cell Death and Extrusion, Nature 544, 212 (2017). [6] K. Kawaguchi, R. Kageyama, and M. Sano, Topological Defects Control Collective Dynamics in Neural Progenitor Cell Cultures, Nature 545, 327 (2017). [7] Y. Maroudas-Sacks, L. Garion, L. Shani-Zerbib, A. Livshits, E. Braun, and K. Keren, Topological Defects in the Nematic Order of Actin Fibres as Organization Centres of Hydra Morphogenesis, Nat. Phys. (2020). [8] C. Blanch-Mercader, P. Guillamat, A. Roux, and K. Kruse, Quantifying Material Properties of Cell Monolayers by Analyzing Integer Topological Defects, Phys. Rev. Lett. 126, 028101 (2021). [9] P. Guillamat, C. Blanch-Mercader, K. Kruse, and A. Roux, Integer Topological Defects Organize Stresses Driving Tissue Morphogenesis, BioRxiv 2020.06.02.129262 (2020).
Der ehemalige Führerbau wurde 1933 bis 1937 nach Plänen des Architekten Paul Ludwig Troost in der Arcisstraße 12 in München für Adolf Hitler errichtet. Matthias J. Lange von redaktion42 im Interview mit Alexander Kruse, dem Kanzler der Hochschule für Musik und Theater, die heute in dem ehemaligen Nazi-Bau untergebracht ist.
Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
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