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Thursday, May 5, 2011

Yakov Kreizberg, Russian-born Austrian-American conductor died he was , 51.

Yakov Kreizberg  was a Russian-born American conductor died he was , 51..

 

(October 1959 – 15 March 2011)

Early studies

In the Soviet Union

Yakov Kreizberg (born Yakov Bychkov) was born in Leningrad. He began studying piano at age 5.[1] He attended the Glinka Choir School,[2] where he began composing at age 13 and studied conducting with Ilya Musin.[2] "Musin had an incredible system" Kreizberg recalled. The student would conduct and Musin would play at the piano, criticizing; then the roles were reversed, and Musin would comment again. Musin would use Beethoven sonatas, which contain "a world of feeling and expression," to teach conducting various articulations such as staccato, legato, phrasing, breathing. "Only after a while he gave me the first orchestral work, Beethoven's first symphony, saying: 'Remember everything you've done, but now do it with strings, oboes and horns.' "[2] Kreizberg described himself as "essentially self-taught. What Musin taught was a foundation; everything else I learned from master classes of very good and bad conductors. From the bad, I learned what not to do."[2]
By the time he was allowed to emigrate, he had composed numerous works. The Soviet authorities, however, would not allow any handwritten paper to be taken out of the country so he had to leave his compositions behind.[2] The experience was so frustrating that he gave up composition and decided to become a conductor.[2]

In the United States

He emigrated to the United States in 1976, and attended the Mannes College The New School for Music, where he continued his conducting studies under his brother, Semyon Bychkov (also a student of Musin's),[3] and graduated in 1981. One of his first public appearances as conductor was on March 30, 1980, when he led an orchestra at the Marble Collegiate Church in a performance of Haydn's Symphony no. 88.[4] (He was still listed under the surname of his birth, Bychkov, which he would change within the year to his mother's maiden name, Kreizberg, to avoid comparisons with his older brother.)[5][6][7] For his graduation concert he led the Mannes Orchestra in a concert on March 6, 1981.[8] Kreizberg did his graduate studies in conducting with Gustav Meier at the University of Michigan at Ann Arbor, becoming the first student to earn a doctorate in both orchestral and operatic conducting,[7] and winning the school's Eugene Ormandy Prize.[9] He spent summers at Tanglewood continuing his conducting studies with Erich Leinsdorf, Seiji Ozawa, and Leonard Bernstein, the most influential of the three.[10][11] He received a scholarship at the Los Angeles Philharmonic Institute,[7] where he continued work with Bernstein and was invited back to be assistant to Michael Tilson Thomas.[9] From 1985 to 1988 he was director of the orchestra at Mannes,[9] and also conducted concerts of the New York City Symphony.[12]
In 1986 Kreizberg won first prize in the American Symphony Orchestra's Stokowski Conducting Competition.[14] This resulted in a March 2, 1986 concert at Carnegie Hall with the orchestra which included Wolfgang Amadeus Mozart's Clarinet Concerto, Paul Hindemith's Symphonic Metamorphosis on Themes of Carl Maria von Weber, and Peter Ilyich Tchaikovsky's Symphony no. 5. Of the performance of the Tchaikovsky, Will Crutchfield said "It was a lucid look at the symphony more than an experience of it; still, lucidity is a considerable virtue, and Mr. Kreizberg seems to possess it, along with those of poise and good judgement for balance. It will be interesting to hear more of him."[15] The concert was repeated the following week (March 9) at Newark Symphony Hall.[16]
An accomplished pianist, Kreizberg earned a living accompanying vocal students[7] and accompanied productions such as Theatre Opera Music Institute's 1981 production of Nikolai Rimsky-Korsakov's Mozart and Salieri.[17] He accompanied and toured with Roberta Peters in the late 1980s.[18] In a 2005 interview, Julia Fischer recalled playing Franz Schubert's Fantasia in F minor for four hands at the piano with Kreizberg. [19] He accompanied her on the piano for their recording of Tchaikovsky's Sérénade mélancolique released in 2007.

Professional career

Opera

Kreizberg was appointed General Music Director (GMD) of the United Municipal Theaters of Krefeld and Mönchengladbach from 1988 to 1994, where he conducted operas such as Der Fliegende Hollander, Eugene Onegin, Káťa Kabanová and an important revival of Aribert Reimann's opera-oratorio Troades (which the composer received enthusiastically).[3] He was 27 years old, the youngest GMD ever appointed in Germany.[7] In a contemporary profile, a critic, noting that others had referred to Kreizberg's "giant talent" ("Riesentalent"), complimented Kreizberg's career path in starting with provincial opera houses in order to give the conductor time and space to develop.[3] During this time he also had engagements at Theater Aachen and Opéra National de Lyon.[3]
He was GMD of the Komische Oper Berlin from 1994 to 2001, where he worked closely with Harry Kupfer.[1] His repertoire included (year indicates first performed in that year): La Traviata (1994); Der gewaltige Hanrei, Die Entführung aus dem Serail, Die Zauberflöte, Le Nozze di Figaro, Die Fledermaus (1995); Falstaff, Don Giovanni, Così Fan Tutte, Lucia di Lammermoor (1996); Pique Dame, Fidelio (1997); König Hirsch (1998); Carmen (1999); La Clemenza di Tito, La bohème, The Tale of Tsar Saltan (2000). During his tenure, he led 10 new opera productions, numerous revivals, 2 ballets, and 38 concerts with the orchestra.[20] In 1994, he led Berthold Goldschmidt's Der gewaltige Hanrei in its first staging since 1932. In his Opera News review of the Goldschmidt, James Helme Sutcliffe wrote: "...new music director Yakov Kreizberg conducted a scintillating performance of the obsessively contrapuntal score..."[21] For his work at the Komische Oper, he was awarded the Kritikerpreis für Musik in 1997 by the Verband der deutschen Kritiker e. V., the German music critics association.[1] After much political wrangling, he stepped down from his post as GMD of the Komische Oper in 2001 due to job cuts, inability to fill vacancies, and "disastrous inflexibility and incompetence."[2]
Kreizberg conducted three productions for Glyndebourne: Nikolaus Lehnhoff’s production of Leos Janacek's Jenůfa (1992), Deborah Warner’s production of Wolfgang Amadeus Mozart's Don Giovanni (1995, available on DVD), and Lehnhoff’s production of Janacek's Káťa Kabanová (1998).[22] Of the 1992 Jenůfa, one critic wrote: "Above all, it was the electrifying conducting of Yakov Kreizberg, making his British operatic debut, which made this production so outstanding."[23] Of his Glyndebourne experience conducting Janacek, Kreizberg said: "[ I've ] had marvelous experiences performing some of his operas under the best conditions in the world, namely at the Glyndebourne Festival in England. Working with marvelous directors and first-rate orchestras and the very best singers that there are for this repertoire and having lots and lots and lots of rehearsal time, I've been a bit spoiled. But it's been a great experience doing this sort of thing."[9]
He also conducted opera with the Canadian Opera Company (Cosi Fan Tutte in 1991, Don Giovanni in 1992), English National Opera (Der Rosenkavalier in 1994), Chicago Lyric Opera (Don Giovanni, 1995-96 season), Bregenz Festival (Kurt Weill's Der Protagonist and Royal Palace with the Vienna Symphony in 2004),[24] De Nederlandse Opera (Tchaikovsky's Iolanta in 2004),[24] and the Royal Opera House (Giuseppe Verdi's Macbeth in 2006).[25]
In speaking of his operatic work, Kreizberg said "Working in opera is the single best experience a conductor can get. Without it, he will never develop into what he could be. Singers, good and bad, teach you to be more flexible and to learn things a symphony orchestra will never teach you."[26]

Symphonic work

Concurrently with his appointment as GMD in Krefeld-Mönchengladbach, he was conductor of the Niederrheinsche Sinfoniker.[7] During his tenure, the orchestra's reputation grew so that these concerts easily sold out. Kreizberg instituted special annual concerts devoted to an individual composer - a series that was so successful that the Niederrheinische Sinfoniker continued the practice after he left.[27]
He made his debut at the The Proms conducting the BBC Symphony Orchestra on Aug. 3, 1993,[1] and returned each year from 1994 to 2000. His final performance at the Proms was on Aug. 5, 2008.[28]
In parallel with his Berlin post at the Komische Oper, he was principal conductor of the Bournemouth Symphony Orchestra from 1995 to 2000. "His five-year tenure with the Bournemouth SO lifted it to a higher plane. Under his rigorous training, the sound quality and ensemble were impressive."[7] He led the orchestra to a Carnegie Hall debut (on April 17, 1997[29]) as well as performing at Vienna's Musikverein and Amsterdam's Concertgebouw.[30] With Bournemouth he gave the premiere of Peteris Vasks's Symphony No. 2 on July 30, 1999 at the Royal Albert Hall as part of The Proms.[31] He also performed the United Kingdom premiere of Berthold Goldschmidt's Passacaglia op.4 on July 25, 1996 in the presence of the composer (just months before he died).[32]
Also in the United Kingdom he conducted the Royal Liverpool Philharmonic Orchestra (1992), the City of Birmingham Symphony Orchestra (1993), the BBC Symphony Orchestra (1993, 1995), the Philharmonia Orchestra (1994), and the Australian Youth Orchestra (their 1994 appearance at the Royal Albert Hall).
His first appearance with the London Symphony Orchestra was on March 15, 2003, when he conducted Gustav Mahler's Symphony no. 2.[33] His last appearance with the orchestra was at the Barbican on June 15, 2006 when he performed Ludwig van Beethoven's Piano Concerto no. 5 with Stephen Hough, and Dmitri Shostakovich's Symphony no. 11.[34] Beginning in the late 1990s and continuing for several years, he was Music Director and Chief Conductor of Jeunesses Musicales World Orchestra.[35]
In Europe at various times he led the Royal Concertgebouw, Leipzig Gewandhaus Orchestra, Berlin Philharmonic, Munich Philharmonic, WDR Symphony Orchestra Cologne, Norddeutscher Rundfunk, Bamberg Symphony, Sächsische Staatskapelle Dresden, Deutsches Symphonie-Orchester Berlin, Bavarian Radio Symphony Orchestra, Oslo Philharmonic, Tonhalle Orchester Zürich, Orchestre de Paris, Russian National Orchestra (engagements in 2004 and 2006),[36] and the Czech Philharmonic.[26][24][37]
From 2003, Kreizberg was Chief Conductor and Artistic Advisor of the Netherlands Philharmonic Orchestra and the Netherlands Chamber Orchestra. At the time of his death, he was also Principal Guest Conductor of the Vienna Symphony Orchestra. He recorded regularly for Pentatone Classics, working with the Netherlands Philharmonic and Chamber Orchestras, Vienna Symphony and the Russian National Orchestra. His first disc with the Vienna Symphony Orchestra (Bruckner Symphony No.7) was nominated in two categories at this year’s Grammy Awards. He made several concerto recordings with Julia Fischer. Kreizberg was scheduled to step down from both the Netherlands Philharmonic and Netherlands Chamber Orchestras in 2011.[38] During the 2008/09 season, Kreizberg was Artist-in-Residence at the Alte Oper Frankfurt (the first time a conductor has been presented with this honour).[39] In October 2007, Kreizberg was appointed Music Director and Artistic Director of the Monte Carlo Philharmonic Orchestra, effective with the 2009-2010 season, for an initial contract of 5 years.[40] Also in 2007, he was awarded the ‘Ehrenkreuz’ by the Austrian President in recognition of his achievement in the Arts.[41]
In the United States, he made his New York Philharmonic debut on May 19, 1999.[42] On various occasions he led the Boston Symphony Orchestra, Chicago Symphony Orchestra (first engagement in 1992[43]), Los Angeles Philharmonic (which he first conducted in 2000), National Symphony Orchestra (engagements in 2001 and 2008), San Francisco Symphony, Cincinnati Symphony Orchestra (last time in 2007), Oregon Symphony (2003 and 3 engagements in 2005), [44] and the Minnesota Orchestra. He conducted the Philadelphia Orchestra in over 30 concerts between 1999 and 2007, and took over a 2003 tour of North and South American with the orchestra when Wolfgang Sawallisch, then its music director, was too ill to travel.[45] On two occasions he came close to being appointed music director of a US orchestra, first in Philadelphia, then in Minnesota.[46]
In Asia he has worked with the NHK Symphony Orchestra, the Yomiuri Nippon Symphony Orchestra as well as the Pacific Festival in Sapporo. Japan.[47]
Of contemporary music, Kreizberg conducted works by Judith Bingham, Jonathan Harvey, Hans Werner Henze, Siegfried Matthus, Aribert Reimann, Peteris Vasks and others. He also led lesser-known works by Ernst Krenek, Franz Schmidt, Kurt Weill, Karol Szymanowski, and Igor Markevitch.[7]
His final recording was a Decca release with Fischer of tone poems for violin and orchestra [48].
His final concert took place on February 14, 2011, conducting the Netherlands Philharmonic Orchestra at the Concertgebouw in Amsterdam. The program consisted of Glinka’s Overture to Russlan and Ludmilla, Prokofiev’s Violin Concerto No.2 with soloist Alexander Sitkovetsky, and Rimsky-Korsakov’s Scheherazade.[49]
He has since [1992] been consistently praised for an impeccable stick technique that is taut, precise, well-articulated, and high disciplined. There is never any question that he has prepared each performance thoroughly and meticulously, with every phrase and nuance considered. The resulting interpretations exhibit clear and imaginative ideas and a firm grasp of structure. His podium manner, the opposite of flamboyant, is not without charisma, and his deferential manner to soloists goes hand-in-hand with his reputation as an expert accompanist of both instrumentalist and singers. Reviewers have remarked on the sensitivity, passion, intensity, and immediacy of his performances. But the emotion is always held tautly in check, and it is this sense of control that has led other critics to find his readings cold and lacking atmosphere and spontaneity at times. This criticism aside, his achievements cannot be overrated."[7]
"Conducting" said Kreizberg, "is not just about conducting, but is about one person. You have to somehow get a hundred people over to your side. Most importantly [you must ask yourself]: What kind of person are you? How to do you present that? What is your standard? You can fool a lot of people, but not an orchestra."[2]
Kreizberg died on 15 March 2011 in Monaco,[50] after a long illness.[51][52] He was 51 years old.[53]

Personal

His father, May Bychkov, was a doctor in the Soviet Union who published prolifically on numerous medical subjects.[54] His parents were Jewish.[2]
His maternal great-grandfather, also named Yakov Kreizberg,[55] was a conductor of opera at Odessa Opera.[2]
He was the brother of the conductor Semyon Bychkov.[56]
He met his future wife, conductor Amy Andersson, while they were both students at the University of Michigan. They married in New York City on April 24, 1988 and spent their honeymoon at that year's Bayreuth Festival. At summer festivals in Weikersheim in 2001, 2003, and 2005, they were able to conduct operas on opposite nights, watching each other's conducting of La Traviata, Carmen, and La Boheme.[57] They had two sons.[58]

Influences

In an interview with Stewart Collins in BBC Music Magazine, Kreizberg recalled that his musical upbringing in the Soviet Union limited his ability to hear music other than that officially sanctioned.[59] Once he emigrated to the United States he began to learn many new composers and conductors.
He selected the following recordings for the "Music That Changed Me" column:
  • Mendelssohn:
    • Violin Concerto in E minor - Eugene Fodor, violin, New Philharmonia, Peter Maag, conductor
    • A Middsummer Night's Dream - Boston Symphony Orchestra, Erich Leinsdorf, conductor
  • Tchaikovsky: Piano Concerto no. 1 - Emil Gilels, Leningrad Philharmonic Orchestra, Evgeny Mravinsky, conductor
  • Mozart: Symphony no. 40 - NBC Symphony Orchestra, Arturo Toscanini, conductor
  • Schubert: Symphony no. 8 - Royal Concertbegouw Orchestra, Nikolaus Harnoncourt, conductor
  • Rachmaninov: Piano Concerto no. 2 - Van Cliburn, piano, Chicago Symphony Orchestra, Fritz Reiner, conductor
The body of the article mentions several different favored soloists and conductors, such as David Oistrakh playing the Mendelssohn Violin Concerto, Franz Konwitschny conducting Wagner, and Paul Kletzki conducting Schubert.

Critical Reception

Dramatic Power

Many reviews of Kreizberg's performances and recordings often attribute his unique qualities to his ability imbue music with dramatic power. Already in one of his earliest recordings, Goldschmidt's Chronica, it was noted "Kreizberg's Chronica has a zip that's missing elsewhere in the program..."[60] At a performance of Hans Werner Henze's opera König Hirsch at the Komische Oper, a critic noted: "The evening's most exciting aspect was the orchestra's brilliant playing under music director Yakov Kreizberg."[61] A Gramophone review of the Don Giovanni video referred to him as "the fiery Yakov Kreizberg"[62]. And for Verdi's Macbeth, performed in 2006 at the Royal Opera House: "...there was plenty of drama in the music, thanks to the efforts of conductor Yakov Kreizberg and a vocally meaty cast on stage,"[63] and: "Thanks to Yakov Kreizberg the Orchestra and Chorus obviously relished the score which sparkled and never lost the blood-and-thunder drama."[64] In reviewing his recording of Dvorak's 8th symphony, one critic tried for a deeper understanding of Kreizberg's ability at producing a dramatic performance: "His slow presentation of the opening melody followed by a fiery allegro sets up a nice dynamic contrast. He plays the crucial dramatic pauses in the second movement effectively, and he builds the climaxes slowly and grandly without making it sound like Götterdämmerung. The fourth movement is excellent. Kreizberg generates plenty of excitement without becoming hysterical (though the French horns could have benefited from a tighter leash)....Kreizberg 's approach to the tone poems is similar, and The Wild Dove is special. He again presents some tremendous dramatic contrasts, but the lighter, dance-like sections don't go as well in The Noon Witch. This is probably the best recording of The Wild Dove in terms of performance and sound...These are fine performances with excellent sound..."[65]
Even in Mozart reviewers found plentiful drama: "Yakov Kreizberg launches the Sinfonia concertante in emphatic style: a no-nonsense tempo, lashing sforzando accents, a powerful forward impetus. Mozart's thrilling take on the slow-burn "Mannheim crescendo" has an almost ferocious intensity, enhanced by the recording's wide dynamic range."[66]
Kreizberg apparently had a special affinity for Shostakovich's music. For his debut with the New York Philharmonic, he conducted Shostakovich's 11th Symphony: "The performance was riveting. Kreizberg, Russian-born and now living in Germany, has a remarkable baton technique using mostly very small, clear motions; conducting from memory, he seemed to become one with the music and the musicians, who played magnificently."[67]
In the last year of his Bournemouth tenure: "After the interval Kreizberg conducted, from memory, the greatest live performance of Shostakovich's Fifth Symphony I have ever heard. Utterly faithful to the letter of the score, which is so rarely the case, he and the Bournemouth Orchestra were fully at one with the spirit of this original masterpiece. This was great conducting and exceptionally fine orchestral playing which almost literally took my breath away: a magnificent achievement."[68] In a 2007 review with the Philadelphia Orchestra: "Several years ago Yakov Kreizberg conducted Shostakovich's 11th Symphony with the Philadelphia Orchestra in one of the most dramatic and incendiary live performances I have ever heard."[69]
The manager of the Bournemouth orchestra recalled: "He had made a huge reputation for himself with this work because of his clear passion for it and his ability to mold an ensemble of intense musical and dramatic presence."[70]

Attention to detail

Another aspect that many critics noted was Kreizberg's attention to detail, often in a way that they found unique. In one of his earliest reviews in the German press, a critic described his approach to Reimann's opera Toades as reflecting "superiority, concentration, conceptual analysis, breathing together of music and scene, of instrumental and vocal groups, and precision in detail."[71] One critic commenting on Julia Fischer's recording of Russian violin concertos: "She was ably partnered throughout by Yakov Kreizberg, who led the Russian National Orchestra with splendid energy and an attention to detail."[72] Concerning Kurt Weill's operas Der Protagonist and Royal Palace: "Yakov Kreizberg drew highly-detailed performances from the superb Vienna Symphony, catching all the bite, drive and lyricism of these neglected masterpieces. "[73] Concerning a 2003 performance of Mahler's First Symphony with the Oregon Symphony: "Kreizberg is an interpreter of big ideas, communicated in detailed exactness. He has two of the most expressive hands in the business, and he radiated rhythm from the podium. It added up to a kind of poetry of precision, with highly expressive results."[74]
In the section on Kreizberg in his book Maestros in America: conductors in the 21st century, Roderick L. Sharpe summarized:
He has since been consistently praised for an impeccable stick technique that is taut, precise, well-articulated, and highly disciplined. There is never any question that he has prepared each performance thoroughly and meticulously, with every phrase and nuance considered. The resulting interpretations exhibit clear and imaginative ideas and a firm grasp of structure. His podium manner, the opposite of flamboyant, is not without charisma, and his deferential manner to soloists goes hand-in-hand with his reputation as an expert accompanist of both instrumentalists and singers. Reviewers have remarked on the sensitivity, passion, intensity, and immediacy of his performances. But the emotion is always held tautly in check, and it is this sense of control that has led other critics to find his readings cold and lacking atmosphere and spontaneity at times. This criticism aside, his achievements cannot be overrated.[7]

As a collaborator

Kreizberg frequently received near-superlative reviews as a collaborator, probably because of his extensive experience accompanying singers from his time in college and continuing during his professional career as an opera conductor. In Julia Fischer's recording of the Tchaikovsky Violin Concerto: "It's a beautiful performance, reinforced by Kreizberg 's sensitive accompaniment and a more beautiful-sounding wind section than I thought I'd ever hear in a Russian orchestra."[75] In a review of the recording of Shostakovich cello concertos: "Yakov Kreizberg recently notched up a notable success as a sympathetic concerto partner for Julia Fischer and Daniel Müller-Schott in Brahms's 'Double'. A similar level of preparation with regard [to] the orchestral accompaniment is evident in his finely balanced recording. In the First Concerto one feels the cello, pounding away at the ferocious double-stops, buoyantly pitched against the orchestra, the woodwind responding with incisive rhythmic precision..." [76]
Daniel Müller-Schott: "The first time we met was in 2005 in the States to perform the Dvorák Concerto. From that moment I felt we had a wonderful connection, one that would continue for years. After that we recorded the Brahms Double Concerto with Julia Fischer, which was fantastic, so when the possibility arose to record the Shostakovich, I felt he would be perfect."[77]
In an interview in Gramophone, Julia Fischer was asked whether her collaboration with Kreizberg was beneficial: "It helps amazingly in my life. Young artists today stop seeing their teachers regularly very early, and go to tour the world. I now see my teacher every four or six months. And Yakov kind of fills that role for me. He sees me every month and goes through all the repertoire with me. When I play with him I play my best, and we both know so well from each other what we want."[78]
Even regarding the relationship of conductor to orchestra, Kreizberg said: "It’s like a...relationship—it’s give-and-take, it’s being open minded and being flexible because nothing in life is ever quite the way you imagine it to be."[79]
Florian Zwiauer (concertmaster of the Netherlands Philharmonic Orchestra) summed up Kreizberg: “He is a musician’s conductor.”[80]

Recordings

CDs

DVDs

  • Mozart: Don Giovanni with Gilles Cachemaille, Steven Page, Hillevi Martinpelto, Adrianne Pieczonka, John Mark Ainsley; Glyndebourne Festival Opera (first released 1999)
  • Prokofiev: Cinderella with Françoise Joullié and the Lyon National Opéra Ballet, Orchestre de l'Opéra de Lyon, Kultur (first released 1986),

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Peter Loader, British cricketer died he was , 81.

Peter James Loader  was an English cricketer and umpire, who played thirteen Test matches for England died he was , 81.. He played for Surrey and Beddington Cricket Club.[1] A whippet-thin fast bowler with a wide range of pace and a nasty bouncer, he took the first post-war Test hat-trick as part of his 6 for 36 against the West Indies at Headingley[2] in 1957. It was only the twelfth hat-trick ever taken in Test cricket, and it was another thirty eight years before Dominic Cork became the next England bowler to take one.
The cricket writer, Colin Bateman, remarked that Loader was, "angular, accurate and with an aversion to breaking down..".[3]


(25 October 1929  – 15 March 2011)

Life and career

Loader was born in Wallington, Surrey.[3] Because of the talent of Frank Tyson, Fred Trueman and Brian Statham, Loader had been in and out of the England team and had toured Australia in 1954–55 without playing in any of the Tests. He bowled consistently well and took 26 wickets (19.50) on the 1958–59 tour, but only took seven wickets (27.57) in what was his last Test series. He suffered from sunstroke in an early match and had to retire from the field, and was unfit to play in the next game. He retired from the Australian XI match with a strained Achilles tendon, and spent several days in bed with a high temperature, but still played in the First Test in the following week. He had a groin strain which kept him out of the New South Wales game and the following Fourth Test. He and Statham were in a car crash before the Fifth Test and he never played for England again. Loader was accused of "chucking" although he was never called by an umpire because his bouncers were noticeably faster than his normal delivery. Frank Tyson wrote "His inexplicable wide range of pace has from time to time, raised the suspicion of a 'kink' in his action. He can certainly generate a great deal of speed for a man who is of slender build".[4]
He was an important part of Surrey's attack, helping them to achieve their run of seven successive County Championship titles between 1952 and 1958.[3] He made his debut in 1951, and cemented his place in July 1953, when in three successive matches he took 34 wickets.
He twice took nine wickets in an innings for Surrey: 9 for 23 against Kent in 1953 and 9 for 17 against Warwickshire in 1958. On seven occasions he took one hundred or more first-class wickets in a season, the last time in 1962.[5]
Though not much of a batsman, he made his highest score of 81 against Yorkshire at Headingley in 1955. He came in with the score at 119 for 8, and his innings enabled Surrey to recover to 268 all out.[5]
He emigrated to Perth, Western Australia, in 1963, so ending his career with Surrey. He played one match for the state side in 1963-4, his final first-class appearance. He subsequently took up umpiring. Loader retired from umpiring at the top grade for the Western Australian Cricket Association (WACA) in 2007.[5]
Loader died in Perth, Western Australia in March 2011, at the age of 81.

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Marty Marion, American baseball player and manager, National League MVP (1944) died he was , 94.

Martin Whiteford Marion  was a shortstop and manager in Major League Baseball. He batted and threw right-handed  died he was , 94..

(December 1, 1916 – March 15, 2011)
 
Marion played with the St. Louis Cardinals between 1940 and 1950. He took over managerial duties in 1951, and joined the St. Louis Browns as a player-manager in 1952, then non-playing pilot in 1953. At the end of the 1954 season he was promoted to manager of the Chicago White Sox, serving until his retirement in 1956.
In a 13-season career, Marion posted a .263 batting average with 36 home runs and 624 RBI in 1572 games. He made All-Star Game appearances from 1943-44 and 1946-1950 (There was no All-Star Game in 1945). In 1944 he earned National League MVP honors. As a manager, he compiled a 356-372 record.
Marion was born in Richburg, South Carolina. His older brother, Red Marion, was briefly an outfielder in the American League and a long-time manager in the minor leagues.
As a shortstop, Marion was synonymous with St. Louis baseball until the appearance of Ozzie Smith. It's clear that Marion wasn't flashy as Smith, but at 6 ft 2 in (1.88 m) and 170 pounds (77 kg), he disproved the theory that shortstops had to be small men. Nicknamed "Slats", Marion had unusually long arms which reached for grounders like tentacles, prompting sportwriters to call him "The Octopus".
From 1940-50, Marion led the National League shortstops in fielding percentage four times during his reign as the glue of the Cardinals infield, despite several players moved around the infield during these years. If Gold Glove Awards had been awarded during his career, Marion would have earned his share. In 1941 he played all 154 games at shortstop (also a league-high) and in 1947 he made only 15 errors for a consistent .981 percentage.
Marion was also a better-than-average hitter for a shortstop. His most productive season came in 1942, when he hit .276 with a league-lead 38 doubles. In the 1942 World Series, one of four series in which he participated with the Cardinals, he helped his team to a World Championship with his amazing glove. In 1943 he batted a career-high .280 in the regular season and hit .357 in the 1943 World Series, which was more than respectable considering his value in the infield.
He played with many second basemen throughout his career but perhaps his favorite was Frank "Creepy" Crespi. Marion commented after the '41 season that Creepy's play was the best he'd ever seen by a second baseman - but their bond went deeper than that. Creepy once took on Joe Medwick on the field (during a game) when he was trying to intimidate Marion. They remained friends until Creepy's passing in 1990.
In 1951 Marion managed the Cardinals and was replaced by Eddie Stanky at the end of the season. Then, he moved to the American League Browns, and took over for manager Rogers Hornsby early in 1952 as their player-manager. The last manager in St. Louis Browns history, he was let go after the 1953 season when the Brownies moved to Baltimore. He then signed as a coach for the White Sox for the 1954 campaign, but once again was quickly promoted to manager that September, when skipper Paul Richards left Chicago to become field manager and general manager — in Baltimore, ironically. Marion led the Chisox for the rest of 1954, and for the full seasons of 1955 and 1956, finishing third each season, before he stepped down at the end of the 1956 season.
As of February 9, 2011, Marion was the second oldest living former Cardinals player at age 94, preceded by Freddy Schmidt aged 95, and followed by Stan Musial, aged 90, and Red Schoendienst at age 88. Marty Marion, known as "Mr. Shortstop" to a generation of St. Louis Cardinals fans, died of an apparent heart attack Tuesday, March 15, 2011. He lived in Ladue, Missouri. [1] [2] [3]

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Wednesday, May 4, 2011

Nate Dogg, American musician, died from heart failure he was , 41.


Nathaniel Dwayne Hale , better known by his stage name Nate Dogg, was an American musician died from heart failure he was , 41..

(August 19, 1969 - March 15, 2011)

Early life

Nate Dogg was born in Long Beach, California. He was the friend and partner in the rap game with rappers Snoop Dogg, Warren G, RBX, Daz Dillinger and was the cousin of Butch Cassidy and Lil' ½ Dead. He began singing as a child in the New Hope Baptist Church in Long Beach and Life Line Baptist Church in Clarksdale, Mississippi where his father (Daniel Lee Hale) was pastor. At the age of 16 he dropped out of high school in Long Beach, California and left home to join the United States Marine Corps,[1] serving for three years.

Career

Early career with 213

In 1991 Nate Dogg and Snoop Dogg,[2] and their friend Warren G, formed a rap trio called 213. 213 recorded their first demo in the back of the famed V.I.P record store in Long Beach, the demo was later heard by Dr. Dre at a house party and he was instantly hooked on the soulful voice of Nate.[3]

Solo career

Nate Dogg made his debut on The Chronic. Singing in what later become his trademark style, he was well-received by fans and critics alike, and would go on to sign with Death Row Records in 1993. Nate Dogg was also featured on Mista Grimm's "Indosmoke" with Warren G. Then in 1994 he produced his first hit single "Regulate" with Warren G. Nate Dogg was also featured in many Tupac releases, including his collaboration record Thug Life: Volume I. Then in 1998 after a tumultuous time at Death Row Records he released another album. The double album was titled G-Funk Classics Vol. 1 & 2 and was followed up in late 2001 with Music & Me on Elektra Records. Music & Me peaked at number three on the Billboard hip-hop charts in 2001.[4]

Television appearances

In 2002, Nate Dogg and Isaiah Mendez appeared on a celebrity episode of the Weakest Link, making it to the last three players before being eliminated by Xzibit and Young MC.[5]

Callaborations with other artists and self-titled album

Nate has found his greatest success, not in solo projects, but in collaborations with other hip-hop artists. As of 2004, Nate Dogg has featured in and contributed to over 40 chart singles.[6]
After a number of delays and an original release date of April 2004, his self-titled album Nate Dogg is set to be released on Affiliated Entertainment Group on June 3, 2008.[7] Nate Dogg had already begun work on a new project. However he died before its completion.

Personal life

Legal issues

Nate Dogg was arrested in Arizona in April 2002 and was charged with firearms and drug offenses.[8] He pleaded guilty in May 2002 and was subsequently sentenced to probation and community service.[9] He was also ordered to attend drug counseling sessions.[9]

Stroke & Health

On December 19, 2007, Nate Dogg suffered a stroke, according to a coordinator for his recently formed gospel choir, Innate Praise.[10] Reports had circulated that Nate Dogg had been admitted to Pomona Valley Hospital Medical Center in Pomona, California after suffering a heart attack. Erica Beckwith, however, confirmed to MTV News that Nate Dogg was released on December 26 after being treated for a stroke and was admitted to a medical-rehab facility to assist him in his recovery. On January 18, 2008, it was officially reported that the stroke had rendered the left side of his body paralyzed. Doctors believed there would be a full recovery, and his voice was not affected. In September 2008, Nate suffered a second stroke.[11]
Nate Dogg died March 15, 2011 in Long Beach, CA as confirmed by The Press Telegram.[12]

Discography

Main article: Nate Dogg discography

Filmography

Awards/nominations

During his career, Nate Dogg has been nominated for four Grammy Awards.
Category Genre Song Year Result
Best Rap/Sung Collaboration
(with Eminem)		 Rap "Shake That" 2007 Nominated
Best Rap/Sung Collaboration
(with Ludacris)		 Rap "Area Codes" 2002 Nominated
Best Rap Performance by a Duo or Group
(uncredited with Dr. Dre and Snoop Dogg)		 Rap "The Next Episode" 2001 Nominated
Best Rap Performance by a Duo or Group
(with Warren G)		 Rap "Regulate" 1995 Nominated

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Smiley Culture, British reggae singer and DJ, died from an apparent suicide by stabbing he was , 48

David Victor Emmanuel  better known as Smiley Culture, was a British reggae singer and deejay known for his 'fast chat' style died from an apparent suicide by stabbing he was , 48. During a relatively brief period of fame and success, he produced two of the most critically acclaimed reggae singles of the 1980s.[2] He died on 15 March 2011, aged 48, following a police raid on his home.

 

(10 February 1963 – 15 March 2011)

Biography

Emmanuel, born in 1963 and raised in Stockwell, South London, was a son of a Jamaican father and Guyanese mother.[3][1] He was educated at Tulse Hill School.[4] His 'Smiley' nickname was gained due to his method of chatting up girls at school – he would ask them for a smile.[3] Prior to his recording career he worked as a DJ with many of London's reggae sound systems, most often with the Saxon Studio International system, where he met and worked with a number of other reggae artists, including Maxi Priest, Papa Levi and Tippa Irie.[3][5]
Signed to the London based reggae record label, Fashion Records, his first single "Cockney Translation" (1984) was a Jamaican's guide to the East End dialect – "Cockneys have names like Terry, Arfur and Del Boy/We have names like Winston, Lloyd and Leroy." The song mixed cockney dialect with London's version of Jamaican patois, translating between the two.[6][7] Simon Reynolds has often cited this song in his writings, arguing that it presaged the creation of a new hybrid accent in which white East Londoners would adopt many terms of black origin. The song's lyric was later used in schools as an example of how immigration has affected the English language.[3] Smiley Culture popularized the 'fast chat' style of deejaying that had originated with Jamaican deejays such as Ranking Joe, and was developed further by British toasters, particularly those on the Saxon sound system such as Peter King.[8]
Emmanuel had chart success with his next single, "Police Officer", released towards the end of 1984. This was the supposedly autobiographical tale of how Emmanuel was arrested for the possession of cannabis, but then let off in return for an autograph when the police officer recognised him as a famous reggae artist.[9] In spite of the subject matter – and possibly because mid 1980s radio station bosses in the UK did not understand the terms "ganja" and "sensimilla" – the single was a Top 20 hit, selling 160,000 copies, and earned Emmanuel two appearances on BBC Television's flagship music programme, Top of the Pops.[3][1] The record, although humorous, did have a serious aspect, in that it highlighted the way black people believe they are unfairly treated by the police.[10] He recorded a session for Janice Long's BBC Radio 1 show in December 1984,[11] and was featured on the covers of Echoes, Record Mirror, and the NME in early 1985. The success of "Police Officer" prompted a re-release of "Cockney Translation". It picked up considerable airplay on BBC Radio One and sold over 40,000 copies in total, but only reached the lower end of the UK Singles Chart.[3] His success led to an appearance at the Reggae Sunsplash festival in Jamaica in 1985.[12]
After this he signed to major label Polydor, but his work for them – including the album Tongue in Cheek, and the accompanying single "Schooltime Chronicle" – did not replicate the chart success of "Police Officer". He also hosted the Channel 4 television show Club Mix in 1986 and 1987.[3]
In 1986, Emmanuel made a cameo appearance in the film Absolute Beginners.[3] He also featured in a television advertising campaign for 'online' accounts by the National Westminster Bank in 1986.[13]
Smiley Culture has been identified as a major influence by later black British musicians such as DJ Luck and MC Neat, and Roots Manuva, the latter describing him as a "Britrap pioneer".[14][15] "Cockney Translation" was one of the choices of novelist and poet Michael Rosen when he appeared on BBC Radio 4's Desert Island Discs.
In 2010, Emmanuel told The Guardian that after his career in music he began investing in diamond mining, and by 2010 had gold and diamond mine concessions in several countries including Ghana, Uganda, Liberia, Kenya, and the Democratic Republic of the Congo.[16]

Arrest

After being arrested in July 2010, he was charged with conspiracy to supply cocaine, and on 28 September he appeared at Croydon Magistrates' Court in London.[17] His trial was due to begin on 21 March 2011.[18]

Death
On 15 March 2011, Emmanuel died, from a stab wound police say was self-inflicted, while the police were searching his house in Warlingham, Surrey, an hour and a half after officers arrived with a search warrant.[19][20][21] A post-mortem examination revealed that he had died from a single stab wound to the heart.[21] His death is being investigated by the Independent Police Complaints Commission. He is survived by his mother, son, daughter, sister and three brothers.[1]

Discography

Albums

  • Tongue in Cheek (1986), Polydor
  • The Original Smiley Culture (1986), Top Notch

[edit] Singles

  • "Cockney Translation" (1984), Arthur Daley International/Fashion
  • "Police Officer" (1984), Fashion - UK #12
  • "Cockney Translation" (re-issue) (1985), Fashion - UK #71[22]
  • "Schooltime Chronicle" (1986), Polydor - UK #59[23]
  • "Mr. Kidnapper" (1986), Polydor
  • "So What" (1986), Boiling Point - promo only
  • "Noff Personality" (1986), Culture
  • "TV Lover", Senator
  • "Can't Stop the Rap" (1990), SBK/Capitol

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Dickey Betts died he was 80

Early Career Forrest Richard Betts was also known as Dickey Betts Betts collaborated with  Duane Allman , introducing melodic twin guitar ha...