The requiem emerged from a decade of turmoil. And yet through the audible haze emerges an exceptional complement to the Toscanini outlook to which we are accustomed. Maurice Durufl's Requiem: the best recordings, Britten's War Requiem: the story of how Britten came to compose his most famous piece. Perchance through his title Brahms is modestly telling us that he did not purport to have created "the" definitive German requiem nor any other sort of authoritative proclamation, but rather sought to offer just one among infinite approaches toward understanding and grappling with the ultimate mystery of life and accepting the inescapable tragedy of our mortality. Brahms - German Requiem - Programme Notes - Choirs The opening movement begins with a warm, flowing instrumental figure derived from a Georg Neumark hymn that had been a favorite of Bach. Although Brahms had al-ready worked on A German Requiem, his Otto Klemperer, Philharmonia Orchestra and Chorus, Dietrich Fischer-Dieskau, Elisabeth Schwartzkopf (1961, EMI, 69'). Singers were given numbers to represent their voice ranges, starting with 101 for the lowest bass, a tool Shaw used to adjust balances in advance, saving precious rehearsal time. Either people insist upon regarding him as the legitimate successor to Beethoven or they deny him the position of a great master altogether." The contradictions in Brahmss theologyreligious skepticism combined with undeniable spiritualityappealed deeply to Robert Shaw, according to Craig Jessop. Nearly all the great Furtwngler concert recordings reflect his long leadership of the Berlin or Vienna Philharmonic Orchestras (and the corresponding familiarity and empathy of their musicians with his deeply personal and erratic style), and his results with foreign ensembles were mostly disappointing. Brahms-haters often complain that they find his music claggy, densely textured and over-serious. If he realized a certain passage was going to require a little more from the first altos, for example, hed assign some second sopranos to join them for a few measures. The build-up to the climactic cry that all flesh is as grass leaves the listener broken, before the visceral relief at the major-key reassurance which follows. Critics, though, were less enchanted, often tempering admiration of its universal message and its integration of old and new musical elements with concern over its deliberately attenuated range and overriding sobriety. The very opening heralds an especially devoted reading, as each orchestral phrase is layered with cumulative power, and we feel the weight of each word as Furtwngler constantly fine-tunes his tempos and smoothly integrates a vast dynamic range from gentle whispers to hair-raising climaxes through exquisite transitions. "), and then launches into a massive C-major fugue in praise of God as the creator of all. But the catalyst for the decision seems to have been the death of his mother on February 2, 1865. Revisions led to an The Wagnerians were telling you what the future was; Brahms was hobnobbing with scholars, unearthing music nobody knew. Musgrave dismisses the claim of Brahmss first biographer, Max Kalbeck, that the Requiem began as a cantata, instead favoring a somewhat related explanation from German conductor Siegfried Ochs. By April, he sent Clara Schumann two movements of the Requiem. WebBrahms: Ein deutsches Requiem. In the second WebSummary. At the time, Shaw wrote, Bachs first concern was to affirm and quicken a faith. But while using the same forces, Lehmann and Kempe exemplify two interpretive extremes within that tradition. Although Brahms did not point to the precise source, Ochs decided he was referring to Bachs chorale Wer nur den lieben Gott., Moving to the nearby piano, Musgrave played the tune in question, familiar to Lutherans as the hymn If thou but suffer God to guide thee. The comparison was convincing. A 1983 remake with Shaw's Atlanta forces, which by then he had led for 15 years, boasts a superlative early digital recording and a somewhat broader overall pace that trades the sweep and momentum of the earlier reading for a sense of well-being. Three movements were trialled unsuccessfully in Vienna, but some listeners recognised that it was perhaps too austere, too Bach-Protestant for the pleasure-loving Viennese. Given its vast performance tradition, its hard to pin down Brahmss intentions. ], Willem Mengelberg, Concertgebouw Orchestra, Amsterdam Toonkunst Choir, Max Kloos, Jo Vincent (1940, Turnabout LP, 65'). requiem The final movement at last delivers a long-deferred prayer for the dead from Revelations 14:13. At that point there were six movements, settings of Lutheran Bible texts Brahms had collated himself, which trace a trajectory from suffering to acceptance: the first movement opens, Blessed are they who mourn; the dramatic second movement opens by declaring that all flesh is like grass, but the word of the Lord endures; the third introduces the baritone soloist, who pleads with God for acceptance of his transience; the sunny fourth, the most popular standalone number, contemplates the beauty of heaven; the original fifth movement matches the second, setting the famous The trumpet shall sound, and continuing to demand Death, where is thy sting?; reconciliation is achieved in the last movement with the words Blessed are the dead. Robert Shaw: (1) RCA Symphony Orchestra and Chorale, James Pease, Eleanor Steber (1947, RCA; 65'); (2) Atlanta Symphony Orchestra and Chorus, Richard Stilwell, Arleen Auger (1983, Telarc; 70'). One of the most fascinating consequences of the composer's free selection of his libretto is the variety of interpretations his text has stimulated. The difference seems especially bewildering, as the Tragic Overture that opened the concert is paced the same as, and is rendered even more intensely than, a June 1935 Toscanini BBC rendition (and both are a minute faster than his official 1953 NBC recording of the Overture). The worst thing you can do is start by trying to sing a piece on pitch. The primary stimulus appears to have come with Schumann's untimely death in 1856. Others dwell more figuratively on the relationship of text and music, as when regarding the pedal point that accompanies the conclusion of the third movement as symbolizing the firmness of faith. Brahms was a structural composer, according to Musgrave, and as such he would think about the totality of the work. Within those large sections, look for cadences to determine where the divisions are. While looking at structure, dont get distracted by the text, Jones counsels. Klaus Blum found resemblances between the Brahms German Requiem and two requiems that Schumann had written. and then plunges into a magnificent choral fugue assuring that "the souls of the righteous are in the hand of God." Historians have also argued for other possible associations: for instance, with the death of Schumann, Brahmss mentor and friend; with a broader humanist message; and finally, with a nationalist imperative. In order to clarify Brahms' contrapuntal textures, Gardiner's orchestra uses Viennese instruments mellow-sounding horns, shorter oboes and brighter kettledrums played with hard sticks as well as such techniques of the time as expressive string bowing with sparing vibrato. 45, German Ein deutsches Requiem, requiem by Johannes Brahms, premiered in an initial form December 1, 1867, in Vienna. WebAlbum: Songfacts: "A German Requiem, To Words of the Holy Scriptures," is a large-scale choral work composed between 1865 and 1868 by German composer Johannes Brahms. WebAn analysis and overview of Johannes Brahms Ein deutsches Requiem. Perhaps by refusing to take a point of view, Toscanini suggests an inherent complexity to Brahms' conception, which contains both elements; while others vary their readings to convey both aspects in the appropriate sections, Toscanini's consistency leaves much to the imagination, making us work harder than we might wish to infer the emotional content. While some may find this 1961 recording too woolly, Klemperers handling of tempo and pace reveals a profound, deeply impressive sense of architecture. It calls for a depth of tone which is almost unforgiving in its demands. In the notes to his recording, Gardiner asserts that he attempted to eschew a standard smooth approach in favor of the Baroque devices that Brahms, more than any other composer of his time, studied, cherished and assimilated, including dissonance, cross-rhythms and syncopation, and in particular Schtz's speech- and dance-derived rhythms. Never dull but rather purposeful and focused, it flows inexorably. WebIn 1865 Brahms was hit by a second death, that of his mother, a simple, honorable soul whom he adored. But you must make it clear if youre not absolutely sure so the next generation knows where they stand. (Even so, Paul Minear reconciles the underlying message of Brahms' approach with fundamental Christian tradition, which integrates suffering (the Passion) with joy (the Resurrection) and stresses the need to temper our universal fear of death through faith in something greater than the mortal self.) An harmonic analysis of the German requiem of Brahms This becomes evident at the very outset, as Abendroth, like Furtwngler, begins in shadowy mists but then leaves subtlety behind by turning the subtle <> markings of the second set of "selig sinds" at measure 29 into major sonic swells. And in his 1997 biography, Jan Swofford degrades it as "too consistent in mood, without enough variety of texture, tempo and feeling to create the illusion of a satisfying story unfolding throughout.". Shaws longtime personal assistant, Nola Frink, was by his side as he struggled to find the right syllable for every note. Brahms' German Requiem: History and Criticism On balance I suppose I would opt for Norrington's as the more outspoken. Jones learned from Shaw that this systematic building of discipline and attention to detail are essential, because such efforts can result in an unrivalled beauty and clarity of sound. It begins with the pulse. The result was a close-knit fabric reflecting the truths Brahms drew from Christian tradition. Daniel Barenboim, London Philharmonic, Edinburgh Festival Chorus, Dietrich Fischer-Dieskau, Edith Mathis (1979, DG, 79'). By setting the final thought that "their works follow them" to the same music as the opening prayer for comfort (but with brighter orchestration), Brahms not only ties the conclusion back to the initial focus upon those who remain to mourn but envelops the entire work and, by implication, all human endeavor, fear and hope with the supreme consolation of a Divine embrace. 1 in C minor, by Johannes Brahms. Yet the two realizations, while both exceptional, are far from identical the Norrington is notably leaner, crisper and faster and with good reason our only indications are indirect and thus somewhat speculative. He found in that music qualities he was not finding in the music of his own time, says Musgrave. But perhaps the most significant but overlooked word in the title is the first and least prominent: "Ein" ("A"). All the score's details are heard clearly in an ideal balance without highlighting even the superstar soloists are placed back in the proper perspective, so that Fischer-Dieskau's effortless conviction and Schwartzkopf's sweet modesty are embedded within, rather than dominating, their sections. The quotations and other factual information for this article are primarily derived from the following sources: Armin Zebrowski: "Brahms' German Requiem" (article in, R. Kinloch Anderson Karajan/Berlin (Angel SB-3838, 1977), William Mann Klemperer/Philharmonia (Angel SB-3624, 1961), Siegfried Kross Karajan/Berlin (DG 2707 018, 196x), Leonard Burkat Levine/Chicago (RCA ARC2-5002, 1977), Joseph Braunstein Bamberger/Hamburg (Nonesuch HB 73003 (1966), Karl Geiringer Haitink/Vienna State Opera (Philips 6769 055, 196x), H. Kevil Koch/Berlin RSO (Musical Heritage Society 3724/25, William S. Newman Barenboim/London (DG 2707 066, 1979), Walter Neimann Ormandy/Philadelphia (Columbia M2S 686, 1962), Robert Shaw Robert Shaw/RCA Symphony (RCA LM 6004, 1948), Andre Tubeuf and Alan Blyth Karajan/Vienna (EMI 61010, 1988), Robert Pascall Norrington/London Classical Players (EMI 54658, 1993), Steven Ledbetter Shaw/Atlanta (Telarc CD-80092, 1984), Robert Shaw Jessop/Utah (Telarc CD-80501, 1999), Patrick Lang Celibidache/Munich (EMI 56843, 1999), Martin Smith Gardiner/Orchestra Revolutionnaire (Philips 432 140, 1991), Eva Pinter Schuricht/Stuttgart (Hanssler 93.144, 2004), Roger Norrington his CD of the Brahms Symphony # 1 (EMI 54286, 1991). Perhaps to be heard above the timpanist's din, according to Specht the "singers were intent on shouting each other down wildly" and became "distorted into a deafening agglomeration of sound." H. Kevil explains that 19th century ears, accustomed to attempts to express emotional reality, found Brahms' level approach a sign of sterile pedantry. Kargs sound is dramatic, if not ideally matched to Goerne, but again it is the silky-smooth orchestral-choral sound that wins over. While sorting through Schumann's estate, Brahms came upon a bare reference to a German Requiem and felt compelled to take up the task. To Musgrave, the familiar fourth movement, Wie lieblich sind deine Wohnungen, seems an odd man out. Did Brahms compose it at an earlier time? Bruno Walter, New York Philharmonic, Westminster Choir, George London, Irmgard Seefried (1956, Odyssey LP, Sony CD, 63'). The Brahms Requiem: Questions for the Conductor Along with questions about his musical and textual motivation, Brahms left several other issues to puzzle Steven Ledbetter agrees that although the text belongs to no formal liturgy of any church, it "nonetheless represents a deeply felt response to the central problem of human existence.". WebRather like one of the best contemporary requiems, that of Classic FM's erstwhile Composer in Residence Howard Goodall, A German Requiem is not primarily a Mass for the dead. For Brahms work on the German Requiem was cathartic; he told friends upon its completion: "Now I am consoled. Many commentators have noted with great admiration Brahms' deep knowledge of the Bible. Abandoning the conventional Latin liturgy, he used his intimate knowledge of scripture to select 15 passages from the German Bible and the Apocrypha that would express his own beliefs. Robertson further notes that there is no official Lutheran funeral service, nor even a prayer for the dead, thus reflecting Martin Luther's teachings that faith alone frees believers from sin and that, once saved, their entry into heaven is automatic. Shaws message, as paraphrased by Ratzlaff, read, As far as Im concerned, its fine whether you come in or not. For his own recording, Shaw tempered the Maestro's fundamental objectivity with a welcome infusion of flexibility and warmth that avoided a feeling of impersonal mechanical rigidity. Three more movements may have been completed as a cantata by 1861, but then work appears to have lapsed until early 1865, when Brahms was jolted once more by the death of his beloved mother. Jessop considers it the pinnacle of craftsmanship in composition for chorus. Herbert von Karajan: (1) Vienna Philharmonic, Vienna Singverein der Gesellschaft der Musikfreunde, Hans Hotter, Elizabeth Schwartzkopf (1947, EMI; 75'); (2) Berlin Philharmonic, Vienna Singverein, Eberhard Waechter, Gundula Janowitz (1964, DG, 76'); (3) Berlin Philharmonic, Vienna Singverein, Jos Van Dam, Anna Tomowa-Sintow (1977, Angel LP, 76'). From the outset, Mengelberg extends the logic of Brahms' musical architecture to a microcosmic scale, sculpting each phrase of the opening movement with constant swells of sound and adjustments of tempo to create mini-climaxes that animate the generally level terrain. Some Others While the stereo era has produced many rewarding and enjoyable recordings of the German Requiem, most strike me as of somewhat lesser interest than the ones above. Brahms Requiem Analysis - eNotes.com Aged 32 at the time, his output up to this point had consisted largely of solo piano works and chamber music one notable exception was his First Piano Concerto which, after an underwhelming premiere in Hanover in 1859, had gone on to enjoy a better reception elsewhere. The miniature score The harmonic progression and sarabande-like rhythm evoke the Requiems second movement funeral march. For a taste of Furtwangler's magic in modern sound, Barenboim comes quite close, with nearly identical tempos, beautifully shaped phrases, thundering climaxes (with hugely imposing timpani Furtwangler reportedly asked his timpanist if he was playing as loudly as he could and when assured that he was demanded that he play even louder), and deep spirituality he invests the mourners' opening with a wondrous sense of longing by stretching each phrase and magnifies the explosive triumphant outbursts of the climaxes with deeply serious preparatory passages. In the meantime, in addition to isolated movements, two exceptional concerts had been recorded, although not released at the time. Rethinking Brahms - Jul 24 2021 By entering your details, you are agreeing to our terms and conditions and privacy policy. In any case, if he began the Requiem by intending to create a chorale-based work in the tradition of Bach, he soon abandoned the idea, says Musgrave, because that influence reappears only in the sixth movement. Johannes Brahms leads his lifelong friend Clara Schumann up the aisle of St. Peter's Cathedral in Bremen, arm-in-arm, as though they were about to be Murgrove suggests that Brahms viewed the Bible as more of a literary work than a theological statement a repository of human experience and wisdom and the highest manifestation of thought and feeling. Musical illustrations are performed on the violin and piano. Christiane Karg (soprano), Matthias Goerne (baritone); Swedish Radio Symphony Orchestra/ Daniel Harding. Take the fundamental issue of timing Brahms provided metronome indications for the Bremen premiere, but he later had them removed, and in any event they are far faster than any conductor is willing to accept thus, for the 158-bar common-time first movement he specified 80 quarter notes to the minute, which would yield a performance of just under 8 minutes; Gardiner takes 9:50 and Norrington 8:48, while among traditional conductors the fastest are Walter's 8:52 and Shaw/RCA's 9:15; the average hovers between 10 and 11. Scholars note that in 1636 Heinrich Schtz had composed a Teutsche Begrbnis-Missa ("German Funeral Mass") which he had described as "a Concerto in the form of a German Burial Mass" and which had used the same opening text as the German Requiem, but Brahms may not have known it. Hermann Prey sings the heart-rending baritone solos as if his life depended on it, while Elisabeth Grmmers mature, warm sound offers the reassurance and dependability often missing from more girlish renditions. The third movement begins with a vulnerable solo baritone imploring God for knowledge of his fate, poises on a musical brink as he agitatedly asks "What is my hope?" WebBrahms chose the texts that were dearest to him. The timings, both overall and of individual movements, are somewhat deceptive, as his fast sections are very rapid, while the slow portions tend to be quite measured. Brahms, though, based his work on his own selection of texts from the Lutheran Bible and, unlike in a requiem Mass, shifts the focus from the dead to the living. Even so, Alex Robertson notes that Brahms' return to the source writings carries historical weight, as it invokes the earliest Christian burial arts and practices, as preserved in the Roman catacombs, in which themes of rest, peace and sleep are combined with depictions of everyday life activities. Following her separation from Brahmss father, the composers beloved mother Christiane died of a stroke, aged 76, in early 1865. Neither makes much grammatical sense nor fits the rising notes comfortably, both begin with a sudden "bl" sound rather than the soft "s" that gently launches the original, the sibilance falls on the only syllable lacking one in the original, and the extended third note of the music sounds more soothing with Brahms' sustained "in" than with an "ar" or "ey" vowel. With the sixth movement we reach the dramatic climax. WebVince Sheehan explores the themes, structure and text of this choral masterpiece. Balances favor the chorus, which sings with precision and meticulous enunciation, thus tending to suggest an emphasis on mechanics over emotion and presenting more bones than flesh. The fourth movement is tidily sung, but it is the orchestra that truly shines here, each timbre emerging, glowing from the overall texture, whether high winds, or rounded brass. It is both curious and disturbing that such an accessible work had to wait until 1947 for its first studio recordings clearly a sign of producers' low confidence in its commercial prospects. The recorded sound has great immediacy, and the chorus produces a beautifully sustained and richly coloured He was not so much setting texts as realizing them, he told symposium participantsa comment that inspired fellow faculty member Leonard Ratzlaff to chime in: This text is replete with tone painting, he said, citing the sudden key change in the sixth movement after the baritone sings in einem Augenblickin the blink of an eye. For Ratzlaff, who teaches choral conducting at the University of Alberta, it provided an object lesson for the conductors in the room: At some point, its important to have a micro look at the text, what it inspired the composer to write, harmonically and melodically., In the 1870s the Brahms Requiem received endless performances, says Musgrave, including premieres in London in 1871 and New York in 1877. Perhaps it was Lehmann's reputation as an early proponent of period performance practice that led him to a light texture and a nearly complete absence of inflection (and in these ways his record serves as a forebear of more recent historically-informed performances). A sort of German Requiem this was the unformed compositional plan that the 32-year-old Brahms announced to his friend Clara Schumann in a letter 1865. Jessop was singing for Shaw in France, and a concert of Brahms songs all related to evening, was to take place in a Toulouse cloister. Because Brahms chose his own text to express his personal sentiments, Musgrave says text and music go hand in hand in a way they cannot when a composer is assigned a text to work with. It gave the composer a sense of how massive the piece would be. For this first European studio German Requiem, producer Walter Legge reportedly passed up the opportunity to preserve Furtwngler's glowing account and instead gambled on his young wartime rival. She is a regular critic for BBC Music Magazine and broadcaster on BBC Radio 3 and BBC TV. Yet the German Requiem is nearly a secular work, and even avoids any mention whatsoever of Christ a source of early critical scorn that led to the insertion of excerpts from Handel's Messiah and Bach's St. Matthew Passion at the premiere, perhaps to reassure ecclesiastical authorities of the composer's faith and to eliminate any suspicion of a challenge to Church doctrine. But he destroyed his sketches of the work, so scholars like Musgrave are left to puzzle over what inspired this unique masterpiece and how it all came together. Lott presents what he considers the most important hermeneutical guide to the Requiem musical analysisin Chapter Five, explaining that Brahms set his Even the pastoral IV surges with a radiant spirit and strongly assertive choral singing. Indeed, during rehearsals Brahms asserted a desire for even more openness: "I would happily omit the 'German' and simply say 'human.'". Each movement is appreciably slower, often strikingly so the opening sprawls to 1210 compared to 925 in his 1943 NBC broadcast, and the finale to 1305 vs. 940 in 1943. Alas, the only source is a shortwave transmission; even after exhaustive restoration efforts severe irreparable sonic defects of constant swish, considerable phase distortion, low fidelity, dropouts and a major gap remain, leaving more to the imagination than this extraordinary souvenir deserves. WebClearly, he had nothing positive to say about the Requiem: not only did he abhor the Protestant-bourgeois musical ethics which the piece embodied, but he was also The memory will stay with me all of my life.. It is especially directed toward conductors, but it is also useful for choristers and How Brahmss A German Requiem Became an Anthem for Our (In contrast, Bach's secular 1727 "Funeral Ode" cantata, # 198, whose title suggests a more direct connection, is a diffuse treatment of a pompous ceremonial poem with far more musical than literary merit.). As might be expected, the choral singing is rich and natural, with confident pacing. A German Requiem (Johannes Brahms) - LA Phil In a perverse stroke of fortune, earlier releases of the Toscanini recording were sufficiently blurry so as to preclude perception of the actual words, thus, ironically, relegating the piece largely to musical abstraction and, in so doing, restoring its artistic integrity. The titles of most classical works are merely generic ("Symphony # 1 in C Major"), descriptive ("Scheherazade") or appended by others and often sadly inappropriate (the "Moonlight" Sonata). There was ample precedent for that approach, but none among major religious works of the time. More generally, Abendroth tends to approach the work schematically, inflating tempos and dynamics to reflect the immediate degree of excitement or repose at any given moment. Ratzlaff remembers a letter he sent to his chorus following a problem-filled rehearsal during New Yorks Mostly Mozart Festival sometime in the early 70s. Indeed, while the Catholic requiem begins with a blessing for the dead, here death is not even mentioned until the penultimate movement, nor are the dead themselves addressed until the finale. WebNot surprisingly, the title of Requiem has at times been called into question, but Brahms stated intention was to write a Requiem to comfort the living, not one for the souls of the Many accounts of this recording tend to apologize for the need to overcome post-war deprivations (excuse me while I dry my tears), but what emerges is a fine combination of beauty and fervor that radiates sincerity. A guide to Brahmss A German Requiem and its best Indeed in terms of tempos alone this is quite possibly the most sizable variance among all known Toscanini performances of any given work. Musgrave notes that the result enabled Brahms to achieve the same pattern of integrating variations of familiar musical forms that characterizes all of his mature long-form works. He was the most significant figure in our profession for 40 years.. The requiem emerged from a decade of turmoil. On December 1, 1867 the first three movements were given in Vienna. Practical Guide for Performing, Teaching, and Singing He was absorbing musical influences ranging from Wagners operas to Schuberts choral and orchestral works, which were emerging posthumously in Vienna. The notion of a large choral work was hardly foreign to Brahms, who had worked for years as a choral conductor and wrote works for chorus throughout his career. He was a huge presence, physically and spiritually as well., In what amounted to a benediction for the symposium, Jessop recalled a Shaw story related to Brahms. For Shaw, rehearsal time was precious. But Faur was quite explicit about how to go about achieving this freedom. The choir sounds both substantial and luminous, with crystalline German, effectively navigating the long and demanding fugues. Try 6 issues for just 9.99 when you subscribe to BBC Music Magazine today! A symposium presented by Chorus America in honor of the Shaw centenary explored the conductors deep connection to this masterworkand what it reveals about his approach to music and his legacy. The stillness and tranquillity of the final movement brings a satisfying sense of closure and healing. Where does music begin? He also prefaces the German Requiem with a fine bonus Brahms' early Begrbnisgesang ("Burial Song"), a sensitive but rather routine setting for choir, brass and winds of a Lutheran hymn that speaks of eternal life, even while ending with a somber reminder of death's inevitability. Brahmss friend Albert Dietrich sent the score to the organist of Bremen Cathedral, Karl Reinthaler. Without belittling others' valid proactive and personalized approaches, this is a performance for the ages that can be heard repeatedly and cherished by future generations. Brahms The orchestral sound is revelatory, evoking the austerity of a church organ without relinquishing a jot of emotional weight. The event was poorly publicized, so the audience, according to Jessop, consisted only of Shaws wife Caroline, a few other people, and a cat. My only quibbles are a slightly stodgy pacing of the VI fugue and a bad splice before its final "Where is thy sting."

Marshall News Messenger Police Report, Washington Latin Public Charter School Salary, Captain Mark Howard Wife, How To Identify Fenton Lamps, Oscar Robertson Family, Articles B