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If you look at births in a small rural hospital over a month and see that 70 percent of the babies born are boys depression test in spanish purchase generic wellbutrin sr on line, compared to 51 percent in a large urban hospital depression symptoms crying buy wellbutrin sr 150mg low price, you might think there is something funny going on in the rural hospital anxiety games purchase wellbutrin sr 150 mg line. The large hospital might have reported fifty-one out of a hundred births were boys depression in pregnancy purchase wellbutrin sr without a prescription, and the small might have reported seven out of ten mood disorders kingston wellbutrin sr 150 mg with mastercard. As with the coin toss mentioned above mood disorder in dsm 5 purchase 150 mg wellbutrin sr overnight delivery, the statistical average of fifty-fifty is most recognizable in large samples. If a researcher wanted to know how many cases of albinism are occurring in a particular community, and then examined the first 1, 000 births and found none, it would be foolish to draw any conclusions: Albinism occurs in only 1 in 17, 000 births. On the other hand, if the study was on the incidence of preterm births, 1, 000 should be more than enough because they occur in one in nine births. Statistical Literacy Consider a street game in which a hat or basket contains three cards, each with two sides: One card is red on both sides, one white on both sides, and one is red on one side and white on the other. The con man draws one card from the hat and shows you one side of it and it is red. In two of those cases, the other side is red and in only one case the other side is white. So there is a two in three chance that if he showed you red the other side will be red, not a one in two chance. This is because most of us fail to account for the fact that on the double-red card, he could be showing you either side. When evaluating claims based on probabilities, try to understand the underlying model. Examples come from science, current affairs, celebrity gossip, and pseudo-history. Sometimes vast conspiracies are alleged, such as in the claims that the Holocaust, moon landings, and attacks in the United States on September 11, 2001, never happened. Sometimes it is the outlandish claim that a pizza parlor is a front for a child sex ring run by the former U. Damian Thompson tells the story of how these claims can take hold, get under our skin, and cause us to doubt what we know. But a little bit of checking reveals that professional structural engineers have found nothing mysterious about the collapse of the towers. Kennedy, the Zapruder film is the only photographic evidence of the sequence of events, and it is incomplete. There are many unanswered questions about the assassination, and indications that evidence was mishandled, many eyewitnesses were never questioned, and many unexplained deaths of people who claimed or were presumed to know what really happened. There may well have been a conspiracy, but the mere fact that there are unanswered questions and inconsistencies is not proof of one. There are different amounts of evidence, and different kinds of evidence, weighing in on each of these topics. A handful of unexplained anomalies does not discredit or undermine a well established theory that is based on thousands of pieces of evidence. Yet these anomalies are typically at the heart of all conspiratorial thinking, Holocaust revisionism, anti-evolutionism, and 9/11 conspiracy theories. Thompson dubs something counterknowledge when it runs contrary to real knowledge and has some social currency. When Reporters Lead Us Astray News reporters gather information about important events in two different ways. By the time a study reaches peer review, usually three to five unbiased and established scientists have reviewed the study and accepted its accuracy and its conclusions. The serious investigative reporter, such as for the Washington Post, or the Wall Street Journal, will typically contact a handful of scientists not associated with the research to get their opinions. But the vast majority of reporters consider that their work is done if they simply report on the story as it was published, translating it into simpler language. This can be someone who witnessed a holdup in Detroit or a bombing in Gaza or a buildup of troops in Crimea. The reporter may have a single eyewitness, or try to corroborate with a second or third. So in Mode One, journalists report on scientific findings, which themselves are probably based on thousands of observations and a great amount of data. In Mode Two, journalists report on events, which are often based on the accounts of only a few eyewitnesses. Because reporters have to work in both these modes, they sometimes confuse one for the other. They sometimes forget that the plural of anecdote is not data; that is, a bunch of stories or casual observations do not make science. Tangled in this is our expectation that newspapers should entertain us as we learn, tell us stories. And most good stories show us a chain of actions that can be related in terms of cause and effect. Regulators ignored the buildup of debris above the Chinese city of Shenzhen, and in 2015 it collapsed and created an avalanche that toppled thirty-three buildings. These are not scientific experiments, they are events that we try to make sense of, to make stories out of. This is the core reason why rumors, counterknowledge, and pseudo-facts can be so easily propagated by the media, as when Geraldo Rivera contributed to a national panic about Satanists taking over America in 1987. There have been similar media scares about alien abduction and repressed memories. Perception of Risk We assume that newspaper space given to crime reporting is a measure of crime rate. Or that the amount of newspaper coverage given over to different causes of death correlates to risk. About five times more people die each year of stomach cancer than of unintentional drowning. But to take just one newspaper, the Sacramento Bee reported no stories about stomach cancer in 2014, but three on unintentional drownings. Cognitive psychologist Paul Slovic showed that people dramatically overweight the relative risks of things that receive media attention. And part of the calculus for whether something receives media attention is whether or not it makes a good story. Misunderstandings of risk can lead us to ignore or discount evidence we could use to protect ourselves. Using this principle of misunderstood risk, unscrupulous or simply uninformed amateur statisticians with a media platform can easily bamboozle us into believing many things that are not so. Perhaps something about our modern lifestyle with healthless junk food, radiation-emitting cell phones, carcinogenic cleaning products, and radiation coming through a hole in the ozone layer is suspect. Before you panic, recognize that this figure represents all kinds of cancer, including slow-moving ones like prostate cancer, melanomas that are easily removed, etc. What the headline ignores is that, thanks to advances in medicine, people are living longer. Heart disease is better controlled than ever and deaths from respiratory diseases have decreased dramatically in the last twenty-five years. It could be a broken axle, a bad collision, a faulty transmission, or an engine failure, but it has to be something. Persuasion by Association If you want to snow people with counterknowledge, one effective technique is to get a whole bunch of verifiable facts right and then add only one or two that are untrue. The ones you get right will have the ring of truth to them, and those intrepid Web explorers who seek to verify them will be successful. So you just add one or two untruths to make your point and many people will haplessly go along with you. You persuade by associating bogus facts or counterknowledge with actual facts and actual knowledge. You can only be sure that the quality of your drinking water is high if you buy bottled water. Leading health researchers recommend drinking bottled water, and the majority drink bottled water themselves. The fact is that bottled water is at best no safer or healthier than most tap water in developed countries, and in some cases less safe because of laxer regulations. This is based on reports by a variety of reputable sources, including the Natural Resources Defense Council, the Mayo Clinic, Consumer Reports, and a number of reports in peer-reviewed journals. In New York City; Montreal; Flint, Michigan; and many other older cities, the municipal water supply is carried by lead pipes and the lead can leech into the tap water and cause lead poisoning. Periodic treatment-plant problems have caused city governments to impose a temporary advisory on tap water. And when traveling in Third World countries, where regulation and sanitation standards are lower, bottled water may be the best bet.

If it does not bring it into being in the first place mood disorder diagnosis code order wellbutrin sr toronto, a sore absolute constructivism might daim anxiety 9 months pregnant purchase wellbutrin sr in india, theo at least the articulation language brings to the as yet unexpressed feeling will surely open ali kinds of new channels into which it can spread and thrive mood disorder in spanish buy 150 mg wellbutrin sr visa. Such was also anxiety 101 purchase wellbutrin sr with visa, in my opinion depression symptoms come and go best buy for wellbutrin sr, the word "anxiety depression symptoms thoughts of death cheap wellbutrin sr online master card, " which rescued a daily and unnerving experience 6 Stendhal, La Chartreuse de Parme, Paris: Cluny, 1948, 165 (chapter 8). As 1 suggested, 1 believe that the problem is unsolvable in that fo rm, but also that, if we specif a restriction on what the historical language can and cannot express at any given point, the ontological question will not disrupt the historical one. Does the word "melancholia, " itself long present in Western discourse, not do something significant to our own internai subjectivities But this is then to endow the concept of afect with a positive content: if the positive characteristic of the emotion is to be named, the positive content ofan afect is to activate the body. Language is here opposed to the body, or at least the lived body (which may itselfbe a "modern" phenomenon). This room gives of a smell for which our language has no special word; it can only be described as a boarding house smel. But this description is not the evocation ofan afect, fo r one good reason: namely that it means something. The passage makes clear why the elaborate descriptions in Balzec do not invalidate the historical proposition I want to advance about the body in literature. And see my own commentary in "The Realist Floor Plan, " in Idolgies of Theot, London: Verso, 2009. Balzac, however, will not give up on meaning: he continues energetically to deploy the twin weapons ofmetaphor ("Old Goriot was a lion! Are we to suppose that before the construction of the secular or bourgeois body in the course of the nineteenth century, afects simply did not exist, and an older pre-modern humanity had to make do with the various systems of emotions referenced above But it is not exactly this kind ofsweeping and peremptory afrmation which 1 am advancing here, but rather a hypothesis that, with the change in nuance, diferentiates it absolutely from this or that statement about human nature. For what I suggest is that before this mid-century, such afects had not been named, had not fo und their way into language, let alone become the object of this or that linguistic codification. To be sure, this is also a historical proposition, but one about language itself and the way in which the nomination ofan experience makes it visible at the very moment that it transforms and reifies it. And what is presupposed is that afects or feelings which have not thus been named are not available to consciousness, or are absorbed into subjectivity in diferent ways that render them inconspicuous and indistinguishable from the named emotions they may serve to fill out and to which they lend body and substance. This is to say that any proposition about afect is also a proposition about the body; and a historical one at that. Yet the temptation to name is encouraged by another fe ature of afect, namely its autonomization. Afects are singularities and intensities, existences rather than essences, which usefuily unsettle the more established psychological and physiological categories. Ye t I believe there is a more satisfactory way of dealing with realism than its reduction to signs alone (this book attempts to justif that belief). And as we shall show elsewhere, 18 allegory in this traditional sense means personification, it means naming and nomination; and it is therefore words themselves (the medieval universals) which are incompatible with the body and its afects. Such is then the first lesson we will want to draw from this fo ray into the afective realm, namely, that we need a diferent kind of language to identif afect without, by naming it, presuming to define its content. Metaphor and the metaphorical are not themselves a reliable guide; that the lunch-flower of Virginia Woolf19 that has been quoted above has an afective dimension is little more than a presumption, the reader must somehow introduce it from the outside; yet we can nonetheless retain at least one fe ature from its temporality, in which, with each petai 17 Barthes, "I. The German term has the additional advantage of introducing an auditory dimension, not so much in its relationship to Stimme or voice, as rather to what the term suggests of musical tuning, of the according of a musical instrument (as weil as the jangling of the unharmonized)-not fo r nothing does German use the expression "d stimmt! The evolution of music is thus a vivid way to describe the logic of afect, and indeed the very notion of a sliding scale seems already to suggest quarter-tones and their eventual disaggregation ofthe Western tonal system (at one, according to Max Weber, with the emergence of Western modernity and "rationality'). Yet the reappearance of unfamiliar modes in a modern music from which ai traces of thar systematicity have long since disappeared might weil ofer suitable occasions fo r the registration of uncodifed afect. Don Martindale, Johannes Riedel and Gertrude Neuwirth, Carbondale: Southern Illinois University Press, 1958. Meanwhile, Wagnerian afect determines a crisis and a revolution in external form (and the very conception of the music drama) which, although without any immediate analogy with the realistic novel, nonetheless portends significant fo rmai changes to come. But Wagnerian chromaticism ofers a useful staging ofthe concept (and the new bodily reality Whence the flourishes that ofer the voice its properly rhetorical vehicle, combining material sound with emotional content. I should now like to cali my most delicate and profound art che art of transition. Indeed, the word "chromaticism" itself is derived from the Greek chroma, which first means "skin" or "skin color, " thereby reafrming the constitutive relationship with the body itself, and not merely one of its reifed senses. Here then, in impressionism as well, an absolute heterogeneity of the elements is translated into sore new kind of homogeneity in which a new kind of phenomenological continuum is asserted. The vogue of the pseudo-scientifc experiments with perception (and of such mythical concepts as the meaningless "sense-data" fom whose combinations our sense-perceptions are allegedly derived) also suggests this double movement whereby the body is analytically broken down into its smallest components and then scientifcally reconstructed as an abstraction, all the while releasing a flow ofafect hitherto stored and bound by its traditional unities and their named fe elings. This new "pure present" of the visual data of paint and painting in reality harbors new kinds of narrative movement and awakens new trajectories in the movement of the eye and new conceptions of the visual event and its new temporalities. Such changeability endows the dimension ofafect with a capacity fo r transformation and metamorphosis which can register the nuances of mood fully as much as it can mutate into its opposite, from the depressive to the manie, from gloominess to ecstasy. And the Greek derivation then ultimately returns us to the body itself along with its temperatures, from the feverish to the deathly chili, from blushing to the pallor of fear or shock. The reference to the other, more material arts is unescapable in this context, not only because it is here a question of the body and its sensations, far more tangibly deployed in music and the visual arts; but also because such an account must necessarily remain external to the thing itself a language from the outside, which must necessarily be called upon to characterize the structure of language efects, let alone the lived experiences ofthe body as such. He was greedy and impatient as a child, fe eling an irresistible passion urging him to slip into the whiteness, the freshness, and! Here we fnd most tangibly the survival ofthat "mark ofdestiny" which defned the recit, a biographical framework (shared by the other novelists of the period) which has however here been melodramatically intensifed into an extravagant sense ofimpending doom (doing double-dury fo r the usual naturalist pessimism). We will here, however, see this Jess as a regression into sore older Hugolian if not Gothie excess, than a unique fo rm taken by the temporality ofdestiny when it is drawn into the force feld of afect and distorted out of recognition by the latter. Indeed, everything that is admirable and productive in Zola to this efect can also be judged a a shameless exploitation and manipulation of poetic perception that has been harnessed to a commercial project and that scarcely merits the "distinction" ofthe literary in the frst place (whence Zolas endemie exclusion from the canon). It is precisely this skill in the utilization ofhis raw materials that the word "codifcation" is meant more neutrally to designate. La Curee itself is begun in the same spirit; but with the Franco-Prussian war and the abrupt collapse of the Empire as such, Zola is able to change his focus: few writers, indeed, have had this kind of luck, where History obligingly redistributes your material fo r you in a more workable fo rm. Yet this registration begins modestly enough with simpler exercises in perception, about which this is the moment to observe that it is itself no more afect than named emotion was. Perception is still a concept located within the subject/object split, it is a rationalization of the sensory and its expression a codified fo rm of rhetoric under the rubric of description. Such are, fo r example, the great opening lines of L Terre (1887), in which Jean plows the feld, seeing his village ahead of him in one direction, and then, turning on the next frrow, the whole vast plain of the Beauce spread out before him in the other: Jean, qui remontait l piece du midi au nord, avait justement devant lui, a deux kilometres, les batiments de la ferme. Arrive au bout du sillon, il leva les yeux, regarda sans voir, en soufant une minute. The farm buildings themselves lay only about a mile and a half in front ofJean a he moved up the field from the south to the north. Jean now curned back and set of once again, this cime from north co south, his lef hand still holding open the bag while his right swept through the air and dispersed its cloud of seed. In much the same way, these early descriptions, like Gestalt images, can be taken either a rhetorical flourishes that still fu nction allegorically as in Balzac: th us the vegetation ofLa Curee Pour gazon, une large bande de Selaginelle entourait le bassin. Et, sous les arbres, pour couvrir le sol, des fougeres basses, les Adiantums, les Pterides, mettaient leurs dentelles delicates, leurs fnes decoupures. Puis, une bordure de Begonias et de Caladiums entourait les massifs; les Begonias, a feuilles torses, tachees superbement de vert et de rouge; les Caladiums, dont les fe uilles en fer de lance, blanches et a nervures vertes, ressemblent a de larges ailes de papillon; plantes bizarres dont le fe uillage vit etrangement, avec un eclat sombre ou palissant de feurs malsaines. Beneath the trees the ground was carpeted with creeping ferns, adianta and pterides, their fronds outlined daintily like fine lace. Alsophilas of a taller species tapered upwards with their rows of symmetrical branches, hexagonal, so regular chat they looked like large pieces of porcelain made specially for the fruit of sore gigantic dessert. He deplores the subject-object split, but on the other hand wishes to preserve objectivity and accurate observation. Wimsatt and Monroe Beardsley, "The Afective Fallacy, " in the No rton Antholog of Theor and Criticism, Vincent Leitsch, ed. But Zola discovers his own narrative space with the third novel of the Rougon-Macquart, Le ventre de Paris. The problem is that ali ofthese richly explored dimensions, when juxtaposed, simply give of the univocal meaning of the hieroglyph (or ideogram) for "corruption.

It features a unique methodology for evaluating and summarizing common performance approaches of the 19th century in fine detail anxiety 8 months postpartum effective wellbutrin sr 150mg. The present writer has not seen the dissertation and has no further knowledge of its contents anxiety attacks symptoms buy wellbutrin sr without prescription. Novaes 0 1 0 11 1895-1979 1921 4:07 Note: the numerals 1 represent a low level anxiety 1 generic wellbutrin sr 150mg fast delivery, 2 a medium level and 3 a high level mood disorder psychopathology discount wellbutrin sr 150 mg otc. I never saw a piano until I was 13 years old; then I received 3 months instruction anxiety natural remedies order 150 mg wellbutrin sr mastercard, and as my parents were too poor to continue my music lessons anxiety questionnaire pdf cheap wellbutrin sr 150mg mastercard, they were stopped, and ever afterwards my own intelligence and talent were the only teachers I had. My only drawback has been that I never had time to practice to any extent, but a fortunate hand, quick reading, good memory and talent enabled me to accomplish a great deal with little practice. Up to my 16th year my entire time was taken up with school studies, after that I had to help support our family by teaching piano; then I married very young, at the age of 19, and had to help support a growing family. I soon became a well-known teacher and my entire time was taken up in teaching; at this moment I am teaching every day for 10 hours; so you can imagine I have very little time for practice. I was 20 years old when I was electrified by seeing a few of your compositions for the first time. I commenced practicing them and am so carried away that everything else seems tame after them. It was April 27, 1884 that Bosendorfer in Vienna took me to visit Liszt, who happened to be staying a few days at the house of his relative (I forget the exact name) [Frau Henriette Liszt]). Three days later found me in Weimar where I stayed until about September 1st, when I went to meet my family (wife and children) in Hamburg, due to arrive there from San Francisco. We went there to Dresden, where I expected to make my home, but fate compelled me to return to California. When he was twenty he was sent to Europe where he undertook advance piano studies with Moscheles in Leipzig and Dreyschock in Prague. On 14 April 1853 Mason arrived in Weimar and renewed contact with Liszt following an earlier meeting. He became a pupil of Liszt and received lessons from him at the Altenburg over a period of sixteen months. His memoirs give us many fascinating glimpses into musical life at the Altenburg shortly after Liszt completed his Sonata and at the time of its early performances. He heard Liszt play the Sonata at the Altenburg in 1853 on three separate occasions: Saturday evenings 7 May and 4 June, and Wednesday morning 15 June 1853 which was the famous occasion when Brahms nodded off. After Mason left Weimar in August 1854 and returned to America he never saw Liszt again, although he kept in touch from time to time by correspondence. It was there he met Carl Lachmund and enjoyed a close friendship with him based on their memories of Liszt. Mason, Liszt & Brahms American pianist and Liszt pupil William Mason, writing in 1900, gives us his memoirs of musical life as a twenty-four year old at the Altenburg in 1853 shortly after the composition by Liszt of his Sonata and at the time of its first performances. My intention was to make another effort to be received by him as a pupil, my idea being, if he declined, to go to Paris and study under some French master. I reached Weimar on the 14th of April, 1853, and put up at the Hotel zum Erbprinzen. The old grand duke, under whose patronage Goethe had made Weimar famous, was still living. The butler who opened the door mistook me for a wine-merchant whom he had been expecting. Then it struck me that I had probably wholly misinterpreted his first letter to me and what he said when I called on him during the Goethe festival. But nothing was said about my remaining, and though he was most affable, I began to doubt whether I would accomplish the object of my visit. I sat at the piano with the idea that I would not endeavour to show Liszt how to play, but would play as simply as if I were alone. Indeed, there is a vacant room in the house in which he lives, which is pleasantly situated just outside the limits of the ducal park. We walked down the hill toward the town, Liszt leaving me when we arrived at the palace, telling me, however, that he would call later at the hotel and introduce me to my fellow-pupils. Raff, Pruckner, and Klindworth, to whom I was presented in due form, and who received me in a very friendly manner. His idea was that the pupils whom he accepted should all be far enough advanced to practice and prepare themselves without routine instruction, and he expected them to be ready whenever he gave them an opportunity to play. The musical opportunities of Weimar were such as to afford ample encouragement to any serious-minded young student. Many distinguished musicians, poets, and literary men were constantly coming to visit Liszt. He was fond of entertaining, and liked to have his pupils at hand so that they might join him in entertaining and paying attention to his guests. He had only three pupils at the time of which I write, namely, Karl Klindworth from Hanover, Dionys Pruckner from Munich, and the American whose memories are here presented. Joachim Raff, however, we regarded as one of us, for although not at the time a pupil of Liszt, he had been in former years, and was now constantly in association with the master, acting frequently in the capacity of private secretary. Hans von Bulow had left Weimar not long before my arrival, and was then on his first regular concert-tour. Later he returned occasionally for short visits, and I became well acquainted with him. The quartet-players were Laub, first violin; Storr, second violin; Wahlbruhl, viola; and Cossman, violoncello. He occasionally visited Weimar, however, and would then at times play with the quartet. Henry Wieniawski, who spent some months in Weimar, would occasionally take the first violin. My favourite as a quartet-player was Ferdinand Laub, with whom I was intimately acquainted, and I find that the greatest violinists of the present time hold him in high 226 estimation, many regarding him as the greatest of all quartet-players. We were always quite at our ease in those lower rooms, but on ceremonial occasions we were invited up stairs to the drawing-room, where Liszt had his favourite Erard. In addition to this there were the symphony concerts and the opera with occasional attendance at rehearsal. Liszt took it for granted that his pupils would appreciate these remarkable advantages and opportunities and their usefulness, and it think we did. In the nearest corner of the building were the two large rooms on the ground floor to which reference has already been made, of which we boys had the freedom at all times, and where strangers were unceremoniously received. The Furstin Sayn-Wittgenstein had apartments, I think, on the bel etage with her daughter, the Prinzessin Marie. Any one who was to be honored with an introduction to them was taken to a reception-room up stairs; adjoining this was the dining-room. We boys saw little of the Wittgensteins, and I remember dining with them only once. I sat next to the Princess Marie, who spoke English very well, and it may have been due to her desire to exercise in the language that I was honored with a seat next to her. Rubinstein met her when he was at Weimar (I shall have more to tell of this visit later), and composed a nocturne which he dedicated to her. When he came to this country [America] in 1873 he told me that he had met her again some years later at the palace in Vienna, but that she had become haughty, and had not been inclined to pay so much attention to him. When I was in Wiesbaden in 1879-80 I saw half a dozen Russian princes of that name. Liszt had the pick of all the young musicians in Europe for his pupils, and I attribute his acceptance of me somewhat to the fact that I came all the way from America, something more of an undertaking in those days than it is now. The first evening Raff, whom I had never previously heard of, struck me as being rather conceited; but when I grew to know him better, and realized how talented he was, I was quite ready to make allowance for his little touch of self-esteem. Nineteen years later I went abroad again and visited Raff at the Conservatory in Frankfort. He interrupted his lessons the moment that he heard I was there, came running down-stairs, threw his arms around my neck, and was so overjoyed at seeing me that I felt as if we were boys once more at Weimar. Klindworth is one of the most distinguished teachers in Europe, and taught for many years at the Conservatory in Moscow. His back is turned; nevertheless, there is a certain something which shows the man as he was, better than those portraits in which his features are clearly reproduced. There is his tall lank form, his high hat set a little to one side, and his arm a trifle akimbo. As I remember his hands, his fingers were lean and thin, but they did not impress me as being very long, and he did not have such a remarkable stretch on the keyboard as one might imagine. He was always neatly dressed, generally appearing in a long frock-coat, until he became the Abbe Liszt after which he wore the distinctive black gown. His general manner and his face were most expressive of feelings, and his features lighted up when he spoke. One could hardly call it handsome, yet there was in it a subtle something that was most attractive, and his whole manner had a fascination which it is impossible to describe. In his concertizing days Liszt always played without the music before him, although this was not the usual custom of his time. When I left Weimar I took this copy with me as a souvenir and still have it; and I treasure it all the more for the marks of usage which it bears. In Paris at the present time there is almost a Cesar Franck cult, but it is quite natural that Liszt, with his quick and far 228 seeing appreciation, should have taken especial delight in playing his music forty-seven years ago. In the afternoon I had played during my lesson with Liszt the C Sharp Minor Sonata of Beethoven and the E Minor Fugue by Handel. Among other things, a string quartet of Beethoven was played, Joachim taking his first violin. Attended an orchestral rehearsal at which an overture and a violin concerto by Joachim were performed, the latter played by Joachim. Klindworth and I presented ourselves to him early in the day and stopped his composing, insisting on having a holiday. Our celebration of this event included a ride to Tiefurt and attendance at a garden concert.

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