document_title: Peter and the Wolf

question_text: who narrated the original peter and the wolf

text: Peter and the Wolf

text: Background[edit]

text: In 1936, Sergei Prokofiev was commissioned by Natalya Sats, the director of the Central Children's Theatre in Moscow, to write a musical symphony for children. Sats and Prokofiev had become acquainted after he visited her theatre with his sons several times.[1] The intent was to introduce children to the individual instruments of the orchestra. The first draft of the libretto was about a Young Pioneer (the Soviet version of a Boy Scout) called Peter who rights a wrong by challenging an adult. (This was a common theme in propaganda aimed at children in the Soviet Union at the time.) However, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular children's author. Prokofiev wrote a new version where Peter captures a wolf. As well as promoting desired Pioneer virtues such as vigilance, bravery and resourcefulness, the plot illustrates Soviet themes such as the stubbornness of the un-Bolshevik older generation (the grandfather) and the triumph of Man (Peter) taming Nature (the wolf).[2] Prokofiev produced a version for the piano in under a week, finishing it on April 15. The orchestration was finished on April 24. The work debuted at a children's concert in the main hall of the Moscow Conservatory with the Moscow Philharmonic on 2 May 1936. However, Sats was ill and the substitute narrator inexperienced, and the performance failed to attract much attention.[1][3][4][5] Later that month a much more successful performance with Sats narrating was given at the Moscow Pioneers Palace. The American premiere took place in March 1938, with Prokofiev himself conducting the Boston Symphony Orchestra at Symphony Hall, Boston with Richard Hale narrating. By that time Sats was serving a sentence in the gulag, where she was sent after her lover Marshal Mikhail Tukhachevsky was shot in June 1937.[6]

text: Plot[edit]

text: Peter, a Young Pioneer,[7][8] lives at his grandfather's home in a forest clearing. One day, Peter goes out into the clearing, leaving the garden gate open, and the duck that lives in the yard takes the opportunity to go swimming in a pond nearby. The duck starts arguing with a little bird ("What kind of bird are you if you can't fly?" – "What kind of bird are you if you can't swim?"). Peter's pet cat stalks them quietly, and the bird—warned by Peter—flies to safety in a tall tree while the duck swims to safety in the middle of the pond.

text: Peter's grandfather scolds him for being outside in the meadow alone ("Suppose a wolf came out of the forest?"), and, when he defies him, saying: "Boys like me are not afraid of wolves", his grandfather takes him back into the house and locks the gate. Soon afterwards "a big, grey wolf" does indeed come out of the forest. The cat quickly climbs into a tree, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf.

text: Peter fetches a rope and climbs over the garden wall into the tree. He asks the bird to fly around the wolf's head to distract him, while he lowers a noose and catches the wolf by his tail. The wolf struggles to get free, but Peter ties the rope to the tree and the noose only gets tighter.

text: Some hunters, who have been tracking the wolf, come out of the forest ready to shoot, but Peter gets them to help him take the wolf to a zoo in a victory parade (the piece was first performed for an audience of Young Pioneers during May Day celebrations) that includes himself, the bird, the hunters leading the wolf, the cat, and grumpy grumbling Grandfather ("What if Peter hadn't caught the wolf? What then?")

text: In the story's ending, the listener is told: "If you listen very carefully, you'll hear the duck quacking inside the wolf's belly, because the wolf in his hurry had swallowed her alive."

text: Performance directions[edit]

text: Prokofiev produced detailed performance notes in both English and Russian for Peter and the Wolf. According to the English version:

text: Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. Before an orchestral performance it is desirable to show these instruments to the children and to play on them the corresponding leitmotivs. Thereby, the children learn to distinguish the sonorities of the instruments during the performance of this tale.[9]

text: Instrumentation[edit]

text: Peter and the Wolf is scored for the following orchestra:[10]

text:
Brass: 3 horns in F, a trumpet in B♭ and a trombone
Percussion: timpani, a triangle, a tambourine, cymbals, castanets, a snare drum, and a bass drum
Strings: first and second violins, violas, violoncellos, and double basses
Woodwinds: a flute, an oboe, a clarinet in A, and a bassoon

text: Each character in the story has a particular instrument and a musical theme:[11]

text: Bird: flute

text: Duck: oboe

text: Cat: clarinet

text: Grandfather: bassoon

text: Wolf: French horns

text: Hunters: woodwind and trumpet theme, with gunshots on timpani and bass drum

text: Peter: string instruments (including violin, viola, cello, and double bass)

text: A performance lasts about 25 minutes.[12]

text: Recordings[edit]

text: According to an article by Jeremy Nicholas of the classical music magazine Gramophone in 2015, the best overall recording of Peter and the Wolf is by the New Philharmonia Orchestra, narrated by Richard Baker and conducted by Raymond Leppard in 1954. Gramophone's best DVD version is the 2006 film by Suzie Templeton; its music is performed, without narrator, by the Philharmonia Orchestra conducted by Mark Stephenson.[13]

text:
Date

Narrator

Orchestra

Conductor

Label

Notes

2018

Giacomo Gates

New England Jazz Ensemble

Jeff Holmes

Self-released

Complete Peter and the Wolf score arranged for jazz ensemble by Walter Gwardyak with modern libretto by Giacomo Gates Video on YouTube

2017

Alexander Armstrong

Liverpool Philharmonic Orchestra

Vasily Petrenko

Warner Classics

2015

David Tennant

The Amazing Keystone Band

Le Chant du Monde

2015

Alice Cooper

Bundesjugendorchester (de)

Alexander Shelley

Deutsche Grammophon

2012

Bramwell Tovey

Vancouver Symphony Orchestra

Bramwell Tovey

Video on YouTube

2011

Phillip Schofield

Orchestre national du Capitole de Toulouse

Michel Plasson

EMI

2008

Jacqueline du Pré[14]

English Chamber Orchestra

Daniel Barenboim

Deutsche Grammophon

2007

Konrad Czynski (Yadu)

London Philharmonic Orchestra

Stephen Simon

Maestro Classics

[15][16][17]

2006

Colm Feore

Windsor Symphony Orchestra

John Morris Russell

This recording has never been released commercially, but is only available via the WSO's website[18] or at the WSO's gift shop.

2005

Willie Rushton

London Philharmonic Orchestra

Siân Edwards

Classics for Pleasure

2003

Mikhail Gorbachev, Bill Clinton, Sophia Loren

Russian National Orchestra

Kent Nagano

PENTATONE PTC 5186011

2003

Antonio Banderas, Sophia Loren

Russian National Orchestra

Kent Nagano

PENTATONE PTC 5186014

In Spanish

2001

Sharon Stone

Orchestra of St. Luke's

James Levine

Deutsche Grammophon

as part of A Classic Tale: Music for Our Children (289 471 171–72, 2001)

2000

Lenny Henry

Nouvel Ensemble Instrumental Du Conservatoire National Supérieur De Paris

Jacques Pési

EMI

2000

David Attenborough

BBC Philharmonic

Yan Pascal Tortelier

BBC Music

for BBC Music Magazine; a free CD came with the June 2000 issue

1997

Anthony Dowell

Ross MacGibbon, director (video)

Film of a ballet performance, starring David Johnson, Layla Harrison, Karan Lingham[19]

1997

Dame Edna Everage

Melbourne Symphony Orchestra

John Lanchbery

Naxos Records

1996

Sir John Gielgud

Royal Philharmonic Orchestra

Andrea Licata

Intersound Recordings

1996

Ben Kingsley

London Symphony Orchestra

Sir Charles Mackerras

Cala Records

1994

Melissa Joan Hart

Boston Symphony Orchestra

Seiji Ozawa

Sony Classical

Hart was in her "Clarissa" persona from the Nickelodeon television series Clarissa Explains It All.

1994

Patrick Stewart

Orchestra of the Opéra National de Lyon

Kent Nagano

Erato

1994

Sting

Chamber Orchestra of Europe

Claudio Abbado

Deutsche Grammophon

This was used as the soundtrack to the television special Peter and the Wolf: A Prokofiev Fantasy.

1993

Peter Schickele

Atlanta Symphony Orchestra

Yoel Levi

Telarc

With a new text by Peter Schickele

1991

Oleg and Gabriel Prokofiev

New London Orchestra

Ronald Corp

Hyperion Records

The narrators were the son and grandson of the composer.

1989

Sir John Gielgud

Orchestra of the Academy of London

Richard Stamp

Virgin Classics

Sir John's royalties for this recording were donated to The League of Friends of Charity Heritage, a facility for physically handicapped children.

1989

Christopher Lee

English String Orchestra

Sir Yehudi Menuhin

Nimbus Records

1989

Sir Peter Ustinov

Philharmonia Orchestra

Philip Ellis

Cirrus Classics CRS CD 105[20]

1989

Jonathan Winters

Philharmonia Orchestra

Efrem Kurtz

Angel Records

Winters also narrated the Saint-Saëns/Ogden Nash The Carnival of the Animals

1987

Paul Hogan

Orchestre de Paris

Igor Markevitch

EMI

It retained the traditional plot but transferred the locale to the Australian Outback. This recording was withdrawn soon after its release because of unflattering portrayals of Australia's aboriginal people and is now considered "out of print".

1987

Lina Prokofiev (Sergei Prokofiev's widow)

Royal Scottish National Orchestra

Neeme Järvi

Chandos Records

1986

Itzhak Perlman

Israel Philharmonic Orchestra

Zubin Mehta

EMI

1984

William F. Buckley Jr.

RTL Orchestra Luxembourg

Leopold Hager

Proarte Digital Records

1984

Dudley Moore / Terry Wogan

Boston Pops Orchestra

John Williams

Philips

The American release (412 559–2) was narrated by Dudley Moore, while the UK release (412 556–2) featured Terry Wogan as narrator

1980

Tom Seaver

Cincinnati Pops Orchestra

Erich Kunzel

MMG

1979

Carol Channing

Cincinnati Pops Orchestra

Erich Kunzel

Caedmon Records TC-1623

1977

Cyril Ritchard

Philadelphia Orchestra

Eugene Ormandy

Columbia Records ML 5183

1978

David Bowie

Philadelphia Orchestra

Eugene Ormandy

RCA Red Seal

Bowie's recording reached number 136 on the US Pop Albums chart.

1975

Karlheinz Böhm

Vienna Philharmonic Orchestra

Karl Böhm

Deutsche Grammophon

1974

Will Geer

English Chamber Orchestra

Johannes Somary

Vanguard Records VSO-30033

1973

Mia Farrow

London Symphony Orchestra

André Previn

EMI ASD 2935

1972

Rob Reiner

studio orchestra

Jerry Yester

United Artists Records UAS-5646

Contemporary version by Carl Gottlieb and Rob Reiner; never released on CD

1972

George Raft

London Festival Orchestra

Stanley Black

Phase 4 Stereo SPC-21084

In this version, the story is reformulated as a gangster tale in the style of the Hollywood films that Raft had once acted in.

1971

Richard Baker

New Philharmonia Orchestra

Raymond Leppard

EMI

1970

Sir Ralph Richardson

London Symphony Orchestra

Sir Malcolm Sargent

Decca Records

Volume 5 of The World of the Great Classics series. This version is praised in various editions of The Stereo Record Guide as the finest recording and narration of the work ever made.

1968

Kyu Sakamoto

The Philharmonia orchestra

Herbert von Karajan

Angel Records

Narration in Japanese

1966

Richard Attenborough

Philharmonia of Hamburg

Hans-Jurgen Walter

Columbia Records

1965

Sean Connery

Royal Philharmonic Orchestra

Antal Doráti

Phase 4 Stereo

1965

Lorne Greene

London Symphony Orchestra

Sir Malcolm Sargent

RCA Victor

1960s

Garry Moore

Philharmonic Symphony Orchestra of London

Artur Rodziński

Whitehall WHS20040.[21]

The reverse side of this 12-inch LP record also features The Carnival of the Animals by Saint-Saëns with Garry Moore (narrator), Josef and Grete Dichler (duopianists), and the Vienna State Opera Orchestra conducted by Hermann Scherchen.

1960

Leonard Bernstein

New York Philharmonic

Leonard Bernstein

Columbia Records

The popularity of the group's televised Young People's Concerts made this an auspicious release

1960

Captain Kangaroo

Stadium Symphony Orchestra of New York

Leopold Stokowski

Everest Records SDBR-3043

1960

Beatrice Lillie

London Symphony Orchestra

Skitch Henderson

Decca Records

1959

José Ferrer

Vienna State Opera Orchestra

Sir Eugene Goossens

Kapp Records

Narrated in Spanish and English

1959

Michael Flanders

Philharmonia Orchestra

Efrem Kurtz

EMI Records

1957

Boris Karloff

Vienna State Opera Orchestra

Mario Rossi

Vanguard Records

1956

Peter Ustinov

Philharmonia Orchestra

Herbert von Karajan

Angel Records

1955

Arthur Godfrey

Andre Kostelanetz's Orchestra

Andre Kostelanetz

Columbia Records

mono recording; has never been issued on CD

1953

Victor Jory

unknown

Vicky Kosen

Peter Pan Records

mono recording; has never been issued on CD

1953

Alec Guinness

Boston Pops Orchestra

Arthur Fiedler

RCA Victor

1950

Milton Cross

Mario Janero, piano

Musicraft Records

4 78-rpm discs

1950

Eleanor Roosevelt

Boston Symphony Orchestra

Serge Koussevitzky

RCA Victor

mono recording

1949

Frank Phillips

London Philharmonic Orchestra

Nikolai Malko

Decca LX 3003[22]

Frank Phillips was a well-known BBC Radio newsreader

1946

Sterling Holloway

Disney

originally made for an episode in the 1946 film Make Mine Music

1941

Basil Rathbone

All-American Orchestra

Leopold Stokowski

Columbia Masterworks

Restored from original Masterworks set M-477 by Bob Varney[23]

1939

Richard Hale

Boston Symphony Orchestra

Serge Koussevitzky

RCA Victor

text: Adaptations of the work[edit]

text: Walt Disney, 1946[edit]

text: Peter and the Wolf (1946 film)

text:
Prokofiev, while touring the West in 1938, visited Los Angeles and met Walt Disney. Prokofiev performed the piano version of Peter and the Wolf for "le papa de Mickey Mouse", as Prokofiev described him in a letter to his sons. Disney was impressed, and considered adding an animated version of Peter and the Wolf to Fantasia, which was to be released in 1940. Due to World War II, these plans fell through, and it was not until 1946 that Disney released his adaptation of Peter and the Wolf narrated by Sterling Holloway. It is not known if Prokofiev, by that point behind the Iron Curtain, was aware of this.[24] It was released theatrically as a segment of Make Mine Music, then reissued the next year, accompanying a reissue of Fantasia (as a short subject before the film), then separately on home video in the 1990s.[25]
This version makes several changes to the original story. For example:

text:
During the character introduction, the pets are given names: "Sasha" the bird, "Sonia" the duck, and "Ivan" the cat.
As the cartoon begins, Peter and his friends already know there is a wolf nearby and are preparing to catch him.
The hunters get names in a later part of the story: "Misha", "Yasha", and "Vladimir".
Peter daydreams of hunting and catching the wolf, and for that purpose exits the garden carrying a wooden pop gun.
At the end, in a reversal of the original (and to make the story more child-friendly), the narrator reveals that the duck Sonia has not been eaten by the wolf. Earlier in the film, the wolf is shown chasing Sonia, who hides in an old tree's hollow trunk. The wolf attacks out of view and returns in view with some of her feathers in his mouth, licking his jaws. Peter, Ivan, and Sasha assume Sonia has been eaten. After the wolf has been caught, Sasha is shown mourning Sonia. She comes out of the tree trunk at that point, and they are happily reunited.

text: In 1957, for one of his television programs, Disney recalled how Prokofiev himself visited the Disney studio, eventually inspiring the making of this animated version. Disney used pianist Ingolf Dahl, who resembled Prokofiev, to re-create how the composer sat at a piano and played the themes from the score.[26][27]

text: British–Polish co-production, 2006[edit]

text: In 2006, Suzie Templeton and Hugh Welchman directed and produced respectively, a stop-motion animated adaptation, Peter & the Wolf. It is unusual in its lack of any dialogue or narration, the story being told only in images and sound and interrupted by sustained periods of silence. The soundtrack is performed by the Philharmonia Orchestra, and the film received its premiere with a live accompaniment in the Royal Albert Hall.[28] The film won the Annecy Cristal and the Audience Award at the 2007 Annecy International Animated Film Festival,[29] and won the 2008 Academy Award for Best Animated Short Film.[30] This version makes some changes to the original Prokofiev story; for example:

text:
Peter bumps into one of the "hunters" (teenage bullies in this telling) who throws him in a rubbish bin and aims at him with his rifle to scare him; the second hunter watches without interfering (thus, a dislike towards the hunter/bullies is immediately created).
Because of a broken wing, the bird has trouble flying and takes Peter's balloon to help it get aloft.
After Peter has captured the wolf in a net, the hunter gets him in his rifle's telescopic sight coincidentally, but just before shooting, the second hunter stumbles, falls on him and makes him miss the shot.
The caged wolf is brought into the village on a cart where Peter's grandfather tries to sell it. The hunter comes to the container and sticks his rifle in to intimidate the animal (as he did with Peter earlier on). At that time Peter throws the net on the hunter, who becomes tangled in it.
Before the grandfather has made a deal, Peter unlocks the cart after looking into the eyes of the wolf. They walk side by side through the awestruck crowd and then the freed wolf runs off in the direction of the silver moon shining over the forest.

text: Others[edit]

text: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, using references to reliable sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (September 2017)

text: Up to 1959[edit]

text: In 1958, a videotaped television special entitled Art Carney Meets Peter and the Wolf, with Art Carney as main entertainer, along with the Bil Baird Marionettes, was presented by the American Broadcasting Company, and was successful enough to have been repeated twice. The show had an original storyline in which Carney interacted with some talking marionette animals, notably the wolf, who was the troublemaker of the group. This first half was presented as a musical, with adapted music from Lieutenant Kijé and other Prokofiev works which had special English lyrics fitted into them. The program then segued into a complete performance of Peter and the Wolf, played exactly as written by the composer, and "mimed" by both "human" and "animal" marionettes. The conclusion of the program again featured Carney interacting with the animal marionettes. The show was nominated for three Emmy Awards.

text:
Circa 1960, Hans Conried recorded the narration with a Dixieland musical band. Since there is no oboe in a Dixieland band, the part of the duck was played by a saxophone.[31]
The Clyde Valley Stompers recorded a jazz version on Parlophone Records (45-R 4928) in 1962, which registered on the popular music charts of the time.[32]
Allan Sherman parodied the work in the album Peter and the Commissar (1964), made with Arthur Fiedler and the Boston Pops Orchestra.[33]
In 1966, Hammond organ player "The Incredible Jimmy Smith" performed an improvisation without narration based on the original themes and arranged by Oliver Nelson.[34]
In 1969, American-Canadian filmmaker Caroline Leaf used sand animation to adapt the work in Sand or Peter and the Wolf, her first film.

text: The Rock Peter and the Wolf is an album by Jack Lancaster and Robin Lumley released in 1975. Performers on the album include Jack Lancaster, Robin Lumley, Gary Brooker, Bill Bruford, Phil Collins, Julie Driscoll, Stephane Grappelli, Jon Hiseman, Brian Eno, Alvin Lee, Gary Moore, Cozy Powell, Manfred Mann, Keith Tippett, Viv Stanshall, and the English Chorale.

text:
The 1983 film A Christmas Story features music from Peter and the Wolf prominently during scenes of the character Scott Farkus bullying other characters. The surname Farkus is a variation of farkas, which is Hungarian for "wolf".
Justin Locke wrote a 1985 sequel to the story, using the original score. Peter VS. the Wolf is the Wolf's trial, where he defends himself against the charge of "Duckicide in the first degree, with one gulp." The original music is presented as evidence, but then the Wolf calls individual musicians to the stand and cross-examines them. It requires five actors for a stage presentation.[35]
In 1985, Arnie Zane choreographed a punk music ballet version of Peter and the Wolf.[36]
In 1988, "Weird Al" Yankovic and Wendy Carlos produced a comedic version, using a synthesized orchestra and many additions to the story and music (e.g., Peter captures the wolf using his grandfather's dental floss, leading to the moral of the story: "Oral hygiene is very important").[37]
In 1989, in an episode of the Muppet Babies entitled, "Skeeter and the Wolf", Skeeter fills in for Peter, Gonzo is the bird, Scooter is the cat, Fozzie is the duck, Nanny is the grandparent, and Kermit and Piggy are the hunters.

text:
A 1990 episode of Tiny Toon Adventures titled "Buster and the Wolverine" featured Elmyra Duff providing narration for a story wherein Buster Bunny and his friends, represented with musical instruments, combat an evil "wolverine". In this episode, the characters' instruments are: Buster Bunny, a trumpet; Babs Bunny, a harp; Furrball, a violin; Sweetie, a flute; Hamton J. Pig, a tuba; Plucky Duck, a bike horn (later, bagpipes, then an organ, and finally a synthesizer); and the wolverine, drums.[38]
Peter Schickele (aka P. D. Q. Bach), wrote an alternate, comedic text for the score entitled Sneaky Pete and the Wolf, converting the story into a Western, including a showdown between Sneaky Pete and the gunslinger El Lobo (which never happens due to some local boys' giving El Lobo a hotfoot and sticking a paper airplane in his eye, and Sneaky Pete's girlfriend Laura rendering El Lobo unconscious with a vacuum cleaner). It was recorded with the Atlanta Symphony Orchestra, conducted by Yoel Levi, in 1993.[39]
In the 1993 Simpsons episode "Krusty Gets Kancelled", guest star Hugh Hefner plays a portion of Peter and the Wolf on wine glasses.
In 1995, a 60-minute television film was made with a mix of live-action, animation, and characters from the story designed by Chuck Jones.[40] The film featured Kirstie Alley (as the narrator), Lloyd Bridges (as the grandfather), and Ross Malinger (as Peter), in a live-action "wraparound" segment. The version debuted on ABC on 8 December 1995. This version keeps the duck-friendly ending by having the swallowed duck pop out of the wolf's mouth alive, well, and dancing as the wolf is being captured. The wolf, described as "not a ballet fan", grabs the duck again before being forced to drop him by the hunters. As the story ends, Peter finds the duck crouching at the pond's edge, shivering and frightened because of his terrible experience, and Peter reassures it that he will always be there to protect it. This version even places the bird as a mother, with six eggs that hatch near the ending. The music for this version was performed by the RCA Victor Symphony Orchestra conducted by George Daugherty. The version received a 1996 Primetime Emmy Award for Outstanding Children's Program and received a second Emmy nomination for Daugherty, for Outstanding Music Direction. Daugherty (also one of the writers) and Janis Diamond received a Writers Guild of America Award nomination for the script. The production received a Gold Hugo and Silver Hugo at Chicago International Film Festival.
During September 1996, Coldcut (a duo of scratch/mix DJs from south London) released a scratch version of the main theme, included on the track "More Beats + Pieces", from their album Let Us Play!.[41]
Matthew Hart choreographed Peter and the Wolf for television in 1997, performed by the dancers of the Royal Ballet School and narrated by Sir Anthony Dowell (who also danced the role of "The Grandfather").[19]

text:
In 2001, National Public Radio produced Peter and the Wolf: A Special Report, which treats the familiar plot as if it were a developing news story. Robert Siegel, Linda Wertheimer, Ann Taylor, and Steve Inskeep of NPR's All Things Considered report on the event against a performance of the score by the Virginia Symphony Orchestra conducted by JoAnn Falletta.[42]
Sesame Workshop produced a version with Sesame Street characters in 2000, as told by way of a trip to a Boston Pops Orchestra concert. Dubbed as "Elmo's Musical Adventure", the story unfolds inside Baby Bear's imagination as he attends a performance with Papa Bear, conducted by Keith Lockhart. In the story, Peter is played by Elmo, the cat by Oscar the Grouch, the duck by Telly Monster, the bird by Zoe, the grandfather by Big Bird, and the hunters by the Two-Headed Monster. Each character is followed around by a soloist playing that character's instrument, but Telly Monster's "Duck" quits the story after learning the wolf eats the duck. (He returns as one of the hunters later.)
In February 2004, ex-president Bill Clinton, Mikhail Gorbachev, and Sophia Loren won a Grammy Award for Best Spoken Word Album for Children for narrating the album Peter and the Wolf/Wolf Tracks. This recording was performed by the Russian National Orchestra conducted by Kent Nagano and included Ms. Loren narrating Peter and the Wolf and Clinton narrating The Wolf and Peter by Jean-Pascal Beintus, which is also a narrated orchestral piece, but the story is told from the perspective of the wolf and has the theme of letting animals live in peace.[43]
In 2004, Russian model Tatiana Sorokko performed with the Russian National Orchestra on tour in the United States.[44][citation needed]
In 2004, the Shirim Klezmer Orchestra recorded a klezmer version of Peter and the Wolf, called Pincus and the Pig: A Klezmer Tale. The recording was narrated by Maurice Sendak and featured his illustrations.[45]
In 2005, theatre organist Jelani Eddington performed and recorded with narrator George Woods the only existing theatre organ adaptation of Peter and the Wolf.[46]
Psy-trance artist Eliad Grundland released a musical interpretation of the work, as Space Buddha, titled "Land of The Wolves", on his album Full Circle (2006).[47]
In 2006, Neil Tobin produced a Halloween-themed narrative called Peter and the Werewolf with the Melbourne Symphony Orchestra, John Lanchbery conducting.[48][citation needed]
In 2009, an Angelina Ballerina: The Next Steps episode named "Angelina's Musical Day", Angelina and her friends do a school play of Peter and the Wolf.
In 2009, musical group Project Trio released their second studio album, Brooklyn, on which a modernized version of the story was recorded. All three members narrate.[49]

text:
In 2010, Denver musicians Munly and the Lupercalians released Petr & the Wulf, an alternative take on the original story. Told from the different perspectives of all the characters: Grandfater, Petr, Scarewulf, Cat, Bird, The Three Hunters, Duk, and Wulf. Released on the Alternative Tentacles label.[50]
In 2012, ITV used a version of the main theme as the title music for their coverage of the European Football Championships, because Prokofiev was born in present-day Ukraine, one of the host countries.[51]
In 2013, filmmaker Wes Hurley premiered his short film Peter and the Wolf – a graphic adult version of the story featuring Peter as a gay werewolf-hunter and imagery inspired by Tom of Finland.[52][53]
In 2015, a recording done on the Walt Disney Concert Hall organ, arranged by Josh Perschbacher, and narrated by Michael Barone (host of the radio program Pipedreams from American Public Media)[54]
In 2015, the New England Jazz Ensemble (with the Wallingford Symphony Orchestra) debuted pianist Walter Gwardyak's jazz arrangement of Peter and the Wolf for big band. The narration was written and performed by vocalist Giacomo Gates.[55] The recording was self-released on April 22, 2018.

text: In copyright law[edit]

text: In 2012, the US Supreme Court's decision in Golan v. Holder restored copyright protection in the United States to numerous foreign works that had entered the public domain. Peter and the Wolf was frequently cited by the parties and amici, as well as by the Court's opinion and by the press, as an example of a well-known work that would be removed from the public domain by the decision.[56]


document_title: Kawasaki KX450F

question_text: when did they start making fuel injected dirt bikes

root

text: Kawasaki KX450F

text:
2016 Kawasaki KX 450F

Manufacturer
Kawasaki

Class
Motocross

Engine
449 cc (27.4 cu in) liquid-cooled DOHC four-valve four-stroke single

Bore / stroke
96.0 x 62.1mm

Compression ratio
12:8:1

Ignition type
Digital DC-CDI

Transmission
Five-speed with wet multi-disc manual clutch

Frame type
Aluminum perimeter

Wheelbase
58.1 in.

Dimensions
L: 86.4 in.
W: 32.3 in.
H: 50.8 in.

Seat height
37.8 in.

Fuel capacity
1.66 gal.

tag: table

text: The Kawasaki KX 450F is a liquid-cooled DOHC 449 cc (27.4 cu in) four-valve four-stroke single motocross motorcycle made by Kawasaki.

tag: p

text: Unlike the Kawasaki KX250F, the KX450F was not co-developed under joint-venture with the Suzuki Motor Co. and differed greatly from Suzuki's 450cc offering. The first year of the KX450F was 2005, but the machine suffered catastrophic frame failure during the Japanese MX season. As a result, plans for a 2005 retail version were postponed and the KX450F debuted as a 2006 model in most markets.

text: Initial reviews of the KX450F were tepid, citing a positive response to the engine and power delivery, but finding the suspension and geometry of the bike unsatisfactory. Reviewers also took exception to the choice of a 4-speed transmission, as Kawasaki chose to break from the industry standard by not to including a fifth gear.

text: Despite these perceived shortcomings, the 2006 Kawasaki KX450F would win both the AMA World Supercross GP title and the BooKoo Arenacross title, as well as the Hare and Hound[disambiguation needed] title.

text: For 2007 the KX450F received a series of minor engine and frame refinements, but its most notable upgrade was a 5-speed transmission. The transmission received a slightly taller 1st gear, while second through forth remained the same and the fifth added.

text: The next major innovation would be in 2009, as Kawasaki introduced fuel injected. Reviewers raved of the performance effect of the new injectors, and in proceeding years the technology would spread across the KX lineup.

text: A series of major revisions came in 2012. The KX450F received an all new frame, significant engine modifications and a new electronics set that included Launch Control. Launch Control is designed to prevent wheel-spin at take off, and automatically disengages once third gear is reached. It is activated by holding a switch until an indicator light glows green, at which point the bikes computer modifies acceleration factors. Kawasaki has continued to insist since inception (for safety reasons) that this system is not traction control but a unique system onto itself.

text: These later models allow for extensive customization of the ECU using Kawasaki's optional software system, as well as including a Digital Fuel Injection (DFI) coupler system. DFI couplers allow for immediate trackside changes to the ECU through the simple change of a plug-and-play module. Kawasaki provides three modules with new bikes, a Green (standard mapping), White (soft track conditions mapping) and Black (hard track conditions mapping).

text: Kawasaki motorcyclesOff-road motorcycles

tag: ul

text: All articles with links needing disambiguationArticles with links needing disambiguation from December 2016


document_title: Big Ten Conference Men's Basketball Tournament

question_text: where is the big ten basketball championship game played

text: Host[edit]

text: The Big Ten Men's Basketball tournaments have been held at neutral sites every year. The first four tournaments were held at United Center in Chicago, Illinois. Beginning in 2002, the tournament alternated between United Center and Conseco Fieldhouse (later known as Bankers Life Fieldhouse) in Indianapolis, Indiana. In 2008, the tournament began a five-year residence in Indianapolis.[1]

text: On June 5, 2011, the Big Ten announced that the tournament would revert to alternating between Indianapolis and Chicago. The 2013 and 2015 tournaments were played at United Center in Chicago and the 2014 and 2016 tournaments were played at Bankers Life Fieldhouse in Indianapolis.[2]

text: The 2017 Tournament was held at Verizon Center in Washington, D.C.[3][4] The 2018 Tournament was held at Madison Square Garden in New York and held a week earlier than usual due to the Big East Tournament, ending on March 4, 2018, one week before Selection Sunday.[5][6][7] The 2019 through 2022 Tournaments will return to alternating between United Center in Chicago and Bankers Life Fieldhouse in Indianapolis.[8]

text: Vacated results[edit]

text: Due to various rulings against participating programs, some of the results of the Big Ten Tournament have been vacated or voided. Here is a compiled list of sanctions imposed that have affected the results and records of the tournament since its inception. The information in this article does not include results of the teams in which records were vacated.

text:
Because of the Minnesota academic scandal, the NCAA has vacated the postseason tournament records for the Minnesota basketball team from the 1993–94 season through the 1998–99 season.[9] Minnesota had a record of 2–1 in the 1998 Tournament and went 0–1 in 1999.
Because of the Michigan basketball scandal, the NCAA vacated the records for the Michigan basketball team from the 1995–96 season through the 1998–99 season, including the 1998 and 1999 Big Ten Tournaments.[10] Michigan had won the Tournament championship in 1998 with a 3–0 record, and had a record of 1–1 in 1999.
The NCAA has vacated the NCAA records for the Ohio State basketball team from the 1998–99 season through the 2001–02 season.[11] Ohio State had a record of 1–1 in the 1999 Tournament, went 0–1 in 2000 and 2001, and had won the championship in 2002.

text: Results and records[edit]

text: Results by year[edit]

text:
Year
Champion
Seed
Score
Runner-up
Seed
Most Valuable Player
Site

1998
Michigan (vacated) [note 1]
4
76–67
Purdue
3
Robert Traylor, Michigan [note 1]
United Center, Chicago

1999
Michigan State
1
67–50
Illinois
11
Mateen Cleaves, Michigan State
United Center, Chicago

2000
Michigan State
2
76–61
Illinois
4
Morris Peterson, Michigan State
United Center, Chicago

2001
Iowa
6
63–61
Indiana
4
Reggie Evans, Iowa
United Center, Chicago

2002
Ohio State (vacated) [note 2]
2
81–64
Iowa
9
Boban Savovic, Ohio State [note 2]
Conseco Fieldhouse, Indianapolis

2003
Illinois
2
72–59
Ohio State
8
Brian Cook, Illinois
United Center, Chicago

2004
Wisconsin
2
70–53
Illinois
1
Devin Harris, Wisconsin
Conseco Fieldhouse, Indianapolis

2005
Illinois
1
54–43
Wisconsin
2
James Augustine, Illinois
United Center, Chicago

2006
Iowa
2
67–60
Ohio State
1
Jeff Horner, Iowa
Conseco Fieldhouse, Indianapolis

2007
Ohio State
1
66–49
Wisconsin
2
Mike Conley Jr., Ohio State
United Center, Chicago

2008
Wisconsin
1
61–48
Illinois
10
Marcus Landry, Wisconsin
Conseco Fieldhouse, Indianapolis

2009
Purdue
3
65–61
Ohio State
5
Robbie Hummel, Purdue
Conseco Fieldhouse, Indianapolis

2010
Ohio State
1
90–61
Minnesota
6
Evan Turner, Ohio State
Conseco Fieldhouse, Indianapolis

2011
Ohio State
1
71–60
Penn State
6
Jared Sullinger, Ohio State
Conseco Fieldhouse, Indianapolis

2012
Michigan State
1
68–64
Ohio State
3
Draymond Green, Michigan State
Conseco Fieldhouse, Indianapolis

2013
Ohio State
2
50–43
Wisconsin
4
Aaron Craft, Ohio State
United Center, Chicago

2014
Michigan State
3
69–55
Michigan
1
Branden Dawson, Michigan State
Bankers Life Fieldhouse, Indianapolis

2015
Wisconsin
1
80–69OT
Michigan State
3
Frank Kaminsky, Wisconsin
United Center, Chicago

2016
Michigan State
2
66–62
Purdue
4
Denzel Valentine, Michigan State
Bankers Life Fieldhouse, Indianapolis

2017
Michigan
8
71–56
Wisconsin
2
Derrick Walton, Michigan
Verizon Center, Washington, D.C.

2018
Michigan
5
75–66
Purdue
3
Moritz Wagner, Michigan
Madison Square Garden, New York City

2019

United Center, Chicago

2020

Bankers Life Fieldhouse, Indianapolis

2021

United Center, Chicago

2022

Bankers Life Fieldhouse, Indianapolis

text: Most conference tournament championships[edit]

text:
School
Titles
Years

Michigan State
5
1999, 2000, 2012, 2014, 2016

Ohio State^
4
2007, 2010, 2011, 2013

Wisconsin
3
2004, 2008, 2015

Illinois
2
2003, 2005

Iowa
2
2001, 2006

Michigan*
2
2017, 2018

Purdue
1
2009

Minnesota
0

Indiana
0

Penn State
0

Northwestern
0

Nebraska
0

Maryland
0

Rutgers
0

text:
* 1998 championship vacated by Michigan.
^ 2002 championship vacated by Ohio State.

text: Most consecutive championships[edit]

text: 2 – Michigan (2017, 2018), Michigan State (1999, 2000), Ohio St. (2010, 2011)

text: Records all-time by team[edit]

text:
School
Record
Winning pct
Championships
Runners-up

Ohio State
26–14[note 2]
.650
4
4

Michigan State
29–16
.644
5
1

Illinois
27–19
.587
2
4

Wisconsin
24–18
.571
3
3

Michigan
22–17[note 1]
.564
2
1

Iowa
16–19
.457
2
1

Rutgers
3–4
.429
0
0

Minnesota
14–19[note 3]
.424
0
1

Purdue
14–20
.412
1
3

Penn State
14–21
.400
0
1

Indiana
12–21
.364
0
1

Maryland
2–4
.333
0
0

Nebraska
3–7
.300
0
0

Northwestern
9–21
.300
0
0

text: Records all-time by seed[edit]

text:
Seed
Record
Winning pct
Championships
Runners-up

1
34–12
.739
8
3

2
26–12[note 2]
.684
5*
2

3
20–17[note 2]
.541
2
4

4
14–19[note 1]
.424
0*
3

5
15–19
.441
1
1

6
28–18[note 3]
.609
1
2

7
15–20
.429
0
0

8
15–19[note 3]
.441
1
1

9
9–20
.310
0
1

10
10–19[note 1]
.345
0
1

11
7–20
.259
0
1

12
3–6
.333
0
0

13
2–3
.400
0
0

14
3–4
.429
0
0

text: * Does not include vacated wins by Michigan (1998) and Ohio State (2002)

text: Records by coaches[edit]

text: Through 2018 tournament

text:
Coach
School
Record
Winning pct.
Championships

Thad Matta
Ohio State
23–9
.719
4

Bill Self
Illinois
5–2
.714
1

Steve Alford
Iowa
13–6
.684
2

John Beilein
Michigan
19–9
.679
2

Lon Kruger
Illinois
6–3
.667
0

Tom Izzo
Michigan State
29–16
.644
5

Bo Ryan
Wisconsin
17–11
.607
3

Bruce Weber
Illinois
12–8
.600
1

Mike Davis
Indiana
7–6
.538
0

Tubby Smith
Minnesota
7–6
.538
0

Matt Painter
Purdue
11–12
.478
1

Pat Chambers
Penn State
5–7
.417
0

Ed DeChellis
Penn State
5–8
.385
0

Bill Carmody
Northwestern
5–13
.278
0

text: Note: Current coaches at school in bold. Minimum of five wins.[12]

text: Notes[edit]

text:
^ Jump up to: a b c d e Due to NCAA sanctions, Michigan has vacated the records from the 1992 Final Four, the 1992–93, 1995–96, 1996–97, 1997–98, and 1998–99 seasons. See above section Vacated results
^ Jump up to: a b c d e Due to NCAA sanctions, Ohio State has vacated the records of 34 games in 1998–99, 16 games in 1999–00 and the entire 2000–01 and 2001–02 seasons. See above section Vacated results
^ Jump up to: a b c Due to NCAA sanctions, Minnesota has vacated the records from the 1993–94, 1994–95, 1995–96, 1996–97, 1997–98, and 1998–99 seasons. See above section Vacated results

tag: ol

text: Television coverage[edit]


document_title: Postscript

question_text: where does p.s. go on a letter

question_tokens: where does p.s . go on a letter

text: Postscript

text: A postscript (P.S.) is an afterthought, thought of occurring after the letter has been written and signed.[1] The term comes from the Latin post scriptum, an expression meaning "written after"[2][3] (which may be interpreted in the sense of "that which comes after the writing").[4]

text: A postscript may be a sentence, a paragraph, or occasionally many paragraphs added, often hastily and incidentally, after the signature of a letter or (sometimes) the main body of an essay or book. In a book or essay, a more carefully composed addition (e.g., for a second edition) is called an afterword. The word "postscript" has, poetically, been used to refer to any sort of addendum to some main work, even if it is not attached to a main work, as in Søren Kierkegaard's book titled Concluding Unscientific Postscript.

text: Sometimes, when additional points are made after the first postscript, abbreviations such as PSS (post-super-scriptum), PPS (postquam-post-scriptum or post-post-scriptum) and PPPS (post-post-post-scriptum), and so on, ad infinitum are used, though only PPS has somewhat common usage.


document_title: Ecological succession

question_text: signs of ecological succession in a local ecosystem

text: Ecological succession

text: History[edit]

text: Precursors of the idea of ecological succession go back to the beginning of the 19th century. The French naturalist Adolphe Dureau de la Malle was the first to make use of the word succession concerning the vegetation development after forest clear-cutting. In 1859 Henry David Thoreau wrote an address called "The Succession of Forest Trees"[6] in which he described succession in an oak-pine forest. "It has long been known to observers that squirrels bury nuts in the ground, but I am not aware that any one has thus accounted for the regular succession of forests."[7] The Austrian botanist Anton Kerner published a study about the succession of plants in the Danube river basin in 1863.[8]

text: H. C. Cowles[edit]

text: Henry Chandler Cowles, at the University of Chicago, developed a more formal concept of succession. Inspired by studies of Danish dunes by Eugen Warming, Cowles studied vegetation development on sand dunes on the shores of Lake Michigan (the Indiana Dunes). He recognized that vegetation on dunes of different ages might be interpreted as different stages of a general trend of vegetation development on dunes (an approach to the study of vegetation change later termed space-for-time substitution, or chronosequence studies). He first published this work as a paper in the Botanical Gazette in 1899 ("The ecological relations of the vegetation of the sand dunes of Lake Michigan"). In this classic publication and subsequent papers, he formulated the idea of primary succession and the notion of a sere—a repeatable sequence of community changes specific to particular environmental circumstances.[3][9]

text: Gleason and Clements[edit]

text: From about 1900 to 1960, however, understanding of succession was dominated by the theories of Frederic Clements, a contemporary of Cowles, who held that seres were highly predictable and deterministic and converged on a climatically determined stable climax community regardless of starting conditions. Clements explicitly analogized the successional development of ecological communities with ontogenetic development of individual organisms, and his model is often referred to as the pseudo-organismic theory of community ecology. Clements and his followers developed a complex taxonomy of communities and successional pathways.

text: Henry Gleason offered a contrasting framework as early as the 1920s. The Gleasonian model was more complex and much less deterministic than the Clementsian. It differs most fundamentally from the Clementsian view in suggesting a much greater role of chance factors and in denying the existence of coherent, sharply bounded community types. Gleason argued that species distributions responded individualistically to environmental factors, and communities were best regarded as artifacts of the juxtaposition of species distributions. Gleason's ideas, first published in 1926, were largely ignored until the late 1950s.

text: Two quotes illustrate the contrasting views of Clements and Gleason. Clements wrote in 1916:

text: The developmental study of vegetation necessarily rests upon the assumption that the unit or climax formation is an organic entity. As an organism the formation arises, grows, matures, and dies. Furthermore, each climax formation is able to reproduce itself, repeating with essential fidelity the stages of its development.

text: while Gleason, in his 1926 paper, said:

text: An association is not an organism, scarcely even a vegetational unit, but merely a coincidence.

text: Gleason's ideas were, in fact, more consistent with Cowles' original thinking about succession. About Clements' distinction between primary succession and secondary succession, Cowles wrote (1911):

text: This classification seems not to be of fundamental value, since it separates such closely related phenomena as those of erosion and deposition, and it places together such unlike things as human agencies and the subsidence of land.

text: Modern era[edit]

text: A more rigorous, data-driven testing of successional models and community theory generally began with the work of Robert Whittaker and John Curtis in the 1950s and 1960s. Succession theory has since become less monolithic and more complex. J. Connell and R. Slatyer attempted a codification of successional processes by mechanism. Among British and North American ecologists, the notion of a stable climax vegetation has been largely abandoned, and successional processes have come to be seen as much less deterministic, with important roles for historical contingency and for alternate pathways in the actual development of communities. Debates continue as to the general predictability of successional dynamics and the relative importance of equilibrial vs. non-equilibrial processes. Former Harvard professor F. A. Bazzaz introduced the notion of scale into the discussion, as he considered that at local or small area scale the processes are stochastic and patchy, but taking bigger regional areas into consideration, certain tendencies can not be denied.[13]

text: Factors[edit]

text: The trajectory of successional change can be influenced by site conditions, by the character of the events initiating succession (perturbations), by the interactions of the species present, and by more stochastic factors such as availability of colonists or seeds or weather conditions at the time of disturbance. Some of these factors contribute to predictability of succession dynamics; others add more probabilistic elements. Two important perturbation factors today are human actions and climatic change.[14]

text: In general, communities in early succession will be dominated by fast-growing, well-dispersed species (opportunist, fugitive, or r-selected life-histories). As succession proceeds, these species will tend to be replaced by more competitive (k-selected) species.

text: Trends in ecosystem and community properties in succession have been suggested, but few appear to be general. For example, species diversity almost necessarily increases during early succession as new species arrive, but may decline in later succession as competition eliminates opportunistic species and leads to dominance by locally superior competitors. Net Primary Productivity, biomass, and trophic properties all show variable patterns over succession, depending on the particular system and site.

text: Ecological succession was formerly seen as having a stable end-stage called the climax, sometimes referred to as the 'potential vegetation' of a site, and shaped primarily by the local climate. This idea has been largely abandoned by modern ecologists in favor of nonequilibrium ideas of ecosystems dynamics. Most natural ecosystems experience disturbance at a rate that makes a "climax" community unattainable. Climate change often occurs at a rate and frequency sufficient to prevent arrival at a climax state. Additions to available species pools through range expansions and introductions can also continually reshape communities.

text: The development of some ecosystem attributes, such as soil properties and nutrient cycles, are both influenced by community properties, and, in turn, influence further successional development. This feed-back process may occur only over centuries or millennia. Coupled with the stochastic nature of disturbance events and other long-term (e.g., climatic) changes, such dynamics make it doubtful whether the 'climax' concept ever applies or is particularly useful in considering actual vegetation.

text: Types[edit]

text: Primary, secondary and cyclic succession[edit]

text: Successional dynamics beginning with colonization of an area that has not been previously occupied by an ecological community, such as newly exposed rock or sand surfaces, lava flows, newly exposed glacial tills, etc., are referred to as primary succession. The stages of primary succession include pioneer plants (lichens and mosses), grassy stage, smaller shrubs, and trees. Animals begin to return when there is food there for them to eat. When it is a fully functioning ecosystem, it has reached the climax community stage. For example, parts of Acadia National Park in Maine went through primary succession.

text: Successional dynamics following severe disturbance or removal of a pre-existing community are called secondary succession. Dynamics in secondary succession are strongly influenced by pre-disturbance conditions, including soil development, seed banks, remaining organic matter, and residual living organisms. Because of residual fertility and pre-existing organisms, community change in early stages of secondary succession can be relatively rapid. In a fragmented old field habitat created in eastern Kansas, woody plants "colonized more rapidly (per unit area) on large and nearby patches".[15]

text: Secondary succession is much more commonly observed and studied than primary succession. Particularly common types of secondary succession include responses to natural disturbances such as fire, flood, and severe winds, and to human-caused disturbances such as logging and agriculture. As an example, secondary succession has been occurring in Shenandoah National Park following the 1995 flood of the Mormon River, which destroyed plant and animal life. Today, plant and animal species are beginning to return.

text: Seasonal and cyclic dynamics[edit]

text: Unlike secondary succession, these types of vegetation change are not dependent on disturbance but are periodic changes arising from fluctuating species interactions or recurring events. These models modify the climax concept towards one of dynamic states.

text: Causes of plant succession[edit]

text: Autogenic succession can be brought by changes in the soil caused by the organisms there. These changes include accumulation of organic matter in litter or humic layer, alteration of soil nutrients, or change in the pH of soil due to the plants growing there. The structure of the plants themselves can also alter the community. For example, when larger species like trees mature, they produce shade on to the developing forest floor that tends to exclude light-requiring species. Shade-tolerant species will invade the area.

text: Allogenic succession is caused by external environmental influences and not by the vegetation. For example, soil changes due to erosion, leaching or the deposition of silt and clays can alter the nutrient content and water relationships in the ecosystems. Animals also play an important role in allogenic changes as they are pollinators, seed dispersers and herbivores. They can also increase nutrient content of the soil in certain areas, or shift soil about (as termites, ants, and moles do) creating patches in the habitat. This may create regeneration sites that favor certain species.

text: Climatic factors may be very important, but on a much longer time-scale than any other. Changes in temperature and rainfall patterns will promote changes in communities. As the climate warmed at the end of each ice age, great successional changes took place. The tundra vegetation and bare glacial till deposits underwent succession to mixed deciduous forest. The greenhouse effect resulting in increase in temperature is likely to bring profound Allogenic changes in the next century. Geological and climatic catastrophes such as volcanic eruptions, earthquakes, avalanches, meteors, floods, fires, and high wind also bring allogenic changes.

text: Mechanisms[edit]

text: In 1916, Frederic Clements published a descriptive theory of succession and advanced it as a general ecological concept.[10] His theory of succession had a powerful influence on ecological thought. Clements' concept is usually termed classical ecological theory. According to Clements, succession is a process involving several phases:[10][page needed]

text:
Nudation: Succession begins with the development of a bare site, called Nudation (disturbance).[10]
Migration: It refers to arrival of propagules.[10]
Ecesis: It involves establishment and initial growth of vegetation.[10]
Competition: As vegetation becomes well established, grow, and spread, various species begin to compete for space, light and nutrients.[10]
Reaction: During this phase autogenic changes such as the buildup of humus affect the habitat, and one plant community replaces another.[10]
Stabilization: A supposedly stable climax community forms.[10]

text: Seral communities[edit]

text: A seral community is an intermediate stage found in an ecosystem advancing towards its climax community. In many cases more than one seral stage evolves until climax conditions are attained.[16] A prisere is a collection of seres making up the development of an area from non-vegetated surfaces to a climax community. Depending on the substratum and climate, different seres are found.

text: Changes in animal life[edit]

text: Succession theory was developed primarily by botanists. The study of succession applied to whole ecosystems initiated in the writings of Ramon Margalef, while Eugene Odum’s publication of The Strategy of Ecosystem Development is considered its formal starting point.[17]

text: Animal life also exhibit changes with changing communities. In lichen stage the fauna is sparse. It comprises few mites, ants and spiders living in the cracks and crevices. The fauna undergoes a qualitative increase during herb grass stage. The animals found during this stage include nematodes, insects larvae, ants, spiders, mites, etc. The animal population increases and diversifies with the development of forest climax community. The fauna consists of invertebrates like slugs, snails, worms, millipedes, centipedes, ants, bugs; and vertebrates such as squirrels, foxes, mice, moles, snakes, various birds, salamanders and frogs.

text: Microsuccession[edit]

text: Succession of micro-organisms including fungi and bacteria occurring within a microhabitat is known as microsuccession or serule. This type of succession occurs in recently disturbed communities or newly available habitat, for example in recently dead trees, animal droppings, exposed glacial till, etc. Microbial communities may also change due to products secreted by the bacteria present. Changes of pH in a habitat could provide ideal conditions for a new species to inhabit the area. In some cases the new species may outcompete the present ones for nutrients leading to the primary species demise. Changes can also occur by microbial succession with variations in water availability and temperature. Theories of macroecology have only recently been applied to microbiology and so much remains to be understood about this growing field. A recent study of microbial succession evaluated the balances between stochastic and deterministic processes in the bacterial colonization of a salt marsh chronosequence. The results of this study show that, much like in macro succession, early colonization (primary succession) is mostly influenced by stochasticity while secondary succession of these bacterial communities was more strongly influenced by deterministic factors.[18]

text: Climax concept[edit]

text: According to classical ecological theory, succession stops when the sere has arrived at an equilibrium or steady state with the physical and biotic environment. Barring major disturbances, it will persist indefinitely. This end point of succession is called climax.

text: Climax community[edit]

text: The final or stable community in a sere is the climax community or climatic vegetation. It is self-perpetuating and in equilibrium with the physical habitat. There is no net annual accumulation of organic matter in a climax community. The annual production and use of energy is balanced in such a community.

text: Characteristics[edit]

text:
The vegetation is tolerant of environmental conditions.
It has a wide diversity of species, a well-drained spatial structure, and complex food chains.
The climax ecosystem is balanced. There is equilibrium between gross primary production and total respiration, between energy used from sunlight and energy released by decomposition, between uptake of nutrients from the soil and the return of nutrient by litter fall to the soil.
Individuals in the climax stage are replaced by others of the same kind. Thus the species composition maintains equilibrium.
It is an index of the climate of the area. The life or growth forms indicate the climatic type.

text: Types of climax[edit]

text: Theories[edit]

text: There are three schools of interpretations explaining the climax concept:

text:
Monoclimax or Climatic Climax Theory was advanced by Clements (1916) and recognizes only one climax whose characteristics are determined solely by climate (climatic climax). The processes of succession and modification of environment overcome the effects of differences in topography, parent material of the soil, and other factors. The whole area would be covered with uniform plant community. Communities other than the climax are related to it, and are recognized as subclimax, postclimax and disclimax.
Polyclimax Theory was advanced by Tansley (1935). It proposes that the climax vegetation of a region consists of more than one vegetation climaxes controlled by soil moisture, soil nutrients, topography, slope exposure, fire, and animal activity.
Climax Pattern Theory was proposed by Whittaker (1953). The climax pattern theory recognizes a variety of climaxes governed by responses of species populations to biotic and abiotic conditions. According to this theory the total environment of the ecosystem determines the composition, species structure, and balance of a climax community. The environment includes the species responses to moisture, temperature, and nutrients, their biotic relationships, availability of flora and fauna to colonize the area, chance dispersal of seeds and animals, soils, climate, and disturbance such as fire and wind. The nature of climax vegetation will change as the environment changes. The climax community represents a pattern of populations that corresponds to and changes with the pattern of environment. The central and most widespread community is the climatic climax.

text: The theory of alternative stable states suggests there is not one end point but many which transition between each other over ecological time.

text: Forest succession[edit]

text: The forests, being an ecological system, are subject to the species succession process.[19] There are "opportunistic" or "pioneer" species that produce great quantities of seed that are disseminated by the wind, and therefore can colonize big empty extensions. They are capable of germinating and growing in direct sunlight. Once they have produced a closed canopy, the lack of direct sun radiation at soil makes it difficult for their own seedlings to develop. It is then the opportunity for shade-tolerant species to become established under the protection of the pioneers. When the pioneers die, the shade-tolerant species replace them. These species are capable of growing beneath the canopy, and therefore, in the absence of catastrophes, will stay. For this reason it is then said the stand has reached its climax. When a catastrophe occurs, the opportunity for the pioneers opens up again, provided they are present or within a reasonable range.

text: An example of pioneer species, in forests of northeastern North America are Betula papyrifera (White birch) and Prunus serotina (Black cherry), that are particularly well-adapted to exploit large gaps in forest canopies, but are intolerant of shade and are eventually replaced by other shade-tolerant species in the absence of disturbances that create such gaps.

text: Things in nature are not black and white, and there are intermediate stages. It is therefore normal that between the two extremes of light and shade there is a gradient, and there are species that may act as pioneer or tolerant, depending on the circumstances. It is of paramount importance to know the tolerance of species in order to practice an effective silviculture.


document_title: Venues of the 2018 Commonwealth Games

question_text: where is the hockey being played commonwealth games

text: Venues of the 2018 Commonwealth Games

text: Commonwealth Games Athlete’s Village[edit]

text: The 2018 Commonwealth Games Athletes Village provides accommodation and services to 6600 athletes and officials in a purpose built 1252 permanent dwellings: 1170 one and two bedroom apartments and 82 three bedroom townhouses at Southport, Gold Coast.[2][3][4][5][6][7]

text: The 2018 Commonwealth Games Athletes Village was located on 59 hectares at Southport, Gold Coast.[8] which provided accommodation and services to 6,600 athletes and officials in 1252 permanent dwellings. There are 1170 one and two bedroom apartments and 82 three bedroom townhouses which will serve as student accommodation to the nearby Griffith University. It offered services like laundry, refreshments and television and computer spaces and four residential pools. The village consisted a gym which was designed with guidance from the Australian Institute of Sport and equipment and the equipment were sponsored by Technogym. Adjoining the gym was the Athlete Recovery Area which provided services like plunge baths, including accessible baths, saunas, massage and consults from the Sports Medical personnel. The Main Dining served over 18,000 meals per day to the athletes during the games. The village also consisted of retail shops, Optus phone store, salon, bar and a games room which featured a number of arcade games, pool tables and game consoles.[9]

text: Venues[edit]

text:
Venue
Sports
Gross capacity
Type

Carrara Stadium
Athletics, Opening Ceremony, Closing Ceremony[1]
40,000
Upgrade

Robina Stadium
Rugby 7s[1]
27,500
Existing

Gold Coast Aquatic Centre
Swimming, Diving[1]
10,000/2,500
Upgrade

Coomera Sport and Leisure Centre
Gymnastics, Netball (finals)[1]
7,500
New

Gold Coast Convention and Exhibition Centre
Basketball (finals), Netball (preliminaries)[1]
5,000
Existing

Gold Coast Hockey Centre
Hockey[1]
5,000
Upgrade

Carrara Sports and Leisure Centre
Badminton, Powerlifting, Weightlifting, Wrestling[1][10]
5,000
New

Oxenford Studios
Boxing, Table Tennis, Squash[1]
2,500/2,750/3,000
Temporary

Broadbeach Bowls Club
Lawn bowling[1]
2,500
Upgrade

Carrara Indoor Stadium
Weightlifting[1]
2,500
Upgrade

Southport Broadwater Parklands
Marathon, Racewalking, Triathlon[1]
2,500
Temporary

Elanora/Currumbin Valley
Road cycling[1]
N/A
Temporary

Nerang National Park
Mountain Biking[1]
2,000
Upgrade

Queen Elizabeth Park[11]
Beach Volleyball[12]
4,000
Temporary

Venues outside the Gold Coast

Cairns Convention Centre
Basketball (preliminaries)[1]
5,000
Existing

Townsville Entertainment and Convention Centre
Basketball (preliminaries)[1]
5,000
Existing

Anna Meares Velodrome
Track cycling[1]
4,000
New

Belmont, Queensland
Shooting[1]
3,000
Upgrade

text: Main Stadium[edit]

text: Carrara Stadium, located in the suburb of Carrara, is the main venue for Athletics, the Opening Ceremony and the Closing Ceremony.

text: Central Gold Coast City[edit]

text: The Gold Coast City Convention and Exhibition Centre, located in the suburb of Broadbeach, hosts Basketball, Netball and Weightlifting events. The Broadbeach Bowls Club plays host to the Bowls competition. Carrara Stadium hosts the Opening and Closing Ceremonies of the games while also hosting the Athletics events. A new indoor sports venue called the Gold Coast Sports and Leisure Centre (replacing the existing Carrara Indoor Stadium) was constructed close to the athletics warm up track.

text: The Hinze Dam, located in the suburb of Advancetown, is the location for the Mountain Bike competition. A new course was constructed to meet international competition requirements and temporary spectator seating for 2,000 spectators.

text: North Gold Coast City[edit]

text: A new indoor facility in the suburb of Coomera has been built to host Gymnastics and Netball. The existing sound stages of the Village Roadshow Studios complex in the suburb of Oxenford plays host to the sports of Boxing, Table Tennis and Squash. During Games mode the venue has been enhanced to provide for the International Sporting Federation technical venue requirements and provide spectator seating of 3,000 (boxing) and 3,200 (table tennis).

text: The Gold Coast Hockey Centre plays host to the men's and women's Hockey events during the games. The Southport Broadwater Parklands hosts Swimming and Marathon events.

text: South Gold Coast City[edit]

text: Robina Stadium plays host to the Rugby 7s competition and required an upgrade to meet World Rugby standards. The Elanora/Currumbin Valley area hosts the road racing elements of the cycling programme. Both the road race and time trial events start and finish within this area. Queen Elizabeth Park in Coolangatta hosts the beach volleyball event.

text: Outside venues[edit]

text: Brisbane[edit]

text: Brisbane, along with the Gold Coast, forms part of the South East Queensland conurbation. Track Cycling is being held at the Sleeman Sports Complex in the suburb of Chandler, where a new indoor cycling velodrome (Anna Meares Velodrome) was built. The Velodrome seats 4,000 spectators in Games mode and remains as a permanent legacy with reduced seating capacity for the sport of cycling post the Games.

text: The Shooting disciplines are being held at the Belmont Shooting Centre; this incorporates clay target, pistol, small and full bore disciplines.

text: North Queensland[edit]

text: In Tropical North Queensland, the Cairns Convention Centre and Townsville Entertainment Centre plays host to the preliminary rounds of both the men's and women's basketball competitions.


document_title: Peggy Wood

question_text: who sang for mother superior in the sound of music

text: Peggy Wood

text: Early career[edit]

text: Wood was born in Brooklyn, New York, the daughter of Eugene Wood, a journalist, and Mary Gardner, a telegraph operator. She was a direct descendant of Daniel Boone.[1]

text: Wood was an early member of the Actors' Equity Association, spending nearly 50 years on the stage, beginning in the chorus and becoming known as a Broadway singer and star. She made her stage debut in 1910, as part of the chorus for Naughty Marietta. In 1917, she starred in Maytime, in which she introduced the song "Will You Remember". She starred in several other musicals before playing the role of Portia in a 1928 production of The Merchant of Venice. From the late 1920s until the late 1930s, Wood had lead roles in musicals staged in London and New York.

text: She was a member of the Algonquin Round Table.[2]

text: Later career[edit]

text: In 1941, she starred in the New York premiere of Blithe Spirit as Ruth Condomine, whose husband is tormented by the ghost of his deceased first wife. Wood did not star in many films. Her few film appearances include roles in Jalna, A Star is Born, Call It a Day, The Housekeeper's Daughter, The Bride Wore Boots, Magnificent Doll, and Dream Girl.

text: From 1949 to 1957, she played matriarch Marta Hansen in the popular CBS-TV series Mama, based on the 1943 Broadway play and 1948 film I Remember Mama. When General Foods cancelled the program, there was so much protest that CBS brought it back on Sunday afternoon, this time as a filmed series. As the network did not have all the affiliate station clearances that were needed, the show was put into syndication, where it was a huge success. 26 episodes were filmed. Following "Mama", Wood was also seen in episodes of Zane Grey Theatre and The Nurses.

text: She co-starred with comedian Imogene Coca on Broadway in The Girls in 509. In October 1963, she and Ruth Gates appeared in a one-act play, Opening Night, which played in off-Broadway. Wood portrayed Fanny Ellis, a once famous star who prepares for a performance; the play lasted 47 performances. Ruth Gates was Aunt Jenny on the "Mama" series with Wood.

text: Last appearances[edit]

text: She returned to movies in the 1960 CinemaScope production The Story of Ruth in a co-starring role, as what she referred to in her own book as a "blonde, blue-eyed Jewess".

text: Her final screen appearance was as the gentle, wise Mother Abbess in The Sound of Music (1965), for which she was nominated for the Academy Award for Best Supporting Actress and the Golden Globe Award for Best Supporting Actress - Motion Picture. She was thrilled to be in the movie although she knew that she could no longer sing "Climb Ev'ry Mountain". She was dubbed (for singing) by Margery McKay. In her autobiography, Marni Nixon, who appeared in the film as Sister Sophia, said Peggy especially liked McKay's singing voice because she sounded as Peggy did in her younger days.

text: In 1969, Wood joined the cast of the ABC-TV soap, One Life to Live as Dr. Kate Nolan and had a recurring role until the end of the year.

text: Her first autobiography, How Young You Look, was published by Farrar and Rinehart in 1941. An update, Arts and Flowers, appeared in 1963. She also wrote a biography of actor John Drew, Jr., as well as a novel called The Star Wagon and was a co-author of a play called Miss Quis.

text: Wood received numerous awards for her theatrical work and for a while was president of the American National Theater and Academy (ANTA).

text: Personal life[edit]

text: Wood was married and widowed twice. Her first husband (poet/writer John V.A. Weaver) died at the age of 44. She gave birth to their son (David Weaver) in 1924 at the age of 32. Her second husband (in 1946 William H. Walling) was an executive in the printing business who died in 1973. They were married for 27 years.[3] She was a devout Episcopalian and a member of the Episcopal Actors Guild.[4]

text: Death[edit]

text: Wood died on March 18, 1978, in Stamford, Connecticut, following a stroke. She was 86 years old.

text: Filmography[edit]

text: Film[edit]

text:
Year
Title
Role
Notes

1919
Almost a Husband
Eva McElwyn

1929
Wonder of Women
Brigitte

1934
Handy Andy
Ernestine Yates

1935
The Right to Live
Nurse Wayland

Jalna
Meg Whiteoaks

1937
Call It a Day
Ethel Francis

A Star Is Born
Miss Phillips - Central Casting Clerk

1939
The Housekeeper's Daughter
Olga

1946
The Bride Wore Boots
Grace Apley

Magnificent Doll
Mrs. Payne

1948
Dream Girl
Lucy Allerton

1960
The Story of Ruth
Naomi

1965
The Sound of Music
Virgilia The Reverend Mother Abbess
Nominated—Academy Award for Best Supporting Actress
Nominated—Golden Globe Award for Best Supporting Actress – Motion Picture

text: Television[edit]

text:
Year
Title
Role
Notes

1948
The Philco Television Playhouse
Mrs. Oliver Jordan
episode: Dinner at Eight

1949
The Philco Television Playhouse
Florence McDavid
episode: Dark Hammock

1951
Pulitzer Prize Playhouse
Gladys
episode: The Skin of Our Teeth

1949—1957
Mama
Mama
Marta Hansen
10 episodes
Nominated—Primetime Emmy Award for Best Actress (1953)
Nominated—Primetime Emmy Award for Outstanding Continuing Performance by an Actress in a Dramatic Series (1957)

1957
Zane Grey Theatre
Sarah Jolland
episode: The Bitter Land

1959
The United States Steel Hour
Lillian Granet
episode: Seed of Guilt

1962
Dr. Kildare
Katie Harris
episode: An Ancient Office

1963
The Doctors and the Nurses
Marcella Higgins
episode: The Saturday Evening of Time

1965
For the People
Mrs. Murray
episode: The Killing of One Human Being

1969
One Life to Live
Dr. Kate Nolan

text: Stage (partial list of appearances)[edit]

text:
The Lady of the Slipper (1912)
Love O' Mike (1917)
Maytime (1917)
Buddies (1919)
Marjolaine (1922)
The Clinging Vine (1922)
Bitter Sweet (1929)
Champagne, Sec (1934)
Old Acquaintance (1941)
Blithe Spirit (1941)
The Girls in 509 (1958)