Who was Matt Glaser’s childhood hero. How does Matt Glaser draw parallels between Louis Armstrong and Albert Einstein. What cultural climate saw the rise of jazz, design, and art in the 1920s. How did Matt Glaser become involved with Ken Burns’ documentaries. Why is Ken Burns’ jazz documentary considered controversial within the jazz community.
Matt Glaser: A Unique Voice in Jazz Education
Matt Glaser stands out as a singular figure in the world of music education. As the only tenured professor of violin in the United States specializing in jazz, folk, and swing rather than classical music, Glaser brings a unique perspective to his role as head of the string department at Boston’s Berklee College of Music. His expertise extends beyond the classroom, having appeared on over thirty recordings and co-authoring the book “Jazz Violin” with the legendary Stephane Grappelli.
Glaser’s influence reaches far beyond academia, as evidenced by his close friendship with documentarian Ken Burns. This relationship has led to Glaser’s involvement in numerous Burns documentaries, including his role as a Senior Advisor for the landmark series “Jazz – A Film by Ken Burns.” Glaser’s dynamic interviews throughout the film contribute significantly to its depth and appeal.
Childhood Heroes and Scientific Parallels
When asked about his childhood hero, Glaser’s response reveals the breadth of his intellectual curiosity. “Einstein,” he states, explaining his fascination with the concept of the eccentric genius revolutionizing human experience. This admiration for Einstein extends beyond mere childhood idolization, as Glaser draws intriguing parallels between the physicist and jazz legend Louis Armstrong.
How does Glaser connect these seemingly disparate figures? He points out that both Einstein and Armstrong were beloved public figures who simultaneously pursued deeply esoteric work. “Both men were working at the same time and revolutionized the human understanding of time – Einstein in the scientific sense and Armstrong changing the human experience of time through his music,” Glaser explains.
The Cultural Renaissance of the 1920s
The conversation turns to the broader cultural context of Armstrong’s era, touching on the simultaneous rise of influential figures like Einstein and Picasso. While Glaser humbly admits that the full scope of this cultural shift is “above his pay scale,” he offers valuable insights into the musical aspects of this renaissance.
What common thread does Glaser identify in these diverse fields? He points to the principle of abstraction as a unifying concept. “Armstrong does a lot of similar things in his great performances of the 20’s and 30’s. This idea of spontaneously abstracting a melody – taking a complex melody… Armstrong shows that you can play a melody and actually remove all the unnecessary and boil it down to this beautiful, simple kind of abstract thing, much in the way that Paul Clay or Wassily Kandinsky would do in art,” Glaser explains.
Louis Armstrong: The Modernist Entertainer
Glaser’s analysis of Armstrong’s contributions to modernism offers a fresh perspective on the jazz icon. He challenges the common perception of Armstrong as solely a smiling entertainer, arguing that the modernist elements in his music are still not fully appreciated.
How does Glaser illustrate Armstrong’s complexity? He invokes a quote about physicist Richard Feynman: “When I first met him I thought he was half genius and half buffoon. But after I knew him for a long time I realized he was all genius and all buffoon.” Glaser applies this concept to Armstrong, celebrating his ability to embody both joyful entertainment and revolutionary artistry.
Ken Burns and the Jazz Documentary
Glaser’s connection to Ken Burns spans decades, beginning with his musical contributions to Burns’ first documentary, “The Brooklyn Bridge,” in 1979. This long-standing relationship led to Glaser’s involvement in numerous Burns projects, culminating in his role as Senior Advisor for the jazz documentary.
Does Glaser take credit for inspiring Burns to tackle jazz as a subject? While Burns jokingly attributes the decision to Glaser’s persistent pestering, Glaser modestly deflects this claim. Regardless of its origins, the project has generated significant anticipation and discussion within both the Burns fan community and the jazz world.
Controversy and Impact in the Jazz Community
The discussion of Burns’ jazz documentary inevitably leads to the topic of controversy within the jazz community. Glaser acknowledges the mixed reactions but remains optimistic about the film’s ultimate impact.
Why does Glaser believe the documentary will ultimately be well-received? He points to Burns’ stature as a filmmaker and the unprecedented scope of the project: “When all is said and done and the dust settles, I think the jazz community as well as the public at large will be very happy with this, because only a filmmaker the stature of Ken Burns has the reach and command to make a 17 1/2 hour documentary.”
The Modernist Impulse in Armstrong’s Music
Returning to the topic of Armstrong’s modernist tendencies, Glaser elaborates on the revolutionary aspects of the jazz legend’s approach to music. He draws parallels between Armstrong’s musical abstractions and the visual arts of the early 20th century.
How does Glaser illustrate Armstrong’s modernist approach? He describes Armstrong’s ability to take a complex melody and distill it to its essence, much like Mondrian’s gradual abstraction of a grove of trees to mere lines. This process of “spontaneously abstracting a melody” aligns Armstrong’s work with the broader modernist movements in art and culture.
Armstrong’s Legacy: Beyond Entertainment
Glaser’s insights challenge the popular perception of Armstrong as merely an entertainer. By highlighting the depth and innovation in Armstrong’s music, Glaser presents a more nuanced view of the jazz pioneer’s legacy.
- Armstrong as a musical revolutionary
- The modernist elements in Armstrong’s performances
- Parallels between Armstrong’s abstractions and visual art
- The duality of Armstrong as both entertainer and innovator
The Intersection of Jazz and Academia
As a tenured professor specializing in non-classical string music, Glaser occupies a unique position in the academic world. His role at Berklee College of Music represents a growing recognition of jazz and other non-classical forms in formal music education.
How has Glaser’s unconventional specialization influenced music education? By bringing jazz, folk, and swing into the academic sphere, Glaser has helped to broaden the scope of string education and legitimize these genres within institutional settings.
Bridging Theory and Practice
Glaser’s extensive recording experience and collaborative work, such as co-authoring “Jazz Violin” with Stephane Grappelli, demonstrate his ability to bridge the gap between academic study and practical musicianship. This combination of scholarly expertise and hands-on experience enriches his teaching and contributes to his unique perspective on jazz history and performance.
The Role of Jazz in American Culture
Through his work with Ken Burns and his academic pursuits, Glaser has become a prominent voice in discussions about jazz’s place in American culture. His insights into the connections between jazz and other cultural and scientific developments of the early 20th century offer a broader context for understanding the genre’s significance.
What makes jazz a uniquely American art form? Glaser’s analysis of Armstrong’s innovations and the parallels he draws with other modernist movements highlight jazz’s role as a reflection and driver of American cultural evolution.
Jazz as a Lens for American History
The Burns documentary, with Glaser’s input, presents jazz not just as a musical genre but as a lens through which to view American history. This approach aligns with Burns’ reputation for using specific subjects to illuminate broader historical narratives.
- Jazz’s reflection of social and cultural changes
- The genre’s influence on other art forms
- Jazz as a uniquely American cultural export
- The role of jazz in discussions of race and identity in America
The Future of Jazz Education and Appreciation
As both an educator and a consultant on major documentaries, Glaser is well-positioned to influence the future of jazz education and public appreciation. His work bridges the gap between academic study and popular understanding of jazz history and technique.
How might Glaser’s approach influence future generations of musicians and jazz enthusiasts? By emphasizing the innovative and modernist aspects of jazz pioneers like Armstrong, Glaser encourages a deeper appreciation of the genre’s complexity and cultural significance.
Challenges and Opportunities
The controversy surrounding the Burns documentary highlights the ongoing debates within the jazz community about how the genre’s history should be presented and interpreted. Glaser’s optimism about the documentary’s ultimate reception suggests a belief in the power of broad, accessible narratives to generate interest and debate.
What challenges face jazz education in the 21st century? Issues such as changing musical tastes, the role of technology in music creation and distribution, and the need to balance tradition with innovation all present both challenges and opportunities for jazz educators and enthusiasts.
Glaser’s Ongoing Influence in Music and Media
Matt Glaser’s diverse career as a musician, educator, author, and documentary consultant demonstrates the many ways in which jazz experts can contribute to both the preservation and evolution of the genre. His ability to connect jazz to broader cultural and scientific trends offers a model for interdisciplinary approaches to music education and appreciation.
How might Glaser’s multifaceted career inspire future music professionals? By demonstrating the value of diverse experiences and interdisciplinary thinking, Glaser’s career path suggests numerous possibilities for those looking to make a lasting impact in the world of jazz and beyond.
The Importance of Storytelling in Music History
Glaser’s involvement with Ken Burns’ documentaries highlights the power of storytelling in presenting musical history. By contributing to these narratives, Glaser plays a role in shaping public understanding of jazz and its place in American culture.
What makes storytelling an effective tool for music education? The ability to contextualize musical developments within broader historical narratives can make complex musical concepts more accessible and engaging to a general audience, potentially inspiring greater interest in and appreciation for jazz.
Matt Glaser, advisor to Ken Burns’ Jazz – Jerry Jazz Musician
Matt Glaser is the only tenured professor of violin in the United States who specializes in jazz, folk and swing instead of classical music. Matt has appeared on over thirty recordings, is the head of the string department at Bostons Berklee College of Music, and co-authored the book “Jazz Violin” with legendary jazz violinist Stephane Grappelli.
A close friend of Ken Burns, Glaser has played on numerous Burns documentaries. He was a Senior Advisor to Burns during the filming of “Jazz – A Film by Ken Burns”. Glaser’s colorful interviews throughout the film are a dynamic part of the experience.
In our exclusive Jerry Jazz Musician interview, he discusses the “controversy” within the jazz community surrounding Burns’ film, jazz’s place in American culture, and, his favorite topic, Louis Armstrong.
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JJM Matt, who was your childhood hero?
MG Einstein.
I’m not sure why but I had a poster of him in my room while I was growing up. I like the idea of the eccentric genius, revolutionizing something about the human experience. He was a guy who was loved and had a kindly face, but was obviously into esoteric secrets.
JJM Wouldn’t it make sense that a musician has a mathematician for a hero?
MG Oh, absolutely. In fact, I often draw parallels between Louis Armstrong and Albert Einstein. Both men were warm, avuncular figures who were known and loved the world over, and both men had deep aspects to their work that hardly anyone appreciated. Both men were working at the same time and revolutionized the human understanding of time – Einstein in the scientific sense and Armstrong changing the human experience of time through his music.
JJM Einstein and Armstrong and Picasso all lived at the same time. To what would you attribute the cultural climate that saw the rise of jazz and design and art in Europe and America during the 1920’s?
MG That’s a question that’s above my pay scale! I don’t have a deep knowledge of all those other fields, but clearly there was something going on with basic principles of abstraction.
Things that we think of as modernism
I like to point out that Louis Armstrong was the harbinger of improvised music, of abstraction. The concept of taking certain things and moving from the specific to the general. I always think of this image of Mondrian sketching a grove of trees and then gradually over the course of 20 years removing all the inessential elements from that picture of trees until he was just left with just two lines. Armstrong does a lot of similar things in his great performances of the 20’s and 30’s. This idea of spontaneously abstracting a melody – taking a complex melody
people often think of jazz as being more complicated than it is. Armstrong shows that you can play a melody and actually remove all the unnecessary and boil it down to this beautiful, simple kind of abstract thing, much in the way that Paul Clay or Wassily Kandinsky would do in art, Armstrong would be doing that musically. I think the modernist elements in his music are still not fully appreciated.
The modernist impulses, which are weird because they seem to go against the grain of most people’s perception of him solely as a smiling, laughing entertainer.
I always think of this quote the scientist Freeman Dyson said, when he met the physicist Richard Feynman, “When I first met him I thought he was half genius and half baffoon. But after I knew him for a long time I realized he was all genius and all baffoon.” I feel that way about “Pops”. We love the idea of a musician able to embody both. Mozart was like this. He was childish in many respects and yet his music was as deep as any music, music that is crucial to the human experience. “Pops” was like that, laughing and smiling and joyful, and also he was purely revolutionary.
JJM How was it that you came into contact with Ken Burns?
MG I am an old friend of Ken’s. I am a violinist and I played on almost all of his documentaries dating back to “The Brooklyn Bridge”, which was the first film that he made in 1979.
I played on Civil War, Baseball, Statue of Liberty, Thomas Hart Benton, Thomas Jefferson, Lewis and Clark, so on and so forth. Ken and I have become good friends over the years and, as he tells it, he decided to make a jazz documentary because I wouldn’t stop pestering him, but I don’t believe that, I don’t say that myself!
JJM The documentary itself is so anticipated by Ken Burns fans, yet the people inside of jazz consider it quite controversial. Why is that?
MG There are a lot of important things to say about this controversy, one of which is that when all is said and done and the dust settles, I think the jazz community as well as the public at large will be very happy with this, because only a film maker the stature of Ken Burns has the reach and command to make a 171/2 hour documentary about jazz, and to bring it to prime time television for ten nights in January. Nobody else would have the wherewithal to do that. So, Ken is fond of saying, “Ok, you might find some flaws in this, but hopefully after this airs, funding will become available for more documentaries, and jazz will have had a better chance of reaching its rightful status in American culture.
” He feels passionately about jazz, and loves it. The controversy lies with the people who haven’t seen the film yet. They are concerned that only the last two-hour episode deals with jazz since 1960, and everyone is thinking he squeezed all that stuff into the last two hours. He is an historian, and he is trying to draw upon broad themes of American culture and issues of law and race and economics, and individual stories of drug abuse and redemption. He should be allowed to tell his story of jazz the way he wants to tell it.
JJM There is a parallel between this and in the baseball documentary he did. If I recall he spent a ton of time on its formation and 19th Century history, but when he came into modern day baseball, from the Willie Mays era on, he didn’t spend as much time with it as he did with setting the table
MG He is a guy who really knows what he wants to do. He has a clear idea, and once he has a vision, he sticks to that. He is not making this film for the jazz community, which as someone pointed out, makes the Balkans look like a peaceful village.
He is making this film for the community at large. He is aiming for some person in Iowa or some place like that who has no contact with jazz, and he is a generalist and he feels a mandate to tell American stories to the broad population of America and the world. When all is said and done, when people see the film, they will be very impressed by it. Then they can go on and deepen it, and make more documentaries about people like Charles Mingus, or of all the people who are unfortunately not given their due in this film.
JJM Ultimately they will though as the interest level trickles down from Armstrong and Ellington and Miles and from there, hopefully everybody will get their just due.
MG I hope so too, and I know Ken hopes for that also.
JJM Much of the theme of the documentary is jazz as art. What is your perspective on Ken Burns’ viewpoint that jazz is one of the three major contributions to American history and culture the Constitution and baseball being the others?
MG There is this quote from Gerald Early, who is a professor who appears on the film frequently, and Ken refers to a lot; “When all is said and done at the end of history, they’ll view America for the Declaration of Independence, baseball, and jazz.
” Ken believes passionately in this idea that people of all races getting together and spontaneously making art, that they are able to negotiate their agendas. He views jazz as democracy
it is a beautiful idea that is the best of America, what American democracy is like transposed into art. Clearly, I feel that way and I think any jazz musician would say people of the stature of Miles and Coltrane and Ellington and Armstrong and Bird have not been given their full due, and they lived lives of great difficulty.
The other night I was in New York City to see Lee Konitz play, who is a friend of mine. Some people in the audience were talking in the middle of his solo. In the middle of it, he stopped playing and said, “Shut up, I’m creating!” It was such an amazing thing, because it is truly extraordinary that people are able to create new melodies on these time honored standard tunes.
JJM Why is it, do you suppose, that the American public has had such difficulty getting into jazz as an art form whereas the French and the Japanese assimilated jazz so readily?
MG Again, that’s over my pay scale, but it’s interesting to look at the earlier periods of jazz, when popular music of the time was jazz.
When Joe Venuti and Eddie Lang, the young Benny Goodman and Jack Teagarden were in the studio, they were the studio musicians of their day, playing jazz on popular records. Even at an earlier time, there was no distinction made between jazz and country music. We now talk about these fusions of jazz and country music. Jazz and country music have always been fused. Louis Armstrong and Jimmie Rodgers, the father of country music, recorded together in the 1920’s. So, part of the problem with this is the “evolution of the music business”, and of guys in suits doing demographic studies, trying to sell people certain things. American music as a whole, living breathing entity – rests when less of these categories existed in the 1930’s and then has gotten more and more pitched as audiences grew
That is something I am very interested in. In the swing era, jazz of a certain sort was popular music of the day, now it’s not. What’s interesting is that the Louis Armstrong recordings of the 20’s, 30’s and 40’s were “popular” music as well as being “art” music.
You could enjoy them as popular music, or you could go deeper and enjoy them as art. A lot of jazz is not possible to enjoy purely as entertainment, it is a high art music, purely, and that by itself leaves a lot of people out.
JJM What’s interesting to me, Matt, and I observe this a lot when I am out with my kids, is that there is jazz being played all the time. You go into Starbucks, Nordstrom, grocery stores, even. I heard a Chet Baker piece in the local grocery store the other day I can’t remember jazz being such a central part of our everyday life, yet the sales volume and the interest at retail for jazz has never been lower. I hate to think that Miles Davis has become the Mantovani of this generation, but in way there is some of that out there. As a marketer of jazz, I would sure like to figure out how to translate this interest into sales
MG What’s happening among musicians is that jazz continues to fuse with other styles of music. I am very suspicious of words about music.
I don’t know what jazz means. Many people have their own aspects about jazz that they love more than other aspects. Some people would say if it doesn’t swing it is not jazz; other people would say swing is very old, and if music is not completely free, its not jazz. I think jazz is fusing with other styles of music and is being integrated into the broad landscape of American music, which is a very interesting development. At the same time there is this “museumification” of it.
It’s interesting, I was watching Wynton Marsalis’ band do this tribute to Louis Armstrong on PBS the other night, and it was extraordinarily fabulous musicianship playing, but it occurred to me that it doesn’t do justice to the truly revolutionary nature of Louis’ concept to just play his tunes the way he played them. It would do more honor to him, in a way, to do something equally revolutionary in a contemporary way. Someone who is completely revolutionary now might be truer to Louis’ spirit, than just playing the same tunes now. When Louis came along, he introduced four or five distinct elements that never existed before; abstraction, fusing the blues with western European classical language, the fusion of operatic concepts with a soloists art, improvised vocal lines, new ideas of timbre and articulation, deep experience of time. All these things were radical, and so, let’s have somebody else come along with something equally radical and move music forward.
JJM Is there another Louis Armstrong on the horizon?
MG Who knows? It’s like that book, “The Structure of Scientific Revolution” by Thomas Kuhn, he says that somebody comes along who is revolutionary and they totally turn upside down a field in science and then gradually their innovations are accepted and become dominant. Then it becomes the norm, and then the norm becomes static, and a new revolutionary figure comes along and sets that old norm upside down, on its head, and gradually those innovations are absorbed into the body. This is a process that has been noted in science, and I am sure the same thing goes on in music.
Not all of us have been blessed to be innovators, unfortunately.
JJM As a fan of music, I always look back and say, “If I were alive in a time like 1951, I would have loved to have gone to this particular event in jazz.” The theme of the Jerry Jazz Musician web site is around that If you could have been a witness to an event in jazz history, which would it have been?
MG Tough question. Off the top of my head, I think of five or six things. I would want something that would transform me as a human being, just by hearing that music, so my life would never be the same. I would have loved to have heard the Count Basie Band with Lester Young in the prime of that band. I remember a quote from the trombonist Bob Brookmeyer, who said, “You heard that band at the Apollo, and it was the severeist physical thrill I ever had in my life. Sex and drugs don’t even come close to the thrill of hearing that band playing.” So, that would have been truly extraordinary. I would have loved to have been in the audience in Copenhangen in 1933 when Louis Armstrong played there.
There is footage of that
just to be in his presence when he was on fire at that time! I would have loved to have been in the Village Vanguard when Coltrane was playing, to be at the Newport Jazz Festival when Mahalia Jackson sang “Didn’t it Rain?” in the rain, or to have been there when Paul Gonsalves played 27 choruses with Duke Ellington. That would have really been a great experience.
JJM There is so much rich history, and talking to someone like you, makes me want to be there even more, because you have such an interesting way of communicating. This really came across in the documentary also. There are people who come out of these Ken Burns documentaries and become famous in their own right. I’m not suggesting that is going to happen for you. I wouldn’t wish that on anybody, necessarily, but I think he did a great job in bringing out the emotion in the people he discusses jazz with. He did that with you, with Albert Murray, and Stanley Crouch and those people
MG He is an “emotional archeologist”. He wants to film an emotional reaction
What’s so amazing about this documentary is the feeling you’ll get from the stories of the musicians; the stories of their lives are so touching and poignant and powerful on a variety of fronts. Everybody is going to be reduced to tears at some point in this documentary.
JJM Yes, it took me about 30 seconds.
MG The opening of it is pretty powerful.
JJM The first shot of the New York City skyline in 1931 or so you are there! Within 15 seconds, he’s got you there
Matt Glaser products at Amazon.com
Ken Burns products at Amazon.com
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If you enjoyed this interview, you may want to read our interview with Ken Burns consultant and cultural critic Albert Murray.
Matthew Glaser | Physics | University of Colorado Boulder
Research Interests:
I’m interested the statistical physics of soft condensed matter, including liquid crystals, colloids, and biomaterials.
I’m interested in the equilibrium and nonequilibrium self-organization of soft condensed matter, including liquid crystals, colloids, and biomaterials. My research involves the use of computer simulation and modeling to advance basic understanding of a variety of problems in materials physics and biophysics, including nanostructure formation in bent-core liquid crystals, clustering instabilities and complex phase behavior in soft colloids, the nonequilibrium steady state behavior of active liquid crystalline matter, mechanisms of charge transport in liquid crystalline semiconductors, and two-dimensional fluid physics in free-standing smectic liquid crystalline films. I’m also interested in the first-principles design of organic materials and in the development of novel coarse-graining methods for molecular simulation.
Selected Publications:
- “Helical nanofilament phases,” L. E. Hough, H. T. Jung, D. Krüerke, M. S. Heberling, M. Nakata, C. D. Jones, D. Chen, J.
Zasadzinski, G. Heppke, J. Rabe, W. Stocker, E. Körblova, D. M. Walba, M. A. Glaser, and N. A. Clark, Science 325, 456-460 (2009). - “Chiral isotropic liquids from achiral molecules,” L. E. Hough, M. Spannuth, M. Nakata, D. A. Coleman, C. D. Jones, G. Dantlgraber, C. Tschierske, J. Watanabe, E. Körblova, D. M. Walba, M. A. Glaser, and N. A. Clark, Science 325, 452-456 (2009).
- “Microtubule depolymerization by the kinesin-8 motor Kip3p: a mathematical model,” L. E. Hough, A. Schwabe, M. Glaser, J. R. McIntosh, and M. D. Betterton, Biophysical Journal 96, 3050-3064 (2009).
- “Molecular dynamics simulation study of spherical nanoparticles in a nematogenic matrix: anchoring, interactions, and phase behavior,” J. Xu, D. Bedrov, G. D. Smith, and M. A. Glaser, Phys. Rev. E 79, 011704 (2009).
- “Soft spheres make more mesophases,” M. A. Glaser, G. M. Grason, R. D. Kamien, A. Kosmrlj, C. D. Santangelo, and P. Ziherl, Europhysics Letters 78, 46004 (2007).
- “Discrete elastic model for two-dimensional melting,” Y. Lansac, M. A. Glaser, and N. A. Clark, Physical Review E 73, 041501 (2006).
- “Fluctuations and clinicity in tilted smectic liquid crystals,” M. A. Glaser and N. A. Clark, Physical Review E 66, 021711 (2002).
- “Induced anticlinic ordering and nanophase segregation of bow-shaped molecules in a smectic solvent,” P. K. Maiti, Y. Lansac, M. A. Glaser and N. A. Clark, Physical Review Letters 88, 065504 (2002).
- “A ferroelectric liquid crystal conglomerate composed of racemic molecules,” D. M. Walba, E. Körblova, R. Shao, J. E. Maclennan, D. R. Link, M. A. Glaser, and N. A. Clark, Science 288, 2181 (2000).
- “Photocontrolled nanophase segregation in a liquid-crystal solvent,” Y. Lansac, M. A. Glaser, N. A. Clark, and O. D. Lavrentovich, Nature 398, 54-57 (1999).
- “Melting and liquid structure in two dimensions,” M. A. Glaser and N. A. Clark, Advances in Chemical Physics 83, 543-709 (1993).
Zasadzinski, G. Heppke, J. Rabe, W. Stocker, E. Körblova, D. M. Walba, M. A. Glaser, and N. A. Clark, Science 325, 456-460 (2009).
Lansac, M. A. Glaser, and N. A. Clark, Physical Review E 73, 041501 (2006).Matt Glaser and Margo Leverett / An Interview
Marty Lipp talks with Matt Glaser and Margo Leverett about their explorations into bluegrass with global perspectives.
| The Wayfaring Strangers |
Suddenly, bluegrass comes in an array of colors. The mountain music achieved crossover status with the wild success of the soundtrack to the film “O Brother, Where Art Thou?” but a small number of artists in recent years have been tinkering with the formula that they say has become too doctrinaire.
These new rebels dove into the deep mountain waters of bluegrass and came up with some tunes that purists might turn up their nose at, but perhaps Bill Monroe himself might recognize as dear and not-so-distant kin.
Not only have American artists been reinventing the genre, but even some Canadian traditional musicians have jumped the border to take a few tunes out for a spin. Is this the second bluegrass revolution?
“The music has turned into something very different from what Bill Monroe, I think, envisioned,” said Matt Glaser. “It was a wild and dark kind of music that was not about technical perfection. A lot of bluegrass now has become this incredibly slick thing.”
Matt Glaser, who heads the string department at Berklee College of Music, has played both jazz and bluegrass in his career. Recently, he gathered some like-minded and talented musicians to produce This Train (Rounder), the second album from the Wayfaring Strangers, a somewhat ad hoc group that pushes the boundaries of bluegrass with the free-roaming spirit of jazz.
The origins of the band, Glaser said, came from a health scare that he had several years ago. “I wanted to make music I could listen to on my own deathbed, not to get too morose about it,” he said. “There seemed to be a lot of music that didn’t seem to be deathbed-worthy to me.”
While he loves jazz, Glaser said, many of the songs in the repertoire “are light on the existential message.” Bluegrass, he added, “gets right to experiences that people know, that are meaningful.”
While some might see as bluegrass being a “pure” music that should not be tampered with, Glaser said, “the music started as synthetic music, where one person’s vision brought together different musical elements.
Monroe, he said, took from musical styles as disparate as blues and polka, string band and mariachi.
Bluegrass, Glaser said, “started as this wild, hair-raising thing. People were having heart attacks from listening to Earl Scrugg’s banjo-playing.”
His goal with the Wayfaring Strangers, he said, was to take the soul-touching messages of bluegrass songs and “open them up a little bit.” Working with an eclectic band and guest musicians such as noted klezmer performer Andy Statman and singers Ralph Stanley and Lucy Kaplansky, the Strangers’ first album set out from the rural South and went all over the map. For the second album, the Strangers also added the spirituality of gospel to the mix, which helped to make the overall sound more upbeat.
| Klezmer Moutain Boys |
At first glance, it would seem that there could hardly be two more disparate genres than bluegrass from the rural southern U.S. and klezmer, the music of the East European Jewish ghetto, but The Klezmer Mountain Boys show that they could be seen as spiritual cousins with some interesting, if coincidental, similarities.
Margot Leverett, who was the original clarinetist with The Klezmatics and has now organized the Klezmer Mountain Boys said, “Both kinds of music have that mixture of laughter and tears.
“They complement each other,” she continued. “They bring out something in each other you might not otherwise notice.”
Leverett said that just as rural music in the southern United States was studied and preserved by northern academics, old tunes from the southern part of the Soviet Union were studied by northern ethnomusicologists there.
Several of the tunes on the Klezmer Mountain Boys eponymous album on Traditional Crossroads are from Leverett’s tour several years ago with visiting Russian musicians who had discovered the old tunes, which had been declared illegal during the Soviet era.
Inevitably, when the Klezmer Mountain Boys begin a live set and suddenly shift from klezmer to bluegrass or vice versa, the audience begins to laugh.
Leverett acknowledged that the juxtaposition is unusual enough to provoke giggles, but at the same time the band and the music is serious.
“It’s funny, but it’s not a joke,” she said.
The group was created after Leverett began thinking about playing clarinet in a string band context and then contacted an old friend, mandolin player Barry Mittlehoff. They then assembled players who had experience in both klezmer and bluegrass.
The group’s first get-together was cancelled due to the attacks on the World Trade Center, but the tragedy also had a profound effect on the musicians. They were barely up for playing, much less playing the joke-y juxtaposition of which they had been talking.
When they finally did get together, Leverett said, “the fun idea was just gone. This was something altogether else. It was really soulful and it was really deep.”
Other recent, though less surprising bluegrass hybrids have included songs done by Canadian traditional musicians. Natalie MacMaster, a fiddler from Cape Breton, calls her latest album on Rounder Blueprint, which was recorded in Nashville and has a guest appearances by bluegrass musicians, including Bela Fleck.
Another Canadian violinist, April Verch, who is from Ottawa studied at Berklee with Glaser and on her latest, From Where I Stand, on Rounder, she also jumps south of the border.
Glaser said that though bluegrass, like many revolutions before it, has to some extent become “codified and ossified,” he is encouraged by the new interest in roots music.
“Before the advent of the industry, commercial music and all that crap,” he said, “[Music] was something real in people’s lives that served a real function and the music itself was very real and deep.”
He described Ralph Stanley’s appearance on The David Letterman Show, singing “Oh Death” a capella was a seminal moment and a signal that something is up. Every so often, he said, “something real creeps through American society….Hopefully it’s a sign that people are thirsting for something real musically, that’s nourishing.”
Both CDs are available from cdRoots
Wayfaring Strangers
Klezmer Mountain Boys
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Wayfaring Strangers
Klezmer Mountain Boys
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Matt Glaser – Wesleyan Athletics
Related BiosChris BrownChris StiepockJim HalloranPaul McCormickBill QueenPat RyanPaul AnelloRobert JamesChris RoellkeGreg PorydzyMike ArcieriStephen BaldiniBill Frischling
4
4 – Matt Glaser
| Height: | 6-2 |
| Weight: | 180 |
| Year: | So. |
| Hometown: | New York, N.Y. |
| High School: | Taft School (Conn.) |
| Position: | Guard |
gp
–
pts/g
–
fg %
–
3pt %
–
ft %
–
reb/g
–
a/g
–
| Statistics category | Overall | Conf | ||
|---|---|---|---|---|
| Games | – | – | ||
| Games started | – | – | ||
| Minutes | – | – | ||
| Minutes per game | – | – | ||
| FG | 0-0 | 0-0 | ||
| FG Pct | – | – | ||
| 3PT | 0-0 | 0-0 | ||
| 3PT Pct | – | – | ||
| FT | 0-0 | 0-0 | ||
| FT Pct | – | – | ||
| Off rebounds | – | – | ||
| Def rebounds | – | – | ||
| Total rebounds | – | – | ||
| Rebounds per game | – | – | ||
| Personal fouls | – | – | ||
| Disqualifications | – | – | ||
| Assists | – | – | ||
| Turnovers | – | – | ||
| Assist to turnover ratio | – | – | ||
| Steals | – | – | ||
| Blocks | – | – | ||
| Points | 0 | 0 | ||
| Points per game | – | – | ||
| Points per 40 min | – | – | ||
Matthew Glaser Joins Wilmington Trust as Head of Equity and Nontraditional Investments
Matt’s expertise in equities, alts, and institutional investments, as well as his long-term investment philosophy is a great match for our investment team.
WILMINGTON, DEL. (PRWEB)
May 09, 2016
Wilmington Trust hired Matthew Glaser as head of Equity and Nontraditional Investments. In his new role, he’ll oversee the Equity team and Institutional Investment Group, as well as the Manager Search Group for Equities and Alternative Investments. Glaser will be based in Wilmington Trust’s headquarters in Wilmington, Del.
“Matt’s expertise in equities, alts, and institutional investments, as well as his long-term investment philosophy is a great match for our investment team,” said Tony Roth, Wilmington Trust’s chief investment officer. “Matt’s insights are extremely valuable to our team and, more importantly, to our clients. We’re pleased that Matt will play a leadership role in our continuing commitment to a long-term, holistic strategy for our clients.”
In additional to his primary role, Glaser has been appointed as a voting member of the Investment Committee, which is comprised of the firm’s top analysts, strategists, and economics. The Investment Committee’s mission is to design investment strategies to help control risk and enhance portfolio value.
Glaser has more than two decades of experience in the equity and institutional investments industry. Before joining Wilmington Trust, he was managing director and portfolio manager at Lazard Asset Management. Previously, Glaser was chief of Investment Strategies and executive managing director at Turner Investments. He was also head of Institutional Research Sales at Susquehanna International Group, and a managing director at J.P. Morgan.
He earned an MBA from Columbia University, and a bachelor’s degree in History from Wesleyan University. Glaser has been featured in investment news stories in the Wall Street Journal, CNBC, Reuters, the New York Times, and other outlets on the topics of alternative investments and equities.
ABOUT WILMINGTON TRUST
Wilmington Trust offers an array of investment services to high-net-worth individuals and families, business owners, foundations and endowments, financial advisors, and corporations.
Wilmington Trust manages approximately $72 billion, as of March 31, 2016.
Wilmington Trust’s Wealth Advisory offers a wide array of personal trust, financial planning, fiduciary, asset management, private banking, and family office services designed to help high-net-worth individuals and families grow, preserve, and transfer wealth. It maintains offices throughout the United States and focuses on serving families with whom it can build long-term relationships, many of which span multiple generations.
Wilmington Trust also provides Corporate and Institution Services including institutional trustee, agency, asset management, retirement plan, and administrative services for clients worldwide who use capital markets financing structures. The corporate and institutional division is distinguished from many competitors by its status as a core business of Wilmington Trust, as well as the experience and expertise of its global staff, its multi-jurisdictional presence, and its reputation for high-quality service.
Wilmington Trust has clients in all 50 states and in more than 90 countries, with offices throughout the United States and internationally in London, Dublin, Amsterdam, Luxembourg, and Frankfurt. For more information, visit http://www.WilmingtonTrust.com.
# # #
MEDIA CONTACT: Kent Wissinger, Wilmington Trust PR Manager (302)651-8758
Wilmington Trust is a registered service mark. Wilmington Trust Corporation is a wholly owned subsidiary of M&T Bank Corporation. Investment services, wealth advisory, and corporate and institutional products and services are offered by Wilmington Trust Company, operating in Delaware only, and Wilmington Trust, N.A., a national bank. International corporate and institutional services are offered through our international affiliates.
Wilmington Trust Investment Advisors, Inc., a subsidiary of M&T Bank, is a SEC-registered investment adviser providing investment management services to Wilmington Trust and M&T affiliates and clients.
All investments involve risks, including possible loss of principal. There is no assurance that any investment strategy will be successful.
Private Banking is the marketing name for an offering of M&T deposit and loan products and services.
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90,000 Medieval UFO battle over Nuremberg
Hans Glaser was a journalist in Germany in the 16th century. He described an amazing and inexplicable phenomenon that occurred in the early morning of April 14, 1561 in Nuremberg. His engraving depicts many strange objects in the sky and smoke emanating from the ground, where several of them crashed.
Fragment of a news text written by Hans Glaser on April 14, 1561 in Nuremberg, Germany. Photo: Wikimedia Commons
The engraving was accompanied by a description (full translation below), which spoke of flying wands and ball-shaped objects leading the battle.From the places where the objects fell, there was “heavy smoke”. Many objects were red in color, but there was also a “round ball, part matte, part black” and what looked like a black spear, very long and thick; the shaft pointed to the east, and the point to the west. ”
He noted that many people in Nuremberg were watching this scene. Glazer did not know how to explain all this, he thought that perhaps it was a sign of God.
Judging by the words of Glaser, there were skeptics already in the Middle Ages who did not take seriously the messages and phenomena of unidentified flying objects.
Modern skeptics believe that this figurative description should not be taken literally. Or, perhaps, he saw some kind of meteorological phenomenon, like parghelium.
Complete translation of the text by Ilse von Jacobi from the book “UFO over Nuremberg” in 1561
In the morning between 4:00 and 5:00 on April 14, 1561, a terrible vision appeared in the sun. It was observed in the city of Nuremberg by many men and women. First, two blood-red arcs appeared in the middle of the sun, similar in shape to the moon in the last quarter.In the sun, above and below, a bloody color was visible, there was a round ball, partially matte, partially black, and many other balls, lined up in three lines of four in a square, some were separate. Between these balls were several blood-red crosses, between which were blood-red ribbons that grew thicker towards the back and swayed like a reed. Between them were two large rods, one on the right, the other on the left, and inside the small and large rods there were three, four or more balls.
They all began to fight each other, the balls that were closer to the sun flew towards those that were on both sides. Then the balls, which stood outside the sun in large and small rods, flew towards the sun. The balls flew back and forth and fought each other mercilessly for an hour. Then, when the sun was shining brightest, they got tired to such an extent that they fell from the sun to the earth, burning. They fell to the ground with terrible smoke. After all this, something like a black spear appeared, very long and thick; the shaft pointed to the east, and the point to the west.
God alone knows what that means. Although we have watched one after another many signs from heaven sent by the Almighty Lord to induce repentance in us, we are, unfortunately, so ungrateful that we do not pay attention to such lofty signs and miracles of God. Or we talk about them with derision, as a result, God can send us a terrifying punishment as punishment for our ingratitude. A God-fearing person will not ignore these signs, but will take them to heart, as a warning from the merciful Father in heaven, correct his life and pray to God that He takes away his anger, including the punishment that we deserve so that we and our children can continue here. live.God bless us.
Hans Glaser, Nuremberg
English version
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| Specifications | |
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| Code | Glazer S 1434 |
| Brand | Intra Lighting |
| Number of lamps | 2pcs. |
| Material | Aluminum, Plastic |
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| Tags | Minimalism, Rectangles, frames, Cables |
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| Base | LED |
| Subject | German | Russian | |
| auto. | “Ganz- Glas ” -Scheinwerfersystem | headlight system with all-glass optical elements | |
| chem. | “langes” Glas | “long” glass (glass, slowly hardening) | |
| total. | “Weiß ich”, sagte ich und goß ein Glas voll ein | “I know,” I replied and poured a full glass. (Remarque, “Drei Kameraden”) | |
| total | … da Pastor Wunderlich sich erhob und, während das Gespräch verstummte, das Glas in der Hand, in angenehmen Wendungen zu toasten begann | … Pastor Wunderlich got up and, as soon as conversations subsided, began to make a toast. (Th. Mann, “Buddenbrooks”) | |
| honey. | 4- Gläser -Probe | four-glass sample (urine test solnyschko7 ) | |
| tech. | Abbesche Zahl des optischen Glases | dispersion coefficient of optical glass | |
| tech. | abgeschrecktes Glas | Tempered Glass | |
| QE | Absorption durch das Glas | absorption in glass | |
| tech. | Absorption optischen Glases | Optical glass absorption | |
| microcell | alkaliarmes Glas | slightly alkali glass | |
| shipbuilding | alkaliarmes Glas | low alkali glass | |
| chem. | alkalibeständiges Glas | alkali resistant glass | |
| chem. | alkalifreies Glas | alkaline glass | |
| chem. | alkalihaltiges Glas | alkali glass | |
| chem. | alkalireiches Glas | multi-alkaline glass | |
| total | alle hielten ihre leeren Gläser zum Nachschenken hin | everyone held out their empty glasses to be refilled with wine | |
| total. | angerußtes Glas | smoked glass ( Abete ) | |
| total | angestoßenes Glas | cracked glass | |
| p. | antiquarisches Glas | antique glass | |
| military | armiertes Glas | armored glass | |
| aviation | armiertes Glas | bulletproof glass | |
| total | auf Glas malen | paint walls | |
| total. | auf Glas malen | draw on glass | |
| total. | Auf Kredit gab es vielleicht eine Molle Bier, ein Glas Schnaps, eine Tasse Kaffee und Brötchen, aber kein Mittagessen und kein Quartier | Maybe he could get on credit a mug of beer, a glass of schnapps bun, but not lunch and overnight. (Weiskopf, “Lissy”) | |
| total. | aus einem Glas nippen | sip a glass | |
| total. | aus einem Glas trinken | drink from a glass | |
| total | aus Glas | glass | |
| total. | aus Glas | Glass | |
| QE | aus Glas bestehende Faser | glass fiber | |
| eq. | ausbleichbares Glas | antireflective glass | |
| cinemat. | Begrenzungsfläche Glas Luft | air-glass boundary | |
| cinemat. | Begrenzungsfläche Glas Luft | Air surface (e.g. lenses) | |
| QE | Begrenzungsfläche Glas -Luft | glass-air interface | |
| total | bei einem Glas Wein | with a glass of wine | |
| total | bei einem Glas Wein sitzen | sit with a glass of wine | |
| chem. | beiderseitig poliertes Glas | glass polished on both sides | |
| chem. | beidseitig poliertes Glas | glass polished on both sides | |
| total. | beim Anstoßen erklingen die Glasses | when clinking glasses you hear the clink of glasses | |
| pp. | beschichtetes Glas | coated glass | |
| total | Bier in Glasses schenken | pour beer into glasses | |
| chem. | binäres Glas | bicomponent glass | |
| cinemat. | blasenfreies Glas | glass without bubbles | |
| chem. | bombiertes Glas | convex glass (for glazing windows, clocks, apparatus) | |
| tech. | Brechzahl optischen Glases | refractive index of optical glass | |
| med. | Brille mit verspiegelten Glasses | mirror glasses | |
| chem. | Cabal- Glasses | calcium boroaluminate glasses | |
| chem. | chemisch widerstandsfähiges Glas | chemically resistant glass | |
| gen. | das Glas an den Mund setzen | bring the glass to your mouth | |
| total. | das Glas ansetzen | bring the glass to the mouth | |
| total. | das Glas auf einen Zug leeren | drain the glass in one gulp | |
| total. | das Glas ausleeren | drain glass | |
| total | das Glas bis zum Rande füllen | Fill the glass to the brim | |
| total. | j-m das Glas bringen | bring a glass (smb.) | |
| total. | j-m das Glas bringen | raise a glass (for smb.) | |
| total | j-m das Glas bringen | drink (for smb.) | |
| total | j-m das Glas bringen | bring a glass (s.) | |
| total | das Glas faßt ein Liter | The can includes a liter | |
| total. | das Glas facet ein Liter | can holds a liter | |
| total. | das Glas faßt einen Liter | cans hold a liter | |
| total. | das Glas faßt einen Liter | The can contains a liter | |
| total. | das Glas faßt gerade, gut einen Liter | enters the jar just, one liter is free | |
| total. | das Glas faßt kaum einen Liter | can barely hold one liter | |
| total. | das Glas hat einen Knacks bekommen | glass cracked | |
| total | das Glas hat einen Sprung bekommen | glass cracked | |
| total | das Glas hat einen Sprung bekommen | glass burst | |
| total | das Glas ist entzwei | glass broken | |
| total | das Glas leer trinken | drain glass | |
| total | das Glas leer trinken | drink a glass to the bottom | |
| total. | das Glas rutschte mir aus der Hand | the glass slipped out of my hand | |
| total. | das Glas zersprang | glass burst | |
| tech. | das Schweizerische Institut für Glas am Bau | Swiss Institute of Glass in Building Constructions ( Alexander Ryzhov ) | |
| total. | das Wasser aus dem Glas ausgießen | pour water from the glass | |
| dein Vater war doch kein Glaser ! | Get away from the light, you are not glass! | ||
| total | den Staub aus dem Glase auswischen | dust off in a glass | |
| total. | der Wein blinkt im Glas | sparkling wine in a glass | |
| total. | der Zahnarzt gab ihr ein Glas Wasser und sagte: “Spucken Sie aus!” | The dentist gave her a glass of water and said, “Spit it!” | |
| total | derbes Brot zu einem Glas kalte Milch paßte ihm sehr gut | coarse flour bread and a glass of cold milk – this was just for him | |
| total. | Dia- Glasses | Glass Slides for Transparencies | |
| QE | dichromatisches Glas | bicolor glass | |
| total | die gespülten Glasses auf ein Tuch stürzen | Turn over and place washed glasses on a towel | |
| total | die Glasses anstoßen | clink glasses | |
| total. | die Glasses klingen | clink glasses | |
| total | die Glasses klingen lassen | clink glasses | |
| total. | die Glasses sind bis zum Rand gefüllt | glasses full to the brim | |
| total | die Glasses sind zerbrochen | glasses broken | |
| total | die Glasses werden nicht blank | glasses are not washed to a shine | |
| total. | die Gäste hoben die Glasses auf das Wohl der Hausfrau | guests raised glasses to the hostess’s health | |
| total. | Die Kellner eilten, die Gläser klirrten, rundum lachten die Gäste | Waiters ran, glasses clinked, guests laughed all around. (Weisenborn, “Der Verfolger”) | |
| total. | die Milch aus dem Glas ausgießen | pour the milk out of the glass | |
| total. | die Männer duselten dumpf über ihren Gläsern | men fell asleep stupidly over glasses | |
| total. | die Männer duselten dumpf über ihren Gläsern | men dozing blankly over glasses | |
| total. | die Neige im Glas stehen lassen | do not finish the glass | |
| joke | die Näse zu tief ins Glas stecken | enough extra | |
| joke. | die Näse zu tief ins Glas stecken | drink too much | |
| total. | Die übermütige Klara zerbrach wieder ein Glas | Clara, who was too open, broke the glass again. (Kellermann, “Totentanz”) | |
| total. | drahtarmiertes Glas | wire reinforced glass | |
| p. | drahtbewehrtes Glas | glass reinforced with wire | |
| p. | drahtbewehrtes Glas | reinforced glass | |
| med. | Drei- Glasses -Urinprobe | three-glass urine sample (diagnostics of prostatitis mumin * ) | |
| coll., Joke. | du bist doch nicht aus Glas ! | Get away from the light, you are not transparent! | |
| total | du bist doch nicht aus Glas ! | Get away from the light, you are not transparent! | |
| total | durch gefärbte Glasses sehen | look at everything through rose-colored glasses ( Franka_LV ) | |
| p. | durchsichtiges Glas | transparent glass 9062 | Dünnfilmkondensator mit Glas als Dielektrikum | combined condenser (anstelle von SiO2) |
| chem. | E-CR- Glas | alkali free glass, fluorine and chlorine free ( inplus ) | |
| tm. | E- Glas | alkaline glass | |
| gen. | ein angestoßenes Glas | glass with a crack | |
| total | ein durchsichtiges Glas | clear glass | |
| total | ein gesprungenes Glas | broken glass | |
| total | ein Glas an die Wand schmeißen | throw the glass against the wall | |
| total | ein Glas an die Wand schmettern | throw the glass into the wall | |
| total | ein Glas auf den Grund leeren | drain the glass to the bottom | |
| total. | ein Glas bis an den Rand füllen | fill the glass to the brim | |
| total | ein Glas bis an den Rand füllen | fill the glass to the brim | |
| total | ein Glas bis auf den Böden leeren | drain the glass to the bottom | |
| total. | ein Glas bis auf den Grund bis zur Neige leeren | drink a glass to the bottom | |
| total. | ein Glas bis zur Neige leeren | drink a glass to the bottom | |
| total. | ein Glas bis zur Neige leeren | drain the glass to the bottom | |
| total. | ein Glas in der Hand zerdrücken | crush glass in hand | |
| total. | ein Glas Marmelade | jam jar | |
| ein Glas Schnaps kippen | overturn cup | ||
| total | ein Glas Wasser aus der Flasche ausgießen | pour out a glass of water | |
| total | j-m ein Glas Wein aufdrängen | persuade @ smb. take a glass of wine | |
| total. | ein Glas Wein hinunterstürzen | Drink a glass of wine in one gulp | |
| total | ein Glas Wässer trinken | drink a glass of water | |
| total. | ein halbes Glas | half glass | |
| total | ein haldes Glas | half glass | |
| total. | ein langstieliges Glas | glass on a high leg | |
| total. | ein leeres Glas | empty glass | |
| total | ein volles Glas | full glass | |
| total | eine Gurke aus dem Glas fischen | to catch a cucumber from a jar | |
| chem. | einfachnormales Glas | single normal glass | |
| chem. | elektrisch heizbares Glas | electrothermal glass | |
| tech. | elektrotechnisches Glas | electrical glass | |
| chem. | entfärbtes Glas | discolored glass | |
| total | er aß gut zu Mittag und trank hinterher ein Glas Wein | he dined well and then drank a glass of wine | |
| total. | er bestellte zwei Glas Wein | he ordered two glasses of wine | |
| total. | er blickte versonnen in sein Glas | he looked thoughtfully into his glass | |
| total. | er erhob das Glas auf sein Wohl | he raised a glass to his health | |
| total. | er hat das Glas kaum angetrunken | he barely sipped a glass | |
| total | er hat das Glas kaum angetrunken | he barely sipped a glass | |
| er hat zu tief ins Glas geguckt | he drank too much | ||
| dec. | er hat zu tief ins Glas geguckt | he drank too much | |
| er hat zu tief ins Glas geguckt er hat ein über den Durst getrunken | he drank too much | ||
| colloquial, joking. | er hat zu tief ins Glas geguckt er hat ein über den Durst getrunken | he had enough extra | |
| total. | er hob sein Glas und trank ihr zu | he raised his glass and drank to her health | |
| total. | er hört Glasses klingen | he hears glasses clink | |
| total. | Er konnte abends kaum noch sein Glas Grog zum Munde führen, ohne die Flälfte zu verschütten, so machte der Teufel seinen Arm zittern | In the evenings he could hardly bring a glass of grog to his lips so as not to splash his hand was shaking.(Th. Mann, “Buddenbrooks”) | |
| total | er leerte das Glas auf einen Zug | he drained the glass in one gulp | |
| total. | er leerte das Glas auf einen Zug | he drained the glass in one gulp | |
| total. | er setzte sein Glas an den Mund | he brought the glass to his mouth | |
| total. | er trank langsam sein Glas aus | he slowly drank his glass | |
| total. | er trank sein Glas langsam und bedächtig aus | he slowly, with measured sips, drank his glass | |
| total. | er trank, ohne das Glas abzusetzen | he drank the glass in one gulp | |
| total. | er trank, ohne das Glas abzusetzen | he drank without removing the glass from his lips | |
| chem. | erstarrtes Glas | Glass Cured | |
| QE | fadenförmiges Glas | glass thread | |
| page | farbloses Glas | clear glass | |
| chem. | Fehler im Glase | glass blemish | |
| chem. | feuerfestes Glas | heat-resistant glass | |
| chem. | feuerpoliertes Glas | fire-polished glass | |
| qt. | Filter aus photochromem Glas | photochromic glass filter | |
| shipbuilding | flaches Glas | flat glass (e.g. level gauge) | |
| p. | flammwidriges Glas | fire resistant glass | |
| chem. | Fleckenempfindlichkeit des Glases | Glass stain sensitivity | |
| chem. | Fließ- Glas -Verfahren | Floating tape method | |
| chem. | Fließ- Glas -Verfahren | Pilkington method | |
| chem. | Formgebung des Glases | glass molding | |
| tech. | fotochromes Glas | photochromic glass | |
| chem. | fotosensibles Glas | photosensitive glass | |
| chem. | fotosensibles Glas | light sensitive glass | |
| tech. | fotosensitives Glas | photosensitive glass | |
| tech. | gefärbtes Glas | colored glass | |
| cinemat. | gefärbtes Glas | painted glass | |
| tech. | gegossenes Glas | cast glass | |
| page | gehärtetes Glas | heat treated glass | |
| tech. | gekühltes Glas | Annealed glass | |
| p. | gemustertes Glas | patterned glass | |
| page | gemustertes Glas | patterned glass | |
| food | Gemüsekonserven in Gläsern | canned vegetables in glass jars | |
| page | geriffeltes Glas | corrugated glass | |
| chem. | geriffeltes Glas | corrugated glass | |
| p. | geripptes Glas | corrugated glass | |
| gern ins Glas gucken | be a drink hunter | ||
| p. | getempertes Glas | tempered glass | |
| chem. | getrübtes Glas | frosted glass | |
| chem. | getrübtes Glas | fixed glass | |
| auto. | getöntes Glas | tinted glass | |
| chem. | gewalztes Glas | laminated glass | |
| total | gib mir ein Glas Wasser, ich verschmachte | give me a glass of water, I’m dying of thirst | |
| chem. | Gießverfahren für optisches Glas | Optical glass casting method | |
| total | Glas | glass | |
| total. | Glas | glass jar | |
| total | Glas | pl glasses | |
| total. | Glas | glass | |
| total. | Glas | tk sg glass | |
| geol., Petr. | Glas | glass | |
| total. | Glas | binoculars | |
| naut. | Glas | bottle | |
| chem. | Glas | Bank | |
| total. | Glas | glass | |
| shipbuilding | Glas | half-hour bottle | |
| surround. | Glas | Glass (Solid, amorphous, inorganic, usually transparent, rigid substance produced by melting silicates, sometimes barites or phosphates, with the addition of known metal oxides and subsequent rapid cooling to prevent crystallization) | |
| tech. | Glas | Glass Jar | |
| Comp., Micr. | Glas | transparent | |
| tech. | Glas aus der Reihe der Lithium-Aluminum-Silikate | lithium aluminum silicate glass | |
| total | Glas blasen | blowing glass | |
| p. | Glas der A-Qualität | glass brand A | |
| p. | Glas der AA-Qualität | AA glass | |
| chem. | Glas für chemische Geräte | chemical laboratory glass | |
| chem. | Glas für chemische Geräte | glass for chemical devices | |
| chem. | Glas für chemische Geräte | glass for laboratory equipment | |
| chem. | Glas für chemische Geräte | laboratory glass | |
| total | Glas ist ein sprödes Material | glass – brittle material | |
| chem. | Glas mit besonders hoher Wärmefestigkeit | extra heat resistant glass | |
| qt. | Glas mit dem eingelagerten dreiwertigen Neodym | glass doped with trivalent neodymium ions | |
| chem. | Glas mit drei Oxidkomponenten | triple glass | |
| QE | Glas mit gleitender Wirkung | variofocal lens | |
| tech. | Glas mit hochreflektierender Beschichtung | glass with highly reflective film | |
| eq. | Glas mit massiver Färbung | body-colored glass | |
| chem. | Glas mit selektiver Absorption | selective absorption glass | |
| chem. | Glas mit selektiver Absorption | Selective Absorption Glass | |
| QE | Glas mit starkem Bleigehalt | high lead glass | |
| chem. | Glas mit vielen Oxidkomponenten | multicomponent glass | |
| chem. | Glas mit zwei Oxidkomponenten | bicomponent glass | |
| chem. | Glas nach Venezianer Art | Venetian glass | |
| total | Glas schneiden | cut glass | |
| chem. | Glas zum Glanzstoßen | burnishing glass | |
| chem. | Glas zum Glanzstoßen | glass roller | |
| aviation | Glas -Faser-Kunststoff | glass fiber composite (GFK) | |
| chem. | Glas -Glimmer | glass mica | |
| microel. | Glas -Metall-Gehäuse | metal-glass case | |
| tech. | Glas -Metall-Verschmelzung | glass-to-metal junction | |
| p. | Glas -Ubergangstemperatur | Bitumen transition temperature to the glassy state 900 9066 | |
| Glas … | glassy | ||
| chem. | Glas … | Glass | |
| chem. | Glas … | glass | |
| total. | glasen | bulge eyes | |
| total | glasen | Stare (glazed eyes) | |
| total | glasen | gloss with glass (e.g. leather) | |
| sea. | glasen | beat flasks | |
| mor. | Glasen | bottles | |
| tech. | glasen | glaze | |
| text. | glasen | To polish leather by hand (glass scraper) | |
| leather. | glasen | glaze | |
| leather | glasen | glaze | |
| naut. | glasen | beat off flasks | |
| total. | glasen | glazed | |
| military, sea | Glasen schlagen | to beat bottles | |
| p. | Glaser | Glaser ( Sergei Aprelikov ) | |
| total. | Glaser | Glazier | |
| ref. | Glaser -Metzger-Methode | Method for the determination of naphthalene by passing an air stream with a cold precipitated picric acid solution through an absorption vessel | |
| chem. | Glaser -Reaktion | Glaser reaction | |
| total | Glaser -Verfahren | Glaser method for determining the amount of precipitated condensate (http: // de.wikipedia.org/wiki/Glaser-Verfahren 4uzhoj ) | |
| tm | Glass | group name for glass fiber materials (US) | |
| Brit. | Glass Fusing | fusing ( Lorina ) | |
| med. | Glas körper | vitreous ( Praline ) | |
| shipbuilding | glattes Glas | smooth glass | |
| total | Glasses | glasses | |
| total | Glasses | Glazier | |
| total | Glasses | pl from Glas | |
| total. | Glasses spülen | rinse glasses | |
| total | Glasses von verschiedener Größe | glasses of various sizes | |
| Glück und Glas , wie bald bricht das! | happiness is fragile | ||
| total | Glück und Glas , wie leicht bricht das | Happiness and glass as it breaks easily | |
| pos. | Glück und Glas , wie leicht bricht das! | happiness is fragile | |
| quantum.e-mail | halbdurchlässiges Glas | translucent glass | |
| p. | halbdurchsichtiges Glas | translucent glass | |
| microelect. | halbleitendes Glas | semiconductor glass | |
| chem. | halbweißes Glas | semi-white glass | |
| chem. | hartes Glas | hard glass | |
| tech. | Heliomatic- Glas | Heliomatic glass | |
| tech. | Heliovar- Glas | Heliovar glass | |
| chem. | hitzebeständiges Glas | heat-resistant glass | |
| cinemat. | hitzebeständiges Glas | heat-resistant glass | |
| quantum.e-mail | hoch brechendes Glas | high refractive index glass | |
| chem. | hochbleihaltiges stark bleihaltiges Glas | multilead glass | |
| chem. | hochschmelzendes schwer schmelzbares, schmelzhartes Glas | refractory glass | |
| hopp, ein Glas Bier! | a glass of beer, fly! ( Andrey Truhachev ) | ||
| hopp hopp, ein Glas Bier! | a glass of beer, live! ( Andrey Truhachev ) | ||
| total. | ich habe das Glas aus | I finished my glass | |
| total | ich schüttete Wasser aus dem Glas aus | I threw water out of a glass | |
| total. | ich will gern ein Glas mittrinken | I will gladly drink with you | |
| total. | ich will gern ein Glas mittrinken | I will gladly drink with you | |
| total. | im Glas war eine trübe Flüssigkeit | there was some kind of cloudy liquid in the glass | |
| quant. | in dem Glas verteilte Ionen | ions embedded in glass | |
| cinemat. | in der Masse gefärbtes Glas | body-tinted glass | |
| food | in Gläsern eingemacht | canned in glass jars | |
| chem. | infrarotdurchlässiges Glas | infrared glass | |
| p. | irisierendes Glas | irisation glass | |
| geol., petr. | isländisches Glas | obsidian | |
| geol., Pet. | isländisches Glas | Volcanic Glass | |
| QE | isochromatisches Glas | isochromatic glass | |
| total | Ja, du holtest mir ein Glas Limonade aus der Bude nebenan | Yes, you brought me a glass of lemonade from a nearby stall.(Th. Mann, “Buddenbrooks”) | |
| total | Jachmann ist in so was schrecklich penibel, er wirft solch Glas einfach an die Wand | Jachmann is terribly intolerant of such things, he will simply throw such a glass against the wall. (Fallada, “Kleiner Mann”) | |
| tech. | Jenaer Glas | Jena glass | |
| chem. | Jenaer Glas | Jena glass | |
| chem. | Jenaer Glas | Schott’s glass | |
| total | Jenaer Glas | Heat Resistant Jena Glass | |
| Chem. | Keramik aus Glas | Glass Ceramic | |
| QE | Kern aus Glas | glass core | |
| chem. | kohlegelbes Glas | yellow glass, welded with charcoal | |
| food. | Konserven in Gläsern | canned food in glass jars | |
| food | Konservierung in Gläsern | Preserving in glass jars | |
| tech. | Contact glas | contact lens | |
| tech. | Kontaktaugen glas | contact lens | |
| chem. | krakeliertes Glas | glass with crackle pattern | |
| p. | kugelfestes Glas | bulletproof glass | |
| chem. | kugelsicheres Glas | bulletproof glass | |
| chem. | kugelsicheres Glas | fireproof glass | |
| chem. | Kunckel- Glas | Ruby Glass | |
| Chem. | Kunckel- Glas | Ruby | |
| tech. | Kupfer- Glas -Verschmelzung | copper-glass seal | |
| chem. | kurzes Glas | quick-hardening glass | |
| chem. | kurzes Glas | “short” glass (fast hardening glass) | |
| chem. | kurzes Glas | short glass | |
| chem. | künstlerisch gestaltetes Glas | art glass | |
| page | laminiertes Glas | laminated glass | |
| chem. | langes Glas | slow hardening glass | |
| chem. | langes Glas | long glass | |
| qd. | Laser aus dotiertem Glas | Doped glass laser | |
| QE | laseraktives Glas | Laser Glass | |
| QE | laserfähiges Glas | laser glass | |
| chem. | laugenfestes Glas | alkali resistant glass | |
| chem. | leicht schmelzbares Glas | low-melting glass | |
| chem. | leicht schymelzbares Glas | low-melting glass | |
| q.e. | leichtflüssiges Glas | low-melting glass | |
| quantum.e-mail | leichttrübes Glas | low scattering glass | |
| p. | leuchtendes Glas | luminous glass | |
| quant. | lichtabsorbierendes Glas | light absorbing glass | |
| QE | lichtabsorbierendes Glas | absorbing glass | |
| quant.e-mail | lichtdurchlässiges Glas | clear glass | |
| QE | lichtdurchlässiges Glas | light-transmitting glass | |
| chem. | lichtempfindliches Glas | photosensitive glass | |
| tech. | lichtempfindliches Glas | light sensitive glass | |
| chem. | lichttechnisches Glas | lighting glass | |
| chem. | lichtzerstreuendes Glas | light-scattering glass | |
| cinemat. | Luftblasen im Glas | Gas bubbles in optical glass | |
| cinemat. | Luftblasen im Glas | gas bubbles in optical glass | |
| chem. | lumineszierendes Glas | luminescent glass | |
| total | läßt die Glasses erklingen | let’s drink! | |
| total | läßt die Glasses erklingen | Let’s go nuts! | |
| total | läßt die Glasses erklingen | let the glasses clink! | |
| seam. | Manometer- Glas | glass eye (in the manometer Alexander Ryzhov ) | |
| total. | mattes Glas | frosted glass | |
| chem. | Mattglas getrübtes Glas | frosted glass | |
| page | mattiertes Glas | frosted glass | |
| tech. | Mattierung von Glas | Glass matting | |
| total | Medizin in das Glas tropfen | pour the medicine into a glass | |
| chem. | mehrfach überfangenes Glas | laminated applied glass | |
| tech. | Metall- Glas -Gehäuse | metal-glass case | |
| tech. | Metall- Glas -Schablone | Metallized metal-glass photomask | |
| microel. | Metall- Glas -Verschmelzung | metal-to-glass junction | |
| chem. | Metall-Keramik- Glas -Verschmelzung | glass-metal-ceramic junction | |
| materials | metallisches Glas | metglass ( Sergei Aprelikov ) | |
| metallisches Glas | glassy metal ( Sergei Aprelikov ) | ||
| materials | metallisches Glas | metal glass ( Sergei Aprelikov ) | |
| chem. | Millefiori- Glas | vit | |
| chem. | Millefiori- Glas | Filigree Venetian glass | |
| total. | mit dem Glas das Gelände absuchen | View the area with binoculars | |
| total. | mit den Glasses anstoßen | clink glasses | |
| total. | mit den Glasses zusammenklingen | clink glasses | |
| total. | mit den Glasses zusammenklingen | clink glasses | |
| chem. | mit Glas verstärktes Harz | glass-filled polymer | |
| eq. | mit paramagnetischen Ionen dotiertes Glas | glass doped with paramagnetic ions | |
| tech. | mitteltrübes Glas | opal glass | |
| tech. | mitteltrübes Glas | milk glass | |
| chem. | mundgeblasenes Glas | hand made glass | |
| total. | nach dem dritten Glas war er ganz selig | after the third drink he was very good | |
| tech. | Natron Kalk Glas | sodium-potassium glass (DIN 8902. Found here http://www.hennlich.ru/index.php?f=13565 Drift3r ) | |
| geol., petr. | natürliches Glas | obsidian | |
| geol., Pet. | natural Glas | volcanic glass | |
| qm | Nd- Glas -Laser | neodymium glass laser | |
| gen. | nehmen Sie ein Glas Wein! | Drink a glass of wine! | |
| total | nehmen Sie ein Glas Wein! | Take a glass of wine! | |
| qm | neodymdotiertes Glas | neodymium doped glass | |
| chem. | nicht entfärbtes Glas | unbleached glass | |
| QE | niedrig brechendes Glas | low refractive index glass | |
| total | Noch ein Glas ? Nicht? Sie versündigen sich an dem Weinchen und an sich selbst, Maybaum … | another drink? No? Sin, Maybaum, both in relation to guilt and in relation to oneself … (Weiskopf, “Abschied vom Frieden”) | |
| microel. | Oberflächenpassivierung durch Glas | glass passivation | |
| auto. | On- Glass -Antenne | Antenna glued to the rear window of a passenger car | |
| auto. | On- Glass -Antenne Onglass-Antenne | Antenna glued to the rear window of a passenger car | |
| chem. | opakes Glas | milk glass | |
| chem. | opakes Glas | opal glass | |
| chem. | opalisierendes Glas | opalescent glass | |
| tech. | optische Konstante der Glasses | optical constant of glasses | |
| tech. | optisches Glas | optical quality glass | |
| tech. | organisches Glas | plexiglass | |
| pp. | organisches Glas | organic glass | |
| chem. | organisches Glas | organic polymer glass | |
| tech. | organisches Glas | plexiglass | |
| chem. | organisches Glas aus Polymethakrylsäureester | methacrylate organic glass | |
| qnt. | Ovschinski- Glas | switching effect glass | |
| quantum.e-mail | photochromes Glas | photochromic glass | |
| chem. | photographisches Glas | plate glass | |
| qt. | photoleitendes Glas | photoconductive glass | |
| chem. | photosensibles Glas | photosensitive glass | |
| chem. | Pittsburgh-Plat- Glass -Verfahren | Boatless Vertical Pulling | |
| QE | Polieren optischer Glasses | glass polishing | |
| p. | poliertes Glas | polished glass | |
| chem. | polynäres Glas | multicomponent glass | |
| tech. | Pyrex- Glas | Pyrex (temperaturbeständiges Glas) | |
| tech. | Pyrex- Glas | Pyrex (temperaturbeständiges Glas) | |
| tech. | rauhes Glas | decayed glass | |
| tech. | regeneratives Glas | regenerative glass | |
| chem. | reinweißes Glas | clear glass | |
| chem. | resistentes Glas | heat-resistant glass | |
| chem. | resistentes Glas | resistant glass | |
| chem. | retikuliertes Glas | satin glass | |
| chem. | röntgenstrahlendurchlässiges Glas | x-ray clear glass | |
| chem. | röntgenstrahlendurchlässiges Glas | X-ray transparent glass | |
| food. | Saftstand glas | juice glass | |
| food grade | Saftstands glas | sokomer glass | |
| tech. | Scheinwerferspiegel aus Glas | glass mirror floodlight | |
| tech. | schlieriges Glas | curled glass | |
| total | Schließlich war es eine Ehre, eine Auszeichnung für ihn, wenn ein Major seine Frau und Gattin zu einem Glase Sekt einlud | In the end, it was an honor for him, the difference was that the major invited his wife to a glass …(Strittmatter, “Wundertäter”) | |
| mineral. | Schliffverbindung aus Glas | glass thin section | |
| tech. | Schmelzofen für Glas | Glass furnace | |
| total | Schrill zersplitterte das Glas | Glass shattered with a clink. (Weiskopf, “Abschied vom Frieden”) | |
| military | schusssicheres Glas | bulletproof glass | |
| avia. | schusssicheres Glas | armored glass | |
| chem. | schusssicheres Glas | fireproof glass | |
| chem. | schusssicheres Glas | bulletproof glass | |
| total | schusssicheres Glas | bulletproof bulletproof glass | |
| chem. | schußfestes Glas | bulletproof glass | |
| chem. | schwer schmelzbares Glas | refractory glass | |
| qp | schwerflüssiges Glas | refractory glass | |
| p. | schwerschmelzendes Glas | refractory glass | |
| chem. | Schwimm- Glas -Verfahren | method of obtaining polished glass by passing through a molten metal | |
| chem. | Schwimm- Glas -Verfahren | Pilkington method | |
| chem. | schäumiges Glas | bubble glass | |
| chem. | schäumiges Glas | foam glass | |
| total | sein Glas erheben | raise your glass | |
| joke | seine Nase zu tief ins Glas stecken | more than enough | |
| joke | seine Nase zu tief ins Glas stecken | drink too much | |
| total | setze die Glasses bitte hier hin! | Please put the glasses here! | |
| total | sie kann auf Glas malen | she can draw on glass | |
| total. | sie schenkte den Wein in die Glasses ein | she poured wine into glasses | |
| total. | sie spülten schnell zwei Glasses | they quickly rinsed two glasses | |
| total. | Sie verließ das Zimmer und kam erst nach einiger Zeit mit einem großen Glas Grog zurück | She left the room and returned only after a while with a large glass of grog. (Kellermann, “Totentanz”) | |
| cinemat. | Spannungen im Glas | Glass stresses | |
| chem. | splitterfestes Glas | safety glass | |
| chem. | splitterfestes Glas | safety glass | |
| tech. | splitterfreies Glas | safety glass | |
| tech. | splitterfreies Glas | triplex | |
| total | splitterfreies Glas | safety glass | |
| auto. | splitterfreies Glas | safety glass | |
| total | splitterfreies Glas | safety glass | |
| tech. | splittersicheres Glas | triplex | |
| pp. | splittersicheres Glas | safety glass | |
| tech. | splittersicheres Glas | safety glass | |
| military | splittersicheres Glas | safety glass | |
| chem. | steiniges Glas | glass containing the inclusion of a “stone” (defect in the glass) | |
| tech. | technisches Glas | technical glass | |
| total | Tee in das Glas gießen | pour tea into a glass | |
| astr. | Teilkreis aus Glas | split glass circle | |
| chem. | ternäres Glas | three-component glass | |
| chem. | Theorie vom Aufbau des Glases aus Kristalliten | theory of the crystallite structure of glass | |
| chem. | Theorie vom Aufbau des Glases aus Kristalliten | crystal theory | |
| chem. | thermometrisches Glas | thermometric glass | |
| p. | Transmissionsgrad des Glases | glass light transmittance | |
| p. 90 152 | Transmissionsgrad des Glases | glass light transmittance | |
| qty. | transparentes Glas | clear glass | |
| tech. | trübes Glas | cloudy glass | |
| tech. | trübes Glas | tinted glass | |
| chem. | Trübung des Glases | glass jamming | |
| chem. | Trübung des Glases | Glass attenuation | |
| total | unter Glas | under glass | |
| page | unzerbrechliches Glas | safety glass | |
| chem. | UV-durchlässiges Glas | UV glass | |
| microcell. | UV- Glas | UV glass | |
| chem. | UV- Glas | vita-glas | |
| chem. | Verwitterung von Glas | glass aging | |
| chem. | Verzierung des Glases | glass trim | |
| chem. | vorgespanntes Glas | prestressed glass | |
| tech. | vorgespanntes Glas | tempered glass | |
| geol., Petr. | vulkanisches Glas | volcanic glass | |
| geol., Pet. | vulkanisches Glas | obsidian | |
| geol., petr. | wasserhaltiges vulkanisches Glas | water-containing volcanic glass | |
| geol., Pet. | wasserhaltiges vulkanisches Glas | pechstein | |
| geol. | wasserhaltiges vulkanisches Glas | volcanic glass containing water | |
| geol., Pet. | wasserhaltiges vulkanisches Glas | perlite | |
| chem. | weiches Glas | soft glass | |
| total | Wein in Glasses schenken | pour wine into glasses | |
| total | Wenn ihn jemand nur anblickte, so hob er in verschwenderischer Laune sein Glas … | when someone looked at him, he raised his glass with a sweeping gesture … (Kellermann, “Totentanz”) | |
| chem. | wild umsponnenes Glas | tangled glass | |
| chem. | wärmeabsorbierendes Glas | heat absorbing glass | |
| cinemat. | wärmebeständiges Glas | heat-resistant glass | |
| p. | wärmebeständiges Glas | heat-resistant glass | |
| quant.e-mail | wärmebeständiges Glas | heat-resistant glass | |
| page | wärmeisolierendes Glas | heat-reflecting glass | |
| tech. | zerhaltiges Glas | cerium glass | |
| tech. | zerkleinertes Glas | crushed glass | |
| phrases. | zu tief ins Glas schauen | Too much alcohol, drink too much alcohol ( truthahn ) | |
| total. | zwei Glas Konfitüre | two jars of jam | |
| total | zwei Glas Wein | two glasses of wine | |
| mor. | zwei Glasen geben | break through two flasks | |
| chem. | zweifarbiges Glas | bicolor glass |
Love in the time of the apocalypse: Alexander McQueen presented the spring collection
Spring-Summer – 2021
Sarah Burton presented the new Spring-Summer 2021 collection for Alexander McQueen. The collection includes dresses and blouses with cocoon-shouldered shoulders draped in the shape of butterfly wings, as well as dresses made of thin tulle with corset tops, long puffy ballerina skirts and a dress with airy layers of tulle, like a cloud of cotton candy; denim and leather biker jackets, raincoats and coats, bombers, trousers, tracksuits.
The designer focused on the sleeves – puffy, sculptural and light, they added the splendor of the Elizabethan era to clothes.
“Form, silhouette and volume, beauty of ‘nude’ clothes, devoid of its essence – this is a world changed by emotions and human connections” – this is how Sarah Burton described the collection.
Also, the creative director of the house presented a short film First Light dedicated to the collection. The 5-minute clip was directed by Jonathan Glazer.The film was filmed in East London a few weeks before the presentation of the collection.
The picture came out somewhat dramatic. In the video, models wander along the banks of the Thames on a winter morning, as if in a post-apocalyptic world, stopping for a picnic under the London Bridge in the brand’s spectacular outfits.
See also: Roses, Degradation and 1950s Hollywood in the Alexander McQueen Cruise Collection
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Hypersensitive pneumonitis: clinical and radiological semiotics, treatment
Authors:
VK. Gavrisyuk, Corresponding Member NAMS of Ukraine, Dr. med. Sci., Professor, State Institution “National Institute of Phthisiology and Pulmonology named after F.G. Yanovskiy NAMS of Ukraine “, g.Kiev
Hypersensitive pneumonitis (HP) is a disease based on immunologically induced inflammation of the pulmonary parenchyma with the involvement of the walls of the alveoli and bronchi in the pathological process due to repeated inhalation of various organic antigens [1].
J.Campbell in 1932 [2]. In 1967 J. Pepys proposed the term “exogenous allergic alveolitis” to denote a lung disease associated with hypersensitivity to inhaled organic antigens [3]. This term was used until the adoption by the World Health Organization in 1990 of the International Classification of Diseases of the 10th revision – since that time, exogenous allergic alveolitis is referred to as hypersensitive pneumonitis (ICD code 10: J67).
The main cause of HP is bacterial, fungal, protein antigens of animal origin, antigens of plant origin and drug allergens [4].
Most often, SOE develops in those who work in the agricultural sector of the economy (on poultry farms, livestock complexes, grain farms, etc.), as well as in food enterprises (production of beer, dairy products, yeast, cheeses, etc.), textile and clothing (processing of fur, cotton, flax), chemical and pharmaceutical (production of detergents, plastics, dyes, medicines), woodworking (wood processing, paper production) industries [5].In recent years, there has been a significant increase in the incidence of HP, which is primarily associated with inhalation of household allergens [4].
The main role in the pathogenesis of HP is played by immunocomplex allergic reactions, although allergic reactions of another type (cytotoxic and delayed) are possible [6]. Circulating immune complexes and specific antibodies activate the complement system and alveolar macrophages. The latter secrete interleukin-2, chemotactic factors, proteolytic enzymes, active oxygen radicals, promote the growth of fibroblasts, collagen production.As a result, alveolobronchiolitis develops, fibrosis of the interstitium occurs. With prolonged or repeated entry into the lungs of an antigen or a substance with an adjuvant property, an allergic reaction of a delayed type develops, which leads to the formation of granulomas [7].
Distinguish between acute, subacute and chronic forms of HP.
Acute form of GP
Pathomorphological substrate of acute HP is alveolitis, often in combination with bronchiolitis.Edema and infiltration of the alveoli, interalveolar septa, bronchiole walls by lymphocytes, plasma cells, neutrophils, and histiocytes are characteristic of the acute form of HP.
Clinical manifestations of the acute form of HP develop, as a rule, 4-12 hours after the antigen enters the lungs. The characteristic symptoms of the disease are chills, fever, shortness of breath, cough (dry or with scanty mucous sputum), general weakness, pain in the chest, muscles, joints, headache. Along with this, some patients may experience bouts of shortness of breath, the phenomenon of vasomotor rhinitis.
During the acute phase of the disease, crepitus is determined by auscultation, often over the entire surface of the lungs. In the presence of bronchospasm, dry wheezing sounds are heard.
In cases of termination of contact with the antigen, the listed symptoms can disappear without treatment within a relatively short time (12-48 hours). If contact with the causative agent continues, the acute form of the disease takes a progressive course and the prognosis of the disease becomes much more serious.
In the clinical analysis of blood in patients with acute HP, leukocytosis, a shift to the left of the leukocyte formula, an increase in the erythrocyte sedimentation rate are often present. Some patients may have mild eosinophilia. These changes are nonspecific and should be taken into account primarily to assess the activity and severity of the pathological process [4].
X-rays of the chest cavity organs usually show a diffuse decrease in transparency, like ground glass, sometimes with an increase in the pulmonary pattern.Pulmonary dissemination is common.
Signs of alveolitis are most accurately identified by high-resolution computed tomography (CT). The CT pattern of alveolitis is represented by nodules, located tightly to each other and occupying almost the entire area of the cut. Unlike nodules located in the interstitium of the bronchovascular bundles, interlobular septa (sarcoidosis and other granulomatous diseases), which have a dense structure and clear outlines (sharp nodules), nodules caused by edema and infiltration of the alveoli have low-intensity density and blurry nodules – Figure 1.
Fig. 1. Left – CT of patient M., 38 years old, sarcoidosis of the lungs: nodules located in the interstitium; right – CT of patient I., 31 years old, alveolitis as a manifestation of HP: nodules localized in the alveolar spaces
With the spread of edema from the walls of the alveoli to the septal interstitium (the septa between the acini and the secondary pulmonary lobules), the nodular pattern transforms into a diffuse decrease in the transparency of the parenchyma like ground glass (Fig.2).
Fig. 2. CT scan of patient O., 37 years old, HP, acute form; on the left – before treatment, parenchyma density: -763 HU; on the right – 6 weeks after two-stage therapy with dexamethasone and methylprednisolone (MP), parenchyma density: -896 HU
The acute form of HP usually responds well to treatment with glucocorticosteroids (GCS). Figure 3 shows the dynamics of CT data after GCS therapy for 1 month.
A detailed survey of the patient in most cases allows to establish the source of the allergen, and the subsequent allergological examination – to identify it.
Fig. 3. CT scan of patient O., 22 years old, HP, acute form; on the left – before treatment, on the right – 1 month after GCS therapy
Subacute form of HP
When the body is exposed to small doses of antigen, it is far from always possible to identify a clear time relationship between the intake of antigen in the body and the clinical manifestations of the disease. In such cases, the onset of the disease has a mild character, and patients do not always go to the doctor in a timely manner.The gradual development of signs of the disease makes it difficult (for both the doctor and the patient) to identify the relationship between symptoms and the impact of any specific professional or household factor. In these cases, we are talking about a subacute form of the disease.
The pathomorphological basis of the subacute form of HP is the formation of epithelioid cell noncaseating granulomas of the sarcoid type.
The clinical picture of the subacute form of HP is characterized by shortness of breath with moderate exercise, cough with a small amount of mucous sputum, subfebrile body temperature, increased fatigue, decreased apatite, weight loss.
In the diagnosis of HP, particular importance is attached to the identification of specific precipitins (precipitating antibodies) belonging to the class of immunoglobulins G [9]. However, it should be noted that the detection of precipitating antibodies in persons in contact with a certain antigen does not have an independent meaning. The detection of precipitins primarily indicates contact with the corresponding antigen and the presence of hypersensitivity to it. For example, in farmers without signs of HP, specific antibodies are detected in 10-50% of cases [10].
Useful information can be obtained when examining bronchoalveolar lavage fluid. Changes in the cellular composition of the lavage fluid are characterized by an increase in the total number of cells and the percentage of lymphocytes (from 20-30 to 70-90% of the total cellular composition) [11].
A number of researchers propose to use an inhalation provocation test for the diagnosis of HP [12]. It is assessed as positive if, after inhalation of aerosols containing putative antigens, the patient’s subjective condition worsens (assessed by the patient as influenza-like), the body temperature rises, the respiratory rate decreases, the vital capacity of the lungs decreases, and their diffusion capacity decreases.Conducting provocative inhalation tests in the acute stage is the most informative, however, it is associated with a worsening of the patient’s condition, less informative in the subacute stage, practically useless in the chronic stage of the disease. Skin tests are not widely used due to the high percentage of negative results in the presence of a detailed clinical picture of the disease [13].
Thus, despite the availability of laboratory tests, the diagnosis of HP remains clinical. The most important thing in diagnosing HP is to remember about the possibility of its development, to carry out a detailed analysis of production factors, living conditions, geographical and climatic characteristics of the patient’s area of residence, and to use the method of excluding alternative diagnoses.
Changes on CT in patients with subacute form of HP are fundamentally different from CT pattern of acute form [14, 15]. Epithelioid cell granulomas, diffusely localized in the subpleural interstitium, located under the visceral pleura, and in the interstitium of the interlobular septa, cause the formation of areas of frosted glass with fairly clear boundaries (Fig. 4).
Fig. 4. CT scan of patient B., 62 years old, HP, subacute form; on the left – before treatment: extensive areas of reduced transparency of the parenchyma as frosted glass; right – 4 weeks after MP therapy: process resolution
Often granulomas merge into conglomerates, forming nodules of various sizes and seals along the bronchovascular bundles (Fig.five).
In patients with subacute HP, there is often an increase in bronchopulmonary lymph nodes, however, unlike lymphadenopathy in sarcoidosis, the size of the hilar nodes along the short axis rarely exceeds 15 mm.
GCS-therapy of patients with subacute form of HP is usually effective, at the same time, the resolution of the process can vary within wide limits – from several weeks (Fig. 4) to several months (Fig. 5).
It should be noted that, in contrast to the acute form of HP, in which in a significant part of cases it is possible to determine the relationship between the development of symptoms and inhalation of the allergen, the diagnosis of the subacute form is often difficult.
Clinical semiotics (shortness of breath, unproductive cough, subfebrile body temperature) in patients with subacute HP is nonspecific and can be considered only by the criterion of compatibility with the diagnosis.
The CT pattern of pathological changes in the parenchyma is quite specific for HP – multiple areas of reduced transparency, like ground glass, distributed in different zones of the lungs. This pattern differs significantly from the nature of CT changes in idiopathic interstitial pneumonia, but it is also characteristic of toxic, primarily drug-induced, pneumonitis – such a diagnosis should always be considered as an alternative.
Thus, in cases of an unidentified relationship between the development of clinical symptoms and inhalation of any allergen, the diagnosis of HP should be based on characteristic CT signs, excluding alternative diagnoses in the presence of compatible clinical semiotics.
Fig. 5. CT of patient O., 54 years old, HP, subacute form; on the left – before treatment: areas of reduced transparency of the parenchyma by the type of ground glass in combination with nodules and seals along the bronchovascular bundles; on the right – 6 months after MP therapy: process resolution
Chronic form of GP
With continued contact with the allergen and the absence of specific therapy, over time, proliferative processes begin to prevail in the lungs, granulomas are transformed into connective tissue structures.The morphological picture of the chronic stage of HP completely loses the features of its relative specificity. In this regard, the absence of granulomas in the biopsy material does not exclude the diagnosis of HP [16].
The clinical picture is dominated by the symptoms of respiratory failure, while CT shows signs of widespread pulmonary fibrosis (Fig. 6).
It is possible to establish, presumably, HP as a cause of pulmonary fibrosis only on the basis of professional history data – long-term work experience in contact with organic allergens.Since in these cases it is impossible to exclude the presence of an active granulomatous process in the lungs, it is advisable for the patient to prescribe a trial GCS therapy with an assessment of effectiveness based on clinical and functional data, primarily the dynamics of the lung diffusion capacity indicator. At the same time, it should be noted that patients with chronic HP, as a rule, belong to the older age group and, in addition to respiratory failure, have concomitant diseases that limit the use of GCS.In this regard, the decision on the appointment of GCS therapy should be made after a thorough analysis of the “benefit-risk” ratio.
Treatment
GCS are the drugs of choice in the treatment of patients with HAP [4, 13]. In the acute form of the disease, it is recommended to use stepwise therapy: intravenous dexamethasone (8-16 mg per day, depending on the severity of the course) for 7-10 days, followed by oral MP administration at a dose of 0.2-0.4 mg / kg / day taking into account the severity of alveolitis.Dexamethasone, on average, is 5 times higher than MP in the degree of anti-inflammatory activity; therefore, its use provides the maximum anti-inflammatory effect at the start of therapy. The MP dose is kept unchanged for 4 weeks, after which GCS therapy is continued in a dose reduction mode of 2 mg / week until complete cancellation.
In the subacute form of HP, treatment begins with taking a tabletted MP at a dose of 0.4 mg / kg / day for 4 weeks, then in the dose reduction mode at such a rate that by the end of the 3rd month it will be 0.2 mg / kg / dayAfter that, a control CT study is carried out, in the presence of positive dynamics, treatment is continued in a mode of gradual dose reduction to 0.1 mg / kg / day by the end of the 6th month. The basis for the cancellation of GCS therapy is the resolution of the process.
In some patients with subacute HP, resistance to GCS therapy is observed, which is quite often observed in other granulomatous diseases. According to our data, in patients with pulmonary sarcoidosis, resistance to GCS therapy occurs in 17% of cases.
Resistance to GCS therapy is differentiated into absolute and relative. Cases of absolute resistance are recorded in patients with signs of progression or stabilization of the process after 3 months of MP treatment at a starting dose of 0.4 mg / kg / day for 1 month, followed by a dose reduction to 0.2 mg / kg / day by the end of 3 months. th month. That is, absolute resistance means the absence of any positive effect from the use of an adequate dose of drugs and a therapy regimen.Relative resistance to GCS therapy is stated in cases of progression or stabilization of the process with a decrease in the MP dose from 0.2 mg / kg / day to maintenance (0.1 mg / kg / day) in the period from 4 to 6 months with the presence of signs of regression at the stages of initial therapy against the background of the use of initially higher doses of MP.
Absolute resistance is the basis for the abolition of GCS and the appointment of methotrexate at a dose of 15 mg / week. In cases of relative resistance, combined treatment with GCS and methotrexate is carried out – it is necessary to return to the MP dose equal to 0.2 mg / kg / day, and add methotrexate at 10 mg / week.Treatment with methotrexate requires monitoring the number of leukocytes, platelets and the content of alanine aminotransferase in the peripheral blood (2 weeks after the start of therapy, then once every 3-4 weeks).
Figure 7 demonstrates the positive effect of combination therapy after unsuccessful MP treatment with a decrease in its dose to a maintenance dose.
Fig. 7. CT of the left lung of patient R., 38 years old, HP, subacute form:
A. Visit 2 – 3 months after the appointment of MP at a starting dose of 24 mg / day, followed by a decrease; the patient is taking MP at 12 mg / day, continued GCS therapy is prescribed in the dose reduction mode to 6 mg / day by the end of the 6th month;
B.Visit 3 – 6 months after the start of treatment; MP dose – 6 mg / day: no significant changes in CT data are observed, methotrexate was prescribed at 10 mg / week, the MP dose was increased to 12 mg / day;
B. Visit 4 – after 3 months of combination therapy: area of ground glass areas and nodular dissemination decreased
In conclusion, it should be noted that the cases of resistance to GCS therapy in patients with subacute form of HP are still quite rare; in most patients, timely GCS treatment allows achieving resolution of the process with restoration of ventilation function and diffusion capacity of the lungs.
Literature
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3. Pepys J. Hypersensitivity to inhaled organic antigens // J. Roy. Coll. Physicans. – 1967. – Vol. 2. – P. 42-51.
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Thematic issue “Pulmonology, Alergology, Rhinolaryngology” No. 1 (42), 2018 r.
STATTIES FOR THE TOPIC Pulmonology and otorhinolaryngology
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