Tendencies in the Dynamics of Birds Community in Agricultural Landscapes of the Steppe Trans-Urals at the Turn of the Century

At the stage of water treatment for irrigation systems, the efficiency capture coarse and fine mechanical impurities, as well as oil products and organic compounds affects the reliability of the equipment of the irrigation network and the safety of energy exchange processes in irrigated agricultural landscapes. The violation of work irrigation system can cause disruptions in irrigation schedules of agricultural crops, crop shortages, degradation phenomena on the soil and ecological tension. For the combined irrigation system, a water treatment unit has been developed, representing a hydrocyclone apparatus with a pipe filter in the case. For the capacity of 250 m3/h the main geometrical dimensions of hydrocyclone have been calculated. To organize the capture petroleum products and organic compounds, it has been proposed a modernization of a hydrocyclone unit, consisting in dividing the cylindrical part of the apparatus into two section. The first is section is for input irrigation water, the second one is for additional drainage of clarified irrigation water after sorption purification by the filter, placed on the disk and installed coaxially with the drain pipe and the pipe filter.

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Obscure(d) Modernism: The Aesthetics of the Architect Pal Ligeti

Modernist Cultures ◽

10.3366/e2041102209000380 ◽

2008 ◽

Vol 3 (2) ◽

pp. 139-153

Author(s):

Rajesh Heynickx

Keyword(s):

Turn Of The Century

On an old picture, taken in Budapest in the early 1930s, a little girl is leaning on the wall around the Halaszbastya or Fisherman's Bastion. From this mock fortification, built for the Hungarian Millennium celebrations of 1896, she had a marvellous view of the skyline of the Hungarian capital which was dominated by one building: the parliament (fig. 1). It is quite possible that the little girl was counting the number of white neo-gothic turrets and arches of the parliament that was, just as the fortress on which she was standing, built at the turn of the century, to express the sovereignty of the nation. Maybe she tried to decipher some of the sculptures on the walls of the parliament which represented Hungarian rulers and famous military people.

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The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

Studia Musicologica ◽

10.1556/6.2019.00012 ◽

2020 ◽

Vol 60 (1-4) ◽

pp. 243-262

Author(s):

Gloria A. Rodríguez-Lorenzo

Keyword(s):

Twentieth Century ◽

String Quartets ◽

Musical Theatre ◽

Turn Of The Century ◽

Going Public ◽

Spanish Music ◽

Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

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