Avenida Rio Branco
The Avenida Rio Branco Avenida Central, is a major road in Rio de Janeiro. It was built as the leading brand of the urban reform carried out by the mayor Pereira Passos in early 20th century, it is one of the main thoroughfares of the city. The Rio de Janeiro of the early years of Republic still retained much of its colonial urban grid, which by now seemed outdated and anachronistic. Moreover, the old colonial center of town was overcrowded and prone to diseases such as yellow fever and smallpox. Out of this context came the opening of Central Avenue, part of a major modernization program in Rio de Janeiro following European urban planning and health policies; the engineer Francisco Pereira Passos was responsible for the reforms, appointed governor of Rio de Janeiro by President Rodrigues Alves in 1902. The works commenced in March 1904 with the demolition of 641 homes, displacing nearly 3,900 people. After six months of work was open from end to end. At the same time opened up the avenue of Mangue, razed to the Mount of the Senate, widened streets in the center, urbanized part of the edge of Guanabara Bay and began the urbanization of Copacabana among other reforms.
At the end of the government of Pereira Passos, in 1906, The city had a new look. The Central Avenue linking the new port city to the region glory, which at that time was expanding urbanism; the engineer Paulo de Frontin, head of the Construction Committee of Central Avenue, was responsible for the project. The new avenue was 1800 meters long and 33 meters wide and three hundred colonial houses were razed in the process to raise modern buildings; the facades of buildings for the Central Avenue were chosen in a contest, in which jurors were, among others, Mayor Pereira Passos, Paulo de Front in the Minister of Transportation and Public Works, Lauro Müller and the Director General of Public Health Oswaldo Cruz. The buildings are constructed work of various architects of European origin, with some Brazilians as Heitor de Melo, Gabriel Junqueira, Francisco Monteiro de Azevedo Caminhoá and Ramos de Azevedo; the first to be erected, now demolished, was the Tobacconist London. In stylistic terms, the construction of Central Avenue is the pinnacle of eclectic style monumental in Rio besides government buildings, rose several hotels, corporate offices, clubs, etc..
The predominant style was eclectic Frenchified, but several other models were followed, as the eclectic Italianate, neo-Gothic, neo-classical, among others. The avenue had electric lighting; the sidewalks in Portuguese mosaic were made by craftsmen from Portugal. The avenue ended at Central Praça Floriano Peixoto, around which were erected several public buildings of great architectural value that still exist: the Theatre, the National School of Fine Arts And the National Library. At the end of the avenue was constructed Monroe Palace, Senate seat destroyed in 1976; the avenue was opened on September 7 of 1904 President of the Republic, Rodrigues Alves and delivered to traffic on November 15 of 1905. Received beautiful trees, which started on October 22, 1905 by planting the first tree pau-Brazil; when increased, but the trees were removed and the sidewalk that divided in half. On February 21 of 1912, the name was changed to Avenue Rio Branco in honor of Rio Branco, Brazilian diplomat responsible for treaties which guaranteed the borders of Brazil who had died on February 10.
From the 1940s, with the advancement of architectural concrete, The avenue began to appear architecturally disfigured, to the point where, only a handful of original buildings are preserved. The much greater height of these newer buildings leaves little of the original scale remaining, much of the street is cast into shadow; the Avenida Rio Branco is still one of the most important arteries of the city, in which are some of the major banks and offices in Rio de Janeiro
The Palais Garnier is a 1,979-seat opera house, built from 1861 to 1875 for the Paris Opera. It was called the Salle des Capucines, because of its location on the Boulevard des Capucines in the 9th arrondissement of Paris, but soon became known as the Palais Garnier, in recognition of its opulence and its architect, Charles Garnier; the theatre is often referred to as the Opéra Garnier and was known as the Opéra de Paris or the Opéra, as it was the primary home of the Paris Opera and its associated Paris Opera Ballet until 1989, when the Opéra Bastille opened at the Place de la Bastille. The Paris Opera now uses the Palais Garnier for ballet; the Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica." This is at least due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and the novel's subsequent adaptations in films and the popular 1986 musical.
Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one, "unquestionably a masterpiece of the first rank." This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave". The Palais Garnier houses the Bibliothèque-Musée de l'Opéra de Paris, although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque Nationale de France; the museum is included in unaccompanied tours of the Palais Garnier. The opera was constructed in what Charles Garnier is said to have told the Empress Eugenie was "Napoleon III" style The Napoleon III style was eclectic, borrowed from many historical sources; these were combined with axial symmetry and modern techniques and materials, including the use of an iron framework, pioneered in other Napoleon III buildings, including the Bibliotheque Nationale and the markets of Les Halles.
The façade and the interior followed the Napoleon III style principle of leaving no space without decoration. Garnier used polychromy, or a variety of colors, for theatrical effect, achieved different varieties of marble and stone and gilded bronze; the façade of the Opera used seventeen different kinds of material, arranged in elaborate multicolored marble friezes and lavish statuary, many of which portray deities of Greek mythology. The principal façade is on the south side of the building, overlooking the Place de l'Opéra and terminates the perspective along the Avenue de l'Opéra. Fourteen painters and seventy-three sculptors participated in the creation of its ornamentation; the two gilded figural groups, Charles Gumery's L'Harmonie and La Poésie, crown the apexes of the principal façade's left and right avant-corps. They are both made of gilt copper electrotype; the bases of the two avant-corps are decorated with four major multi-figure groups sculpted by François Jouffroy, Jean-Baptiste Claude Eugène Guillaume, Jean-Baptiste Carpeaux, Jean-Joseph Perraud.
The façade incorporates other work by Gumery, Alexandre Falguière, others. Gilded galvanoplastic bronze busts of many of the great composers are located between the columns of the theatre's front façade and depict, from left to right, Auber, Mozart, Spontini and Halévy. On the left and right lateral returns of the front façade are busts of the librettists Eugène Scribe and Philippe Quinault, respectively; the sculptural group Apollo and Music, located at the apex of the south gable of the stage flytower, is the work of Aimé Millet, the two smaller bronze Pegasus figures at either end of the south gable are by Eugène-Louis Lequesne. Known as the Rotonde de l'Empereur, this group of rooms is located on the left side of the building and was designed to allow secure and direct access by the Emperor via a double ramp to the building; when the Empire fell, work stopped. It now houses the Bibliothèque-Musée de l'Opéra de Paris, home to nearly 600,000 documents including 100,000 books, 1,680 periodicals, 10,000 programs, letters, 100,000 photographs, sketches of costumes and sets and historical administrative records.
Located on the right side of the building as a counterpart to the Pavillon de l'Empereur, this pavilion was designed to allow subscribers direct access from their carriages to the interior of the building. It is covered by a 13.5-metre diameter dome. Paired obelisks mark the entrances to the rotunda on the south; the interior consists of interweaving corridors, stairwells and landings, allowing the movement of large numbers of people and space for socialising during intermission. Rich with velvet, gold leaf, cherubim and nymphs, the interior is characteristic of Baroque sumptuousness; the building features a large ceremonial staircase of white marble with a balustrade of red and green marble, which divides into two divergent flights of stairs that lead to the Grand Foyer. Its design was inspired by Victor Louis's grand staircase for the Théâtre de Bordeaux; the pedestals of the staircase are decorated with female torchères, created by Albert-Ernest
Centro, Rio de Janeiro
Centro is a neighborhood in Zona Central of Rio de Janeiro, Brazil. It represents the financial heart of the city, the crux of the Central Region. Despite still having a large number of residences, the neighborhood is predominantly commercial with a mixture of historical buildings as well as modern skyscrapers. Residential areas lie along Rua do Riachuelo and Castelo; the historic and financial centre of the city, sites of interest include the Paço Imperial, Candelária Church, the Old Cathedral of Rio de Janeiro, the modern-style Saint Sebastian's Cathedral. Around Marechal Floriano Square, there are several landmarks from the Belle Époque such as the Municipal Theatre and the National Library building; the Centro area has several museums such as the National Museum of Fine Arts and the National Historical Museum. Other important historical attractions in downtown Rio include its Passeio Público, an 18th-century public garden, as well as the imposing arches of the Carioca Aqueduct. A "bondinho" leaves from a station near Saint Sebastian's Cathedral, crosses the aqueduct and rambles through the hilly streets of the nearby Santa Tereza neighbourhood.
Downtown remains the heart of the city's business community. Some of the largest companies in Brazil have their head offices here, including Petrobras, Eletrobras, BNDES and Vale. Most of Rio's skyscrapers the tallest ones, are located in this neighbourhood. Crowded from Monday to Friday during regular work hours, it becomes empty during the evening and on Saturdays and holidays. Centro, Rio de Janeiro travel guide from Wikivoyage
Art Nouveau is an international style of art and applied art the decorative arts, most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures the curved lines of plants and flowers. English uses the French name Art Nouveau; the style is related to, but not identical with, styles that emerged in many countries in Europe at about the same time: in Austria it is known as Secessionsstil after Wiener Secession. Art Nouveau is a total art style: It embraces a wide range of fine and decorative arts, including architecture, graphic art, interior design, furniture, ceramics, glass art, metal work. By 1910, Art Nouveau was out of style, it was replaced as the dominant European architectural and decorative style first by Art Deco and by Modernism. Art Nouveau took its name from the Maison de l'Art Nouveau, an art gallery opened in 1895 by the Franco-German art dealer Siegfried Bing that featured the new style. In France, Art Nouveau was sometimes called by the British term "Modern Style" due to its roots in the Arts and Crafts movement, Style moderne, or Style 1900.
It was sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, Art fin de siècle. In Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the Arts and Crafts movement led by Charles Rennie Mackintosh in Glasgow, as the "Glasgow" style. In Italy, because of the popularity of designs from London's Liberty & Co department store, it was called Stile Liberty, Stile floreale, or Arte nuova. In the United States, due to its association with Louis Comfort Tiffany, it was called the "Tiffany style". In Germany and Scandinavia, a related style emerged at about the same time. In Austria and the neighboring countries part of the Austro-Hungarian Empire, a similar style emerged, called Secessionsstil in German, or Wiener Jugendstil, after the artists of the Vienna Secession; the style was called Modern in Nieuwe Kunst in the Netherlands. In Spain the related style was known as Modernismo, Arte joven.
Some names refer to the organic forms that were popular with the Art Nouveau artists: Stile Floreal in France. The new art movement had its roots in Britain, in the floral designs of William Morris, in the Arts and Crafts movement founded by the pupils of Morris. Early prototypes of the style include the Red House of Morris, the lavish Peacock Room by James Abbott McNeill Whistler; the new movement was strongly influenced by the Pre-Raphaelite painters, including Dante Gabriel Rossetti and Edward Burne-Jones, by British graphic artists of the 1880s, including Selwyn Image, Heywood Sumner, Walter Crane, Alfred Gilbert, Aubrey Beardsley. In France, the style combined several different tendencies. In architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. In his 1872 book Entretiens sur l'architecture, he wrote, "use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, in that way we can inaugurate a new architecture.
For each function its material. This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, Antoni Gaudí; the French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration. "I believe that before everything a painting must decorate", Denis wrote in 1891. "The choice of subjects or scenes is nothing. It is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions." These painters all did both traditional painting and decorative painting on screens, in glass, in other media. Another important influence on the new style was Japonism: the wave of enthusiasm for Japanese woodblock printing the works of Hiroshige and Utagawa Kunisada which were imported into Europe beginning in the 1870s; the enterprising Siegfried Bing founded a monthly journal, Le Japon artistique in 1888, published thirty-six issues before it ended in 1891.
It influenced both artists, including Gustav Klimt. The stylized features of Japanese prints appeared in Art Nouveau graphics, porcelain and furniture. New technologies in printing and publishing allowed Art Nouveau to reach a global audience. Art magazines, illustrated with photographs and color lithographs, played an essential role in popularizing the new style; the Studio in England, Arts et
An opera house is a theatre building used for opera performances that consists of a stage, an orchestra pit, audience seating, backstage facilities for costumes and set building. While some venues are constructed for operas, other opera houses are part of larger performing arts centers. Indeed the term opera house itself is used as a term of prestige for any large performing-arts center; the first public opera house was the Teatro San Cassiano in Venice, opened in 1637. Italy is a country where opera has been popular through the centuries among ordinary people as well as wealthy patrons and it continues to have a large number of working opera houses such as Teatro Massimo in Palermo, Teatro di San Carlo in Naples and Teatro La Scala in Milan. In contrast, there was no opera house in London when Henry Purcell was composing and the first opera house in Germany was built in Hamburg in 1678. In the 17th and 18th centuries, opera houses were financed by rulers and wealthy people who used patronage of the arts to endorse their political ambition and social position.
With the rise of bourgeois and capitalist social forms in the 19th century, European culture moved away from its patronage system to a publicly supported system. Early United States opera houses served a variety of functions in towns and cities, hosting community dances, fairs and vaudeville shows as well as operas and other musical events. In the 2000s, most opera and theatre companies are supported by funds from a combination of government and institutional grants, ticket sales, private donations; the Teatro San Carlo in Naples, opened in 1737, introduced the horseshoe-shaped auditorium, the oldest in the world, a model for the Italian theater. On this model were built subsequent theaters in Italy and Europe, among others, the court theater of the Palace of Caserta, which became the model for other theaters. Given the popularity of opera in 18th and 19th century Europe, opera houses are large containing more than 1,000 seats. Traditionally, Europe's major opera houses built in the 19th century contained between about 1,500 to 3,000 seats, examples being Brussels' La Monnaie, Odessa Opera and Ballet Theater, Warsaw's Grand Theatre, Paris' Palais Garnier, the Royal Opera House in London and the Vienna State Opera.
Modern opera houses of the 20th century such as New York's Metropolitan Opera House and the War Memorial Opera House in San Francisco are larger. Many operas are better suited to being presented in smaller theaters, such as Venice's La Fenice with about 1,000 seats. In a traditional opera house, the auditorium is U-shaped, with the length of the sides determining the audience capacity. Around this are tiers of balconies, nearer to the stage, are boxes. Since the latter part of the 19th century, opera houses have an orchestra pit, where a large number of orchestra players may be seated at a level below the audience, so that they can play without overwhelming the singing voices; this is true of Wagner's Bayreuth Festspielhaus where the pit is covered. The size of an opera orchestra varies, but for some operas and other works, it may be large. An opera may have a large cast of characters, chorus and supernumeraries. Therefore, a major opera house will have extensive dressing room facilities. Opera houses have on-premises set and costume building shops and facilities for storage of costumes, make-up, stage properties, may have rehearsal spaces.
Major opera houses throughout the world have mechanized stages, with large stage elevators permitting heavy sets to be changed rapidly. At the Metropolitan Opera, for instance, sets are changed during the action, as the audience watches, with singers rising or descending as they sing; this occurs in Tales of Hoffman. London's Royal Opera House, remodeled in the late 1990s, retained the original 1858 auditorium at its core, but added new backstage and wing spaces as well as an additional performance space and public areas. Much the same happened in the remodeling of Milan's La Scala opera house between 2002 and 2004. Although stage and other production aspects of opera houses make use of the latest technology, traditional opera houses have not used sound reinforcement systems with microphones and loudspeakers to amplify the singers, since trained opera singers are able to project their unamplified voices in the hall. Since the 1990s, some opera houses have begun using a subtle form of sound reinforcement called acoustic enhancement.
Operas are presented in their original languages, which may be different from the first language of the audience. For example, a Wagnerian opera presented in London may be in German. Therefore, since the 1980s modern opera houses have assisted the audience by providing translated supertitles, projections of the words above or near to the stage. More electronic libretto systems have begun to be used in some opera houses, including New York's Metropolitan Opera, Milan's La Scala, the Crosby Theatre of The Santa Fe Opera, which provide two lines of text on individual screens attached to the backs of the seats so as to not interfere with the visual aspects of the performance. A subtle type of sound reinforcement called acoustic enhancement is used in some opera hou
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter and teacher. He is considered one of the few impressionist painters of Brazil, he is considered the initiator of the art nouveau in Brazil. In 1884 he entered the Liceu de Artes e Ofícios do Rio de Janeiro, where studied under Victor Meireles. Parallel to his studies in the Liceu, he entered the Academia Imperial de Belas Artes studying under professors Henrique Bernardelli, Rodolfo Amoedo and Jose Maria de Medeiros. In 1888 he received a gold medal at the Academy. Like many of his contemporaries, including some of his teachers, he was involved in the effort to renew the Academy's teaching methods, deemed obsolete and was among the creators of the short-lived "Ateliê Livre", together with professors João Zeferino of Costa, Rodolfo Amoedo, Henrique Bernardelli and Rodolpho Bernardelli. Thanks to a prize received in 1892, Visconti travelled to Paris, where he attended the École des Beaux Arts the following year.
He took classes at the Académie Julian and the École nationale supérieure des arts décoratifs, where he was a pupil of art nouveau master Eugène Grasset. He was accepted at the Salon de la Nationale des Beaux Arts and at the Salon of the Société of des Artistes Français; as one of the Brazilian representatives to the Exposition Universelle 1900 he exhibited the paintings Gioventú and Oréadas, for which he received a silver medal. Back in Brazil, Visconti exhibited in Rio de Janeiro and São Paulo, obtained the first place in a contest for the drawing of postal stamps for the Brazilian Casa da Moeda, he traveled again to Europe, where he exhibited at the Paris Salon of 1905 the portrait of the artist Nicolina Vaz de Assis now at the Museu Nacional de Belas Artes. In this same year, he was invited to paint the stage curtain for the Teatro Municipal of Rio de Janeiro which he completed in his studio in Paris. In June 1906, he was selected to replace Henrique Bernardelli as a professor of painting at the Escola Nacional de Belas Artes, the same Imperial Academia renamed after the proclamation of the republic.
He accepted the position the following year after returning to Brazil, where he remained a teacher until 1913. Among his disciples were painters Marques Junior and Henrique Cavalleiro. Decorative schemes executed for the National Library or Biblioteca Nacional in date from this period as does another gold medal he received at the International Exhibition of Saint-Louis, in 1904, for the painting Recompensa de São Sebastião; the museum of Santiago of the Chile acquired his Sonho Místico in 1912. In 1913, Visconti returned to Europe in order to paint large scale panels for the "foyer" of the Theatro Municipal do Rio de Janeiro, his plans to return were interrupted by the First World War so he stayed in France until 1920. The resulting paintings for the "foyer" were sent to Brazil during the war, in 1915. In 1922 his triptych "Lar" gained him the Medal of Honor in a large exhibition created in Rio de Janeiro to commemorate the first centennial of Brazilian Independence, the Exposição do Centenário.
The following year Visconti painted the mural decoration of Rio de Janeiro's municipal council hall. In 1924, he painted the panel depicting the signature of the first Republican Constitution, for the old federal court in Rio de Janeiro. Official page - works and history of Eliseu Visconti Eliseu Visconti em DezenoveVinte - Arte brasileira do século XIX e início do XX S Sebastaine - Gold Medal in Universal Exposition of Saint Louis - USA - 1904 Biography Eliseu Visconti
Igor Fyodorovich Stravinsky was a Russian-born composer and conductor. He is considered one of the most important and influential composers of the 20th century. Stravinsky's compositional career was notable for its stylistic diversity, he first achieved international fame with three ballets commissioned by the impresario Serge Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird and The Rite of Spring. The latter transformed the way in which subsequent composers thought about rhythmic structure and was responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design, his "Russian phase" which continued with works such as Renard, the Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms, drawing on earlier styles from the 18th century. In the 1950s, Stravinsky adopted serial procedures.
His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, of instrumentation. Stravinsky was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the Russian imperial capital, was brought up in Saint Petersburg, his parents were Fyodor Stravinsky, a well-known bass at the Kiev opera house and the Mariinsky Theatre in St. Petersburg, Anna, a native of Kiev, one of four daughters of a high-ranking official in the Kiev Ministry of Estates. Fyodor, born into a mixed Polish-Russian family, was "descended from a long line of Polish grandees and landowners." It is believed that Stravinsky’s ancestry is traceable back to the 17th and 18th centuries, to the bearers of the Soulima and Strawinski Coat of Arms. Stravinsky's family branch most came from Stravinskas, polonized Lithuanian land owners, nobles of the Grand Duchy of Lithuania. According to Stravinsky himself, his family had a Soulima-Stravinsky surname, the name "Stravinsky" originated from the word "Strava", one of the variants of the Streva River in Lithuania.
It is still unclear when the Soulima part of the surname was dropped. Stravinsky recalled his schooldays as being lonely saying that "I never came across anyone who had any real attraction for me". Stravinsky began piano lessons as a young boy, attempting composition. In 1890, he saw a performance of Tchaikovsky's ballet The Sleeping Beauty at the Mariinsky Theatre. By age fifteen, he had mastered Mendelssohn's Piano Concerto in G minor and finished a piano reduction of a string quartet by Glazunov, who considered Stravinsky unmusical and thought little of his skills. Despite his enthusiasm for music, his parents expected him to study law. Stravinsky enrolled at the University of Saint Petersburg in 1901, but he attended fewer than fifty class sessions during his four years of study. In the summer of 1902, Stravinsky stayed with composer Nikolai Rimsky-Korsakov and his family in the German city of Heidelberg, where Rimsky-Korsakov, arguably the leading Russian composer at that time, suggested to Stravinsky that he should not enter the Saint Petersburg Conservatoire but instead study composing by taking private lessons, in large part because of his age.
Stravinsky's father died of cancer that year, by which time his son had begun spending more time on his musical studies than on law. The university was closed for two months in 1905 in the aftermath of Bloody Sunday: Stravinsky was prevented from taking his final law examinations and received a half-course diploma in April 1906. Thereafter, he concentrated on studying music. In 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father; these lessons continued until Rimsky-Korsakov's death in 1908. In 1905, Stravinsky was engaged to his cousin Katherine Gavrylivna Nosenko, whom he had known since early childhood. In spite of the Orthodox Church's opposition to marriage between first cousins, the couple married on 23 January 1906: their first two children and Ludmila, were born in 1907 and 1908, respectively. In February 1909, two of Stravinsky's orchestral works, the Scherzo fantastique and Feu d'artifice were performed at a concert in Saint Petersburg, where they were heard by Serge Diaghilev, at that time involved in planning to present Russian opera and ballet in Paris.
Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and to compose a full-length ballet score, The Firebird. From 1890 until 1914 the composer visited Ustilug, a town in the modern Volyn Oblast, Ukraine, he spent most of his summers there. In 1907, Stravinsky designed and built his own house in Ustilug, which he called "my heavenly place". In this house, Stravinsky worked on seventeen of his early compositions, among them Feu d'artifice, The Firebird and The Rite of Spring. Renovated, the house is now a Stravinsky house-museum open to the public. Many documents and photographs are on display there, a Stravinsky Festival is held annually in the nearby town of Lutsk. Stravinsky became an overnight sensation following the success of the Firebird's premiere in Paris on 25 June 1910; the composer had travell