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Only one late 17th century manuscript of this long version has survived; various additional copies were prepared on the basis of this source during the 19th century. The short version consisting of 15 numbers, all of which are included in the long version, although it would be more accurate to speak of 13 numbers, as No. Eleven handwritten copies of this short version have survived; several indices such as paper quality, handwriting characteristics, a lack of information about dynamics, articulation, etc.

There is also a second long version, which is kept at the library of Parma Conservatory and has attracted little attention thus far, despite bearing Gluck's name on the title page and containing at least as much original music as the widely-known long version. This Parma version comprises 19 numbers; every number in the short version is used, but often extended to three times the length.

But it is not just the music of the Don Juan ballet which has survived. There is also Angiolini's 'programme', which he probably worked on for the premiere with Calzabigi; the French version was published by Trattner in Vienna and the German version by van Ghelen. It includes a short essay by Angiolini, his first 'dissertation', in which he explains the «coup d'essay» to revive the pantomime 'dans le style ancien'. He also mounts a defence of the choice of material: Don Juan had already been performed as spoken drama; why should it not also be successful in dance form?

In addition, he added a ballet libretto or scenario of sorts, a description of the action which he subdivided into three acts. It is clear from this 'libretto' that it contained only an extremely limited selection of the themes from the spectrum covered by the Don Juan mythology, a rich seam of legends from the Mediterranean region which had been dramatized in countless versions, some of high literary merit, since the early 17th century.

These Don Juan dramas, which also exerted a powerful influence on the musical theatre of their time, introduced a great diversity of standard motifs and topoi. When measured against this repertoire with its robust traditions, the three acts of Angiolini's Don Juan appear to present a greatly abridged and simplified version: Don Juan seduces Donna Elvira, the daughter of the Commander; the latter attempts but fails to exact revenge, and is killed in a duel with Don Juan.

Don Juan invites his friends and mistresses to a banquet. As the celebrations are in full swing, the ghost of the dead Commander appears as a statue. The terrified guests flee. Don Juan invites the statue to join the banquet, and the statue summons Don Juan to its tomb in turn. Don Juan accepts the invitation, and the spectre leaves. Don Juan tries to lighten the mood among his guests, but they flee once more. Don Juan orders his servant to accompany him to the graveyard, but he refuses to obey.

Inside the mausoleum, the spectre enjoins Don Juan to show remorse and counsels him to change his ways. Don Juan remains obdurate. Hell opens up, and a great throng of Furies harry Don Juan and drag him down into the abyss. The question arises of whether the audience at the premiere of the ballet Don Juan saw it in the form described in the programme.

Two invaluable eye-witness reports demonstrate that this was not the case. One of these eye-witnesses was Philipp Gumpenhuber: an assistant choreographer and stage manager at the Viennese theatres, he was the scion of a dancing dynasty in Austria. Gumpenhuber supplies interesting information about the dress rehearsal, which took place on the same day as the premiere, and mentions that the ballet was in only two parts.

He also names just two protagonists: Don Juan, danced by Angiolini himself, and the Commander, danced by Pierre Bodin, one of the 'premiers danseurs' in the French company. In a description by the second eye-witness, Count Karl Zinzendorf, this already abridged version of Angiolini's original scenario appears to be even shorter. A passionate theatre-lover who never missed a premiere or any important event in the life of the theatre and whose journal is consequently an invaluable resource for students of the theatrical life of Vienna during the period in question, he was of course present in the audience at the premiere of Don Juan.

The description in his journal mirrors the printed scenario only in terms of the first act and the first part of the second act; from the time the spectre first appears, however, the action begins to differ markedly from that described by Angiolini. After the terrified guests have fled, there follows a scene in which Don Juan makes fun of the ghost by imitating its movements: «Don Juan s'en moque et imite tous les mouvements du spectre.

There is no summons to the tomb by the ghost, no second entrance and subsequent flight of the guests, no scene between Don Juan and the servant, and no dramatic dialogue between the admonishing ghost of the Commander and the impenitent Don Juan. These omissions — and here the accounts of Zinzendorf and Gumpenhuber tally when they claim that there were only two acts to the performance and only two main protagonists, both male — suggest that Angiolini was unable to realise the intentions he detailed in the programme at the time the premiere took place.

Even in this short version, Don Juan must nonetheless have been considered a success: the ballet was staged ten times over the following six weeks, giving Angiolini the time and opportunity to consider a few essential improvements. Fortunately, we know about Angiolini's attempts to revamp the ballet with a change of cast from the information recorded by Gumpenhuber on 2 February The most important of these concerned the role of the Commander: the 'danseur noble' Pierre Bodin was replaced by the character performer Turchi junior probably Vincenzo Turchi.

Theatre enthusiast Count Zinzendorf, who attended the ballet again on 8 February , notes in his journal how astonished he was at the changes made to the dramatic dialogue scene between the Commander's ghost and Don Juan at the beginning of the third act, which obviously replaced the mockery scene he had witnessed at the premiere. But even this change does not appear to have put an end to Angiolini's experimentation with the Don Juan ballet, as is evident from Gumpenhuber's Repertoire.

In April , his reports reveal that Angiolini must have introduced a third protagonist — the servant or 'domestique' — into the pantomime ballet at this point, if not before. It was now in its definitive form, which was more or less consistent with the intentions stated by Angiolini in the programme printed in Time for Wolo to Say Goodbye The truth's taken too much of a beating.

Now, with the latest scandal still fresh in people's minds, demands for real change are growing, in particular for the resignation of Bonnier attack poodle Peter 'Wolo' Wolodarski, a key chief editor of less than four years. But what a four years it's been.

Most of us remember the 'Assange years' and how Bonnier continually harassed Julian Assange every time they got a chance. They published the first headline on the morning of Saturday 21 August , they organised the fake ' TalkAboutIt' grassroots movement designed to stop Assange getting bail in Britain, they gave an award to their own journalist for that very same smear campaign, they published DDB's idiot book through one of their German subsidiaries, they they sent photographers to 3HC when Marianne Ny proclaimed a blackout for all media, and so forth.

The Bonniers are a breed apart. They're based in little Sweden, but they have a lot of power beyond those borders. They're an extended real-life family. One of them's been the country's ambassador to Israel, and been known to side with her host country against her own government. The Bonniers own stuff all over the place. They own Popular Mechanics and National Geographic, as but two examples.

They own book publishing companies, reams of magazine companies, cinemas But ten years ago, and perhaps even to this day, none of that is bringing in the money they want. Stenbeck was a maverick in Swedish commerce, with a number of companies with names ending in 'vik' or 'viq', such as the mobile carrier Comvik later Comviq. His main holding company was known as Kinnevik. Stenbeck wanted to expand into television. And if you knew anything about Swedish media, you'd know how hard that is.

The very thought of a 'free media' was considered 'a threat to democracy'. Yes it was that bad, says Anders. Jan Stenbeck wanted to break the state monopoly. He had cable television companies and was all set. The Swedish state ran the only radio and television in the country. The radio stations were called P1, P2, P3, and so forth. The television stations were two in number - twice that of the smaller Nordic neighbours - and were called TV1 and TV2.

TV1 was more for 'commoners', TV2 for those who at least thought they were more 'sophisticated'. Jan Stenbeck hatched the idea of TV3. TV3 would be based in the UK but would 'bounce signals cross the sky' to the Nordic countries, including Sweden.

Stenbeck needed revenues, so adverts were welcome on TV3. The Swedes didn't like this. They tried to stop Stenbeck from using adverts. Stenbeck said that as TV3 was not based in Sweden, adverts couldn't be illegal. But the Swedes wouldn't budge. One of Stenbeck's sisters - either Margaretha af Ugglas or Elisabeth Silfverstolpe or both - didn't like sport.

And Stenbeck didn't much like them either. And that's where he supposedly got his idea. Namely to buy rights to all the major sport events, from right under the nose of Swedish state media who are expected to send them, just to piss his sisters off. This gave Stenbeck another advantage. Swedes pay licence fees for their televisions.

So they expect something for their money. Now that Stenbeck grabbed all the rights, the Swedish state had nothing. The politicians were in a cold sweat panic. Stenbeck gave the Swedes an offer they couldn't possibly like but couldn't possibly refuse. The state needed to save face, and Stenbeck gave them a way to save face. At least a bit of it. The deal went like this. Stenbeck would give state media a feed with a half hour delay. State media would then, as in a hilarious case with sport presenter Arne Hegefors, hide their own commentator in an obscure flat in the burbs, watching the television like anyone else, but pretending to be on location.

State television would of course have no interruptions for adverts. And state media would of course pay dearly for the concession. But state media needed to do one more thing to please Jan Stenbeck. They had to get off his case about running adverts on his satellite TV3 channel.

Done deal. TV4 This seems to have finally opened the way for Sweden to finally consider privately owned terrestrial television channels. Parliamentary deliberations for TV4 were extensive. Advertising would be allowed, but only under the strictest of limitations. Feature films, for instance, could not be interrupted by adverts. TV4 found a way around this, scheduling their movies a half hour before the evening news, so they could claim the adverts were before and after the news and the weather and had nothing to do with the movie.

Ownership of this new TV4 was also critical. The Swedish state didn't want a private company setting an agenda. So the rules specified there had to be at least three stakeholders in TV4, and that none of the stakeholders could have a majority share.

But also how the Bonniers moved in, as it turns out. For Stenbeck needed partners, as he couldn't have it all for himself. After a lot of shuffling, Bonnier took over, Stenbeck was gone, and TV4 - which had metamorphosed into the monster TV4 Group - was the cash cow the Bonniers had long needed.

They wanted it all, but legislation stood in their way and still does. This mostly because of their arrogant response to the tsunami disaster. One minister was alerted already on Friday evening, but barked back down the phone that she was at the theatre and didn't want to be disturbed.

The prime minister was having a party at his summer cottage and didn't want to be disturbed either. A parliamentary enquiry ensued, and the social democrats were justifiably hated. In came Fredrik 'Sleeping Brain' Reinfeldt. The social democrats never let up on the Bonniers. They never gave up, but she didn't give up either. Now there was a new government, and the Bonniers knew of a loophole in the legislation.

The law that made TV4 possible stipulated that criminal charges could be filed against TV4 stakeholders, but only by the sitting government. Which is what the social democrat minister in the old government could hold over the Bonniers' heads. And they had an interesting proposition. If the new government would promise to not file charges against the Bonniers for gobbling up all the remaining stock in the lucrative TV4 Group, the Bonniers would promise that their publications - chiefly their newspapers - would come out for every election and between whenever possible in support of this new government.

The new government of Reinfeldt made it even easier for the Bonniers. They repealed a long-standing 'fair play' media law, so equal time for contrary opinions was no longer mandatory. But perhaps even more importantly, media were no longer required to clarify when articles were not factual but only opinion.

Deliberately flawed misleading journalism was suddenly kosher. Agenda-setting journalism basically means that if you keep repeating a news item for your readership, they'll ultimately believe that it's more important than other items, says blogger 'Morpheus'. In other words, Wolo wanted to steer things in a more 'opinion-forming' direction.

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No that the Queen has died, there are a lot of questions over what the new order for the throne will be. Read on for the line of succession for the British monarchy now. If the young prince has children one day, his kids will follow right behind him in the line of succession. As their second-born child, she is third in line to the throne behind her older brother, Prince George.

Her position in the royal line of succession may drop one day if George decides to have children of his own. His position in the line of succession is also set to drop if his older siblings, Prince George and Princess Charlotte, have children. Prince Harry, the Duke of Cambridge, takes fifth place on the line of succession behind his niece and nephews. While the California-based royal is unlikely to rule one day, he still takes his place behind his father at sixth in line to the British throne.

At present, he is eighth in the line of succession to the British throne. Princess Beatrice is the eldest child and daughter of Prince Andrew and Sarah, Duchess of York, which puts her ninth in line to the British throne. She has a daughter, Sienna Mapelli Mozzi, and a younger sister, Princess Eugenie, who follow her in that order in the line of succession.

What happens when the Queen dies? What happens when Queen Elizabeth dies, exactly? Whereas Mankell was a typical national romantic, emphasising the importance of the common national spirit for the supremacy of simple song, Silverstolpe was a true man of the enlightenment with classicism and individualism as his aesthetic ideals. Silverstolpe was born in Stockholm in and died in the same city in As Member of Parliament in the constitutional committee, Silverstolpe criticised a proposal for freedom of the press in the new form of government because it did not take into consideration all forms of censorship the freedom of the press law adopted in has been misunderstood by later analysts for having included music copyright.

Haydn returned the favour by allowing Silverstolpe to take part in his not yet performed oratorio The Creation, which Silverstolpe translated into Swedish for the first performance in Stockholm in , only two years after the Vienna premiere. Critic, superintendent and biographer By this time Silverstolpe was already a member of the Kungliga Musikaliska akademien the Royal Swedish Academy of Music to which he was elected in , member of the second class in , the first class in , where he immediately worked to nominate Haydn as an honorary member.

Silverstolpe periodically wrote music reviews and articles in the newspapers Stockholms Posten, Dagligt Allehanda and Svenska Biet , which he eventually published in a collected volume. Literary works From a contemporary perspective, however, it is not his compositions that raise Silverstolpe to a place in music history, but his articles and writings.