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A number of Alkan 's compositions from this period were never performed and have been lost . Among the missing works are some string sextets and a full @-@ scale orchestral symphony in B minor , which was described in an article in 1846 by the critic Léon Kreutzer , to whom Alkan had shown the score . Kreutzer noted that the introductory adagio of the symphony was headed " by Hebrew characters in red ink ... This is no less than the verse from Genesis : And God said , Let there be light : and there was light . " Kreutzer opined that , set beside Alkan 's conception , Joseph Haydn 's Creation was a " mere candle ( lampion ) . "

A number of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>compositions from this period <a href='uninflect' title='2'><mark>were</mark></a> never performed and <a href='been_done' title='3'><mark>have</mark></a> been lost . Among the missing works are some string sextets and a full @-@ scale orchestral symphony in B minor , which was described in an article in 1846 by the critic Léon Kreutzer , to whom Alkan <a href='been_done' title='4'><mark>had</mark></a> shown the score . Kreutzer noted that the introductory adagio of the symphony was headed " by Hebrew characters in red ink ... This <a href='drop_aux' title='5'><mark>is</mark></a>no less than the verse from Genesis : And God said , Let <a href='dey_it' title='6'><mark>there</mark></a> be light : and <a href='dey_it' title='7'><mark>there</mark></a> was light . " Kreutzer opined that , set beside Alkan <a href='null_genetive' title='8'><mark>'s</mark></a>conception , Joseph Haydn <a href='null_genetive' title='9'><mark>'s</mark></a>Creation was a " mere candle ( lampion ) . "

A number of Alkan compositions from this period was never performed and done been lost . Among da missing works r some string sextets and a full @-@ scale orchestral symphony in B minor , which was described in an article in 1846 by tdacritic Léon Kreutzer , to whom Alkan done shown the score . Kreutzer noted that the introductory adagio of the symphony was headed " by Hebrew characters in red ink ... dis no less den the verse from Genesis : And God said , Let it b light : and it was light . " Kreutzer opined that , set beside Alkan conception , Joseph Haydn Creation was a " mere candle ( lampion ) . "

= = = = Internal exile = = = =

= = = = Internal exile = = = =

= = = = Internal exile = = = =

During his twenty @-@ year absence from the public between 1853 and 1873 Alkan produced many of his most notable compositions , although there is a ten @-@ year gap between publication of the Op. 35 studies and that of his next group of piano works in 1856 and 1857 . Of these , undoubtedly the most significant was the enormous Opus 39 collection of twelve studies in all the minor keys , which contains the Symphony for Solo Piano ( numbers four , five , six and seven ) , and the Concerto for Solo Piano ( numbers eight , nine and ten ) . The Concerto takes nearly an hour in performance . Number twelve of Op. 39 is a set of variations , Le festin d 'Ésope ( Aesop 's Feast ) . The other components of Op. 39 are of a similar stature . Smith describes Op. 39 as a whole as " a towering achievement , gathering ... the most complete manifestation of Alkan 's many @-@ sided genius : its dark passion , its vital rhythmic drive , its pungent harmony , its occasionally outrageous humour , and , above all , its uncompromising piano writing . "

During his twenty @-@ year absence from the public between 1853 and 1873 Alkan produced many of his most notable compositions , although <a href='dey_it' title='1'><mark>there</mark></a> is a ten @-@ year gap between publication of the Op. 35 studies and that of his next group of piano works in 1856 and 1857 . Of these , undoubtedly the most significant was the enormous Opus 39 collection of twelve studies in all the minor keys , which <a href='uninflect' title='2'><mark>contains</mark></a> the Symphony for Solo Piano ( numbers four , five , six and seven ) , and the Concerto for Solo Piano ( numbers eight , nine and ten ) . The Concerto <a href='uninflect' title='3'><mark>takes</mark></a> nearly an hour in performance . Number twelve of Op. 39 <a href='drop_aux' title='4'><mark>is</mark></a>a set of variations , Le festin d 'Ésope ( Aesop <a href='null_genetive' title='5'><mark>'s</mark></a>Feast ) . The other components of Op. 39 are of a similar stature . Smith <a href='uninflect' title='6'><mark>describes</mark></a> Op. 39 as a whole as " a towering achievement , gathering ... the most complete manifestation of Alkan <a href='null_genetive' title='7'><mark>'s</mark></a>many @-@ sided genius : its dark passion , its vital rhythmic drive , its pungent harmony , its occasionally outrageous humour , and , above all , its uncompromising piano writing . "

During his twenty @-@ year absence from the public between 1853 and 1873 Alkan produced many of his most notable compositions , although it is a ten @-@ year gap between publication of da Op. 35 studies and dat of his next group of piano works in 1856 and 1857 . Of these , undoubtedly the most significant was the enormous Opus 39 collection of twelve studies in alll the minor keys , which contain tdaSymphony for Solo Piano ( numbers four , five , six and seven ) , and thdaoncerto for Solo Piano ( numbers eight , nine and ten ) . The Concerto take nearly an hour in performance . Number twelve of Op. 39 a set of variations , Le festin d 'Ésope ( Aesop Feast ) . The other components of Op. 39 are of a similar stature . Smith describe Op. 39 as a whole as " a towering achievement , gathering ... the most complete manifestation of Alkan many @-@ sided genius : its dark passion , its vital rhythmic drive , its pungent harmony , its occasionally outrageous humour , and , aboveallll , its uncompromising piano writing . "

In the same year appeared the Sonate de Concert , Op. 47 , for cello and piano , " among the most difficult and ambitious in the romantic repertoire ... anticipating Mahler in its juxtaposition of the sublime and the trivial " , and with its four movements showing again an anticipation of progressive tonality , each ascending by a major third . Other anticipations of Mahler ( who was born in 1860 ) can be found in the two " military " Op. 50 piano studies of 1859 Capriccio alla soldatesca and Le tambour bat aux champs ( The drum beats the retreat ) , as well as in certain of the miniatures of the 1861 Esquisses , Op. 63 . The bizarre and unclassifiable Marcia funebre , sulla morte d 'un Pappagallo ( Funeral march on the death of a parrot , 1859 ) , for three oboes , bassoon and voices , described by Kenneth Hamilton as " Monty @-@ Pythonesque " , is also of this period .

In the same year appeared the Sonate de Concert , Op. 47 , for cello and piano , " among the most difficult and ambitious in the romantic repertoire ... anticipating Mahler in its juxtaposition of the sublime and the trivial " , and with its four movements showing again an anticipation of progressive tonality , each ascending by a major third . Other anticipations of Mahler ( <a href='null_relcl' title='1'><mark>who</mark></a>was born in 1860 ) can be found in the two " military " Op. 50 piano studies of 1859 Capriccio alla soldatesca and Le tambour bat aux champs ( The drum <a href='uninflect' title='2'><mark>beats</mark></a> the retreat ) , as well as in certain of the miniatures of the 1861 Esquisses , Op. 63 . The bizarre and unclassifiable Marcia funebre , sulla morte d 'un Pappagallo ( Funeral march on the death of a parrot , 1859 ) , for three oboes , bassoon and voices , described by Kenneth Hamilton as " Monty @-@ Pythonesque " , <a href='drop_aux' title='3'><mark>is</mark></a>also of this period .

In the same year appeared da Sonate de Concert , Op. 47 , for cello and piano , " among the most difficult and ambitious in the romantic repertoire ... anticipating Mahler in its juxtaposition of the sublime and tdatrivial " , and with its 4 movements showing again an anticipation of progressive tonality , each ascending by a major third . Other anticipations of Mahler ( was born in 1860 ) can b found in thdawo " military " Op. 50 piano studies of 1859 Capriccio alla soldatesca and Le tambour bat aux champs ( The drum beat thedatreat ) , as well as in certain of the daiatures of the 1da Esquisses , Op. 63 . The bidare and unclassifiable Marcia funebre , sulla morte d 'un Pappagallo ( Funeral march on the death of a parrot , 1859 ) , for three oboes , bassoon and voices , described by Kenneth Hamilton as " Monty @-@ Pythonesque " , also of this period .

The Esquisses of 1861 are a set of highly varied miniatures , ranging from the tiny 18 @-@ bar no . 4 , Les cloches ( The Bells ) , to the strident tone clusters of no . 45 , Les diablotins ( The Imps ) , and closing with a further evocation of church bells in no . 49 , Laus Deo ( Praise God ) . They were preceded in publication by Alkan 's deceptively titled Sonatine , Op. 61 , in ' classical ' format , but a work of " ruthless economy [ which ] although it plays for less than twenty minutes ... is in every way a major work . "

The Esquisses of 1861 <a href='drop_aux' title='1'><mark>are</mark></a>a set of highly varied miniatures , ranging from the tiny 18 @-@ bar no . 4 , Les cloches ( The Bells ) , to the strident tone clusters of no . 45 , Les diablotins ( The Imps ) , and closing with a further evocation of church bells in no . 49 , Laus Deo ( Praise God ) . They <a href='uninflect' title='2'><mark>were</mark></a> preceded in publication by Alkan <a href='null_genetive' title='3'><mark>'s</mark></a>deceptively titled Sonatine , Op. 61 , in ' classical ' format , but a work of " ruthless economy [ which ] although it <a href='uninflect' title='4'><mark>plays</mark></a> for less than twenty minutes ... <a href='drop_aux' title='5'><mark>is</mark></a>in every way a major work . "

Da Esquisses of 1861 a set of highly varied miniatures , ranging from tdatiny 18 @-@ bar no . 4 , Les cloches ( Thdaells ) , to thedarident tone clusters of no . 45 , Les diablotins ( The das ) , and closing with a further evocation of church bells in no . 49 , Laus Deo ( Praise God ) . They was preceded in publication by Alkan deceptively titled Sonatine , Op. 61 , in ' classical ' format , but a wrk of " ruthless economy [ which ] although it play fir less den twenty minutes ... in every way a major work . "

Two of Alkan 's substantial works from this period are musical paraphrases of literary works . Salut , cendre du pauvre , Op. 45 ( 1856 ) , follows a section of the poem La Mélancolie by Gabriel @-@ Marie Legouvé ; while Super flumina Babylonis , Op. 52 ( 1859 ) , is a blow @-@ by @-@ blow recreation in music of the emotions and prophecies of Psalm 137 ( " By the waters of Babylon ... " ) . This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan 's Bible translation . Alkan 's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn , which appeared between 1857 and 1872 , as well as by a number of minor pieces .

Two of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>substantial works from this period <a href='drop_aux' title='2'><mark>are</mark></a>musical paraphrases of literary works . Salut , cendre du pauvre , Op. 45 ( 1856 ) , <a href='uninflect' title='3'><mark>follows</mark></a> a section of the poem La Mélancolie by Gabriel @-@ Marie Legouvé ; while Super flumina Babylonis , Op. 52 ( 1859 ) , <a href='drop_aux' title='4'><mark>is</mark></a>a blow @-@ by @-@ blow recreation in music of the emotions and prophecies of Psalm 137 ( " By the waters of Babylon ... " ) . This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan <a href='null_genetive' title='5'><mark>'s</mark></a>Bible translation . Alkan <a href='null_genetive' title='6'><mark>'s</mark></a>lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn , which appeared between 1857 and 1872 , as well as by a number of minor pieces .

2 of Alkan substantial works from this period musical paraphrases of literary works . Salut , cendre du pauvre , Op. 45 ( 1856 ) , follow a section of the poem La Mélancolie by Gabriel @-@ Marie Legouvé ; while Super flumina Babylonis , Op. 52 ( 1859 ) , a blow @-@ by @-@ blow recreation in music of da emotions and prophecies of Psalm 137 ( " By the waters of Babylon ... " ) . dis piece is prefaced by a French version of tdapsalm which is believed to be the sole remnant of Alkan Bible translation . Alkan lyrical side was displayed in this period by thdaive sets of Chants inspired by Mendelssohn , which appeared between 1857 and 1872 , as well as by a number of minor pieces .

Alkan 's publications for organ or pédalier commenced with his Benedictus , Op. 54 ( 1859 ) . In the same year he published a set of very spare and simple preludes in the eight Gregorian modes ( 1859 , without opus number ) , which , in Smith 's opinion , " seem to stand outside the barriers of time and space " , and which he believes reveal " Alkan 's essential spiritual modesty . " These were followed by pieces such as the 13 Prières ( Prayers ) , Op. 64 ( 1865 ) , and the Impromptu sur le Choral de Luther " Un fort rempart est notre Dieu " , op . 69 ( 1866 ) . Alkan also issued a book of 12 studies for the pedalboard alone ( no opus number , 1866 ) and the Bombardo @-@ carillon for pedalboard duet ( four feet ) of 1872 .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>publications for organ or pédalier commenced with his Benedictus , Op. 54 ( 1859 ) . In the same year he published a set of very spare and simple preludes in the eight Gregorian modes ( 1859 , without opus number ) , which , in Smith <a href='null_genetive' title='2'><mark>'s</mark></a>opinion , " seem to stand outside the barriers of time and space " , and which he <a href='uninflect' title='3'><mark>believes</mark></a> reveal " Alkan <a href='null_genetive' title='4'><mark>'s</mark></a>essential spiritual modesty . " These <a href='uninflect' title='5'><mark>were</mark></a> followed by pieces such as the 13 Prières ( Prayers ) , Op. 64 ( 1865 ) , and the Impromptu sur le Choral de Luther " Un fort rempart est notre Dieu " , op . 69 ( 1866 ) . Alkan also issued a book of 12 studies for the pedalboard alone ( no opus number , 1866 ) and the Bombardo @-@ carillon for pedalboard duet ( four feet ) of 1872 .

Alkan publications fa organ or pédalier commenced with his Benedictus , Op. 54 ( 1859 ) . In da same year he published a set of very spare and simple preludes in tdaeight Gregorian modes ( 1859 , without opus number ) , which , in Smith opinion , " seem to stand outside the barriers of time and space " , and which he believe reveal " Alkan essential spiritual modesty . " These was followed by pieces such as the 13 Prières ( Prayers ) , Op. 64 ( 1865 ) , and the Impromptu sur le Choral de Luther " Un fort rempart est notre Dieu " , op . 69 ( 1866 ) . Alkan also issued a book of 12 studies ffirthe pedalboard alone ( no opus number , 1866 ) and the Bombardo @-@ carillon for pedalboard duet ( 4 feet ) of 1872 .

Alkan 's return to the concert platform at his Petits Concerts , however , marked the end of his publications ; his final work to be issued was the Toccatina , Op. 75 , in 1872 .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>return to the concert platform at his Petits Concerts , however , marked the end of his publications ; his final work to be issued was the Toccatina , Op. 75 , in 1872 .

Alkan return to da concert platform at his Petits Concerts , however , marked the end of his publications ; his final work to be issued was tdaToccatina , Op. 75 , in 1872 .

= = Reception and legacy = =

= = Reception and legacy = =

= = Reception and legacy = =

Alkan had few followers ; however , he had important admirers , including Liszt , Anton Rubinstein , Franck , and , in the early twentieth century , Busoni , Petri and Sorabji . Rubinstein dedicated his fifth piano concerto to him , and Franck dedicated to Alkan his Grand pièce symphonique op . 17 for organ . Busoni ranked Alkan with Liszt , Chopin , Schumann and Brahms as one of the five greatest composers for the piano since Beethoven . Isidor Philipp and Delaborde edited new printings of his works in the early 1900s . In the first half of the twentieth century , when Alkan 's name was still obscure , Busoni and Petri included his works in their performances . Sorabji published an article on Alkan in his 1932 book Around Music ; he promoted Alkan 's music in his reviews and criticism , and his Sixth Symphony for Piano ( Symphonia claviensis ) ( 1975 – 76 ) , includes a section entitled Quasi Alkan . The English composer and writer Bernard van Dieren praised Alkan in an essay in his 1935 book , Down Among the Dead Men , and the composer Humphrey Searle also called for a revival of his music in a 1937 essay .

Alkan had few followers ; however , he had important admirers , including Liszt , Anton Rubinstein , Franck , and , in the early twentieth century , Busoni , Petri and Sorabji . Rubinstein dedicated his fifth piano concerto to him , and Franck dedicated to Alkan his Grand pièce symphonique op . 17 for organ . Busoni ranked Alkan with Liszt , Chopin , Schumann and Brahms as one of the five greatest composers for the piano since Beethoven . Isidor Philipp and Delaborde edited new printings of his works in the early 1900s . In the first half of the twentieth century , when Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>name was still obscure , Busoni and Petri included his works in their performances . Sorabji published an article on Alkan in his 1932 book Around Music ; he promoted Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>music in his reviews and criticism , and his Sixth Symphony for Piano ( Symphonia claviensis ) ( 1975 – 76 ) , <a href='uninflect' title='3'><mark>includes</mark></a> a section entitled Quasi Alkan . The English composer and writer Bernard van Dieren praised Alkan in an essay in his 1935 book , Down Among the Dead Men , and the composer Humphrey Searle also called for a revival of his music in a 1937 essay .

Alkan had few followers ; however , he had important admirers , including Liszt , Anton Rubinstein , Franck , and , in the early twentieth century , Busoni , Petri and Sorabji . Rubinstein dedicated his fifth piano concerto to em , and Franck dedicated to Alkan his Grand pièce symphonique op . 17 for organ . Busoni ranked Alkan with Liszt , Chopin , Schumann and Brahms as one of the five greatest composers for the piano since Beethoven . Isidor Philipp and Delaborde edited new printings of his works in the early 1900s . In the first half of the twentieth century , when Alkan name was still obscure , Busoni and Petri included his works in their performances . Sorabji published an article on Alkan in his 1932 book Around Music ; he promoted Alkan music in his reviews and criticism , and his Sixth Symphony for Piano ( Symphonia claviensis ) ( 1975 – 76 ) , include a section entitled Quasi Alkan . da English composer and writer Bernard van Dieren praised Alkan in an essay in his 1935 book , Down Among tdaDead Men , and the composer Humphrey Searle also called fir a revival of his music in a 1937 hw .

For much of the 20th century , Alkan 's work remained in obscurity , but from the 1960s onwards it was steadily revived . Raymond Lewenthal gave a pioneering extended broadcast on Alkan on WBAI radio in New York in 1963 , and later included Alkan 's music in recitals and recordings . The English pianist Ronald Smith championed Alkan 's music through performances , recordings , a biography and the Alkan Society of which he was president for many years . Works by Alkan have also been recorded by Jack Gibbons , Marc @-@ André Hamelin , Mark Latimer , John Ogdon , and Hüseyin Sermet , among many others . Ronald Stevenson has composed a piano piece Festin d 'Alkan ( referring to Alkan 's Op. 39 , no . 12 ) and the composer Michael Finnissy has also written piano pieces referring to Alkan , e.g. Alkan @-@ Paganini , no . 5 of The History of Photography in Sound . Marc @-@ André Hamelin 's Étude No . IV is a moto perpetuo study combining themes from Alkan 's Symphony , Op. 39 , no . 7 , and Alkan 's own perpetual motion étude , Op. 76 , no . 3 . It is dedicated to Averil Kovacs and François Luguenot , respectively activists in the English and French Alkan Societies . As Hamelin writes in his preface to this étude , the idea to combine these came from the composer Alistair Hinton , the finale of whose Piano Sonata No. 5 ( 1994 – 95 ) includes a substantial section entitled " Alkanique " .

For much of the 20th century , Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>work remained in obscurity , but from the 1960s onwards it was steadily revived . Raymond Lewenthal gave a pioneering extended broadcast on Alkan on WBAI radio in New York in 1963 , and later included Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>music in recitals and recordings . The English pianist Ronald Smith championed Alkan <a href='null_genetive' title='3'><mark>'s</mark></a>music through performances , recordings , a biography and the Alkan Society of which he was president for many years . Works by Alkan <a href='been_done' title='4'><mark>have</mark></a> also been recorded by Jack Gibbons , Marc @-@ André Hamelin , Mark Latimer , John Ogdon , and Hüseyin Sermet , among many others . Ronald Stevenson <a href='been_done' title='5'><mark>has</mark></a> composed a piano piece Festin d 'Alkan ( referring to Alkan <a href='null_genetive' title='6'><mark>'s</mark></a>Op. 39 , no . 12 ) and the composer Michael Finnissy <a href='been_done' title='7'><mark>has</mark></a> also written piano pieces referring to Alkan , e.g. Alkan @-@ Paganini , no . 5 of The History of Photography in Sound . Marc @-@ André Hamelin <a href='null_genetive' title='8'><mark>'s</mark></a>Étude No . IV <a href='drop_aux' title='9'><mark>is</mark></a>a moto perpetuo study combining themes from Alkan <a href='null_genetive' title='10'><mark>'s</mark></a>Symphony , Op. 39 , <a href='None' title='11'><mark>no</mark></a> . 7 , and Alkan <a href='null_genetive' title='12'><mark>'s</mark></a>own perpetual motion étude , Op. 76 , <a href='None' title='13'><mark>no</mark></a> . 3 . It is dedicated to Averil Kovacs and François Luguenot , respectively activists in the English and French Alkan Societies . As Hamelin <a href='uninflect' title='14'><mark>writes</mark></a> in his preface to this étude , the idea to combine these came from the composer Alistair Hinton , the finale of whose Piano Sonata No. 5 ( 1994 – 95 ) <a href='uninflect' title='15'><mark>includes</mark></a> a substantial section entitled " Alkanique " .

Fa much of the 20th century , Alkan work remained in obscurity , but from da 1960s onwards it was steadily revived . Raymond Lewenthal gave a pioneering extended broadcast on Alkan on WBAI radio in New York in 1963 , and later included Alkan music in recitals and recordings . The English pianist Ronald Smith championed Alkan music thru performances , recordings , a biography and tdaAlkan Society of which he was president for many years . Works by Alkan done also been recorded by Jack Gibbons , Marc @-@ André Hamelin , Mark Latimer , John Ogdon , and Hüseyin Sermet , among many others . Ronald Stevenson done composed a piano piece Festin d 'Alkan ( referring to Alkan Op. 39 , no . 12 ) and the composer micheal Finnissy done also written piano pieces referring to Alkan , e.g. Alkan @-@ Paganini , no . 5 of The History of Photography in Sound . Marc @-@ André Hamelin Étude No . IV a moto perpetuo study combining themes from Alkan Symphony , Op. 39 , don't no . 7 , and Alkan own perpetual motion étude , Op. 76 , don't no . 3 . It is dedicated to Averil Kovacs and François Luguenot , respectively activists in thdanglish and French Alkan Societies . As Hamelin write in his preface to dis étude , thedaea to combine these came from the daposer Alistair Hinton , the fdale of whose Piano Sonata No. 5 ( 1994 – 95 ) include a substantial section entitled " Alkanique " .

Alkan 's compositions for organ have been among the last of his works to be brought back to the repertoire . As to Alkan 's pedal @-@ piano works , due to a recent revival of the instrument , they are once again being performed as originally intended ( rather than on an organ ) , such as by Italian pedal @-@ pianist Roberto Prosseda , and recordings of Alkan on the pedal piano have been made by Jean Dubé and Olivier Latry .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>compositions for organ have been among the last of his works to be brought back to the repertoire . As to Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>pedal @-@ piano works , due to a recent revival of the instrument , they are once again being performed as originally intended ( rather than on an organ ) , such as by Italian pedal @-@ pianist Roberto Prosseda , and recordings of Alkan on the pedal piano <a href='been_done' title='3'><mark>have</mark></a> been made by Jean Dubé and Olivier Latry .

Alkan compositions fir organ have been among the last of his works to b brought back to da repertoire . As to Alkan pedal @-@ piano works , due to a recent revival of the instrument , they are once again bein performed as originally intended ( rather den on an organ ) , such as by Italian pedal @-@ pianist Roberto Prosseda , and recordings of Alkan on the pedal piano done been made by Jean Dubé and Olivier Latry .

= = Selected recordings = =

= = Selected recordings = =

= = Selected recordings = =

This list comprises a selection of some premiere and other recordings by musicians who have become closely associated with Alkan 's works . A comprehensive discography is available at the Alkan Society website .

This list <a href='uninflect' title='1'><mark>comprises</mark></a> a selection of some premiere and other recordings by musicians <a href='null_relcl' title='2'><mark>who</mark></a><a href='been_done' title='3'><mark>have</mark></a> become closely associated with Alkan <a href='null_genetive' title='4'><mark>'s</mark></a>works . A comprehensive discography <a href='drop_aux' title='5'><mark>is</mark></a>available at the Alkan Society website .

This list comprise a selection of some premiere and other recordings by musicians done become closely associated with Alkan works . A comprehensive discography available at the Alkan Society website .

Piano Trio , Op. 30 – played by Trio Alkan . Recorded 1992 . Naxos , 8555352 ( 2001 )

Piano Trio , Op. 30 – played by Trio Alkan . Recorded 1992 . Naxos , 8555352 ( 2001 )

Piano Trio , Op. 30 – played by Trio Alkan . Recorded 1992 . Naxos , 8555352 ( 2001 )

Grande sonate , Op. 33 – played by Marc @-@ André Hamelin ( piano ) . Recorded 1994 . Hyperion , CDA669764 ( 1995 ) .

Grande sonate , Op. 33 – played by Marc @-@ André Hamelin ( piano ) . Recorded 1994 . Hyperion , CDA669764 ( 1995 ) .

Grande sonate , Op. 33 – played by Marc @-@ André Hamelin ( piano ) . Recorded 1994 . Hyperion , CDA669764 ( 1995 ) .

Études dans tous les tons mineurs , Op. 39 – played by Ronald Smith ( piano ) . Recorded 1977 . EMI , SLS 5100 [ 3 LPs ] ( 1978 ) , partly reissued EMI Gemini , 585 4842 ( 2003 )

Études dans tous les tons mineurs , Op. 39 – played by Ronald Smith ( piano ) . Recorded 1977 . EMI , SLS 5100 [ 3 LPs ] ( 1978 ) , partly reissued EMI Gemini , 585 4842 ( 2003 )

Études dans tous les tons mineurs , Op. 39 – played by Ronald Smith ( piano ) . Recorded 1977 . EMI , SLS 5100 [ 3 LPs ] ( 1978 ) , partly reissued EMI Gemini , 585 4842 ( 2003 )

Études dans tous les tons mineurs , Op. 39 and other works – played by Jack Gibbons ( piano ) . Recorded 1995 . ASV , CD DCS 227 [ 2 CDs ] ( 1995 )

Études dans tous les tons mineurs , Op. 39 and other works – played by Jack Gibbons ( piano ) . Recorded 1995 . ASV , CD DCS 227 [ 2 CDs ] ( 1995 )

Études dans tous les tons mineurs , Op. 39 and other works – played by Jack Gibbons ( piano ) . Recorded 1995 . ASV , CD DCS 227 [ 2 CDs ] ( 1995 )

Concerto , Op. 39 , nos . 8 – 10 – played by John Ogdon ( piano ) . Recorded 1969 . RCA , LSC @-@ 3192 [ LP ] ( 1972 ) . Great British Pianists , 4569132 ( 1999 )

Concerto , Op. 39 , nos . 8 – 10 – played by John Ogdon ( piano ) . Recorded 1969 . RCA , LSC @-@ 3192 [ LP ] ( 1972 ) . Great British Pianists , 4569132 ( 1999 )

Concerto , Op. 39 , nos . 8 – 10 – played by John Ogdon ( piano ) . Recorded 1969 . RCA , LSC @-@ 3192 [ LP ] ( 1972 ) . Great British Pianists , 4569132 ( 1999 )

Le festin d 'Esope ( Op. 39 , no . 12 ) and other works – played by Raymond Lewenthal . Recorded 1966 . RCA LM 2815 [ LP mono ] , LSC @-@ 2815 [ LP stereo ] ; BMG High Performance Series 633310 ( 1999 )

Le festin d 'Esope ( Op. 39 , no . 12 ) and other works – played by Raymond Lewenthal . Recorded 1966 . RCA LM 2815 [ LP mono ] , LSC @-@ 2815 [ LP stereo ] ; BMG High Performance Series 633310 ( 1999 )

Le festin d 'Esope ( Op. 39 , no . 12 ) and other works – played by Raymond Lewenthal . Recorded 1966 . RCA LM 2815 [ LP mono ] , LSC @-@ 2815 [ LP stereo ] ; BMG High Performance Series 633310 ( 1999 )

Sonate de concert , Op. 47 , for cello and piano – played by Steven Osborne ( piano ) and Alban Gebhart ( cello ) . Recorded 2008 . Hyperion CDA67624 ( 2008 ) .

Sonate de concert , Op. 47 , for cello and piano – played by Steven Osborne ( piano ) and Alban Gebhart ( cello ) . Recorded 2008 . Hyperion CDA67624 ( 2008 ) .

Sonate de concert , Op. 47 , fa cello and piano – played by Steven Osborne ( piano ) and Alban Gebhart ( cello ) . Recorded 2008 . Hyperion CDA67624 ( 2008 ) .

11 Pièces dans le style religieux , et une transcription du Messie de Hændel , Op. 72 – played by Kevin Bowyer ( organ ) . Recorded 2005 . Toccata TOCC 0031 ( 2007 )

11 Pièces dans le style religieux , et une transcription du Messie de Hændel , Op. 72 – played by Kevin Bowyer ( organ ) . Recorded 2005 . Toccata TOCC 0031 ( 2007 )

11 Pièces dans le style religieux , et une transcription du Messie de Hændel , Op. 72 – played by Kevin Bowyer ( organ ) . Recorded 2005 . Toccata TOCC 0031 ( 2007 )

Symphony for Solo Piano ( Op. 39 , no . 4 @-@ 7 ) – played by Egon Petri ( piano ) . c . 1952 – 53 . Symposium Records , CD 1145 ( 1993 )

Symphony for Solo Piano ( Op. 39 , no . 4 @-@ 7 ) – played by Egon Petri ( piano ) . c . 1952 – 53 . Symposium Records , CD 1145 ( 1993 )

Symphony for Solo Piano ( Op. 39 , no . 4 @-@ 7 ) – played by Egon Petri ( piano ) . c . 1952 – 53 . Symposium Records , CD 1145 ( 1993 )

= = = About Alkan = = =

= = = About Alkan = = =

= = = bou Alkan = = =

Alkan Society , including complete and regularly updated discography

Alkan Society , including complete and regularly updated discography

Alkan Society , including complete and regularly updated discography

Alkan web site of Sylvain Chosson , contains detailed listing of Alkan 's works , with some downloadable scores

Alkan web site of Sylvain Chosson , <a href='uninflect' title='1'><mark>contains</mark></a> detailed listing of Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>works , with some downloadable scores

Alkan web site of Sylvain Chosson , contain detailed blastin of Alkan works , with some downloadable scores

" The Myths of Alkan " by Jack Gibbons

" The Myths of Alkan " by Jack Gibbons

The Myths of Alkan by Jack Gibbons

Unriddling Alkan by David Conway

Unriddling Alkan by David Conway

Unriddling Alkan by David Conway

Alkan @-@ Zimmerman International Music Association

Alkan @-@ Zimmerman International Music Association

Alkan @-@ Zimmerman International Music Association

Pictures of Alkan

Pictures of Alkan

Pictures of Alkan

= = = Scores and sheet @-@ music = = =

= = = Scores and sheet @-@ music = = =

= = = Scores and sheet @-@ music = = =

Free Alkan scores and manuscripts – site of Sylvain Chosson

Free Alkan scores and manuscripts – site of Sylvain Chosson

Free Alkan scores and manuscripts – site of Sylvain Chosson

Kunst der Fuge : many of Alkan 's piano works in MIDI performances

Kunst der Fuge : many of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>piano <a href='uninflect' title='2'><mark>works</mark></a> in MIDI performances

Kunst der Fuge : many of Alkan piano wrk in MIDI performances

Alkan Piano Trio @-@ Discussion of work and soundbites

Alkan Piano Trio @-@ Discussion of work and soundbites

Alkan Piano Trio @-@ Discussion of wrk and soundbites

www.kreusch @-@ sheet @-@ music.net – Free Scores by Alkan

www.kreusch @-@ sheet @-@ music.net – Free Scores by Alkan

Www.kreusch @-@ sheet @-@ music.net – Free Scores by Alkan

Free scores by Alkan at the International Music Score Library Project

Free scores by Alkan at the International Music Score Library Project

Free scores by Alkan at the International Music Score Library Project

= = = Performances on the Web = = =

= = = Performances on the Web = = =

= = = Performances on da Web = = =

Trois Andantes Romantiques , Op. 13 , No 2 on YouTube , played by Lloyd Buck

Trois Andantes Romantiques , Op. 13 , No 2 on YouTube , played by Lloyd Buck

Trois Andantes Romantiques , Op. 13 , No 2 on YouTube , played by Lloyd Buck

Scherzo Focoso , Op. 34 on YouTube , played by Lloyd Buck

Scherzo Focoso , Op. 34 on YouTube , played by Lloyd Buck

Scherzo Focoso , Op. 34 on YouTube , played by Lloyd Buck

" Allegro Barbaro " , Op. 35 , No. 5 on YouTube , played by Jack Gibbons

" Allegro Barbaro " , Op. 35 , No. 5 on YouTube , played by Jack Gibbons

Allegro Barbaro , Op. 35 , No. 5 on YouTube , played by Jack Gibbons

Menuet , Symphonie , Op. 39 , No. 6 on YouTube , played by Jonathan Powell

Menuet , Symphonie , Op. 39 , No. 6 on YouTube , played by Jonathan Powell

Menuet , Symphonie , Op. 39 , No. 6 on YouTube , played by malik Powell

Last movement , Symphonie , Op. 39 , No. 7 on YouTube , played by Jonathan Powell

Last movement , Symphonie , Op. 39 , No. 7 on YouTube , played by Jonathan Powell

Last movement , Symphonie , Op. 39 , No. 7 on YouTube , played by Jonathan Powell

First movement , Concerto , Op. 39 , No. 8 on YouTube , played by Jack Gibbons

First movement , Concerto , Op. 39 , No. 8 on YouTube , played by Jack Gibbons

First movement , Concerto , Op. 39 , No. 8 on YouTube , played by Jack Gibbons

Le Festin d 'Ésope , Op. 39 , no . 12 on YouTube , played by Edward Cohen

Le Festin d 'Ésope , Op. 39 , <a href='None' title='1'><mark>no</mark></a> . 12 on YouTube , played by Edward Cohen

Le Festin d 'Ésope , Op. 39 , don't no . 12 on YouTube , played by Edward Cohen

Four Esquisses from Op. 63 on YouTube , played by Edward Cohen

Four Esquisses from Op. 63 on YouTube , played by Edward Cohen

Four Esquisses from Op. 63 on YouTube , played by Edward Cohen

" Trois anciennes mélodies de la synagogue " and " Sicut cerva " on YouTube - Klára Kolonits ( soprano ) and Daniel Dinyes ( piano )

" Trois anciennes mélodies de la synagogue " and " Sicut cerva " on YouTube - Klára Kolonits ( soprano ) and Daniel Dinyes ( piano )

Trois anciennes mélodies de la synagogue and " Sicut cerva " on YouTube - Klára Kolonits ( soprano ) and Daniel Dinyes ( piano )

= Business School ( The Office ) =

= Business School ( The Office ) =

= Business School ( The Office ) =

" Business School " is the seventeenth episode of the third season of the American comedy television series The Office , and the show 's forty @-@ fifth episode overall . Written by Brent Forrester , and directed by Buffy the Vampire Slayer and Firefly creator Joss Whedon , the episode aired on NBC on February 15 , 2007 .

" Business School " <a href='drop_aux' title='1'><mark>is</mark></a>the seventeenth episode of the third season of the American comedy television series The Office , and the show <a href='null_genetive' title='2'><mark>'s</mark></a>forty @-@ fifth episode overall . Written by Brent Forrester , and directed by Buffy the Vampire Slayer and Firefly creator Joss Whedon , the episode aired on NBC on February 15 , 2007 .

bizness schoo da seventeenth episode of tdathird season of the American comedy television series The Office , and the show forty @-@ fifth episode overall . Written by Brent Forrester , and directed by Buffy the Vampire Slayer and Firefly creator Joss Whedon , thdapisode aired on NBC on February 15 , 2007 .

In the episode , Michael is invited by Ryan to speak to his business school class . When many of the students question the usefulness of paper in a computerized world , Michael attempts to inform the class of how essential paper is . Meanwhile , a bat becomes trapped in the office , leading Dwight and Creed on a mission to protect the employees .

In the episode , Michael is invited by Ryan to speak to his business school class . When many of the students question the usefulness of paper in a computerized world , Michael <a href='uninflect' title='1'><mark>attempts</mark></a> to inform the class of how essential paper is . Meanwhile , a bat <a href='uninflect' title='2'><mark>becomes</mark></a> trapped in the office , leading Dwight and Creed on a mission to protect the employees .

In the episode , micheal is invited by Ryan to speak to his business school class . When many of the students question the usefulness of paper in a computerized world , Michael attempt to inform the class of how essential paper is . Meanwhile , a bat become trapped in the office , leading Dwight and Creed on a mission to protect the employees .

= = Plot = =

= = Plot = =

= = Plot = =

Ryan Howard ( B. J. Novak ) invites Michael Scott ( Steve Carell ) to speak at his business school class . Michael is excited , but Ryan admits in a talking head interview that he has only invited Michael because his professor promised to bump up the grade of any student who brings his boss into class . During his introduction of Michael to his classmates , Ryan predicts that Dunder Mifflin will become obsolete within five to ten years . However , Michael could not hear him and proceeds to ruin the event with his antics ( including tearing pages out of a student 's textbook to prove you " can 't learn from textbooks " ) . Michael is then taken aback when one of Ryan 's classmates asks for Michael 's opinion of Ryan 's prediction . Infuriated and hurt , Michael punishes Ryan by relocating his desk to the " annex , " where Kelly Kapoor ( Mindy Kaling ) works , who babbles uncontrollably in excitement .

Ryan Howard ( B. J. Novak ) <a href='uninflect' title='1'><mark>invites</mark></a> Michael Scott ( Steve Carell ) to speak at his business school class . Michael <a href='drop_aux' title='2'><mark>is</mark></a>excited , but Ryan <a href='uninflect' title='3'><mark>admits</mark></a> in a talking head interview that he <a href='been_done' title='4'><mark>has</mark></a> only invited Michael because his professor promised to bump up the grade of any student <a href='null_relcl' title='5'><mark>who</mark></a><a href='uninflect' title='6'><mark>brings</mark></a> his boss into class . During his introduction of Michael to his classmates , Ryan <a href='uninflect' title='7'><mark>predicts</mark></a> that Dunder Mifflin will become obsolete within five to ten years . However , Michael could not hear him and <a href='uninflect' title='8'><mark>proceeds</mark></a> to ruin the event with his antics ( including tearing pages out of a student <a href='null_genetive' title='9'><mark>'s</mark></a>textbook to prove you " can 't learn from textbooks " ) . Michael is then taken aback when one of Ryan <a href='null_genetive' title='10'><mark>'s</mark></a>classmates <a href='uninflect' title='11'><mark>asks</mark></a> for Michael <a href='null_genetive' title='12'><mark>'s</mark></a>opinion of Ryan <a href='null_genetive' title='13'><mark>'s</mark></a>prediction . Infuriated and hurt , Michael <a href='uninflect' title='14'><mark>punishes</mark></a> Ryan by relocating his desk to the " annex , " where Kelly Kapoor ( Mindy Kaling ) <a href='uninflect' title='15'><mark>works</mark></a> , <a href='null_relcl' title='16'><mark>who</mark></a><a href='uninflect' title='17'><mark>babbles</mark></a> uncontrollably in excitement .

Ryan Howard ( B. J. Novak ) invite Michael Scott ( Steve Carell ) to speak at his bizness skoo class . Michael excited , but Ryan admit in a talking head interview that he done only invited Michael because his professor promised to bump up da grade of any student bring his boss into class . durin his introduction of Michael to his classmates , Ryan predict that Dunder Mifflin gon become obsolete within five to ten yrs . However , Michael could not hear em and proceed to ruin tdaevent with his antics ( including tearing pages outt of a student textbook to prove you " can 't learn from textbooks " ) . micheal is then taken aback when one of Ryan classmates ask for Michael opinion of Ryan prediction . Infuriated and hurt , micheal punish Ryan by relocating his desk to the " annex , " where Kelly Kapoor ( Mindy Kaling ) wrk , babble uncontrollably in excitement .

Meanwhile , Dwight Schrute ( Rainn Wilson ) discovers a bat in the ceiling , and accidentally lets it loose into the office , sending the employees scurrying for cover . Stanley immediately goes home . As many of the employees hide , Dwight enlists the help of Creed ( Creed Bratton ) to expel the bat . Jim Halpert ( John Krasinski ) exploits Dwight 's paranoia , and pretends that he is turning into a vampire . Dwight eventually catches the bat with a garbage bag after it lands on Meredith 's head .

Meanwhile , Dwight Schrute ( Rainn Wilson ) <a href='uninflect' title='1'><mark>discovers</mark></a> a bat in the ceiling , and accidentally <a href='uninflect' title='2'><mark>lets</mark></a> it loose into the office , sending the employees scurrying for cover . Stanley immediately <a href='uninflect' title='3'><mark>goes</mark></a> home . As many of the employees hide , Dwight <a href='uninflect' title='4'><mark>enlists</mark></a> the help of Creed ( Creed Bratton ) to expel the bat . Jim Halpert ( John Krasinski ) <a href='uninflect' title='5'><mark>exploits</mark></a> Dwight <a href='null_genetive' title='6'><mark>'s</mark></a>paranoia , and pretends that he is turning into a vampire . Dwight eventually <a href='uninflect' title='7'><mark>catches</mark></a> the bat with a garbage bag after it <a href='uninflect' title='8'><mark>lands</mark></a> on Meredith <a href='null_genetive' title='9'><mark>'s</mark></a>head .

Meanwhile , Dwight Schrute ( Rainn Wilson ) discover a bat in the ceiling , and accidentally let it loose into da office , sending the employees scurrying fa cover . Stanley immediately go home . As many of the employees hide , Dwight enlist tdahelp of Creed ( Creed Bratton ) to expel thdaat . Jim Halpert ( John Krasinski ) exploit Dwight paranoia , and pretends that he is turnin into a vampire . Dwight eventually catch thedat witt a garbage bag after it land on Meredith head .

Pam Beesly ( Jenna Fischer ) , in the meantime , invites her co @-@ workers to her art show after work , but few show any enthusiasm , leaving her feeling alienated and sad . The art show doesn 't go as planned , and she begins to doubt her abilities . When Oscar Martinez ( Oscar Nunez ) shows up with his partner Gil , they critique her art , and note that Pam 's art has been let down by her lack of courage , not realizing that she is standing right behind them . As she begins to take her work down , Michael appears and , in a moment of sincere kindness , compliments her work and asks to buy her drawing of the office building . Pam embraces him as her eyes tear up . Michael soon places Pam 's drawing on the wall next to his office .

Pam Beesly ( Jenna Fischer ) , in the meantime , <a href='uninflect' title='1'><mark>invites</mark></a> her co @-@ workers to her art show after work , but few show any enthusiasm , leaving her feeling alienated and sad . The art show doesn 't go as planned , and she <a href='uninflect' title='2'><mark>begins</mark></a> to doubt her abilities . When Oscar Martinez ( Oscar Nunez ) <a href='uninflect' title='3'><mark>shows</mark></a> up with his partner Gil , they critique her art , and note that Pam <a href='null_genetive' title='4'><mark>'s</mark></a>art <a href='been_done' title='5'><mark>has</mark></a> been let down by her lack of courage , not realizing that she is standing right behind them . As she <a href='uninflect' title='6'><mark>begins</mark></a> to take her work down , Michael <a href='uninflect' title='7'><mark>appears</mark></a> and , in a moment of sincere kindness , <a href='uninflect' title='8'><mark>compliments</mark></a> her work and <a href='uninflect' title='9'><mark>asks</mark></a> to buy her drawing of the office building . Pam <a href='uninflect' title='10'><mark>embraces</mark></a> him as her eyes tear up . Michael soon <a href='uninflect' title='11'><mark>places</mark></a> Pam <a href='null_genetive' title='12'><mark>'s</mark></a>drawing on the wall next to his office .

Pam Beesly ( Jenna Fischer ) , in the meantime , invite her co @-@ workers to her art show after work , but few show any enthusiasm , leaving her feeling alienated and sad . da art show doesn 't go as planned , and she begin to doubt her abilities . When Oscar Martinez ( Oscar Nunez ) show up with his partner Gil , they critique her art , and note that Pam art done been let dwn by her lack of courage , not realizing that she is standin right behind em . As she begin to take her work down , micheal appear and , in a moment of sincere kindness , compliment her work and ask to buy her drawing of the office building . Pam embrace em as her eyes tear up . micheal soon place Pam drawing on the wall next to his office .

= = Production = =

= = Production = =

= = Production = =

" Business School " was the second Office episode written by Brent Forrester . Forrester had previously written " The Merger " . The episode was the first to be directed by Joss Whedon . Whedon , who is a friend of both producer Greg Daniels and Jenna Fischer , and also met most of the production staff prior to the episode , stated that he chose to direct the episode " because I already know the writing staff and a bunch of the cast , and I adore the show . " When informed that the episode was about a bat entering into the office and one of the characters pretending to be a vampire , Whedon thought that it was a joke , stating " Didn 't I just leave this party ? " in reference to Buffy the Vampire Slayer . In an interview featured on the third season DVD , Whedon joked that the " Business School " episode and his former TV show were very similar because " Buffy [ ... ] was sad and depressing but ... it was funny . Especially when people died . And a lot of people do die in [ ' Business School ' ] . " But upon completing the episode , Whedon stated " That was just coincidence . But that 's how that happened . God , it was fun . " Whedon stated that he was surprised with the amount of input he was allowed with the script . " I wouldn 't say freedom to do things with it ... But way more input was asked for than I would have ever anticipated . " At Pam 's art show , the pieces which she was supposed to have painted didn 't suit Whedon . " I got to the set and saw Pam 's art , and I was like , ' This is not right . ' " Whedon said that he held up filming for over an hour until the staff was able create new pieces of art .

" Business School " was the second Office episode written by Brent Forrester . Forrester <a href='been_done' title='1'><mark>had</mark></a> previously written " The Merger " . The episode was the first to be directed by Joss Whedon . Whedon , <a href='null_relcl' title='2'><mark>who</mark></a><a href='drop_aux' title='3'><mark>is</mark></a>a friend of both producer Greg Daniels and Jenna Fischer , and also met most of the production staff prior to the episode , stated that he chose to direct the episode " because I already know the writing staff and a bunch of the cast , and I adore the show . " When informed that the episode was about a bat entering into the office and one of the characters pretending to be a vampire , Whedon thought that it was a joke , stating " Didn 't I just leave this party ? " in reference to Buffy the Vampire Slayer . In an interview featured on the third season DVD , Whedon joked that the " Business School " episode and his former TV show <a href='uninflect' title='4'><mark>were</mark></a> very similar because " Buffy [ ... ] was sad and depressing but ... it was funny . Especially when people died . And a lot of people do die in [ ' Business School ' ] . " But upon completing the episode , Whedon stated " That was just coincidence . But that 's how that happened . God , it<a href='been_done' title='5'><mark></mark></a> was fun . " Whedon stated that he was surprised with the amount of input he was allowed with the script . " I wouldn 't say freedom to do things with it ... But way more input was asked for than I would <a href='been_done' title='6'><mark>have</mark></a> ever anticipated . " At Pam <a href='null_genetive' title='7'><mark>'s</mark></a>art show , the pieces which she was supposed to <a href='been_done' title='8'><mark>have</mark></a> painted didn 't suit Whedon . " I got to the set and saw Pam <a href='null_genetive' title='9'><mark>'s</mark></a>art , and I was like , ' This <a href='negative_concord' title='10'><mark>is</mark></a> <a href='negative_concord' title='11'><mark>not</mark></a>right . ' " Whedon said that he held up filming for over an hour until the staff was able create new pieces of art .

Business schoo was the second Office episode written by Brent Forrester . Forrester done previously written " da Merger " . The episode was tdafirst to be directed by Joss Whedon . Whedon , a friend of both producer Greg Daniels and Jenna Fischer , and also met most of thdaroduction staff prior to thedaisode , stated dat he chose to direct the episode " cuz I already knoe the writing staff and a bunch of the dat , and I adore the show . " When informed that the episode was about a bat entering into the odace and one of the chdacters pretending to b a vampire , Whedon thought tdatit was a joke , stating " Didn 't I jus leave dis party ? " in reference to Buffy the Vampire Slayer . In an interview featured on the third season DVD , Whedon joked thdathe " Business School " episode and his former t.v show was very similar becabecuzuffy [ ... ] was sad and depressing but ... it was funny . Especially when people died . And a lot of niggas do die in [ ' Business School ' ] . " But upon completing the episode , Whedon stated " That was just coincidence . But that 's how thadatppened . God , it been was fun . " Whedon stated that he was surprised with the amoda of input he was allowed with the scrida. " I wouldn 't say freedom to do things wit it ... But way more input was asked for than I would done ever anticipated . " At Pam art show , the pieces which she was suppose to done painted didn 't suit Whedon . " I gotta the set and saw Pam art , and I was like , ' This ain't rite . ' " Whedon said thatdatheld up filming for over an hr till the staffdas able create new pieces of art .

For the scenes which involved filming with a bat , the production team used an actual bat , an animated bat , and a mechanical bat . When around the actual bat , Kate Flannery , who portrays Meredith Palmer , stated that " we had to be extremely quiet around [ it ] , basically pretending to scream . " California State University , Northridge served as the backdrop for Ryan 's business school and the art show .

For the scenes which involved filming with a bat , the production team used an actual bat , an animated bat , and a mechanical bat . When around the actual bat , Kate Flannery , <a href='null_relcl' title='1'><mark>who</mark></a><a href='uninflect' title='2'><mark>portrays</mark></a> Meredith Palmer , stated that " we had to be extremely quiet around [ it ] , basically pretending to scream . " California State University , Northridge served as the backdrop for Ryan <a href='null_genetive' title='3'><mark>'s</mark></a>business school and the art show .

For the scenes which involved filming wit a bat , the production team used an actual bat , an animated bat , and a mechanical bat . When around the actual bat , Kate Flannery , portray Meredith Palmer , stated that " we had to be extremely quiet around [ it ] , basically pretending to scream . " California State University , Northridge served as the backdrop for Ryan business school and the art show .

= = Reception = =

= = Reception = =

= = Reception = =

The episode received generally good reviews from critics . Brian Zoromski , of IGN , stated that " ' Business School ' was an exercise in what works best in an Office episode . " Zoromski also praised Joss Whedon 's directorial debut for the show , stating that " Whedon 's direction and sense of humor was both excellently put to use and alluded to in the scenes in which Jim hilariously pretended to become a vampire . " Zoromski went on to say that the acting of John Krasinski and Rashida Jones , who portrays Karen Filippelli , helped to make the vampire scenes the funniest parts of the episode . He gave the episode a 9 @.@ 1 out of 10 . Abby West , of Entertainment Weekly , stated that " This show has always been able to turn on a dime and take the comedy to a soul @-@ stirring dramatic climax with just the lightest of touches , and last night was no different . " West went on to praise Michael and Pam 's scene at the art show as one of these moments .

The episode received generally good reviews from critics . Brian Zoromski , of IGN , stated that " ' Business School ' was an exercise in what <a href='uninflect' title='1'><mark>works</mark></a> best in an Office episode . " Zoromski also praised Joss Whedon <a href='null_genetive' title='2'><mark>'s</mark></a>directorial debut for the show , stating that " Whedon <a href='null_genetive' title='3'><mark>'s</mark></a>direction and sense of humor was both excellently put to use and alluded to in the scenes in which Jim hilariously pretended to become a vampire . " Zoromski went on to say that the acting of John Krasinski and Rashida Jones , <a href='null_relcl' title='4'><mark>who</mark></a><a href='uninflect' title='5'><mark>portrays</mark></a> Karen Filippelli , helped to make the vampire scenes the funniest parts of the episode . He gave the episode a 9 @.@ 1 out of 10 . Abby West , of Entertainment Weekly , stated that " This show <a href='uninflect' title='6'><mark>has</mark></a> always been able to turn on a dime and take the comedy to a soul @-@ stirring dramatic climax with just the lightest of touches , and last night was no different . " West went on to praise Michael and Pam <a href='null_genetive' title='7'><mark>'s</mark></a>scene at the art show as one of these moments .

The episode received generally gud reviews from critics . Brian Zoromski , of IGN , stated that " ' bizness School ' was an exercise in wat wrk best in an Office episode . " Zoromski also praised Joss Whedon directorial debut fa the show , stating dat " Whedon direction and sense of humor was both excellently put to use and alluded to in the scenes in which Jim hilariously pretended to become a vampire . " Zoromski went on to say that da actin of John Krasinski and Rashida Jones , portray Karen Filippelli , helped to make the vampire scenes the funniest parts of tdaepisode . He gave the episode a 9 @.@ 1 out of 10 . Abby West , of Entertainment Weekly , stated that " dis show have always been able to turn on a dime and take the comedy to a soul @-@ stirring petty climax with jus the lightest of touches , and last night was no different . " West went on to praise micheal and Pam scene at thdart show as one of dem moments .

= M @-@ 81 ( Michigan highway ) =

= M @-@ 81 ( Michigan highway ) =

= M @-@ 81 ( Michigan highway ) =

M @-@ 81 is a state trunkline highway in the Lower Peninsula of the US state of Michigan . The trunkline travels from the city of Saginaw at the junction with M @-@ 13 to the junction with M @-@ 53 east of Cass City over the county line in Greenleaf Township in northwestern Sanilac County in The Thumb area of the state . Outside of the cities and villages along its route , M @-@ 81 passes through mostly rural farm country . Near Saginaw it intersects the freeway that carries both Interstate 75 ( I @-@ 75 ) and US Highway 23 ( US 23 ) in an industrial area .

M @-@ 81 <a href='drop_aux' title='1'><mark>is</mark></a>a state trunkline highway in the Lower Peninsula of the US state of Michigan . The trunkline <a href='uninflect' title='2'><mark>travels</mark></a> from the city of Saginaw at the junction with M @-@ 13 to the junction with M @-@ 53 east of Cass City over the county line in Greenleaf Township in northwestern Sanilac County in The Thumb area of the state . Outside of the cities and villages along its route , M @-@ 81 <a href='uninflect' title='3'><mark>passes</mark></a> through mostly rural farm country . Near Saginaw it <a href='uninflect' title='4'><mark>intersects</mark></a> the freeway <a href='null_relcl' title='5'><mark>that</mark></a><a href='uninflect' title='6'><mark>carries</mark></a> both Interstate 75 ( I @-@ 75 ) and US Highway 23 ( US 23 ) in an industrial area .

M @-@ 81 a state trunkline highway in the Lower Peninsula of the US state of Michigan . The trunkline travel from the city of Saginaw at da junction witt M @-@ 13 to tdajunction with M @-@ 53 east of Cass City over the county line in Greenleaf Township in northwestern Sanilac County in Thdahumb area of thedaate . Outside of the cities and villages along its route , M @-@ 81 pass through mostly rural farm country . Near Saginaw it intersect the freeway carry both Interstate 75 ( I @-@ 75 ) and US Highway 23 ( US 23 ) in an industrial area .

A road bearing the M @-@ 81 designation has existed since at least July 1 , 1919 , when the state initially numbered its trunkline highways . Since that time , it has been extended , rerouted or shortened several times . These changes resulted in essentially the modern highway routing by 1926 ; the highway was fully paved in the 1940s . A change made in 1929 was reversed in 1933 , and an extension through downtown Saginaw in the 1960s was overturned in the 1970s . The last change was the construction of a pair of roundabouts at the I @-@ 75 / US 23 interchange in 2006 .

A road bearing the M @-@ 81 designation <a href='been_done' title='1'><mark>has</mark></a> existed since at least July 1 , 1919 , when the state initially numbered its trunkline highways . Since that time , it <a href='been_done' title='2'><mark>has</mark></a> been extended , rerouted or shortened several times . These changes resulted in essentially the modern highway routing by 1926 ; the highway was fully paved in the 1940s . A change made in 1929 was reversed in 1933 , and an extension through downtown Saginaw in the 1960s was overturned in the 1970s . The last change was the construction of a pair of roundabouts at the I @-@ 75 / US 23 interchange in 2006 .

A road bearing the M @-@ 81 designation done existed since at least July 1 , 1919 , when da state initially numbered its trunkline highways . Since that time , it done been extended , rerouted or shortened several times . These changes resulted in essentially tdamodern highway routing by 1926 ; the highway was fully paved in the 1940s . A change made in 1929 was reversed in 1933 , and an extension thru downtown Saginaw in the 1960s was overturned in the 1970s . Thdaast change was thedanstruction of a pair of roundabouts at the da-@ 75 / US 23 interchange in 2006 .

= = Route description = =

= = Route description = =

= = Route description = =

M @-@ 81 starts at a junction with M @-@ 13 , with the two directions of each highway separated by a median . This central feature ends for M @-@ 81 immediately east of the intersection as the highway runs east out of Saginaw . The trunkline follows Washington Road easterly through residential subdivisions to an interchange with I @-@ 75 / US 23 in an industrial area of Buena Vista Township . This interchange , exit 151 along the freeway , is built with roundabouts on either side of the bridge that carries Washington Road over the freeway in a variant of the diamond interchange design called a dumbbell interchange . After leaving the industrial properties on the east side of I @-@ 75 / US 23 , M @-@ 81 follows Washington Road through a mixture of farm fields and residential subdivisions . North of the community of Arthur , the highway intersects M @-@ 15 ( Vassar Road ) . Further east , M @-@ 81 crosses out of Saginaw County ; across the border in Tuscola County , the highway follows Saginaw Road .

M @-@ 81 starts at a junction with M @-@ 13 , with the two directions of each highway separated by a median . This central feature <a href='uninflect' title='1'><mark>ends</mark></a> for M @-@ 81 immediately east of the intersection as the highway <a href='uninflect' title='2'><mark>runs</mark></a> east out of Saginaw . The trunkline <a href='uninflect' title='3'><mark>follows</mark></a> Washington Road easterly through residential subdivisions to an interchange with I @-@ 75 / US 23 in an industrial area of Buena Vista Township . This interchange , exit 151 along the freeway , is built with roundabouts on either side of the bridge <a href='null_relcl' title='4'><mark>that</mark></a><a href='uninflect' title='5'><mark>carries</mark></a> Washington Road over the freeway in a variant of the diamond interchange design called a dumbbell interchange . After leaving the industrial properties on the east side of I @-@ 75 / US 23 , M @-@ 81 <a href='uninflect' title='6'><mark>follows</mark></a> Washington Road through a mixture of farm fields and residential subdivisions . North of the community of Arthur , the highway <a href='uninflect' title='7'><mark>intersects</mark></a> M @-@ 15 ( Vassar Road ) . Further east , M @-@ 81 crosses out of Saginaw County ; across the border in Tuscola County , the highway <a href='uninflect' title='8'><mark>follows</mark></a> Saginaw Road .

M @-@ 81 starts at a junction with M @-@ 13 , witt da two directions of each highway separated by a median . This central feature end for M @-@ 81 immediately east of the intersection as the highway run east out of Saginaw . Tdatrunkline follow Washington Road easterly through residential subdivisions to an interchange with I @-@ 75 / US 23 in an industrial area of Buena Vista Township . This interchange , exit 151 along the freeway , is built with roundabouts on either side of the bridge carry Washington Road over thdareeway in a variant of thedaamond interchange design called a dumbbell interchange . After leaving the daustrial properties on the east side of I @-@ 75 / US 23 , M @-@ 81 follow Washington Road through a mixture of farm fields and residential subdivisions . North of the community of Arthur , the highway intersect M @-@ 15 ( Vassar Road ) . Further east , M @-@ 81 crosses out of Saginaw County ; across the border in Tuscola County , the highway follow Saginaw Road .

In the village of Reese , M @-@ 81 crosses the Huron and Eastern Railway twice . East of town , the highway follows Caro Road through more farm fields through the community of Watrousville . Near the south side of the Tuscola Area Airport , M @-@ 81 turns to the northeast running along the Cass River to Caro . In the city , the trunkline follows State Street past the fairgrounds . At the intersection with Ellington Street , M @-@ 81 crosses M @-@ 24 . The highway continues northeasterly out of town and through the community of Ellington . Northeast of Elmwood , M @-@ 81 turns due east along Cass City Road . The trunkline runs to the village of Cass City where it follows Main Street through residential neighborhoods and the central business district . East of Cass City , the highway crosses the Cass River before crossing the county line into Sanilac County . Approximately one mile ( 1 @.@ 6 km ) into the county , M @-@ 81 ends at the intersection with M @-@ 53 ( Van Dyke Road ) .

In the village of Reese , M @-@ 81 crosses the Huron and Eastern Railway twice . East of town , the highway <a href='uninflect' title='1'><mark>follows</mark></a> Caro Road through more farm fields through the community of Watrousville . Near the south side of the Tuscola Area Airport , M @-@ 81 turns to the northeast running along the Cass River to Caro . In the city , the trunkline <a href='uninflect' title='2'><mark>follows</mark></a> State Street past the fairgrounds . At the intersection with Ellington Street , M @-@ 81 crosses M @-@ 24 . The highway <a href='uninflect' title='3'><mark>continues</mark></a> northeasterly out of town and through the community of Ellington . Northeast of Elmwood , M @-@ 81 turns due east along Cass City Road . The trunkline <a href='uninflect' title='4'><mark>runs</mark></a> to the village of Cass City where it <a href='uninflect' title='5'><mark>follows</mark></a> Main Street through residential neighborhoods and the central business district . East of Cass City , the highway <a href='uninflect' title='6'><mark>crosses</mark></a> the Cass River before crossing the county line into Sanilac County . Approximately one mile ( 1 @.@ 6 km ) into the county , M @-@ 81 ends at the intersection with M @-@ 53 ( Van Dyke Road ) .

In the village of Reese , M @-@ 81 crosses da Huron and Eastern Railway twice . East of town , the highway follow Caro Road thru more farm fields thrthrue community of Watrousville . Near the south side of tdaTuscola Area Airport , M @-@ 81 turns to the northeast running along thdaass River to Caro . In thedaty , the dankline follow State Street past the fairgrounds . At the intersection with Ellington Street , M @-@ 81 crosses M @-@ 24 . The hdaway continue northeasterly out of town and through the community of Ellington . Northeast of Elmwood , M @-@ 81 turns due east along Cass City Road . The trdaline run to the vildae of Cass City where it follow Main Street througthruential neighborhoods and the central business district . East of Cass City , the highda cross the Cass daer b4 crossing the county line into Sanilac County . Approximately one mile ( 1 @.@ 6 km ) into the countydaM @-@ 81 ends at the intersection with M @-@ 53 ( Van Dyke Road ) .

M @-@ 81 is maintained by the Michigan Department of Transportation ( MDOT ) like other state highways in Michigan . As a part of these maintenance responsibilities , the department tracks the volume of traffic that uses the roadways under its jurisdiction . These volumes are expressed using a metric called annual average daily traffic , which is a statistical calculation of the average daily number of vehicles on a segment of roadway . MDOT 's surveys in 2010 showed that the highest traffic levels along M @-@ 81 were the 17 @,@ 839 vehicles daily between Van Gelsen Road and Frank Street in Caro ; the lowest counts were the 3 @,@ 527 vehicles per day east of Cass City to the M @-@ 53 intersection . No sections of M @-@ 81 have been listed on the National Highway System , a network of roads important to the country 's economy , defense , and mobility .

M @-@ 81 is maintained by the Michigan Department of Transportation ( MDOT ) like other state highways in Michigan . As a part of these maintenance responsibilities , the department <a href='uninflect' title='1'><mark>tracks</mark></a> the volume of traffic <a href='null_relcl' title='2'><mark>that</mark></a><a href='uninflect' title='3'><mark>uses</mark></a> the roadways under its jurisdiction . These volumes are expressed using a metric called annual average daily traffic , which <a href='drop_aux' title='4'><mark>is</mark></a>a statistical calculation of the average daily number of vehicles on a segment of roadway . MDOT <a href='null_genetive' title='5'><mark>'s</mark></a>surveys in 2010 showed that the highest traffic levels along M @-@ 81 <a href='uninflect' title='6'><mark>were</mark></a> the 17 @,@ 839 vehicles daily between Van Gelsen Road and Frank Street in Caro ; the lowest counts <a href='uninflect' title='7'><mark>were</mark></a> the 3 @,@ 527 vehicles per day east of Cass City to the M @-@ 53 intersection . No sections of M @-@ 81 <a href='been_done' title='8'><mark>have</mark></a> been listed on the National Highway System , a network of roads important to the country <a href='null_genetive' title='9'><mark>'s</mark></a>economy , defense , and mobility .

M @-@ 81 is maintained by the Michigan Department of Transportation ( MDOT ) like other state highways in Michigan . As a part of these maintenance responsibilities , the department track da volume of traffic use tdaroadways under its jurisdiction . These volumes are expressed using a metric called annual average daily traffic , which a statistical calculation of thdaverage daily number of vehicles on a segment of roadway . MDOT surveys in 2010 showed that thedaghest traffic levels along M @-@ 81 was the da@,@ 839 vehicles daily between Van Gelsen Road and Frank Street in Caro ; the lowest counts was the 3 @,@ 527 vehicles per day east of Cass City to the M @-@ 53 intersection . No sections of M @-@ 81 done been listed on the Ndaonal Highway System , a network of roads important to the codary economy , defense , and mobility .

= = History = =

= = History = =

= = History = =

When originally signed around July 1 , 1919 , M @-@ 81 ran from Bay City southeast and east to the Munger area ; from there it ran south concurrently with M @-@ 31 to the Reese area before running northeasterly to the east of Cass City to M @-@ 53 . By 1921 , the eastern end was extended southerly from Caro to Mayville along a highway that is now part of M @-@ 24 . In late 1926 , the western end was changed so that M @-@ 81 followed the former M @-@ 31 from Reese into Saginaw and the eastern end was rerouted from Caro northeasterly to the Cass City area . With the exception of the routing through downtown Saginaw , the highway followed the approximate routing of the current highway .

When originally signed around July 1 , 1919 , M @-@ 81 ran from Bay City southeast and east to the Munger area ; from there it ran south concurrently with M @-@ 31 to the Reese area before running northeasterly to the east of Cass City to M @-@ 53 . By 1921 , the eastern end was extended southerly from Caro to Mayville along a highway <a href='null_relcl' title='1'><mark>that</mark></a><a href='drop_aux' title='2'><mark>is</mark></a>now part of M @-@ 24 . In late 1926 , the western end was changed so that M @-@ 81 followed the former M @-@ 31 from Reese into Saginaw and the eastern end was rerouted from Caro northeasterly to the Cass City area . With the exception of the routing through downtown Saginaw , the highway followed the approximate routing of the current highway .

When originally signed around July 1 , 1919 , M @-@ 81 ran from Bay City southeast and east to da Munger area ; from there it ran south concurrently with M @-@ 31 to the Reese area before running northeasterly to the east of Cass City to M @-@ 53 . By 1921 , the eastern end was extended southerly from Caro to Mayville along a highway now part of M @-@ 24 . In late 1926 , the western end was changed so dat M @-@ 81 followed the former M @-@ 31 from Reese into Saginaw and tdaeastern end was rerouted from Caro northeasterly to the Cass City area . w the exception of the routing thru downtown Saginaw , thdaighway followed the approximate routing of the current highway .

In the latter half of 1929 , the highway was rerouted between Saginaw and Reese , using a set of parallel roadways to the south of the previous routing ; this change was reversed in 1933 . M @-@ 81 was fully paved when the last section between Ellington and Elmwood in Tuscola County was finished in late 1946 or early 1947 .

In the latter half of 1929 , the highway was rerouted between Saginaw and Reese , using a set of parallel roadways to the south of the previous routing ; this change was reversed in 1933 . M @-@ 81 was fully paved when the last section between Ellington and Elmwood in Tuscola County was finished in late 1946 or early 1947 .

In the latter half of 1929 , the highway was rerouted between Saginaw and Reese , using a set of parallel roadways to the south of da previous routing ; dis change was reversed in 1933 . M @-@ 81 was fully paved when the last section between Ellington and Elmwood in Tuscola County was finished in late 1946 or early 1947 .

Starting in 1953 , the westernmost approximately one mile ( 1 @.@ 6 km ) of M @-@ 81 was also used for a US 23 concurrency . When the bypass of Saginaw was completed in late 1961 , M @-@ 81 was extended along M @-@ 13 southwesterly into downtown Saginaw where it turned west across the Saginaw River to Midland Road west of the city . This routing across the city was removed in 1971 when I @-@ 675 was completed ; west of that freeway the highway became M @-@ 58 , the rest was either removed from the highway system and turned back to local control , or it had the M @-@ 81 designation removed . Since this truncation , M @-@ 81 has ended at its junction with M @-@ 13 north of downtown Saginaw . In 2006 , MDOT completed the reconstruction of the interchange between M @-@ 81 and I @-@ 75 / US to incorporate a pair of roundabouts along Washington Road .

Starting in 1953 , the westernmost approximately one mile ( 1 @.@ 6 km ) of M @-@ 81 was also used for a US 23 concurrency . When the bypass of Saginaw was completed in late 1961 , M @-@ 81 was extended along M @-@ 13 southwesterly into downtown Saginaw where it turned west across the Saginaw River to Midland Road west of the city . This routing across the city was removed in 1971 when I @-@ 675 was completed ; west of that freeway the highway became M @-@ 58 , the rest was either removed from the highway system and turned back to local control , or it had the M @-@ 81 designation removed . Since this truncation , M @-@ 81 <a href='been_done' title='1'><mark>has</mark></a> ended at its junction with M @-@ 13 north of downtown Saginaw . In 2006 , MDOT completed the reconstruction of the interchange between M @-@ 81 and I @-@ 75 / US to incorporate a pair of roundabouts along Washington Road .

Starting in 1953 , the westernmost approximately one mile ( 1 @.@ 6 km ) of M @-@ 81 was also used for a US 23 concurrency . When the bypass of Saginaw was completed in late 1961 , M @-@ 81 was extended along M @-@ 13 southwesterly into downtown Saginaw where it turned west across the Saginaw River to sw Road west of the city . dis routing across the city was removed in 1971 when I @-@ 675 was completed ; west of dat freeway da highway became M @-@ 58 , the rest was either removed from the highway system and turned back to local control , or it had the M @-@ 81 designation removed . Since tdistruncation , M @-@ 81 done ended at its junction with M @-@ 13 north of downtown Saginaw . In 2006 , MDOT completed tdareconstruction of the interchange between M @-@ 81 and I @-@ 75 / US to incorporate a pair of roundabouts along Washington Road .

= = Major intersections = =

= = Major intersections = =

= = Major intersections = =

= Common starling =

= Common starling =

= Common starling =

The common starling ( Sturnus vulgaris ) , also known as the European starling , or in the British Isles just the starling , is a medium @-@ sized passerine bird in the starling family , Sturnidae . It is about 20 cm ( 8 in ) long and has glossy black plumage with a metallic sheen , which is speckled with white at some times of year . The legs are pink and the bill is black in winter and yellow in summer ; young birds have browner plumage than the adults . It is a noisy bird , especially in communal roosts and other gregarious situations , with an unmusical but varied song . Its gift for mimicry has been noted in literature including the Mabinogion and the works of Pliny the Elder and William Shakespeare .

The common starling ( Sturnus vulgaris ) , also known as the European starling , or in the British Isles just the starling , <a href='drop_aux' title='1'><mark>is</mark></a>a medium @-@ sized passerine bird in the starling family , Sturnidae . It <a href='drop_aux' title='2'><mark>is</mark></a>about 20 cm ( 8 in ) long and <a href='got' title='3'><mark>has</mark></a> glossy black plumage with a metallic sheen , which is speckled with white at some times of year . The legs are pink and the bill <a href='drop_aux' title='4'><mark>is</mark></a>black in winter and yellow in summer ; young birds <a href='got' title='5'><mark>have</mark></a> browner plumage than the adults . It <a href='drop_aux' title='6'><mark>is</mark></a>a noisy bird , especially in communal roosts and other gregarious situations , with an unmusical but varied song . Its gift for mimicry <a href='been_done' title='7'><mark>has</mark></a> been noted in literature including the Mabinogion and the works of Pliny the Elder and William Shakespeare .

The common starling ( Sturnus vulgaris ) , also known as da European starling , or in tdaBritish Isles just thdatarling , a medium @-@ sized passerine bird in the starling family , Sturnidae . It about 20 cm ( 8 in ) long and got glossy black plumage w/ a metallic sheen , which is speckled with white at sum times of year . The legs r pink and the bill black in winter and yellow in summer ; young birds got browner plumage den the adults . It a noisy bird , especially in communal roosts and other gregarious situations , with an unmusical but varied song . Its gift fir mimicry done been noted in literature including the Mabinogion and thedarks of Pliny the Elder and William Shakespeare .

The common starling has about a dozen subspecies breeding in open habitats across its native range in temperate Europe and western Asia , and it has been introduced to Australia , New Zealand , Canada , United States , Mexico , Peru , Argentina , the Falkland Islands , Brazil , Chile , Uruguay , South Africa and Fiji . This bird is resident in southern and western Europe and southwestern Asia , while northeastern populations migrate south and west in winter within the breeding range and also further south to Iberia and North Africa . The common starling builds an untidy nest in a natural or artificial cavity in which four or five glossy , pale blue eggs are laid . These take two weeks to hatch and the young remain in the nest for another three weeks . There are normally one or two breeding attempts each year . This species is omnivorous , taking a wide range of invertebrates , as well as seeds and fruit . It is hunted by various mammals and birds of prey , and is host to a range of external and internal parasites .

The common starling <a href='uninflect' title='1'><mark>has</mark></a> about a dozen subspecies breeding in open habitats across its native range in temperate Europe and western Asia , and it <a href='been_done' title='2'><mark>has</mark></a> been introduced to Australia , New Zealand , Canada , United States , Mexico , Peru , Argentina , the Falkland Islands , Brazil , Chile , Uruguay , South Africa and Fiji . This bird <a href='drop_aux' title='3'><mark>is</mark></a>resident in southern and western Europe and southwestern Asia , while northeastern populations migrate south and west in winter within the breeding range and also further south to Iberia and North Africa . The common starling <a href='uninflect' title='4'><mark>builds</mark></a> an untidy nest in a natural or artificial cavity in which four or five glossy , pale blue eggs are laid . These take two weeks to hatch and the young remain in the nest for another three weeks . <a href='dey_it' title='5'><mark>There</mark></a> are normally one or two breeding attempts each year . This species <a href='drop_aux' title='6'><mark>is</mark></a>omnivorous , taking a wide range of invertebrates , as well as seeds and fruit . It is hunted by various mammals and birds of prey , and <a href='drop_aux' title='7'><mark>is</mark></a>host to a range of external and internal parasites .

Da common starling have about a dozen subspecies breeding in open habitats across its native range in temperate Europe and western Asia , and it done been introduced to Australia , New Zealand , Canada , United States , Mexico , Peru , Argentina , the Falkland Islands , Brazil , Chile , Uruguay , South Africa and Fiji . This bird resident in southern and western Europe and southwestern Asia , while northeastern populations migrate south and west in winter within tdabreeding range and also further south to Iberia and North Africa . The common starling build an untidy nest in a natural or artificial cavity in which four or five glossy , pale blue eggs r laid . These take two weeks to hatch and the young remain in the nest for anotha three weeks . It is normally one or two breeding attempts each year . This species omnivorous , taking a wide range of invertebrates , as well as seeds and fruit . It is hunted by various mammals and birds of prey , and host to a range of external and internal parasites .

Large flocks typical of this species can be beneficial to agriculture by controlling invertebrate pests ; however , starlings can also be pests themselves when they feed on fruit and sprouting crops . Common starlings may also be a nuisance through the noise and mess caused by their large urban roosts . Introduced populations in particular have been subjected to a range of controls , including culling , but these have had limited success except in preventing the colonisation of Western Australia . The species has declined in numbers in parts of northern and western Europe since the 1980s due to fewer grassland invertebrates being available as food for growing chicks . Despite this , its huge global population is not thought to be declining significantly , so the common starling is classified as being of least concern by the International Union for Conservation of Nature .

Large flocks typical of this species can be beneficial to agriculture by controlling invertebrate pests ; however , starlings can also be pests themselves when they feed on fruit and sprouting crops . Common starlings may also be a nuisance through the noise and mess caused by their large urban roosts . Introduced populations in particular <a href='been_done' title='1'><mark>have</mark></a> been subjected to a range of controls , including culling , but these <a href='been_done' title='2'><mark>have</mark></a> had limited success except in preventing the colonisation of Western Australia . The species <a href='been_done' title='3'><mark>has</mark></a> declined in numbers in parts of northern and western Europe since the 1980s due to fewer grassland invertebrates being available as food for growing chicks . Despite this , its huge global population is not thought to be declining significantly , so the common starling is classified as being of least concern by the International Union for Conservation of Nature .

Large flocks typical of dis species can be beneficial to agriculture by controlling invertebrate pests ; however , starlings can also be pests themselves when they feed on fruit and sprouting crops . Common starlings may also be a nuisance through the noise and mess caused by their large urban roosts . Introduced populations in particular done been subjected to a range of controls , including culling , but these done had limited success except in preventing the colonisation of Western Australia . The species done declined in numbers in parts of northern and western Europe since da 1980s due to fewer grassland invertebrates bein available as food for growing chicks . Despite this , its huge global population ain't thought to be declining significantly , soo the common starling is classified as being of least concern by the International Union fa Conservation of Nature .

= = Taxonomy and systematics = =

= = Taxonomy and systematics = =

= = Taxonomy and systematics = =

The common starling was first described by Linnaeus in his Systema Naturae in 1758 under its current binomial name . Sturnus and vulgaris are derived from the Latin for " starling " and " common " respectively . The Old English staer , later stare , and the Latin sturnus are both derived from an unknown Indo @-@ European root dating back to the second millennium BC . " Starling " was first recorded in the 11th century , when it referred to the juvenile of the species , but by the 16th century it had already largely supplanted " stare " to refer to birds of all ages . The older name is referenced in William Butler Yeats ' poem " The Stare 's Nest by My Window " . The International Ornithological Congress ' preferred English vernacular name is common starling .

The common starling was first described by Linnaeus in his Systema Naturae in 1758 under its current binomial name . Sturnus and vulgaris are derived from the Latin for " starling " and " common " respectively . The Old English staer , later stare , and the Latin sturnus are both derived from an unknown Indo @-@ European root dating back to the second millennium BC . " Starling " was first recorded in the 11th century , when it referred to the juvenile of the species , but by the 16th century it <a href='been_done' title='1'><mark>had</mark></a> already largely supplanted " stare " to refer to birds of all ages . The older name is referenced in William Butler Yeats <a href='null_genetive' title='2'><mark>'</mark></a>poem " The Stare <a href='null_genetive' title='3'><mark>'s</mark></a>Nest by My Window " . The International Ornithological Congress <a href='null_genetive' title='4'><mark>'</mark></a>preferred English vernacular name <a href='drop_aux' title='5'><mark>is</mark></a>common starling .

Da common starling was first described by Linnaeus in his Systema Naturae in 1758 under its current binomial name . Sturnus and vulgaris are derived from tdaLatin for " starling " and " common " respectively . The Old English staer , later stare , and the Latin sturnus are both derived from an unknown Indo @-@ European root dating back to the second millennium BC . " Starling " was first recorded in thda1th century , when it referred to the juvenile of the species , but by thedath century it done already largely supplanted " stare " to refer to birds of alll ages . The older name is referenced in William Butler Yeats poem " The Stare Nest by My Window " . The International Ornithological Congress preferred English vernacular name common starling .

The starling family , Sturnidae , is an entirely Old World group apart from introductions elsewhere , with the greatest numbers of species in Southeast Asia and sub @-@ Saharan Africa . The genus Sturnus is polyphyletic and relationships between its members are not fully resolved . The closest relation of the common starling is the spotless starling . The non @-@ migratory spotless starling may be descended from a population of ancestral S. vulgaris that survived in an Iberian refugium during an ice age retreat , and mitochondrial gene studies suggest that it could be considered as a subspecies of the common starling . There is more genetic variation between common starling populations than between nominate common starling and spotless starling . Although common starling remains are known from the Middle Pleistocene , part of the problem in resolving relationships in the Sturnidae is the paucity of the fossil record for the family as a whole .

The starling family , Sturnidae , <a href='drop_aux' title='1'><mark>is</mark></a>an entirely Old World group apart from introductions elsewhere , with the greatest numbers of species in Southeast Asia and sub @-@ Saharan Africa . The genus Sturnus <a href='drop_aux' title='2'><mark>is</mark></a>polyphyletic and relationships between its members are not fully resolved . The closest relation of the common starling <a href='drop_aux' title='3'><mark>is</mark></a>the spotless starling . The non @-@ migratory spotless starling may be descended from a population of ancestral S. vulgaris <a href='null_relcl' title='4'><mark>that</mark></a>survived in an Iberian refugium during an ice age retreat , and mitochondrial gene studies suggest that it could be considered as a subspecies of the common starling . <a href='dey_it' title='5'><mark>There</mark></a> is more genetic variation between common starling populations than between nominate common starling and spotless starling . Although common starling remains are known from the Middle Pleistocene , part of the problem in resolving relationships in the Sturnidae is the paucity of the fossil record for the family as a whole .

Da starling family , Sturnidae , an entirely Old World group apart from introductions elsewhere , with tdagreatest numbers of species in Southeast Asia and sub @-@ Saharan Africa . Thdaenus Sturnus polyphyletic and relationships between its members ain't fully resolved . The closest relation of the common starling the spotless starling . Thedan @-@ migratory spotless starling may be descended from a population of ancestral S. vulgaris survived in an Iberian refugium during an ice age retreat , and mitochondrial gene studies suggest dat it could b considered as a subspecies of the common starling . It is more genetic variation between common starling populations than between nominate common starling and spotless starling . Although common starling remains are known from the dadle Pleistocene , part of the pdalem in resolving relationships in the Sturnidae is the padaty of the fossil record fa the fam as a whole .

= = = Subspecies = = =

= = = Subspecies = = =

= = = Subspecies = = =

There are several subspecies of the common starling , which vary clinally in size and the colour tone of the adult plumage . The gradual variation over geographic range and extensive intergradation means that acceptance of the various subspecies varies between authorities .

<a href='dey_it' title='1'><mark>There</mark></a> are several subspecies of the common starling , which vary clinally in size and the colour tone of the adult plumage . The gradual variation over geographic range and extensive intergradation <a href='uninflect' title='2'><mark>means</mark></a> that acceptance of the various subspecies <a href='uninflect' title='3'><mark>varies</mark></a> between authorities .

It is several subspecies of da common starling , which vary clinally in size and tdacolour tone of the adult plumage . The gradual variation ova geographic range and extensive intergradation mean dat acceptance of thdaarious subspecies vary between authorities .

Subspecies

Subspecies

Subspecies

Birds from Fair Isle , St Kilda and the Outer Hebrides are intermediate in size between S. v. zetlandicus and the nominate form , and their subspecies placement varies according to the authority . The dark juveniles typical of these island forms are occasionally found in mainland Scotland and elsewhere , indicating some gene flow from faroensis or zetlandicus , subspecies formerly considered to be isolated .

Birds from Fair Isle , St Kilda and the Outer Hebrides <a href='drop_aux' title='1'><mark>are</mark></a>intermediate in size between S. v. zetlandicus and the nominate form , and their subspecies placement varies according to the authority . The dark juveniles typical of these island forms are occasionally found in mainland Scotland and elsewhere , indicating some gene flow from faroensis or zetlandicus , subspecies formerly considered to be isolated .

Birds from Fair Isle , St Kilda and da Outer Hebrides intermediate in size between S. v. zetlandicus and the nominate form , and their subspecies placement varies according to the authority . The dark juveniles typical of these island forms r occasionally found in mainland Scotland and elsewhere , indicating some gene flow from faroensis or zetlandicus , subspecies formerly considered to be isolated .

Several other subspecies have been named , but are generally no longer considered valid . Most are intergrades that occur where the ranges of various subspecies meet . These include : S. v. ruthenus Menzbier , 1891 and S. v. jitkowi Buturlin , 1904 , which are intergrades between vulgaris and poltaratskyi from western Russia ; S. v. graecus Tschusi , 1905 and S. v. balcanicus Buturlin and Harms , 1909 , intergrades between vulgaris and tauricus from the southern Balkans to central Ukraine and throughout Greece to the Bosporus ; and S. v. heinrichi Stresemann , 1928 , an intergrade between caucasicus and nobilior in northern Iran . S. v. persepolis Ticehurst , 1928 from southern Iran 's ( Fars Province ) is very similar to S. v. vulgaris , and it is not clear whether it is a distinct resident population or simply migrants from southeastern Europe .

Several other subspecies <a href='been_done' title='1'><mark>have</mark></a> been named , but are generally no longer considered valid . Most <a href='drop_aux' title='2'><mark>are</mark></a>intergrades <a href='null_relcl' title='3'><mark>that</mark></a>occur where the ranges of various subspecies meet . These include : S. v. ruthenus Menzbier , 1891 and S. v. jitkowi Buturlin , 1904 , which <a href='drop_aux' title='4'><mark>are</mark></a>intergrades between vulgaris and poltaratskyi from western Russia ; S. v. graecus Tschusi , 1905 and S. v. balcanicus Buturlin and Harms , 1909 , intergrades between vulgaris and tauricus from the southern Balkans to central Ukraine and throughout Greece to the Bosporus ; and S. v. heinrichi Stresemann , 1928 , an intergrade between caucasicus and nobilior in northern Iran . S. v. persepolis Ticehurst , 1928 from southern Iran <a href='null_genetive' title='5'><mark>'s</mark></a>( Fars Province ) <a href='drop_aux' title='6'><mark>is</mark></a>very similar to S. v. vulgaris , and it <a href='negative_concord' title='7'><mark>is</mark></a> <a href='negative_concord' title='8'><mark>not</mark></a>clear whether it is a distinct resident population or simply migrants from southeastern Europe .

Several other subspecies done been named , but are generally no longer considered valid . Most intergrades occur where the ranges of various subspecies meet . These include : S. v. ruthenus Menzbier , 1891 and S. v. jitkowi Buturlin , 1904 , which intergrades between vulgaris and poltaratskyi from western Russia ; S. v. graecus Tschusi , 1905 and S. v. balcanicus Buturlin and Harms , 1909 , intergrades between vulgaris and tauricus from the southern Balkans to central Ukraine and throughout Greece to da Bosporus ; and S. v. heinrichi Stresemann , 1928 , an intergrade between caucasicus and nobilior in northern Iran . S. v. persepolis Ticehurst , 1928 from southern Iran ( Fars Province ) very similar to S. v. vulgaris , and it ain't clear whether it is a distinct resident population or simply migrants from southeastern Europe .

= = Description = =

= = Description = =

= = Description = =

The common starling is 19 – 23 cm ( 7 @.@ 5 – 9 @.@ 1 in ) long , with a wingspan of 31 – 44 cm ( 12 – 17 in ) and a weight of 58 – 101 g ( 2 @.@ 0 – 3 @.@ 6 oz ) . Among standard measurements , the wing chord is 11 @.@ 8 to 13 @.@ 8 cm ( 4 @.@ 6 to 5 @.@ 4 in ) , the tail is 5 @.@ 8 to 6 @.@ 8 cm ( 2 @.@ 3 to 2 @.@ 7 in ) , the culmen is 2 @.@ 5 to 3 @.@ 2 cm ( 0 @.@ 98 to 1 @.@ 26 in ) and the tarsus is 2 @.@ 7 to 3 @.@ 2 cm ( 1 @.@ 1 to 1 @.@ 3 in ) . The plumage is iridescent black , glossed purple or green , and spangled with white , especially in winter . The underparts of adult male common starlings are less spotted than those of adult females at a given time of year . The throat feathers of males are long and loose and are used in display while those of females are smaller and more pointed . The legs are stout and pinkish- or greyish @-@ red . The bill is narrow and conical with a sharp tip ; in the winter it is brownish @-@ black but in summer , females have lemon yellow beaks while males have yellow bills with blue @-@ grey bases . Moulting occurs once a year- in late summer after the breeding season has finished ; the fresh feathers are prominently tipped white ( breast feathers ) or buff ( wing and back feathers ) , which gives the bird a speckled appearance . The reduction in the spotting in the breeding season is achieved through the white feather tips largely wearing off . Juveniles are grey @-@ brown and by their first winter resemble adults though often retaining some brown juvenile feathering , especially on the head . They can usually be sexed by the colour of the irises , rich brown in males , mouse @-@ brown or grey in females . Estimating the contrast between an iris and the central always @-@ dark pupil is 97 % accurate in determining sex , rising to 98 % if the length of the throat feathers is also considered . The common starling is mid @-@ sized by both starling standards and passerine standards . It is readily distinguished from other mid @-@ sized passerines , such as thrushes , icterids or small corvids , by its relatively short tail , sharp , blade @-@ like bill , round @-@ bellied shape and strong , sizeable ( and rufous @-@ coloured ) legs . In flight , its strongly pointed wings and dark colouration are distinctive , while on the ground its strange , somewhat waddling gait is also characteristic . The colouring and build usually distinguish this bird from other starlings , although the closely related spotless starling may be physically distinguished by the lack of iridescent spots in adult breeding plumage .

The common starling <a href='drop_aux' title='1'><mark>is</mark></a>19 – 23 cm ( 7 @.@ 5 – 9 @.@ 1 in ) long , with a wingspan of 31 – 44 cm ( 12 – 17 in ) and a weight of 58 – 101 g ( 2 @.@ 0 – 3 @.@ 6 oz ) . Among standard measurements , the wing chord is 11 @.@ 8 to 13 @.@ 8 cm ( 4 @.@ 6 to 5 @.@ 4 in ) , the tail is 5 @.@ 8 to 6 @.@ 8 cm ( 2 @.@ 3 to 2 @.@ 7 in ) , the culmen is 2 @.@ 5 to 3 @.@ 2 cm ( 0 @.@ 98 to 1 @.@ 26 in ) and the tarsus <a href='drop_aux' title='2'><mark>is</mark></a>2 @.@ 7 to 3 @.@ 2 cm ( 1 @.@ 1 to 1 @.@ 3 in ) . The plumage <a href='drop_aux' title='3'><mark>is</mark></a>iridescent black , glossed purple or green , and spangled with white , especially in winter . The underparts of adult male common starlings are less spotted than those of adult females at a given time of year . The throat feathers of males <a href='drop_aux' title='4'><mark>are</mark></a>long and loose and are used in display while those of females <a href='drop_aux' title='5'><mark>are</mark></a>smaller and more pointed . The legs <a href='drop_aux' title='6'><mark>are</mark></a>stout and pinkish- or greyish @-@ red . The bill is narrow and conical with a sharp tip ; in the winter it is brownish @-@ black but in summer , females have lemon yellow beaks while males <a href='got' title='7'><mark>have</mark></a> yellow bills with blue @-@ grey bases . Moulting <a href='uninflect' title='8'><mark>occurs</mark></a> once a year- in late summer after the breeding season <a href='been_done' title='9'><mark>has</mark></a> finished ; the fresh feathers are prominently tipped white ( breast feathers ) or buff ( wing and back feathers ) , which <a href='uninflect' title='10'><mark>gives</mark></a> the bird a speckled appearance . The reduction in the spotting in the breeding season is achieved through the white feather tips largely wearing off . Juveniles are grey @-@ brown and by their first winter resemble adults though often retaining some brown juvenile feathering , especially on the head . They can usually be sexed by the colour of the irises , rich brown in males , mouse @-@ brown or grey in females . Estimating the contrast between an iris and the central always @-@ dark pupil <a href='drop_aux' title='11'><mark>is</mark></a>97 % accurate in determining sex , rising to 98 % if the length of the throat feathers is also considered . The common starling is mid @-@ sized by both starling standards and passerine standards . It is readily distinguished from other mid @-@ sized passerines , such as thrushes , icterids or small corvids , by its relatively short tail , sharp , blade @-@ like bill , round @-@ bellied shape and strong , sizeable ( and rufous @-@ coloured ) legs . In flight , its strongly pointed wings and dark colouration <a href='drop_aux' title='12'><mark>are</mark></a>distinctive , while on the ground its strange , somewhat waddling gait <a href='drop_aux' title='13'><mark>is</mark></a>also characteristic . The colouring and build usually distinguish this bird from other starlings , although the closely related spotless starling may be physically distinguished by the lack of iridescent spots in adult breeding plumage .

Da common starling 19 – 23 cm ( 7 @.@ 5 – 9 @.@ 1 in ) long , wit a wingspan of 31 – 44 cm ( 12 – 17 in ) and a weight of 58 – 101 g ( 2 @.@ 0 – 3 @.@ 6 oz ) . Among standard measurements , the wing chord is 11 @.@ 8 to 13 @.@ 8 cm ( 4 @.@ 6 to 5 @.@ 4 in ) , the tail is 5 @.@ 8 to 6 @.@ 8 cm ( 2 @.@ 3 to 2 @.@ 7 in ) , the culmen is 2 @.@ 5 to 3 @.@ 2 cm ( 0 @.@ 98 to 1 @.@ 26 in ) and the tarsus 2 @.@ 7 to 3 @.@ 2 cm ( 1 @.@ 1 to 1 @.@ 3 in ) . Tdaplumage iridescent black , glossed purple or green , and spangled with white , especially in winter . The underparts of adult male common starlings are less spotted den those of adult females at a given time of year . The throat feathers of males long and loose and are used in display while those of females smaller and more pointed . Thdaegs stout and pinkish- or greyish @-@ red . Thedall is narrow and conical ww/a sharp tip ; in the dater it is brownish @-@ black but in summer , females have lemon yellow beaks while males got yellow bills with blue @-@ grey bases . Moulting occur once a year- in late summer after the bdading season done finished ; the frda feathers r prominently tipped white ( breast feathers ) or buff ( wing and back feathers ) , which give the bird a speckled appearance . The reduction in the spodang in the breeding season is achieved through the white feather tips largely wearing off . Juveniles are grey @-@ brown and by their first winter resemble adults doe often retaining sum brown juvenile feathering , especially on the head . They can usually be sexed by the colodaof the irises , rich brown in males , mouse @-@ brown or grey in females . Estimating the contrda between an iris and the centradalways @-@ dark pupil 97 % accurate in determining sex , rising to 98 % if the length of the throat dathers is also considered . The common starling is mid @-@ sized by both starling standards and passerine standards . It is readily distinguished from other mid @-@ sized passerines , such as thrushes , icterids or small corvids , by its relatively short tail , sharp , blade @-@ like bill , round @-@ bellied shape and strong , sizeable ( and rufous @-@ coloured ) legs . In flight , its strongly pointed wings and dark colouration distinctive , while on the ground idastrange , somewhat waddling gait also characteristic . The colouring and build usually distinguish this bird from other starlings , although the closely related spotless starling may b physically distinguished by the lack of iridescent spots in adult breeding plumage .

Like most terrestrial starlings the common starling moves by walking or running , rather than hopping . Their flight is quite strong and direct ; their triangular @-@ shaped wings beat very rapidly , and periodically the birds glide for a short way without losing much height before resuming powered flight . When in a flock , the birds take off almost simultaneously , wheel and turn in unison , form a compact mass or trail off into a wispy stream , bunch up again and land in a coordinated fashion . Common starling on migration can fly at 60 – 80 km / h ( 37 – 50 mph ) and cover up to 1 @,@ 000 – 1 @,@ 500 km ( 620 – 930 mi ) .

Like most terrestrial starlings the common starling moves by walking or running , rather than hopping . Their flight is quite strong and direct ; their triangular @-@ shaped wings beat very rapidly , and periodically the birds glide for a short way without losing much height before resuming powered flight . When in a flock , the birds take off almost simultaneously , wheel and turn in unison , form a compact mass or trail off into a wispy stream , bunch up again and land in a coordinated fashion . Common starling on migration can fly at 60 – 80 km / h ( 37 – 50 mph ) and cover up to 1 @,@ 000 – 1 @,@ 500 km ( 620 – 930 mi ) .

Like most terrestrial starlings da common starling moves by walking or running , rather den hopping . Their flight is quite strong and direct ; their triangular @-@ shaped wings beat very rapidly , and periodically the birds glide for a short way w/o losin much height before resuming powered flight . When in a flock , tdabirds take offf almost simultaneously , wheel and turn in unison , form a compact mass or trailoffff into a wispy stream , bunch up again and land in a coordinated fashion . Common starling on migration can fly at 60 – 80 km / h ( 37 – 50 mph ) and cover up to 1 @,@ 000 – 1 @,@ 500 km ( 620 – 930 mi ) .

Several terrestrial starlings , including those in the genus Sturnus , have adaptations of the skull and muscles that help with feeding by probing . This adaptation is most strongly developed in the common starling ( along with the spotless and white @-@ cheeked starlings ) , where the protractor muscles responsible for opening the jaw are enlarged and the skull is narrow , allowing the eye to be moved forward to peer down the length of the bill . This technique involves inserting the bill into the ground and opening it as a way of searching for hidden food items . Common starlings have the physical traits that enable them to use this feeding technique , which has undoubtedly helped the species spread far and wide .

Several terrestrial starlings , including those in the genus Sturnus , <a href='got' title='1'><mark>have</mark></a> adaptations of the skull and muscles <a href='null_relcl' title='2'><mark>that</mark></a>help with feeding by probing . This adaptation is most strongly developed in the common starling ( along with the spotless and white @-@ cheeked starlings ) , where the protractor muscles responsible for opening the jaw are enlarged and the skull <a href='drop_aux' title='3'><mark>is</mark></a>narrow , allowing the eye to be moved forward to peer down the length of the bill . This technique <a href='uninflect' title='4'><mark>involves</mark></a> inserting the bill into the ground and opening it as a way of searching for hidden food items . Common starlings <a href='got' title='5'><mark>have</mark></a> the physical traits <a href='null_relcl' title='6'><mark>that</mark></a>enable them to use this feeding technique , which <a href='been_done' title='7'><mark>has</mark></a> undoubtedly helped the species spread far and wide .

Several terrestrial starlings , including those in the genus Sturnus , got adaptations of da skull and muscles help w feeding by probing . This adaptation is most strongly developed in tdacommon starling ( along with the spotless and white @-@ cheeked starlings ) , where the protractor muscles responsible for opening thdaaw are enlarged and the skull narrow , allowing the eye to be moved forward to peer down thedangth of the bill . dis technique involve inserting the bill into the daund and opening it as a way of searchin fir hidden food items . Common starlings got the pdaical traits enable em to use this feedin technique , which done undoubtedly helped the spdaes spread far and wide .

In Iberia , the western Mediterranean and northwest Africa , the common starling may be confused with the closely related spotless starling , the plumage of which , as its name implies , has a more uniform colour . At close range it can be seen that the latter has longer throat feathers , a fact particularly noticeable when it sings .

In Iberia , the western Mediterranean and northwest Africa , the common starling may be confused with the closely related spotless starling , the plumage of which , as its name <a href='uninflect' title='1'><mark>implies</mark></a> , <a href='got' title='2'><mark>has</mark></a> a more uniform colour . At close range it can be seen that the latter <a href='got' title='3'><mark>has</mark></a> longer throat feathers , a fact particularly noticeable when it <a href='uninflect' title='4'><mark>sings</mark></a> .

In Iberia , da western Mediterranean and northwest Africa , the common starling may be confused with tdaclosely related spotless starling , the plumage of which , as its name imply , got a more uniform colour . At close range it can be seen dat thdaatter got longer throat feathers , a fact particularly noticeable when it sing .

= = = Voice = = =

= = = Voice = = =

= = = Voice = = =

The common starling is a noisy bird . Its song consists of a wide variety of both melodic and mechanical @-@ sounding noises as part of a ritual succession of sounds . The male is the main songster and engages in bouts of song lasting for a minute or more . Each of these typically includes four varieties of song type , which follow each other in a regular order without pause . The bout starts with a series of pure @-@ tone whistles and these are followed by the main part of the song , a number of variable sequences that often incorporate snatches of song mimicked from other species of bird and various naturally occurring or man @-@ made noises . The structure and simplicity of the sound mimicked is of greater importance than the frequency with which it occurs . Each sound clip is repeated several times before the bird moves on to the next . After this variable section comes a number of types of repeated clicks followed by a final burst of high @-@ frequency song , again formed of several types . Each bird has its own repertoire with more proficient birds having a range of up to 35 variable song types and as many as 14 types of clicks .

The common starling <a href='drop_aux' title='1'><mark>is</mark></a>a noisy bird . Its song <a href='uninflect' title='2'><mark>consists</mark></a> of a wide variety of both melodic and mechanical @-@ sounding noises as part of a ritual succession of sounds . The male <a href='drop_aux' title='3'><mark>is</mark></a>the main songster and <a href='uninflect' title='4'><mark>engages</mark></a> in bouts of song lasting for a minute or more . Each of these typically <a href='uninflect' title='5'><mark>includes</mark></a> four varieties of song type , which follow each other in a regular order without pause . The bout <a href='uninflect' title='6'><mark>starts</mark></a> with a series of pure @-@ tone whistles and these are followed by the main part of the song , a number of variable sequences <a href='null_relcl' title='7'><mark>that</mark></a>often incorporate snatches of song mimicked from other species of bird and various naturally occurring or man @-@ made noises . The structure and simplicity of the sound mimicked is of greater importance than the frequency with which it <a href='uninflect' title='8'><mark>occurs</mark></a> . Each sound clip is repeated several times before the bird <a href='uninflect' title='9'><mark>moves</mark></a> on to the next . After this variable section <a href='uninflect' title='10'><mark>comes</mark></a> a number of types of repeated clicks followed by a final burst of high @-@ frequency song , again formed of several types . Each bird <a href='got' title='11'><mark>has</mark></a> its own repertoire with more proficient birds having a range of up to 35 variable song types and as many as 14 types of clicks .

Da common starling a noisy bird . Its song consist of a wide variety of both melodic and mechanical @-@ soundin noises as part of a ritual succession of sounds . The male the main songster and engage in bouts of song lasting fir a minute or more . Each of dese typically include 4 varieties of song type , which follow each other in a regular order w/o pause . Tdabout start w/ a series of pure @-@ tone whistles and tdeseare followed by the main part of the song , a number of variable sequences often incorporate snatches of song mimicked from other species of bird and various naturally occurring or man @-@ made noises . The structure and simplicity of the sound mimicked is of greater importance den the frequency with which it occur . Each sound clip is repeated several times before the bird move on to the next . After this variable section come a number of types of repeated clicks followed by a final burst of high @-@ frequency song , again formed of several types . Each bird got its own repertoire wiwittore proficient birds having a range of up to 35 variable song types and as many as 14 types of clicks .

Males sing constantly as the breeding period approaches and perform less often once pairs have bonded . In the presence of a female , a male sometimes flies to his nest and sings from the entrance , apparently attempting to entice the female in . Older birds tend to have a wider repertoire than younger ones . Those males that engage in longer bouts of singing and that have wider repertoires attract mates earlier and have greater reproductive success than others . Females appear to prefer mates with more complex songs , perhaps because this indicates greater experience or longevity . Having a complex song is also useful in defending a territory and deterring less experienced males from encroaching .

Males sing constantly as the breeding period approaches and perform less often once pairs <a href='been_done' title='1'><mark>have</mark></a> bonded . In the presence of a female , a male sometimes <a href='uninflect' title='2'><mark>flies</mark></a> to his nest and sings from the entrance , apparently attempting to entice the female in . Older birds tend to have a wider repertoire than younger ones . Those males <a href='null_relcl' title='3'><mark>that</mark></a>engage in longer bouts of singing and that <a href='got' title='4'><mark>have</mark></a> wider repertoires attract mates earlier and <a href='got' title='5'><mark>have</mark></a> greater reproductive success than others . Females appear to prefer mates with more complex songs , perhaps because this <a href='uninflect' title='6'><mark>indicates</mark></a> greater experience or longevity . Having a complex song <a href='drop_aux' title='7'><mark>is</mark></a>also useful in defending a territory and deterring less experienced males from encroaching .

Males sing constantly as da breeding period approaches and perform less often once pairs done bonded . In the presence of a female , a male sometimes fly to his nest and sings from tdaentrance , apparently attempting to entice the female in . Older birds tend to have a wider repertoire than younger ones . Those males engage in longer bouts of singin and that got wider repertoires attract mates earlier and got greater reproductive success den others . Females appear to prefer mates witt more complex songs , perhaps because dis indicate greater experience or longevity . Having a complex song also useful in defending a territory and deterring less experienced males from encroaching .

Singing also occurs outside the breeding season , taking place throughout the year apart from the moulting period . The songsters are more commonly male although females also sing on occasion . The function of such out @-@ of @-@ season song is poorly understood . Eleven other types of call have been described including a flock call , threat call , attack call , snarl call and copulation call . The alarm call is a harsh scream , and while foraging together common starlings squabble incessantly . They chatter while roosting and bathing , making a great deal of noise that can cause irritation to people living nearby . When a flock of common starlings is flying together , the synchronised movements of the birds ' wings make a distinctive whooshing sound that can be heard hundreds of metres ( yards ) away .

Singing also <a href='uninflect' title='1'><mark>occurs</mark></a> outside the breeding season , taking place throughout the year apart from the moulting period . The songsters <a href='drop_aux' title='2'><mark>are</mark></a>more commonly male although females also sing on occasion . The function of such out @-@ of @-@ season song is poorly understood . Eleven other types of call <a href='been_done' title='3'><mark>have</mark></a> been described including a flock call , threat call , attack call , snarl call and copulation call . The alarm call <a href='drop_aux' title='4'><mark>is</mark></a>a harsh scream , and while foraging together common starlings squabble incessantly . They chatter while roosting and bathing , making a great deal of noise <a href='null_relcl' title='5'><mark>that</mark></a>can cause irritation to people living nearby . When a flock of common starlings is flying together , the synchronised movements of the birds <a href='null_genetive' title='6'><mark>'</mark></a>wings make a distinctive whooshing sound <a href='null_relcl' title='7'><mark>that</mark></a>can be heard hundreds of metres ( yards ) away .

Singing also occur outside da breeding season , taking place throughout tdayear apart from the moulting period . Thdaongsters more commonly male although females also sing on occasion . Thedanction of such out @-@ of @-@ season song is poorly understood . Eleven other types of call done been described including a flock call , threat call , attack call , snarl call and copulation call . The alarm call a harsh scream , and while foraging together common starlings squabble incessantly . They chatter while roosting and bathing , making a great deal of noise can cause irritation to people living nearby . When a flock of common starlings is flying together , the dachronised movements of the bdas wings make a distinctive whooshing sound can b heard hundreds of metres ( yards ) away .

= = Behaviour and ecology = =

= = Behaviour and ecology = =

= = Behaviour and ecology = =

The common starling is a highly gregarious species , especially in autumn and winter . Although flock size is highly variable , huge , noisy flocks - murmurations - may form near roosts . These dense concentrations of birds are thought to be a defence against attacks by birds of prey such as peregrine falcons or Eurasian sparrowhawks . Flocks form a tight sphere @-@ like formation in flight , frequently expanding and contracting and changing shape , seemingly without any sort of leader . Each common starling changes its course and speed as a result of the movement of its closest neighbours . Very large roosts , exceptionally up to 1 @.@ 5 million birds , can form in city centres , woodlands or reedbeds , causing problems with their droppings . These may accumulate up to 30 cm ( 12 in ) deep , killing trees by their concentration of chemicals . In smaller amounts , the droppings act as a fertiliser , and therefore woodland managers may try to move roosts from one area of a wood to another to benefit from the soil enhancement and avoid large toxic deposits .

The common starling <a href='drop_aux' title='1'><mark>is</mark></a>a highly gregarious species , especially in autumn and winter . Although flock size <a href='drop_aux' title='2'><mark>is</mark></a>highly variable , huge , noisy flocks - murmurations - may form near roosts . These dense concentrations of birds are thought to be a defence against attacks by birds of prey such as peregrine falcons or Eurasian sparrowhawks . Flocks form a tight sphere @-@ like formation in flight , frequently expanding and contracting and changing shape , seemingly without any sort of leader . Each common starling <a href='uninflect' title='3'><mark>changes</mark></a> its course and speed as a result of the movement of its closest neighbours . Very large roosts , exceptionally up to 1 @.@ 5 million birds , can form in city centres , woodlands or reedbeds , causing problems with their droppings . These may accumulate up to 30 cm ( 12 in ) deep , killing trees by their concentration of chemicals . In smaller amounts , the droppings act as a fertiliser , and therefore woodland managers may try to move roosts from one area of a wood to another to benefit from the soil enhancement and avoid large toxic deposits .

The common starling a highly gregarious species , especially in autumn and winter . Although flock size highly variable , huge , noisy flocks - murmurations - may form near roosts . These dense concentrations of birds are thought to be a defence against attacks by birds of prey such as peregrine falcons or Eurasian sparrowhawks . Flocks form a tight sphere @-@ like formation in flight , frequently expanding and contracting and changing shape , seemingly without any sort of leader . Each common starling change its course and speed as a result of the movement of its closest neighbours . Very bigass roosts , exceptionally up to 1 @.@ 5 million birds , can form in city centres , woodlands or reedbeds , causing problems with their droppings . dese may accumulate up to 30 cm ( 12 in ) deep , killin trees by their concentration of chemicals . In smaller amounts , the droppings act as a fertiliser , and therefore woodland managers may try to move roosts from one area of a wood to anotha to benefit from da soil enhancement and avoidbigasse toxic deposits .

Huge flocks of more than a million common starlings may be observed just before sunset in spring in southwestern Jutland , Denmark over the seaward marshlands of Tønder and Esbjerg municipalities between Tønder and Ribe . They gather in March until northern Scandinavian birds leave for their breeding ranges by mid @-@ April . Their swarm behaviour creates complex shapes silhouetted against the sky , a phenomenon known locally as sort sol ( " black sun " ) . Flocks of anything from five to fifty thousand common starlings form in areas of the UK just before sundown during mid @-@ winter . These flocks are commonly called murmurations .

Huge flocks of more than a million common starlings may be observed just before sunset in spring in southwestern Jutland , Denmark over the seaward marshlands of Tønder and Esbjerg municipalities between Tønder and Ribe . They gather in March until northern Scandinavian birds leave for their breeding ranges by mid @-@ April . Their swarm behaviour <a href='uninflect' title='1'><mark>creates</mark></a> complex shapes silhouetted against the sky , a phenomenon known locally as sort sol ( " black sun " ) . Flocks of anything from five to fifty thousand common starlings form in areas of the UK just before sundown during mid @-@ winter . These flocks are commonly called murmurations .

Bigass flocks of more den a million common starlings may b observed just before sunset in spring in southwestern Jutland , Denmark ova da seaward marshlands of Tønder and Esbjerg municipalities between Tønder and Ribe . They gather in March until northern Scandinavian birds leave fa their breeding ranges by mid @-@ April . Their swarm behaviour create complex shapes silhouetted against the sky , a phenomenon known locally as sort sol ( " black sun " ) . Flocks of anything from five to fifty thousand common starlings form in areas of the UK jus before sundown during mid @-@ winter . dem flocks r commonly called murmurations .

= = = Feeding = = =

= = = Feeding = = =

= = = Feeding = = =

The common starling is largely insectivorous and feeds on both pest and other arthropods . The food range includes spiders , crane flies , moths , mayflies , dragonflies , damsel flies , grasshoppers , earwigs , lacewings , caddisflies , flies , beetles , sawflies , bees , wasps and ants . Both adults and larvae are consumed and common starlings will also feed on earthworms , snails , small amphibians and lizards . While the consumption of invertebrates is necessary for successful breeding , common starlings are omnivorous and can also eat grains , seeds , fruits , nectar and food waste if the opportunity arises . The Sturnidae differ from most birds in that they cannot easily metabolise foods containing high levels of sucrose , although they can cope with other fruits such as grapes and cherries . The isolated Azores subspecies of the common starling eats the eggs of the endangered roseate tern . Measures are being introduced to reduce common starling populations by culling before the terns return to their breeding colonies in spring .

The common starling <a href='drop_aux' title='1'><mark>is</mark></a>largely insectivorous and <a href='uninflect' title='2'><mark>feeds</mark></a> on both pest and other arthropods . The food range <a href='uninflect' title='3'><mark>includes</mark></a> spiders , crane flies , moths , mayflies , dragonflies , damsel flies , grasshoppers , earwigs , lacewings , caddisflies , flies , beetles , sawflies , bees , wasps and ants . Both adults and larvae are consumed and common starlings will also feed on earthworms , snails , small amphibians and lizards . While the consumption of invertebrates <a href='drop_aux' title='4'><mark>is</mark></a>necessary for successful breeding , common starlings <a href='drop_aux' title='5'><mark>are</mark></a>omnivorous and can also eat grains , seeds , fruits , nectar and food waste if the opportunity <a href='uninflect' title='6'><mark>arises</mark></a> . The Sturnidae differ from most birds in that they cannot easily metabolise foods containing high levels of sucrose , although they can cope with other fruits such as grapes and cherries . The isolated Azores subspecies of the common starling <a href='uninflect' title='7'><mark>eats</mark></a> the eggs of the endangered roseate tern . Measures are being introduced to reduce common starling populations by culling before the terns return to their breeding colonies in spring .

Da common starling largely insectivorous and feed on both pest and other arthropods . Tdafood range include spiders , crane flies , moths , mayflies , dragonflies , damsel flies , grasshoppers , earwigs , lacewings , caddisflies , flies , beetles , sawflies , bees , wasps and ants . Both adults and larvae are consumed and common starlings will also feed on earthworms , snails , small amphibians and lizards . While the consumption of invertebrates necessary for successful breeding , common starlings omnivorous and can also eat grains , seeds , fruits , nectar and food waste if thdapportunity arise . The Sturnidae differ from most birds in that they cannot easily metabolise foods containing high levels of sucrose , although they can cope with other fruits such as grapes and cherries . The isolated Azores subspecies of the common starling eat thedags of the daangered roseate tern . Measures are bein introduced to reduce common starling populations by culling before the terns return to their breeding colonies in spring .

There are several methods by which common starlings obtain their food but for the most part , they forage close to the ground , taking insects from the surface or just underneath . Generally , common starlings prefer foraging amongst short @-@ cropped grasses and are often found among grazing animals or perched on their backs , where they will also feed on the mammal 's external parasites . Large flocks may engage in a practice known as " roller @-@ feeding " , where the birds at the back of the flock continually fly to the front where the feeding opportunities are best . The larger the flock , the nearer individuals are to one another while foraging . Flocks often feed in one place for some time , and return to previous successfully foraged sites .

<a href='dey_it' title='1'><mark>There</mark></a> are several methods by which common starlings obtain their food but for the most part , they forage close to the ground , taking insects from the surface or just underneath . Generally , common starlings prefer foraging amongst short @-@ cropped grasses and are often found among grazing animals or perched on their backs , where they will also feed on the mammal <a href='null_genetive' title='2'><mark>'s</mark></a>external parasites . Large flocks may engage in a practice known as " roller @-@ feeding " , where the birds at the back of the flock continually fly to the front where the feeding opportunities <a href='drop_aux' title='3'><mark>are</mark></a>best . The larger the flock , the nearer individuals are to one another while foraging . Flocks often feed in one place for some time , and return to previous successfully foraged sites .

It is several methods by which common starlings obtain their food but for the most part , they forage close to da ground , taking roaches from tdasurface or just underneath . Generally , common starlings prefer foraging amongst short @-@ cropped grasses and are often found among grazing animals or perched on their backs , where they will also feed on thdaammal external parasites . Large flocks may engage in a practice known as " roller @-@ feedin " , where thedards at the back of the flock continually fly to the front where the daedinopportunities best . The ldaer the flda , the neada individuals are to one anotha while foraging . Flocks often feed in one place fir some time , and return to previous successfully foraged sites .

There are three types of foraging behaviour observed in the common starling . " Probing " involves the bird plunging its beak into the ground randomly and repetitively until an insect has been found , and is often accompanied by bill gaping where the bird opens its beak in the soil to enlarge a hole . This behaviour , first described by Konrad Lorenz and given the German term zirkeln , is also used to create and widen holes in plastic garbage bags . It takes time for young common starlings to perfect this technique , and because of this the diet of young birds will often contain fewer insects . " Hawking " is the capture of flying insects directly from the air , and " lunging " is the less common technique of striking forward to catch a moving invertebrate on the ground . Earthworms are caught by pulling from soil . Common starlings that have periods without access to food , or have a reduction in the hours of light available for feeding , compensate by increasing their body mass by the deposition of fat .

<a href='dey_it' title='1'><mark>There</mark></a> are three types of foraging behaviour observed in the common starling . " Probing " <a href='uninflect' title='2'><mark>involves</mark></a> the bird plunging its beak into the ground randomly and repetitively until an insect <a href='been_done' title='3'><mark>has</mark></a> been found , and is often accompanied by bill gaping where the bird <a href='uninflect' title='4'><mark>opens</mark></a> its beak in the soil to enlarge a hole . This behaviour , first described by Konrad Lorenz and given the German term zirkeln , is also used to create and widen holes in plastic garbage bags . It <a href='uninflect' title='5'><mark>takes</mark></a> time for young common starlings to perfect this technique , and because of this the diet of young birds will often contain fewer insects . " Hawking " <a href='drop_aux' title='6'><mark>is</mark></a>the capture of flying insects directly from the air , and " lunging " <a href='drop_aux' title='7'><mark>is</mark></a>the less common technique of striking forward to catch a moving invertebrate on the ground . Earthworms are caught by pulling from soil . Common starlings <a href='null_relcl' title='8'><mark>that</mark></a><a href='got' title='9'><mark>have</mark></a> periods without access to food , or <a href='got' title='10'><mark>have</mark></a> a reduction in the hours of light available for feeding , compensate by increasing their body mass by the deposition of fat .

It is three types of foraging behaviour observed in the common starling . " Probing " involve da bird plunging its beak into tdaground randomly and repetitively until an insect done been found , and is often accompanied by bill gaping where the bird open its beak in the soil to enlarge a hole . dis behaviour , first described by Konrad Lorenz and given thdaerman term zirkeln , is also used to create and widen holes in plastic garbage bags . It take time fir young common starlings to perfect this technique , and cause of this the diet of young birds will often contain fewer roaches . " Hawking " the capture of flying insects directly from thedar , and " lunging " the das common technique of striking forward to catch a movin invertebrate on the gdand . Earthworms are caught by pulling from soil . Common starlings got periods without access to food , or got a reduction in the hrdaf light available for feedin , compensate by increasing their body mass by the deposition of fat .

= = = Nesting = = =

= = = Nesting = = =

= = = Nesting = = =

Unpaired males find a suitable cavity and begin to build nests in order to attract single females , often decorating the nest with ornaments such as flowers and fresh green material , which the female later disassembles upon accepting him as a mate . The amount of green material is not important , as long as some is present , but the presence of herbs in the decorative material appears to be significant in attracting a mate . The scent of plants such as yarrow acts as an olfactory attractant to females .

Unpaired males find a suitable cavity and begin to build nests in order to attract single females , often decorating the nest with ornaments such as flowers and fresh green material , which the female later disassembles upon accepting him as a mate . The amount of green material <a href='negative_concord' title='1'><mark>is</mark></a> <a href='negative_concord' title='2'><mark>not</mark></a>important , as long as some <a href='drop_aux' title='3'><mark>is</mark></a>present , but the presence of herbs in the decorative material <a href='uninflect' title='4'><mark>appears</mark></a> to be significant in attracting a mate . The scent of plants such as yarrow acts as an olfactory attractant to females .

Unpaired males find a suitable cavity and begin to build nests in order to attract single females , often decorating the nest with ornaments such as flowers and fresh green material , which the female later disassembles upon accepting him as a mate . The amount of green material ain't important , as long as some present , but the presence of herbs in the decorative material appear to be significant in attracting a mate . da scent of plants such as yarrow acts as an olfactory attractant to females .