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”Hats off, gentlemen, a genius” : The troubled genius of Frédéric Chopin

Bach is an astronomer, discovering the most marvellous stars. Beethoven challenges the universe. I only try to express the soul and the heart of man.

- Frédéric Chopin

”Hats off, gentlemen, a genius” was Robert Schumann’s review of Frédéric Chopin’s Variations on “Là ci darem la mano” by Mozart. Many composers were critics, but Robert Schumann was more perceptive than most. As a widely respected critic and writer on music, Schumann was also one of the early composers in the Romantic movement of music, and he famously proclaimed the genius of both Chopin and Brahms to the musical world. His most famous article was among his last, Neue Bahnen [New Paths] which proclaimed the genius of Johannes Brahms in 1853. More than 2 decades earlier the 21-year-old Schumann, in his first published article in 1831, reviewed Variations on Mozart's "Là ci darem la mano" for Piano and Orchestra by the 21-year-old Frédéric Chopin, and praised him with the words: "Hut ab, ihr Herrn, ein Genie! [Hats off, gentlemen, a genius!]"

Frédéric Chopin, the Polish-born pianist and composer, was a matchless genius in the realm of keyboard music. As a pianist, his talents were beyond emulation and had an impact on other musicians entirely out of proportion to the number of concerts he gave — only 30 public performances in 30 years of concertising. No one before or since has contributed as many significant works to the piano's repertoire, or come closer to capturing its soul. The beauty of Chopin's music, rare and unique, verges - one is tempted to say - on a miracle. Since this opinion runs somewhat counter to the fixed, common ideas about greatness in music, it has often been challenged by asking what sort of a genius would compose (almost) exclusively for piano, and mostly miniatures, dances and poetical fantasias instead of dozens of sonatas, symphonies, operas, oratoria and masses.

Traditionally early 20th Century music critics held a sniffy attitude towards Chopin because they judged his alleged musical ‘genius’ against the classical standard of German music of the eighteenth and early nineteenth centuries. Such reservations, which are ultraconservative in nature, have survived even to this day. In an influential book published after World War II Arthur Hedley wrote, "He does not rank highest in the hierarchy of musicians ? nobody would claim that ? yet he enjoys what only few have: he is one and high above any level, raised in his own closed domain." If that is the case (one is tempted to ask), what is the matter with this hierarchy of talents?

One should add, that the above-mentioned reluctance is also present in the two-volume History of Music, by Joseph and Krystyna Chominski. They did not even think it fit to discuss Chopin in a separate chapter, the way they discussed Haydn, Mozart, or Beethoven, not to mention Handel or Bach. Yet, as soon as one becomes free from the outdated schematic way of thinking, which conceives of musical genius in the context of classical models of 18th and early 19th-century German music, one sees Chopin as one of the greatest creators of music that ever lived, someone most certainly deserving that "highest rank."

Of course Chopin did focus on piano compositions, yet he was the first music composer who could afford to do so. It was Chopin who transformed the piano into an instrument of unheard of potential, extracting from it a rich and new world of sounds nobody had dreamt of before, and creating within this world a plethora of masterpieces eclipsing many a symphony.

While seemingly narrowing the instrumental range, Chopin brought to the fore the component of music that would grow in importance until today, namely the sound. Ever since Chopin, music can hardly be any longer thought of as an abstract construct merely conveyed by the instruments. Music is now organically bound with the real sound matter, its colour, register, the sensual nature of the sound and the way it is produced. In the art of sound, the beauty of Chopin's music is an exceptional phenomenon-something bordering on the miraculous. He deserves his genius status not only for the stunning charm of his works, but also for the particular historical role of his art.

When one talks of art the question of the character of the artist also comes to the fore. In this regard Chopin was no different from any previous musician in how tortured his life was. Of course it's never a good idea to judge art by the artist's character, as we too often do these days, and there are few better examples of why not than Frédéric Chopin. Look closely at any adored individual and it is likely that something less than savoury will be lurking. There's no doubting the greatness of the Polish pianist-composer's music; but that greatness came at a heavy price for those who were close to him, or tried to be.

What's more, Chopin knew it. "It is not my fault if I am like a mushroom which seems edible but which poisons you if you pick it and taste it, taking it to be something else," he wrote in 1839. "I know I have never been of any use to anyone – and indeed not much use to myself."

On March 1, 1810, a few dozen kilometers from Warsaw, in the village of Żelazowa Wola, a boy was born to the Polish and French family, who was named Frederick. The family lived in the count’s estate. There, Chopin’s father worked as a teacher for his children. Soon, Nicolas Chopin was offered to go to work at the Warsaw Lyceum, so the family moved to the capital.

Although Chopin's mother was Polish, his father a Frenchman who had come to Poland as a young man and held jobs as a book keeper and tutor before marrying and settling in Warsaw. Young Frederic studied piano with Wojciech Zywny and harmony and counterpoint with Jozef Elsner, gave his first concert when he was 8, and rather quickly outdistanced his teachers.

His name became known outside of Poland when his Variations, Op. 2, for piano and orchestra on Mozart's "La ci darem la mano" - written when he was 17 - were published in 1830, prompting Robert Schumann's famous accolade in the Allgemeine musikalische Zeitung: "Hats off, gentlemen! A genius!"

In the spring and autumn of 1830, Chopin treated the Warsaw audience to a pair of newly composed, marvellously poetic piano concertos. Seeking to expand his horizons, he left Poland for Vienna in November 1830, and after eight months there, headed for Paris. He would never again return to his native country, but Poland's loss would be Paris' gain.

He was assuredly a genius; he was also complicated, cold, vain, calculating, snobbish, snide, and impossibly hyper-sensitive. He suffered from TB most of his life – his cantankerous nature has been blamed on the disease that killed him in his 40th year. But that was only part of the picture. Much like Wagner, he rose above his personal afflictions and limitations to leave an imprint on Western culture with his musical genius.

Over-romanticised movies show Chopin as a delicate figure coughing blood on to the piano keys, or as a romantic revolutionary in Warsaw. Illness and exile earn him sympathy, and justifiably so. But he left Poland to escape a revolution, not to support it. Romantic hero he was not.

Instead, the poet Adam Mickiewicz, whose work Chopin admired and who was, like him, a Polish exile, called him a "moral vampire" for his adoration of the aristocracy and for his somewhat two-faced attitude towards the native land he missed so much, not to mention his liaison with the older novelist George Sand, with whom he lived for nine years.

The relationship had many ups and downs, and while Chopin was too frail to have inflicted any physical hurt on his sometimes-adoring partner, his predilection to preciousness and sulks weighed heavily on her and seem to have added up to a form of psychological water-torture. She soon found herself acting more as nursemaid than as lover, and her exasperation and claustrophobia is all too clear from some of her letters in which she grumbles about his hypersensitive jealousy: "Chopin's love for me is of an exclusive and jealous character. It is a little fantastic and sickly, like him ... it hurts him so much that I find myself forced at the age of 40 to put up with the ridicule of having a jealous lover at my side."

She found an outlet for her frustrations in her novel Lucrezia Floriani, which all the couple's friends took to be a portrait of their relationship. The neurotic and sulky Prince Karol, whose "malady" is spiritual rather than just physical, mirrors Chopin. Gradually he wears down the heroine, who refers to being "murdered with pinpricks", before she collapses and dies.

The couple eventually fell out over the issue of Sand's daughter Solange's marriage, of which Sand disapproved and which Chopin supported. The situation exploded in an utterly unreasonable way, with a hysterical Sand accusing Chopin of having been in love with the 17-year-old Solange himself. But friends observing them detected that the frustrations of nearly a decade were bursting into the open at long last.

Chopin was dependent on Sand, whose books were bestsellers, financially as well as emotionally. A revered pianist, he hated giving concerts. When he agreed to a public recital in Paris in 1841, Sand wrote to her friend Pauline Viardot, the singer: "He does not want any posters, he does not want any programmes, he does not want a large audience. He does not want anyone to talk about it. He is frightened of so many things that I have suggested to him that he should play without candles or audience on a dumb piano."

Since he loathed performing, Chopin earned money mainly by teaching. A young pianist called Zofia Rozengardt travelled from Poland to Paris expressly to study with him. Her account of this "weird and incomprehensible man" is not pretty.

"You cannot imagine a person who can be colder and more indifferent to everything around him," she wrote. "He is polite to excess, and yet there is so much irony, so much spite hidden inside it. Woe betide the person who allows himself to be taken in ... He is heavily endowed with wit and common sense, but then he often has wild, unpleasant moments when he is evil and angry, when he breaks chairs and stamps his feet. He can be as petulant as a spoiled child, bullying his pupils and being very cold with his friends. Those are usually days of suffering, physical exhaustion or quarrels with Madame Sand."

Chopin's music benefited from his extreme sensitivity. Yet in everyday life, that same sensitivity made him a man who was desperately self-conscious about the excessive size of his nose, rarely removed his kid gloves – preferred colours white or lilac – and was perhaps ruled by his nerves even more than by his illness. His dandyism – fussiness over his exquisite waistcoats, dove-grey wallpaper, white muslin drapes and hats in the latest fashion – was part of an elaborate shell behind which he could hide, up to a point. His sometime friend and fellow pianist-composer Franz Liszt, while admiring Chopin as an artist, took him with a pinch of salt. "Chopin is all sadness," he wrote in a letter of 1834. "Furniture is a little more expensive than he had thought, so now we're in for a whole month of worry and nerves."

As for his alleged anti-Semitism, that was not unusual in the 19th century, especially in Poland, but it is still one of Chopin's little commented characteristics. Regarding his publishers as "Jews" he deviously played one off against another. Not that he liked Germans, either. "Jews will be Jews and Huns will be Huns – that's the truth of it, but what can one do? I'm forced to deal with them," he wrote in 1839 to a friend who was helping with negotiations. "The Preludes are already sold to [the publisher] Pleyel, so he can wipe the other end of his stomach with them if he pleases, but since they're all such a band of Jews, stop everything else till I get back."

Chopin's egotistical and neurotic spirit probably went hand-in-white-kid-glove with the imagination that produced his extraordinary music. His works were wrought to perfection, but not so his personality. So, alongside Wagner and others like him, we will just have to love his works and lump the rest. And there is a lot to love in Chopin’s works.

Some composers develop their style over time, while others hit their stride early on. Those who evolved step by step include Haydn, Wagner, Janáček, Scarlatti, Liszt, Glass and Carter. Other composers appeared seemingly fully formed, including Mozart, Schubert, Mendelssohn, Richard Strauss, Saint-Saëns and Boulez. As both pianist and composer, Frédéric Chopin’s genius manifested itself from the start. At eight, the budding prodigy had his first composition published (a polonaise) and made his debut as a piano soloist with orchestra. It soon became clear that Chopin preferred to concentrate on smaller forms instead of large-scale symphonies, choral works and operas. Fortunately, his composition teacher at the Warsaw Conservatory, Joseph Elsner, had the foresight to let his pupil follow his own path.

Leaving Warsaw for good at twenty-one, Chopin settled in Paris and found himself in the vortex of a thriving intellectual and artistic scene dominated by Balzac, Hugo, Delacroix, Rossini, Berlioz, Auber, the young Liszt and other luminaries. Piano construction had evolved into something close to our modern concert grand paradigm, and virtuoso pianist–composers like Henri Herz and Friedrich Kalkbrenner ruled the roost, pleasing the public with glittery operatic paraphrases, potpourris, battle pieces and other easy-to-digest salon fare.

While Chopin churned out a few opera paraphrases and variation sets of his own, they were informed by an entirely new level of pianistic ingenuity, where new sonorities, figurations and modulatory patterns intermingled to unprecedented, often startling effect. Even in Chopin’s earliest works with opus numbers, the essence of his keyboard style was fully formed. Take, for instance, the astonishing bravura of the seldom-played First Piano Sonata finale’s cruelly demanding double notes, or the Variations on Mozart’s “Là ci darem la mano” from Don Giovanni for piano and orchestra (the work that inspired Robert Schumann’s famous “Hats off, a genius” review). Get past its rather foursquare construction, and the piano writing’s tactile fluidity and judicious deployment are immediately clear, along with subtle harmonic twists and turns not easy to absorb in one hearing.

Chopin developed the piano into an instrument of unfathomed range of possibilities, forcing it to spawn a new dazzling world of sounds, which nobody had dreamt of before, and produced in that world a legion of masterpieces against which pales the magnificence of many a symphony. While he was seemingly restricting the performing apparatus, Chopin emphasised with unheard-of strength the element of music, which became so significant in the future (right into our own century): the sound. Starting with Chopin it is difficult to think of music as an abstract structure merely "conveyed" by instruments. From his time on, music has been much more closely tied with the concrete fabric of sound: its colour, register, the sensual nature of sound, and the way it is produced.

Yet, the new unprecedented sound of Chopin's is not only inherent in the specific treatment of the instrument and in the sparkling pianistic technique, but also in the sound language itself: in Chopin's harmony. It is enough to hear the first few bars of Etude in E major, Op. 10 No. 3 to realise the importance of the change that had come about in the perception of harmony: Chopin's harmony is separated by a deep gulf from the harmonic sound of Beethoven's and Schubert's works. Chopin's chords don't function only as a set of tonal tensions and resolutions, which accompany a tune; they stun listeners with their individual colourful sound. Chopin discovered that dissonance, apart from its traditional tension-creating function, can be beautiful by itself; indeed it can entice listeners with its unique sensual charm.

That discovery had far-reaching consequences. It inspired the impressionism of Debussy, who clearly derived his view of harmony intertwined with sound and colour from Chopin's oeuvre.

It also caused more radical changes in 20th-century sound language. In Chopin's works we will come across dissonances that are velvety and ear-caressing, or others that are sharp and shrill, to recall but the Prelude in A minor, a number of mazurkas ? starting with the first published Opuses 6 and 7 (the extraordinary middle part of Mazurka in B flat major!), the Etude in E minor, Op. 25, or the chilling climaxes just before the end of the Scherzos Nos. 1 and 2.

For many reasons Chopin's work is a landmark in the history of music; a milestone on road of its development. His often extremely burgeoning chromaticism gave birth to Wagner's (Tristan and Isolde.) His unusual modulations, and his sudden key changes in the middle of a phrase (recall the opening of the Fantasie in F minor) abolish rules preached in harmony textbooks. The introduction of new scales in the mazurkas (and elsewhere, i.e. in the Etude F minor, Op. 10 or the Nocturnes in G minor Op. 15 and B major Op. 62) brakes down the previously uniform major-minor system and opens the door into other broad worlds of sound.

Similarly, expression, the manner of shaping phrases, the method of constructing form place Chopin's oeuvre as a dividing point in the music of the previous three centuries: an abrupt turn initiated by the composer of ballads, scherzos, of the Sonata in B flat minor or the Polonaise-Fantasie will launch the late Romantic art of composition into a new swirling adventure, drilling new depths of unusual expression.

Yet for all of these innovations, a strong classical streak steadfastly prevails throughout Chopin’s oeuvre. That much is clear from the way the composer stuck with absolute forms for his titles (Waltz, Ballade, Etude, Nocturne, Mazurka, Polonaise, Scherzo, Sonata, Impromptu and the like) instead of descriptive or programmatic fodder, as his colleagues Schumann, Berlioz, Liszt and Mendelssohn were apt to use. Beethoven’s thunder appealed to Chopin far less than Mozart’s elegance and proportion and Bach’s organisational powers and contrapuntal acumen.

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Indeed, Bach’s influence has more than a little bearing upon the 24 Préludes Op. 28. Chopin also adored Bellini’s operas, and it shows: Slow down the Impromptus or the faster Waltzes, sing the glittery passagework out loud, and you’ll discover bel canto cavatinas. Slow down the Fourth Ballade’s thunderous coda, bring down the volume, and concentrate on the top melodic line: an instant aria!

This appreciation of the music canon and legacy was of paramount importance of Chopin in the development of music informed the ingenuity of his melodic and harmonic ideas, his own unique, distinct style. The originality of his poetics, which impressed his contemporaries so strongly, was an unprecedented fact from the very beginning: no composer before him had distinguished himself with such individual and personal style. That impression has held on to our times: we recognise Chopin's music and its uniqueness right away after a few bars and chords, unlike any other music.

Looking through music history we can try various comparisons, search for analogies or relationships between composers who are centuries apart. Chopin has no analogy. You will neither find a master of a similar personality, nor a composer embracing a related concept of beauty. Considering the exceptional nature of his genius, Chopin certainly belongs among the high priests of European cultural heritage such as Shakespeare, Dante, Michelangelo or Rembrandt.

In Chopin's music, individuality is perhaps the most important sigh of greatness in art goes together with mastery of compositional skill. He was a magnificent improviser of great imagination, yet while preparing a piece for publication, he never relied on imagination alone. Instead, he gave much care to the internal logic of the piece, honing each and every detail to perfection. Therefore, the beauty of his themes always goes together with perfect construction, worthy of the greatest masters of musical form.

This is best seen in his etudes and preludes, although it applies to his general mode of composing. The listener often gets carried away by the pianistic brilliance of his pieces, but if we take a closer look at them; if we try to play the rich virtuoso figurations slowly, we will apprehend the musical perfection of their structure, the logic of every note, the importance of every successive sound just like in the compositions of Bach.

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One cannot talk about Chopin’s style without acknowledging its deep-rooted nationalism, as borne out in the Polonaises and Mazurkas. Polonaises mostly were lightweight entertainment before Chopin pushed the form into emotionally charged, dynamically volatile keyboard epics (in scope more than size). The swaggering immediacy of the famous A major Op. 40, No. 1 and “Heroic” A-flat Op. 53 stirs up Polish pride in the same way that Americans respond to Sousa’s Stars and Stripes Forever. However, the F-sharp minor Op. 44 Polonaise digs deeper and, in the right hands, sends shock waves when the sudden, fortissimo upward scales kick in, right after a central episode in the form of a Mazurka. The fifty-seven Mazurkas proper date from Chopin at age ten through his final illness. Their basic rhythms and phrase scansions embrace traditional Polish dance forms such as the Mazur, the Oberek and the Kujawiak while giving free rein to some of Chopin’s quirkiest notions. They constantly veer between simple, complex, charming and audacious, usually within the same opus number.

Take the four Op. 41 Mazurkas, for example. A dark sensibility colours the C-sharp minor’s main theme, only to quickly give way to raucous abandon, huge sonorities and a sudden dying away. The E minor Mazurka consists of a plaintive melody intoned over a restrained, chorale-like accompaniment. Nothing seems to happen in the central episode, but it gradually builds up to a startling key change twelve bars before the end. The A-flat Mazurka is wistful, lyrical and uncomplicated—more like a Waltz. By contrast, the B major’s veiled, opening figure hardly hints at the rising melodic unisons and whirling, giddy passagework lurking around the corner; this is one of Chopin’s briefest, wildest and least known Mazurkas.

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For whatever reason, few commentators discuss one particular Chopin fingerprint, and that is his frequent use of repeated notes, either for rhythmic emphasis or to generate melodic intensity. Think of the quick, kicking repeated notes in the Second Sonata Scherzo, the Tarantella Op. 43, the E-flat Op. 18 Waltz’s second theme, the A-flat Op. 34, No. 1 Waltz’s introduction, the E minor Waltz’s main theme or the C-sharp minor Op. 64, No. 2 Waltz’s plaintive chromatic ascending scales. There’s the Op. 9, No. 1 Nocturne’s first theme, the more famous Op. 9, No. 2’s second theme, the Fourth Ballade’s first theme and the folk song quoted in the B minor Scherzo’s trio. What about when Chopin repeats the same note with shifting textures or harmonic movement underneath, such as in the Op. 25 Etudes Nos. 1, 4 and 11. This is not to say that Chopin’s repeated notes are important, but merely to acknowledge their existence.

In a discussion of emotions pervading Chopin's music one cannot possibly ignore those émigré reflections, concerning Poland and its fortunes. They are, of course, expressed in the national style of the mazurkas and polonaises, but also have more profound manifestations. Those great patriotic emotions, which were put into words by the composer in his letters and personal notes, deeply impressed his music. Yet, the ability to recognise and feel them depends on the pianist's and the listener's intuition and sensitivity.

Chopin is as much a master of transforming themes and motifs, as was Beethoven who is considered the model of ingenuity in constructing developments for the main movements of sonatas and symphonies. No less ingenious and artful are Chopin's sonatas (including the cello sonata), while the development of the Allegro from the B flat minor Sonata is one of the most magnificent and dramatic developments ever in the history of sonata form.

Brilliant developmental sections can also be found in other works, for instance in ballades (especially the third one, in A flat major) or even in smaller pieces like the "polyphonic" Mazurka in C sharp minor, Op. 50). Apart from interesting ways of transforming and developing motifs, Chopin delights in generating numerous variants of entire themes, occasionally producing utterly transformed sounds and expression of the originally presented tune. In the Ballade in G minor, for example, the two main themes keep recurring, each time in a slightly different light and surprisingly different shapes, to the extent of never allowing the original version to reappear.

It was in his ballades that Chopin produced the most striking creation of a new form, that differed from the classical one: the course of the piece, along with theme transformations, creates an emotional plot, much like in a drama or a poem, yet with no words or notions. In that plot there is no going back to the point of departure (unlike in the classical recapitulation), because the dramatic thread keeps unfolding up to its eventual conclusion.

This way the classical idea of architectural symmetry (of the A B A type) is juxtaposed with a Romantic idea of a poetic "story," even though in either case we remain within the realm of music. Such a musical story with clearly emotional meaning is unfolded by Chopin not only in his ballades but in many other pieces, such as the Polonaise-Fantasie, the Barcarolle, the Impromptu in F sharp major, the Nocturnes in D flat major, Op. 27 and in C minor, Op. 48, or some mazurkas styled as poems. Stories of emotional substance are also the gist of Chopin's great sonatas.

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The extraordinary diversity of emotions, moods and their transformations in the work are yet one more great feature and value of Chopin's music, that distinguishes it from musical styles known to us. Other great composers of Romanticism (and even more so of earlier periods) seem much more homogeneous and restricted in their types of expression. Chopin in his emotional diversity presents a panorama so broad that it is hard to grasp it all. With regard to that, the set of 24 Preludes Op. 28 that superb guide to the human soul and its many dark nooks is an unheard-of phenomenon.

Diversity of moods and emotions is seen even in a genre that, you would think, is typically bound up with just one type of expression, namely in the nocturne. Yet actually, each of his twenty nocturnes presents a different emotional countenance, to say nothing of the transformations and evolutions within each work.

Chopin's style, in general, is rife with emotions and their nuances. Still, there is a margin for individual feelings, interpretational freedom, personal choices in selecting and underlining one or another feature of a composition or a phrase. The composer himself permitted various subtle inflections in performances of the same work, and indeed he was delighted with Liszt's interpretation of the Etudes, which was quite different from his own. These liberties have their limits, of course, as there are always the dangers of producing a perfunctory interpretation, obliterating features that define the work's value, or utterly misunderstanding the piece.

A good guided tour through Chopin’s sound world might commence with the Nocturnes. The form owes much to the development and standardisation of the sustaining pedal, which meant that sustained figurations could exceed the normal left-hand span. The Irish composer John Field first applied the word “Nocturne” to lyrical pieces with long, dreamy melodies supported by lilting, broadly spanned accompaniments. In his B major Nocturne, Chopin picks up where Field left off. Seeming simplicity characterises its opening theme, which comes to a sudden halt at its first climax only to resume in tempo with another idea. Remnants of the original theme reappear like signposts while embellishments and decorations intensify the melodic discourse. Without warning, Chopin shatters his wistful mood with an abrupt, almost violent recitative in B minor, an ending that “defies analysis, but compels acceptance,” according to composer Lennox Berkeley.

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It’s a short step from Chopin the poet to Chopin the poet–virtuoso and his Etudes Op. 10 and 25, which many rightly consider the cornerstones of Romantic piano technique. Each of these gems addresses a specific technical challenge, without giving the pianist much respite. At first hearing, the A-flat Op. 10, No. 10 and E minor Op. 25, No. 5 offer catchy, operatically inspired themes within a basic A–B–A song form structure. But notice the slight shifts in texture and phrasing when the tunes repeat, not unlike viewing an object from different perspectives and at different times of the day. Reduce the opening C major Op. 10, No. 1 and closing Op. 25, No. 2 etudes’ taxing arpeggios to their harmonic essence, and you get the bedrock security of a Bach cantus firmus. One wonders if Bach’s organ chorale preludes had any bearing on the E-flat minor Op. 10, No. 6, where a plaintive right-hand cantabile is supported by a chromatically undulating tenor commentary and long, sustained bass lines. The refinement of Chopin’s amazing harmonic imagination here is something to behold, and if you want more where that came from, take a detour towards the coda of the Barcarolle, Op. 60.

Let us also remember that Chopin the performer geared his pianistic gifts to the dimensions of salons and small venues. His playing was about nuance, subtle effects, refinement of touch and perpetual singing, and he left flamboyance, power and audacity to his friend Liszt. What we’d give to hear Liszt wrap his paws around Chopin’s C-sharp minor Scherzo, where musical substance and high-octane virtuosity staggeringly mesh! The angular, declamatory introduction - a kind of compressed opera recitative - dives into a demonic main theme spelled out in stamina-testing octaves. The central, major-key trio features a chorale-like motive answered by delicate descending filigree. When the coda arrives, Chopin works all of the piano’s registers in seeming simultaneity. Chopin’s other principal larger-scaled compositions include the three remaining Scherzi, the four Ballades, the F minor Fantasy, the Second and Third Sonatas, the Cello Sonata (his only mature chamber work) and, of course, the aforementioned Préludes.

The span of ideas and emotional states in Chopin's music seems boundless. His works owed their earliest and easiest conquest of audiences hearts to their lyrical an melodic merits. The charm of those lyrical tunes is indeed unique and individual, starting with the early Concerto in F minor or the Nocturne in E flat major, Op. 9 to the subtle cantilena of the "late" Chopin in the Sonata in B minor or in the last Waltz in C sharp minor. But Chopin's "soft" lyricism has many different shades.

One in particular deserves attention because of its novelty and bravery: it is a kind of music that evokes a peculiar state of mind reminiscent of a dream or perhaps of entranced meditation. This deliberately static and monotonous music contemplates a sound or a chord, and simultaneously carries us into a new dimension and a new emotional state. Chopin introduced this expressive device for a first time at the end of the Introduction to the Variation on a Mozart Theme, Op. 2. Later, it reappeared in the beautiful conclusions of the three Nocturnes: F sharp major Op. 15, D flat major Op.27, and B major Op. 62, but above all in the Andante Spianato of the Grande Polonaise in E flat major and in the Berceuse.

The other extreme of Chopin's music features savage storms and hurricanes, as in the F major Ballade, the Etude in C minor, Op. 10 (also known as Revolutionary), in the A minor and C minor Prelude. There is also humour, wit, irony, sarcasm, especially in the early rondos, in the Krakowiak, the ecossaises, the finales of the both concertos, the Etudes in G flat major, Op. 10 and in E minor, Op. 25, the G major Prelude and in many mazurkas. At times, Chopin's style involves profound philosophical reflection, if you recall his Prelude in C sharp minor, Op. 45, or the great central episode of the third movement of the B minor Sonata. From some works emanates a tremendous vital energy, power and optimism, as can be seen in the final part of the mentioned Sonata, Etudes in C major, C sharp minor and F major, Op. 10, or Polonaise in A flat major, Op. 53.

It’s all the more remarkable that Chopin was able to channel such energy and power into his work despite his health issues draining his life away. Chopin’s struggle with ill-health began from a young age and it eventually caught up to him by the time he turned 40.

As a child, he had breathing difficulties and frequent diarrhea due to an intolerance to oily food. Nevertheless, his lessons with Polish virtuoso Wojciech Żywny were so successful that he played his first public concert before he was nine. At sixteen, headaches, swollen lymph nodes and breathing difficulties left him in a half-year struggle that almost took his life. Even after returning to Paris, he continued to suffer from chest pains, haemoptysis, headaches and fever. Laryngitis and bronchitis followed in the next four years. By 1837 he had contracted influenza in Paris, and was constantly coughing up blood.

Many music historians believe that one of the reasons why George Sand fell in love with Chopin was partly to do with his ill-health. Any prolonged period of time at the piano was enough for Chopin to call for her assistance, a need to which the spirited and controversial novelist loyally attended to for years. His physical ailments further kept him from travelling, which may explain why there were so few public performances. Although doctors suggested him to spend more time walking outside, he was always too tired to leave the house. Subsequently, he moved to a warmer place called Majorca, an island associated with lung disease and terminal illnesses. Upon learning that Chopin was sick, his landlord not only asked him to leave the premises, but also demanded the struggling composer to pay for the sterilisation of the house and the burning of all the furniture.

Annoyed, Chopin left for Paris in 1840. Standing at 170 cm, his body weight plummeted to only 46 kg. His whitewashed face, skinny limbs and hunched physique became Sand’s inspiration for an unflattering character called Karol in her novel ‘Lucrezia Floriani’. According to Sand’s letters, Chopin saw no recovery for the next six years was troubled by a chronic cough that was the worst in the morning. As his health continued to deteriorate, she yearned for her freedom and finally broke up with him in 1847.

In the last few years of his life, Chopin required assistance even just to go up and down the stairs. He could only teach piano while lying down, and had lost the strength to compose. He then left for London in 1848 to forget about his relationship with Sand, only to find himself bedridden once again. When he returned to Paris at the end of the year, the cold weather had damaged his health so severely that even talking became a chore.

In his final days, Chopin was treated by the famous physician Jean Cruveilhier, who also certified his death. By early July 1849, Chopin was coughing up blood again and his legs became grossly swollen. Cruveilhier, who was then the foremost expert on ‘pulmonary phthisis’, told Chopin that tuberculosis was to blame.

As instructed by Chopin himself, Cruveilhier carried out an autopsy, but the report was unfortunately destroyed in a fire in 1871 or during the Second World War. Although the certificate cited ‘tuberculosis of the lung and larynx and cachexia” as the cause of death, Cruveilhier had allegedly told people in private that Chopin’s heart was affected more than his lungs.

Although Chopin was buried in Paris, his heart was sent back to Poland. Technically, a genetic test of his preserved body tissues could confirm the true cause of his suffering, but the Polish government has rejected any attempt to obtain the samples. Nevertheless, even after more than 140 years, Chopin’s life remains a paradigm of what can be achieved in spite of severe sickness.

Few composers for the piano rival Chopin’s staying power and unswerving popularity. Indeed, not one hour goes by without Chopin being programmed, listened to, edited for CD release or practiced on a piano. That was as true a hundred years ago as it is today. Chopin would be flattered by the attention, no doubt. But what would he say about his longstanding status as a pop icon? After all, Bugs Bunny has played him, Muzak musicians arrange him, and Liberace unwittingly maimed him.

Would he have sued Tin Pan Alley over “I’m Always Chasing Rainbows” (the Fantasie-Impromptu), “Till the End of Time” (the A-flat Polonaise Op. 53) or Barry Manilow’s “Could It Be Magic” (the C minor Prelude)? Not to mention the classic playground ditty “Pray for the dead, and the dead will pray for you” (“Funeral March” from the Second Piano Sonata) and Barbra Streisand’s riotous patter song set to the “Minute Waltz.”

More likely than not, Chopin would be baffled by the myriad schools of Chopin-playing (i.e., French, German, Slavic, etc.) that evolved in his wake, all laying equal claim to “authenticity.”

What might Chopin say about the extraordinary, unprecedented proliferation of Asian pianists on today’s scene, all who consider Chopin their own? For his F minor Concerto, would Chopin prefer Lang Lang (born 1982) or Martha Argerich (born 1941) to Arthur Rubinstein (1887–1982) or Alfred Cortot (1877–1962)? Would Chopin cringe at or be fascinated by Rachmaninoff’s dynamic alterations in his recording of the Second Sonata?

Stravinsky famously reviewed three recordings of The Rite of Spring back to back; what about Chopin critiquing four wildly divergent interpretations of the Préludes from Maurizio Pollini, Claudio Arrau, Friedrich Gulda and Ivan Moravec.

And on the touchy subject of tempo rubato, who would Chopin deem closest to the mark in his Mazurkas: Ignace Jan Paderewski, Ignaz Friedman, Moriz Rosenthal or Arturo Benedetti Michelangeli? Which of Rubinstein’s three remarkably different Mazurka cycles would Chopin download to his iPod?

And then there’s the question of instrument: an 1849 Pleyel feels and sounds utterly different from a pre-war American Steinway or a brand-new, hand-built Kawai.

Still, unlike the man himself, the music itself was built to last, and what Rubinstein said many years ago is likely to remain true for generations to come: “When the first notes of Chopin sound through the concert hall, there is a happy sigh of recognition.”

Every piece Chopin produced turned out to be a pearl and his talents were beyond emulation. Moreover, he opened the door to soul-stirring ambiguity which still continues to intrigue listeners.

#chopin #frederic chopin #essay #quotes #music #piano #composer #france #poland #george sand #life #death #aesthetics #genius

77 notes · View notes

bandstolookup · 3 years

Text

chuck

brice wilson

classic case

cruiserweight

the drifters

dead lazlo's place

clyde

drunk in public

cmten

kid ferris

Judy Garland*

108

* Crystal Gayle* (

* Gentle Giant*

* Bobbie Gentry

* Sonny Geraci*

* Gerry and the Pacemakers )

* Glass Tiger* )

* Jackie Gleason*

* The Golden Cups

* the golden age of tv

* The Goldens*

* Graffiti6*

* Amy Grant

* Great White*

* tate mcrae

* Andy Griffith

dynamite boy

monowhales

archie roach

titanium

bang the drum

ten gram tang

ben abraham

Glitch Gum

walk the waves

boom crash opera

chayito valdez

brothers 3

lunay

raff law

christina parie

turquoise prince

dead letter circus

dylan joel

euphoria

vassy

goanna

gyan

gyroscope

hopium

jenny morris

tommy tutone

seabreather

afterxclass

mike rossi

maximum penalty

WRTHLESS

alive like me

love&run

modern maps

k.i.d.

albert hammond jr

the drums

the shaking hands

bryan

blonder

spiritbox

ritalin revenge

kaz skellington

moon honey

fogust

* Hager Twins

* micro tdh

* on repeat

* the knocks

* Merle Haggard* )

* Geri Halliwell*

* Caylee Hammack (Capitol Nashville)

* Jennifer Hanson* (Capitol Nashville)

* Joni Harms* (Capitol Nashville)

* Odessa Harris*

* Walker Hayes (Capitol Nashville)

* Jamie Haywards

* Niykee Heaton

* Hedley

* Heir Apparent*

* The Heirs (US)

* Helix

* salmon shorts

* Don Henley

* HRVY

* Milt Herth

* J. Holiday (Music Line/Capitol)

* The Honeys

* Steven Wayne Horton* (Capitol Nashville)

* kinetic octopus

* lucky3rd

* six steps in

* trent toney

* mikaela davis

* mikael karlsson

* we were blank

* rushing spring

* section 25

* the salamanders

* pacific latitudes

* section eight

* david bromberg

* the metro springs

* swan dive

* jeff finlin

* dirk hamilton

* barbara kessler

* larry john mcnally

* hamell on trial

* anders osborne

* ferron

* peter mulvey

* jane kelly williams

* kelly joe phelps

* alejandro escovedo

* alison brown

* luke lucas

* noshows

* rat cage

* the inclines

* original son

* veruca salt

* thread the lariat

* Jedd Hughes* (Capitol Nashville)

* The Human Beinz

* Hurricane* (Grand Royal/Capitol)

* Hurt

* youth pool

* dubby mac

* • Janis Ian

* Icon

* If

* emancipator

* the wallabies

* Frank Ifield (US/Canada)

* Industry

* new york klezmer band

* new york klezmer orchestra

* Inner Circle

* The Insect Trust

* • Alan Jackson (EMI Nashville)

* Freddie Jackson*

* Wanda Jackson*

* new york vaults

* nimrod wildfire

* Harry James

* Sonny James

* J-Haze (Division Media Company/Capitol Records)

* nails

* yvngctrl tha god

* Jaicko

* Jarvis

* Matthew Jay*

* The Jenkins* (Capitol Nashville

* Jimmy G and the Tackheads

* Eddie Jobson*

* The Jodimars*

* cheap peach

* Lia Marie Johnson

* runaway after dark

* heavenly faded

* Plas Johnson

* bobby marchan

* z-head

* jarvis cocker

* Celebration

* Joseph Black

* Josie & The Pussycats*

* Joy Of Cooking

* Danny Kaye*

* Tori Kelly

* Jesse Kinch*

* The Kingston Trio*

* The Knack*

* 51 stitches

* elephant in the room

* last dinosaurs

* calloutcisco

* sir chloe

* emergency 5

* Dave Koz*

* Kraftwerk*

* Kudai

* Pierre Lalonde*

* Duncan Laurence

* Chris LeDoux*

* Peggy Lee

* Sean Lennon*

* LeToya*

* The Lettermen

* Little Big Town

* Little River Band*

* Lil Yachty

* Liu Chia-Chang*

* Show Lo

* sunnbrella

* human pet

* golf alpha bravo

* muscle shoals rhythm section

* wildstreet

* eisley

* the linda lindas

* Laurie London

* Tito Lopez

* Donna Loren

* Luscious Jackson*

* Donna Lynn

* • Mabel*

* Mad River

* Barbara Mandrell*

* Gordon MacRae*

* Meredith MacRae

* Mae*

* jackson lee morgan

* toosii2x

* off wing

* iann dior

* bite me bambi

* Magic System

* Mantronix

* seatbelts

* mischief brew

* bomes

* tasty vibrations

* gordon munding

* normaria

* aura da prophet

* ces cru

* matt maltese

* ayesha erotica

* foreseeing fools

* ill nino

* reversal of man

* combat wounded veteran

* orchid

* jeromes dream

* klondike blonde

* forcefedglass

* anton bordman

* stray rebel bullet

* yun head

* king mary

* florian t m zeisig

* tragedy brothers

* cathedral bells

* the electric indigo

* ic3peak

* fashion jackson

* happy hour

* satoshi & makoto

* analog nightmares

* the sundays

* the sugarcubes

* gashley's ghost

* catatoneya

* topher

* ant clemons

* myle

* Mandy Capristo

* Marillion*

* Dean Martin*

* Al Martino*

* Richard Marx*

* Mason Dixon

* nevergreen

* Conor Maynard*

* Max Webster*

* Maze*

* Kym Mazelle*

* MC Hammer*

* McAuley Schenker Group

* Delbert McClinton

* Mindy McCready

* Mel McDaniel*

* Kevin McHale*

* Scott McQuaig*

* McQueen Street

* Mellow Man Ace

* Roy D. Mercer

* Midnight Red*

* Miilkbone*

* the secret channel

* Dean Miller*

* Jody Miller

* Mrs. Miller

* Ned Miller*

* Mims*

* Missing Persons*

* Molly Hatchet*

* max wassen

* Joey Montana

* Melba Moore*

* Patrick Moraz

* Morningwood

* fornax void

* shayfer james

* whosah

* anthony green

* circa survive

* saosin

* the sound of animals fighting

* audience of one

* jeer at rome

* destroyer

* high and driving

* zolof the rock and roll destroyer

* knocked loose/terror

* overcoast

* john daniels band

* The Motels*

* the ting tings

* poole

* WARGASM

* cannons

* royal & the serpent

* red velvet

* ace lover

* pacific palace

* pinhead gunpowder

* kyu sakamoto

* fleef

* mccn

* limbeck

* quite frankly

* lvger

* hotbox

* red flower lake

* barbie sailers

* of the (SiC)

* the heroic enthusiasts

* ACHILLE LAURO

* 2for5

* boot camp clik

* jackie wilson

* zeph anijong

* nitro wilson

* honky tonk henry

* red valley sea party

* presley river

* slowtai

* kenny beats

* chace wall

* tech n9ne

* siena faccilio

* twelve'len

* smif-n-wessum

* suicide leopard

* ill chris

* lil toe

* bbno$

* diamond pistols

* MAX

* Y2K

* the kid laroi

* bankrol hayden

* sean price

* kreayshawn

* apoc krysis

* mutant joe

* murder club

* evilgiane

* lederrick

* johnny utah

* musiclabel

* murder of crows

* powerdoll

* scotch bx

* dj jocelyne

* cock nitro

* the lsd

* lord dove

white goblin

young link

ken burns

dj cannabiz

sfyacid

tommy vext

psycho realm

KRSNA

dj hentai master 420

dj creep

arab strap

kovács beatrix

WZRD

what the hell

over motion

beef hutchins

matt king

and so i watch you from afar

so solid crew

dj loser

himera

grxgyr

sematary

tek 800

real mccoy

acounta

emotegi

outby16

cold as life

dicksoak

ryan b

djx

salama

neatpop

julien andreas

while she sleeps

dj rnr d3mon 666

sienna sleep

pumpo matriarch777

tommytohotty

alt j

lord pussywhip

dj nick jersey

japanraingoggle

soso

deaddigitizer

dj interior semiotics

wax romantics

dj pacificmagicwriter

ben is dying

bug bus piano

dj angelfire

dj baby patrick

the playboy otaku

boris

ty segall

dum dum girls

crimewave

drainpuppet

matt watson

kevin creel

dj penisman

* mario judah

* jay purp

lunar riptide

spîked mînd

* Dude Mowrey*

* Anne Murray*

* • NCT 127

* Norah Jones

* Naughty Boy

* Emilio Navaira

* Willie Nelson*

* Juice Newton*

* Wayne Newton*

* Britt Nicole

* sienna skies

* The realist*

* NF

* • Oaktown's 357*

* OK Go

* Troy Olsen

* ride for rain

* inphlux

* O'Bryan*

* Jamie O'Neal*

* ONR.

* Donny Osmond*

* Marie Osmond*

* Johnny Otis Show

* The Outsiders*

* spencerport high school jazz ensemble

* Buck Owens*

* • Allison Paige*

* Pallas

* mortiis

* Passion Conferences

* Les Paul & Mary Ford*

* People!

* Pet Shop Boys

* from ashes to new

* emil richards

* Pentagon

* Peter & Gordon

* food house

* taylor bennett

* Édith Piaf

* The Pipkins

* riddlin' kids

* Lisa Marie Presley*

* the modern glitch

* Pirates of the Mississippi*

* The Power Station*

* Pru

* PTAF

* we are in the crowd

* robyn

* johnny o

* Purple Popcorn*

* Robyn Peterson

* Queen Naija

* Quicksilver Messenger Service*

* Q.C.

* • Eddie Rabbitt

* Corinne Bailey Rae

* Bonnie Raitt*

* Sue Raney

* Raspberries

* Eddy Raven*

* Lou Rawls*

* RBD

* cole b

* Re-Flex*

* Red Café*

* Helen Reddy*

* Matt Redman

* Red Rider

* Alaina Reed*

* kuromi

* bonnie prince billie

* rutila

* Remy Ma

* Renaissance*

* Priscilla Renea

* Nacole Rice*

* Nelson Riddle & His Orchestra*

* The Righteous Brothers*

* Rigor Mortis

* Tex Ritter*

* River Road*

* Don Robertson

* Kenny Rogers*

* Roy Rogers*

* Linda Ronstadt*

* Rucka Rucka Ali

* Pablo Ruiz

* Runner Runner

* Andy Russell

* Kyu Sakamoto

* The Salty Peppers*

* Richie Sambora

* Emeli Sandé

* Tommy Sands

* Saosin

* Savuka

* Remove Robert Bobby From Earth

* Sawyer Brown*

* Don Schlitz*

* Thom Schuyler*

* Jack Scott*

* Dan Seals*

* Seatrain

* Second Coming

* The Seekers

* Bob Seger & the Silver Bullet Band*

* Bob Seger System*

* Sequal*

* S'Express*

* Helen Shapiro

* Shenandoah*

* Sheriff*

* Shiva's Headband

* Ryan Shupe & The RubberBand*

* Silentó

* Skinny Puppy*

* Slik Toxik

* Slum Village*

* Hurricane Smith

* Russell Smith*

* Tom Snow

* Jo-El Sonnier*

* Joe South

* Sparklehorse*

* Spandau Ballet*

* Tracie Spencer*

* Squad five-o*

* Jo Stafford*

* Kristian Stanfill

* Kay Starr

* Status Quo*

* Steriogram

* Ray Stevens*

* Stone Poneys

* Stryper

* Yma Sumac*

* Sun*

* Stefanie Sun*

* The Superiors

* SuperM

* The Sweet*

* The Sylvers*

* • A Taste of Honey*

* Télépopmusik*

* Teresa Teng

* These Kids Wear Crowns

* Lillo Thomas*

* Lynda Thomas

* Cyndi Thomson*

* one dove

* Hank Thompson

* bad manners

* Ed Townsend

* Trader-Price*

* Merle Travis*

* Charles Trenet

* Triumvirat

* Jolin Tsai*

* future sunsets

* scarlett jo band

* oblomow

* The Tubes*

* Tanya Tucker*

* Kreesha Turner

* • Gene Vincent & His Blue

* capsize

* Vow Wow

* • Steve Wariner*

* W.A.S.P

* Gene Watson*

* Waysted

* Max Webster*

* noble vibes

* Bob Welch*

* Emily West

* Westside Connection*

* Cheryl Wheeler*

* The Whispers*

* Ron White

* Lari White*

* Jack Wild

* The Wild Ones (Toshiba/Capitol)

* Wild Rose* (Capitol Nashville)

* Wildside

* rockets

* Ann Wilson

* Brian Wilson*

* hello ground

* the skycoasters

* logan

* gene pitney

* traffic

* Nancy Wilson*

* Tim Wilson (Capitol Nashville)

* • XYZ*

* Billy Yates* (Capitol Nashville)

* Faron Young* (Capitol Nashville)

* Don Yute

* Yung Perj

karmadella

kasey chambers

adam ant

xavier dunn

katie noonan

kerser

my enemies & i

kiley gaffney

kim churchill

lisa mitchell

magic dirt

cookin on 3 burners

dane rumble

robin schultz

roddy ricch

rory noble copy

mass collective mind

moonlight

pretty violent stain

* Alabama Shakes

* Allen Stone

* Altin Gün

* Amyl and the Sniffers

* Benjamin Booker

* Black Pumas

* Brandi Carlile Band

* Brittany Howard

* rory music

* The Bronx

* birdhouse

* yutzi

* doc rhombus

* mepemuro

* as friends rust

* castellso

* brian swindle

* the kid laroi

* Caitlin Rose

* Chicano Batman

* Cordovas feat. leadsinger Joe Firstman

* Danny Barnes

* Drive-By Truckers

* unknown t

* Emily King

* Honey Harper

* brian setzer and the nashvillains

* Hurray for the Riff Raff

* J Roddy Walston and the Business

* The Claypool Lennon Delirium

* Jessica Lea Mayfield

* Jim James

* Jonny Fritz

* Joseph

* King Gizzard & the Lizard Wizard

* Lee Ann Womack

* Les Claypool's Duo de Twang[12]

* Lisa Hannigan

* Lucero

* stupid drama

* lil poh

3 notes · View notes

stylesprimes · 4 years

Text

here is the list that i use to keep track of what concerts i’ve been to

The Wombats (1.Bumbershoot 12 2.Milkweg 3.Venue)

Born Ruffians (1.Stanley Park 2.Folk Fest 3.Imperial 16 4.Commodore 16 5.Commodore 17 6.Fortune 7.Imperial 19 8.Rickshaw)

Best Coast (1.Bumbershoot 12 2.Venue)

Lights [acoustic] (1.Rio 2.Vogue)

Youngblood Hawke (Sasquatch)

Foster the People (Deer Lake Park)

Arctic Monkeys (1.Sasquatch 2.Vogue)

The Pack A.D. (Vogue)

Young Rival (Imperial)

Lucius (1.Folk Fest 2.Imperial)

Steve Aoki (Sasquatch)

Vampire Weekend (1.Sasquatch 2.Deer Lake)

Grimes (Sasquatch)

The Lumineers (Sasquatch)

Kimbra (Deer Lake Park)

Half Moon Run (Deer Lake Park)

Alt-J (1.Sasquatch 2.Orpheum)

Edward Sharpe and the Magnetic Zeroes (Sasquatch)

Mumford and Sons (Sasquatch)

Macklemore & Ryan Lewis (Sasquatch)

The XX (1.Sasquatch 2.Thunderbird)

Cake (Sasquatch)

Black Rebel Motorcycle Club (Sasquatch)

The Dropkick Murphys (Sasquatch)

Imagine Dragons (1. Sasquatch 2.Rogers Arena)

St. Lucia (Orpheum)

X Ambassadors (Rogers Arena)

Two Door Cinema Club (Orpheum)

Empire of the Sun (Sasquatch)

Toro y Moi (Sasquatch)

The Naked and Famous (Rogers Arena)

AWOLNATION (1.Bumbershoot 12 2.Commodore)

Yelawolf (Bumbershoot 12)

Gotye (Sasquatch)

Earl Sweatshirt (1.Sasquatch 2.BBQ)

Capital Cities (Sasquatch)

Disclosure (Sasquatch)

Japandroids (Sasquatch)

Tame Impala (Sasquatch)

Sigur Ros (Sasquatch)

The Postal Service (Sasquatch)

One Direction (1.Ernst Happel 2.BC Place)

McFly (Ernst Happel)

Icona Pop (BC Place)

Bloc Party (Sasquatch)

Surfer Blood (Sasquatch)

Smash Boom Pow (Studio)

Big Sean (Bumbershoot 12)

Mac Miller (Bumbershoot 12)

Foxy Shazam (Bumbershoot 12)

The Acid (Orpheum)

Dralms (Vogue)

Daughter (Vogue)

Magashegyi Underground (Budapest)

The Preatures (Electric Owl)

The Drums (1.Fortune 2.Imperial)

Tokyo Police Club (1.Imperial 2.Commodore 2.Fox)

Van Damsel (Imperial)

Oh Wonder (Block Party)

Vince Staples (1.Block Party 2.Vogue)

Adventure Club (1.Block Party ‘14 2.Block Party ‘17)

Dan Mangan (Block Party)

Hey Ocean! (BBQ)

Morgan Page (BBQ)

STRFKR (BBQ)

Felix Cartal (BBQ)

Current Swell (BBQ)

Lido (Block Party)

JPNSGRLS (Khatsalano)

Astor (Venue)

HOLYCHILD (Venue)

Ryn Weaver (Venue)

Jamie N Commons (Commodore)

Catfish and the Bottlemen (Commodore)

Avid Dancer (Fortune)

Børns (Fortune)

Rah Rah (Commodore)

Dear Rogue (1.Commodore 2.Skookum)

Young Rival (Imperial)

On an On (Commodore)

Yukon Blonde (1.Commodore 2.Skookum)

Little Green Cars (Cobalt)

John Mark Nelson (Cobalt)

Morley (Fortune)

Låpsley (1.Fortune 2.Commodore)

The Japanese House (1.Thunderbird 2. Cobalt)

Wolf Alice (1.Thunderbird 2.Commodore)

The 1975 (1.Thunderbird 2.Forum 3.Thunderbird 4.WaMu)

Joseph (Showbox SoDo)

James Bay (Showbox SoDo)

Mu (1.Commodore 2.Khats)

Years & Years (Commodore)

Beach House (1.Vogue 2.Orpheum 3.Queen E)

Margaret Glapsy (Imperial)

Kieran Mercer (Vogue)

Carly Rae Jepsen (1.Rogers Arena 2.Orpheum 3.Commodore 4.Thunderbird 5.PNE)

Hedley (Rogers Arena)

Billy Charger (Cobalt)

Winter (Cobalt)

BRONCHO (Cobalt)

Louise Burns (Commodore/Levitation)

White Lung (Commodore/Levitation)

Allah-Las (Commodore/Levitation)

FIDLAR (Commodore/Levitation)

of Montreal (Commodore/Levitation)

Tycho (Commodore/Levitation)

Cherry Glazerr (1.Commodore/Levitation 2.Cobalt 3.Rickshaw)

Hinds (1.Commodore/Levitation 2.Rickshaw 3.Biltmore)

Thee Oh Sees (Commodore/Levitation)

The Growlers (Commodore/Levitation)

Flying Lotus (Commodore/Levitation)

Pity Sex (Biltmore Ballroom)

PWR BTTM (Biltmore Ballroom)

Petal (Biltmore Ballroom)

Sam Tudor (Khats)

Milk (1.Khats 2.Rickshaw)

Plazas (Khats)

Mitski (1.Cobalt 2.Biltmore Cabaret 3.Imperial 4.Deer Lake)

Japanese Breakfast (1.Cobalt 2.Fox 3.Imperial 4.Rogers)

Jay Som (1.Cobalt 2.Imperial)

The Darcys (Commodore)

Alvvays (1.BBQ 2.Commodore 3.Commodore)

Coast Modern (Commodore)

The Temper Trap (Commodore)

Eric Copeland (Vogue)

Animal Collective (Vogue)

Douse (Imperial)

Close Talker (Imperial)

Royal Canoe (Imperial)

The Elwins (Commodore)

Glass Animals (Queen Elizabeth Theatre)

HANA (Vogue)

Purity Ring (Vogue)

Ra Ra Riot (Commodore)

Young the Giant (1.Commodore 2.PNE)

Aquilo (Commodore)

The Big Moon (Cobalt)

Slow Hollows (Cobalt)

Luke Million (Jack Rabbit Slim’s)

Client Liaison (Jack Rabbit Slim’s)

Ekali (Block Party)

Roy Woods (Block Party)

Keys N’ Krates (Block Party)

Kadhja Bonet (Biltmore Cabaret)

White Mystery (Rickshaw)

Twin Peaks (Rickshaw)

Low Roar (Biltmore)

San Fermin (Biltmore)

Sampha (Thunderbird)

LP Giobbi (Fortune)

Sofi Tukker (Fortune)

Lewis Watson (Crocodile)

Beach Fossils (Biltmore)

She-Devils (Biltmore)

Ablebody (Biltmore)

Flock of Dimes (Commodore)

Sylvan Esso (Commodore)

Ruler (Bumbershoot 17)

DREAMERS (Bumbershoot 17)

Highly Suspect (Bumbershoot 17)

Kaleo (Bumbershoot 17)

Weezer (Bumbershoot 17)

Lorde (1.Bumbershoot 17 2.Rogers 3.Wang 4.Wang 5.Rifflandia)

Courage, My Love (Commodore)

Simple Plan (Commodore)

LIINKS (Vogue)

Youngblood (Vogue)

Bishop Briggs (Vogue)

RALPH (1.Vogue 2.Commodore)

Busty and the Bass (Vogue)

Charlotte Day Wilson (Vogue)

The Prids (Biltmore)

The Courtneys (1.Biltmore 2.Fox)

The Pains of Being Pure at Heart (Biltmore)

the spirit of the beehive (Fox)

Mannequin Pussy (1.Fox 2.Venue)

MUNA (Music Factory)

Harry Styles (1.Music Factory 2.Rogers 3.Scotia 4.Scotia 5.Forum 6.Forum)

The Pierce Brothers (Commodore)

Tash Sultana (Commodore)

serpentwithfeet (Orpheum)

Grizzly Bear (Orpheum)

Nation of Language (Venue)

Future Feats (Venue)

Walk the Moon (Vogue)

Dua Lipa (Vogue)

MILCK (Imperial)

Amy Shark (Imperial)

Tove Styrke (1.Rogers 2.Biltmore)

Run the Jewels (Rogers)

Peach Kelli Pop (Fox)

Frankie Rose (Commodore)

Little Junior (Fortune)

Bastian Baker (Rogers)

Shania Twain (Rogers)

Paul Simon (Rogers)

Dumb (Biltmore)

Goodbye Honolulu (Biltmore)

The Orange Kyte (Fox)

Dr Danny (Fox)

Kacey Musgraves (Rogers)

King Princess (1.Biltmore 2.Vogue 3.Queen E 4.Commodore)

A R I Z O N A (Rogers)

Hayley Kiyoko (Rogers)

Panic! at the Disco (Rogers)

Jo Passed (Fox)

Rolling Blackouts Coastal Fever (Fox)

Chromeo (Skookum)

Arkells (1.Skookum 2.Coliseum)

The Zolas (Skookum)

Said the Whale (Skookum)

St. Vincent (Skookum)

Florence + the Machine (1.Skookum 2.Rogers)

Cold War Kids (Skookum)

Mother Mother (Skookum)

Father John Misty (1.Skookum 2.PNE)

The Killers (Skookum)

Stella Donnelly (Fox)

Natalie Prass (Fox)

Ought (Imperial)

Aura (Biltmore)

Overcoats (Imperial)

Carlie Hanson (Queen E)

Kim Petras (Queen E)

Troye Sivan (Queen E)

Calpurnia (Vogue)

Lord Huron (Coliseum)

Palehound (Rickshaw)

SASAMI (1.WISE 2.Doug Mitch)

Jodi Glenham (WISE)

Kim Gray (WISE)

Jenny Lewis (Commodore)

LANY (Queen E)

Aly & AJ (Commdore)

Armors (Commodore)

The Psychedelic Furs (Orpheum)

James (Orpheum)

Dear Boy (Orpheum)

Tanukichan (Imperial)

Affectionately (Imperial)

Boy Scouts (Imperial)

Soccer Mommy (Deer Lake)

Nilüfer Yanya (Fortune)

Hana Vu (Fortune)

Jazzi Bobbi (Fortune)

Orchin (Fortune)

Hatchie (Fortune)

Japanese Wallpaper (Fox)

ALLDAY (Fox)

Mallrat (Fox)

Charli XCX (1.Commodore 2. Orpheum)

Brooke Candy (Commodore)

Last Dinosaurs (Imperial)

Julia Jacklin (1.Venue 2.Commodore)

Christian Lee Hutson (1.Venue 2.Orpheum 3.Orpheum)

Angel Olsen (1.Orpheum 2.Massey)

Vagabon (Orpheum)

HUNNY (Commodore)

The Beaches (Commodore)

Yu Su (1.Commodore 2.Fortune)

Caribou (Commodore)

DUCKWRTH (Rogers)

Billie Eilish (Rogers)

Maisie Peters (Fortune)

Remi Wolf (1. Wang 2. Wang)

HONNE (Malkin Bowl)

HAIM (Doug Mitch)

Sham Family (Rickshaw)

Perfume Genius (PNE)

Orville Peck (PNE)

Wet Leg (1.Commodore 2.Forum 3.Forum)

Apollo Ghosts (Commodore)

Hurray for the Riff Raff (Deer Lake)

Julien Baker (Massey)

Sharon Van Etten (Massey)

Madi Diaz (1.Scotiabank 2.Scotiabank)

Phoebe Bridgers (1.Orpheum 2.Orpheum)

Warpaint (Hollywood)

Lauv (Rifflandia)

Katy Kirby (Commodore)

Crows (Commodore)

Dayglow (Commodore)

Empress Of (Thunderbird)

BLACKSTARKIDS (WaMu)

Shygirl (Celebs)

Tennis (Vogue)

Loving (Vogue)

Men I Trust (Orpheum)

half·alive (Commodore)

Tessa Violet (Commodore)

Hana Bryanne (Biltmore)

Eliza Mclamb (Biltmore)

Goth Babe (Vogue)

Illuminati Hotties (PNE)

Boygenius (PNE)

The Head and the Heart (PNE)

Milky Chance (Doug Mitch)

#i used to have this on my other blog and updated it there #but i honestly never use it anymore #so i figured it's time to move it over to this one #i just edit it every couple months w the shows i've been to

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dxntasies · 5 years

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music tag 🎶

i was tagged by: @achievingdanandphil (thank u 🥰)

rules: you can usually tell a lot about a person by the type of music they listen to! put your music on shuffle and list the first 10 songs, then tag 10 people! (no skipping)

i don’t like you - grace vanderwaal

enemies - lauv

better - khalid

cold water/in the name of love - alec joseph, nia imani, joe dias, kathryn dean

love somebody - frenship

better days - hedley

whoa (mind in awe) - xxxtentacion

kills you slowly (pilton remix) - the chainsmokers, pilton

hello my love - westlife

i wanna know (feat. bea miller) - notd, bea miller

i’m tagging: @fondestphan @rodants @danhowellscurl @neondnp @huphilpuffs @akilahthegreat @mylivingphantasy @goldenpinof @cosyphan @boncasphan

#feel free to do this even if you weren't tagged!#music thingy

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reportwire · 2 years

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9 New Albums You Should Listen to Now: Pusha T, Fontaines D.C., Spiritualized, and More

With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Pusha T, Fontaines D.C., Spiritualized, Undeath, Haru Nemuri, Redveil, My Idea, Joshua Hedley, and Kathryn Joseph. Subscribe to Pitchfork’s New Music…

View On WordPress

#out this week

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fairyringquilt · 3 years

Photo

The Hedley Kow - John D. Batten

A poor woman finds a pot on the road. She thinks it must have a hole for it to be discarded, but optimistically decides she might find a use for it as a flowerpot. Looking inside she discovers it is full of gold pieces, and decides to drag it home in her shawl. She drags it for a while, but when she looks back, the pot has become a lump of silver. She decides this is better than gold, as it is less likely to be stolen, and goes on. After a time she turns back again, to find the silver has turned into a chunk of iron. She observes this will be easier to sell, and that the penny pieces it will bring would be safer than either gold or silver. She goes on again, and when she turns back a third time, the iron has become a rock. She exclaims how convenient this will be as a doorstop, and happily goes home.

When she reaches her home, the rock transforms again, revealing itself to be the Hedley Kow, a mischievous shapeshifting creature. The creature trots off laughing, leaving the woman staring after it. She proclaims that it was quite a thing to have seen the Hedley Kow for herself, and goes inside to think about her good luck.

Synopsis for Joseph Jacobs’ The Hedley Kow (from More English Fairy Tales, 1894) via Wikipedia

#sictransit #fairies

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shtbgs-blog · 6 years

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i added a bunch of muses today because people are coming for my throne and i literally have ( 5 ) more apps in the inbox for my muses but first I want to take a tally and see how many I should accept to get my high score back

DON O’CALLAHAN, justin chatwin, ( 30 ) + ALONE BY HALSEY FEAT. BIG SEAN & STEFFLON DON.

IMOGEN WARD, madelaine petsch, ( 22 ) + REPERCUSSIONS BY BEA MILLER.

JAMES WILLIAMS, milo ventimiglia, ( 35 ) + IROBOT BY JON BELLION.

MILO SHEPARD, nick jonas, ( 24 ) + ALL THE KIDS ARE DEPRESSED BY JEREMY ZUCKER.

OPHELIA MONROE, billie lourd, ( 25 ) + THUNDER BY IMAGINE DRAGONS.

SHANE FRANCIS, carlson young, ( 22 ) + BETTER DAYS BY HEDLEY.

WESLEY LLOYD, aaron taylor johnson, ( 25 ) + I’M NOT FAMOUS BY AJR.

NIRVANA BAILEY, meaghan rath, ( 32 ) + TROUBLE BY HALSEY.

ETHAN MCDONALD, dylan o’brien, ( 24 ) + I FALL APART BY POST MALONE ( COVER ).

VANCE MICHAELS, cody christian, ( 20 ) + I MEAN IT BY G-EAZY.

BRUCE DENIRO, boyd holbrook, ( 35 ) + SUCKER FOR PAIN BY LIL WAYNE, WIZ KHALIFA & IMAGINE DRAGONS W/ TY DOLLA $IGN FT X AMBASSADORS.

COOPER JORDAN, charlie puth, ( 24 ) + ME MYSELF & I BY G-EAZY FEAT. BEBE REXHA

MICKEY DONOVAN, tony oller, ( 24 ) + SOBER UP BY AJR.

JESSICA MILANO, mila kunis, ( 35 ) + SO WHAT BY P!NK.

TANSY MALAI, brenda song, ( 30 ) + DON’T THREATEN ME WITH A GOOD TIME BY PANIC! AT THE DISCO.

FRONK LEBLANC, danny devito, ( 65 ) + I WALK THE LINE by JOHNNY CASH.

ANGELO TILO, dwayne johnson, ( 44 ) + WANTED DEAD OR ALIVE by TOM CRUISE & JULIANNE HOUGH

GERALD THOMAS, mark ruffalo, ( 45 ) + THE OTHER SIDE by THE GREATEST SHOWMAN

APPS IN THE INBOX. // let me know if you wanna see one more than the other ok

COSIMA SILVER, halsey, ( 23 ) + WOODSTOCK by JON BELLION. clairvoyant who runs a spiritualist / wiccan shop called curious goods

BRINLEY JOSEPH, chloe norgaard, ( 21 ) + RAINBOW by KESHA. drug dealer who is forced to deal drugs for her father

HARLEM MADDOX, miley cyrus, ( 25 ) + CURSE OF CURVES by CUTE IS WHAT WE AIM FOR loud as fuck who will probably try and steal your girl

LENNON, jaira burns, ( 21 ) + CAN'T HOLD US by MACKLEMORE & RYAN LEWIS ROWDY LESBIAN YOUTUBER WHO IS CONSTANTLY WILDING

COLBY JAMES, sofia d’elia-black, ( 20 ) + FAST CAR by KHALID COVER a cute lil photographer who is going to college for photography

#⁰⁰⁰ˑ ᶤˢ ˢʰᵉ ʳᵉᵃˡˡʸ ᵗᵃˡᵏᶤᶰᵍ ᵃᵍᵃᶤᶰˀ ( ooc. )#i've had some of these girls sitting in the inbox for like a week now #im fucking wilding #i have so many muses #oops #my quicktags just #added all those tags

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justgifs · 4 years

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hello hello! i’m just (casually lurking on your page and) popping in to rec you some lovely woc/moc! tanya chisholm, tiffany hines, gabrielle dennis, sam adegoke, kirby howell-baptiste, damson idris, amin joseph, elle lorriane, b.j. britt, j. alex brinson, paul james, mike colter, alexandra grey, nafessa williams, cress williams, laroyce hawkins, eamonn walker, christina jackson, erica tazel, edi gathegi, raven goodwin, chiké okonkwo, robert christopher riley, d.b. woodside, eli goree (1/?)

yaya dacosta, lance gross, curtiss cook, robbie jones, shameik moore, issa rae, yvonne orji, condola rashād, jade eshete, zoë chao, christine ko, samantha ware, anna diop, sasha compère, mamoudou athie, lashana lynch, titus makin jr., sterling sulieman, viola davis, billy brown, gabrielle union, tracy ifeachor, malcolm david kelley, dewanda wise, y’lan noel, mo mcrae, jean elie, heather hedley, retta, yvette nicole brown, tituss burgess, lamorne morris, betty gabriel, sonequa martin-green (2/?)

hello lovely lurker! oh my god, this is such an amazing and extensive list and i love it! i appreciate the effort that it took to list them all and i wanna thank you for bringing these beautiful people to my attention. i’ll keep these suggestions in mind!

#*suggestion #Anonymous #answered

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bdscuatui · 4 years

Photo

Giao dịch Bất động sản Quận Erie - Tin tức Buffalo Sau đây là các giao dịch bất động sản trên 5.000 đô la như được liệt kê trong hồ sơ của văn phòng thư ký Quận Erie trong tuần kết thúc vào ngày 14 tháng 2. AKRON • 22 Lưỡi liềm, Douglas S. Matusek đến Heather Taylor, $ 181.000. ALDEN • 3613 Đường Crittenden, Ngân hàng Wells Fargo NA cho Jeremy David Kidder, $ 41,250. AMHERST • 595 Commerce Drive, 595 Commerce Drive Associates đến 595 Commerce LLC, $ 1,250,000. • 5385 Main St., 5385 Main St. LLC đến 5385 Main St. Village LLC, $ 1,050,000. • 100 Galileo Drive, Mary Ann Fenton cho Anna Brooks; David Brooks, $ 910.500. • 77 Tòa án Brownstone, Frank M. Davis đến Theresa A. Richard, $ 745.000. • 60 Hobnail Drive, Yin Chu Chen; Michael C. Yu đến Seevaratnam Jeevakaran; Tharshini Jeevakaran, $ 435.000. • 14 Buxton, Lapideas LLC đến Auston A. Mavrak; Shana L. Mavrak, 420.000 USD. • 41 Old Tower Lane, Marrano / marc Equity Corporation đến Kerry T. Lorich; Michael P. Lorich, $ 403,254. • 65 Huxley Drive, David C. Dean; Jean B. Dean đến Anne M. Cumbo; Thomas J. Cumbo, 350.000 đô la. • 195 đường Amherstdale, Robert J. Olivieri đến Andrew J. Farrell; Hayley A. Farrell, 260.000 đô la. • 281 Kaymar Drive, Linda L. Lloyd; Linda L. Spoth đến Latifa LLC, 240.000 đô la. • 11 Fawnwood Drive, Barbara Altman cho Henry Hoàng; Ellen Huynh, $ 215.000. • Đường 76 North Union, Juan D. Francis; Wendy Francis đến Tập đoàn tài chính Cartus, 205.000 đô la. • 76 North Union Road, Cartus Financial Corporation đến Elizabeth H. Schaab; Richard A. Schaab, 205.000 đô la. • 58 Nancy Lane, Blanchco Holdings LLC đến Hillary J. Blanchard, 200.000 đô la. • 320 Bucyrus Drive, Justin Holmer; Kristen Holmer đến Cynthia C. Beverly, 187.000 đô la. • 190 North Forest Road, Alice D. Dean to Audrey E. Drake, 180.000 đô la. • 2810 Dodge Road, Bertha Regnet; Bertha M. Regnet; Bertha Regnet Living Trust 072011 Tr cho Donald W. Heim, 165.000 đô la. • 380 Callodine Ave., Linda M. Panteli; Pantelis K. Panteli đến Allison C. Panteli; Kypros D. Panteli, $ 159.000. • 10030 Đường quá cảnh, Deborah L. Floss; Joseph M. Floss cho Laura C. Floss-Wilson; Wesley R. Wilson, 148.000 đô la. • 249 Đại lộ Thác Niagara, Brenda P. Kij đến Kuldeep K. Mann, 135.000 đô la. • Đại lộ 286 Rosedale, Stephanie Bueme; Stephanie Randall đến Brenden P. Stoll, 128.000 đô la. • 59 Elm Road, Neal T. Turvey cho Richard Jeramie Steele, 112.000 đô la. • 289 South Union Road, Random Properties Acquirition Corp III đến Minooli LLC, 109.250 đô la. Rừng LLC đến Ryan ngôi nhà của New York, 88.000 đô la. • 300 Homecrest Drive, Emily Harbison; Michael C. Scinta đến Lsf10 Master Trion Trust Tr; Ngân hàng Hoa Kỳ NA Tr, $ 82.322. • 1755 Charlesgate Circle, Marianne Ney đến Amit Malik, $ 78.000. • 3936 Ridge Lea Rd Đơn vị B, Ngân hàng Niagara đầu tiên NA Suc; Keybank NA đến Sharon C. Dwyer; Stephen P. Furlani, 74.000 USD. AURORA / EAST AURORA • 298 Ellicott Road, 3500 Genesee Associates LLC đến Rnh 298 LLC, 999.990 đô la. • 25 Aurora Mills Drive, Marrano / marc Equity Corporation đến Catherine M. Roach, 424.826 đô la. Marygrace Piskorowski cho Benjamin S. Collier; Nicole A. Kubiczki, $ 268.000. • 61 Bowen Road, Andrea G. Hoffower; Gregory D. Hoffower cho David P. Jezewski, 240.000 đô la. • 256 Oakwood Ave., Waterfall Reverse Reo Trust LLC đến Paul R. Marzello Jr., 175.000 đô la. • 2-4 Woodbrook Drive, Matthew R. Monroe cho Brian L. Deperro; Sharon A. Deperro, 129.900 đô la. • Đất trống Blakeley Road, Barbara Greeley; Judith Smolinski; Therese Lee Webber cho Diana L. Wolf, 125.000 đô la. BLASDELL • 14 Arthur Ave., Buffalo Group LLC đến Holt Makeda T N, $ 154,900. • 11 Marlowe Ave., John K. Rooney; Moira K. Rooney cho Jennifer L. Tessey, 110.000 đô la. • 3831 South Park Ave., 3395 Orchard Park Road Inc đến Dominic L. Luongo, 106.000 đô la. • 127 Orchard Ave., Gateway Land Management Inc đến 24 Seal Place LLC, 85.000 đô la. BOoston • 7405 Đường Hạt Dẻ, Barbara A. Erickson; Barbara Erickson; Michael A. Mordino cho Andrew Raymond Smith; Nicole Ann Smith, $ 325.000. • 7580 Lwer East Hill Road, Daniel W. Genzel đến Brett J. Colling, $ 265.000. • 7509 Valley Cir Lane, Renee Mirza đến Jessica Ryan Drake; Victoria Marie Drake, $ 256.500. • Đường 7624 Back Creek, Joshua Chatwood đến Matthew S. Henry, 105.000 đô la. BUFFALO • 32 Hertel Ave., Watergate II Thuộc tính Lp đến Bảo tồn Marina Vista Lp, $ 7.233.000. • 18 Saybrook Place, Allan P. Izzo; Andrew W. Izzo đến Gregory Bartolone, $ 545,000. • 2040 Delkn Ave., 2040 Delkn Ave. LLC đến Jeffrey Bochiechio, 510.000 đô la. • 71 Park St., 339 Ganson Group LLC đến 1380 Group LLC, 497.025 đô la. • 295 Linwood Ave., Jesse Hawker đến Jc Properties Qozb LLC, 367.500 đô la. đến Matthew D. Chapman; Elizabeth Collesano, $ 280.000. • 374 Mckinley Parkway, Daniel G. Dierken; Thalia M. Pierakos đến Elizabeth A. Lewis; William Omalley Lewis, $ 280.000. • 263 Georgia, Kevin E. Moe; Kevin Moe đến Francis J. Zajac; Jeanne M. Zajac, 270.000 đô la. • Địa điểm 290 Taunton, Vulcan Development LLC đến Sandra Lemar, 260.000 đô la. • 174 West Ave., Gregory J. Bennett đến Lena M. Beaini; El Danaf Laura N; Danaf Talal El, 213.000 đô la. • 17 & 66 Trang, Lebrun Estate LLC đến Harmazo LLC, 190.000 đô la. • 382 St Lawrence, Amy K. Pecoraro đến Shujie Li, 170.000 đô la. • 57 Densmore Ave., Shannon M. Holfoth; Charles J. Specht đến Sean T. Manley, 165.000 đô la. • 113 Đường suối khoáng, Partick J. Leary đến Alex Pinheiro, 163.500 đô la. • 102 Villa Av, Krista Woods đến Tyler A. Banks, 158.000 đô la. • 209 Carmel, Nemiah Louis II đến Alison L. Maurer; Jonathan Panetta, 157.500 đô la. • 46 Southside, James H. Wade; Karen A. lội đến Jessica J. Groff, 127.000 đô la. • 21 Winter St., James Insalaco; James J. Insalaco cho Joseph Matthew Zarbo; Matthew Joseph Zarbo, $ 126,750. • 8 Coburg, Donald Dahlke; Rosabela Dahlke tới Chelsea L. Croston, 125.000 đô la. • 57 Pavonia St., Lebrun Estate LLC đến Atif Manzoor; Hammad Sikander, $ 124.500. • 67 Ludington, Noman Hossain; Shah Monsur đến Julian A. Cook, 117.000 đô la. • 277 Hudson St., Franklin D. Mcclellan Jr. đến Bonkuka Fnu Kwayo Ithe, 116.000 đô la. • 48 Kamper Ave., Marlene Wier đến Rafael A. Dip; Evelyn Hernandez Fuentes, 115.000 đô la. • 19 Grace St., Mark J. Sutter đến Eben Piazza, 106.000 đô la. • 371 Minnesota Ave., Carolyn Wardlaw đến Nurul Alam; Monoara Begum; Nazmul Hossain, 104.000 đô la. • 103 Ledger, Nadlan Group NY Corp cho đến Gregory D. Rucker Jr.; Matthew J. Rucker, 99.900 đô la. • 544 Hewitt, Morah Supplies LLC đến Qais Ahmed-Alhaj, 95.000 đô la. • 193 Fox St., Renewed Hope Realty LLC cho John Cooper, 95.000 đô la. • 191 Weaver, Eric M. Godios cho Erin E. Quinn, $ 87,900. • 159 Tyler St., Patricia Mcmahon cho Yosef Kopman; Ranite R. Nati, 87.500 đô la. • 481 Highgate, M & m Batim Inc đến Lipi Dutta, 85.000 đô la. • 520 Madison St., HUD đến Terrell J. Rankin, 80.000 đô la. • 69 Manhattan Ave., Cora L. Bell đến Kyale W. Jamison , 80.000 đô la. • 575 Minnesota, Morzina Begum; Mohammad Rahman đến Abdul Mazumder, 75.000 USD. • 65 Hedley Place, Marion B Border; Đánh dấu Perla cho Lc Strategic Holdings LLC, 70.100 đô la. • 23 Doyle Ave., Harvey Frankel cho David Raasch, 70.000 đô la. • 415 Willett, Michael M. Blotnik; Sharith Myree cho Mary Gilbert, 69.000 đô la. • 129 Kensington, Willie Zeigler; Willie J. Zeigler to Jr Property Holdings Inc, 65.000 đô la. • 56 Floss Ave., Tianyi Du đến Mohammed G. Mohiuddin; Umme H. Ruma, $ 62.000. • 36 Địa điểm Pomona, James M. Corbett; Rosemary Corbett đến Carissa A. Dirado, 60.000 đô la. • 306 Weston, Cơ quan quản lý cống Buffalo; Thành phố Buffalo đến Tahsin Tahmid, 60.000 đô la. • 46 Glor, Kskc Properties LLC đến Nairn LLC, 57.000 đô la. • 17 Oneida, New Buffalo Homes LLC đến Lc Strategic Holdings LLC, 57.000 đô la. • 11 Calumet, Rose E. Guerin cho Ohma Lin, 55.000 đô la. • 234 Dewey Ave., Rahim Dunston; Rahim Muhammad đến Ksa Assets Inc, 50.000 đô la. • 253 Chandler St., Patricia M. Virgil đến Kenneth Fawcett, 50.000 đô la. • 69 Ashton, Timothy James Elling đến Timothy A. Elling, 50.000 đô la. • 341 Shirley Ave., Đầu tư bất động sản Solid Oak LLC đến R & r Holdings của WNY LLC, 50.000 đô la. • 36 Mapleridge Ave., Carmen L. Harris; Robert J. Harris đến James H. Whitaker, 47.000 đô la. • 145 Briscoe Ave., Paulette Boswell; Tyrone F. Harris đến Lsf10 Master Trion Trust Tr; Ngân hàng Hoa Kỳ NA Tr, 46.233 đô la. • 224 Central Ave., Edward Sardina đến John Mason, 45.000 đô la. • 20 Celtic, Người bạn của Buffalo Inc đến Tofa Business Group Inc, 45.000 đô la. • 450 Wyoming, Ủy thác đầu tư Mkw 401k (001) Tr đến Tập đoàn kinh doanh Tofa, 45.000 đô la. • 101 Weimar, Kenneth B Stroud Ira Agt; Horizon Trust Company Cust to M & a Property Solutions LLC, 41.000 đô la. • 62 Hawley, Saree Properties LLC đến Sany Chavan, 40.000 đô la. • 742 Glenwood, Thành phố Buffalo đến Othello Carr, 40.000 đô la. • 406 Shirley, Thành phố Buffalo cho Hồi giáo Sharitable, 39.000 đô la. . • 96 Dorris Ave., Steven Levine Ira Ben; Công ty Trustco Trust Cust to Peninsula Wholesale Holdings Corp, 35.000 đô la. • 191 Baitz Ave., Cator Properties LLC đến Jacqueline Crouch, 35.000 đô la. • 2700 Bailey Ave., Presbypet of Western New York đến Macalpine Community Church of Buffalo New York, 34.000 đô la. 221 Merrimac, Cathleen A. Mcguire; Niềm tin P. Mcguire với Brian Mcguire, 31.000 đô la. • 2414 Bailey, Thành phố Buffalo cho Muhammad Arif, 30.000 đô la. • 525 Woodlawn Ave., Jacqueline D. Fleming đến All-Green Realty Inc, 30.000 đô la. Alice T. Wanat đến Lubu Buffalo Inc, 25.000 đô la. • 61 Pers Breath Ave., Abdul J. Khan đến Ripa Jannat Khan, 20.000 đô la. • 44 Lewis Road, Thomas Williams đến Andrew Ford, 17.500 đô la. • 119 Purdy St., David Rodolph; Elizabeth Rodolph đến Mohammed Yasin, 15.000 đô la. • 864 Woodlawn Ave., Llewellyn Daniel; Llewellyn Daniels đến Ssp bất động sản Buf Inc, 12.600 đô la. • 236 Shirley Ave., Christian & matthew Properties Inc đến Erik Esau, 11.000 đô la. Taibbi Jr., $ 6.000. CHEEKTOWAGA • 50-950 Thruway Plaza Drive, Carrols LLC đến Scf Rc Funding IV LLC, $ 3,015,625. • 1181 Đường thua lỗ, Robert J. Laskowski cho Adam R. Mullen; Jessica M. Schmitt, 199.500 đô la. • 925 Maryvale Drive, Gary James Mcelroy đến Anthony Muffoletto; Kim Muffoletto, 180.000 đô la. • 1159 Đường Pháp, John W. suchy đến Md Manjurur Rahman, 170.500 đô la. • 25 đường Giorgmer, Daryl T. Lopp; Thomas Lopp; Tom D. Lopp cho Michael D. Lopp, $ 170.000. • 43 Angela Lane, Raymond E. Clancy; Robert M. Clancy cho Daniel A. Nyberg; Karen M. Nyberg, $ 167.500. • 62 Colette Ave., 62 Colette Ave LLC đến Cassandra I. Pinkowski; Brittany L. Radel, $ 167.000. • 74 Armond Lane, Susan Subjeck đến Alexandra M. Costello; Benjamin S. Senior, 164.000 đô la. • 1004 Cleveland Drive, Mary Anne Merritt tới Oscar I. Barretto; Evelyn Juarbe, $ 159,900. • 160 Brentwood Drive, Joshua P. Detlef; Rebecca K. Detlef đến Nathan Epolito; Jamie Reidy, 155.600 đô la. • Đường 173 Hillpine, Teresa E. Aumer; Sharon Marie Zajac đến Terrence Morrissey, 153.000 đô la. • 52 Đại lộ Mân côi, Alexandra Kaible; Alexander Scott đến Peggy Coutlakis, 150.000 đô la. • 88 Balbach Drive, Ryan Kuznik; Kayla Williams cho Emily Ellis; Salvatore A. Rine, $ 145.000. • Đại lộ 252 Oehman, Ahmed Jmaii đến Emma Hawke; Shawn Hawke, 138.000 USD. • Đại lộ 104 Oehman, Gerald F. Galey; Mary A. Galey cho Robert Koerntgen Ira Ben; Công ty ủy thác vốn cổ phần, $ 137.500. • 131 South Huxley Drive, Christina I. Fowler to Danielle M. Leung; Donald H. Leung Jr., 133.900 đô la. • 160 Cỏ ba lá, James T. Tycz cho Craig R. Secor, 128.300 đô la. • 20 Grant St., Nancy Lomas; Steven Frank Lomas đến Robert W. Koteras, 122.000 đô la. • 147 Wanda Ave., Richard A. Urbanski đến Sgtm Holdings LLC, 120.000 đô la. • 43 Đường Preston, Triple Z Enterprises LLC đến Kiesha Rivera, 115.000 đô la. • 120 Colden Court, Kathleen L Rosiek; James K. Stuber; Larry P. Stuber; Richard A. Stuber Jr. đến Lailuma Meherdil, 114.000 đô la. • 91 Colby St., Ruth V. Nguyen đến Patricia E. Simons, 110.000 đô la. • Địa điểm 116, Jeanna M. Cellino; Bensalem Khalid cho Christiana Tin tưởng Tr; Hilldale Tin tưởng Tr; Hội tiết kiệm quỹ Wilmington Fsb Tr dba, 93.755 đô la. • 37 Jackie Lane, Michael Cimasi; Kumro Gary W Est đến Demato Development LLC, $ 91.500. • 51 Westchester Drive, Russell A. Mantione đến Amanda M. Costanzo; Nicholas W. Martinelli, 88.000 đô la. • 20-22 Elkhurst Drive, Tracey Dillemuth; Donald Lorrens cho Pauline M. Panna, 83.000 đô la. • Tòa án 5 Janine, Michael Gawinski đến 160 Kokomo LLC, 80.000 đô la. • 35 Crane St., Michael J. Racine cho Keith Canazzi Ira Ben; Công ty ủy thác vốn cổ phần, 80.000 đô la. • 150 Roland St., Nicole K. Lojek; Nicole K. Volpe đến Ysms Property Holdings LLC, 70.000 đô la. • 14 Hedwig Ave., HUD đến Cong Van Huynh, 56.000 đô la. • 12-14 Sandstone, Arthur J. Yates Jr. đến Elgin LLC, 55.500 đô la. • 50 Grand Boulevard, Stephen W. Smith đến Anthony S. Castronova, 45.000 đô la. • 1047 Đường Beach, Cynthia A. Bolis; Đánh dấu S. Bolis cho Rockstar Homes LLC, 45.000 đô la. • 120 Colden Court, Kenneth R. Stuber đến Lailuma Meherdil, 28.500 đô la. • 8 Delray Drive, Robert P. Johnson; Lance G. Lavigne; Sherry L. Lavigne đến Duane Barwell; Chủ nhà WNY, $ 24,700. CÂU HỎI • 4135 Đường vận chuyển, Tru 2005 Re I LLC đến Mdc Coast 17 LLC, $ 8,790,505. • 9433 Hunting Valley Rd S, Timothy Andruschat; Maureen A. Giokas; Michael Giokas đến Ngân hàng Năm sao, 700.000 đô la. • 6700 Westminster Drive, Gregory W. Henzler; Rosalyn Henzler to We Richt Mobility Mobility Inc, $ 586.500. • 6700 Westminster Drive, We Richt Workforce Mobility Inc cho Jose P. Cruz; Kristin M. Cruz, $ 586.500. • Tòa án Spruce 9313 Sitka, Joseph A. Fruscione; Krista Fruscione đến mùa thu Carini; Daniel Carini, 430.000 đô la. • 4675 ngõ Pepperwood, Dorothy A. Wzontek; Stephen M. Wzontek đến Joseph W. Yedinak; Molly C. Yedinak, $ 409.900. • 8916 ngõ gỗ, Kristin L. Marra đến Christopher Schiumo; Stephanie Schiumo, $ 264,900. • 4343 Cameron Drive, Albert G. Evans; Florentine Evans đến Kristin Marie Goetz, $ 189.500. • 4156 Oakwood Drive, Carol Ann King; Sandra L. Ponichtera cho Lisa M. Williams, $ 172.000. COLDEN • 9422 Đường Partridge, Patrick Emantic đến Ryno Cho thuê LLC, $ 250.000. MÀU SẮC • 2840 Gowanda Zoar Road, Brianna L. Cambio; Michael D. Logsdon cho Larry R. Miller Jr., $ 176.500. CONCORD • 24 North Edgewood Drive, Dorothy Holtz Cott đến Brianna L. Logsdon; Michael D. Logsdon, $ 172.500. • 67 Hardwood Drive, Van A. Schirmer to Leslie Hornung; Michael Korchynski, 153.500 đô la. • Đường giữa, Gokce Capital LLC đến John Rf Hedrich, 7.499 đô la. EDEN • 2867 Hillview Place, Suzanne R. Swanson đến Matthew J. Wiedemann; Danielle Wittek, 175.000 đô la. • 8670 Elizabeth Parkway, Brent A. Hardy đến Karie Colantino, 161.200 đô la. • 2781 George St., Daniel J. Schwabel đến Shannon M. Mahoney, 126.950 đô la. ELMA • 141 Đường Kinsley, John R. Sherk đến Deborah A. Franklin; Kenneth J. Franklin, $ 275,000. • 7881 Seneca St., Randall D. Wuest đến Brittany D. Rashbrook; James D. Rashbrook, 205.000 đô la. • Đường đất trống, Đường Eckam Douglas Charles Jr; Douglas Eckam Jr. đến 460 E Center LLC, $ 49,900. MỌI NGƯỜI • 1443 Darlington Drive, Louis Celia; Vicki L. Celia cho Sara J. Lelonek, 155.000 đô la. • 1383 Đường Burns, John T. Nowak Jr. đến Brandon J. Genek; Ryan F. Genek, $ 121,540. • 1376 Ổ đĩa Độc lập, Lynette Sue Koscielski; Michael Koscielski đến Jeanne Ohara; John Ohara, 80.000 đô la. • 9567 Oakland St., Colleen Fendt to Keith Hooper, 40.000 đô la. • 105 South Lane Road, American Homeowner Preservation Trust Series 2015a + Tr; Ngân hàng Hoa Kỳ ủy thác NA Tr cho Công ty Đông Bắc Bất động sản LLC, 17.000 đô la. ĐẢO GRAND • 149 Woodstream, Christy L. Frank; Michael W. Frank đến Alicia C. Tarasek; Joshua D. Tarasek, 300.000 đô la. • 2818 Đường Đông sông, Joseph W. Carosella đến David Michael Bruno, 125.000 đô la. • 1150 Lasalle Ave., Golda Theodore S Est; Philip D. Leone cho Keith Canazzi Ira Ben; Công ty ủy thác vốn cổ phần, $ 82.000. HAMBURG • 4490 Lake Ave., Floyd C. Huntz đến Marotta Property Management LLC, $ 550,000. • 4543 # 37 Camp Road, Villages of Mission Hills Patio Homes LLC đến Edward J. Luba; Lola Irene Luba, 362.700 đô la. • 4543 # 49 Đường Camp, Làng của Mission Hills Patio Homes LLC đến Josefina E. Offredo, $ 326.300. • 3330 Ngõ quê, Joel M. Bearfield; John M. Bearfield; Judith M. Bearfield đến Natalie Bucholtz; George Griesbaum, $ 323,000. • 4025 Đường kết nối, Renee L. Gennocro; John J. Roberts đến Alexandra R. Izzo, $ 319.500. • 2416 Hobblebush Lane, Marrano / marc Equity Corporation đến Kelsey D. Gawronski; Kyle J. Gawronski, $ 296,183. • 4701 Đường Parker, Mz3 Properties LLC đến Jenna M. Vella; Joseph A. Vella, $ 265.500. • 21 Sherburn Drive, Carol M. Maurer đến Kelsey Marie Garey; Peter Bruce Walbrandt, $ 235.500. • 6501 Đường Heltz, Christine Popovski; Nikola Popovski đến Jm trọ LLC, $ 220.000. • 1537 Sundance Trl, Michele M. Smith; Russell J. Smith đến Brittany A. Lelonek, 153.000 đô la. • 3054 Lyth Road, Faith C. Fischer to Joel Iannaccone, 135.999 đô la. • 6368 Center St., Theodore Kalembkiewicz đến Glen William Farrell, 120.000 đô la. Dillsworth; Gary Dillsworth; Barbara M. Tate; Barbara Mae Tate cho Erica Kennedy, 117.000 đô la. • 42 Martha Place, Ngân hàng thứ ba NA cho Cindy S. Helinger; James R. Helinger, 112.500 đô la. • 5128 Thurston Ave., Helen M. Mcmahon; Robert F. Mcmahon cho Ashley E. Churchman; Ryan Y. Churchman, 111.000 đô la. • 6572 Taylor Road, Bcat 2015-14btt Tr; Christiana tin tưởng Tr; Hội tiết kiệm quỹ Wilmington Fsb Tr dba đến Glen Smith; Nicole Smith, 95.999 đô la. • 5673 Mckinley Parkway, Kbj Holding Company Inc đến Kb Homes LLC, 90.000 đô la. • 5255 Orchard Ave., Annmarie Rooth Cellino; Richard H. Roehm đến Daniel Hanna, 88.600 đô la. • 22 Robert St., Charles R. Rader; Charles Raymond Rader đến Laurie A. Munley; Nathan T. Munley, 85.000 đô la. • 4217 Mundy St., Suzanne M. Diaz đến Daniel Virant; Krystal Virant, 75.000 đô la. • Đất trống 35 Tòa án Jordy, Country Meadows kết hợp với Ryan ngôi nhà của New York, 48.000 đô la. HÀ LAN • 56 Nước St., Anna Agt Scheider; Emily Agt Scheider; Scheider William L Cust; Rachel Agt Trắng; Vỏ trắng Robert R II; Sarah Agt White đến John Covey, $ 82.500. • 56 Water St., Anna Agt Scheider; Emily Agt Scheider; Scheider William L Cust; Rachel Agt Trắng; Vỏ trắng Robert R II; Sara Agt Trắng đến Margaret M. White; Richard L. White, 15.000 đô la. LACKAWANNA • 11 Vòng tròn Highview, Robert Fulton đến Dexter Nowak; Jacqueline Nowak, 146.300 đô la. • 69 Verel Ave., Christopher P. Stone; Christopher Paul Stone; Jennifer Stone đến Rusia Musangwa; Etando Omari, $ 119.000. • 161 Wilmuth Ave., Lisa M. Mulder đến Dale Amos, 80.000 đô la. • 1693 Electric Ave., Daniel Virant; Krystal Virant cho Paul R. Borchlewicz, 75.000 đô la. • 41 Maple St., Shirley M. Pauley đến John Evancho, 52.500 đô la. • 282 Center St., Douglas S. Coppola; Hilda G. Hill đến Lmb Capital Inc, $ 40.300. LANCASTER • Đường 1432 Town Line, Nhà xây dựng Cmk của Alden Inc đến Melissa Bollman; Wesley D. Bollman, $ 428.500. • Đường 76 Freeman, Elisabeth Laistner; Fritz K. Laistner cho Alec Venturin, 204.000 đô la. • 96 Harvey Drive, John J. Marks cho Jessica A. Munzel; John P. Munzel, $ 182,000. • 11 James Place, Jennifer A. Sennett đến Shannon V. Carr, $ 178.500. • 41 School St., Patricia A. Landis; Patricia Adelle Landis đến R2m2 LLC, 90.000 đô la. • 6218 Broadway St., Alice Damato đến S & g Properties LLC, 27.000 đô la. MARILLA • 13304 Williston Road, Steven Herod đến Matthew V. Vanhauwaert, $ 258.000. • 11197 Clinton St., Tammie Cochran; Dean S. Puleo cho Mtglq Nhà đầu tư Lp, $ 254,937. • 11635 East Ave., Kathy L. Skingley cho Jamie L. Thompson; Jonathan D. Thompson, 55.000 đô la. BẢN TIN MỚI • 7768 Đường Fletcher, James Dematteo; Darryl J. Schmid; Trudith L. Schmid gửi ủy thác cho vay thế chấp Stanwich F Tr; Hội tiết kiệm quỹ Wilmington Fsb Tr, $ 96,102. • 4326 South Newstead Road, C & f Brothers LLC đến Bryan P. Kern; Shannon M. Kern, 75.000 đô la. • Vùng đất trống Cedar St., Cord Jones đến Elizabeth A. Graney; Patrick M. Graney, 55.000 đô la. ORCHARD PARK • 5959 Big Tree Road, Quaker 20a Realty LLC đến Công viên Orchard 5959 Medical Properties LLC, 44.500.000 đô la. • Đất trống California Road, Gordon J Sheffer Tin tưởng không thể thu hồi 042815 Tr đến Orchard Park Equity Associates LLC, $ 530.000. Margaret Schoell; Đánh dấu Schoell cho Hailley A. Fenski; John P. Fenski, $ 380.000. • 96 Eddy Lane, Joyce M. Day đến Emily Kristen Garrison; Matthew James Webb, 240.000 đô la. • 54 Puritan Place, Jace Tyler Gangel đến Robert L. Buscaglia, 206.000 đô la. • 80 Vistula Ave., Alan B. Huegel Jr. đến John J. Roberts, 205.000 đô la. • 7957 Michael Road, Dawn M. Vogel; William T. Vogel cho Ashlie Taylor Chojecki; Debbie Wendel Chojecki; Richard Michael Chojecki, $ 153,900. MÙA XUÂN • 30 Rachel Lane, Niềm tin của William F Garlock Tr cho Catherine A. Ford, 152.500 đô la. THÀNH PHỐ TONAWANDA • 11 Vòng tròn Ridgedale, Đoàn Trang Đỗ; Nicholas Zachary Howard đến Vicki A. Keleman, 199.900 đô la. • 63 Fuller Ave., Jill M. Phúc lợi cho Nicolette L. Bezek, 160.000 đô la. • 94 Harriet St., Corbett Frank LG đến Tiana S. Hall, 150.500 đô la. • 260 Hinds St ., Conor J. Margraf cho Louis Rogers III, $ 137,000. • 108 State St., Cutting Edge Holding LLC; Cắt Edge Holdings LLC cho Bryan E. Darrow, $ 115.500. TONAWANDA • 474 Đại lộ Thác Niagara, Syed Eajazul Haq đến Jujhar Developments LLC, $ 245.000. • 597 Englewood Ave., Lori Hassinger; Paul E. Hassinger đến Lsf9 Master Trion Trust Tr; Ngân hàng Hoa Kỳ NA Tr, 205.829 đô la. • 147 Louvaine Drive, Colleen A. Poeller cho Faye L. Greco; Peter J. Greco, 179.900 đô la. • 99 Springfield Ave., Sara D. Danheiser đến Shelby J. Allen, 175.000 đô la. • 133 Bathurst Drive, Daniel A. Nyberg tới Sarah Sankey, 170.000 đô la. • 542 Glenalby Road, Vicki A. Keleman Kristopher T. Kavanagh, 165.000 đô la. • 160 Tulane, Scott F. Brazee; Chelsea Wilczek đến Chinequia Williams, 155.000 đô la. • 254 Moore Ave., Judith A. Dagustine; Patrick R. Dagustine cho Anna Marie Turski; Ralph Joseph Wilson, $ 146,400. • 235 Joseph Drive, Dorothy K. Folck; Dorothy Kinda Folck đến John Edward Pfalzer, 140.000 đô la. • 17 Edgewood Ave., Denise M. Rackl đến Laura M. Galatioto, 127.000 đô la. • Đường 124 Treadwell, Diane kích thích đến Nikki Maria Parlato, 125.000 đô la. đến Jacob Wisor, $ 118,450. • 177 Mcconkey, Phyllis J. Tuhovak; Stephen M. Tuhovak đến Matthew W. Langenfeld, $ 118.000. • 63 Hawthorne Ave., Elmer S. Gee Jr.; Linda R. Gee; James A. Partacz đến Limaz LLC, 106.000 đô la. • 40 Ermann Drive, Rita Sliwinski Tin tưởng không thể hủy ngang Tr đến Cassandra L. Kerr, 97.938 đô la. • 130 Euclid Ave., Mohammed H. Said; Muhammed H. Đã nói với Queen House Inc, 90.000 đô la. • 131 Ralston Ave., Anthony Joseph Lana; Michael C. Olson; Phyllis Olson cho Tập đoàn thế chấp cho vay mua nhà liên bang, 84.099 đô la. • 305 Homewood Ave., Daniel R. Bunch Sr. đến Robert Koerntgen Ira Ben; Công ty ủy thác vốn cổ phần, 70.000 đô la. • 2858 Đường Eggert, Robert C. Baron; Michele M. Gajewski; Michele Perfetti đến Ngân hàng Citizens NA, 68.300 đô la. • 270 Tremaine Ave., Terrance M. Williams đến Micah Golba, 60.650 đô la. TÂY SENECA • 20 Circle End Drive, Paul Frontera; Lynn Rizzo-George đến Emily I. Brill; Jason R. Brill, 225.000 đô la. • Đường 248 Wind Mill, David J. Drzymala đến Steven Gaiser; Lisa Wisniewski, 195.900 đô la. • 118 đường Icner, Clifford J. Alf Jr. đến Amy Lynn Sitarski, 179.900 đô la. • 83 Angelacrest Lane, Ronald T. Wilczak đến Chad B. Blanar; Jessica L. Blanar, $ 167.500. • 36 Sibley Drive, Mark Riley; Mark Joseph Riley cho Michael S. Crum, 165.000 đô la. • 418 Mill Road, Cooley 2014 Familty Trust 102314 Tr to Aaron W. Polanski, 154.000 đô la. • 49 Fremont Ave., Derek P. Termer; Sarah K. Termer cho Tyler Stevens; Elisa N. Vazquez, 140.000 đô la. • 3880 Seneca St., James C. Horder; John Mccracken; Richard B. Scott đến Kyle Lelito, 120.000 đô la. • Đường dự trữ đất trống, Quan hệ đối tác gia đình Peter Liberatore; Peter Liberatore Sr Family Limited hợp tác với Hanley Phát triển WNY Inc, 114.000 đô la. 1080 Dự trữ Rd Đơn vị 3, Ae Buffalo Properties LLC đến William Severyn Sr., 47.000 đô la. • 4-5 Ruskin, Stefan Kablak đến Daniel T. Gawel, 40.000 đô la. [ad_2] Nguồn

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