Tuesday, October 13, 2026

A Bear Called Winnie-the-Pooh (Published on October 14, 1926)


100 Years of Adventures

Our celebrity is also a talented poet and storyteller, and occasionally he even composes a song. Have I given you enough clues to guess our birthday bear’s identity?

Enough suspense already! Today, we celebrate the 100th anniversary of the publication of Winnie-the-Pooh, the lovable fictional teddy bear created by the English author A. A. Milne and brought to life by illustrator E. H. Shepard.   

From Winnipeg to the Hundred Acre Wood

Winnie-the-Pooh is actually a collection of stories about a good-natured honey-loving bear who lives in the Hundred Acre Wood, a fictional place modelled on Ashdown Forest in East Sussex, England.

The lovable bear was inspired by a stuffed toy Milne bought for his son Christopher Robin, and by a bear named Winnie they visited at the London Zoo. Thus, Winnie-the-Pooh was essentially inspired by a real bear.

The bear story begins in Canada, where an officer of the Canadian Army Veterinary Corps named Harry Colebourn adopted an orphaned female bear cub in White River, Ontario. He named the cub Winnipeg, or Winnie for short, after the Canadian city of Winnipeg, where he was based.

Harry Colebourn and Winnie

Harry Colebourn and Winnie

Lopez/Lopez: “The Tummy Song”   

From Zoo to Literary Fame

When Colebourn’s regiment came to England, he brought Winnie with him, and she soon became the regiment’s unofficial mascot. When Colebourn left for the front, he placed Winnie at the London Zoo, and she quickly became a crowd favourite.

One of those visitors was Christopher Robin Milne, who was so taken with Winnie that he renamed his teddy bear after her. Originally, the name Pooh belonged to a swan that Christopher Robin visited and fed. And thus the fictional Winnie-the-Pooh was born.

A. A. Milne, 1920

A. A. Milne, 1920

The first collection of stories under the title “Winnie-the-Pooh” was published in 1926, and the sequel “The House at Pooh Corner” appeared in 1928. Since we have already met Winnie-the-Pooh, it’s now time to introduce Pooh’s companions in the forest.

Winnie-the-Pooh, Evening News

Winnie-the-Pooh, Evening News

Lopez/Lopez: “A Very Important Thing to Do” 

Meet the Gang

Of course, Christopher Robin is the boy who shares his name with Milne’s son. He is the benign master of the forest, and the animals turn to him when a problem gets too big for them.

He leads their expedition to the North Pole, and when Pooh gets stuck in Rabbit’s doorway, Christopher reads to him for over a week until Pooh has grown thin enough to escape through the doorway.

And then there is the old and grey donkey “Eeyore,” a kind but always self-deprecating creature. Odd mishaps seem to follow him around, as his missing tail is found at the Owl’s house, and Pooh and Piglet accidentally dismantle his stick house.

The original Winnie-the-Pooh toys

The original Winnie-the-Pooh toys

One of Pooh’s closest friends is “Piglet,” a small and often nervous creature who is fiercely loyal. One day, he sets out to give Eeyore a balloon for his birthday but accidentally pops it. Never mind, he still brings the remains as a gift. “Piglet” is very brave and even stands up to such creatures as a Heffalump, a creature resembling an elephant.  

Sherman/Sherman: “Like a Rather Blustery 

Wisdom, Bounce & Trouble

“Owl,” predictably, is an expert on almost everything, and always ready with a story or piece of advice. “Owl” lives in a splendid house at the Chestnuts, and even has a doorbell that rings inside.

The exuberant tiger bounding around on his tail first appeared in the 1928 book. Called “Tigger,” he joins many adventures and boasts that he can climb trees. Amusingly, he discovers that getting down is much harder than getting up.

Pooh (Shepard, 1928)

Pooh (Shepard, 1928)

“Roo” is a baby kangaroo riding in his mother’s pouch, and it’s all fun and games. When “Roo” falls into a stream, he discovers that he can swim, and he even gets stuck up a tree with Tigger.

His mother “Kanga” is the fastest animal in the woods and is known for keeping track of every detail. She certainly is very practical and attentive, and later looks after Tigger as well.

“Rabbit” is an expert thinker who is convinced that he can solve almost any problem. When he gets annoyed at Tigger bouncing around, he leads him deep into the forest to disorient him, but in the end, it is “Rabbit” who loses his way.    

A Few Simple Lines

And thus, the stage is set for “Winnie-the-Pooh” to get himself into all kinds of sticky situations. The 1926 book contains 10 chapters that recount his various adventures. Milne insisted that Ernest H. Shepard illustrate these stories.

Shepard had long been working as a book illustrator, and he was also a full-time cartoonist at Punch, focusing on political cartoons. He also collaborated with Milne on the publication of When We Were Very Young in 1924.

His illustrations were always inspired by life itself. He often carried a sketchbook and observed everything from landscapes to children’s toys. As such, his drawings for “Winnie-the-Pooh” are delightfully light and natural, with a few simple lines suggesting personality and environment.   

Pooh Goes to Hollywood

Milne quickly understood that Shepard’s contribution made the books a great success, and Shepard received a share of the royalties. As a result, “Winnie-the-Pooh” became a huge success and the book was translated into countless languages.

Walt Disney acquired the screen rights to Milne’s Pooh stories in 1961, and the character made his Disney animated debut in the 1966 featurette Winnie the Pooh and the Honey Tree. Originally, the screen characters were based on Shepard’s illustrations, but were subsequently adapted. Interestingly, Shepard called the Disney animation a travesty in 1966.

Two more short features followed, and all three were later combined into a feature-length animation titled The Many Adventures of Winnie the Pooh in 1977. Yet, living with the resounding success of Winnie-the-Pooh proved difficult for the people behind it. A. A. Milne was frustrated that his bear story overshadowed his plays, novels, and essays.  

May His Songs Never End

Illustrator Ernest H. Shepard developed a similar resentment as his Pooh drawings became more famous than the rest of his work. And Christopher Robin Milne was mercilessly teased by his classmates over his fictional counterpart. As an adult, he tried to distance himself completely from the character.

Of course, “Winnie-the-Pooh” is a rather musical bear, so the original Disney productions featured songs by the Sherman brothers. For the 2011 “Winnie the Pooh” film, Henry Jackman composed the background score, while new songs were written by the songwriting team Kristen Anderson-Lopez and Robert Lopez.

Winnie the Pooh

Winnie the Pooh

A hundred years after Winnie-the-Pooh first appeared in print, he still gets stuck in doorways and stumbles into wild adventures with his friends. This jolly bear has made children and adults smile for 100 years and may his honey pots always be full and his songs never end.

Monday, October 12, 2026

All by Yourself

 All by Yourself.

A phrase that sounds simple… until it becomes personal.
We live in a world full of noise, motion, and connection—yet many of us feel like a small boat on an unpredictable sea.
Doing life.
Facing storms.
Searching for direction…
all by yourself.
This new series begins with one honest question:
What happens when your strength, your certainty, and your self-reliance aren’t enough?
Let’s talk about the reality behind the phrase so many quietly live with.
Have you ever felt “all by yourself”?
Share it with us — we’re listening.
#AllByYourself #LifeRocks #faithInTheStorm #godiswithyou #ChristianInspiration #YouAreNotAlone #HopeInHardTimes #FaithOverFear
#StormsOfLife
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Friday, October 9, 2026

Five Women Composers Who Studied at the Paris Conservatoire

The Paris Conservatoire was founded in 1795 after the French Revolution. Since then, many of classical music’s greatest figures have passed through its doors.

Initially, women weren’t allowed to benefit from the Conservatoire’s rigorous education. In fact, women weren’t admitted outside vocal classes until 1849, when French violin prodigy Camilla Urso broke that glass ceiling at the age of nine.

Urso proved to the institution that women could be extraordinary students, and hundreds of women followed in her footsteps.

Today we’re looking at five largely forgotten women composers who studied at the Paris Conservatoire.

Grace Becker Vamos

Grace Vamos

Grace Vamos

Fontainebleau Suite  

Grace Becker was born in 1898 in California to a violinist father and pianist mother. The musical couple had a spare cello that Grace started playing as a child.

As a young woman, she studied at the Paris Conservatoire and the Fontainebleau School of Music.

In 1937, she moved to Hungary to study with composer Zoltán Kodály, then returned to America when World War II broke out in the summer of 1939.

She spent most of the rest of her career in California, interspersed with frequent visits to Mexico.

Her piano concerto was the first orchestral piece ever written by a woman to be performed in California.

In addition to composing, she also founded a trio called the Trio Moderne, an all-woman ensemble featuring Becker Vamos, flautist Christine Howells Pfund, and harpist Marie Hughes Marguarrie.

In 1946, she married Ernest Vamos, a dentist and an amateur cellist. They never had any children. Instead, she focused on her career, teaching countless students and endowing multiple scholarships and competitions.

Today, the scores of Grace Becker Vamos’s works are available through Vamos Publishing.

Koharik Alis Gazarossian

Koharik Alis Gazarossian

Koharik Alis Gazarossian

Koharik Alis Gazarossian was born to Armenian parents in Constantinople (present-day Istanbul) in 1907.

As a child, she took piano lessons from a former student of Franz Liszt.

In 1926, at nineteen, she moved to Paris and began studying at the Conservatoire.

Her piano teacher was Lazare Lévy, whose other pupils included John Cage, Clara Haskil, and Monique Haas.

She also studied composition with Paul Dukas, composer of the tone poem The Sorcerer’s Apprentice.

Her own work often drew upon Armenian folk influences. Among her fans was fellow Armenian composer Aram Khachaturian.

Her set of 24 Etudes, finished in 1958, covered the twelve major and minor keys. Each one is dedicated to a friend or pupil. Listeners can hear influences of pianists like Scriabin, Rachmaninoff, and Prokofiev.

These works were recorded in 2022 by Armenian pianist Naré Karoyan.

Jeanne Demessieux

Jeanne Demessieux

Jeanne Demessieux      In 1933, at twelve, she began studying at the Paris Conservatoire. Three years later, she began studying organ with Marcel Dupré. The organ soon became her primary instrument.

In 1941, at the age of twenty, she earned a first prize in organ performance and improvisation at the Conservatoire.

In 1947, she became the first female concert organist to sign a record deal.

She was especially famous for her memory. Apparently, she memorised 2,500 pieces over her career, including the entire organ output of J.S. Bach.

She was also a composer, writing works for solo organ, piano, and vocal music.

She died in November 1968 of throat cancer. She was only 47 years old.

Sylvia Soublette

Sylvia Soublette

Sylvia Soublette

Pequeña Suite para Violín y Piano   

Sylvia Soublette was born in 1924 in Viña del Mar, Chile. Music ran in the family: both of her parents were musical, and her paternal grandmother was a composer.

In 1941, as a teenager in college, she founded the Coro Femenino Viña del Mar (the Viña del Mar Women’s Choir). She also began composing.

In 1951, she earned a scholarship from the French government to study at the Paris Conservatoire. While there, she studied under Milhaud and Messiaen.

After her studies in Paris, she returned to Chile. In 1960, she founded the Ancient Music Ensemble and led it until the 1973 military coup.

She married politician Gabriel Valdés in 1945, and he served as Chile’s Minister of Foreign Affairs from 1964 to 1970. After Pinochet came to power, Valdés, Soublette, and their four children travelled to the United States and Venezuela.

The family returned to Chile in 1981, and Soublette resumed her musical career there.

In 1991, she founded the Santiago Music Institute and toured internationally.

Toward the end of her long life, she said, “I am a composer, but from another time. Not from the 21st century, but from the 20th century. However, at this point, what I feel most like is an educator.”

She died in January 2020 at the age of 95.

Édith Canat de Chizy

Édith Canat de Chizy

Édith Canat de Chizy

Édith Canat de Chizy was born in Lyon, France, in 1950.

As a college student, she studied at the Sorbonne and the Paris Conservatoire. She won half a dozen first prizes in analysis, composition, counterpoint, fugue, harmony, and orchestration.

In 2006, she began teaching at the Regional Conservatory of Paris. She has published over a hundred opus numbers’ worth of music.

In 2005, she became the first female composer to be elected to the prestigious Académie des Beaux-Arts.


The violin is her main instrument. Here’s her fourth quartet, “En noir et or” (In black and gold).

A Debut of Note: Himari

  

The young Japanese violinist Himari (b. 2011 as Himari Yoshimura) made her American concert debut with Henryk Wieniawski’s Violin Concerto No. 1 in F sharp minor with the Santa Fe Symphony in 2023, aged 11, and then made her European debut with the work in 2025, age 13. That debut with the Berlin Philharmonic is captured on her debut recording on Decca Classics, appropriately called Debut.

Himari

Himari © himari-info.com

Himari started her violin study at age 3, working with Koichiro Harada and Machie Oguri. She made her debut with a professional orchestra at age 6, and at age 11 she was admitted to the Curtis Institute of Music in Philadelphia, where she studied with Ida Kavafian. At age 13, she signed an exclusive contract with Decca Classics, becoming the label’s youngest female artist.

In competition, Himari has been awarded grand prizes at the Arthur Grumiaux Competition in Belgium (2019) and the International Competition for Young Violinists in Honour of Karol Lipinski and Henryk Wieniawski, Lublin, Poland (2021), as well as the 26th Andrea Postacchini International Violin Competition in Italy and the Kogan International Violin Competition in Belgium. She plays the 1717 ‘Hamma’ Stradivari on loan from Mr Yusaku Maezawa. Her bow is on loan from the Munetsugu Collection.

Henryk Wieniawski (1835–1880) wrote his first violin concerto in 1851 while on tour in Russia with his brother. After returning to give concerts in Leipzig, Paris, and London, he returned to Russia in 1860 at the invitation of Anton Rubinstein. He spent the next 12 years there, variously as solo violinist to the Tsar, leader of the opera Orchestra, and professor of violin at Rubinstein’s conservatory. When he returned to his touring career in 1872, he extended his travels to North America with Rubinstein. When he returned to Europe in 1875, he was appointed professor of violin at the Brussels Conservatory. His health was increasingly frail, and he had to leave the stage during a performance of his Violin Concerto No. 2 in Berlin. Joseph Joachim was in the audience and took his place on stage, replacing the concerto with a performance of the Bach Chaconne on Wieniawski’s violin. Despite this setback, Wieniawski continued his tour out of financial need, but he was often forced to leave the stage, unable to perform. Wieniawski died on 31 March 1880 in the house of Tchaikovsky’s patroness, Nadezhda von Meck.

In the first movement, after a first subject in the clarinet and a more lyrical second subject, the violin enters in a technically demanding solo entry in 10ths. The first subject follows, played only on the G string. The rest of the movement includes a brief cadenza, followed by a lyrical passage that gives the violinist a chance to display technique, complete with triple-stopped chords and difficult but dazzling arpeggios. The final coda brings back the first subject.

Henryk Wieniawski: Violin Concerto No. 1 in F sharp minor, Op. 14 – I. Allegro moderato

Himari plays with authority and assurance, and even her own teacher remarks on her maturity: ‘If you’re listening to Himari and you close your eyes, you wouldn’t realise her age. Inside Himari, there is an older person and a wise musician… she’s immensely talented.’

After this brilliant orchestra debut, Himari fills the rest of the album with recital material of the highest quality, including Frédéric Chopin’s Nocturne No. 16 in E-Flat Major, Op. 55, No. 2 (transcribed by Jascha Heifetz); Leopold Godowsky’s Triakontameron: XI. Alt Wien (transcribed by Jascha Heifetz); Jean Sibelius’ Mazurka, Op. 81, No. 1; and Chopin’s Nocturne No. 20 in C sharp minor (transcribed by Nathan Milstein). These are works by the virtuosos of their day, and even Sibelius’ Mazurka is technically demanding, with a cadenza-like opening, double stopping, and huge leaps in the melodic line, requiring a virtuoso hand.


With its mix of orchestral and recital material, Himari’s debut recording gives us an exceptional view of her skills. Sometimes, as happens on live recordings, her leaps may fall a hair short, but that’s the excitement of live performance. In the piano and violin works, where Chelsea Wang, who made her own orchestral debut at age 6, ably accompanies her, we have a more traditional format. Still, again, Himari’s choice of works distinguishes her. In Wieniawski’s Faust Fantasia, she has the vision to create a coherent storyline amid all the virtuoso fireworks.

Himari Debut album cover

Himari: Debut (Wieniawski, Chopin, Sibelius, and Godowsky)

Himari, violin; Berlin Philharmonic with Sebastian Weigle, conductor; Chelsea Wang, piano
Decca Classics 00028948722099