Sullivan, Charles R. (March 1999), "Optimal Choice for Number of Strands in a Litz-Wire Transformer Winding" (PDF), IEEE Transactions on Power Electronics, 14 (2): 283–291, Bibcode: 1999ITPE...14..283S, doi: 10.1109/63.750181 On some occasions, Liszt took part in Rome's musical life. On 26 March 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred music. The "Seligkeiten" of his Christus-Oratorio and his "Cantico del Sol di Francesco d'Assisi", as well as Haydn's Die Schöpfung and works by J. S. Bach, Beethoven, Jommelli, Mendelssohn, and Palestrina were performed. On 4 January 1866, Liszt directed the "Stabat mater" of his Christus-Oratorio, and, on 26 February 1866, his Dante Symphony. There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Litz wires cannot be only defined by the stranding. Other parameters of importance are the bunching and the twisting (table 4).Asa matter of fact, the bunching (ex. : 50x5 vs. 10x5x5…) and its direction (S or Z at different levels) could affect a lot the frequency behavior (figure 8). The twisting (number of rotations per meter or lay length or pitch) is normally calibrated to have at least 3 rotations along the mean turn length of the winding; this is to balance the best proximity effect cancellation. Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases, the lyrics were in German or French, but there are also some songs in Italian, Russian, and Hungarian, and one song in English. Liszt began with the song "Angiolin dal biondo crin" in 1839, and, by 1844, had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was an 1843–1844 series Buch der Lieder. The series had been projected for three volumes, consisting of six songs each, but only two volumes appeared.

It exists other isolation structures by plastic extrusion around the conductor [7]. It can be made of Teflon, polyester or of any other suitable material. Here also, 2-layer or 3-layer extrusion can be imagined as in double-insulated (DIW) or triple-insulated wires (TIW). Even if moral injury research is a young and growing field, scientists and clinicians already agree that a key step toward healing for morally injured people—whether in therapy or not—has to do with grasping the true nature of what they’re facing. They’re not hopeless, “bad seeds” or uniquely irredeemable. They may not fit the criteria for PTSD or another mental illness. Instead they’re suffering from a severe disconnect between the moral principles they live by and the reality of what is happening or has happened. In moral injury, “that sense of who you are as a person has been brought into question,” Dean says. “We have a lot of people saying, ‘This is the language I’ve been looking for for the past 20 years.’” Ancient Origins

Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. Carl Czerny, however, charged an expensive fee for lessons and even dismissed Stephen Heller when he was unable to afford to pay for his lessons. [ citation needed] Liszt spoke very fondly of his former teacher—who gave lessons to Liszt free of charge—to whom Liszt dedicated his Transcendental Études. He wrote to the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians, as Liszt himself frequently did. [59] In popular culture [ edit ] Figure 2b.PREMO HV/LV 2kW DCDC transformer as a ready-to-plug solution.Image used courtesy of Bodo’s Power Systems[PDF] Compare his letter to Louise von Welz of 13 December 1875, in: Bülow, Hans von: Briefe, Band 5, ed. Marie von Bülow, Leipzig 1904, p. 321.

The trauma is far more widespread and devastating than most people realize. “It’s really clear to us that it is all over the place,” says psychiatrist Wendy Dean, president and co-founder of the nonprofit Moral Injury of Healthcare in Carlisle, Pa. “It’s social workers, educators, lawyers.” Survey studies in the U.S. report that more than half of K–12 professionals, including teachers, moderately or strongly agree that they have faced morally injurious situations involving others. Similar studies in Europe show that about half of physicians have been exposed to potentially morally injurious events at high levels. Liszt, in some of his works, supported the relatively new idea of program music—that is, music intended to evoke extra-musical ideas such as a depiction of a landscape, a poem, a particular character or personage. (By contrast, absolute music stands for itself and is intended to be appreciated without any particular reference to the outside world.) On 13 January 1886, while Claude Debussy was staying at the Villa Medici in Rome, Liszt met him there with Paul Vidal and Ernest Hébert, director of the French Academy. Liszt played Au bord d'une source from his Années de pèlerinage, as well as his arrangement of Schubert's Ave Maria for the musicians. Debussy in later years described Liszt's pedalling as "like a form of breathing." Debussy and Vidal performed their piano duet arrangement of Liszt's Faust Symphony; allegedly, Liszt fell asleep during this. [64] Figure 7. AC copper losses in a transformer acc. to the Litz wire selection.Image used courtesy of Bodo’s Power Systems[PDF] In February 1847, Liszt played in Kiev. There he met the Polish Princess Carolyne zu Sayn-Wittgenstein, who was to become one of the most significant people in the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a traveling virtuoso. After a tour of the Balkans, Turkey, [41] and Russia that summer, Liszt gave his final paid concert at Yelisavetgrad in September. He spent the winter with the princess at her estate in Woronince. [42] By retiring from the concert platform at 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished. [43]An overlapping by tape, which can be PET/PEN/Mylar/polyimide... These wires can achieve better dielectric strengths. The definition of the insulating film will depend on the thermal class and required dielectric strength. The overlapping is one of the parameters that can be modified to fix the performance. At 50%, it enables 2 layers of isolation at any length on the wire whereas a tighter 67% overlapping leads to 3 layers. These overlapping techniques are a way to answer to safety standards that require multi-layer of thin film isolation (IEC 60950-1, IEC 61558- 1/-2-16…). Some well-known suppliers even propose fully VDE or UL-certified construction according to this technique [6]. The term litz wire originates from Litzendraht (coll. Litze), German for braided/stranded wire [3] or woven wire. [4] [ bettersourceneeded] Principle of operation [ edit ] With some works from the end of the Weimar years, Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mönch" ("The sad monk") after a poem by Nikolaus Lenau, composed at the beginning of October 1860. While in the 19th-century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt used the augmented triad as the central chord. In spite of the conditions under which Liszt had been appointed as "Königlicher Rat", he neither directed the orchestra of the National Theatre nor permanently settled in Hungary. Typically, he would arrive in mid-winter in Budapest. After one or two concerts of his students, by the beginning of spring, he left. He never took part in the final examinations, which were in the summer of every year. Some of the pupils joined the lessons that Liszt gave in the summer in Weimar. [ citation needed]

For the next eight years Liszt continued to tour Europe, spending holidays with the countess and their children on the island of Nonnenwerth on the Rhine in the summers of 1841 and 1843. [29] In May 1844, the couple finally separated. [30] This was Liszt's most brilliant period as a concert pianist; honors were showered on him and he was met with adulation wherever he went. [16] Liszt wrote his Three Concert Études between 1845 and 1849. [31] Since he often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during this eight-year period. Moreover, his great fame as a pianist, which he would continue to enjoy long after he had officially retired from the concert stage, was based mainly on his accomplishments during this time. [32] Liszt in concert (1846) drawn by Fritz von Dardel The largest and best-known portion of Liszt's music is his original piano work. During the Weimar period, he composed 19 Hungarian Rhapsodies, themselves revisions of his own Magyar Dalok/Rhapsódiák. His thoroughly revised masterwork, " Années de pèlerinage" ("Years of Pilgrimage"), includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo and Raphael in the second set. " Années de pèlerinage" contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of " Album d'un voyageur", while the second book includes a resetting of his own song transcriptions once separately published as " Tre sonetti di Petrarca" ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed, and the level of technical difficulty which was present in much of his composition.During a recent ReST video meeting, several people showed up to talk for an hour about their moral challenges on the health-care front lines. One spoke about feeling helpless as she watched a patient verbally abuse a nurse giving vaccines. Peer-session leaders Bruce Gonseth and Jim Wong, both war vets, listened closely to each attendee’s dilemma and empathized, often sharing recollections of similar situations they had faced. “To me, what we experienced in the war was exactly what frontline workers are experiencing: the invisible enemy,” Wong told the group. “You may feel like you’re letting other people down. You may observe others engaging in harmful behaviors. You’re not alone. We’re here to support you.” Chang, Joanne Chew-Ann (16 December 2021). The bridge to modernism: Franz Lizst and the late piano music (Thesis thesis). Indiana University. Liszt's interest in Bach's organ music in the early 1840s prompted him to commission a piano-organ from the Paris company Alexandre Père et Fils. The instrument was made in 1854 under Berlioz's supervision, using an 1853 Érard piano, a combination of piano and harmonium with three manuals and a pedal board. The company called it a "piano-Liszt" and installed it in Villa Altenburg in July 1854, [84] the instrument is now exhibited in the Gesellschaft der Musikfreunde collection in Vienna. [85] [82] See the letter by Berlioz to Liszt of 28 April 1836, in: Berlioz, Hector: Correspondance générale II, 1832–1842, éditée sous la direction de Pierre Citron, Paris 1975, p. 295.

See: Göllerich n.d., pp.131ff. According to Göllerich's note, his catalog was the most complete one which until then existed. The increasing market of electrical and plug-in hybrid vehicles requires powerful embedded switch-mode power supplies (figure 1), including large inductive devices as well as AC/DC high voltage battery chargers of some 7-11-22kW (figure 2a) and DC/DC 400-800V/14V converters of a few kW (figure 2b) to supply in energy conventional low voltage equipment (lighting and air-conditioning systems, ECUs, radio-set, GPS, etc.). Compare the discussion in: Mueller, Rena Charin: Liszt's "Tasso" Sketchbook: Studies in Sources and Revisions, PhD dissertation, New York University 1986, pp. 118ff.

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As Frankl would have done, therapists such as Litz and Harwood-Gross encourage clients to accept the depth of inhumanity in the world rather than attempt to blot out awareness of that inhumanity. The essential question—the same one Frankl confronted—then becomes: “In the midst of what has happened and what is still happening, how can I find meaning in life?” Another way to explain the benefit of litz braiding is as follows: the magnetic fields generated by current flowing in the strands are in directions such that they have a reduced tendency to generate an opposing electromagnetic field in the other strands. Thereby, for the wire as a whole, the skin effect and associated power losses when used in high-frequency applications are reduced. The ratio of distributed inductance to distributed resistance is increased, relative to a solid conductor, resulting in a higher Q factor at these frequencies. A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history, or imaginative fantasy. In other words, these works were programmatic rather than abstract. [92] The form was a direct product of Romanticism which encouraged literary, pictorial, and dramatic associations in music. It developed into an important form of program music in the second half of the 19th century. [93] The above considerations are valid for a single conductor. However, these simple formulas and concepts clearly illustrate that according to the current to drive through the winding, parallelization of small conductors will be a must. They can be just wound multi-filar that it is not a good solution either for proximity effect between conductors or process optimization. Litz wire characterizes this parallelization plus a twisting versus length so that each strand passes equally through each position on the inside and outside of the bundle (figure 6). This prevents the circulation of currents between strands by reducing proximity effects.