Piano Man: Life of John Ogdon Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Piano Man: Life of John Ogdon Pdf, Epub, Ebook PIANO MAN: LIFE OF JOHN OGDON PDF, EPUB, EBOOK Charles Beauclerk | 432 pages | 27 Mar 2014 | Simon & Schuster Ltd | 9780857200112 | English | London, United Kingdom Piano Man: Life of John Ogdon PDF Book Cypriot Elegies. Reading the book is a roller-coaster of inspiration, sadness, amusement, and astonishment. Your First Name. Compared with 21st-century virtuosi, he was indeed a giant. Together they formed New Music Manchester , a group dedicated to the performances of serial and other modern works. Get A Copy. Categories : English classical pianists Male classical pianists births deaths Musicians from Nottinghamshire People from Mansfield Woodhouse People educated at Manchester Grammar School People with bipolar disorder Pupils of Egon Petri Alumni of the Royal Northern College of Music Prize-winners of the International Tchaikovsky Competition 20th-century classical pianists 20th-century English musicians Deaths from pneumonia English male classical composers English classical composers 20th-century classical composers 20th- century British composers British male pianists. No doubt, like all biographies, there are elements of bias and inaccuracy and it will not be to everyone's taste but it is definitely a worthwhile read whether you are a pianist or just interested in people. Most popular. Get a FREE e-book by joining our mailing list today! He had another, even more valuable talent no one could teach — the ability to divine the soul of the music he played and communicate it to audiences both erudite and untutored. Above all, though, there was the transcendence of his playing when he was on form and his unpredictability when he wasn't. John Rachmaninoff Ogdon. Haunted House. Details if other :. Ogdon is survived by his daughter and son, Annabel and Richard Ogdon. Resources and Downloads. Download as PDF Printable version. To see what your friends thought of this book, please sign up. About Charles Beauclerk. Topics Classical music Tom Service on classical music. By clicking on an affiliate link, you accept that third-party cookies will be set. Piano Man: Life of John Ogdon Writer READ: Will computers replace literary critics? His tutor there was Claud Biggs. Tortured genius, wunderkind, saint, psychotic, and perpetual child, these are just some of the stereotypes besetting any biographer of the pianist John Ogdon Download as PDF Printable version. Opinion Show more Opinion. These include 50 transcriptions of works by composers as diverse as Stravinsky , Palestrina , Mozart , Satie and Wagner. Error rating book. Biography books blogposts. Welcome back. It took me a while to read this book but I am very glad that I did. Namespaces Article Talk. Yet his childhood was marked out by a musical brilliance which was reminiscent of prodigies such as Mozart whose birthday he shared. More information. Call or see books. A few poems. Afterword Exonerated. This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. New Releases Books and The City. He died in August of pneumonia , brought on by undiagnosed diabetes. Charles Beauclerk. The bi-polar disorder that finally overwhelmed Ogdon is likened to the struggle between Ahab and the whale in Moby-Dick, a novel with which John was obsessed throughout his life. His subsequent comebacks were as fraught as the court orders to protect him from financial destitution. If he noticed something that seemed musically improper, such as a cut in a piece of music made by his teacher, he would fly into a tantrum — a portent of the terrifying rages that came later. Showing Loading comments… Trouble loading? He won first prize at the London Liszt Competition in and consolidated his growing international reputation by winning another first prize at the International Tchaikovsky Competition in Moscow in , jointly with Vladimir Ashkenazy. Sort order. Accessibility help Skip to navigation Skip to content Skip to footer Cookies on FT Sites We use cookies opens in new window for a number of reasons, such as keeping FT Sites reliable and secure, personalising content and ads, providing social media features and to analyse how our Sites are used. Bury St Edmunds: Arima Publishing. I experienced moments of anger at the way in which Ogdon seemed to be exploited but at the same time h It took me a while to read this book but I am very glad that I did. Sign up and get a free eBook! All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. John Ogdon, the great British pianist who blazed fitfully in the musical firmament for a few short years before his mind gave way, is one of those musicians who is spoken of only in superlatives. Postal Code. Piano Man: Life of John Ogdon Reviews Piano Man : Life of John Ogdon. Companies Show more Companies. Able to play and memorize just about any score at sight, tales of his impossible exploits at the keyboard are legion. Such were his levels of introversion, a large part of his musical life involved sublimating these intense emotional troubles into interpretations of depth and poignancy. Archived from the original on 25 September Brenda has often been cast as the villain of the story, but Beauclerk is kind to her, portraying her compulsive spending as the result of neediness and insecurity rather than avarice. True Crime Children's Books. Either condition may have been inherited from his father, who suffered several psychotic episodes and a mental breakdown. Charles Beauclerk. In this illuminating biography, Charles Beauclerk explores the life of a brilliantly inspired artist, for whom music was both his cross and his salvation. It is this single-mindedness, this spirit of absolute self-confidence, that is the sine qua non of the great interpreter. A life of John Ogdon. Piano man. Reading between the lines, it becomes clear that, had Ogdon been starting out today, he would have gone nowhere. I understand I can change my preference through my account settings or unsubscribe directly from any marketing communications at any time. Charles Beauclerk. The original manuscripts of many of Ogdon's compositions are deposited in the Royal Northern College of Music Library. The production interpreted Ogdon's illness as manic depression rather than schizophrenia, since he had responded much better to treatment for the former condition. Interlude The Drama of the Gifted Child. Whenever he was distracted from music he was at a loss, or in a rage. However, a small number of other recordings have since come to light:. The programme featured unique archive and contemporary performance. Yet Ogdon was a man of extremes and it was this very extremity, while the source of much of his gift, that also led to appalling suffering. Afterword Exonerated. Ogdon's health was good, and his physical constitution was strong, as his wife often recalled in her biography. In he released a five-disc recording of an interpretation of Sorabji 's Opus clavicembalisticum. Clearing Out my Junk Drawer. Join our mailing list! Ultimately though, the division of mind into conscious and unconscious is a false dichotomy that closes the door on the reality of a holistic perception. Lists with This Book. Biography books blogposts. This sometimes changed his personality completely. Piano Man: Life of John Ogdon Read Online I experienced moments of anger at the way in which Ogdon seemed to be exploited but at the same time he lived his life through music and it was the only way he could effectively communicate. Review by Andrew Clark. Featured Awkwafina and Asian American Voice. Above all, though, there was the transcendence of his playing when he was on form and his unpredictability when he wasn't. At the same time, she definitely enabled much of his life and career. Just a moment while we sign you in to your Goodreads account. There's a whole ocean of Ogdoniana out there on YouTube; among the highlights I've found, are these concerts that he gave in Russia in the s and 70s , which preserve him at the heights of his inspiration, intensity, and technical capability. Join our mailing list! Paperback Hardcover eBook. New Releases Books and The City. Categories : English classical pianists Male classical pianists births deaths Musicians from Nottinghamshire People from Mansfield Woodhouse People educated at Manchester Grammar School People with bipolar disorder Pupils of Egon Petri Alumni of the Royal Northern College of Music Prize- winners of the International Tchaikovsky Competition 20th-century classical pianists 20th-century English musicians Deaths from pneumonia English male classical composers English classical composers 20th-century classical composers 20th-century British composers British male pianists. Reading between the lines, it becomes clear that, had Ogdon been starting out today, he would have gone nowhere. By clicking on an affiliate link, you accept that third-party cookies will be set. Yet Ogdon's commitment to his art remained undimmed, and until the end he drew out performances of tremendous beauty and conviction from the depths of his ravaged heart. Opinion Show more Opinion. However, the book suffers from a certain Ogdon-like disorderliness. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. Resources and Downloads. Get A Copy. It portrays a remarkable musician with almost savant skills of perception, memory and instant appreciation of the structure of a piece. True Crime Children's Books. He had another, even more valuable talent no one could teach — the ability to divine the soul of the music he played and communicate it to audiences both erudite and untutored. His recitals regularly featured his own compositions. The drugs and treatments prescribed sometimes affected his coordination, and his reputation suffered as a result. Here we see both sides of Ogdon, the earthy and the divine, the supremely gifted and the tragically broken.
Recommended publications
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music London’s Symphony Orchestra Celebrating LSO Members with 20+ years’ service. Visit lso.co.uk/1617photos for a full list. LSO Season 2016/17 Free concert programme London Symphony Orchestra LSO ST LUKE’S BBC RADIO 3 LUNCHTIME CONCERTS – AUTUMN 2016 MOZART & TCHAIKOVSKY LAWRENCE POWER & FRIENDS Ten musicians explore Tchaikovsky and his The violist is joined by some of his closest musical love of Mozart, through songs, piano trios, collaborators for a series that celebrates the string quartets and solo piano music. instrument as chamber music star, with works by with Pavel Kolesnikov, Sitkovetsky Piano Trio, Brahms, Schubert, Bach, Beethoven and others. Robin Tritschler, Iain Burnside & with Simon Crawford-Phillips, Paul Watkins, Ehnes String Quartet Vilde Frang, Nicolas Altstaedt & Vertavo Quartet For full listings visit lso.co.uk/lunchtimeconcerts London Symphony Orchestra Living Music Monday 19 September 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT Leif Ove Andsnes Beethoven Piano Sonata No 18 (‘The Hunt’) Sibelius Impromptus Op 5 Nos 5 and 6; Rondino Op 68 No 2; Elegiaco Op 76 No 10; Commodo from ‘Kyllikki‘ Op 41; Romance Op 24 No 9 INTERVAL Debussy Estampes Chopin Ballade No 2 in F major; Nocturne in F major; Ballade No 4 in F minor Leif Ove Andsnes piano Concert finishes at approximately 9.25pm 4 Welcome 19 September 2016 Welcome Kathryn McDowell Welcome to this evening’s concert at the Barbican Centre, where the LSO is delighted to welcome back Leif Ove Andsnes to perform a solo recital, and conclude the critically acclaimed LSO Artist Portrait series that he began with us last season.
    [Show full text]
  • Proquest Dissertations
    The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Ferruccio Busoni Biography
    Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso.
    [Show full text]
  • 56: November 1999
    THE ALKAN SOCIETY President: RONALD SMITH Secretary: PETER J. GROVE 21 Heronswood, SALISBURY, Wiltshire SP28DH Tel/fax +44-[0]-1722-325771 BULLETIN NO.56: NOVEMBER 1999 I begin too often with an apology for the long delay of our Bulletin. There was a shortage of news at the beginning of the year, and since the summer there has been a shortage of time and efficiency. As my French counterpart has reminded me in no uncertain terms, our Bulletins are our only contact with most of our members. Please be assured that the Society is still running; our bank account is well in the black; and we can look forward to some exciting events in the year 2000. I must thank all the members who kept the faith by sending subscriptions or donations during this fallow year. Your contributions have all been recorded, and if you wish I will carry them over for 2000. If, in the usual rush to fill envelopes once the bulletin is printed and ready for dispatch, I enclose a form for subscriptions or donations which you feel is unnecessary, then please be assured that I will keep your name on the mailing list. As you will read later, we can certainly use some new funds, so any donations or subscriptions for 2000 will be welcomed and acknowledged. I intend to issue a receipt or membership card for the coming year, with each paid-up member allocated a reference number. This will enable you to obtain discounts on some products such as the new CDs of the chamber music and the CD from Symposium Records containing Nicholas King's organ recital.
    [Show full text]
  • Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
    Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network.
    [Show full text]
  • Profesionalizacija in Specializacija Glasbenega Dela ▪︎ The
    doi: https://doi.org/10.26493/978-961-7055-86-3.87-104 In the Shadow of Parry, Stanford and Mackenzie: Musical Composition studies in the principal London Conservatories from 1918 to 1945 Niall O’Loughlin Univerza v Loughboroughu Loughborough University In the early 20th century, the main British music institutions, which at- tracted the attention of prospective composers, were the Royal Academy of Music and the Royal College of Music, both located in London. What is particularly notable is that the early principals of the Royal Academy were almost always prominent composers and the directors of the Royal College were very often composers, too. The history of the founding and the back- ground of these two conservatories gives some understanding of their po- sition and standing by the end of World War I. In the early 1820s patriotic amateurs promoted ideas for the founda- tion of a Royal Academy of Music, but this was initially opposed by the mu- sic profession, which felt that there were too many musicians anyway. The professionals then tried unsuccessfully to associate the proposed academy with the long-standing Philharmonic Society, which later commissioned Beethoven’s Ninth Symphony during the same period. In the end the am- ateurs, principally John Fane, eleventh Earl of Westmorland (also known as Lord Berghersh) with assistance of royalty, notably King George IV, suc- ceeded in establishing the Academy of Music in 1822 in London, the first of the British conservatories, receiving its royal charter in 1830 to become the Royal Academy of Music. To create a strong credibility for the institution the founders needed to appoint a distinguished principal, although the choice was perhaps not that difficult.
    [Show full text]
  • The Poetic Ideal in the Piano Music of Franz Liszt: a Lecture Recital, Together with Three Recitals Of
    6 7 THE POETIC IDEAL IN THE PIANO MUSIC OF FRANZ LISZT: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF MUSIC BY MOZART, BEETHOVEN, SCHUBERT, CHOPIN, BRAHMS, AND CONTEMPORARY EUROPEAN AND NORTH AMERICAN COMPOSERS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Gladys Lawhon, M. A. Denton, Texas December, 1972 Lawhon, Gladys, The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Two Solo Recitals and a Chamber Music Recital. Doctor of Musical Arts (Piano Performance), December, 1972, 23 pp., 8 illustrations, bib- liography, 56 titles. The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldom- explored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his cre- ative genius. Both as a composer and as an author, Liszt re- iterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.
    [Show full text]
  • Bösendorfer - Wikipedia, the Free Encyclopedia 1/5/14, 3:08 PM Bösendorfer from Wikipedia, the Free Encyclopedia
    Bösendorfer - Wikipedia, the free encyclopedia 1/5/14, 3:08 PM Bösendorfer From Wikipedia, the free encyclopedia Bösendorfer (L. Bösendorfer Klavierfabrik GmbH) is an L. Bösendorfer Klavierfabrik GmbH Austrian piano manufacturer, and a wholly owned subsidiary of Yamaha.[citation needed] Bösendorfer is unusual in that it produces 97- and 92-key models in addition to instruments with standard 88-key keyboards. Type private Contents Industry Musical instruments Founded 1828 1 Characteristics Founder(s) Ignaz Bösendorfer 2 History Headquarters Vienna, Austria 3 Models 3.1 Standard Black Models[7] Products Pianos 3.2 Conservatory Series Parent Yamaha Corporation 3.3 Special and Limited editions 3.3.1 SE reproducing piano Website www.boesendorfer.com 3.4 Designer Models (http://www.boesendorfer.com/) 4 Noteworthy events 5 Bösendorfer Artists 5.1 Recordings 5.1.1 Classical 5.1.2 Popular 6 References 7 Bibliography 8 External links Characteristics Bösendorfer pioneered the extension of the typical 88-key keyboard, creating the Imperial Grand (Model 290), which has 97 keys (eight octaves). This innovation was originally ordered as a custom built piano for Ferruccio Busoni, who wanted to transcribe an organ piece that went to the C below the standard keyboard. This innovation worked so well, that this piano was added to regular product offerings and quickly became one of the world's most sought-after concert grands. Because of the 290's success, the extra strings were added to Bösendorfer's other line of instruments such as the 225 model, which
    [Show full text]
  • Liner Notes From
    u Quartet Alexander Goehr (6. 7932) The majority of composers, it seems, have yet to get over the impact of the Modern Movement of sixty years ago. Reactionaries continue to regard the innovations of Schoenberg and Stravinsky as tending to undermine the good old tradition while the avant-garde views the same advances as an obligation to perpetual revolution. How- ever, a third group of composers, as yet regretably small, sees the most hopeful way forward out of the resulting confusion as that of the modest progressive. Alexander Goehr, for instance, holds that, properly understood, the new resources of twentieth century composition offer means not of supplanting but of enriching the grammar and syntax of musical understanding as it has evolved beneath the surface of the varying musical styles of the last few centuries. Thus the harmonic distinction of all his works since the Two Choruses op. 14 arises from a syn- thesis of Schoenberg's serial principle with the modality of Messiaen to create a 'transformational grammar' for pitch relationships in some ways analagous with tonality in the days of its potency. That Goehr has absorbed many of the most radical developments of this century will be clear from this disc. Yet at the same time, and without a hint of neo-classicism, these works attain an intimacy and depth reminiscent of some of the great chamber works of the eighteenth and nineteenth centuries. The Second String Quartet was commissioned by Lord Dynevor and first performed complete by the Allegri String Quartet in October 1967. The first movement is an extended set of double variations.
    [Show full text]
  • The Busoni Network and the Art of Creative Transcription*
    THE BUSONI NETWORK AND THE ART OF CREATIVE TRANSCRIPTION* Marc-André Roberge Recent research in the field of early twentieth-century music and musical life in Germany and Austria has shown that Schoenberg, Webern, and Berg were not 8 active in a$ vacuum but part of a wider cultural context which included composers such as (to mention only two names) Alexander Zemlinsky and Franz Schreker, and that this group of composers had links with numerous artists and writers.’ It is now possible to see them in a much wider perspective or, in other words, as part of a network. This idea can also be applied to a number of fascinating figures of the nineteenth and twentieth centuries whose music, for a variety of reasons, has long been neglected: namely, Liszt, Alkan, Busoni, Godowsky, and Sorabji-al1 of them, except for Sorabji, keyboard giants.* Their contribution has been progressively rediscovered (or even discovered) in the last twenty years or so, as is evident in the explosion in the field of literature and discography.An indication of the existence of links between these composers is that, in most cases, anyone Who plays, writes about, or simply listens to the music of one of these composers has also a strong interest in the music of the others. This would probably not be the case if they were not part of one and the same “family” of artists. It is the purpose of this article to draw attention to the fact that a number of major figures in the history of piano music and transcription since the 1850s form a closely knit group, even though they may appear to many people to be isolated eccentrics Who distinguish themselves by works which, in terms of length and virtuosity, often go far beyond anything in the standard repertoire and which, for these reasons, have remained the province of a few enterprising artists.
    [Show full text]
  • British Pianist John Ogdon Appearing in Concert
    British pianist John Ogdon appearing in concert October 2, 1969 Internationally-known British pianist John Ogdon will appear in a concert of music by Schubert and Beethoven at 8:30 p.m. on Tuesday, October 14, in Sherwood Hall, La Jolla. The concert, co-sponsored by the Committee for Arts and Lectures at the University of California, San Diego, and the La Jolla Museum of Art, will be the season's first program in the Series Internationale. Ogdon, one of England's most travelled concert artists, studied at the Royal Manchester College of Music and with Egon Petri, Denis Matthews and Ilona Kabos. He made his concert debut in 1958 with the Royal Liverpool Philharmonic Orchestra under John Pritchard, playing the mammoth Busoni Concerto. In 1959 he was awarded Second Prize in the Liverpool International Piano Concerto Competition. He was awarded the Franz Liszt Prize in London in 1961 and First Prize in the Tchaikowsky Competition in Moscow the following year. Although recording sessions and his many concert engagements require most of his time, Ogdon still finds time to compose. In 1965 his Sonatine and Five Preludes were published. Another con-position, Dance Suite, had its first performance at the first Cardiff Festival in 1967, and his Concerto for Piano and Orchestra and Sonata for Solo Violin were premiered at last year's Festival. Tuesday night's program will include Schubert's Four Impromptus, Opus 90, and Fantasia in C major, Opus 15 (Wanderer), and Beethoven's Sonata in A flat major, Opus 110, and Sonata in F minor, Opus 57 (Appassionata).
    [Show full text]
  • The Music and Literature of Alistair Hinton
    THE MUSIC AND LITERATURE OF ALISTAIR HINTON CONTENTS GENERAL INFORMATION 02 CATALOGUE OF MUSIC AND LITERATURE 03 DISCOGRAPHY 06 GENERAL INFORMATION Alistair Hinton was born in Scotland. Hearing John Ogdon playing Chopin’s 4th Ballade on the radio at the age of 11 gave rise to the altogether understandable wish to become a composer; (“I just wanted to know how music was made – and to make some of my own”). His first Sonata for piano appeared shortly afterwards; it displays some facility in its assimilation of fleetingly encountered influences. He continued his musical studies simply by studying music, passionately (“one learns composition by composing, as one learns wine-tasting by tasting wine”). His early work attracted the interest of Benjamin Britten, with whose help he attended Royal College of Music, London for lessons with Humphrey Searle and Stephen Savage. His works date from 1962 but he destroyed much of his pre-1985 output. A significant encouragement of his compositional development was provided by the music, literature and friendship of Parsi composer Sorabji, which played an important rôle in exposing him to crucial formative influences, including Szymanowski, Busoni, van Dieren, Medtner, Godowsky and Stevenson; these, together with a deepening admiration for Chopin, were to enhance his love of the piano and preoccupation with the challenge of writing for it. Having persuaded Sorabji in 1976 of the wisdom of relaxing the long-standing embargo on public performance of his music, he took an active part in fostering international interest in it. This led to his founding The Sorabji Music Archive, of which he is curator.
    [Show full text]