Western Sound Archives (WSA), Whose Vast Library Was Alleged to Include a Significant Collection of Dennis Brain BBC Radio Broadcasts, Had Remained a Mystery
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Aubrey Brain (1893-1955)
Aubrey Brain (1893-1955) Aubrey Harold Brain was the son of A.E. Brain, Senior, brother of Alfred Brain, Junior, and father of Dennis Brain – all distinguished horn players. Another brother, Arthur, also played horn, but abandoned music to become a police officer. Aubrey’s first instrument was the violin, but he soon switched to horn. He first studied with his father, then with Adela Sutcliffe and Eugene Mieir, and finally with Friedrich Adolph Borsdorf at the Royal College of Music in 1911. He played in the North London Orchestral Society during his College years and was appointed principal horn of the New Symphony Orchestra in 1911. He went on the London Symphony Orchestra's tour of the US under Arthur Nikish in 1912; his father was unable to go on the tour because of his contract with Covent Garden. After returning from the tour, Aubrey joined his father and brother in a memorial concert for the Titanic. Aubrey became principal horn of Sir Thomas Beecham's opera company orchestra in 1913. It was during a tour with this company that he met Marion Beeley, a contralto for whom Sir Edward Elgar wrote "Hail, Immortal Ind!" in his opera The Crown of India. They were married in 1914. Aubrey’s early career was shadowed by the success of his older brother, Alfred, who dominated the scene until he left for the United States in 1922, and of his teacher, Borsdorf, until Borsdorf was forced to resign because of anti-German feeling at the outbreak of World War I in 1914. -
(ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. -
Musical Anniversaries 2021
MUSICAL ANNIVERSARIES 2021 Alfred BRENDEL 5th January 90th Birthday Renato BRUSON 13th January 85th Birthday Henri TOMASI 13th January 50 years since Death Katia RICCIARELLI 18th January 75th Birthday Plácido DOMINGO 21st January 80th Birthday Cecile OUSSET 23rd January 85th Birthday Gustavo DUDAMEL 26th January 40th Birthday Margaret PRICE 28th January 10 years since Death Milton BABBITT 29th January 10 years since Death Matthias PINTSCHER 29th January 50th Birthday Mario LANZA 31st January 100 years since Birth Iannis XENAKIS 4th February 20 years since Death John PRITCHARD 5th February 100 years since Birth Wilhelm STENHAMMAR 7th February 150 years since Birth Boris TCHAIKOVSKY 7th February 25 years since Death Ambroise THOMAS 12th February 125 years since Death Colin MATTHEWS 13th February 75th Birthday Michael PRAETORIUS * 15th February 400 years since Death Eliahu INBAL 16th February 85th Birthday Dimitri MITROPOULOS 18th February 125 years since Birth Hamilton HARTY 19th February 80 years since death György KURTÁG 19th February 95th Birthday Gil SHAHAM 19th February 50th Birthday Toru TAKEMITSU 20th February 25 years since Death Morton GOULD 21st February 25 years since Death Mieczysław WEINBERG 26th February 25 years since Death Thomas ADÈS 1st March 50th Birthday Robert SIMPSON 2nd March 100 years since Birth Thurston DART ** 6th March 50 years since Death Astor PIAZZOLLA 11th March 100 years since Birth Michael FINNISSY 17th March 75th Birthday Arthur GRUMIAUX 21st March 100 years since Birth Bertrand CHAMAYOU 23rd March 40th -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Geoffrey Gilbert
I Letters to the Editor 3 Why I Play the Flute John Francis 4 Developing Baroque Ornamentation Skills Berry Bang Mather 8 PAN I BFS Rules the World 12 The Journal of the British Flute Society Richard Adeney talks to The Editor 14 President James Galway Portrait Gallery 22 President for 1988 Patricia Lynden Vice President Albert Cooper ( Member's Platform 23 from 1st January 1988 I History Pages 25 Council: Edward Blakeman Chairman Reflections of a "London West End Super Juliet Keeling Secretary Mole" on four seasons in the Royal Opera Simon Hunt Ediror House Pit Patricia Lynden 28 Jenny Wray Membership Secretary Jonathan Myall Treasurer James Dower Events Co-ordinator 'Friend! Look for the first allegro': Trevor Wye Events Co-ordir~aror Some thoughts on the flute in Haydn's Andrew Thomson Publicity O//icer Symphonies Edward Blakeman 3 1 Adrian Brett Publiciry Oflicer Robin Soldan Educational and FIute Clubs Representative The Season in Malta Tom Cotterell 36 Susan Bruce Hon. Legal Adviser I Jonathan Pickford Hon. Auditor The British Flute Society was formed in January 1983. 1 The Flute Player in Art 38 from the constitution: 'The objects of the Society shall be to advance the education of the public I East Anglian Flute Group 39 in the Art and Science of Music and in particular the Art and Science of Flute playing in all its aspects by the presentation of public concerts Flute Events Section 40 and recitals and by such other ways as the Society through its Council I shaU determine from time to time.' Bath Summer School of Baroque Music 43 The Editor warmly welcomes contributions to Pan, and invites manuscripts - typed if possible - by post to 40 Portland Road, Lon- don W 11 4LG. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
The Impact of Dennis Brain on the Development of the French Horn
Theses of DLA Doctoral Dissertation Gyula Molnár The Impact of Dennis Brain on the Development of the French Horn Liszt Academy of Music Doctoral School No.28 Art and Culture History Budapest 2010 I. Background of the Research No professional literature on the life and work of Dennis Brain is available in the Hungarian language. This topic is therefore entirely novel for the Hungarian music history. However, a considerable volume of professional literature is available abroad, especially in the United Kingdom and Japan. An outstanding collection of literature in this field is Stephen J. Pettitt’ book entitled Dennis Brain: A biography, which deals with the history and work of the Brain family with a focus on Dennis Brain’s life. That detailed work includes a tremendous amount of data but it does not attempt to provide an analysis and assessment, and no music history context and conclusions are offered. Further professional literature deals with the analysis of Dennis Brain’s recordings, though all but a few of them involve a particular piece of music and the entire oeuvre. Finally, I have only found literature about Dennis Brain’s efforts in the field of instrument development attempts and the impacts of such development in limited quantity. My objective is to provide an analysis of the ideas of the Brain family, and Dennis Brain in particular, regarding the French horn, presenting the music history context, the innovations and their impact on inherited traditions, and the development of the French horn as instrument in detail. 2 II. Sources The prime source of information for my doctoral dissertation is Stephen J. -
Gordon Crosse
“Mixed Doubles” Double Concertos by John Manduell and Gordon Crosse CD1: Music by Gordon Crosse (b. 1937) 1 Brief Encounter, for oboe d’amore, recorder and strings (2009) 10.09 Concerto for viola and strings with french horn (2009) 22.50 2 I. Prelude: Andante calmo –più mosso – vivace 8.18 3 II. Song: Lento semplice – più mosso – lento 7.08 4 III. Finale: Vivace 7.24 5 Fantasia on ‘Ca’ the Yowes’, for recorder, harp and strings (2009) 9.51 Total duration CD1 43.05 CD2: Music by John Manduell (b. 1928) Flutes Concerto, for flautist, harp, strings and percussion (2000) 26.56 1 I. Vivo – Lento 9.55 2 II. Quasi adagio 9.24 3 III. Allegro – Allegretto – Languido 7.37 Double Concerto, for oboe, cor anglais, strings and percussion (1985/2012) 28.14 4 I. Quasi adagio – allegro molto 10.43 5 II. Adagio molto 12.18 6 III. Allegro vivo 5.13 Total duration CD2 55.19 Michael Cox flute Richard Simpson oboe/oboe d’amore Alison Teale cor anglais John Turner recorder Matthew Jones viola Timothy Jackson french horn Anna Christensen harp (CD1 track 5) Deian Rowlands harp (CD2 tracks 1-3) MANCHESTER SINFONIA leader Richard Howarth conducted by Timothy Reynish The Music Gordon Crosse writes: All three pieces on CD1 were composed in the Summer and Autumn of 2009 which was the most exciting and productive year I have ever experienced. I had returned to composing after a break of some 18 years and I found I couldn't stop working. The music was simpler than it was in 1990 but I think more communicative because more concentrated and focused. -
Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch. -
The Perfect Pitch 2012
2012 2011–2012 Javier Alvarez, Composer Samuel Ramey, Bass-Baritone Peter Bagley, Conductor Sandra Rivers, Piano Jay Batzner, Composer Gail Robertson, Euphonium Shawn Bell Quartet Christine Salerno and ZIJI Fred Hersch, Piano and Composer Justin Benavidez, Tuba Mauricio Salguero, Clarinet Janet Hilton, Clarinet Gene Bertoncini, Guitar John Sampen, Saxophone Edith Hines, Baroque Violin Alex Brown, Piano San Francisco Jazz Collective Jon Holden, Clarinet Mark Bunce, Composer and Engineer Nina Schumann and Lúis Magalháes, Piano Pat Hughes, Horn Roger Chase, Viola Dan Scott, String Education Specialist Naoko Imafuku, Piano Larry Clark, Conductor Kendrick Scott, Drums JaLaLa Evan Conroy, Bass Trombone Mira Shifrin, Flute Lia Jensen-Abbott, Piano Mike Crotty, Multi-instrumentalist Alan Siebert, Trumpet Mayumi Kanagawa, Violin Vocal Coach and Piano Composer Vera Danchenko-Stern, (Stulberg Silver Medalist) Mark Snyder, Joel Davel, Percussion Jack Stamp, Conductor and Composer Christopher Kantner, Flute The Quincy Davis Project Elizabeth Start, Cello Kontras String Quartet Alissa Deeter, Soprano John Chappell Stowe, Organ and Harpsichord Massimo LaRosa, Trombone Detroit Symphony Orchestra Brass Players Mihai Tetel, Cello Dan Levitin, Neuroscientist Piano Piano Ron DiSalvio, and Cognitive Psychologist Yu-Lien The, Paquito D’Rivera, Clarinet, Saxophone, Walter Thompson, Soundpainter and Composer The Dave Liebman Group and Composer Trollstilt Andrew List, Composer John Duykers, Tenor Dan Trueman, Composer Paul Loesel, Piano and Composer Euclid Quartet