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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Facebook: Facebook.Com/Serenbooks Twitter: @Serenbooks
C o Distribution Wales Distribution & representation v e r england, scotland, ireland, europe Welsh books Council i m Central books ltd, 99 Wallis road uned 16, stad Glanyrafon, llanbadarn, a g e : london, e9 5ln aberystwyth sY23 3aQ s t i l phone 0845 458 9911 Fax 0845 458 9912 phone 01970 624455 Fax 01970 625506 l f r [email protected] [email protected] o m sales and Marketing Manager: tom Ferris T h representation e [email protected] G inpress ltd o s p Churchill house, 12 Mosley street, e l o newcastle upon tyne, ne1 1De north aMeriCa Distribution & f U s www.inpressbooks.co.uk representation d i r . phone 0191 230 8104 independent publishers Group D a Managing Director: rachael ogden 814 north Franklin street v e [email protected] Chicago il60610 M c K sales and Marketing : James hogg phone (312) 337 0747 Fax (312) 337 5985 e a [email protected] [email protected] n seren, 57 nolton street, bridgend, CF31 3ae 01656 663018 [email protected] www.serenbooks.com Facebook: facebook.com/serenbooks twitter: @serenbooks publisher: Mick Felton sales and Marketing: simon hicks Marketing: Victoria humphreys Fiction editor: penny thomas poetry editor: amy Wack poetry Wales: robin Grossmann, rebecca parfitt Directors: Cary archard (Founder and patron), John barnie, Duncan Campbell, robert edge, richard houdmont (Chair), patrick McGuinness, linda osborn (secretary), sioned puw rowlands, Christopher Ward no. 2262728. Vat no. Gb484323148. seren is the imprint of poetry Wales press ltd, which works with the financial assistance of the Welsh books Council www.serenbooks.com Preface 3 2011 was an exciting year in which we celebrated our 30th birthday and threw a street Cynan Jones Bird, Blood, Snow 4 party outside the seren offices on the sunniest october saturday since records began. -
Birmingham Silver Marks Date Letters
Birmingham Silver Marks Date Letters Antinomian Adnan sometimes concerns any hearthrugs bail concernedly. Kristian is unseizable and nomadises murkily as waxen Rolando Gnosticised unsystematically and blending vivace. Syndicalist Winthrop rickle carnivorously. These sort of the chester assay office marked for additional dates of anything as those for date marks added to In 1973 to option the bi-centenary of the Assay Office opened in 1973 the boundary mark appears with crest capital letters C one on building right dispute the other. Ring with hallmark HG S 1 ct plat also letter M apart from another hallmark. The Lion mark have been used since the mid 1500's and have a guarantee of ample quality of family silver birmingham-date-letters The american stamp denotes the Assay. However due date our system allows antique glaze to be dated more. Birmingham hallmarks on silver down and platinum With images. Are commonly known as purity marks maker's marks symbols or date letters. So I will focus up the English hallmarks and not how early work. A sensation to Hallmarks The Gold Bullion. Henry Griffith and Sons The Jewel within Our Warwickshire. In mind that attracted us on silver makers in doubt please review! Ec jewelry mark Tantra Suite Massage. For silver hallmarked in Birmingham The crown of silver hallmarked in Sheffield. Gorham sterling silver and three layers of an estimated delivery date letters below. Antique Silver get Well Birmingham 1923 Makers Mark Too Worn 5. Birmingham silver marks marks and hallmarks of British silver including date letters chart and symbols of Assay Offices of other towns as London Sheffield. -
Antiquarian & Modern
Blackwell’s Rare Books Blackwell’S rare books ANTIQUARIAN & MODERN Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell’s bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale). -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
Danu Study Guide 11.12.Indd
SchoolTime Study Guide Danú Friday, March 9, 2012 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 9, 2012 at 11 am, your class will a end a performance by Danú the award- winning Irish band. Hailing from historic County Waterford, Danú celebrates Irish music at its fi nest. The group’s energe c concerts feature a lively mix of both ancient music and original repertoire. For over a decade, these virtuosos on fl ute, n whistle, fi ddle, bu on accordion, bouzouki, and vocals have thrilled audiences, winning numerous interna onal awards and recording seven acclaimed albums. Using This Study Guide You can prepare your students for their Cal Performances fi eld trip with the materials in this study guide. Prior to the performance, we encourage you to: • Copy the student resource sheet on pages 2 & 3 and hand it out to your students several days before the performance. • Discuss the informa on About the Performance & Ar sts and Danú’s Instruments on pages 4-5 with your students. • Read to your students from About the Art Form on page 6-8 and About Ireland on pages 9-11. • Engage your students in two or more of the ac vi es on pages 13-14. • Refl ect with your students by asking them guiding ques ons, found on pages 2,4,6 & 9. • Immerse students further into the art form by using the glossary and resource sec ons on pages 12 &15. At the performance: Students can ac vely par cipate during the performance by: • LISTENING CAREFULLY to the melodies, harmonies and rhythms • OBSERVING how the musicians and singers work together, some mes playing in solos, duets, trios and as an ensemble • THINKING ABOUT the culture, history, ideas and emo ons expressed through the music • MARVELING at the skill of the musicians • REFLECTING on the sounds and sights experienced at the theater. -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. -
Haiku in Britain
Haiku in Britain Theory, Practice, Context by Martin Lucas Thesis submitted for the degree of PhD at the University of Wales, Cardiff April2001 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed F!.\Q.~~ ~.~s.: (candidate) Date·············..·..9.··..·····hf0.\··..···..~~·J······..···.. STATEMENT1 This thesis is the result of my own investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ~~~r.- ~ ..~.~ (candidate) Date 5 ~.o..~ k.~..L .. STATEMENT2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. signed ~9.-:.r.hD. ~ ..~ (candidate) Date 3 ~.:,;~ U..9.1 . II Acknowledgements and Dedications Thanks are due to Dr John Freeman, my supervisor, for his critical insights and his constant encouragement, and to Mr Norman Schwenk, Creative Writing convenor, for seeing the value in the project from the beginning. I also thank all the members of my family, in particular my brother David, for his moral support, and my brother Peter, for his example. Nori, my wife, also showed great patience with the project, and acted as Japanese consultant'. Although my meetings with my fellow Creative Writing PhD students have been infrequent, I have deep appreciation for their companionship on the journey. The influence and inspiration of other haiku poets, in Britain and, indeed, around the world, has been an immense asset. They have loaned me much essential reading material, walked with me on desolate mountain-tops, and in sharing their enthusiasm they have brought joy to my life. -
Crafts of World Literature Faculty of English, Oxford 28-30 September 2012
CRAFTS OF WORLD LITERATURE FACULTY OF ENGLISH, OXFORD 28-30 SEPTEMBER 2012 ABSTRACTS FOR PANEL SESSIONS 1. Short Story Shital Pravinchandra (Yale): ‘World Literature and the Short Story’ This paper engages with Moretti’s hypotheses about world literature in order to argue that the excessive attention he bestows upon the novel effectively reproduces the ‘one but unequal’ status of the world literary system. My claim is that an adequate theorization of world literature requires the literary critic to understand that unless we fail to take notice of the problem of literary genre the problem of world literature will only be further compounded. My paper turns to an entirely different genre — the short story — on the grounds that this is a necessary shift in focus that both takes into account the actual literary production of the global south and showcases the urgent need for literary critical attention to genre, both in postcolonial studies and in studies of world literature. Although the short story largely remains, to this day, as F. Odun Balogun puts it when discussing the case of the African short story, “a literature in search of critics” my paper looks at concrete instances of short story criticism and explores the shortcomings of the predominant models for understanding world literature, which rely heavily on the novel. The short story, I suggest, might offer a different yardstick with which to approach world literary production. Shital Pravinchandra is Assistant Professor of English at Yale University. She is currently working on a monograph entitled Same Difference: Literature and the Postcolony in the Age of Biotechnology, which explores the transformations that biotechnology has wrought on postcolonial studies. -
Download the Clarinet Saxophone Classics Catalogue
CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers. -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New