DOCSLIB.ORG

Archive Special Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Archive Special Issue ARCHIVE SPECIAL ISSUE PLUS SUMMER IN CONTEXT: SCHUMANN STRING QUARTETS 2018 BACKSTAGE STORIES: STEINWAY STANDARDS EXPLORE: EARLY MUSIC AT THE HALL FRIENDS OF OF FRIENDS IN PICTURES: ARTISTS’ TRIBUTES Home to tens of thousands EMILY WOOLF, OUR GUEST of programmes, thousands of photographs, press cuttings, EDITOR, WRITES This edition of The Score is a welcome chance for us to correspondence and more, the invite our Friends into the Wigmore Hall archive, and to Wigmore Hall archive offers us a share with you some of the treasures we have found window into the prestigious (and while exploring its shelves! sometimes surprising!) history of this unique and beloved venue. As well as an overview of early music at Wigmore Hall since the arrival of the first viola da gamba here in 1902, we dig into the performance The process of building a catalogue of our history of Schumann’s lyrical string quartets on our stage and the holdings has also been an extraordinary journey of company they kept; Nigel Simeone writes on the importance of the discovery for us – one which has helped shine a postwar Concerts de Musique Française and the shape of French music at light on the story of concert life in London over the the Hall; we take a look back over a few of our more outstanding song 117 years since the Hall opened in 1901. recitals; open up our enchanting collection of the papers of the violinist As part of our work to bring the history of Gertrud Hopkins and her brother, the pianist Harold Bauer, and explore our Wigmore Hall out of the archive’s boxes, this long association with Steinway Pianos. There is much to discover in this special edition of The Score looks at some ways extraordinary archive and we hope that this issue will give you a taster of in which our 2018/19 season continues a legacy our valuable collection and an insight into the Hall’s heritage. that goes back over a hundred years. I have asked Emily Woolf and Paula Best, our Archivists, to give you, our Friends, an insight into the Hall’s heritage and the collections it holds. Paula, who has been with the Hall since 1985, is retiring at the end of this Season. She will LEFT & COVER PICTURE ‘Dich, teure Halle’: always be an authority on the Hall’s history, and Jessye Norman’s charming dedication to she has seen a great deal of change since she Wigmore Hall using Elisabeth’s words from started here as a backstage usher 33 years ago. Wagner’s Tannhäuser. Jessye Norman made She is an integral part of the Wigmore family and her debut here at the Hall in 1980, opening we look forward to welcoming her at the Hall at that season and later launching the 1988 season and participating in our centenary important events and many concerts, too. Renewed celebrations in 2001. She was awarded the thanks to Paula, and in particular to Emily for guest prestigious RPS Gold medal in May 2018, editing this very special issue which I hope you will and her touching recognition of the Hall’s all enjoy. special nature joins those of many other artists in our pull-out insert this issue. Noticeable absences in our collection tell their own tale – we are still missing many programmes across the 1950s and 1960s, a time when the rationing of materials meant simpler programmes which were more likely to be repurposed than preserved for posterity. If you have Director any programmes you would like to donate, please get in touch with Emily [email protected] ABOVE Celebration 20th Birthday cake for the Rubinstein Circle LEFT Alina Ibragimova and Cédric Tiberghien cutting the cake RIGHT (CLOCKWISE FROM BACK) The Development/Friends Office: Isabel Harvey-Kelly, Penne Wallis, Cassey North and Fleur Noble Johnston (photo taken by Marie-Hélène Osterweil) 2 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 Kathleen Ferrier performing ‘Erlkönig’, ‘Gretchen am Peter Pears and Benjamin Britten performing Schubert’s Bass-baritone Bryn Terfel making his London recital debut Spinnrad’ and ‘Die junge Nonne’ among other Schubert Winterreise on 29 November 1964, after more than twenty at Wigmore Hall in 1994, although his first appearance on songs in 1948, returning to the Wigmore stage where she years appearing together at Wigmore Hall, beginning our stage was in 1988 where he won the Kathleen Ferrier had auditioned for the agents Ibbs and Tillett in 1942. with the world première of Britten’s Seven Sonnets of Memorial Scholarship, and he had also taken part in a Michelangelo at a Boosey & Hawkes Concert in 1942. Songmakers’ Almanac tribute to Heinrich Heine in 1990. IN FOCUS: SONG RECITALS Spanish soprano Victoria De Los Angeles making her London debut at the Hall in March 1950, in a programme featuring Monteverdi, Schubert, Strauss, Granados and Falla. She would perform here again many times, including a concert in 1980 celebrating the 30th anniversary of this debut. The first concert at the then Bechstein Hall by the German baritone Olaf Bär performing Die schöne Müllerin The London recital debut of the stellar Italian soprano eminent Lieder singer Elena Gerhardt, accompanied in the first of three unforgettable Schubert recitals he Cecilia Bartoli, the first of many appearances at Wigmore by Arthur Nikisch. In this early recital from 1906 she gave in February 1988. Winterreise was to follow two Hall. This 1989 programme included arias by Paisiello, sang works by Schubert, Brahms, Wolf and Strauss, all days later, with the third concert a selection of some of Vivaldi, Mozart and Rossini. composers she would return to again and again in her the composer’s best-loved songs. many concerts at the Hall over the following 40 years. FRIENDS OFFICE 020 7258 8230 | WWW.WIGMORE-HALL.ORG.UK 3 STEINWAY STANDARDS It takes an expert team to keep Wigmore Hall’s Steinway concert grands in top order. Andrew Stewart speaks to the highly skilled technicians whose work provides the perfect platform for hundreds of piano performances each season. Trademarks rarely become synonymous with their products. Those that do stand or fall on quality. Steinway’s universal recognition and reputation for excellence run far beyond the music world, fixed in the minds of millions as the gold standard for grand pianos. While other concert instruments are available, as impartial commentators might say, they must all be measured against the Hamburg- built Steinway Model D. Wigmore Hall owns three of Steinway’s flagship grands. The ceaseless demands of performers and performances require technical care When Haefliger returned for his recital eight in the morning and working on the of the kind found in Formula One pit lanes the following week, Nigel Polmear, one piano for two hours.” If certain notes sound and aircraft maintenance hangars. It’s all of Steinway’s most experienced tuner- brighter than others, Steinway’s tuners will part of the service provided to Wigmore technicians, tuned the piano that morning needle the instrument’s hammers to soften Hall by Steinway’s dedicated team of and checked it again before the performance. their felt or make other subtle changes. piano technicians. “Andreas sent me a text message after his “The goal is to keep things in good order. All The Formula One analogy is not lost concert to say it went very well and that he that matters is that the artist can perform on Ulrich Gerhartz, Director Concert really enjoyed the piano,” notes Gerhartz. without worrying about the instrument.” and Artist Services for Steinway & Sons “That shows the involvement we have with In addition to the almost daily tuning London. Preparing a Model D for optimal the artist and with the Hall.” A member of round and minor adjustments, Steinway & performance, he notes, involves responsive the Steinway technical team, he adds, will Sons deliver a rolling piano maintenance teamwork and close consultation with tune the instrument before every Wigmore programme at Wigmore Hall. The latter individual artists. Andreas Haefliger’s recent Hall performance. “When you have crazy recognises the needs of regular visitors, Wigmore Hall recital, for instance, crowned days with a morning, afternoon and evening finding time between rehearsals and by Beethoven’s mighty ‘Hammerklavier’ concert, we are there three times to check concerts to ensure the piano is as they Sonata, was prefaced by a painstaking the piano.” like it. “It’s a well-timed combination of process of adjustment and regulation Dealing with Wigmore Hall’s ‘crazy maintenance, which involves regulation intended to give the performer exactly what days’ is part of the tuner’s lot. “We know of the action and voicing [or adjusting the he wanted. “He felt the piano was too bright from experience how to work within those piano’s sound quality] as well as tuning,” for his last recital, so we stayed in touch confines,” says Nigel Polmear, who has comments Ulrich Gerhartz. to plan the piano preparation for his next worked for Steinway & Sons since the mid- When not in use, Wigmore Hall’s resident concert,” Gerhartz recalls. “I went to the Hall 1980s. “The Hall’s backstage staff are very Model D Steinways live beneath the stage. the Friday before the May bank holiday to helpful and want to give us as much time The main instrument was chosen in do maintenance work on the piano. Andreas as possible. The starting point is always December 2014 by Igor Levit at Steinway’s flew to London to test the instrument on the to make sure the tuning is solid and stable, Hamburg factory. It carries around 90 per bank holiday and was happy with it.” which usually means getting to the Hall at cent of the Wigmore Hall piano workload.
Load more

Recommended publications
  • Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Andreas Haefliger Piano
    PERSPECTIVES 6 A N D R E A S H A E F L I G E R BEETHOVEN Piano Sonatas Nos. 10 & 30 BERIO Four Encores SCHUMANN Fantasy in C Perspectives 6 Ludwig van Beethoven 1770–1827 Sonata No.10 in G Op.14 No.2 1I Allegro 7’03 2 II Andante 5’02 3 III Scherzo: Allegro assai 3’38 Luciano Berio 1925–2003 4 Erdenklavier 2’49 5 Wasserklavier 2’28 Ludwig van Beethoven Sonata No.30 in E Op.109 6 I Vivace, ma non troppo – Adagio espressivo 4’04 7 II Prestissimo 2’26 8 III Gesangvoll, mit innigster Empfindung 12’26 Luciano Berio 9 Luftklavier 3’25 10 Feuerklavier 2’57 Robert Schumann 1810–1856 Fantasy in C Op. 17 11 I. Durchaus phantastisch und leidenschaftlich vorzutragen 13’39 12 II. Mäßig – Durchaus energisch 7’31 13 III. Langsam getragen – Durchweg leise zu halten 9’34 Andreas Haefliger piano Recorded: 14–16 October 2013, Arc en Scènes, Salle de musique, La Chaux-de-Fonds, Suisse (Schweiz, Switzerland ) Recorded by TRITONUS Musikproduktion GmbH, Stuttgart Recording produced, engineered and edited by Markus Heiland Photography: Marco Borggreve · Design: WLP Ltd. ൿ 2014 The copyright in this sound recording is owned by Andreas Haefliger Ꭿ 2014 Andreas Haefliger. www.andreashaefliger.com Marketed by Avie Records www.avie-records.com When putting together my programmes, I have always seen opportunities to illuminate the individuality of works by placing them in tonal, dramatic and historic relief. Thus, through the sequence of a recital programme, repertoire that has long been familiar to us is shown in a new light.
    [Show full text]
  • May Harrison Biografie
    Harrison, May May Harrison Biografie * 23. August 1890 in Roorkäa, Indien May Harrison wurde am 28. August 1890 als erste von † 8. Juni 1959 in South Nutfield (Surrey), England insgesamt vier Kindern geboren. Der Vater, J. H. C. Har- rison, war zu dieser Zeit als Colonel der Royal Engineers Violinistin, Solistin, Kammermusikerin, Dozentin für in Roorkäa, Indien, stationiert. Als May Harrison zwei Violine, Klavierbegleiterin, Konzertveranstalterin, Jahre alt war, kehrte die Familie nach England zurück. Komponistin (?) Die Mutter Anne Harrison war Sängerin und Pianistin und sorgte für eine fundierte musikalische Ausbildung ih- „Miss Harrison plays with a confidence and decision rer Töchter, von denen drei professionelle Musikerinnen which carries her audience with her from the very first. wurden: May Harrison und Margaret Harrison (geb. She has the orator’s instinct for taking captive the sympa- 1899) als Violinistinnen und Klavierbegleiterinnen, Beat- thies of those whom she is addressing. But she does not rice Harrison (geb. 1892) als Cellistin. Von klein auf er- allow herself to be carried away. Her performance is accu- hielt May Harrison Unterricht in Violine und Klavier und rate and conscientious.” gewann bereits im Alter von 10 Jahren die „Associated „Miss Harrison spielt mit einem Selbstvertrauen und ei- Board’s gold medal“ in der „Senior Devision“, wobei sie ner Entschiedenheit, die das Publikum vom ersten Mo- sich gegen 3000 Mitbewerber durchsetzte. Ein Jahr spä- ment an trägt. Sie hat ein Gespür dafür, die Aufmerksam- ter, mit 11 Jahren, wurde May Harrison am Londoner keit jener zu fesseln, an die sie sich wendet. Sie selbst läs- Royal College of Music aufgenommen, erhielt ein Stipen- st sich dabei nicht gehen.
    [Show full text]
  • LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, Ativanovka, Hisfamily’S Country Estate,C
    RACHMANINOFF TCHAIKOVSKY BRITTEN GRIEG SIBELIUS MEDTNER LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, at Ivanovka, his family’s country estate, c. 1915 estate,c. country hisfamily’s atIvanovka, Serge Rachmaninoff, AKG Images, London / Album / Fine Art Images Lines Written during a Sleepless Night – The Russian Connection Serge Rachmaninoff (1873 – 1943) Six Songs, Op. 38 (1916) 15:28 1 1 At night in my garden (Ночью в саду у меня). Lento 1:52 2 2 To Her (К ней). Andante – Poco più mosso – Tempo I – Tempo precedente – Tempo I (Meno mosso) – Meno mosso 2:47 3 3 Daisies (Маргаритки). Lento – Poco più mosso 2:29 4 4 The Rat Catcher (Крысолов). Non allegro. Scherzando – Poco meno mosso – Tempo come prima – Più mosso – Tempo I 2:42 5 5 Dream (Сон). Lento – Meno mosso 3:23 6 6 A-oo (Ау). Andante – Tempo più vivo. Appassionato – Tempo precedente – Più vivo – Meno mosso 2:15 3 Jean Sibelius (1865 – 1957) 7 Våren flyktar hastigt, Op. 13 No. 4 (1891) 1:35 (Spring flees hastily) from Sju sånger (Seven Songs) Vivace – Vivace – Più lento – Vivace – Più lento – Vivace 8 Säv, säv, susa, Op. 36 No. 4 (1900?) 2:32 (Reed, reed, whistle) from Sex sånger (Six Songs) Andantino – Poco con moto – Poco largamente – Molto tranquillo 9 Flickan kom ifrån sin älsklings möte, Op. 37 No. 5 (1901) 2:59 (The girl came from meeting her lover) from Fem sånger (Five Songs) Moderato 10 Var det en dröm?, Op. 37 No. 4 (1902) 2:04 (Was it a dream?) from Fem sånger (Five Songs) Till Fru Ida Ekman Moderato 4 Edvard Grieg (1843 – 1907) Seks Sange, Op.
    [Show full text]
  • Festival 2021
    FESTIVAL 2021 leedslieder1 @LeedsLieder @leedsliederfestival #LLF21 LEEDS LIEDER has ‘ fully realised its potential and become an event of INTERNATIONAL STATURE. It attracts a large, loyal and knowledgeable audience, and not just from the locality’ Opera Now Ten Festivals and a Pandemic! In 2004 a group Our Young Artists will perform across the weekend of passionate, visionary song enthusiasts began and work with Dame Felicity Lott, James Gilchrist, programming recitals in Leeds and this venture has Anna Tilbrook, Sir Thomas Allen and Iain steadily grown to become the jam-packed season Burnside. Iain has also programmed a fascinating we now enjoy. With multiple artistic partners and music theatre piece for the opening lunchtime thousands of individuals attending our events recital. New talent is on evidence at every turn in every year, Leeds Lieder is a true cultural success this Festival. Ema Nikolovska and William Thomas story. 2020 was certainly a year of reacting nimbly return, and young instrumentalists join Mark and working in new paradigms. We turned Leeds Padmore for an evening presenting the complete Lieder into its own broadcaster and went digital. Canticles by Britten. I’m also thrilled to welcome It has been extremely rewarding to connect with Alice Coote in her Leeds Lieder début. A recital not audiences all over the world throughout the past 12 to miss. The peerless Graham Johnson appears with months, and to support artists both internationally one of his Songmakers’ Almanac programmes and known and just starting out. The support of our we welcome back Leeds Lieder favourites Roderick Friends and the generosity shown by our audiences Williams, Carolyn Sampson and James Gilchrist.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
    Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects.
    [Show full text]
  • Jerusalem Quartet
    The 2019/20 Beethoven Festival Opening Weekend BOOKING DETAILS ENCLOSED JERUSALEM QUARTET BARTÓK EXPLORED THE JERUSALEM QUARTET INTERVIEW SIMON MAJARO MBE SPRING SPECIAL CELEBRATION EMANUEL AX TURNS 70 2019 FRIENDS OF OF FRIENDS INSERT 2019/20 HIGHLIGHTS Beethoven was born in Bonn in December 1770. Throughout the 2019/20 Season, we will celebrate the 250th anniversary of his birth with a festival encompassing almost all of his instrumental and chamber repertoire and, through our Learning department, the influence of his legacy. Given Beethoven’s hearing loss later in times and we are delighted to introduce her life, in the 2019/20 Season we will have to the Wigmore Hall audience in March. Your the opportunity to examine how we listen exceptional financial support enables us to to music individually either as performers, present debut concerts such as this. It also composers or audience members. Included allows us to celebrate significant milestones with this issue of The Score magazine are with established artists such as Emmanuel the details for the exciting opening weekend Ax, in special gala events. celebrations on the 14 and 15 September We are delighted to announce that Kikkas © Kaupo when we present ten concerts in two days, Wigmore Hall is to become the new home placing Beethoven in context through the for CAVATINA’s extraordinary activities ABOVE John Gilhooly works of his predecessors and successors, nationwide. For those of you who don’t and those in the 20th century, and even already know CAVATINA and the story of its In this edition, there is also a very today, who still felt his influence.
    [Show full text]
  • Mark Padmore
    ` BRITTEN Death in Venice, Royal Opera House, Covent Garden At the centre, there’s a tour de force performance by tenor Mark Padmore as the blocked writer Aschenbach, his voice apparently as fresh at the end of this long evening as at the beginning Erica Jeal, The Guardian, November 2019 Tenor Mark Padmore, exquisite of voice, presents Aschenbach’s physical and spiritual breakdown with extraordinary detail and insight Warwick Thompson, Metro, November 2019 Mark Padmore deals in a masterly fashion with the English words, so poetically charged by librettist Myfanwy Piper, and was in his best voice, teasing out beauty with every lyrical solo. Richard Fairman, The Financial Times, November 2019 Mark Padmore is on similarly excellent form as Aschenbach. Padmore doesn’t do much opera, but this role is perfect for him………Padmore is able to bring acute emotion to these scenes, without extravagance or lyricism, drawing the scale of the drama back down to the personal level. Mark Padmore Gavin Dixon, The Arts Desk, November 2019 Tenor ..It’s the performances of Mark Padmore and Gerald Finley that make the show unmissable. …Padmore……conveys so believably the tragic arc of Aschenbach’s disintegration, from pompous self-regard through confusion and brief ecstatic abandon to physical and moral collapse. And the diction of both singers is so clear that surtitles are superfluous. You will not encounter a finer performance of this autumnal masterpiece. Richard Morrison, The Times, November 2019 BACH St John Passion¸ Orchestra of the Age of Enlightenment, Simon Rattle. Royal Festival Hall, London Mark Padmore has given us many excellent evangelists, yet this heartfelt, aggrieved, intimate take on St John’s gospel narrative, sometimes spiked with penetrating pauses, still seemed exceptional.
    [Show full text]
  • Edward Elgar: the Dream of Gerontius Wednesday, 7 March 2012 Royal Festival Hall
    EDWARD ELGAR: THE DREAM OF GERONTIUS WEDNESDAY, 7 MARCH 2012 ROYAL FESTIVAL HALL PROGRAMME: £3 royal festival hall PURCELL ROOM IN THE QUEEN ELIZABETH HALL Welcome to Southbank Centre and we hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. During the performance: • Please ensure that mobile phones, pagers, iPhones and alarms on digital watches are switched off. • Please try not to cough until the normal breaks in the music • Flash photography and audio or video recording are not permitted. • There will be a 20-minute interval between Parts One and Two Eating, drinking and shopping? Southbank Centre shops and restaurants include Riverside Terrace Café, Concrete at Hayward Gallery, YO! Sushi, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon and Feng Sushi, as well as our shops inside Royal Festival Hall, Hayward Gallery and on Festival Terrace. If you wish to contact us following your visit please contact: Head of Customer Relations Southbank Centre Belvedere Road London SE1 8XX or phone 020 7960 4250 or email [email protected] We look forward to seeing you again soon. Programme Notes by Nancy Goodchild Programme designed by Stephen Rickett and edited by Eleanor Cowie © London Concert Choir 2012 www.london-concert-choir.org.uk London Concert Choir – A company limited by guarantee, incorporated in England with registered number 3220578 and with registered charity number 1057242. Wednesday 7 March 2012 Royal Festival Hall EDWARD ELGAR: THE DREAM OF GERONTIUS Mark Forkgen conductor London Concert Choir Canticum semi-chorus Southbank Sinfonia Adrian Thompson tenor Jennifer Johnston mezzo soprano Brindley Sherratt bass London Concert Choir is grateful to Mark and Liza Loveday for their generous sponsorship of tonight’s soloists.
    [Show full text]
  • William Henry Squire's Out-Of-Print Works for Cello and Piano
    PEZZOLI, GINA ANNALISE. D.M.A. William Henry Squire’s Out-of-Print Works for Cello and Piano: Analysis and Suggestions for Teachers (2011). Directed by Dr. Alexander Ezerman. 39 pp. This study presents a biographical overview of William Henry Squire’s life, performance, and teaching career and a pedagogical analysis of his out-of-print works for cello and piano. The study is organized into two main parts. The first reviews Squire’s career as a cellist and composer, with special emphasis on his performing and teaching careers. The second part consists of a detailed description of nine of Squire’s forgotten and out-of-print works for cello and piano. This section includes discussion of the technical and musical challenges of the works, most of which are completely unknown to cellists today. As with many of Squire’s better-known works, these pieces are excellent for intermediate-level cello students. The document is intended to be a teaching “menu” of sorts which details the attributes of each work; therefore the catalogue is organized by difficulty, not by opus number. The nine works chosen for this study are Squire’s Chant D’Amour , Gondoliera , Souvenir, Légende, Berceuse, Slumber Song/Entr’acte, Sérénade op. 15 , Gavotte Humoristique op. 6, and Meditation in C op. 25. WILLIAM HENRY SQUIRE’S OUT-OF-PRINT WORKS FOR CELLO AND PIANO: ANALYSIS AND SUGGESTIONS FOR TEACHERS by Gina Annalise Pezzoli A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2011 Approved by Alex Ezerman Committee Chair © 2011 by Gina Annalise Pezzoli APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Newton County Mississippi Marriage Records 1872
    Newton County, Mississippi, FROM: Marriage Records 1872-1952 38917 (2nd Ed.)Company MS AVAILABLE Compiled and Edited RESERVED. PublishingCarrollton,By VERSION [email protected] William408; Harold Graham, Ed. Pioneer PRINT Box PO (662)237-6010 COPYRIGHT/ALL FROM: 38917 CompanyMS AVAILABLE RESERVED. PublishingCarrollton, VERSION [email protected] RIGHTS 408; Copyright © 2013Pioneer by William Harold Graham, Ed. PRINTAll rights reserved. ThisBox book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the author except for the use of brief quotations in a book review. Authorized copies are available from the author, Dr. Harold Graham, 17222 Highway 503, Decatur, MS 39301.PO (662)237-6010ISBN-10: 1-885480-52-0 COPYRIGHT/ALL Dedication This publication is dedicated to Martha Waltman, who stood at my elbow on many occasions and helped me feed quarters into the photocopy machine, to Myrtis Craft for her polite coercion to finish a project started in 1991, to J. P. and Floy Hurst for explaining the difference between a DOL and DOM, and not the least, to my wife Nancy for tolerating an absentee husband on those many visits to the courthouse. FROM: 38917 Company MS AVAILABLE RESERVED. Publishing Carrollton, VERSION [email protected] 408; Pioneer PRINT Box PO (662)237-6010 COPYRIGHT/ALL Acknowledgements Many of the names in this publication are enhanced to compensate for their scanty recording in the original marriage documents. The compiler has depended on the resources of a number of other researchers and published records to make possible this enhancement process.
    [Show full text]