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MASTER BOOK 3+3 NEW 6/10/07 2:58 PM Page 2
120860bk Joyce:MASTER BOOK 3+3 NEW 6/10/07 2:58 PM Page 2 1. I’m Going To See You Today 2:16 7. Mad About The Boy 5:08 12. The Music’s Message 3:05 16. Folk Song (A Song Of The Weather) (Joyce Grenfell–Richard Addinsell) (Noël Coward) (Joyce Grenfell–Richard Addinsell) 1:29 With Richard Addinsell, piano With Mantovani & His Orchestra; Orchestra conducted by William Blezard (Michael Flanders-Donald Swann) HMV B 9295, 0EA 9899-5 introduced by Noël Coward 13. Understanding Mother 3:10 With piano Recorded 17 September 1942 Noël Coward Programme #4, (Joyce Grenfell) 17. Shirley’s Girl Friend 4:46 Towers of London, 1947–48 2. There Is Nothing New To Tell You 3:29 14. Three Brothers 2:57 (Joyce Grenfell) (Joyce Grenfell–Richard Addinsell) 8. Children Of The Ritz 3:59 (Joyce Grenfell–Richard Addinsell) 18. Hostess; Farewell 3:03 With Richard Addinsell, piano (Noël Coward) Orchestra conducted by William Blezard (Joyce Grenfell–Richard Addinsell) HMV B 9295, 0EA 9900-1 With Mantovani & His Orchestra Orchestra conducted by William Blezard Recorded 3 September 1942 Noël Coward Programme #12, 15. Palais Dancers 3:13 Towers of London, 1947–48 (Joyce Grenfell–Richard Addinsell) Tracks 12–18 from 3. Useful And Acceptable Gifts Orchestra conducted by William Blezard Joyce Grenfell Requests the Pleasure (An Institute Lecture Demonstration) 3:05 9. We Must All Be Very Kind To Auntie Philips BBL 7004; recorded 1954 From The Little Revue Jessie 3:28 (Joyce Grenfell) (Noël Coward) All selections recorded in London • Tracks 5–9 previously unissued commercially HMV B 8930, 0EA 7852-1 With Mantovani & His Orchestra Transfers and Production: David Lennick • Digital Restoration:Alan Bunting Recorded 11 May 1939 (3:04) Noël Coward Programme #13, Original records from the collections of David Lennick and CBC Radio, Toronto 4. -
Dominic Muldowney
Update April 2019 Dominic Muldowney The Anatomy Lesson (1993) Sinfonietta/Dominic Muldowney violin and piano Score 0-571-56341-4 (fp) on sale, parts for hire 8 minutes Commissioned by Tasmin Little with funds from the John S Cohen Concerto for Trumpet (1993) Foundation trumpet and orchestra with click-track tape FP: 12.10.1993, Pasydy Theatre, South Nicosia, Cyprus: Tasmin Little/ 20 minutes Piers Lane 2.2.2.2(II=cbsn) – 2000 – perc(2): 4 wdbl/2 susp.cym/2 mar – pno – Piano score and part 0-571-51469-3 (fp) on sale strings (Elec requirements): pre-recorded click-track tape/7 earpieces for The Brontes Suite (1998) conductor, tpt solo, pno, 2 cls and 2 perc Commissioned by the Premiere Ensemble and South Bank Centre and orchestra supported by the Arts Council of Great Britain 12 minutes FP: 14.6.1993, Queen Elizabeth Hall, London, UK: John Wallace/ 1(=picc).1.2(II=bcl).2(II=cbsn) – 2100 – perc(1): SD/BD+ped/3 tpl.bl/ Premiere Ensemble/Mark Wigglesworth wdbl/bongos/tgl/mcas/cabaca/susp.cym/glsp – pno – strings Score, parts and click-track tape for hire FP: 9.3.1998, St John’s Smith Square, London, UK: Orchestra of St John’s Smith Square/John Lubbock Score and parts for hire Concerto for Violin (1989) violin, large orchestra, tape, two conductors and click- The Brontes (1995) track tape Ballet for orchestra 26 minutes 120 minutes 3(II+III=picc).2.3.2(=cbsn) – 4431 – perc(4): 4 wdbl/4 tpl.bl/4 1121 – 2110 – perc(2): claves/tom-t/2 tamb/BD/glsp/vib/tgl/susp.cym/ sandblock/2 claves/4 conga/2 cabaca/2 BD/2 tom-t/2 tam-t/2 mar/2 SD/cabassa/tam-t/xylo/congas/bongos/tpl.bl/mcas/3 wdbl – keyboard susp.cym/2 splash cym/2 tgl/2 drum kit(=hi-hat/SD/BD+foot ped)/2 – harp – strings mcas or chocalho – 2 harp – strings FP: 6.3.1995, Grand Theatre, Leeds, UK: Northern Ballet Theatre (Elec requirements): pre-recorded 4-track tape, 6 radio earpieces to Score and parts for hire the 2 conductors and 4 perc. -
Croydon Friends Newsletter
CROYDON FRIENDS NEWSLETTER January 2016 Dear Friends, Our newsletter this month gathers together news of Friends sent in on Christmas cards or in letters and emails, which reflect our Meeting as a family community It also reflects our lives within the Quaker world, within our community, our Area Meeting, and our Religious Society as a whole. Gillian Turner “My grace is sufficient for thee”, 2 Corinthians 12:9 At this time of year, we are encouraged to believe that in order to achieve happiness and peace we should draw up a list of New Year’s Resolutions. As if by magic we will become fitter and stronger, more intelligent, give up a creeping sugar addiction, be much nicer and more helpful to Ffriends and family etc. Each year I find the list easier and easier to compile as one “benefit” of the ageing process seems to be a heightened awareness of my shortcomings. When designing advertising campaigns, the toxic bombs of guilt and shame are sometimes used in order to encourage our mostly fruitless attempts at so-called self-improvement. Businesses know that resolutions made at this time of year invariably lead to the need to buy goods and services which purport to help us to achieve our targets. Exercise bikes, subscriptions to improving publications, gym memberships and cosmetics are often marketed as the means to realise our dreams. Of course, thinking about a few, well-chosen, specific and achievable ideas by which to either increase self-esteem and/or help our fellows is no bad thing and can be done at any time of the year, without the purchase of items which will end up in the back of a cupboard or drawer. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Disability and Music
th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves. -
1 Eugenio Maria De Hostos Community College / CUNY
Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Music Education: Thoughts, Reflections and Considerations in 'Uniting Voices'
australian asociety s for mumsic Music education: Thoughts, reflections e ducation incorporatede and considerations in ‘Uniting voices’ Jacinth Oliver Memorial Address, 2017 David Forrest RMIT University Abstract The paper, presented as the Jacinth Oliver Memorial Address at the ASME national conference in 2017 explores a range of issues in music, education and music education. Past addresses are explored in the framework of a series of preludes. Key words: Music, education, music education, Kabalevsky, music for children. I acknowledge the Wurundjeri people of the Kulin be heard was for them to become politically Nations as the traditional owners of the land on active and she urged the ASME executive to which we meet. I respectfully recognise Elders adopt a strong advocacy agenda. She enrolled in both past and present. a PhD at ANU and began studies in government In acknowledging Elders I am reminded of my policy processes which were cut short by her elders, my parents, my teachers and the people who untimely death. Jacinth developed networks have so impacted on my thinking and practice. I’ll through her work with professional associations return to this later in the paper. such as the Australian Curriculum Association. I’m deeply honoured to be presenting this She was a member of an Australian delegation address. Since 1990 ASME has remembered and of arts educators who toured USA and visited honoured the contribution of Jacinth Oliver with various schools and centres promoting arts this address at the national conference. ASME in its education. (ASME, 2017, p. 23) directions and guidance for national conferences This paper is structured and presented as a has provided the following background on this set of preludes – 24 preludes. -
Donald Swann Including Songs by Sydney Carter Sing Round the Year 18 CAROLS SELECTED and COMPOSED by Donald Swann Including Songs by Sydney Carter
Sing round the year 18 CAROLS SELECTED AND COMPOSED BY Donald Swann including songs by Sydney Carter Sing round the year 18 CAROLS SELECTED AND COMPOSED BY Donald Swann including songs by Sydney Carter P 1968 Move Records move.com.au onald Swann will forever be popularly known as the musical half of the comic song writing duo Flanders & Swann; but the quintessential Englishness of that satiric output belies his exoticD roots – Donald’s middle name, Ibrahím, is a clue. Donald was born in Llanelli on 30 Sept 1923 into a family of amateur musicians, both parents refugees from the Russian Revolution. His upbringing was one of Russian folk song and four-hand piano reductions of the Russian and European Romantics. Donald Swann and Michael Flanders had been performing their own songs at cast read-throughs and private parties for some years often, as they would say “at the drop of a hat”; they gradually honed their material as a double-act. Their show, titled AT THE DROP OF A HAT, opened on 31st December 1956 and was an overnight success. A sequel, AT THE DROP OF ANOTHER HAT, opened at Theatre Royal, Haymarket in London October 1963 for a long run before reverting to its previous title for performances in Australia, New Zealand and Hong Kong. Over the next few years Donald compiled and performed hundreds of concerts; sometimes solo or often with different performers picked to explore the variety of his output. EXPLORATIONS ONE, with Sydney Carter, concentrated on words and music in a folk idiom. The show was later expanded, with the addition of Jeremy Taylor, into AN EVENING WITH CARTER, TAYLOR & SWANN which took folk music into mainstream theatres. -
New Orleans Review LOYOLA UNIVERSITY VOLUME 18 NUMBER 4/$9.00
New Orleans Review LOYOLA UNIVERSITY VOLUME 18 NUMBER 4/$9.00 -------------··-···- Cover: "Dream of the Lizard" By Carlo Marcucci Acrylic on Canvas, 54" x SO" New Orleans Review Winter 1991 Editors John Biguenet John Mosier Managing Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editors Bert Cardullo David Estes Jacek Fuksiewicz Alexis Gonzales, F.S.C. Andrew Horton Peggy McCormack Rainer Schulte Founding Editor Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright© 1991 by Loyola University. Critical essays relating to film or literature of up to ten thousand words should be prepared to conform with the new MLA guidelines. All essays, fiction, poetry, photography, or related artwork should be sent to the New Orleans Review, together with a self-addressed, stamped envelope. The address is New Orleans Review, Box 195, Loyola University, New Orleans, Louisiana 70118. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. Rejected manuscripts without self-addressed, stamped envelopes will not be returned. The New Orleans Review is published in February, May, August, and November. Annual Subscription Rates: Institutions $30.00, Individuals $25.00, Foreign Subscribers $35.00. Contents listed in the PMLA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400 NEW ORLEANS REVIEW CONTENTS WINTER 1991 VOLUME 18 NUMBER 4 Man and Nature in Ran and King Lear Christopher J. Bannon 5 The Answer Anna Rupertina Fuchsin/tr. Ronnie Apter 12 Theory, Language-Games, and Fish Joel Foreman 15 Breakfast in Wyoming Debra Bruce 28 Alfred Hitchcock and the Deviant Audience Greg Garrett 29 Watercolor William Virgil Davis 33 You Should Not Expect a Poem Bruce Henricksen 34 ToGo Home ~~~~ ~ The Portuguese Yves Theriault/tr. -
PULSESUMMER 2014 Issue 29
Royal Berkshire NHS Foundation Trust Find out more about your trust members’ newsletter PULSESUMMER 2014 Issue 29 MakingMaking hospitalhospital funfun – – pagepage 55 Plus Annual Cardiology Members’ – we’re the Meeting tops – page 5 details – page 3 Walk for wards – page 6 News and Events TV fame for museum’s star exhibit To the casual visitor it looks no more interesting an item than a large metal box – but for the production team working on an important television documentary it resulted in an emotional scene in their film. One of the treasured exhibits in the museum at the Royal Berkshire Hospital is an iron lung – one of only a few still in existence. It will soon have a starring role in an important BBC documentary which examines the facts behind polio and its terrible effects on patients and their families. When former BBC TV economics reporter Stephanie Flanders, who narrates the programme, visited the museum it was an emotional personal journey. Her father – Michael – was one half of the famous Flanders and Swann musical comedy act who entertained the nation in the 1950s and 60s with a series of songs including Dr Tim Smith of the medical museum helps Stephanie Flanders into the iron lung during the filming of “The Hippopotamus Song: Mud, Mud, the documentary Glorious Mud”. lung – which had to be specially polio sufferers such as her father. Tragically, during his wartime naval service, constructed to fit his 6ft 4ins frame. Michael Flanders contracted polio. He later During the programme curator of the recalled: “I was lying off Yarmouth, listening Eventually he was discharged – but his polio medical museum, Dr Tim Smith, explains to for e-boats – fortunately I never heard one meant that he could only walk with great Stephanie how the iron lung kept patients – when I started to feel something that was difficulty. -
Animal Songsbestiaries in English, French, & German
Acknowledgments I have had the pleasure of counting John Moriarty Websites: Animal Songs Bestiaries in English, French, & German among my friends for nearly 40 years and wish to Stephen Swanson, baritone thank him for his help in preparing this recording. www.stephenswansonbaritone.com One of the joys of working for a major research David Gompper, piano institution is having colleagues who are willing http://davidgompper.com/ and able to help when my personal expertise will not suffice. Thanks to Downing Thomas for his Producer: Stephen Swanson translations of the Renard poems in this booklet. Recording Engineer: Bruce Gigax —Stephen Swanson Assistant Engineer: Reed Wheeler Recording Location: Audio Recording Ciardi, John, An Alphabestiary, Philadelphia, Studio, Bentleyville, Ohio J. B. Lippincott, 1966. Recording Dates: August 2-4, 2011 Gompper, David, The Animals, Iowa City, Liner Notes: Marilyn Swanson Edzart Music Publications, 2009. Illustrations © 2012 by Claudia McGehee Ravel, Maurice, Songs, 1896-1914, Funded in part by a grant from edited by Arbie Orenstein, New York, Dover, 1990. the Arts & Humanities Initiative Reger, Max, Sämtliche Werke, Band 33, edited by at The University of Iowa, Fritz Stein, Wiesbaden, Breitkopf & Härtel, 1959. The University of Iowa School of Music, The Songs of Michael Flanders & Donald Swann, and The University of Iowa College of London, Elm Tree Books and St George’s Press, 1977. Liberal Arts and Sciences www.albanyrecords.com TROY1365 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label.