DOCSLIB.ORG

Parallel Lives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parallel Lives 40 March 1986 Marxism Today of its own historical logic. This was most PARALLEL LIVES sharply reflected when in 1949, he travelled to Bohemia with a small vocal There is always a certain poignancy - and often a degree of irony - in the future course group and performed the work on the of old friendships. In the case of composers Michael Tippett and Alan Bush, friends empty village site, restoring it to history. and sometime associates since the 1930s, the years have been less than even-handed. It was a very immediate and particular Tippett whose Mask of Time will be performed this month at the Royal Festival Hall, gesture of remembrance that underlined is widely regarded as the most important living English composer; Bush is only now, more than one point about Bush's back­ in his 86th year, receiving his full due of attention. ground and method. He had grown up, In many particulars, they seem an unlikely pair, and it would be forgivably easy to much like Tippett, in a less than orthodox see Tippett as the apolitical opposite to Bush's staunchly ideological line. Yet as middle-class setting. Along with the then Brian Morton and Kenny Mathieson describe below, their careers and their work conventional piano lessons, his parents show a surprisingly consistent outline. had provided a less expected background draws on several at once. His insistence on in spiritualism, which the young Bush a democratic standard, a music that could quickly turned on it,s head: 'In 1934 I be played by amateur groups, has tended became convinced that the facts about life, to put off (far more than political convic­ including human life and about the inorga­ tions would) the professionals who make nic world from stellar galaxies to atoms. the concert bills. were convincingly explained or brilliantly In his early years Bush produced work foretold between the years 1844 and 1896 in the style of the fashionable avant garde, by Karl Marx and Friedrich Engels'. He influenced by the complex a-tonal experi­ joined the Communist party in 1935, by ments of European composers like Arnold way of the ILP and the Labour party. In the following year, he founded the Work­ I owe much, very much, ers' Music Association with whom - and probably my life to the with Tippett's help - he staged both the Pageant of Labour and, later, the Popular glorious Red Army Frontish Pageant of Co-Operation. Schoenberg, who had dispensed with the Tippett has gently accused his friend of old, familiar harmonic scale in favour of a measure of naivety. Certainly some of rigorous mathematical structures. This Bush's positions are in present terms start- was a problem for Bush since it was nec­ lingly uncomplicated by ideological qual­ Alan Bush essarily an elitist, academic style and had ifications: 'I owe much, very much, prob­ Alan Bush has had to wait long for recogni­ to square with his political convictions. ably my life to the glorious Red Army', 'I tion by the musical establishment. The The Dialectic for String Quartet shows that personally rejoice in the foundation of the flurry of attention which marked his 85th he was able in exceptional circumstances to German Democratic Republic'. These, birthday last December - a prestigious overcome these problems but by and large though, are not airy abstractions, nor Queen Elizabeth Hall concert, a Channel 4 he was obliged to look elsewhere, nearer to armchair preferences. Bush (and Tippett, film, two record albums - only served to home, for a music that would express both for all his qualms) saw Stalin's armies as underline the years of relative neglect. his desire for complexity and his political the only reliable bulwark against National Even so, it would be misleading and ideals. Where the 20th century avant garde Socialism; as for the GDR, it was only condescending to paint Bush as merely had wiped the slate clean and started afresh there that Bush was to be able to stage fully another alienated outsider, out of temper with a new palate of sounds Bush turned to his operas, Wat Tyler (1951), Men of with his times and with musical fashion. the popular songs of work and protest that Blackmoor (1956), The Sugar Reapers His relative obscurity - relative certainly to were the staple of working mens and (1966) and Joe Hill (1970). As always, his old friend Michael Tippett - has been womens' choirs. reality and practicality are his measures. in part willed, a direct product of his Tippet's A Child of Our Time about a Since he began to compose in 1915, long-standing political intransigence. Nazi atrocity is widely - and rightly - seen Bush has put opus numbers to over 100 However, for 53 years, Bush was professor as a masterpiece. It draws on a particular works, most of them seldom heard in of composition at the Royal Academy of moment and elevates it into something Britain. The 1949 'Nottingham' sym- Music and thus, by many standards, stood universal (or at least shareable). Bush, in closer to the musical establishment than writing his Lidice for unaccompanied chor­ might seem consistent with his political us three years later, was no less concerned convictions: he has been a lifelong member to register his horror at a modern atrocity, of the CP. this time the expunging of a Bohemian One probable cause of Bush's relative village by the Nazis in reprisal for the isolation has been the lack of any clear assassination of Heydrich. Bush, though, context for performance of his music. It consciously renounces any attempt to aes- fits no obvious category or tradition but theticise the event. He tries to become part March 1986 Marxism Today 41 phony, his second, is a major work that The decade before the war saw Tippett's the perenially recurring search for Tip­ belongs in the repertoire alongside better most directly political involvement in pett: all his subsequent works - notably his known symphonic cities, Paris, Linz, music-making. The only son of a some­ sequence of four great operas The Midsum­ Leningrad. And his Dialectic for string what unconventional middle-class family, mer Marriage (1955), King Priam (1962), quartet of 1929 is unquestionably one of Tippett remembers being part of a politi­ The Knot Garden (1970), and The Ice Break the foremost chamber works of the cen­ cised artistic generation following on the (1977), his Third Symphony (1972), and his tury, perfectly illustrating his conviction great disillusionment of the 1920s, a com­ most recent choral work, The Mask of Time that even non-vocal music can carry its mitment first demonstrated in teaching (1983) - have in one way or another message thematically as well as harmoni­ music at a work-camp for the unemployed returned to this quest for reconcilation, for cally and rhythmically. in Boosbeck, Yorkshire, in 1933, and the possibility of resolution and wholeness Alan Bush's isolation is not that of subsequently at Morley College in South emerging from the polarities and uncer­ extreme stylistic subjectivity, nor, to Bri­ London (he became head in 1940, serving tainties of the world around us. Tippett tain's credit, is it the result of open political until 1951), and as chorus master of the has spoken of his 'endless agnosticism' in censorship. In part, it has been deliberate, choirs of the Royal Arsenal Co-operative the face of these ambiguities, of his inabil­ a function of his unwillingness to com­ Society. In 1937, he contributed a piece ity 'to find satisfaction in the security of a promise on conditions of performance; in called Miners, with text by Judy Wogan, to traditional faith'. part it has been due to his abiding commit­ Bush's pageant of labour at Crystal Palace. In a fundamental sense, Tippett's be­ ment to real events over artistic generali­ A Trotskyite at this time, Tippett brief­ liefs and his musical procedures are iden­ ties. In large part, it has been due to the ly joined the Communist party in 1935, but tical. A wide and voracious reader, he was demanding and complex nature of the quickly left, having failed to convert his particularly influenced by Jung. Tippett's music itself. local group from their Stalinist bent. His commitment to exploring his great body of growing awareness of the path of both images and ideas has given rise to his most fascism and communism as the decade profound and original creations, just as his waned - 'I always knew that both Hitler absorption and remaking of the musical and Stalin were monsters, though one was heritage of Purcell, Beethoven, or Stra­ the enemy and the other was the ally' - led vinsky, blues, jazz or spirituals, has char­ him to drift away from specific political acterised his most significant musical ex­ affiliations, but not from strongly held plorations. It would be inaccurate to see Tippett's I always knew that both abandoment of a doctrinaire political Hitler and Stalin were stance in the late 1930s as a renunciation of the political realities of the outside world. monsters, though one was As a composer and librettist, as well as a the enemy and the other discursive writer, Tippett has continued to was the ally face up to those realities, seeking a solution within a vaster, more complex philo­ convictions. Tippett joined the Peace sophical framework than any political or Pledge Union in 1940 (and has been its religious commitment could subsume. chairperson since 1957); a passionately Where, as in The Vision of St. Augustine convinced pacifist. As a conscientious ob­ (1966), he has stood back from that social jector he was imprisoned for two months in and political ferment, it has been knowing­ Michael Tippett 1943.
Load more

Recommended publications
  • CHAN 10110 BOOK.Qxd 20/4/07 4:19 Pm Page 2
    CHAN 10110 Front.qxd 20/4/07 4:19 pm Page 1 CHAN X10110 CHANDOS CLASSICS CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 2 John Ireland (1879–1962) 1 Vexilla Regis (Hymn for Passion Sunday)* 11:54 2 Greater Love Hath No Man† 6:51 3 These Things Shall Be‡ 22:12 Lebrecht Collection Lebrecht 4 A London Overture 13:36 5 The Holy Boy (A Carol of the Nativity) 2:43 6 Epic March 9:13 TT 67:11 Paula Bott soprano*† Teresa Shaw contralto* James Oxley tenor* Bryn Terfel bass-baritone*†‡ Roderick Elms organ* London Symphony Chorus*†‡ John Ireland London Symphony Orchestra Richard Hickox 3 CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 4 and Friday before Easter – and what we cannot sketch was ready during April. Ireland Ireland: Orchestral and Choral Works have – the ceremonies on the Saturday before remarked that he felt the words were ‘an Easter as practised by the Roman Church – expression of British national feeling at the something absolutely agelong & from present time’. In fact he had earlier made a John Nicholson Ireland was born near nineteen-year-old Ireland was then still a everlasting – the rekindling of Fire – Lumen quite different setting of these words for Manchester and spent most of his life in student of Stanford’s, and was assistant Christi. The Motherland Song Book published in London, though with interludes in the Channel organist at Holy Trinity Church, Sloane Square, 1919. The composer made a few adjustments Islands and Sussex. His was a life of restricted London.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. 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/25924/ 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] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • Durham E-Theses
    Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain.
    [Show full text]
  • Information to Users
    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • Or.K's a JOURNAL for the CONTE MPORARY WIND BAND
    or.k's A JOURNAL FOR THE CONTE MPORARY WIND BAND ISSUE 3 FALL 1999 CONTENTS Defining the Wind Band Sound WIND LIBRARY by Donald Hunsberger ... page 1 Fantasy Variations Tracing wind band development through by Donald Grantham .. page 20 American brass bands of the 1800s A prize-winning set of variations on a popular Gershwin composition CONVERSATIONS Dancin ' into the '20s A Talk with Timothy Reynish ... page 14 by Reeg, Scates, Herbert, and Levy ... page 22 Conductor and educator Reynish reflects on the A lively group of dance tunes from the early days wind band movement in England and abroad. ofthe 1900s INSIGHTS My Robin is to the Greenwood Gone Gershwin s Rhapsody in Blue by Percy Grainger ... page 2 4 by Thomas Verrier ... page 31 A new wind setting from Fred Sturm for this A detailed narrative on its evolution in scoring pastoral delight Concerto for Trumpet in E-jlat Major, Hob VIle: 1 INNOVATIONS by Franz Joseph Haydn ... page 26 Music Meets Technology ... page 30 The newest work from the Classical Wind Band Parts on CD-ROM point the way to the future! Accompaniment Project. DEFINING THE WIND BAND SOUND WIND SCORING IN AMERICA 1830-1890: THE BRASS BAND ERA BY DONALD HUNSBERGER During the nineteenth century, English military bands grew in a common heritage or of long-standing traditions. England and size and instrumentation through the stabilizing influence of pub­ various other countries in Europe were fairly homogeneous soci­ lished military band journals. Balanced instrumental family sec­ eties with long histories, but the new American population was, tions, along with logical scoring patterns, resulted in an emerging from its earliest days, a mix of national and ethnic backgrounds, repertoire that satisfied the military, social, and musical demands a land that accepted from its immigrants the benefit of their pre­ made of the wind band, especially during the second half of the vious experience and knowledge.
    [Show full text]
  • SCRSS Digest Autumn 2014
    Digest Autumn 2014 £1.00 Civil War in 1920. This article stated, very Contents directly, the essence of the Leninist approach to the First World War. It hints at “We value and love life too much”: Lenin, how central the war was to the evolution of Russian Revolution & Violence of WWI 1 Leninism as a revolutionary ideology and to SCRSS News 4 its continued relevance in Bolshevik Soviet Memorial Trust Fund News 9 discussions after the October Revolution in UK–Russian Relations: Through the 1917. In fact, the war was not just the British Library Looking Glass 9 context but, to a large extent, the Conference Report 12 justification for the October Revolution. Reviews 13 Feature “We value and love life too much”: Lenin, the Russian Revolution and the Violence of the First World War By Dr James Ryan In September 1918, during a short-lived period of official and very deadly Red Terror implemented by the Soviet political police, the Cheka, an article in the official Cheka journal justified the violence of the Soviet state in striking terms. Instead of the “many millions of class murders in the war”, instead of the “slow systematic sucking dry of the Vladimir Ilyich Lenin (SCRSS Library) blood of the working people by the web of capitalism in the interest of the ruling It is worth stressing this in 2014 as we minority […] we have set about merciless commemorate the anniversary of the war. struggle” against the enemies of the people. For too long Russia’s involvement in the war This would be a truly humanist terror, has been marginalised or forgotten, both in because “we value and love life too much – the West and in Russia itself.
    [Show full text]
  • Proselytizing the Prague Manifesto in Britain: the Commissioning, Conception, and Musical Language of Alan Bush’S “Ottingham” Symphony
    Proselytizing the Prague Manifesto in Britain: The Commissioning, Conception, and Musical Language of Alan Bush’s “ottingham” Symphony JULIE WATERS In 1949 the City of Nottingham held a week of celebrations commemorating the quincentenary of its Royal Charter of Freedom. A musical centerpiece of the celebrations was the premiere of Alan Bush’s Second Symphony, the “Nottingham.” Commissioned by the Nottingham Co-operative Society (NCS), a trading organization associated with the labour movement, the symphony was first performed on June 27 in the city’s Albert Hall by the London Philharmonic Orchestra. 1 The symphony was dedicated to the people of Nottingham and a bound copy of the score was presented to the Lord Mayor. Bush’s early reputation had been gained as the composer of difficult and complex works influenced by central European musical idioms, but after World War II he had become increasingly interested in making his music more accessible and national in character. 2 By June 1949 he had composed two concertos, two symphonies, and much orchestral, chamber, and vocal music. He was actively engaged in British musical life as composition teacher (Professor at the Royal Academy of Music), pianist, conductor, examiner, writer, and committee member of numerous British musical organizations, including the Composers’ Guild and British Council Music Advisory Committee. He was also a committed Marxist and member of the British Communist Party; his involvement in a wide range of left-wing musical activities included conducting workers’ choirs, organizing and composing for workers’ pageants, and establishing the Workers’ Musical Association (WMA). 3 The ottingham Symphony was the first major orchestral work Bush wrote after attending the Second International Congress of Composers and Musicologists in Prague in May 1948 (Prague Congress).
    [Show full text]
  • Gregson: the Manchester Years (1996– 2013)
    Gregson: The Manchester Years (1996– 2013) PAUL HINDMARSH WHEN EDWARD GREGSON was appointed principal of the Royal Northern College of Music in 1996, I was not alone in wondering if such a demanding position would interrupt the steady stream of new works that had flowed from his pen during his years at Goldsmiths’ College. In fact, rather than stemming the flow, Gregson’s move to Manchester and the heart of the city’s musical life created fresh opportunities. Time was clearly at a premium, but what was available for composing was used wisely. The creative spine was provided by a continuing series of concertos and a productive return to the brass band medium after a number of years ‘away’. I will be exploring the principal characteristics of major works from this period, focusing particularly on the ways in which Gregson weaves stylistic and personal tributes into his musical fabric. In 1994, as a serendipitous prelude to his Manchester years, Greg- son received his first major commission from the BBC Philharmonic. Although he has since described the resulting Clarinet Concerto as a ‘break-through’ piece, his life-long fascination for the concerto genre began in his youth: ‘Some of the earliest musical memories that I can recall are listening to piano concertos for the first time, I must have been about 12 and I fell in love with them – all the way from Mozart to Brahms, via Rachmaninov to Bartók’.1 Having been brought up in a Salvationist family, it was inevitable that the brilliant sound of the British brass band should also play an important part in his composing career: ‘Throughout my teens I was living in a parallel universe of musical experiences – on the one hand playing music by some fine brass band composers and on the other being absorbed in the music of the 20th-century mainstream.’ Listening to early works like the prize-winning Brass Quintet, composed as a student of Alan Bush at the Royal Academy of Music, 1 All quotations are derived from conversations with the composer recorded between 2002 and May 2013.
    [Show full text]
  • Reflections of a Broken Love in Michael Tippett's a Child of Our Time
    DANYEL GILGAN - ARTICLE - Reflections of a Broken Love in Michael Tippett’s A Child of Our Time (1941) Danyel Gilgan Independent Introduction Much has been written about Michael Tippett’s oratorio, A Child of Our Time;1 its themes and narratives have been explored by scholars since its premiere in 1944 at the Adelphi Theatre in London. The work is widely understood to be inspired by the case of Herschel Grynszpan, a Jewish refugee who assassinated a Nazi official after learning that his family were to be deported from Germany and that they were to be dispossessed of their property. Grynszpan’s act triggered Kristallnacht, the antisemitic pogrom of November 1938. A Child of Our Time carries a message of solidarity with the oppressed. In addition, it underlines the composer’s pacifist inclinations and, by highlighting the dark and light sides of human nature, reflects Tippett’s interest in Jungian psychoanalysis. In my recent book—which chronicles the life of my grandfather, the artist Wilfred Franks—I explore his relationship with and the impact he had on Michael Tippett.2 This article aims to introduce some perspectives not explored even in the most recent of literature related to Tippett, particularly how Tippett’s life and work were influenced by his relationship with Franks, and how these influences come to be effected even in A Child of Our Time. This article focuses on three aspects of Franks and Tippett’s relationship that are realised in the oratorio: first, the love relationship’s bitter end which inspired Tippett to delve into the Jungian dream analysis that would appear in the libretto; second, that Franks’ enthusiasm for the poems of Wilfred Owen may have influenced Tippett to include them as part of the work’s text; and third – how, inspired in part by Franks, Tippett’s political thinking in the 1930s and his 31 ARTICLE │ REFLECTIONS OF A BROKEN LOVE IN MICHAEL TIPPETT’S A CHILD OF OUR TIME (1941) compassion for oppressed Trotskyist ‘comrades in distress’ would find its way into the piece.
    [Show full text]
  • Alan Bush, Modern Music, and the Cold War: the Cultural Left in Britain and the Communist Bloc Cambridge, Cambridge University Press, 2017
    Transposition Musique et Sciences Sociales 7 | 2018 Le prix de la musique Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc Cambridge, Cambridge University Press, 2017. Pete Dale Electronic version URL: http://journals.openedition.org/transposition/2215 DOI: 10.4000/transposition.2215 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Pete Dale, « Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc », Transposition [Online], 7 | 2018, Online since 15 September 2018, connection on 23 September 2020. URL : http://journals.openedition.org/transposition/2215 ; DOI : https://doi.org/ 10.4000/transposition.2215 This text was automatically generated on 23 September 2020. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Lef... 1 Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc Cambridge, Cambridge University Press, 2017. Pete Dale REFERENCES Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc, Cambridge, Cambridge University Press, 2017. 1 Radical politics and radical aesthetics: how closely are they linked? This question is spectral to Joanna Bullivant’s excellent book
    [Show full text]
  • Bedales Association & Old Bedalian Newsletter 2015
    BEDALES ASSOCIATION and OLD BEDALIAN BEDALES ASSOCIATIONNEWSLETTER 2013 & OLD BEDALIAN NEWSLETTER 2015 CONTENTS Below, Bedales Rock Show, 2015 Welcome 2 Head’s Reflections 3 Rediscovering Community 6 OB Events 8 Edward Thomas 14 Reunions 16 John Haden Badley Society 17 A Good Habit Forming 18 OB Profiles 19 Art & Design News 24 Leading Art & Design 26 Bedales Arts 2015 28 Lest We Forget 29 Staff Profiles 30 News in Brief 34 Obituaries 41 Alan G Bush 41 David Cecil Butcher 42 Sholto Hamilton Georgeson 46 Joanna Dunham 47 Kenny Geer 48 Louisa Frederika Davis 48 Matthew Quantrill 49 Roger Lloyd Pack 50 Tamsin Donaldson (née Procter) 51 Births, Engagements, Marriages, Deaths 52 Recent Degree Results and Destinations of Leavers 54 Contents 1 WELCOME HEAD’S REFLECTIONS ON 2014 about to descend – especially when I learnt that To Members of the their short notice visit to inspect all three schools Bedales Association (for educational and boarding health) was to be in the final week of the Spring Term which is, let’s BEDALES be candid, a somewhat bleary-eyed time in the scholastic cycle. ASSOCIATION AGM It was therefore a real delight to see that, hoorah, they quickly “got” the place, deeming us Notice is hereby given of the 32nd “excellent” in all of the main student-facing areas. Annual General Meeting of the In previous inspections we have gained the top Bedales Association to be held at grade in all the pastoral categories but inspectors have been reluctant to give us the same accolade Bedales School on in teaching and learning; this time we achieved Sunday 28 June 2015 those accolades in all three schools with some unusually warm and colourful words like “love” The details are as follows: and “inspirational” managing to sneak through the clammy grasp of the civil servant editor.
    [Show full text]
  • RVW Final.Ps - 6/21/2005 13:40 PM
    1-28.ps - 6/21/2005 2:17 PM Journal of the No.33 June 2005 EDITOR RVW William Hedley Society Albion Records plans four CDs In this issue... The RVW Society is to go ahead with its own CD label called Albion Records. A dedicated fund has been set up to support this exciting venture and money has been provided by The VW and Religion: Garland Appeal to get things going. Our first recording project will be the complete songs of Ralph Vaughan Williams ● John Barr on Religion Over 100 songs will be included in the four CDs and they will be grouped as follows: page 2 Songs from the Operas ● Byron Adams on Religion Youth and Beauty – The early years Songs of Romance and Nobility page 4 Songs of Maturity ● RVW: What might have been There will be many world premiere recordings in these CDs including Willow Wood, for baritone by Colin Lees and piano – this work was recently recorded by Roderick Williams and conducted by David Lloyd- Jones in the orchestral version for Naxos. The Dirge for Fidele will be recorded in the original page 10 version for two mezzo-sopranos. Some of the early Tennyson songs will also be world premieres. ● A “Desert Island” List Do but look on her eyes We will launch our CD project with the Songs from the Operas. This includes: by Jeffrey Davis Page 15 Ten songs from Hugh the Drover Two songs from Sir John in Love Seven songs from The Pilgrim’s Progress and more . Eleven of these songs will be world premiere recordings in this format.
    [Show full text]