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Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
80Th Birthday Concert for Hugh Wood
80th Birthday Concert for Hugh Wood Friday 26 October 2012 The Recital Room Churchill College, Cambridge 1. Air from the third orchestral suite Johann Sebastian Bach BWV 1068 (1685–1750) arr. N Cherniavsky 2. Paraphrase on ‘Bird of Paradise’ Hugh Wood (b.1932) Op 26 3. Concerto for four violins Georg Philipp Telemann in C major TWV 40:203 (1681–1767) arr. Werner Thomas-Mifune Adagio; Grave; Allegro 4. The Glove (Der Handschuh) Graham Waterhouse on a ballad by Friedrich Schiller (b.1962) 5. Pieces for cello and piano Gabriel Fauré (1845–1924) Romance, Op 69 Papillon, Op 77 Après un rêve, Op 7 no 1 — short interval — 6. Trio in A minor, Op 114 Johannes Brahms (1833–1897) Allegro; Adagio; Andante grazioso; Allegro Hugh Wood Hugh Wood was born at Parbold, Lancashire, on 27 June 1932. His mother was a pianist, and music was an active force in his early life. After military service in Egypt, he read History at New College, Oxford, where he dedicated much of his time to composing for the theatre. In 1954, he began to study composition with William Lloyd Webber and Mátyás Seiber amongst others. He taught music at Morley College (1958–67), the Royal Academy of Music (1962–75), Glasgow (1966–70) and Liverpool (1971–75) Universities, and finally Cambridge (1976–99), where he was a Fellow and Director of Studies in Music at Churchill. He is a well-known broadcaster and writer on music, especially as a polemicist against hack criticism, and an apologist for music that he admires. A book of Hugh’s collected writings, Staking out the Territory, was published in 2008. -
KARL HAGEDORN Rhythmical Expressions This Catalogue Is Published on the Occasion of the Exhibition
KARL HAGEDORN Rhythmical Expressions This catalogue is published on the occasion of the exhibition: Karl Hagedorn (1889-1969) Rhythmical Expressions Pallant House Gallery 9 North Pallant Chichester West Sussex PO19 1TJ 15 September 2018 – 3 February 2019 The Ambulatory Mercers' Hall, Ironmonger Lane, London EC2V 8HE 1 April – 26 May 2019 Karl Hagedorn (1889-1969) Rhythmical Expressions Edited by Sacha Llewellyn & Paul Liss A collaboration between Liss Llewellyn, Pallant House Gallery & The Mercers' Company FIG. 1 – Karl Hagedorn in his studio, 1912-13. Contents Foreword / Simon Martin 7 Karl Hagedorn / Alistair Smith 11 The British Avant-Garde: from 'Art-Quake' to Armistice / Richard Cork 37 CATALOGUE I From 'Art-Quake' to Armistice 49 II A Return to Order 63 III Portraits & Self-Portraits 73 IV Design 85 V Nations & Continents 97 Chronology / Maude Llewellyn 108 Foreword In the history of Modern British art Karl Hagedorn presents a conundrum. If one mentions his name to most people it draws little recognition, unless they are an art dealer or an art historian – although, even then, it will more-often-than-not draw a blank. Perhaps the most intriguing response to his name was itself a question: ‘Was he not the illegitimate son of the Kaiser?’ In a way, this question (whether or not the answer is as sensational as it might be) identifies one of the central problems with Hagedorn: everything about him and his work seems not to fit with the British context in which he found himself in the early twentieth-century. Aside from the question of his possible paternity, to be from Germany whilst living in Britain between 1914- 18 would not have made for an easy life of welcoming acceptance, although he did indeed volunteer to serve on the side of his adopted country against his country of birth. -
The Interwar Years,1930S
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Front Matter
Cambridge University Press 978-0-521-19580-5 - London, Modernism, and 1914 Edited by Michael J. K. Walsh Frontmatter More information LONDON, MODERNISM, AND 1914 The outbreak of the First World War coincided with the beginnings of high modernism in literature and the visual arts, making 1914 a pivotal moment in cultural as in national history. Yeats, Lewis, Gaudier- Brzeska, Sickert, Epstein and many other avant-garde artists and writers were at work in London during 1914, responding to urgent political as well as aesthetic problems. London was the setting for key exhibitions of high modernist paintings and sculptures, and home to a number of important movements: the Bloomsbury Group, the Whitechapel Boys and the Vorticists among them. These original essays collectively portray a dynamic, remarkable year in the city’s art world, whose creative tensions and conflicts were rocked by the declaration of war. A bold, innovative account of the time and place that formed the genesis of modernism, this book suggests new routes through the fields of modernist art and literature. michael j. k. walsh is Associate Professor of Art History at the Eastern Mediterranean University, northern Cyprus. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19580-5 - London, Modernism, and 1914 Edited by Michael J. K. Walsh Frontmatter More information LONDON, MODERNISM, AND 1914 edited by MICHAEL J. K. WALSH © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19580-5 - London, Modernism, and 1914 Edited by Michael J. K. Walsh Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo Cambridge University Press The Edinburgh Building, Cambridge cb28ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521195805 © Cambridge University Press 2010 This publication is in copyright. -
Argunov 40-49
ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ МЕЖДУНАРОДНАЯ ПАНОРАМА Фисун Гюнер Вортицизм: Видение городского апокалипсиса Действительно ли вортицизм (от vortex – вихрь), это малоизвестное британское авангар- дное течение, просуществовавшее совсем недолго во втором десятилетии ХХ века, заслу- жил масштабную выставку «Вортицисты: Манифест современного мира», проводившуюся в лондонской галерее Тейт Бритэйн с 14 июня по 4 сентября 2011 года? В самом деле, вор- тицизм был наиболее ранним из всех радикальных художественных течений в Великобри- тании, но после Первой мировой войны ему уже не придавали особого значения, и на целые десятилетия он оказался почти забытым. Лишь в начале 1950-х годов английский художе- ственный критик Херберт Рид в своем фундаментальном труде «Современное британское искусство» впервые отдал должное радикализму в искусстве Британии. Публикация этой книги подтолкнула галерею Тейт к проведению в 1956 году выставки, посвященной в ос- новном одному из участников этого течения – Уиндхэму Льюису. Неуживчивый и раздра- жительный Льюис был представлен как лидер движения (как, впрочем, и в книге Рида). В ре- зультате возник интерес и к нему, и к авангардным кругам. 3 о даже тогда это течение вряд ли фест современного мира». Значитель- стайн, так и не подписали Манифест Джейкоб ЭПСТАЙН Нбыло замечено за пределами Лон- ную часть экспозиции составили архив- вортицизма, а Эпстайн так и вовсе дис- Буровая машина 1913–1915 дона. На международной арене его ные материалы: письма, документы, фо- танцировался от движения. (Реконструкция, участникам трудно было соперничать с тографии, тексты. Из художественных Кроме перечисленного, надо отме- 1973) популярностью их современников- произведений удалось собрать лишь тить и еще один парадокс. Это течение Синтетическая смола, металл, дерево европейцев, представлявших кубизм, те, которые были показаны на двух считают исключительно британским. -
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 Q-Z PRIAULX RAINIER (1903-1986) Born in Howick, Natal, South Africa. She sudied violin at the South African College of Music in Capetown and later in London at the Royal Academy of Music. At the latter school she also studied composition with John McEwen and subsequently joined its staff as a professor of composition. In Paris she was also taught by Nadia Boulanger. Among her other orchestral works are a Sinfonia da Camera, Violin Concerto and a Dance Concerto "Phala-Phala." Cello Concerto (1963-4) Jacqueline du Pré (cello)/Norman del Mar/BBC Symphony Orchestra (rec. 1964) ( + Elgar: Cello Concerto and Rubbra: Cello Sonata) BBC LEGENDS BBCL 42442 (2008) THOMAS RAJNA (b. 1928) Born in Budapest. He studied at the Franz Liszt Academy under Zoltan Kódaly, Sándor Veress and Leó Weiner. He went to London in 1947 where he studied at the Royal College of Music with Herbert Howells and later on had teaching position at the Guildhall School of Music and the University of Surrey. In 1970 he relocated to South Africa to accept a position at the University of Cape Town. He became a well- known concert pianist and composed for orchestra, chamber groups and voice. For orchestra there is also a Clarinet Rhapsody and a Suite for Strings. Piano Concerto No. 1 (1960-2) Thomas Rajna (piano)/Edgar Cree/South African Broadcasting Corporation Symphony Orchestra (rec. 1974) ( + 11 Preludes and Capriccio) AMARANTHA RECORDS 014 (2001) (original LP release: CLAREMONT GSE 602) (1985) Piano Concerto No. -
HUGH WOOD DISC ONE DISC TWO HUGH WOOD (B.1932) PRIAULX RAINIER (1903-1986) String Quartets 1 &2 String Quartet No
SRCD.304 STEREO ADD HUGH WOOD DISC ONE DISC TWO HUGH WOOD (b.1932) PRIAULX RAINIER (1903-1986) STRING QUARTETS 1 &2 String Quartet No. 1 Op. 4 (1962) * (16’37”) 1 Quanta (1962) *** (12’29”) THE RIDER VICTORY 1 1st Movement: Introduzione: attacca (3’08”) 2 String Trio (1966) *** (15’18”) nd 2 2 Movement: - Scherzo and Trio (3’44”) LENNOX BERKELEY (1903 -1989) THE HORSES rd 3 3 Movement: Adagietto (2’56”) 3 Duo for cello & piano Op. 18 part 1 (1971) **** (5’56”) th 4 4 Movement: Finale (6’49”) Dartington String Quartet (1920 -1990) 5 String Quartet No. 2 Op.13 (1970) * (13’38”) PETER RACINE FRICKER Sonata for cello & piano Op. 28 (1956) **** (15’47”) The Horses Op. 10 (1967) ** (10’46”) April Cantelo & Paul Hamburger 4 1st Movement: Fiery & Passionate (3’14”) To poems by Ted Hughes 5 2nd Movement: Slow (5’01”) 6 1. The Horses (6’28”) 6 3rd Movement: Very Fast (3’00”) 7 2. Pennines in April (1’23”) 7 4th Movement: Quietly & Steadily (4’32”) 8 3. September (2’55”) FRICKER The Rider Victory Op. 11 (1968) ** (8’31”) MARTIN DALBY (b. 1942) To poems by Edwin Muir 8 Variations for cello & piano (1966) **** (8’45”) BERKELEY 9 1. The Rider Victory (1’17”) JOHN McCABE (b.1939) 10 2. Sorrow (2’19”) 9 Partita for Solo Cello (1966) **** (15’45”) DALBY 11 3. The Bird (1’21”) Theme (1’04”), Marcia Giocosa (1’21”), Aria (2’30”) 12 4. The Confirmation (3’34”) Reprise (0’50”), Jig (1’30”), Canons (3’05”) (49’38) Marcia Funèbre (3’12”), Finale (2’13”) (74’10”) McCABE * Dartington String Quartet *** London Oboe Quartet Colin Sauer & Malcolm Latchem, violins Janet Craxton, oboe Perry Hart, violin RAINIER Keith Lovell, viola Michael Evans, cello Brian Hawkins, viola Kenneth Heath, cello ** April Cantelo, soprano **** Julian Lloyd Webber, cello Julian Lloyd Webber Paul Hamburger, piano John McCabe, piano John McCabe The above individual timings will normally each include two pauses. -
The King's Alchemist
THE KING’S ALCHEMIST: BRITISH STRING TRIOS Finzi | Wood | Beamish | Moeran EBLANA STRING TRIO THE KING’S ALCHEMIST: BRITISH STRING TRIOS The sheer wealth of string trio repertoire by British composers Finzi | Wood | Beamish | Moeran made programming this album a real challenge! In the end, we chose to record four works that we love, and that we feel both GERALD FINZI (1901–1956) SALLY BEAMISH (b. 1956) complement and illuminate each other. Although diverse in style Prelude and Fugue for string trio, The King’s Alchemist* 10:45 Op. 24 8:45 4. I. Cantus 2:51 and substance, the four works are bound together by the common 1. Prelude: Lento 3:40 5. II. Aquam Vitae 2:08 strands of vivid storytelling and a shared musical language. 2. Fugue: Poco più mosso, 6. III. Pavane 3:08 ma non troppo 5:05 7. IV. Avis Hominis 2:38 The works by Finzi and Moeran are very close to our hearts, having HUGH WOOD (b. 1932) ERNEST JOHN MOERAN been with us since the very beginning of our journey as a trio. 3. Ithaka, Op. 61* 9:40 (1894–1950) We’re also excited to have made the world premiere recordings of String Trio in G major, R.59 21:07 8. I. Allegretto giovale 8:26 two incredible works by Sally Beamish and Hugh Wood. 9. II. Adagio 4:38 10. III. Molto vivace – Lento sostenuto 3:02 We are indebted to Mark Hartt-Palmer at Willowhayne Records 11. IV. Andante grazioso – Presto 5:01 and City Music Foundation, without whom this album would Total time: 50:17 not have been possible. -
Casting Spells: the Vortex and the Absence of a British Avant-Garde
Casting Spells: The Vortex and the Absence of a British Avant-garde ________ Owen Hatherley SOME BLEAK CIRCUS, UNCOVERED, CAREFULLY-CHOSEN, VIVID NIGHT. IT IS PACKED WITH POSTERITY, SILENT AND EXPECTANT. POSTERITY IS SILENT, LIKE THE DEAD, AND MORE PATHETIC. Wyndham Lewis, Enemy of the Stars (1914) ( B1 51) 1929, London, capital of the Union of British Socialist Republics (U.B.S.R.). A decade after the end of a short and brutal Civil War, and fourteen years after the British Expeditionary Force was driven out of Europe by General Ludendorff’s victorious offensive. The capital of a devastated country, denuded of its Empire but now tentatively regaining some of its former prominence as the most industrially powerful of the Socialist Republics that now make up half of Europe. Trade between them is difficult, with the Baltic Sea cut off by the vast German Empire, its trade embargo assisted by the anti-communist United States. At the turn of the 1930s, the U.B.S.R. is starting to construct new cities. This is not happening without controversy. Through much of the country, pastoral garden cities are rising from the ruins, the towns destroyed first by Zeppelin raids and then by the Black and Tans. New towns like Connolly outside Dublin, Maxtonburgh in Strathclyde, or Morristown in Hertfordshire have been planned by Raymond Unwin using local materials, craftsmanship, and winding streets, to the splenetic derision of the Vorticist International. Based in London, Glasgow, Newcastle, and Leeds, but with corresponding branches in Budapest, Warsaw, Moscow, and Leningrad, this group has the ear of the more enlightened commissars of the U.B.S.R.’s four constituent republics. -
Modern British and Irish Art New Bond Street, London | 18 November 2020
Modern British and Irish Art New Bond Street, London | 18 November 2020 Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Modern British and Irish Art New Bond Street, London | Wednesday 18 November 2020 at 3pm VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION Friday 13 November London IMPORTANT NOTICE OF LOTS IN THIS AUCTION 10am to 5pm Matthew Bradbury Please note that all customers, PLEASE NOTE THAT THERE IS NO +44 (0) 20 7468 8295 irrespective of any previous activity REFERENCE IN THIS CATALOGUE Saturday 14 November with Bonhams, are required to 11am to 5pm [email protected] TO THE PHYSICAL CONDITION OF complete the Bidder Registration ANY LOT. INTENDING BIDDERS Sunday 15 November Christopher Dawson Form in advance of the sale. The MUST SATISFY THEMSELVES AS 11am to 5pm +44 (0) 20 7468 8296 form can be found at the back of TO THE CONDITION OF ANY LOT Monday 16 November [email protected] every catalogue and on our website AS SPECIFIED IN CLAUSE 14 OF 10am to 5pm at www. bonhams.com and should THE NOTICE TO BIDDERS be returned by email or post to the Tuesday 17 November Ingram Reid CONTAINED AT THE END OF THIS specialist department or to the bids 10am to 5pm +44 20 7468 8297 CATALOGUE. [email protected] department at [email protected] Wednesday 18 November As a courtesy to intending bidders, 10am to 1pm James Flower To bid live online and / or leave Bonhams will provide a written +44 20 7468 5862 internet bids please go to Indication of the physical condition Viewing by appointment [email protected] www.bonhams.com/auctions/25853 of lots in this sale if a request is recommended. -
British and Commonwealth Symphonies from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH SYMPHONIES FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Composers H-Z PATRICK HADLEY (1899-1973) Born in Cambridge. He studied there with Cyril Rootham and Charles Wood and then at the Royal College of Music with Vaughan Williams and R.O. Morris. He taught at Cambridge and composed mostly vocal music. "The Trees so High" is essentially a symphony with a vocal finale. He wrote a few short works for orchestra of which only "One Morning in Spring" has been published and recorded. The Trees So High (Symphonic Ballad in A minor) (1931) Matthias Bamert/David Wilson-Johnson (baritone), Philharmonia Chorus/Philharmonia Orchestra ( + Philip Sainton: The Island) CHANDOS CHAN 9181 (1993) Vernon Handley/Thomas Allen (baritone), Guildford Philharmonic Choir/Philharmonia Orchestra ( + Finzi: Intimations of Immortality) LYRITA SRCD.238 (2007) (original LP release: LYRITA SRCS.106) (1979) IAIN HAMILTON (1922-2000) Born in Glasgow but brought up in London. After some informal musical training he began studying piano and composition when he was 25 years of age at the Royal Academy of Music with Harold Craxton and William Alwyn. He held teaching positions at Morley College in London and then at Duke University in North Carolina. He composed a vast amount of music in practically all genres. He wrote 4 numbered Symphonies: No. 1, Op. 3 (1948), No. 2, Op. 10 (1951), No. 3 in G major "Spring" (1981) and No. 4 in B major (1981). His orchestral catalogue also includes a Sinfonia Concertante for Violin, Viola and Chamber Orchestra (1989), 2 Piano Concertos, 2 Violin Concertos, Clarinet Concerto and Symphonic Variations.