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BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Family Tree Maker
Descendants of Robert Squire Generation No. 1 1. ROBERT1 SQUIRE was born Abt. 1650 in St Giles in the Wood, Devon, England, and died 26 Nov 1702 in St Giles in the Wood, Devon, England. He married MARY. She died 24 Oct 1701 in St Giles in the Wood, Devon, England. Child of ROBERT SQUIRE and MARY is: 2. i. FRANCIS2 SQUIRE, b. 1670, St Giles in the Wood, Devon, England. Generation No. 2 2. FRANCIS2 SQUIRE (ROBERT1) was born 1670 in St Giles in the Wood, Devon, England. He married (1) MARGARET TROWING 17 May 1694 in St Giles in the Wood, Devon, England. She was born Abt. 1670 in St Giles in the Wood, Devon, England, and died Jun 1700 in St Giles in the Wood, Devon, England. He married (2) ESTER GEATON 06 Jan 1703 in St Giles in the Wood, Devon, England. She was born 1676 in St Giles in the Wood, and died 1750 in St Giles in the Wood, Devon, England. More About FRANCIS SQUIRE: Baptism: 18 Oct 1670, St Giles in the Wood, Devon, England Notes for MARGARET TROWING: Name could be Margaret Crowling. More About FRANCIS SQUIRE and MARGARET TROWING: Marriage: 17 May 1694, St Giles in the Wood, Devon, England More About ESTER GEATON: Baptism: 21 May 1676, St Giles in the Wood Burial: 24 Apr 1750, St Giles in the Wood, Devon, England More About FRANCIS SQUIRE and ESTER GEATON: Marriage: 06 Jan 1703, St Giles in the Wood, Devon, England Children of FRANCIS SQUIRE and MARGARET TROWING are: i. -
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. -
Sir Hamilton Harty Music Collection
MS14 Harty Collection About the collection: This is a collection of holograph manuscripts of the composer and conductor, Sir Hamilton Harty (1879-1941) featuring full and part scores to a range of orchestral and choral pieces composed or arranged by Harty, c 1900-1939. Included in the collection are arrangements of Handel and Berlioz, whose performances of which Harty was most noted, and autograph manuscripts approx. 48 original works including ‘Symphony in D (Irish)’ (1915), ‘The Children of Lir’ (c 1939), ‘In Ireland, A Fantasy for flute, harp and small orchestra’ and ‘Quartet in F for 2 violins, viola and ‘cello’ for which he won the Feis Ceoil prize in 1900. The collection also contains an incomplete autobiographical memoir, letters, telegrams, photographs and various typescript copies of lectures and articles by Harty on Berlioz and piano accompaniment, c 1926 – c 1936. Also included is a set of 5 scrapbooks containing cuttings from newspapers and periodicals, letters, photographs, autographs etc. by or relating to Harty. Some published material is also included: Performance Sets (Appendix1), Harty Songs (MS14/11). The Harty Collection was donated to the library by Harty’s personal secretary and intimate friend Olive Baguley in 1946. She was the executer of his possessions after his death. In 1960 she received an honorary degree from Queen’s (Master of Arts) in recognition of her commitment to Harty, his legacy, and her assignment of his belongings to the university. The original listing was compiled in various stages by Declan Plumber -
Morning Line 11.3.14.Pdf
SUNDAY, NOVEMBER 2, 2014 DAMON WINTER / NEW YORK TIMES Page 1 of 4 DAMON WINTER / NEW YORK TIMES Bradley Cooper at the Booth Theater. Page 2 of 4 T. CHARLES ERICKSON JOAN MARCUS . KEITH BERNSTEIN . Page 3 of 4 Page 4 of 4 November 1, 2014 From Month to Month, in a Work of the Eerie and the Oddball ‘October in the Chair and Other Fragile Things’ By Alexis Soloski A sad tale’s best for winter, Shakespeare tells us. So what’s the right kind of story for this time of year? A spooky one, of course. Old Sound Room, a young company built by recent Yale School of Drama graduates, has five on offer. In “October in the Chair and Other Fragile Things,” an enjoyably eerie if overwrought piece, the ensemble adapts yarns plucked from “Fragile Things,” a collection of miscellany by the fantasy writer Neil Gaiman. On a set bedecked with cobwebs and dead trees, five performers (including the director, Michael McQuilken) play various months of the year. Wearing ragtag clothes and the sort of stage makeup that resembles a wasting disease, they take turns telling anecdotes and legends. (What of the other seven months? I guess it’s a very short year.) August offers a standard-issue chiller; February, a sad romance; May, a metafictional jumble; March, a bit of faux-Victoriana; and October, an early version of Mr. Gaiman’s much-loved “The Graveyard Book.” Much of this is in the story theater vein, with the months narrating the characters’ actions. Mr. Gaiman has a restless, playful intelligence and a fan boy’s devotion to oddball genre, and the performances are deft and spirited. -
Justin Solomon 1 Deconstructing the Definitive Recording: Elgar's Cello Concerto and the Influence of Jacqueline Du Pré Accou
Justin Solomon 1 Deconstructing the Definitive Recording: Elgar’s Cello Concerto and the Influence of Jacqueline du Pré Accounts of Jacqueline du Pré’s 1965 recording session for the Elgar Cello Concerto with Sir John Barbirolli border on mythical. Only twenty years old at the time, du Pré impressed the audio engineers and symphony members so much that word of a historic performance quickly spread to an audience of local music enthusiasts, who arrived after a break to witness the remainder of the session.1 Reviewers of the recording uniformly praised the passion and depth of du Pré’s interpretation; one reviewer went so far as to dub the disc “the standard version of the concerto, with or without critical acclaim.”2 Even du Pré seemed to sense that the recording session would become legendary. Despite the fact that the final recording was produced from thirty-seven takes spanning the entirety of the Concerto, du Pré hinted to her friends that “she had played the concerto straight through,” as if the recording were the result of a single inspired performance rather than a less glamorous day of false starts and retakes.3 Without doubt, du Pré’s recording is one of the most respected interpretations of the Concerto. Presumably because of the effectiveness of the recording and the attention it received, the famous cellist Mstislav Rostropovich “erased the concerto from his repertory” after the recording was released.4 For this reason, it comes as no surprise that in the wake of such a respected and widely distributed rendition, amateur and professional cellists alike would be conscious of du Pré’s stylistic choices and perhaps imitate their most attractive features. -
J. MEREDITH-KAY “Meredith-Kay and His Orchestra” Recorded Blyth Road, Hayes, Middlesex, Monday, 19Th
1 J. MEREDITH-KAY “Meredith-Kay and his Orchestra” Recorded Blyth Road, Hayes, Middlesex, Monday, 19th. October 1925 Cc-6698-1 Schiehallion reel (trad. arr. W. Armstrong) – part 1 HMV C-1225; HMVSA C-1225(12”) Cc-6699-1 Schiehallion reel (trad. arr. W. Armstrong) – part 2 HMV C-1225; HMVSA C-1225(12”) Cc-7000-1 Foursome reel – Highland whisky – strathspey (Niel Gow); Jenny Dang the weaver – reel (Alexander Garden); Lady Mary Ramsay – strathspey (Nathaniel Gow); Reel of Tulloch – reel (John MacGregor) HMV C-1231; HMVSA C-1231(12”) Cc-7001-2 Foursome reel – Lady Madeline Sinclair – strathspey (Niel Gow); Reel of Tulloch – reel (John MacGregor) HMV C-1231; HMVSA C-1231(12”) KATHIE KAY (r.n. Connie Woods) (Gainsborough, 1919 – Largs, 2005). Vocal with orchestra conducted by Frank Cordell Recorded 3 Abbey Road, London, Wednesday, 19th. October 1955 OEA-18439 Suddenly there’s a valley (Chuck Meyer; Biff Jones) HMV POP-126; MFP MFP-1152(LP) Recorded 3 Abbey Road, London, Thursday, 15th. December 1955 OEA -18535 Old Scotch mother (Ray McKay; Joseph Maxwell) HMV POP-167; MFP MFP-1152(LP) Reciorded 3 Abbey Road, London, Thursday, 5th. January 1956 OEA-18529 The wee hoose ‘mang the heather (Gilbert Wells; Fred Elton; Harry Lauder) HMV POP-229; MFP MFP-1152(LP) Recorded 3 Abbey Road, London, Monday, 9th. January 1956 OEA-18525 There is somebody waiting for me (Harry Lauder) HMV POP-167; MFP MFP-1152(LP) Recorded 3 Abbey Road, London, Friday, 18th. May 1956 OEA-18659 Bonnie Scotland (Bell) HMV POP-220; MFP MFP-1152(LP) Recorded 3 Abbey Road, London, Wednesday, 3rd. -
A Sociological Perspective. Gabriella As
THE EVOLUTION OF AMERICAN MUSICAL THEATRE. 1 The Evolution of American Musical Theatre: A Sociological Perspective. Gabriella Asimenou Faculty of Education Music Department Charles University. Thesis Supervisor: Edel Sanders, Ph.D. Prague-July, 2015. THE EVOLUTION OF AMERICAN MUSICAL THEATRE. 2 Declaration: I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. I give my permission to the library of the Faculty of Education of Charles University to have my thesis available for educational purposes. …...................................... …................................ Prague,20th July, 2015. Asimenou Gabriella. THE EVOLUTION OF AMERICAN MUSICAL THEATRE. 3 Abstract. In this paper I analyse the development of musical theatre through the social issues which pervaded society before and which continue to influence our society today. This thesis explores the link between the musicals of the times and concurrent problems such as the world wars, economic depression and racism. Choosing to base this analysis on the social problems of the United States, I tried to highlight the origins and development of the musical theatre art form by combining the influences which may have existed in humanity during the creation of each work. This paper includes research from books, journals, encyclopedias, and websites which together show similar results, that all things in life travel cycles, and that tendencies and patterns in society will unlikely change fundamentally, although it is hoped that the society will nonetheless evolve for the better. Perhaps the most powerful phenomena which will help people to escape from their sociological problems are music and theatre. Keywords: Musicals, Society,Culture. -
Orme-Stone DMA Document
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Cello Teaching Methods: An Analysis and Application of Pedagogical Literature Permalink https://escholarship.org/uc/item/1vd8h85z Author Orme-Stone, Chenoa Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Cello Teaching Methods: An Analysis and Application of Pedagogical Literature A supporting document submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Music by Chenoa Kellyanne Orme-Stone Committee in charge: Professor Jennifer Kloetzel, Committee Chair Professor Robert Koenig Professor Nicole Lamartine, Lecturer December 2020 The supporting document of Chenoa Kellyanne Orme-Stone is approved. __________________________________________________ Robert Koenig __________________________________________________ Nicole Lamartine __________________________________________________ Jennifer Kloetzel, Committee Chair December 2020 VITA OF CHENOA KELLYANNE ORME-STONE December 2020 EDUCATION Doctor of Musical Arts, University of California, Santa Barbara, expected December 2020 Master of Music, Royal Danish Academy of Music, June 2017 Bachelor of Music in Cello Performance, Indiana University, Jacobs School of Music, May 2014 TEACHING EXPERIENCE Lotus Chamber Music Festival, Co-Founder and Artistic Director, 2019-present Westmont Academy for Young Artists, Cello Teacher, Summer 2019 Santa Barbara Symphony, -
Download City Events, February 2016
_____________________________________________________________________________________________________________ February 2016 Published by FCC in conjunction with the Archdeaconry of London www.cityevents.website _____________________________________________________________________________________________________________ Sword Rests of the City The historic churches of the City of London contain many unusual and interesting furnishings and fittings. Among the most intriguing are the sword rests which are present in so many of the churches in the “square mile”, but in very few other locations in the country. Sword rests, or sword stands as they are sometimes called, were originally installed in City churches to hold the Lord Mayor's sword of state when he visited a different church every Sunday, a practice which ceased in 1883. The Lord mayor would be accompanied by various officers of the City, including the swordbearer, who would place the ceremonial sword upright in a sword rest, most commonly attached to the front pews. The oldest surviving rest dates from 1664 and the majority were installed in the 18th and 19th centuries. There are 58 surviving sword rests originating from City churches or livery halls. Two thirds of these can be seen in City churches, four are in livery halls, while the remainder are either in storage in churches or in museums . Two can be seen in All Hallows Twickenham, a Wren church rebuilt in the suburbs in 1939. All the sword rests, with the exception of that in St Michael Cornhill, are surmounted by a royal crown and almost all have the City’s coat of arms prominently displayed. Many also show the royal arms, the coat of arms of at least one Lord Mayor and, in a number of cases, the arms of the livery company of which dthe Lor Mayor was a member. -
Dreamstuff Starring Richard Kind and Hamish Linklater Directed by Paul Mazursky
Welcome to The Hayworth Theatre THE HAYWORTH THEATRE Now beginning our third year of presenting exceptional and thought provoking theatrical productions. The Hayworth Building was designed in 1926 by noted architect, Stiles O. and Clements, one of Los Angeles’s leading architects designing over 100 buildings on Wilshire Boulevard. Our gorgeous building representative of the Spanish Colonial Revival style, also called the Ornate Churriqueresque style, was designated a Los Angeles Historic Cultural Monument #268 in 1983. We are extremely proud and grateful to share this magnificent present space with you. Bringing the best & brightest to LA’s hottest and most vibrant stage. 2006: Not A Genuine Black Man; Nowhere on the Border; Frank Sinatra F*#ked Up My Life. 2007: There Used To Be Fireflies; The Good Steno; The Catskill Sonata; Last Fare; Walkin' Through The Fire; Havana Bourgeois; The Piano Lesson. The Bruno Kirby 2008: Sexy Laundry Celebrity Reading Series The Hayworth Theatre Presents ~~ NOW PLAYING ~~ The Boychick Affair: The Bar Mitzvah of Harry Boychick The hilarious interactive comedy, written and directed by Amy Lord Adam Baum and the Jew Movie Dreamstuff Starring Richard Kind and Hamish Linklater Directed by Paul Mazursky ~~ COMING SOON ~~ THE BRUNO KIRBY CELEBRITY READING SERIES July 28 August 25 Another Bride, Another Groom SIN By Leah Kornfeld Friedman With Paul Ben-Victor Directed by Dan Lauria In July Some Kind of Love Story Book by Howard Ashman Written by Arthur Miller Music by Marsha Malamet In September, the long awaited Lyrics by Lovelace: The Rock Opera Dennis Green Directed by Ken Sawyer Directed by Michael Urie xx The Hayworth 2511 Wilshire Blvd. -
The Cricketers of Hampstead Hockey Club the First 20 Years; 1894 to 1914
THE CRICKETERS OF Hampstead and HAMPSTEAD Westminster Hockey Club HOCKEY CLUB The Men of the Eyre Arms and the first 20 years 1894 to 1914 The Cricketers of Hampstead Hockey Club The first 20 years; 1894 to 1914 The Cricketers of Hampstead Hockey Club The first 20 years; 1894 to 1914 Written and Produced for Hampstead and Westminster Hockey Club 2015 by Ian Smith The Cricketers of Hampstead Hockey Club The first 20 years; 1894 to 1914 Note This account is an attempt to throw light, predominantly from a cricketing perspective, on the circumstances in which Hampstead Hockey Club evolved and the key individuals who oversaw its transformation from a hockey-playing section of Hampstead Cricket Club into a leading hockey club in England within a little more than a decade. It is certainly not intended as a record of the first twenty years of the club, as that has been covered more skilfully by club historian, Colin Greenhalgh. More is known of some of these individuals than others. The contents may therefore appear out of balance. Much is taken up with the exploits of Andrew Stoddart but without apology, as his was a remarkable sporting record that has remained virtually unparalleled and was a life that, like several of his sporting contemporaries, ended in tragic circumstances. His story was itself recorded in part in his own albums of cuttings that were thought to be preparatory to a memoir. That never materialised but the contents were taken up by his biographer, David Frith, who felt compelled to write because “here was a wonderful cricketer who has been piteously neglected by historians”.