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Norman Ackroyd: the Furthest Lands Media Release
Norman Ackroyd: The Furthest Lands Media Release SOLO EXHIBITION BY RENOWNED ARTIST AND PRINTMAKER NORMAN ACKROYD AT YORKSHIRE SCULPTURE PARK 17 November 2018–24 February 2019 Yorkshire Sculpture Park (YSP) presents an exhibition of work by Norman Ackroyd CBE, RA, one of Britain’s foremost landscape artists and contemporary printmakers working today. The Furthest Lands showcases a vast range of work that explores the western edges of the British Isles and runs at YSP, near Wakefield, from 17 November 2018 to 24 February 2019. Starting in the extreme north of the Shetland Islands, The Furthest Lands journeys south over 950 miles to the far south-west point of Ireland, through a display of the artist’s intricate aquatint etchings and a small collection of watercolours. Ackroyd’s characteristic muted tones add depth and energy to both familiar and faraway landscapes, including works such as Ailsa Craig, Firth of Clyde (1986), Treshnish Islands, Hebrides (2007) and Off Hermaness, Shetland (2018). Ackroyd made his first etching over 60 years ago at Leeds College of Art (now named Stac an Armin – Evening, 2010. Leeds Arts University). Created in the same period, Storm Over Gildersome (1959) – Courtesy the artist an atmospheric etching on steel which depicts the skyline of the Yorkshire village – features within the exhibition and has never been shown before. Many of Ackroyd’s early etchings were created in the Yorkshire landscape. Extending this documentation, Ackroyd has produced a new limited-edition etching, derived from YSP’s unique landscape, following a visit to the Park earlier in the year. Bretton Hall (2018) features the iconic mansion house and its surrounding woodland, reflected in Lower Lake. -
Download Booklet
AROUND BRITTEN AROUND BRITTEN As a tribute to a great Russian musician and MATTHEW BARLEY patriot I based this suite on Russian themes: To celebrate the centenary of the greatest English the first three tunes were taken from Tchaikovsky’s Third Suite for Cello, Op 87 (1971) Benjamin Britten (1913–1976) composer of the twentieth century I wanted to volumes of folk-song arrangements; the fourth, focus on, and expand from, a very specific part the ‘Kontakion’ (Hymn for the departed), from 1 I Introduzione: Lento [2.10] 8 VIII Moto perpetuo: Presto [0.57] 2 II Marcia: Allegro [1.49] 9 IX Passacaglia: Lento solenne [4.25] of his music for cello: the last minute of his the English Hymnal.” 3 III Canto: Con moto [1.19] 0 Mournful Song [0.33] Third Suite for Cello. This ending is Britten’s 4 IV Barcarola: Lento [1.33] q Autumn [0.19] rendition of the Kontakion – the Hymn for the Based on these four melodies the suite is a set 5 V Dialogo: Allegretto [1.42] w Street Song [0.26] Dead from the Russian Orthodox Church, and is of variations with the themes only heard in their 6 VI Fuga: Andante espressivo [2.55] e Depart in peace, with the Saints [2.42] peaceful, mysterious and profound. At the time complete versions at the end of the journey. 7 VII Recitativo: Fantastico [1.07] (Kontakion) of composing Britten had five years to live One or more of them are present in every one of r Greensleeves (1941) Trad, arr. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) "Our subcultural shit-music": Dutch jazz, representation, and cultural politics Rusch, L. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Rusch, L. (2016). "Our subcultural shit-music": Dutch jazz, representation, and cultural politics. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 1.&Community,&scenes&and&narratives& In"1978,"journalists"and"musicians"associated"with"the"Stichting"Jazz"in"the"Netherlands" (Foundation"for"Jazz"in"the"Netherlands,"from"here"on:"SJN)"and"the"Jazz/Press"magazine" published"Jazz-&-Geïmproviseerde-Muziek-in-Nederland,"a"“companion"to"the"Dutch"jazz" -
Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
Computer Courses for Kids & Teens
Sparkling 22nd season for Proms MICHAEL ELEFTHERIADES Other free lunchtime concerts The Henrietta Barnett School is NIGEL SUTTON were a delight from first to last. much appreciated. Of special note were prize-winning This year’s programme of harpists Klara Woskowiak and walks was well attended, including Elizabeth Bass; young musicians exploration of the Suburb itself Adi Tal on cello and Nadav to hidden architectural treasures Hertzka on piano; and the in the City of London. organ recital by Tom Winpenny GOOD CAUSES in The Free Church. As ever, the many volunteers PRICELESS that make Proms so special did The Literary Festival weekend outstanding work, from providing also offered priceless moments, home-baked cakes for the LitFest including a conversation between Cafe and pouring Pimm’s in the Phyllida Law and Piers Plowright, refreshments marquee to shifting with the author effortlessly furniture, stewarding and Little Wolf Gang’s musical storytelling enthralled its audience charming all present. Itamar general organisation. Tasmin Little and Piers Lane Srulovich and Sarit Packer of Proms at St Jude’s raises The weather turned a kindly face and drama, she returned to the Honey & Co made everyone eager money for two causes that Spring Wordsearch on Proms, with (mostly) sunny stage in a glorious Union Jack to learn Middle Eastern cookery touch many lives, Toynbee days and balmy evenings filled evening gown, bringing the and delighted the audience with Hall’s ASPIRE programme and winner with music, talks, walks and fun audience to its feet as her rich free samples of cake! the North London Hospice. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Ivon Hitchens & His Lasting Influence
Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language. -
Brevard Live June 2010
Brevard Live June 2010 - 1 2 - Brevard Live June 2010 Brevard Live June 2010 - 3 4 - Brevard Live June 2010 Brevard Live June 2010 - 5 6 - Brevard Live June 2010 June 2010 • Volume 19, Issue 3 • Priceless FEATURES page 51 BREVARD LIVE MUSIC AWARDS SYBIL GAGE The nomination period is over. Thousands Until she was in her early twenties Sybil Columns of fans have nominated their favorite lo- Gage, or as she goes by now and then, Charles Van Riper cal musicians and now the actually voting Miss Feathers, resided in the wonderful- 22 Political Satire process has started. Fill out the ballot. ly diverse city of New Orleans. She now Page 8 lives and performs in Brevard County. Calendars Matt Bretz met up with her at Heidi’s. Live Entertainment, Page 20 CLASSIC ALBUMS LIVE 25 Theatre, Concerts, It’s summer vacation but the music at Festivals, Arts the King Center for the Performing Arts RON TEIXEIRA keeps on going. You can listen to your fa- This piano man ranks right up there as one vorite classic rock albums played note by Brevard Scene of Brevard’s best musicians. A deceptive- What’s hot in note in a live performance at very reason- ly relaxed stylist, the Berklee College of 34 able prices. Music graduate spent nearly 20 years as Brevard Page 11 a studio and jazz musician in New York City, before circling back to his former Out & About home in Florida.. Meet the places and PETER WHITE Page 37 37 the people He has maintained a reputation as one of the most versatile and prolific acous- Sex & The Beach tic guitarists on the contemporary jazz ED’S HEADS Relationship scene. -
Summer Festival of Chamber Music
Summer Festival of Chamber Music Paxton House, Scottish Borders Friday 19 – Sunday 28 July 2019 Welcome to Music at Paxton Fri 19 July, 7pm · 15 mins Fri 19 July, 7.30pm · 2 hrs /MusicatPaxton Picture Gallery, Paxton House Picture Gallery, Paxton House Festival 2019! #MaP2019 — — Festival Introductory Talk Paul Lewis Piano Angus Smith, — We are delighted that so many outstanding musicians have Music At Paxton Artistic Director Haydn Piano Sonata in E minor, agreed to come to Paxton House this summer, bringing with — Hob. XVI:34 them varied programmes of wonderful music that offer many In this brief festival curtain-raiser, Angus Brahms Three Intermezzi for captivating and entertaining experiences. Smith will shed light on the process of Piano, Op. 117 assembling the 2019 festival, revealing Beethoven Seven Bagatelles, Op. 33 It is a particular pleasure to announce that the prodigiously some of the surprising stories that lie Haydn Piano Sonata in E flat, gifted and engaging Maxwell String Quartet is to be Music behind the choices of composers and Hob. XVI:52 at Paxton’s Associate Ensemble for 2019–21. This young Scottish group is pieces. making great and rapid strides internationally, delighting audiences and critics Paul Lewis is regarded as one of the on their maiden tour of the USA earlier this year. They will present a variety of FREE EVENT to opening concert ticket holders leading pianists of his generation and concerts and community activities for us during their residency, and we also one of the world’s foremost interpreters invite you to meet the players during the Festival – before, during and after Please note that the duration of of central European classical repertoire. -
Menuhin Competition Returns to London in 2016 in Celebration of Yehudi Menuhin's Centenary
Menuhin Competition returns to London in 2016 in celebration of Yehudi Menuhin's Centenary 7-17 April 2016 The Menuhin Competition - the world’s leading competition for violinists under the age of 22 – announces its return to London in 2016 in celebration of Yehudi Menuhin’s centenary. Founded by Yehudi Menuhin in 1983 and taking place in a different international city every two years, the Competition returns to London in 2016 after first being held there in 2004. The centenary event will take place in partnership with some of the UK’s leading music organisations: the Royal Academy of Music, the Philharmonia Orchestra, Southbank Centre, the Yehudi Menuhin School and the National Youth Orchestra of Great Britain. It will be presented in association with the BBC Concert Orchestra and BBC Radio 3 which will broadcast the major concerts. Yehudi Menuhin lived much of his life in Britain, and his legacy - not just as one of the greatest violinists of the 20th century, but as an ambassador for music education - is the focus of all the Competition’s programming. More festival of music and cultural exchange than mere competition, the Menuhin Competition in 2016 will be a rich ten-day programme of concerts, masterclasses, talks and participatory activities with world-class performances from candidates and jury members alike. Competition rounds take place at the Royal Academy of Music, with concerts held at London’s Southbank Centre. 2016 jury members include previous winners who have gone on to become world class soloists: Tasmin Little OBE, Julia Fischer and Ray Chen. Duncan Greenland, Chairman of the Menuhin Competition comments: “We are delighted to be bringing the Competition to London in Menuhin’s centenary year and working with such prestigious partners. -
Jon Lord June 9 1941 – July 16 2012
Jon Lord June 9 1941 – July 16 2012 Founder member of Deep Purple, Jon Lord was born in Leicester. He began playing piano aged 6, studying classical music until leaving school at 17 to become a Solicitor’s clerk. Initially leaning towards the theatre, Jon moved to London in 1960 and trained at the Central School of Speech and Drama, winning a scholarship, and paying for food and lodgings by performing in pubs. In 1963 he broke away from the school with a group of teachers and other students to form the pioneering London Drama Centre. A year later, Jon “found himself“ in an R and B band called The Artwoods (fronted by Ronnie Wood’s brother, Art) where he remained until the summer of 1967. During this period, Jon became a much sought after session musician recording with the likes of Elton John, John Mayall, David Bowie, Jeff Beck and The Kinks (eg 'You Really Got Me'). In December 1967, Jon met guitarist Richie Blackmore and by early 1968 the pair had formed Deep Purple. The band would pioneer hard rock and go on to sell more than 100 million albums, play live to more than 10 million people, and were recognized in 1972 by The Guinness Book of World Records as “the loudest group in the world”. Deep Purple’s debut LP “Shades of Deep Purple” (1968) generated the American Top 5 smash hit “Hush”. In 1969, singer Ian Gillan and bassist Roger Glover joined and the band’s sound became heaver and more aggressive on “Deep Purple in Rock” (1970), where Jon developed a groundbreaking new way of amplifying the sound of the Hammond organ to match the distinctive sound of the electric guitar. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.