DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet Love Lives Beyond the Tomb Through These Pale Cold Days Op. 46 Songs and Song Cycles Song Cycle for Tenor, Viola and Piano IAN VENABLES t The Send-Off (Owen) [5.33] y Procrastination (St. Vincent Morris) [4.27] u Through these pale cold days (Rosenberg) [5.22] i Suicide in the Trenches (Sassoon) [2.38] Six Songs for Soprano and Piano o If You Forget (Studdert Kennedy) [4.29] 1 The Way Through Op. 33 No. 1 (Andrews) [3.14] Total timings: [78.42] 2 Aurelia Op. 37 No. 3 (Nichols) [3.19] 3 Chamber Music III Op. 41 No. 6 (Joyce) [4.49] 4 Love lives beyond the tomb Op. 37 No. 1 (Clare) [4.21] MARY BEVAN SOPRANO • ALLAN CLAYTON TENOR 5 Op. 33 No. 2 (Thomas) [5.44] It Rains CARDUCCI STRING QUARTET 6 I caught the changes of the year Op. 45 No. 1 (Drinkwater) [3.53] MATTHEW DENTON VIOLIN • MICHELLE FLEMING VIOLIN EOIN SCHMIDT-MARTIN VIOLA Remember This Op. 40 (Motion) EMMA DENTON CELLO Cantata for Soprano, Tenor, String Quartet and Piano GRAHAM J. LLOYD PIANO 7 Think of the failing body [3.35] www.signumrecords.com 8 In the swirl of its pool [2.40] 9 Think of the flower-lit coffin [4.35] 0 In the grip of their season [3.32] The songs and song cycles on this disc represent and highly acclaimed Requiem – Ian Venables q Think of the standard and its blaze [4.27] the most recent works written by a composer, has written over eighty works in this genre; w On the crest of their Downs [2.42] who has been described by Robert Matthew- his eight substantial song-cycles – many e Think of the buried body laid [4.58] Walker in the magazine Musical Opinion as of which include a string quartet or solo r In the eyes of our minds [4.20] ‘Britain’s finest composer of art songs’. Apart instrument – adding significantly to the from chamber, piano and choral music – the chamber-cycle repertoire. latter of which includes a newly composed - 3 - As the present title suggests, the works on the poet evokes a Frostian landscape, where a impassioned as the central climax is reached the second half: numbers XX; XXII; XXXII; XXXIV this disc are predominantly reflective in mood desire to ‘revisit’ the past, seems only possible on the words ‘Tender as my heart is tender’ and XXXVI. Ian Venables chose to set number although this does not preclude the use of ‘in dreams’. Venables, a master of mood and which then dissolves into the music of the III after being offered a commission from faster-moving music whenever the poetry word painting, conjures up this dream-like opening stanza. Nichols begins the second a close American friend, the artist Margaret requires it. Its subject matter celebrates the atmosphere with a limpid piano accompaniment with an equally beautiful line, which balances Atkinson, who asked for a work to celebrate timelessness of love through the poetry of which underpins the vocal narrative; the the two lovers’ feelings ‘When within your arms her own longstanding friendship with Mary James Joyce, John Drinkwater, Edward Thomas, prevailing Aeolian modality adding to the sense you hold me / And kisses speak your love DeLong and Jamie Riotto. Chamber Music III John Clare, Robert Nichols and the modern of nostalgia. On the word ‘dreams’, the music, unspoken’. Although the music is similar in is a fine example, out of many, of Ian Venables’ poet Jennifer Andrews; the celebration and now tinged with a hint of chromaticism, sound and mood, the higher pitch adds to ability to create an extended, through-composed commemoration of Queen Elizabeth, The Queen evanesces with mesmerising beauty as it the intense poignancy of the moment as it structure whilst capturing and enhancing Mother, in Sir Andrew Motion’s remarkable moves towards a passionate outpouring as the moves towards its final lines ‘Then my eyes in music a poem’s constantly shifting moods; narrative poem Remember This and the protagonist looks ‘through to limitless summer’. with tears run over, And my very heart is something essential to a successful art song. collective remembrance of those who died in However, this ardency is short-lived as the broken.’, the piano’s brief postlude ending the The ‘chiming’ of midnight sets the scene, the First World War: the poetry of Wilfred Owen, realisation is, that even ‘in dreams’, one does work in a mood of restrained optimism. ‘At that hour when all things have repose’ Isaac Rosenberg, Siegfried Sassoon, Geoffrey not always find ultimate fulfilment, the return and when, accompanied by sensual chords, Studdert Kennedy and the less well-known to the opening music adding aural significance One might not necessarily think of James Joyce we are asked ‘Do you hear the night wind Francis St. Vincent Morris providing the impetus to this point. The work is dedicated to fellow as the obvious choice for a composer to set, and the sighs / Of harps playing unto / Love for one of Ian Venables’ most dramatic and composer and friend, Richard Sisson. given the often prolix style of his prose. to unclose the pale gates of sunrise?’’. Here, profoundly moving cycles. However his first book of poetry Chamber Venables’ mastery of word painting coming Venables was commissioned in 2016 to write Music, consisting of 36 love poems, came to to the fore, where, on the word ‘gates’, an The opening six songs were composed a work for Gina Wilson to present to her the attention of T. S. Eliot and Ezra Pound unexpected modulation to G sharp minor specifically for soprano, which is a significant husband John on his 75th birthday. He chose when it was written in 1907, the latter literally, but aurally, opens the ‘gates of but welcome departure for a composer who has to set the short lyric poem Aurelia from Robert commenting that “the quality and distinction sunrise’. For the remainder of this song, written primarily for the male voice. Nichols’ collection Aurelia and Other Poems of the poems in the first half … is due in part plangent chords have now given way to which was published in 1920. The syncopated to their author’s strict musical training … the a slow-moving, semiquaver accompaniment, The first,The Way Through was written in piano introduction sets the scene for the wording is Elizabethan, the metres at times but in sumptuous dialogue with the vocal line. 1999 for Susan Anne Jenkins and Jennifer beautiful opening line ‘When within my arms suggesting Herrick.” It is worth noting that Here, the opening question – now with the Partridge, who gave the premiere in that year. I hold you, motionless’ which is supported by the American composer Samuel Barber set important addition of the word ‘alone’: In Jennifer Andrews’ poem of the same title, plangent chords. These become slightly more five poems from Joyce’s collection, but from ‘Do you alone awake to hear the sweet harps - 4 - - 5 - play’ is asked once more. An exotic and sensual opening lines ‘Love lives beyond / The tomb, very different musical ideas: one that is chords. In the more impassioned middle harmonic language accompanies an equally the earth which fades like dew. I love the sensual and the other up-lifting. A backdrop section the rhythmic and harmonic movement sensual vocal line and leads us to the climax fond / The faithful and the true’, which are of soft summer rain is evoked through the use quickens, adding to Drinkwater’s more emphatic on ‘Play on invisible harps, unto love / Whose supported by sepulchral chords. The lightness of a rich harmonic sound-world that sustains assertion that ‘And here some sound of way in heaven is aglow’. The poem’s final of the central section, where Clare reflects on a heady mood in which the vocal narrative beauty, here / Some note of ancient, ageless lines ‘At that hour when soft lights come and where, in nature, love can be ‘seen’, is mirrored recalls a past moment of intense passion. This wrong / Reshaping as my lips were strong.’ go / Soft sweet music in the air above and in a yet more playful piano accompaniment, nostalgic recollection by the poet, is transformed An exact restatement of the opening stanza in the earth below.’ are now firmly rooted in where right hand arabesques enhance the into a vision of self-renewal. Musically this brings with it felicitous variation; the words the Aeolian mode, where the melodic and bucolic scene. A return to the opening is achieved by two brief passages that are and music now intoned with increased harmonic simplicity of the music allows for music is now tinged with a more nostalgic harmonically tonal and affirmative in character. profundity, having inevitably been affected a calming and reflective coda to Joyce’s hue as Clare repeats the first line. Even the The vocal narrative continues as the song by what has gone before. moving narrative. instrumental introduction, now acting as the seeks to find a synthesis between the sensual song’s postlude seems less joyful as a result and the affirmatory. This necessary resolution The song was commissioned as a wedding gift The composer and present writer had the of what has gone before: the music here is achieved in the concluding vocal climax on by Patrick Aydon – a dear friend and champion privilege of knowing Lady Gertrude Bliss, the reflecting that whilst ‘Love lives beyond the the words ‘the past hovering as it revisits of Ian Venables’ music – for his wife Kate, to widow of Sir Arthur Bliss. Having already tomb’ the spectre of loss is perhaps not that the light.’, where a brief echo of the opening whom the work is also dedicated.
Load more

Recommended publications
  • The Bosstown Sound. PUB DATE Mar 88 NOTE 39P.; Paper Presented at the Annual Meeting of the American Culture Association (10Th, New Orleans, LA, March 23-26, 1988)
    DOCUMENT RESUME ED 292 153 CS 506 070 AUTHOR Burns, Gary TITLE The Bosstown Sound. PUB DATE Mar 88 NOTE 39p.; Paper presented at the Annual Meeting of the American Culture Association (10th, New Orleans, LA, March 23-26, 1988). PUB TYPE Viewpoints (120) -- Speeches/Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Bands (Music); Content Analysis; Discographies; *Music; Musicians; *Popular Culture IDENTIFIERS Media History; Music Ensembles; *Rock and Roll; *Rock Music ABSTRACT Based on the argument that (contrary to critical opinion) the musicians in the various bands associated with Bosstown Sound were indeed talented, cohesive individuals and that the bands' lack of renown was partially a result of ill-treatment by record companies and the press, this paper traces the development of the Bosstown Sound from its beginnings in the nightclubs of Boston in 1967 to its end in 1969. In addition, the paper provides complete discographies, including critical commentary, of records produced by bands associated with the Bosstown Sound. The bands of the Bosstown Sound include: The Apple Pie Motherhood Band, The Bagatelle, The Beacon Street Union, Bo Grumpus, Eagle, Earth Opera, Eden's Children, Sure Looks Real, The Ill Wind, Jolliver Arkansaw, Orpheus, Phluph, Puff, and Ultimate Spinach. (Thirty-three references are attached.) (ARH) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** The Bosstown Sound Gary Burns, Assistant Professor Department of Communication University of Missouri-St. Louis St. Louis, MO 63121 314-553-5485 American Culture Association, New Orleans, March 24, 1988 My thanks to Jeff Tamarkin of Goldmine magazine.
    [Show full text]
  • Songfest 2008 Book of Words
    A Book of Words Created and edited by David TriPPett SongFest 2008 A Book of Words The SongFest Book of Words , a visionary Project of Graham Johnson, will be inaugurated by SongFest in 2008. The Book will be both a handy resource for all those attending the master classes as well as a handsome memento of the summer's work. The texts of the songs Performed in classes and concerts, including those in English, will be Printed in the Book . Translations will be Provided for those not in English. Thumbnail sketches of Poets and translations for the Echoes of Musto in Lieder, Mélodie and English Song classes, comPiled and written by David TriPPett will enhance the Book . With this anthology of Poems, ParticiPants can gain so much more in listening to their colleagues and sharing mutually in the insights and interPretative ideas of the grouP. There will be no need for either ParticiPating singers or members of the audience to remain uninformed concerning what the songs are about. All attendees of the classes and concerts will have a significantly greater educational and musical exPerience by having word-by-word details of the texts at their fingertiPs. It is an exciting Project to begin building a comPrehensive database of SongFest song texts. SPecific rePertoire to be included will be chosen by Graham Johnson together with other faculty, and with regard to choices by the Performing fellows of SongFest 2008. All 2008 Performers’ names will be included in the Book . SongFest Book of Words devised by Graham Johnson Poet biograPhies by David TriPPett Programs researched and edited by John Steele Ritter SongFest 2008 Table of Contents Songfest 2008 Concerts .
    [Show full text]
  • Music for Guitar
    So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • Nineteenth-Century Emigration from Sollerod, a Rural Township in North Zealand (Sjaelland)
    The Bridge Volume 29 Number 1 Article 6 2006 Nineteenth-Century Emigration from Sollerod, A Rural Township in North Zealand (Sjaelland) Niels Peter Stilling Follow this and additional works at: https://scholarsarchive.byu.edu/thebridge Part of the European History Commons, European Languages and Societies Commons, and the Regional Sociology Commons Recommended Citation Stilling, Niels Peter (2006) "Nineteenth-Century Emigration from Sollerod, A Rural Township in North Zealand (Sjaelland)," The Bridge: Vol. 29 : No. 1 , Article 6. Available at: https://scholarsarchive.byu.edu/thebridge/vol29/iss1/6 This Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in The Bridge by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Nineteenth-Century Emigration from S0ller0d, A Rural Township in North Zealand (Sjrelland) 1 by Niels Peter Stilling Translated from the Danish and edited by J. R. Christianson Introduction In 1985, Erik Helmer Pedersen wrote that "the history of Danish emigration to America can be seen, in very broad terms, as the story of how a small part of the population tore itself away from the national community in order to build a new existence in foreign lands. Those who write the history of the emigrants must, on the one hand, see them as a minority in relation to the Danish whole, and, on the other hand, must reconstruct that little part of the history of American immigration which concerns the Danes."2 This article attempts to do just that for emigration from the township of S0ller0d, north of Copenhagen.
    [Show full text]
  • Suede and They Marked Their Music Can Bring
    MUSIC WITH SALLY BROWNE ENDURING SPIRIT Cold Chisel are back and that has rock icon Jimmy Barnes thinking about the past, the future and the friend he lost. James Wigney and Paul Donoughue report THE January night before Cold Chisel drummer Steve Prestwich was scheduled to have surgery, Jimmy Barnes sent his old friend a text message. ‘‘Steve and I were mates but we weren’t emailing and texting every day,’’ says Barnes, 55. ‘‘But the night before the operation when he was in hospital I MATERIAL was compelled to text him to say ‘Steve, I am a better man for knowing you – I Cold Chisel’s Jimmy Barnes with Phil love you’. He replied saying Small and Ian Moss. ‘I love you too Jimmy’.’’ Barnes and Prestwich were ‘‘brothers’’; through 38 years of WITNESS friendship, they had fought and made up many times, left or been They say that you should never meet your idols, but talking to kicked out of the band and shared countless stages – and drinks. Those text messages were the last communication they had. Prestwich died them on the phone isn’t half bad, writes Sally Browne two days later in surgery to remove a brain tumour. He was 56. The re-emergence of Cold Chisel, whose entire remastered catalogue is in stores this week, has been in discussion for the past 18 months. t the dawn of Britain’s musical Europe. It’s the perfect excuse to interview There have been only sporadic performances during the past eight revival of the 1990s, just before someone I’ve admired (and fancied) for years.
    [Show full text]
  • The Ivor Gurney Hall
    IVOR GURNEY High above Gloucester and the Severn Plain Two days of walks, talks, discussions and concerts exploring the homeland, poetry, music and mind of Gloucestershire’s singular composer poet. 14th & 15th September 2018 Talks and concerts at: The Ivor Gurney Hall Pitt Street, Gloucester gl1 2bh “To my own County where I was born, and the earth entered into my making and into my blood” (from To Gloucestershire) Ivor Gurney, musician and poet (1890–1937) recognised the debt he owed to his native Gloucestershire as the well-spring of his joy and creativity, and a refuge from mental distress. Music and poetry were ways of capturing the true essence of these landscapes and places. Gurney was a prolific writer – Dr Philip Lancaster, Gurney’s archivist, suggests that close to 2000 poems exist. Gurney’s poetry is often intense and deeply personal, sometimes difficult, but always vibrant with meaning. His music includes song settings and orchestral music, with new musical scores and new performances of his work appearing at frequent intervals. His music can be startling, often restless and Event Co-ordinator unusually structured but alive with moments of fluidity and genius. In the past, analysis Michael Pugh and appreciation of his poetry and music tend to have taken place in separate spheres Speakers but, as Gurney himself explained, the two arts are not two different interpretations Stephen Johnson but one unified expression of his emotions. “The springs of music are identical with Eleanor Rawling those of the springs of all beauty remembered by the heart” (Springs of Music, 1922).
    [Show full text]
  • No Tears Left to Cry”: Analyzing Space and Place of the Rock Concert Memorial
    “No Tears Left to Cry”: Analyzing Space and Place of the Rock Concert Memorial MICHELLE PAUKEN CROMER In the fall of 2017, my husband and I traveled to London to see the European leg of the Metallica tour at the O2 Arena. We have always enjoyed participating in the collective experience that concerts bring—connecting with other music fans, singing along, wearing the right t-shirt, and waiting in anticipation of an encore. Though we were excited about seeing an American band overseas, what differed about this free-wheeling experience was that it was exactly five months after the bombing at the Ariana Grande concert in nearby Manchester, that killed twenty- two concert-goers. To add to this unease, the cue through security wrapped halfway around the O2; everyone slightly on edge, but no one complaining. Collectivity now had a different meaning. As this was not my first time seeing this band perform, I could not overlook a few differences. First, the engineers significantly reduced the pyrotechnics. Additionally, Metallica regularly plays a song called “One” in which a screen projects videos of World War II soldiers. Part of this song includes an audio of a round of gunfire and a bomb detonating. When the sound of the bomb exploded, an audible silence occurred, about as long as it takes to inhale. In that brief second, the possibility of what could occur crossed my mind, and likely in the minds of other attendees. These small decisions by both the performers and the spectators led to larger questions on how space, performance, and audience can create an epideictic rhetorical experience.
    [Show full text]
  • The Ultimate Playlist This List Comprises More Than 3000 Songs (Song Titles), Which Have Been Released Between 1931 and 2018, Ei
    The Ultimate Playlist This list comprises more than 3000 songs (song titles), which have been released between 1931 and 2021, either as a single or as a track of an album. However, one has to keep in mind that more than 300000 songs have been listed in music charts worldwide since the beginning of the 20th century [web: http://tsort.info/music/charts.htm]. Therefore, the present selection of songs is obviously solely a small and subjective cross-section of the most successful songs in the history of modern music. Band / Musician Song Title Released A Flock of Seagulls I ran 1982 Wishing 1983 Aaliyah Are you that somebody 1998 Back and forth 1994 More than a woman 2001 One in a million 1996 Rock the boat 2001 Try again 2000 ABBA Chiquitita 1979 Dancing queen 1976 Does your mother know? 1979 Eagle 1978 Fernando 1976 Gimme! Gimme! Gimme! 1979 Honey, honey 1974 Knowing me knowing you 1977 Lay all your love on me 1980 Mamma mia 1975 Money, money, money 1976 People need love 1973 Ring ring 1973 S.O.S. 1975 Super trouper 1980 Take a chance on me 1977 Thank you for the music 1983 The winner takes it all 1980 Voulez-Vous 1979 Waterloo 1974 ABC The look of love 1980 AC/DC Baby please don’t go 1975 Back in black 1980 Down payment blues 1978 Hells bells 1980 Highway to hell 1979 It’s a long way to the top 1975 Jail break 1976 Let me put my love into you 1980 Let there be rock 1977 Live wire 1975 Love hungry man 1979 Night prowler 1979 Ride on 1976 Rock’n roll damnation 1978 Author: Thomas Jüstel -1- Rock’n roll train 2008 Rock or bust 2014 Sin city 1978 Soul stripper 1974 Squealer 1976 T.N.T.
    [Show full text]
  • Silver Eagle Discography
    Silver Eagle USA Discography by Mike Callahan, David Edwards & Patrice Eyries © 2018 by Mike Callahan Silver Eagle Discography Silver Eagle was a Canadian company headquartered near Toronto at 115 Apple Creek Blvd., Markham, Ontario, Canada. The label was a subsidiary of LaBuick & Associates Media, Inc., and label President was Ed LaBuick. The Media company specialized in TV marketing, and in addition to Silver Eagle also promoted Time-Life. In addition to LPs, Cassettes, and CDs, Silver Eagle also released videos. They established an office in the US at 4 Centre Drive, Orchard Park, NY (later, 777 N. Palm Canyon Dr., Palm Springs, CA), and often licensed product from the Special Products Divisions of the major record labels. They typically would pre-sell an album using 2-minute TV spots in stations across the country, then use that demand to place product in retail stores. They had their own manufacturing plant and distribution system, and according to LaBuick, sold many millions of albums. LaBuick later became head of the Music Division and Special Products Division of the major Quality Label in Canada. Note: All distributed by Silver Eagle unless noted otherwise. Silver Eagle Main Series: Silver Eagle SE-1000 Series: SE-1001 - Peter Marshall Hosts One More Time, The Hits of Glenn Miller and Tommy Dorsey with the Original Artists - Various Artists [1981] (2-LP set) Disc 1: Moonlight Serenade - Tex Beneke/In The Mood - Tex Beneke/Ida - Tex Beneke/Tuxedo Junction - Tex Beneke/Little Brown Jug - Modernaires//Serenade In Blue-Sweet Eloise-At
    [Show full text]
  • How Young People Make Sense of Developing and Getting Help for Obsessive Compulsive Disorder No 12/SC/0495
    Major Research Project How Young People Make Sense of Developing and Getting Help for Obsessive Compulsive Disorder Carly Victoria Keyes A Thesis submitted in partial fulfilment of the requirements of the University of Hertfordshire for the degree of Doctor of Clinical Psychology. The programme of study was carried out in the School of Psychology, University of Hertfordshire. June, 2015 1 Student number: 08178505 ACKNOWLEDGEMENTS I would like to thank my academic supervisor, Dr Lizette Nolte. Dr Nolte has been a rock to me throughout the whole of the Doctorate. She has provided guidance, encouragement and motivation in supporting me through this research process. I would like to thank her for being there for me through the emotional highs and lows throughout the Doctorate. I would also like to thank my field supervisor, Dr Timothy Williams for helping me access participants and for his support, guidance and enthusiasm. His level of expertise of Obsessive Compulsive Disorder (OCD) has been invaluable. I would like to thank the Health Experiences Research Group at University of Oxford who believed in my research from the beginning. The group conduct such valuable research giving voice to peoples’ experiences of physical and mental health difficulties. I would also like to thank my parents for their unconditional love. You have been there for me throughout the whole journey of reaching my dream of becoming a clinical psychologist and you haven’t stopped encouraging me. Mum, thank you for everything. Dad, thank you for coming into my life and showing me what a dad is. Thank you to Cohort 12 for your support through the laughter and the tears over the last three years.
    [Show full text]
  • Before I Read My Annual Report I Would Just Like to Begin on a Personal
    THE IVOR GURNEY SOCIETY NEWSLETTER NUMBER 52 October 2012 The Society’s Spring Weekend, May 5/6 2012 This year the Gurney Society’s Spring Weekend took place in Gloucester. Saturday’s events were based in the atmospheric surroundings of the cathedral, a place with many Gurney connections. The day began with a song recital featuring Michael Lampard and Christopher Boodle, followed by the Society’s AGM. In the afternoon, Ian Partridge was interviewed and Philip Lancaster spoke about Gurney’s close links with the cathedral. The day was beautifully rounded off with an organ recital by Ashley Grote and evensong with the Cathedral Choir. The latter included Gurney’s Psalm 23 and Canticles: Howells in G plus Gurney’s Anthem, ‘Since I On Sunday morning, Graham believe in God the Father Middleton led a walk around Almighty’. All were agreed that Ivor Gurney’s Gloucester starting it was a most fulfilling from the Mariner’s Church in the experience to hear Gurney’s Docks where, for a short while, music performed in his beloved Gurney used to play the organ cathedral. for services. NOTE: Spring Weekend 2012 will be on May 11/12 in Churchdown. Reserve the dates in your diary! Report of the Recital by Michael Lampard (baritone) and Christopher Boodle (piano) at The Ivor Gurney Society’s Annual Spring Weekend: Saturday 5th May 2012, Chapter House, Gloucester Cathedral. This well-attended event was honoured by the presence in Gloucester of two distinguished Australians, one in the audience and the other as soloist. Both are devotees of English art song and had travelled to the UK especially for the occasion.
    [Show full text]