David Owen Norris Biography Piano

Total Page：16

File Type：pdf, Size：1020Kb

Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper Street , London N1 0QH t: +44 (0) 20 7354 9199 f: +44 (0)870 130 9646 [email protected] www.ikonarts.com David Owen Norris Biography Piano “quite possibly the most interesting pianist in the world” Globe & Mail, Toronto Website www. davidowennorris.com Contact Jessica Hill Email jessica @ikonarts.com David Owen Norris is one of the most innovative and brilliant pianists of our generation, being an authority and leading p erformer on early pianos, rare piano concertos (especially those by 20th century English composers), as well as being the pianist of choice for many world class singers. His work as a concert pianist has taken him round the world for forty years – ‘quite possibly the most interesting pianist in the world!’ says the Toronto Globe & Mail , while his latest piano solo CD got a double five star review in BBC Music Magazine in the spring. He was the first winner of the Gilmore Artist Award. Norris is in great demand as a teacher: he’s Professor of Performance at the University of Southampton, Visiting Professor at the RCM & the RNCM, and Educational Fellow of the Worshipful Company of Musicians. Recently he has returned to lecture for Gresham College, of which he is an Emeritus Professor. Video of his recent Piano Masterclass in a packed BBC Radio Theatre will soon be available on the Radio 3 website. David Owen Norris was Organ Scholar at Keble College, Oxford, leaving with a First in Music and a Composition S cholarship to study at the Royal Academy of Music, where he won the Dove Prize, and privately in Paris. He was a repetiteur at the Royal Opera House, harpist at the Royal Shakespeare Company, Artistic Director of the Petworth Festival & the Cardiff Interna tional Festival, Gresham Professor of Music, and Chairman of the Steans Institute for Singers at the Ravinia Festival in Chicago. He’s a Fellow of the Royal Academy of Music and the Royal College of Organists, and an Honorary Fellow of Keble College, Oxfor d. As a composer… his oratorio Prayerbook will appear on CD in November on EM Records, performed by the Waynflete Singers, New College Choir, the Navarra String Quartet & the baritone Peter Savidge, amongst others. In January Norris records his song cycl es with the tenor Mark Wilde, and next May his Symphony will be premiered in the English Music Festival. As a broadcaster… ‘Sign this man up for a series!’ said the Sunday Times , after Norris’s celebrated deconstruction of ‘Jerusalem’ in the Prince of Wal es’s television programme about Sir Hubert Parry; ‘deserves a gold medal’ said the Daily Telegraph of his contribution to the BBC’s Bloomsday celebrations this year, James Joyce’s Playlist , part of his long running Radio 4 series. Norris is currently wor king on an app for iPad on Beethoven’s Ninth Symphony for Deutsche Gramophone, and on Bach transcriptions for Oxford University Press. A video of his technical work on PianoHAWK at the University of Southampton can be seen at: http://digitaleconomy.soton.ac.uk/blog/898 April 2013 Please do not use this biography if it is more than three months old .

Copy Link

Recommended publications

Sunday 31 January 2016 David Owen Norris, Piano & Adrian
Sunday 31 January 2016 David Owen Norris, Piano & Adrian Chandler, Violin Revised Programme Sonata for piano and violin in B flat major K378 Wolfgang Amadeus Mozart (1756-1791) Allegro Moderato Andantino sostenuto e cantabile Rondeau: Allegro – Allegro – Come prima Variations for solo piano on Robin Adair (see note) George Kiallmark (1781-1835) Andante semplice. Var:1 Gayment Var:2 Siciliano Var:3 Marcia risoluto Var:4 Brillante Var:5 A Tempo 6 variations on Hélas, j’ai perdu mon amant in G minor K360 Wolfgang Amadeus Mozart Sonata for fortepiano and violin in A major op 12/2 Ludwig van Beethoven (1770-1827) Allegro vivace Andante più tosto allegretto Allegro piacevole INTERVAL Piano solo: Rondo capriccioso op 14 (Vienna, 1830) Felix Mendelssohn (1809-1847) Sonata for fortepiano and violin in F major op24 Ludwig van Beethoven (1770-1827) Allegro Adagio molto espressivo Scherzo – Allegro molto Rondo – Allegro mà non troppo Note: Kiallmark’s Variations on Robin Adair (the only piece of music actually named in Jane Austen’s novels) appears in the novelist’s own music collection as a cherished and carefully bound print. In Emma, Frank Churchill and Emma listen to Jane Fairfax playing the new piano which Frank has anonymously presented to her: the engagement between Jane and Frank is a secret. Frank’s remarks to Emma are full of double meanings as they discuss Jane’s supposed infatuation with the married Mr. Dixon. Despite the fact that Frank says: ‘She is playing Robin Adair at this moment – his favourite’, many assume that Jane was singing as well (Peter F.
[Show full text]
Britten EU 572706Bk Britten EU 02/06/2011 12:29 Page 1
572706bk Britten EU_572706bk Britten EU 02/06/2011 12:29 Page 1 Mark Wilde David Owen Norris The tenor Mark Wilde studied at the Royal College of Music in David Owen Norris studied in Oxford, London and Paris. He was London. His rôles have included Ferrando in Così fan tutte repetiteur at the Royal Opera House, harpist at the Royal BRITTEN (Glyndebourne), Frederic in Pirates of Penzance (ENO), Shakespeare Company, Artistic Director of Festivals in Cardiff Albert Herring (Perth Festival), Il Campanello (Buxton and Petworth, Chairman of the Steans Institute for Singers in Festival), Ottone in La Serenissima (BBC Radio 3), Jacquino Chicago, and the Gresham Professor of Music in London. He is in Fidelio (Glyndebourne Touring Opera), Seven Deadly Sins currently preparing a third series of his iPod programmes for Complete Scottish Songs (WNO), Cat in Jonathan Dove’s Pinocchio (Opera North), BBC Radio 4, and his current engagements include performances A Birthday Hansel • Who are these children? Ottavio in Don Giovanni (Mostly Mozart Festival), Male in Norway, Holland, France, Taiwan, Mexico, Canada, and across Chorus in The Rape of Lucretia (European Opera Centre), the United States. His discography includes recordings of Giannetto in La gazza ladra (Garsington Opera), Rudolf in concertos by Elgar, Phillips, Arnell and Lambert, of the complete Mark Wilde, Tenor Euryanthe (Netherlands Opera), Ottavio, Alfredo in La travia- piano music of Elgar, Quilter and Dyson, Jane Austen’s music ta, Candide, and Idamante in Idomeneo (Birmingham Opera), collection, and many song collections, including the première Lucy Wakeford, Harp • David Owen Norris, Piano Count Almaviva in The Barber of Seville (Savoy Theatre Photo: www.simonweir.com recording of Schubert’s first song-cycle, the Kosegarten Opera), Adelaide de Borgogna (Edinburgh International Liederspiel, and of Elgar’s last song.
[Show full text]
Vol.21 No 2 August 2018
Journal August 2018 Vol. 21, No. 2 The Elgar Society Journal 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2018 Vol. 21, No. 2 Cross against Corselet: Elgar, Longfellow, and the Saga of King Olaf 3 President John T. Hamilton Julian Lloyd Webber FRCM Elgar’s King Olaf – an illustrated history 15 John Norris, Arthur Reynolds Vice-Presidents To the edge of the Great Unknown: 1,000 Miles up the Amazon 27 Diana McVeagh Martin Bird Dame Janet Baker, CH, DBE Leonard Slatkin Book reviews 41 Sir Andrew Davis, CBE Barry Collett Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 43 Andrew Neill Barry Collett, Andrew Neill, Michael Schwalb Sir Mark Elder, CBE Martyn Brabbins DVD reviews 54 Tasmin Little, OBE Ian Lace Letters 56 Jerrold Northrop Moore, Andrew Neill, Arthur Reynolds Chairman Steven Halls Elgar viewed from afar 58 Alan Tongue, Martin Bird Vice-Chairman Stuart Freed 100 Years Ago 69 Martin Bird Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Front Cover: Edward William Elgar (1857-1934; Arthur Reynolds’ Archive) and Henry Wadsworth Longfellow (1807-1882; Charles Kaufmann’s Archive). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Cross against Corselet required, are obtained. Elgar, Longfellow, and the Saga of King Olaf Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions.
[Show full text]
David Owen Norris Biography Biography Piano
Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper St reet , London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)870 130 9646 [email protected] www.ikonarts.com David Owen Norris Biography Piano “quite possibly the most interesting pianist in the world” Globe & Mail, Toronto Website www. davidowennorris.com Contact Jessica Hill Email jessica @ikonarts.com David Owen Norris is one of the most innovative and brilliant pianists of our generation, being an authority and leading p erformer on early pianos, rare piano concertos (especially those by 20th century English composers), as well as being the pianist of choice for many world class singers. His work as a concert pianist has taken him round the world for forty years – ‘quite possibly the most interesting pianist in the world!’ says the Toronto Globe & Mail , while his latest piano solo CD got a double five star review in BBC Music Magazine in the spring. He was the first winner of the Gilmore Artist Award. David Owen Norris’s Symphony was premiered in 2013, and he’s just revised his Piano Concerto: there are plans to record both in January 2015, for broadcast and commercial CD. His cantata, STERNE, was THE MAN, commissioned to mark the tercentenary of the experimental novelist Laurence Sterne, was premiered in York Minster last autumn, and receives more performances later this month at Winchester College and Poole Parish Church. Norris’s song cycle Think only this, to poetry of the Great War, will be performed in the Turner Sim s at Southampton in November.
[Show full text]
Music and Image in Cultural, Social and Political Discourse
Association Répertoire International d’Iconographie Musicale (RIdIM) 18TH INTERNATIONAL CONFERENCE MUSIC AND IMAGE IN CULTURAL, SOCIAL AND POLITICAL DISCOURSE Canterbury Christ Church University | Canterbury (UK) | 9-12 July 2018 ISBN: 978-3-033-06809-4 Association Répertoire International d’Iconographie Musicale (RIdIM) 18TH INTERNATIONAL CONFERENCE MUSIC AND IMAGE IN CULTURAL, SOCIAL AND POLITICAL DISCOURSE Canterbury Christ Church University | Canterbury (UK) | 9-12 July 2018 In collaboration with Canterbury Christ Church University TABLE OF CONTENTS Welcome Addresses 5 Prof Dr Antonio Baldassarre, President, Association RIdIM Chris Price, Chair, Local Organisation Committee Programme Committee 17 Keynote Speakers 17 General Information 18 Conference Venue Social Programme Maps Conference Programme 21 Abstracts and Biographies 33 Keynotes Paper Presentations Association Répertoire International d’Iconographie Musicale (RIdIM) 91 About Organisation Database of Association RIdIM The Initiative Linking and Uniting Knowledge of Music and the Performing Arts in Visual Culture The Lloyd & Constance Old Award Image Credits 96 4 WELCOME ADDRESSES Some Thoughts on Music and Image in Cultural, Social, and Political Discourse Prof Dr Antonio Baldassarre President, Association Répertoire International d’Iconographie Musicale (RIdIM) Dear Delegates I would like to personally welcome each of you to the 18th International Conference of Association Répertoire International d’Iconographie Musicale (RIdIM), this year organised in collaboration with Canterbury Christ Church University. It is an exciting time for Association RIdIM, as it continues to grow, and as its multi-fold activities influence the global scholarly map more than ever before. It is always a very exciting challenge to meet, and to bring together, inspired, and inspiring, people in forums such as this Conference, and to build both a strong and stable network for the exchange of ideas and insights, as well as a solid base for the development of new directions and projects.
[Show full text]
Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto
[Show full text]
Finding Turner Sims CONTACT US How to Book
TURNERTURNERSouthampton SIMSSIMS Southampton Turner Sims is provided by University of Southampton and gratefully acknowledges the support of Arts Council England. [email protected] turnersims.co.uk SPRING SEASON 2020 Box Office 023 8059 5151 INSPIRING MUSIC Box Office 023 8059 5151 turnersims.co.uk KEVIN APPLEBY FOUR WAYS THAT YOU CAN WELCOME - A YEAR OF JOURNEYS SUPPORT OUR WORK... Like us Photo by Simon Weir by Photo Follow us @TurnerSims Subscribe Follow us on Instagram JOIN THE PIANO CIRCLE In the second half of our Year of Journeys we the range of his musical interests: from the might LEAVE A LegACY celebrate the musical pathways of current stars, of Sweden’s Västerås Sinfonietta in February Remember Turner Sims in your will and give Join with like-minded people who have a award winners and artists of the future. – featuring Lawrence as guest soloist alongside future generations the opportunity to enjoy passion for classical piano repertoire and cellist Paul Watkins – to the intimacy of string what makes the concert hall experience special Our Piano Series sees a welcome return for Paul duos with celebrated violinist Vilde Frang. contribute annually to help Turner Sims develop for you. Every legacy we receive ensures that Lewis with music by Beethoven and Schubert, and strengthen the Piano Series. Donate a gift of we can continue to excite, engage and inspire plus debut recitals from Beatrice Rana and Traditional music from Iran takes us on a stunning £1000 or over to ensure that the Turner Sims’ people of all ages and backgrounds through Joseph Moog.
[Show full text]
Download Booklet
HarmoniousThe EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Sir Arthur Sullivan, Ottawa, 1880 Ottawa, Sullivan, Arthur Sir Photograph by Topley, Ottawa, Canada /Courtesy of David B. Lovell Collection Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE 1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates 3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso 3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato 4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes 4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson 6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton 7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro.
[Show full text]
Download Booklet
101Booklet 2/4/07 20:34 Page 1 ALSO on signumclassics Remember Your Lovers SIGCD066 On Buying a Horse SIGCD087 The Exquisite Hour SIGCD072 Songs by Tippett, Britten, The Songs of Judith Weir Sarah Connolly with Eugene Asti Purcell & Pelham Humfrey Susan Bickley, Andrew Kennedy, John Mark Ainsley & Iain Burnside Ailish Tynan, Iain Burnside The Messiah: Handel arr. Mozart Moonstruck SIGCD074 Songs of FG Scott SIGCD096 Royal Philharmonic Orchestra Lisa Milne, Roderick Williams, Sir Charles Mackerras Iain Burnside Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 101Booklet 2/4/07 20:34 Page 3 SONGS FROM THE PLEASURE GARDEN We have tried to give as much variety as possible in the choice of songs and also the choice of accompaniment. For example some of them are purely voice and harpsichord, while in Arne’s little 1. Orpheus with his Lute Maurice Greene [2.54] Cantata “Cymon and Iphegenia” we decided to 2. Orpheus and Euridice William Boyce [1.42] add two violins and cello in order to make it sound 3. How Severe is my Fate William Croft [3.07] much more as it would have done in his day. 4. Spring Gardens William Boyce [3.04] David Owen Norris suggested that we also 5. Belinda John Eccles [1.14] included songs with piano (including the famous 6. Celia the Fair George Monro [2.07] “Celia Fair”, which I had sung as a young man in 7. The Steadfast Shepherd James Hook [2.56] an arrangement) and the song “Go Lov’ly Rose” 8.
[Show full text]
John Ireland (1879-1962) E.J
John E.J. IRELAND MOERAN Choral Music A Cradle Song • Sea Fever • Songs of Springtime David Owen Norris, Piano The Carice Singers • George Parris John Ireland (1879-1962) E.J. Moeran (1892-1950) John Ireland (1879-1962) and E.J. Moeran (1892-1950) 1 A Cradle Song (1912) 2:34 Songs of Springtime (1929) 13:16 Choral Music 2 Weep you no more, sad fountains (1909) 2:07 ^ I. Under the greenwood tree 1:06 Renowned for his outstanding catalogue of piano Masefield’s Saltwater Poems and Ballads of 1902 & II. The River-God’s Song 1:49 miniatures and solo songs, John Ireland is little known remains one of Ireland’s best known and most frequently 3 Laughing Song (1910) 1:00 these days as a composer of partsongs, but though his performed songs. Written in 1913, its later arrangement * III. Spring, the sweet Spring 1:27 4 The Peaceful Western Wind (late 1890s) 2:01 output was slender, he brought a polish and artistry to the for baritone, male-voice choir and piano by Mansel ( IV. Love is a sickness 3:24 genre which evinces a consummate understanding of Thomas was clearly intended for the tradition of Welsh 5 Spring, the sweet Spring (1908) 1:39 Ellie Carnegie Brown, Soprano choral forces gained from many years as organist at Holy male-voice choirs which Thomas knew well, though the 6 When May is in his prime (1913) 2:56 ) V. Sigh no more, ladies 1:38 Trinity Church, Sloane Square and St Luke’s, Chelsea. arrangement also lends itself well to the rough-hewn, His first effort, a setting of Thomas Campion’s The male-orientated, maritime world that Masefield envisaged ¡ VI.
[Show full text]
Benjamin Britten Françaises (Victor Hugo and Verlaine) and the Anonymous 14Th Century a Hymn to the Virgin
Women: A Wealden Trio, Hilaire Belloc’s The Birds, Quatre Chansons Benjamin Britten Françaises (Victor Hugo and Verlaine) and the anonymous 14th Century A Hymn to the Virgin. At sixteen Britten won a scholarship to the Royal College of Music and so left Gresham’s for London, where he shared a flat with his sister Beth. He studied composition with John Ireland, whom he admired but often found difficult to work with, and piano with the genial Arthur Benjamin. Although the training he received was a useful supplement to his work with Bridge he was frustrated by a perceived lack of interest in the kind of music that he wished to write. From these three years at the College come his String Quartet in D major (1931), the Phantasy in F minor for string quintet, the Sinfonietta op.1 for chamber orchestra, Phantasy op. 2 for oboe, violin, viola Benjamin Britten photo © Angus McBean and cello (all 1932) and the choral variations for unaccompanied voices A Boy was Born op.3 (1933). __1934-1936__ A Boy was Born was broadcast by the __A survey of Benjamin Britten's Life and Works__ Text © courtesy of the BBC in February 1934, gaining Britten recognition in musical circles as a Britten-Pears Library __1913-1919__ Edward Benjamin Britten was born in composer of so much promise that his Phantasy op. 2 was chosen by the the East Suffolk town of Lowestoft in 1913 on 22 November, the feast of Saint International Society for Contemporary Music for performance at their Festival Cecilia, patron saint of music.
[Show full text]
Tuesday 19 March 2019
Tuesday 19 March 2019 1.15pm – 2pm // Carole Nash Recital Room WELCOME SCHUMANN’S YEAR This year’s Day of Song showcases OF SONG originality in song, exploring Programme to include: the innovative composers Robert Schumann Selected songs who broke new ground in the from Myrthen Op 25, Duets Op 43 and galvanisation of poetry and Liederkreis Op 24 and 39 music. We explore Schumann’s Clara Schumann Ihr Bildnis Liederjahr (‘Year of Song’) and Hector Berlioz Selected songs from music by his contemporaries, Les nuits d’été Op 7 alongside exciting new commissions; David Owen Norris The year 1840 has become known as Robert presents a stimulating lecture- Schumann’s Liederjahr, or ‘Year of Song’, recital exploring Thomas Hardy marking the end of a turbulent time for in song; and RNCM tutors and Schumann, and anticipating a future with internationally-renowned singers his beloved Clara. His songs of this time Paul Nilon and Louise Winter pushed at the boundaries of possibility, perform alongside students in searching for an even deeper synthesis a theatrical presentation of between words and music. In this recital we hear some of his most celebrated Janáček’s intimate masterpiece Lieder, with selected songs by his The Diary of One Who Disappeared. contemporaries, performed by students Distinguished tenor Christoph from the RNCM. Prégardien closes the day, performing Schubert’s masterpiece Tickets £6 Winterreise in a magical arrangement for chamber ensemble. Jonathan Fisher artistic director 2.30pm – 3.15pm // Carole Nash Recital Room SONGS ORIGINAL, SONGS RE-IMAGINED Programme to include: Charles Ives Tom Sails Away; Memories A and B Olivier Messiaen Trois mélodies Alban Berg Vier Lieder Op 2 Join us for a recital given by students from the RNCM that showcases experimentation in song.
[Show full text]