House of Lords Official Report

Total Page:16

File Type:pdf, Size:1020Kb

House of Lords Official Report Vol. 757 Wednesday No. 64 26 November 2014 PARLIAMENTARY DEBATES (HANSARD) HOUSE OF LORDS OFFICIAL REPORT ORDER OF BUSINESS Questions Employment: Gender Equality .....................................................................................881 Mental Health Services.................................................................................................883 Income and Wealth Inequality.....................................................................................886 Divorce: Effect on Children .........................................................................................888 Pension Schemes Bill First Reading..................................................................................................................890 Consumer Rights Bill Report (3rd Day)..........................................................................................................890 Houses of Parliament: World Heritage Site Question for Short Debate............................................................................................962 Consumer Rights Bill Report (3rd Day) (Continued) ....................................................................................976 Grand Committee First World War: Commemorations Question for Short Debate ....................................................................................GC 273 Electoral Registration Question for Short Debate ....................................................................................GC 288 India Question for Short Debate ....................................................................................GC 301 Flood Defences Question for Short Debate ....................................................................................GC 316 NHS: Health Improvement Question for Short Debate ....................................................................................GC 332 Written Statements......................................................................................................WS 37 Written Answers .........................................................................................................WA 173 £4·00 Lords wishing to be supplied with these Daily Reports should give notice to this effect to the Printed Paper Office. No proofs of Daily Reports are provided. Corrections for the bound volume which Lords wish to suggest to the report of their speeches should be clearly indicated in a copy of the Daily Report, which, with the column numbers concerned shown on the front cover, should be sent to the Editor of Debates, House of Lords, within 14 days of the date of the Daily Report. This issue of the Official Report is also available on the Internet at www.publications.parliament.uk/pa/ld201415/ldhansrd/index/141126.html PRICES AND SUBSCRIPTION RATES DAILY PARTS Single copies: Commons, £5; Lords £4 Annual subscriptions: Commons, £865; Lords £600 LORDS VOLUME INDEX obtainable on standing order only. Details available on request. BOUND VOLUMES OF DEBATES are issued periodically during the session. Single copies: Commons, £105; Lords, £60 (£100 for a two-volume edition). Standing orders will be accepted. THE INDEX to each Bound Volume of House of Commons Debates is published separately at £9·00 and can be supplied to standing order. All prices are inclusive of postage. The first time a Member speaks to a new piece of parliamentary business, the following abbreviations are used to show their party affiliation: Abbreviation Party/Group CB Cross Bench Con Conservative Con Ind Conservative Independent DUP Democratic Unionist Party GP Green Party Ind Lab Independent Labour Ind LD Independent Liberal Democrat Ind SD Independent Social Democrat Lab Labour Lab Ind Labour Independent LD Liberal Democrat LD Ind Liberal Democrat Independent Non-afl Non-affiliated PC Plaid Cymru UKIP UK Independence Party UUP Ulster Unionist Party No party affiliation is given for Members serving the House in a formal capacity, the Lords spiritual, Members on leave of absence or Members who are otherwise disqualified from sitting in the House. © Parliamentary Copyright House of Lords 2014, this publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. 881 Employment: Gender Equality[26 NOVEMBER 2014] Employment: Gender Equality 882 100 companies at all levels for women? Also, has the House of Lords number of women ambassadors and high commissioners gone up under this Government? Wednesday, 26 November 2014. 3pm Baroness Garden of Frognal: My noble friend refers to the 30% Club, which, as she is well aware, aims to Prayers—read by the Lord Bishop of Birmingham. reach private sector firms. None the less, several government departments and agencies, including the DCMS, the Treasury, DECC and the Department for Employment: Gender Equality Transport, are members, so government departments Question are taking part in it, although it is essentially for the private sector. As to the number of women leading 3.06 pm overseas missions, there are now 39, which is 20%. That is an increase from 32 in 2010, and more than Asked by Baroness Hughes of Stretford one-third of these women are in countries affected by To ask Her Majesty’s Government what action conflict, or in missions dealing with international they are taking to address the United Kingdom organisations such as the EU and NATO. gender gap, in the light of the World Economic Forum Global Gender Gap Report 2014. Baroness Thornton (Lab): My Lords, I wish the Government would refrain from claiming that there Baroness Garden of Frognal (LD): My Lords, there are more women in employment than ever before. are more women in employment than ever before, with There are, of course—because, demographically, there 713,000 more women employed than in 2010. The are more women. This is not a credit to the Government, Government continue to bring forward measures further particularly. Since the Government introduced tribunal to improve equality between men and women in the fees, equal pay claims are down by 84%. So why do workplace. A new system of shared parental leave will they not accept that tribunal fees were a mistake, and be implemented from April 2015, and almost 2 million listen to our calls to scrap this unfair system and families could benefit from a new tax-free child care ensure that affordability is not a barrier to justice? scheme from autumn 2015, worth up to £2,000 per child. Baroness Garden of Frognal: My Lords, I hate to take issue with the noble Baroness, but, in fact, the Baroness Hughes of Stretford (Lab): I thank the gender pay gap is at the lowest level since records Minister for her Answer, but it does not seem to relate began. It is now 19.1%, and more women are employed to the reality of the situation. In 2006, after a lot of than ever before: there are now 14.4 million in the progress, the UK was ranked ninth in the world on the workforce. global gender gap rankings. This year we are 26th, and we have fallen out of the top 20 for the first time in Lord Tebbit (Con): My Lords, does my noble friend decades, largely as a result of women’s pay falling not think it strange that, when these gender gap questions dramatically and the decrease in their labour market come up, there is always a call for more women participation. Is the Minister concerned that her policies ambassadors, generals and air marshals or such like; appear to be hitting women differentially, much harder there is never a call for more women to be plumbers, than men? Why are the Government taking us backwards electricians and so on. Can my noble friend also on equal pay? explain why the Government do so much to give incentives and help to women to leave their children at Baroness Garden of Frognal: The Government are home and go out to work rather than to stay at home not taking us backwards on equal pay. The UK has and look after their children? indeed dropped from 15th to 26th in the World Economic Forum global equality ranking, but this is due not so Baroness Garden of Frognal: Well, my Lords, the much to what is going on in the UK as to the fact that Government are giving incentives to women to be other countries are improving their pay differential. plumbers and engineers. Only around 7% of engineers We have the statistics to show that there are more in this country are women, and there is a whole host of women in employment. The gender pay gap has narrowed programmes to try to encourage girls and young women and is now at the lowest level since records began in to go into STEM subjects. We need more women 1997—but the other countries include places such as, plumbers, too. Women who become plumbers find say, Tanzania, where men and women are both on that they can be very successful because quite a lot of subsistence lifestyles and pay, and the gender pay gap customers rather like having a woman coming to help is very small, whereas in our country we have a wider them out. differential. A noble Lord: Plumbing the depths. Baroness Hussein-Ece (LD): My Lords, does my noble friend agree that in closing the gender equality Baroness McIntosh of Hudnall (Lab): True. My gap the Government should lead by example? Can she Lords, first, would the Minister care to remind her tell me how many government departments have signed noble friend Lord Tebbit that part of the reason why up to the 30% Club—which, as she will know, is a so many women need to work is that their mortgages group aiming to improve representation in the FTSE
Recommended publications
  • 'Music and Remembrance: Britain and the First World War'
    City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War.
    [Show full text]
  • We Are TEN – in This Issue
    RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .
    [Show full text]
  • Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 07 March 2016 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Dibble, Jeremy (2015) 'War, impression, sound, and memory : British music and the First World War.', German Historical Institute London bulletin., 37 (1). pp. 43-56. Further information on publisher's website: http://www.ghil.ac.uk/publications/bulletin/bulletin371.html Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk German Historical Institute London BULLETIN ISSN 0269-8552 Jeremy C. Dibble: War, Impression, Sound, and Memory: British Music and the First World War German Historical Institute London Bulletin, Vol 37, No. 1 (May 2015), pp43-56 WAR, IMPRESSION, SOUND, AND MEMORY: BRITISH MUSIC AND THE FIRST WORLD WAR JEREMY C. D IBBLE The First World War had a profound effect upon British music.
    [Show full text]
  • Vol. 13, No. 6 November 2004
    Chantant • Reminiscences • Harmony Music • Promena Evesham Andante • Rosemary (That's for Remembran 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 Serenad Capricieuse • Serenade • The Black Knight • Sursum Corda Snow • Fly, Singing ournalBird • From the Bavarian Highlands • The L Life • King Olaf • Imperial March • The Banner of St George • Te and Benedictus • Caractacus • Variations on an Original T (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Characteristic Pieces • The Dream of Gerontius • Serenade Ly Pomp and Circumstance • Cockaigne (In London Town) • C Allegro • Grania and Diarmid • May Song • Dream Chil Coronation Ode • Weary Wind of the West • Skizze • Offertoire Apostles • In The South (Alassio) • Introduction and Allegro • Ev Scene • In Smyrna • The Kingdom • Wand of Youth • How Calm Evening • Pleading • Go, Song of Mine • Elegy • Violin Concer minor • Romance • Symphony No 2 • O Hearken Thou • Coro March • Crown of India • Great is the Lord • Cantique • The Makers • Falstaff • Carissima • Sospiri • The Birthright • The Win • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Un dans le Desert • The Starlight Express • Le Drapeau Belge • The of England • The Fringes of the Fleet • The Sanguine Fan • Sonata in E minorNOVEMBER • String Quartet 2004 in E Vol.13,minor •No Piano.6 Quint minor • Cello Concerto in E minor • King Arthur • The Wand E i M h Th H ld B
    [Show full text]
  • In Remembrance in Remembrance
    IN REMEMBRANCE IN REMEMBRANCE SOMMCD 0187 Chapel Choir of the Royal Hospital Chelsea Chelsea Pensioners’ Choirf Céleste Series Katy Hilla & Leah Jacksonb sopranos Gareth Brynmor Johnc baritone James Orfordd & Hugh Rowlandse organ William Vann director 1 Greater Love Hath No Man bce 5:56 REQUIEM IN D MINOR John Ireland (1879-1962) Gabriel Fauré (1845-1924) (arr. Iain Farrington*) 2 Jerusalem ef 2:41 C. Hubert H. Parry (1848-1918) bl Introit et Kyrie d 5:54 3 For the Fallen 1:20 bm Offertoire cd 8:03 Douglas Guest (1916-96) bn Sanctus e 2:59 4 They are at rest 3:34 Edward Elgar (1857-1934) bo Pie Jesu ad 3:28 5 O Valiant Hearts ef 3:22 bp Agnus Dei d 5:59 Charles Harris (1865-1936) bq Libera Me cd 4:23 6 There is an old belief 5:04 br C. Hubert H. Parry In Paradisum e 3:09 7 I Vow to Thee, My Country ef 2:34 Gustav Holst (1874-1934) bs Requiem aeternam e* 5:50 8 Justorum animae 3:57 Ian Venables (b.1955) Charles Villiers Stanford (1852-1924) Total duration: 80:30 9 Ode to Death d 12:13 Gustav Holst (arr. Iain Farrington*) *First recording Recorded at Temple Church, London, on January 13-14, 2018 Producer: Siva Oke Recording Engineer: Adaq Khan Front cover: 'Over the Top’. 1st Artists’ Rifles at Marcoing, 30th December 1917 John Nash (1893-1977) © Imperial War Museum Choral Music by Design and Layout: Andrew Giles Booklet Editor: Michael Quinn Ireland · Holst · Parry · Elgar · Fauré · Venables DDD © & 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Chapel Choir of the Royal Hospital Chelsea · William Vann director Made in the EU In the centenary anniversary year of the end of the First World War and on the eve of Perhaps most poignant of all is its second line: “Love is strong as death; greater the 80th anniversary of the beginning of the Second World War, the aftershocks of love hath no man than this, that a man lay down his life for his friends”.
    [Show full text]
  • Music of the Great War
    Music of the Great War Saturday 15 September 2018 at 2pm Played on the historic Father Willis organ by Paul Broadhurst Introduction The centenary of the end of the First World War inevitably directs our minds here at Christ Church to Wilfred Owen, the famous war poet who was once a member of our church congregation. But Wilfred was only one of an estimated 17 million fatalities in that war. Those losses included many writers, artists, musicians and composers who sadly never lived to fulfil their artistic potential. Our world is all the poorer for that loss. Today’s recital both commemorates and celebrates the talents of some of those lost composers, alongside Elgar, Holst and Fährmann who survived the war and knew many of the lost composers personally. The music is drawn primarily from Great Britain but also from France and Germany – recognising the shared humanity of all soldiers so perfectly captured in Wilfred Owen’s famous line “I am the enemy you killed, my friend”. This quotation appears on the plaque in memory of Wilfred, installed just this week under our newly-restored First World War Memorial. Although the theme of this recital is inevitably a sombre one, the music encompasses many more varied emotions: solemnity, joy, love, trepidation, mystery. In the spirit of the first piece in today’s programme we should indeed “rejoice” at the tremendous talent of each of the lost composers represented today. Their music demands to be heard and deserves to be much better known. Programme Gaudeamus F. Maurice Jephson Sospiri Edward Elgar Two songs from ‘A Shropshire Lad’ George Butterworth Wedding Song Ernest Farrar Cortège Cecil Coles In the Style of a Sarabande Joseph Boulnois Songs of Departure & Peace, No.
    [Show full text]
  • British Music and the First World War German Historical Institute London Bulletin, Vol 37, No
    German Historical Institute London BULLETIN ISSN 0269-8552 Jeremy C. Dibble: War, Impression, Sound, and Memory: British Music and the First World War German Historical Institute London Bulletin, Vol 37, No. 1 (May 2015), pp43-56 WAR, IMPRESSION, SOUND, AND MEMORY: BRITISH MUSIC AND THE FIRST WORLD WAR JEREMY C. D IBBLE The First World War had a profound effect upon British music. Not surprisingly, the conflict brought a major interruption to the expo - nential creative invention that the nation had witnessed since the last two decades of the nineteenth century. Many of its most avid partici - pants volunteered for the armed services, a responsibility which allowed little time for composition. Yet, in spite of the unexpected commitments that war brought, British composers across the spec - trum of musical generations—which included late Victorians (such as Hubert Parry and Charles Villiers Stanford), well-established Ed - wardians such as Edward Elgar, and an abundant array of younger pupils from London’s musical conservatoires as well as from the provinces— found time and the need to express their impressions of the struggle. An understandable part of this creative response can be witnessed in the corpus of commemorative works such as elegies and funeral marches, expressions of heroism and courage, laments, and other outpourings of grief and loss. However, one of the most notable attributes of the range of musical utterances was a predisposition towards the enunciation of the war’s sights and sounds, a phenome - non which this article seeks to explore across a broad range of musi - cal forms and genres.
    [Show full text]
  • British Orchestral Music
    BRITISH ORCHESTRAL MUSIC (Including Orchestral Poems, Suites, Serenades, Variations, Rhapsodies, Concerto Overtures etc) Written by Composers Born Between 1800 & 1910 A Discography Of CDs And LPs Prepared by Michael Herman Composers C-G WALTER CARROLL (1869-1955) Born in Manchester. He got his musical degrees at the Universities of Durham and Manchester and went on to an acdemic career at the University of Manchester and at the Royal Manchester College of Music. He became Music Dvisor to the City of Manchester and devoted himself to reforming and improving art education in the schools. With this goal in mind he composed piano music for children as well as instructional books. His enormous academic load precluded much time for other composing. Festive Overture (c. 1900) Gavin Sutherland/Royal Ballet Sinfonia ( + Blezard: Caramba, Black: Overture to a Costume Comedy, Langley: Overture and Beginners , Dunhill: Tantivy Towers, Chappel: Boy Wizard, Hurd: Overture to an Unwritten Comedy, Monckton: The Arcadians. Lane: A Spa Overture, Pitfield: Concert Overture and Lewis: Sussex Symphony Overture) WHITELINE CD WHL 2133 (2002) ADAM CARSE (1878-1958) Born in Newcastle-on-Tyne. He studied under Frederick Corder at the Royal Academy and later went on to teach at that school. He composed in various genres and his orchestral output includes 2 Symphonies, the symphonic poems "The Death of Tintagiles" and "In a Balcony," a Concert Overture and Variations for Orchestra. He also wrote musical textbooks that kept his name in print long after his compositions were forgotten. The Willow Suite for String Orchestra (1933) Gavin Sutherland/Royal Ballet Sinfonia ( +Purcell/Britten: Chacony, Lewis: Rosa Mundi, Warlock/Lane: Bethlehem Down, Holst: Moorside Suite, Carr: A Very English Music, W.
    [Show full text]
  • BBC Scottish Symphony Orchestra's 2015/16 Season
    Discover Your Guide to the Season Glasgow 2015/16 2 What’s Inside 3 WELCOME TO THE BBC SCOttISH SYMPHONY GLASGOW THURSDAY NIGHT SERIES 2015/16 ORCHESTRA’S 2015/16 SEASON A very warm welcome to the BBC Scottish Symphony Orchestra’s 2015/16 Donald Runnicles concert season. It is ten years since the BBC SSO moved into City Halls; Chief Conductor during that time there have been numerous unforgettable concerts given Ilan Volkov by this remarkable group of musicians, covering a vast range of repertoire. Principal Guest Conductor Many of those performances have of course been led by Chief Conductor 22 23 23 24 24 MAHLER 10 SIBELIUS 5, 6 & 7 ALISA WEILERSTEIN SCHUMANN’S ELGAR’S ENIGMA Donald Runnicles. In this new season – which will be the last for Donald in Matthias Pintscher PLAYS SHOSTAKOVICH SECOND SYMPHONY VARIATIONS his current role – he will conduct four very different programmes. Beginning Artist-in-Association and ending with Mahler, we celebrate this special year with many of the Laura Samuel composers closest to Donald’s heart: Beethoven, Brahms, Debussy and Leader fellow Scot, James MacMillan. Donald will remain a key figure in the musical life of the BBC SSO and Scotland as he assumes his new role of Conductor Emeritus from 2016. Thomas Dausgaard Chief Conductor-Designate We are also thrilled to announce that Thomas Dausgaard will spend the 2015/16 season as Chief Conductor-Designate, before taking over the helm in September 2016. Thomas and the orchestra have already given several outstanding performances together, and we look
    [Show full text]
  • Those That Marched Away Never to Return
    Those that Marched Away Never to Return By Andrew Glover-Whitley Prologue With the commemoration of the outbreak of the First World War soon to land upon us it is hard not to think of the men that never came back from the slaughter. Many of whose corpses were never actually found. How many were talented creative artists, whose futures were never allowed to be fulfilled through the folly of Monarchs, Political leaders and idiots who war mongered, it is difficult to assess even one hundred years later. The loss to European culture was unfathomable leaving great gaps in the arts that could never be filled. In music the name that is always mentioned is George Butterworth, a pupil and close friend of Ralph Vaughan Williams, himself a soldier who served from 1914 to the end of the conflict in the Field Ambulance Service. But alongside George Butterworth there were a number of lesser known, but who is to say not just as important, names had they lived, on both sides. Some from Germany, Hungary some from Australia and New Zealand, France Belgium and other countries. Who is to say that one of these would not have gone on to change the course of musical history in a similar way to that of Stravinsky, Schoenberg or Webern. We unfortunately will never know. Those that did survive such as Albert Roussel and Vaughan Williams went on to have glittering careers others lost their way and in some cases, such as Ivor Gurney, their minds too; creating stark, bleak works that when viewed in the light of the conflict that spawned them give an insight into the lost generations and their plight on the battle fields of Prussia and the Western Front.
    [Show full text]
  • 2014-02 for the Fallen – Programme
    MUSIC AND POETRY OF THE GREAT WAR Pegasus Chamber Choir Matthew Altham Director David Goudge Reader Sunday, 2 February 2014, 4pm St George’s Church, Bloomsbury Programme This programme has been conceived as a continuous sequence of poetry and music. We therefore ask that you hold your applause until the end of the concert. Thank you. I Have a Rendezvous with Death Alan Seeger (1888–1916) Nunc Dimittis Gustav Holst (1874–1934) First Time In Ivor Gurney (1890–1937) Nachtlied Max Reger (1873–1916) Trois beaux oiseaux du Paradis Maurice Ravel (1875–1937) For the Fallen Douglas Guest (1916–1996) Concert Party: Busseboom Edmund Blunden (1896–1974) Returning, We Hear the Larks Isaac Rosenberg (1890–1918) A Short Requiem Walford Davies (1869–1941) 1. Salvator Mundi 6. Audi vocem 2. De profundis clamavi 7. Hymn 3. Reqieum aeternam I 8. Gloria Patri 4. Levavi oculos 9. Vox ultima crucis 5. Requiem aeternam II Excerpts from the letters of Edward Colver Blagoslovi dushe moya gospoda Sergei Rachmaninov (1873–1943) Nyne otpushchaeshi Sergei Rachmaninov Everyone Sang Siegfried Sassoon (1886–1967) Psalm 23 Ivor Gurney Since I Believe in God the Ivor Gurney Father Almighty Disabled Wilfred Owen (1893–1918) The Dying Soldier Traditional, arr. Nigel Short Ich bin der Welt abhanden Gustav Mahler (1860–1911), gekommen arr. Clytus Gottwald Composers and the Great War By Samir Savant The first world war began in the late summer of 2014, and in this centenary year Pegasus is joining the commemorations of the millions who died. The war involved soldiers from across the world, but its effects were felt most keenly in Europe, where old empires crumbled, monarchies were toppled and new countries were born.
    [Show full text]