DOCSLIB.ORG

Dda21217 Booklet.Indd 1-2 20/4/12 10:19:21 ANTONY HOPKINS – Portrait of a Composer Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dda21217 Booklet.Indd 1-2 20/4/12 10:19:21 ANTONY HOPKINS – Portrait of a Composer Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof dda21217 ANTONY HOPKINS a portrait scene from original 1953 production of “Three’s Company” Antony Hopkins at the piano with Michael Flanders chamberr music and songs by Antony Hopkins and works written for his 90th birthday by Gordon Crosse, David Dubery, David Ellis, Anthony Gilbert, David Matthews, Elis Pehkonen, Joseph Phibbs and Andrew Plant made and printed in the uk divine art recordings group dda21217 Booklet.indd 1-2 20/4/12 10:19:21 ANTONY HOPKINS – portrait of a composer Jonathan Alwyn, John Amis, Jane Ashley, Ron Astles, Prof. Peter Aston, Peter Aviss, Celia Bain, Dr. Michael Ball, Stephen Banfield, Rob and Caroline Bailey, Colin and Rayna Bayliss, Mark Bebbington, Richard Beith, Rev. John M. Belcher, Nora Bell, Brian Bennett, Julian Berkeley, Berkhamsted Music Society, Jackey Birch, Keith Bisatt, Gill and David Blazey, Jean and John CD1 (total duration 67.37) Blundell, Nigel Bonham-Carter and Jose-Luis Galan, Leon Bosch, Julia Seiber Boyd, James Bowman CBE, Richard Brocklehurst, Sonata for Viola and Piano (1945) 14.15 Alan Brown, Ann and Michael Browning, Alan Bullard, Anthony Burton, Julie Bush, Martin Bussey, Teresa Cahill, Diana 1 I. March 4.32 Calderwood, Janet Canetty-Clarke, Wendy Cann, Roger Carpenter, Hazel and Michael Carter, Caroline Clemmow, Sheila Coates, 2 II. Ground 3.55 David M. Coldwell, Michael Colin, Alan and Barbara Conway, Prof. Stewart R. Craggs, Robert Crawford, Leon Crickmore, Dr. 3 III. Scherzo 3.25 Nicole Crossley-Holland, Hubert Culot, Brian Blyth Daubney, Anne Davies, Patrick Deane, Dr. James Dickenson, Peter and 4 IV. Epilogue 2.23 Bridget Dickinson, The Arthur T. Dinklepuss Foundation, Stephen Dodgson, Mrs. S. Dodridge, Jeanne Dolmetsch, Dr. Trevor 5 Rondo (1945) from Piano Sonata no. 2 in F sharp minor 2.59 Donald, Adam J. Dopadlik, David Dorward, M. J. Downey, Paul Driver, Duncan Druce, David Dubery and William Fergusson, Gail Dudson and Martin Roscoe, Mr. and Mrs. M. Eardley, Harold East, Brian Eastman, John Eckersley, Sian Edwards, Anne Ehrlich, A Humble Song to the Birds – Cantata (1945) for high voice and piano 8.02 Sir Mark Elder CBE, David Ellis, Alyson Elliman (in memory of Trudy Dembovitz), Joy Evans, Trevor and Lyn Farrington, Rev. John 6 I. My darlings, Oh my little birds: Moderato, molto rubato 2.39 Findon, Edmond Fivet, Lewis Foreman, David Forshaw, Mavis Fox, Georgie and Nigel Foxcroft, Michael Freegard, Bill and Anne 7 II. You need not peep: Andante 1.09 Frew, Bridget Fry, Dr. C. D. Garratt, Maggie Gibb, Alan Gibbs, Anthony Gilbert, Prof. Marvin Gold, Anthony Goldstone, L. E. 8 III. How dare I then, poor silly man: Allegro con brio 1.15 Good, Don Goodsell, Dorothy Grande, Prof. Philip Grange, David Greer, Peter Gregson, Jean and Barrie Hall, Sylvia Hall, Michael 9 IV. Some may be priests or kings or lords: Lento assai 2.59 Hancock, Mrs. Audrey Hattan, Jim Haworth, Raymond Head, Dr. Anthony Hedges, Piers Hellawell, Ian Henshall, Nick Henshall, Partita in G minor (1947) for solo violin 10.10 Dr. Peter Hick, D. and W. Hilling, Jennifer Hillman, Annie Hinchliff, Arthur Holder and Hazel Ward, Reg and Sam Holmes, Peter 10 I. Andante – Fugato 3.19 Hope, Margaret Hopkins, Joseph Horovitz, Michael Horwood, Alan Howarth, Garry Humphreys, Peter Hunter, Patricia Hurst, 11 II. Vigoroso 1.41 Gillian Hush, Francis Jackson, Jan James, Karel Janovický, Keith Jary, Josie Jeffrey, Ian Johnson, Michael Johnson, Michael Jones, 12 III. Moderato, molto rubato 2.01 Rolf Jordan and Suzanne Hodge, Rosemary Jones, John Joubert, Brian Kay, Michael Kennedy, David Kent, Dame Emma Kirkby 13 IV. Mésuré 1.07 OBE, Ann Kirkpatrick, Andrew Knowles, Andrew Lamb, Philip Lane, Valerie Langfield, Carla Lathe, Peter Lawson (Glossop), 14 V. Allegro giusto 2.02 Peter Lawson (Brighton), Jo Leighton, John and Julie Leonhardt, Patrick and Anthea Lepper, Carole Lewis, Malcolm Lipkin, Little Gaddesden and District Music Club, Little Ted, Alan Livesey, David Lord, Chris and Gillian Lumb, Luton Music Club, Philip Piano Sonata No. 3 in C sharp minor (1946-48) 15.54 Mackenzie, Hilary Macnamara, Andrew Maddocks, John Malcolm, Kevin Malone, Sir John and Lady Manduell, A. Christine 15 I. Allegro vigoroso 6.37 Manning, Sir Neville Marriner, John Beardwood Marsden, Nicholas Marshall, David Matthews, Sir Peter Maxwell Davies, 16 II. Largo 5.43 Andrew Mayes, Robin Mellers, Claire Millard, Sheila Milroy, Colin Mitchell, Ian Mitchell, Peter Mountain, Gill Munrow, John 17 III. Tranquillo –Allegro giusto 3.34 McCabe, Denis McCaldin, John McDowell, Murray McLachlan, Barry and Sue Nash, Kathleen Newham, George Nicholson, Suite (1952) for descant recorder and piano 6.06 Humphrey Norrington, Brian and Heidi Norris, Ros Norton, Michael Nuttall, Rachel O’Higgins, Ken Organ, N. and J. Ormiston, 18 I. Prelude: Allegretto, quasi pastorale 1.44 Richard Orton, Elizabeth Page, Diana Parikian, Jim Parker, Joyce Lindley Parker, Prof. Ian Parrott, Jasper Parrott, Jim Pattison, 19 II. Scherzo: Prestissimo 0.57 Anthony Payne, Elis and Pam Pehkonen, Oliver Penrose, Timothy Penrose, Norma Pitfield, Richard and Sally Poulton, Ray 20 III. Canon: Andante tranquillo 1.39 Pritchard, Richard Rastall, James Read, F. Reay, Layton Ring, Paul Robinson, Betty Roe MBE, John Rose, Mark Rowlinson, Delia 21 IV. Jig: Vivace 1.46 Ruhm, Clark Rundell, Lionel Sainsbury, Robert Saxton, Mr. and Mrs. E. A. Scofield, Tony Scotland, David Seddon, Howard Shelley, Margaret Simmonds, Angela Simpson, Richard and Janet Simpson, Howard Skempton, Audrey Slee, David Smith, Oliver Smith, Pastiche Suite (1944) for treble recorder and piano 3.44 Sheila Sparkes, Peter E. Spaull, Patrick Standford, Mrs. Daphne Stewart, Richard Stilgoe, Richard Stoker FRAM, Tony Summers, 22 I. Allegro molto giusto 1.11 Jeremy Suter, Beatrix Taylor, Raphael Terroni, Martin Thacker, Dr. D. F. E. Thallon, Moira Thomson, Stephen Threlfall, Monica 23 II. Alla siciliano 1.16 Tisdale, Keith and Ruth Treves-Brown, Stephen Trowell, Margaret Turner, Roger Turner, Julia Usher, Celeste Grindrod Valery, 24 III. Vivace non troppo 1.17 Dr. Ronald Vasey, Anne Vickers, Robin Walker, Clive Walkley, Prof. Michael Waller, Irving Wardle, Raymond Warren, Elisabeth Three French Folksongs (1947) for soprano, recorder and piano 6.20 Waterhouse, Percy Welton, Eric Wetherell, Jennie Whitefield, Dr. Margaret Lucy Wilkins, Stephen and Delyth Wilkinson, Gillian 25 Les trois rubans 2.08 and Ian Williams, Roger Williams, J. and D. Williamson, Betty Willingale, Peter Willis, Jill Wilson, John Wilson, Mark Windisch, 26 Gai lon la 2.30 Hugh Wood, Dr. Philip Wood, David Wordsworth, Adrian Wright, Christopher Wright, Adrian Yardley. 27 Quand mon mari se fachera 1.42 2 15 dda21217 Booklet.indd 3-4 20/4/12 10:19:22 Philip Fowke is known for his many BBC Promenade Concert appearances, numerous recordings and broad CD2 (total duration 57.52) range of repertoire. He has appeared in many of the major concert hall of the world with conductors such 1 Tango (1948) for piano 2.35 including Rattle, Rozhdestvensky and Ashkenazy. He is Senior Fellow of Keyboard at Trinity College of Music, Three Seductions (1949)for recorder and piano 3.59 and is recognised for his distinctive and imaginative style of teaching. He has recorded concertos by, inter alia, 2 No. 1 Wanton Waltz 1.15 Addinsell, Bliss, Delius, Hoddinott, Rachmaninov, Ravel and Tchaikovsky, and his solo recordings include the 3 No. 2 Flirtatious Fancy 0.50 complete Chopin waltzes, the Chopin sonatas and an album of piano transcriptions. 4 No. 3 Sensuous Sarabande 1.54 Michael Hampton graduated as a major prize-winner from the Royal College of Music. In the subsequent 5 First Love (1980) from Early One Morning, for soprano and piano 3.32 years he has continued to perform on major stages around the world, including the Wigmore Hall and 6 I’ve Lost my Love (1953) from Hands Across the Sky, for soprano, recorder and piano 3.31 Carnegie Hall, broadcast frequently on the BBC, and record, all to high critical acclaim. He works both as a soloist and chamber musician, equally at home in both instrumental and song repertoire. 7 A Melancholy Song (1945) for soprano, recorder and piano 1.04 Janet Simpson is the Orchestral Pianist of the Halle Orchestra with whom she has toured extensively abroad Four Dances (1946) from Back to Methusalah, for recorder and piano 4.03 and been involved in numerous recordings and broadcasts. She has also appeared as soloist with the orchestra 8 I. Farandole 0.58 9 II. Sarabande 1.04 on many occasions. She also frequently works with major orchestras in London. Janet performs regularly in 10 III. Wilman’s Grounde 1.08 many chamber concerts and has performed as far afield as Singapore and Hong Kong, as well as throughout 11 IV. Air 0.53 Britain. She is a member of the Syrinx Trio. Three poems 12 Good King Jack Nicklaus 1.29 13 Charlie’s Revenge 5.00 14 String Quartet 1.29 Tracks 6-9 (CD1) recorded at Bedford School on 24 January 2012. Tracks 10-14 (CD1) recorded in St. Thomas’s Church, Stockport, on 27 October 2011. Eight Tributes to Antony Hopkins (2011) Tracks 15-17 (CD1) and 1 (CD2) recorded at the Whiteley Hall, Chethams School, Manchester, on 17 December 15 On How to Sing (by Andrew Plant) for soprano, recorder and piano 2.03 2011. 16 A Little Pastoral (by David Matthews) for solo recorder 1.46 All other tracks (except the bonus tracks) recorded at the Purcell School, Bushey, on 12/13 November 2011 17 Evening in April (by David Dubery) for soprano, recorder and piano 3.28 in the presence of Antony Hopkins. 18 Above All That (by Anthony Gilbert) for recorder and piano 2.52 Tracks 6-9 (CD1) Recorded and edited by Patrick Allen. 19 CantAHta (by Gordon Crosse) for soprano, recorder and piano 3.07 All other tracks produced by Paul Hindmarsh and recorded and edited by Richard Scott.
Load more

Recommended publications
  • 25114Booklet.Pdf
    Remembering ALFRED DELLER Walter Bergmann (1902-1988) 1. Pastorale for countertenor & recorder (1946) 3.21 Michael Tippett (1905-1998) Four Inventions for two recorders (1954) 3.40 2. I. Andante 0.55 3. II. Allegro molto 0.34 4. III. Adagio 1.33 5. IV. Allegro moderato 0.36 Alan Ridout (1934-1996) 6. Soliloquy for countertenor, recorder, cello & harpsichord (1985) 5.10 William Williams (d.1701) Sonata in A minor for two recorders & continuo (c.1696) 6.01 7. I. Adagio 1.23 8. II. Vivace 2.58 9. III. Allegro 1.39 John Blow (1649-1708) Ode on the Death of Mr. Henry Purcell, for two countertenors, two recorders & continuo (1696) 32.20 10. I. 4.03 11. II. 4.29 12. III. 3.02 13. IV. 1.51 14. V. 2.32 15. VI. 3.40 16. VII. 2.38 George Frideric Handel (1685-1759) Sonata in F major for two recorders & continuo (c.1707) 5.51 17. I. Allegro 2.14 18. II. Grave 1.28 19. III. Allegro 2.09 Peter Racine Fricker (1920-1990) 20. Elegy: The Tomb of St. Eulalia, Op. 25, for countertenor, cello & harpsichord (1955) 7.35 Walter Bergmann (1902-1988) Three Songs for countertenor & guitar (1973, rev. 1983) 4.53 21. No. 1 Mater cantans filio 1.26 22. No. 2 To Musick 2.36 23. No. 3 Chop-Cherry 0.50 Total duration: 59.36 JAMES BOWMAN countertenor (Blow, Fricker, Bergmann songs) ROBIN BLAZE countertenor (Bergmann Pastorale, Ridout, Blow) JOHN TURNER recorder (all works except Fricker & Bergmann Songs) LAURA ROBINSON recorder (Tippett, Williams, Handel) TIM SMEDLEY cello (Ridout, Williams, Blow, Handel, Fricker) DAVE BAINBRIDGE guitar (Bergmann Songs) IAN THOMPSON harpsichord (Ridout, Williams, Blow, Handel, Fricker) MEMORIES OF TIPPETT AND BERGMANN For those of us who grew up in the immediate post-war years, and who were interested in the revival of, and burgeoning enthusiasm for, early music, the names of Tippett and Bergmann are synonymous with those famous Schott editions of music by Purcell and his contemporaries.
    [Show full text]
  • Fondazione Adkins Chiti: Donne in Musica
    BIENNIAL MEMBERSHIP REPORT for the period 2008-2009 for presentation to the 33rd IMC General Assembly Tunis, October 21-22 2009 You are kindly requested to complete and return this report to the Paris Secretariat not later than September 21st 2009. In order to facilitate the compilation of activity reports, we strongly recommend that the document does not exceed 6 pages. PART I: YOUR ORGANISATION 0. Which category of membership in IMC does your organisation belong to? International Music Organisation 1. Name of organisation: FONDAZIONE ADKINS CHITI. DONNE IN MUSICA 2. Listing of most important directors, their role in the organisation and their nationalities: President: Cav. Uff. Patricia Adkins Chiti, English and Italian Vice President: Prof. Virginio Bonanni, Italian Board of Directors: Dott.ssa Gigliola Zecchi Balsamo, Italian Dott.ssa Lucilla Di Rico, Italian Senator Nicolò Sella di Monteluce, Italian Maestro Gian Paolo Chiti, Italian Dr Prof Notaio Giuliano Floridi, Italian Dr. Avv. Stefano Giorgilli, Italian Administrator: Dr. Avv. Valerio Bordoni, Italian Auditor: Dott.ssa Francesca Rocchi Lawyer: Avvocato Sabrina Casucci Consultant for Library: Dott. Domenico Carbone Incoming Board from end 2009: Dr. Prof. Notaio Giovanni Floridi On. Silvia Costa, European Parliament Decision making within the Foundation and network is democratic. Each Affiliated Organisation elects its own representatives. The Foundation has a governing board of Directors, Administrators, and specialists who work with contracts for special projects . According to the Statutes of the Foundation the Board makes all major decisions for the working of the Foundation. The President summons and co-ordinates the Reading commissions (for musical scores), the Artistic Commission (for decisions pertaining to concert and music series) and a panel of Musicological Experts (according to research in hand).
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Disability and Music
    th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves.
    [Show full text]
  • 1 Eugenio Maria De Hostos Community College / CUNY
    Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses.
    [Show full text]
  • A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
    A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
    [Show full text]
  • The Grainger Museum in Its Museological and Historical Contexts
    THE GRAINGER MUSEUM IN ITS MUSEOLOGICAL AND HISTORICAL CONTEXTS Belinda Jane Nemec Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy February 2006 The Australian Centre The University of Melbourne Produced on archival quality paper ABSTRACT This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961). Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum. In elucidating Grainger’s motives for establishing a museum, I argue that Grainger was raised in a social and cultural milieu in which collecting, classifying and displaying cultural material was a popular practice.
    [Show full text]
  • Gordon Crosse
    “Mixed Doubles” Double Concertos by John Manduell and Gordon Crosse CD1: Music by Gordon Crosse (b. 1937) 1 Brief Encounter, for oboe d’amore, recorder and strings (2009) 10.09 Concerto for viola and strings with french horn (2009) 22.50 2 I. Prelude: Andante calmo –più mosso – vivace 8.18 3 II. Song: Lento semplice – più mosso – lento 7.08 4 III. Finale: Vivace 7.24 5 Fantasia on ‘Ca’ the Yowes’, for recorder, harp and strings (2009) 9.51 Total duration CD1 43.05 CD2: Music by John Manduell (b. 1928) Flutes Concerto, for flautist, harp, strings and percussion (2000) 26.56 1 I. Vivo – Lento 9.55 2 II. Quasi adagio 9.24 3 III. Allegro – Allegretto – Languido 7.37 Double Concerto, for oboe, cor anglais, strings and percussion (1985/2012) 28.14 4 I. Quasi adagio – allegro molto 10.43 5 II. Adagio molto 12.18 6 III. Allegro vivo 5.13 Total duration CD2 55.19 Michael Cox flute Richard Simpson oboe/oboe d’amore Alison Teale cor anglais John Turner recorder Matthew Jones viola Timothy Jackson french horn Anna Christensen harp (CD1 track 5) Deian Rowlands harp (CD2 tracks 1-3) MANCHESTER SINFONIA leader Richard Howarth conducted by Timothy Reynish The Music Gordon Crosse writes: All three pieces on CD1 were composed in the Summer and Autumn of 2009 which was the most exciting and productive year I have ever experienced. I had returned to composing after a break of some 18 years and I found I couldn't stop working. The music was simpler than it was in 1990 but I think more communicative because more concentrated and focused.
    [Show full text]
  • Download Publication
    Arts Council OF GREAT BRITAI N Patronage and Responsibility Thirty=fourth annual report and accounts 1978/79 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications 34 Scotland 36 Wales 38 Membership of Council and Staff 39 Council, Committees and Panels 47 Annual Accounts , Awards, Funds and Exhibitions The objects for which the Arts Council of Great Britain is established by Royal Charter are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects .
    [Show full text]
  • 6Th March - 23Rdmarch 1996
    ! ) lli,.l I l I I I I i I o o ll a o ArL 6th March - 23rdMarch 1996 A biennial Festival based at Codsall High Sehool and ereated by representatives of the community of Bilbrook, Pattingham, Perton and Codsall. Drogramme Price 5Op WELCOME TO OUR lOth COMMUNITY ARTS FESTIVAL We have tried, as always, to cater for all tastes and to present a wide varrety of events. We have used amateurandprofessionaltalentsdrawnfromthelocalcommunityandafartoproduceaprogramme which we hope will provide interest and entertainment for everyone. We are most gratef ul for the increasing support and interest we receive Irom the community and we look forward to seeing you sometime during the I996 Festival. FESTIVAL PROGRAMME At Codsall High School, Elliotts Lane unless otherwise stated. fi/la rch Wednesday 6th 7.0Opm "Celebration of the Arts" Codsall Methodist Church Page 2 Friday 8th to 12.O0pm to Exhibition of Paintings Saturday 23rd 5.30pm and Drawings by two Artists. (excl. Sundays) S. Staffs District Council Offices. Pages 4 & 5 Thurs, Fri, Sat B.0Opm "84 Charing Cross Road" 7th, Bth. gth Codsall Village Hall Pages 6 & 7 Sunday lOth 1O.30am-5.OOpm Exhibition of Arts and Crafts Page I Monday 1 1th 8.OOpm Historical Gardens and Parks in Staffordshire-Dr. Keith Goodway Page 1 I Tuesday 1 2th 8.OOpm John Amis & Anna Markland Page 13 Wednesday 13th 8.OOpm The Eagle JazzBand Page 15 Thursday 14th 8.OOpm "Designs for Spring" with Gerry Reid Page 17 Friday 15th B.OOpm BBC Masterchef Vanessa Binns Page 19 Saturday 16th 7.3Opm The Staffs.
    [Show full text]
  • Of the Reader If Possible.” Check out His Blog – It's Great! “
    of the reader if possible.” Check out his Blog Britten, Tippett, Walton as they were writing – it’s great! their masterieces and being able to discuss “A lot of modern critics employ double them with the composers. I’ve met many of standards. If it’s a new piece they go for it, in the most famous musicians: Messiaen, Nono, the old days they’d have gone at it!” Stockhausen, Strauss.” Ever lighthearted John then told me a Meeting Richard Strauss face to face is criticism joke about Sarasate. “Sarasate last described as “one of the most climactic mom - Tuesday left all criticism behind him, as he did ents in my life”. “It was during the Beecham/ the orchestra.” Strauss Festival in Drury Lane. I was working Sir Thomas Beecham was also reported to for Beecham then and went to see him arriv - be quite a wit and a bit of a joker: wasn’t it ing at the same time as Strauss. The door was Dame Kiri te Kanawa Beecham, who, when asked if he had ever locked and Strauss turned and looked me conducted any Stockhausen, said, “No, but I straight in the eye and shouted loudly, “diese once trod in some.”? verdammen Tür”. I was too shocked to say efugees are grateful people and Georg Solti “Beecham only ever told me one joke in all anything. Fortunately someone came and Rnever forgot how many people helped him the years I worked for him, he needed to have opened it.” to get work with letters of recommend ation, an audience or an orchestra in front of him to “Stockhausen was an hour late for a TV including Arturo Toscanini with whom he had become entertaining.
    [Show full text]