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SIGCD656_16ppBklt**.qxp_BookletSpread.qxt 19/11/2020 17:06 Page 1 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 16 1 291.0mm x 169.5mm SIGCD656_16ppBklt**.qxp_BookletSpread.qxt 19/11/2020 17:06 Page 2 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. rEDISCOvErEd British Clarinet Concertos Dolmetsch • Maconchy • Spain-Dunk • Wishart 1. Cantilena (Poem) for Clarinet and Orchestra, Op. 51 * Susan Spain-Dunk (1880-1962) ............[11.32] Concertino for Clarinet and String Orchestra Elizabeth Maconchy (1907-1994) 2. I. Allegro .....................................................................................................................................................................................................................[5.01] 3. II. Lento .......................................................................................................................................................................................................................[6.33] 4. III. Allegro ................................................................................................................................................................................................................. [5.32] Concerto for Clarinet, Harp and Orchestra * Rudolph Dolmetsch (1906-1942) 5. I. Allegro moderato ......................................................................................................................................................................................[10.34] -
Now for a Lampshade Solo: How the Radiophonic Workshop Built the Future of Sound
https://www.theguardian.com/tv-and-radio/2018/jul/18/lampshade-solo-radiophonic-workshop-built- future-of-sound-festivals Now for a lampshade solo: how the Radiophonic Workshop built the future of sound Pascal Wyse Wed 18 Jul 2018 They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning. On a mission … a recording session in 1962. Photograph: BBC Photo Library In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?” Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.” But what is radiophonic sound – and why did it need a workshop? Radiophonics owes everything to the invention of the tape recorder. Once you could capture sound, using a workable material, you could play with it: slow it down until it thundered, feed it back on itself until it shrieked and echoed, or simply slice bits out. -
The Way of Light
THE WAY OF LIGHT THE MUSIC OF NIGEL HESS THE WAY OF LIGHT The Music of Nigel Hess 1 A Celebration Overture (2015) 6.15 BBC Concert Orchestra (Leader: Nathaniel Anderson-Frank) 2 Kyrie (2004/arr.2020) 4.35 BBC Singers 3 March Barnes Wallis (2013) 5.11 St.Catharine’s College Girls’ Choir, Cambridge Metro Voices 4 Jesu Joy Variations (2008) 9.27 Central Band of the Royal Air Force The Old Man of Lochnagar Suite (2007/arr.2019) Band of Her Majesty’s Royal Marines Portsmouth 5 Scottish Dances 5.10 Richard Balcombe, Sofi Jeannin, Duncan Stubbs, Nick Grace,conductors 6 Dark Lochnagar 5.11 Emma Tring, Eleanor Grant, sopranos 7 Dance of the Eagle 4.04 Christopher Bowen, tenor Piers Lane, Nicholas McCarthy, pianists 8 Nocturne (2015) 5.31 Benjamin Hughes, cello 9 Live With Me and Be My Love (2018) 4.24 Sir Derek Jacobi, speaker 10 Chansons de Normandie (2014) 4.25 11 The Lakes of Cold Fen (2017) 6.33 12 Benedictus (2009/arr.2011) 4.15 13 Arise My Love (1986) 5.48 14 The Way of Light (1985) 7.35 As a media composer working in film, television and the theatre, I have occasionally been asked to write music which isn’t paired with screen images – Total time 79.25 and now, in this retrospective collection, here is a selection of this stand-alone music performed by a wonderful cast list of stellar artists, many of whom are long-standing colleagues. Inevitably there are still a few connections with my ‘other’ musical world – the Kyrie is an arrangement of my theme from the film Ladies in Lavender, and the Lochnagar Suite started life as a ballet – but mostly these are pieces that allow listeners to create their own images. -
Billy Budd Composer Biography: Benjamin Britten
Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W. -
Jonny Greenwood
JONNY GREENWOOD Jonny Greenwood (b. 1971) is best known as the lead guitarist of the band Radiohead whom he joined while still at school. He started to study psychology and music at Oxford Brookes University, but only finished his first term before leaving to sign a six-album deal with EMI, and start his recording career with Radiohead. Radiohead have realised phenomenal success over the past decade, with multi-platinum album sales and an ever growing worldwide following. Greenwood is no stranger to classical music, though. Indeed, his early musical interests included Messiaen and Ligeti and he started out as a viola player. He plays several other instruments too, including piano, organ, banjo, glockenspiel and harmonica, and he has a particular love for the ondes martenot. To date Greenwood has penned three “classical” works. These compositions have been licensed to Faber Music: smear (two ondes martenots and ensemble), Popcorn Superhet Receiver (string orchestra) and Doghouse (string trio and orchestra). smear, commissioned by the FuseLeeds festival, was premiered there in March 2004 by the London Sinfonietta. In March 2005 Greenwood was Featured Composer at the South Bank Centre’s cutting- edge Ether Festival, where the revised version of smear was performed by the London Sinfonietta in the Royal Festival Hall, one of its’ two sell-out concerts there. smear was later released on CD on the London Sinfonietta Label as part of their Jerwood Series. In 2004, Greenwood was made Composer in Residence with the BBC Concert Orchestra. The first fruit of this association was Popcorn Superhet Receiver, a BBC commission, premiered by the BBC Concert Orchestra and Robert Ziegler in April 2005. -
Cutting Red Tape – Is Dealing with HR Easier Now? Page 10
P H otograp 08·12·09 Week 49 explore.gateway.bbc.co.uk/ariel H: step H en THE BBC NEWSPAPER GIBSON Staff with hidden talents among traders a at Pacific Quay Christmas Market Quay to a crafty Xmas page 4 ◆ Victoria Derbyshire ◆ Uploading the ‘next ◆ Cutting red tape – broadcasts live from big thing’ with BBC is dealing with HR Zimbabwe Page 3 Introducing Pages 8-9 easier now? Page 10 > NEWS 2-4 WEEK AT WORK 7 OPINION 10 MAIL 11 JOBS 14 GREEN ROOM 16 < 162 News aa 00·00·08 08·12·09 CITIZEN JOURNALISM POSES CHALLENGE The etiquette a Sharper skills needed to sort of social media a & a Room 2316, White City 201 Wood Lane, London W12 7TS fact from fiction, says Boaden 020 8008 4228 by Sally Hillier Editor NICK Candida Watson 02-84222 u THE RAPID RISE of user generated content Reynolds Deputy editor and social media sites promises new possi- Cathy Loughran 02-27360 bilities but has also ‘opened a can of worms’, SOCIAL MEDIA; WE LOVE IT. I’m making a very Chief writer Helen Boaden, director of news, has warned. good living out of social media myself. Sally Hillier 02-26877 At a White City seminar on Monday, she But if you want to be ‘social’ it’s about more Features editor pointed to the ‘huge benefits’ of citizen jour- than just starting a Twitter account. For to be Clare Bolt 02-27445 nalism – during the February snowstorms, social is to be human. As Stephen Fry wisely Broadcast Journalist for example, the BBC received 65,000 pic- said recently, Twitter (and he could have eas- Claire Barrett 02-27368 tures – while making clear that there were ily said all social media) is ‘human shaped not Art editor also significant downsides to this particular business shaped’. -
BBC Radio International Pop Docs Catalogue Contents
BBC Radio International Pop Docs Catalogue BBC Radio International brings you innovative music documentaries covering rock, pop, jazz, country, classical and much more. With access to both new and established artists and performers we provide your listeners with a special insight into their favourite artists' lives. Here you will find profiles of new bands, exclusive in-depth interviews with the biggest stars, unique material from the largest music archive in the world, plus original unreleased music and exclusive concert recordings as we celebrate music as a living and developing art form. You can easily search the BBC music documentaries by genre. Take a look through the options available and select from hundreds of hours of content spanning from present day back through the last twenty years. Most programmes are one hour in duration and you can pick and choose any titles that suit your listeners, including selecting individual episodes from a series. The catalogue is updated on a quarterly basis so look out for new and exciting programmes and feel free to get in touch with the team to find out more. All rights are cleared by the BBC and all relevant royalties and payaways will be originated by the BBC. The licensee only reports music to a relevant local collection society. Have a question or want to know more about a specific genre or programme? Contact: Larissa Abid, Ana Bastos or Laura Lawrence for more details. Contents Classic Pop and Rock ...............................................................................................................................................2 -
News Release BAM's 2000 Next Wave Festival and Bang on a Can Present the Bang on a Can Millennium Marathon
Brooklyn 30 LafayetteAvenue CommunicationsDepartment Academy Brooklyn NY 11217- 1486 Elena Park of Telephone:718 .636.4111 Melissa Cusick Music Fax, 718.857 .2021 Amy Hughes TamaraMccaw Kila Packett 718.636.4129 [email protected] News Release BAM's 2000 Next Wave Festival and Bang on a Can present the Bang on a Can Millennium Marathon For the first time, Bang on a Can brings its annual eight-hour music marathon to BAM, with more than 20 cutting-edge works performed by more than 100 international musicians Bang on a Can All-Stars Scott Johnson Ensemble Iva Bittova (BoaC debut) Phil Kline Theo Bleckmann Lionheart (BoaC debut) Ethel (with Evan Ziporyn) Steve Martland Band (U.S. debut) Gamelan Galak Tika Scanner (BoaC debut) Michael Gordon Band Matthew Shipp Duo with William Parker (BoaC debut) Hassan Hakmoun & Friends Talvin Singh & Steven Schick Huutajat (U.S. debut) PamelaZ BAM Howard Gilman Opera House Dec 10, 2-l0pm Tickets: $25 (general admission) Related BAMcafe Live programming Guy Klucevsek/Phillip Johnston Duo Dec 7 at 9pm BAMcinematek On Stage/On Film World premiere of Let 's Meet in the Ocean*, Frank Scheffer 's contemporary music documentar y featuring Ban g on a Can December 7 at 4:30 , 6:50*, & 9:30pm *Followed by Q&A with Frank Scheffer BROOKLYN, November 17, 2000--Brookl yn Academy of Music (BAM)'s 2000 Next Wave 0 Festival comes to a close when New York's genre-defying Bang on a Can brings its famous marathon to BAM for the first time . The Bang on a Can Marathon , a popular annua l event, always 0 features an eclectic mix of innovative new music; this year's lineup is the most adventurous program to date. -
Decca Discography
DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. -
Developing Musical Talent
Corporate Responsibility Update DEVELOPING MUSICAL TALENT For more information see bbc.co.uk/outreach RECOGNISING THE SCOPE AND SCALE OF MUSIC ON THE BBC “The BBC must be the risk capital for the UK’s creative industries. The Space for the Arts. The wonderful BBC Films. And I want the same in music. The BBC broadcasts a huge amount of music across radio and television. But I want us to be recognised for what we do – for BBC Music to be a brand that stands proudly alongside BBC News or BBC Sport.” Tony Hall Director-General 2 DEVELOPING MUSICAL TALENT The BBC has always But these events and initiatives From stimulating creativity been an advocate and are about much more than to representing communities, supporter of music and producing programmes for promoting education and musical talent. consumption on television, radio learning to sustaining citizenship, and online. and helping our audiences From the BBC Proms to They go beyond broadcasting benefit from emerging the BBC Young Musician, the and they go a considerable way communications technology Glastonbury Festival to BBC towards helping us meet our and services, we will continue Cardiff Singer of the World, Public Purposes. They also play to support, develop and help the BBC Radio 2 Chorister of a vital role in fostering a vibrant nurture new talent across the Year to The Voice, and BBC creative future for the UK, with all music genres. And we will Introducing to some of Britain’s the BBC taking a leading role maintain a long tradition of finest and most hard-working in the development of the arts showcasing British talent to the orchestras, music is in our DNA and the celebration of British world. -
Guidelines for the Commissioning of Music for BBC Programmes
Guidelines for the commissioning of music for BBC programmes 1. The Music Copyright section of the BBC’s Talent Rights Negotiation Group is responsible for negotiating terms and issuing contracts for all music commissioned by the BBC for its in-house productions. 2. BBC departments requiring specially commissioned music are encouraged to contact Music Copyright at the earliest opportunity in order that negotiations can be concluded and a contract issued/signed prior to the composer commencing work. 3. Payment schedules may vary from contract to contract, but full payment for commissioned work should be made at the point at which the work is completed, i.e. once Music Copyright receive appropriate notification to this effect from the area concerned. 4. The decision regarding which composer to contract is entirely the responsibility of individual BBC programme makers. 5. Music Copyright offer advice regarding the choice of composer when required, given its extensive knowledge of composers working in television, radio and film. A number of composers may be suggested, the selection being determined solely by the needs of an individual production. 6. Music Copyright will usually negotiate a package deal fee with a composer or their agent. This is a fully inclusive deal that encompasses all the relevant elements associated with the making of a sound master. A package deal may typically include the composition fee, scoring, copying, studio costs, electronic realisation, musician/vocalist fees, fixing, porterage and doubling. 7. Musicians and vocalists will be contracted separately via the BBC Talent Rights Negotiation Group. This is to ensure that the appropriate contracts are used. -
Press Information
PRESS INFORMATION 15 JULY – 10 SEPTEMBER 2016 Jamie Cullum Sakari Oramo Chloë Hanslip Bernard Haitink Jean-Baptiste Millot (Isserlis); © Michael Agel (Cullum); © Gerardo Gómez (Dudamel); Marco Borggreve (Hardenberger); Simon Fowler (Flórez); Adriano Heitman (Argerich); Adriano Heitman (Argerich); (Flórez); Simon Fowler Marco Borggreve (Hardenberger); © Gerardo Gómez (Dudamel); Agel (Cullum); © Michael Jean-Baptiste Millot (Isserlis); Steven Isserlis Katie Derham Gustavo Dudamel Sir Simon Rattle BBC/Chris Christodoulou (Barenboim); © BBC/Ray Burmiston/Matt Burlem (Derham); Vern Evans (Gražinyte˙-Tyla) Vern Burmiston/Matt © BBC/Ray BurlemBBC/Chris (Derham); Christodoulou (Barenboim); 15 JULY – 10 SEPTEMBER 2016 Sol Gabetta Roderick Williams Bryn Terfel Håkan Mirga Gražinyte˙-Tyla Hardenberger Alistair McGowan Daniel Barenboim Martha Argerich Juan Diego Flórez Quincy Jones David Bowie Marin Alsop Benjamin Ealovega (Oramo); Benjamin Ealovega (Hanslip); Todd Rosenberg (Haitink); Johann Sebastian Haenel (Rattle); BBC/Chris Christodoulou (Terfel); Adriane White (Alsop); White (Alsop); Adriane BBC/Chris Christodoulou (Terfel); Johann Sebastian Haenel (Rattle); Rosenberg (Haitink); Todd (Hanslip); Benjamin Ealovega (Oramo); Benjamin Ealovega (Williams) Benjamin Ealovega Arens (Gabetta); Uwe Images (Jones); © Edu Hawkins/Redferns/Getty (Bowie); Archive Bowie The David & Archive Duffy/Duffy 2 Full information available at bbc.co.uk/proms Full information available at bbc.co.uk/proms 3 CONTENTS SEASON AT A GLANCE The Royal Albert Hall has been home