The Barbed Lyre — Leaves from the Isle of Man

Total Page：16

File Type：pdf, Size：1020Kb

The Barbed Lyre — Leaves from the Isle of Man Sunday 2 April 2017 Liberal Jewish Synagogue www.ljs-leaves.org The Liberal Jewish Synagogue, On 2 April 2017, Ensemble Émigré returns Ensemble Émigré and to the Liberal Jewish Synagogue with a Royal College of Music present: programme of words and music that brings together the voices of German and Austrian composers who came to Britain seeking refuge from Nazi oppression, and who were ‘collared’ by Churchill in the internment The Barbed Lyre — camps on the Isle of Man from 1940–41. Leaves from the The Barbed Lyre: Leaves from the Isle of Man celebrates the extraordinary resilience Isle of Man and creative spirit of artists in the face of migration, detention and uncertainty. The concert weaves together poetry and music written in the internment camps – including works by Kurt Schwitters, Hans Gál and Peter Gellhorn – with stories of Sunday 2 April 2017 contemporaries, and music that celebrates Pre-concert talk and the cultural legacy of an Island where sun- performance 4.30pm seeking holidaymakers after the War found Concert 5.30–7pm themselves staying in boarding houses that were once occupied by refugees. Tickets £15 The concert is preceded by a conversation www.ljs-leaves.org with Sue Lukes, a founder of the charity Music in Detention, and a performance by Lucky Moyo, a former member of Zimbabwean music and dance ensemble Black Umfolosi, who will speak about his experience as an immigrant to the United Kingdom. The ticket includes refreshments. Visit www.rcm.ac.uk/singingasong For full programme and to book tickets for oral history interviews and visit www.ljs-leaves.org composer biographies The Liberal Jewish Synagogue 28 St. John’s Wood Road London NW8 7HA www.ljs.org LEO BAECK INSTITUTE LONDON.

Copy Link

Recommended publications

Music, Migration & Mobility
Music, Migration & Mobility The Legacy of Migrant Musicians from Nazi Europe in Britain Thursday, 3 December 2020 Co-hosted by the Austrian Cultural Forum Meeting Agenda 9.45 Zoom call opens, informal chats possible in breakout rooms 10.00 Opening words by ACF Director Waltraud Dennhardt-Herzog and RCM Director Colin Lawson Session 1—chaired by Colin Lawson (Royal College of Music) 10.15 Norbert Meyn (Royal College of Music)— Trees have roots, humans have legs: foregrounding migration and mobility in performances 10.30 Beth Snyder (Royal College of Music)— Negotiating Nationalisms: the foundation and early activities of the Anglo-Austrian Music Society 10.45 Q&A for Session 1 11.00 Short Break Session 2—chaired by Richard Wistreich (Royal College of Music) 11.15 Peter Adey (Royal Holloway, University of London)— ‘Where music flows like money’: mobility, migration and magnetism at Glyndebourne 11.30 Nils Grosch (Salzburg University)— ‘I don’t want to wait until it is too late again’: Push and pull factors for operatic concepts around Glyndebourne’s émigrés 11.45 Q&A for Session 2 1 12.00 Short Break Concert 12.15 With Ensemble Émigré and students from the Royal College of Music featuring works by Hans Gál, Egon Wellesz and Mátyás Seiber Norbert Meyn, tenor Catherine Hooper, soprano Lucy Colquhoun, piano Christopher Gould, piano Jack Campbell, piano 13.00 Lunch Break Session 3—chaired by Beth Snyder (Royal College of Music) 14.00 Florian Scheding (University of Bristol)— Performing migration: Mátyás Seiber’s Ulysses 14.30 Alison Garnham— Nationalism and internationalism in the post-war BBC Panel Discussion—chaired by Norbert Meyn (Royal College of Music) 15.00 With project team members as well as: Carolin Stahrenberg (Bruckner University Linz) Simone Gigliotti (Royal Holloway, University of London) Erik Levi (Royal Holloway, University of London) Michael Haas (ExilArte Center, University of Music and Performing Arts, Vienna) 16.00 Event concludes 2 Concert Programme Selections from Twenty-Four Preludes, vol.
[Show full text]
The Arts Council of Great Britain
A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974 ARTS COUNCIL OF GREAT BR(fAMm REFERENCE ONLY DO NOT REAAOVE I j,FROM THE LIBRARY ISBN 0 7287 0036 0 Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G.
[Show full text]
Musique Et Camps De Concentration
Colloque « MusiqueColloque et « campsMusique de concentration »et camps de Conseilconcentration de l’Europe - 7 et 8 novembre » 2013 dans le cadre du programme « Transmission de la mémoire de l’Holocauste et prévention des crimes contre l’humanité » Conseil de l’Europe - 7 et 8 novembre 2013 Éditions du Forum Voix Etouffées en partenariat avec le Conseil de l’Europe 1 Musique et camps de concentration Éditeur : Amaury du Closel Co-éditeur : Conseil de l’Europe Contributeurs : Amaury du Closel Francesco Lotoro Dr. Milijana Pavlovic Dr. Katarzyna Naliwajek-Mazurek Ronald Leopoldi Dr. Suzanne Snizek Dr. Inna Klause Daniel Elphick Dr. David Fligg Dr. h.c. Philippe Olivier Lloica Czackis Dr. Edward Hafer Jory Debenham Dr. Katia Chornik Les vues exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. 2 Sommaire Amaury du Closel : Introduction 4 Francesco Lotoro : Searching for Lost Music 6 Dr Milijana Pavlovic : Alma Rosé and the Lagerkapelle Auschwitz 22 Dr Katarzyna Naliwajek–Mazurek : Music within the Nazi Genocide System in Occupied Poland: Facts and Testimonies 38 Ronald Leopoldi : Hermann Leopoldi et l’Hymne de Buchenwald 49 Dr Suzanne Snizek : Interned musicians 53 Dr Inna Klause : Musicocultural Behaviour of Gulag prisoners from the 1920s to 1950s 74 Daniel Elphick : Mieczyslaw Weinberg: Lines that have escaped destruction 97 Dr David Fligg : Positioning Gideon Klein 114 Dr. h.c. Philippe Olivier : La vie musicale dans le Ghetto de Vilne : un essai
[Show full text]
Spring 2020/#1B by Brian Wilson, Johan Van Veen and David Barker
Second Thoughts and Short Reviews: Spring 2020/#1B By Brian Wilson, Johan van Veen and David Barker This is the second part of Spring 2020/1. It’s indexed in the first part. Richard STRAUSS (1864-1949) Metamorphosen, TRV290 (1945) [28:43] Ludwig van BEETHOVEN (1770-1827) Symphony No.3 in E flat, Op. 55 ‘Eroica’ (1804) [46:32] Sinfonia Grange au Lac/Esa-Pekka Salonen rec. July 2018, La Grange au Lac, Évian, France. DDD. Reviewed as lossless (.wav) press preview ALPHA 544 [75:20] CD available from I mentioned this recording briefly in Autumn 2019/1 – I was waiting for a better (lossless) transfer than the low-rate mp3 which Outhere had originally sent and I received the wav version only at the last minute, as I was completing that edition. My only reservation was to Stream from wonder if there really was a clientele of those who wanted these two works together, but then I found myself comparing the mood of Furtwängler’s recording of Beethoven’s Fifth (1944) with Strauss’s Metamorphosen, a work which must have been gestating at around the same time and was performed the year after that recording. Also, I had forgotten that the Strauss contains a quotation from the Eroica, as if to call upon the spirit of Beethoven, lost in the war years. Thus, I have negated my own reservations about a recording which Michael Cookson reviewed favourably, prompted myself to look at it again, and now enjoy the coupling much more. Symphony No. 5 in c minor, Op.67 [34:00] Symphony No.7 in A, Op.92 [40:06] NDR Philharmonie/Andrew Manze rec.
[Show full text]
2002 Mini Festival Wigmore Hall
Partnership with Andante Chairman, Pierre Berge; President, Alain Coblence The JMI International Forum for Suppressed Mu sic is ,\ l'.' J) (( l\: T E delighted to be presenting these concerts together with Andante, the new website and record label. Launched in April 2001, the Andante website provides a single, convenient location for information about classical music for music-lovers, professionals and curi ous newcomers alike. At www.and ante.com vi sitors will find news, reviews, commentary,' profe~sional and educational tools and access by subscription to a growing library of audio and vid eo programmes, including both new and historic recordings and current performances. The Andante co llection of co mpact discs, prese nted with ex tensi ve notes and illustrations, has been designed to preserve and advance the world's recorded classical music heritage, providing music lovers with a definitive library of the classical music essentials performed by the greatest artists of the twentieth and twenty-first centuries. In addition, beginning with these concerts, Andante is embarking on a long-term project of performances and live recordings of albums dedicated to 'Forbidden Mu sic', a worldwide his torical survey of important pieces of music written by persecuted com po sers and suppressed by tyrannies. These recordings will be available for purchase at the website's on -line shop, To become an Andante member, go to www.andante.com and click on Andante membership. Continental Britons: Jewish Refugees from Nazi Europe The Jewish Museum, 129-131 Albert Street, Camden Town, London NW1 7NB 8 May-20 October 2002, Mon-Thurs 10.00am-4.00pm, Sundays 10.00am-5.00pm Closed Jewish Festivals and Public Holidays.
[Show full text]
Dr. Bruno Bower, Musicologist 7 Voltaire, 21 Ennerdale Road, Kew, Surrey, TW9 3PQ; Mob.: 07756145941; [email protected]
Dr. Bruno Bower, Musicologist 7 Voltaire, 21 Ennerdale Road, Kew, Surrey, TW9 3PQ; mob.: 07756145941; [email protected] 1. Qualifications and Awards 2020 Fellowship of the Higher Education Academy. Supported by Imperial College London’s STAR Framework. 2016 PhD Musicology, Royal College of Music. Thesis title: The Crystal Palace Saturday Concerts, 1865-1879: A Case Study of the Nineteenth-Century Programme Note. Recipient of Lucy Ann Jones and Douglas and Hilda Simmons Awards, and an AHRC Doctoral Studentship. 2012 MMus Musicology, King's College London. Passed with Distinction. Dissertation title: Narrative in Beethoven’s Third Symphony, supervised by Michael Fend. 2009/2010 International Sommerakademie Prag/Wien/Budapest Mastercourses with Christian Wetzel. In 2010 won 2nd place in the “Prize for Interpretation of New Music”. 2010 PGDip Performance (oboe), Birmingham Conservatoire. Passed. 2008 BA Music, Oriel College, Oxford. Passed with 2.1. Received Collections Prizes in 2006 and twice in 2007. 2. Publications Published 2019 ‘London and Gilbert and Sullivan’ in The Cambridge Companion to Operetta, ed. Anastasia Belina-Johnson and Derek B. Scott (Cambridge: Cambridge University Press). 2018 [with Gotham, Jonas, et al.] ‘Scores of Scores: An OpenScore project to encode and share music’, Proceedings of the 5th International Conference on Digital Libraries for Musicology, pp.87-95. DOI: 10.1145/3273024.3273026. 2018 [with Meyn] The Norman O’Neill Edition (London: RCM Editions). Available at https://www.normanoneill.com/rcm-editions. 2016 [with Meyn and Curran] The Peter Gellhorn Edition (London: RCM Editions, 2016). Available at researchonline.rcm.ac.uk/69/. Contracted [With Hoegberg and Jüschke] Genre Beyond Borders: Reassessing Operetta (edited volume, Routledge, publication expected in 2023).
[Show full text]
AESS Newsletter Jan 2014
Honorary Presidents Sir Thomas Allen Michael Chance CBE Sir Nicholas Hytner Graham Johnson OBE Dame Cleo Laine Patricia Routledge CBE Professor Robert Saxton Dame Harriet Walter Registered Charity No. 1106279 www.aofess.org.uk NEWSLETTER JANUARY 2014 A NOTE FROM THE CHAIRMAN May I begin by wishing you all a very Happy New Year and thank all members and especially the committee for helping to make the Association’s ‘Centenary’ such a success. Membership grew to well over 200 during the year, as a result of the marvellous ‘Centenary Day’ held at the Guildhall School of Music and Drama and many other nationwide events linked to the AESS name. A new, ongoing, musical theatre competition was staged and the ‘one-off’ composition competition gave us new songs for inclusion in the final volumes of ‘A Century of English Song’, which are very near to publication. Also continuing for two more years is the AESS sponsorship of a class in ten British Federation Music Festivals. A trophy and £25 was given last year and £25 will again be the class prize with the trophy being retained by the Festival and presented to this year’s winner. The three classical song competitions go from strength to strength and are widely recognised in schools and colleges as promoting the importance of both spoken and sung communication. It was good to have some positive national press coverage last year, in the Daily Telegraph, for the Patricia Routledge National English Song Competition. Sponsorship is secure for several years to come in all three competitions and I would like to thank Patricia Rouledge, Courtney Kenny, Catherine Lambert, Coral Gould, Graham Lines and the Toni Fell Trust for their continued support.
[Show full text]
Upbeat Spring 2016
UPBEAT SPRING 2016 NEWS FROM INSIDE THE ROYAL COLLEGE OF MUSIC IN THIS ISSUE DIGITISING THE RCM MUSEUM A DAY IN THE LIFE… A NEW YEAR, A NEW LOOK HIGHLIGHTS SPARKLING DIE FLEDERMAUS ‘From the moment the Royal College of Music’s opera orchestra struck up the opening notes of the overture, supple and brisk with a quicksilver scurry of strings, there was cause for optimism.’ The Guardian Photos: Chris Christodoulou 2 UPBEAT SPRING 2016 CONTENTS WELCOME 4 NEWS The latest news and activities from TO UPBEAT the Royal College of Music 10 I am delighted to welcome you to our new look Upbeat DIGITISING THE magazine. I hope you like the fresh and modern design. Royal COLLEGE OF MUSIC MUSEUM Discover how the RCM Museum Our new visual identity pays homage to our long-standing became the first conservatoire on Google Cultural Institute history while recognising that the Royal College of Music is a dynamic environment for young musicians. No better is this encapsulated than in our new logo, which you can see on the front cover of the magazine. You can read more about the process to refresh our brand 12 A Day IN THE LIFE on page 4. Head of ICT Mark Soole describes a typical day for the team All of your favourite sections remain in the magazine. You can read about recent RCM activities in our News section starting on page 4, and find out about recent student, staff and alumni successes in our Updates section 14 (pages 16–21). SUPPORT US Each issue of Upbeat will also contain feature articles where you can read about aspects of RCM life in more detail.
[Show full text]
“[I]N the Barbed-Wire Cages of Democracy”1
“[I]n the Barbed-Wire Cages of Democracy”1. Fiction and Truth in Robert Neumann’s Exile Novel The Inquest Kai Bleifuß2 Robert Neumann, an Austrian writer of Jewish origin who had emigrated to the United Kingdom as early as 1933, used his exile experience some ten years later in his novel The Inquest written in English (published in 1944), which illuminates in retrospect the life of a (semi-)fictitious3 fellow exile named Bibiana Santis. The novel describes step by step the British author Shilling’s efforts to fathom Santis’s past and to uncover the precise reason which caused her presumed suicide. In his research, Shilling time and again comes across people who had to do with Santis, who could have helped her but failed to do so out of laziness and/or fear, among them British politicians, staff members of refugee organisations or fellow exiles. Santis, who is after all the actual protagonist of the novel, and her boyfriend Mario Ventura seem to have been surrounded by a bubble of ignorance and cynicism which prevented them from improving their situation in any way. In this regard, the text may be read at least also as an accusation: “You can be guilty of muddle. You can be guilty of lack of phantasy. You can be guilty of laziness of heart”4, Neumann makes the anti-Fascist resistance fighter (now refugee) Ventura say towards the end of the novel, and the words sound almost like a summary of the whole situation. Based on archive materials of the University of London, in particular on copies of interviews with contemporary witnesses prepared by the Research Centre for German and Austrian Studies in the context of its “Oral History Project”, this paper will discuss the problem of to what extent the description of flight and exile in The Inquest is consistent with historical reality, and if there are discrepancies, which intentions of the author’s might be behind them.
[Show full text]
OCKTAKING – RABBI's END of TERM REPORT Shalom Chaverim
SUMMER STOCKTAKING – RABBI'S END OF TERM REPORT Shalom Chaverim It is that time of year again, time to take figure of the Shiite Muslim community. Ben Wolf, and, finally, my partner on the stock, to enjoy the quiet of the summer bimah, Cantor Paul Heller. months, to recharge our energies for Our Tikkun Leyl Shavuot was led by the coming year, and, hopefully, find a Alasdair Nisbet. Though small in Our music programme has been new perspective in renewed faith. We number, we were mighty in the content revolutionised by Philip Keller and the may have no control over the of our educational endeavour. the Music Committee. Concerts just get turbulence around us but we can look Maimonides was the glue and learning better and better. Our Israel Committee, back over the past year at our was all around us, as was the led by Jeffrey Graham, arranged a Synagogue and see cause for pride and cheesecake. Our community second memorable Dinner, raising funds for gratitude. Seder attracted the largest attendance our regular charities in Israel. we have ever had. And we had a joyous I have said many times that I feel so Purim, a festive Succot. Our talented Education Director, Jeanie privileged to be the rabbi of this unusual Horowitz, enhances our children’s and gifted community. I am blessed with Seven adults who have studied every knowledge of their Jewish heritage. remarkable students, the best of friends week with me in the synagogue library Thank you, Jeanie, and thank you also, and a congregation that believes in the were brought before the Bet Din and Eve Hersov, compassionate and caring, best of our Jewish ideals and spirit.
[Show full text]
MNCB Conference Schedule 912Kb
CANTERBURY CHRIST CHURCH UNIVERSITY 12th Music in Nineteenth-Century Britain Conference 3-5 July 2019 CONTENTS Welcome 2 Conference Commi.ee 2 Acknowledgements 2 Sponsorship 2 Conference Programme 3 Campus Map 6 Town Map 7 General Information 8 Biographies & Abstracts 9 Keynote 1: David Wright 9 Keynote 2: Dr Paul Rodmell 10 Judy Barger 10 Helen Barlow 11 Mie Othelie Berg 11 Bruno Bower 12 Paul Bri.en 12 Russell Burdekin 13 Michael Busk 14 Rachel Cowgill 14 Therese Ellsworth 15 Karl Traugo. Goldbach 15 Julia Hamilton 16 Barbara Haws 16 Deborah Heckert 17 Bradley Hoover 17 Peter Horton 18 Rachel Johnson 19 George Kennaway 19 Sarah Kirby 20 James Brooks Kuykendall & Elyse Ridder 20 Leanne Langley 21 John Ling 21 Douglas MacMillan 22 Danielle Padley 22 Rosalía Polo Cal 23 Chris Price 23 Christopher Redwood 24 Tadhg Sauvey 24 Inja Stanović 25 Benedict Taylor 26 Chloe Valenti 26 Paul Wa. 27 Phyllis Weliver 27 Alexander Wilfing 28 Hanna Winiszewska 28 Benne. Zon 29 Panel: Music, society, and politics in Britain, 1800–1850 30 Oskar Cox Jensen 30 David Kennerley 31 Eamonn O’Keeffe 31 1 WELCOME Dear Delegates, Welcome — to the beautiful city of Canterbury; to Canterbury Christ Church University; and to the twelfth Music in Nineteenth-Century Britain Conference. We hope your time here proves to be stimulating, enjoy- able, and refreshing. History, it has to be said, is one thing Canterbury does very well. The wise visitor will dive into the side streets off the beaten tourist path, or wander around the remnants of the city walls, to find a palimpsest of the centuries which have made the city what it is today.
[Show full text]
Having Worked with Sebastian Swane Through Several Years, I Can Only Maintain What an Enormous Talent He Is. Mr. Swane Has A
Musikalske anbefalinger fra min studietid og karriere Having worked with Sebastian Swane through several years, I can only maintain what an enormous talent he is. Mr. Swane has a marvelous bass-barytone, a beautiful material of voice and is furthermore extremely musical and intelligent. I am convinced that Sebastian Swane will make an exceptional career and do give him my warmest recommendation. Lone Koppel Opera singer at The Royal Theatre Copenhagen Mr. Sebastian Swane is known to me both from my work with the students at the Royal Danish Academy of Music and from the Royal Opera, where Mr. Swane has participated. Mr. Swane is a highly gifted young singer, with an excellent voice, great knowledge and love of opera, and already a sound technique. He works hard, and I am convinced that the two-year course offered to him at the Royal College of Music in London will provide the best possible ground for his future development. I warmly recommend that Mr. Swane should receive such support that will enable him to accept the place at the Royal College of Music in London. Michael Schønwandt Conductor Sebastian Swane has a very powerful high bass voice, combined with a solid musicality and considerable acting abilities; a combination which nowadays is looked upon as one of the most central abilities in a young singer`s career. He is a loyal, very talented young singer and regarding his unusual voice qualities, he ought to be supported even economically. Kim Borg Professor Royal Conservatory Copenhagen and opera singer This is to say that Mr.
[Show full text]