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1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
A Harpsichord Odyssey
A Harpsichord Odyssey (II) by Edgar Hunt Major Benton Fletcher had acquired Old Devonshire House in 1934 when it was in a very poor state, cleaned it up, stripping off several coats of wall paper and plaster to reveal the original wood panelling, and made it a fit home for his collections. Built in the seventeenth century, it had been the town house of the Cavendish family, one of whom once rode his horse up the broad staircase for a wager. Now it was to provide the perfect setting for the Major's collection of early keyboard instruments and antique furniture. The Major himself, besides having been a soldier (he served in the Boer War and World War I), an egyptologist who had worked with Flinders Petrie and an artist (among other things he illustrated Braybrook's Pepys* Diary for Dent), had built up a collection of The first floor 'Great Chamber'. harpsichords and other early keyboard Old Devonshire House. (Photo: Country Life) instruments as he feared lest their tone quality instruments to be available for concerts (one might otherwise be lost to future generations. was regularly used for Bach performances at He strongly disapproved of the way the Westminster Abbey) and for students to modern harpsichord was going, with its metal practice on at 6d (=2ip) an hour. A Mr Irwin frame, row of pedals and lack of sonority, and Hinchliffe ARCM, who helped with the wanted his restoration and maintenance of his harpsichords, was available to teach, and Mrs Frances Jackson, his housekeeper, acted as curator. But the Major also wanted Old Devonshire House to become a centre for early music where anyone interested could also study the viola da gamba or recorder and join in ensembles with harpsichord continue. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
Herefore, Is the Balancing Or Mutual Cancellation of All Impressions and Tendencies—Good and Bad; a Condition in Which the Mind Is As Calm As a Still Lake
AVATAR 100 The only certain method of release from these millions of binding impressions (samskaras) is through the activity of divine love in the soul, which the Master awakens or intensifies; a love which is forgetful of self and thinks only of the Beloved. To be sure, the longing for the Divine Union which this love induces, makes an impression upon the mind too. It also binds; but it binds the soul to God, who eventually frees it. ELIMINATING THE EGO Baba explains that these imprints upon the mind of man originated at the moment when the individual ‘drop’—in order to gain self—consciousness—emerged from the ‘Creator Point’ of the infinite ocean of Truth. With that ‘drop’s’ unfolding evolution, the samskaras necessarily increased, until in man, the soul is literally encased by them. Whether in a physical body or out of it, the individual soul is enveloped by these mental and emotional barnacles; and not until they are dissolved by the grace of an incarnate Master can the soul become conscious of its divine essence. God-realization, therefore, is the balancing or mutual cancellation of all impressions and tendencies—good and bad; a condition in which the mind is as calm as a still lake. Only when there is something for the mind to focus its attention upon, does an intuitive knowing replace the thinking process. Aurobindo Ghose, a contemporary saint of India, well describes this state of mind: “When we have passed beyond thinkings, then we shall have knowledge; reason was the helper; reason is the bar…. -
Trevor Pinnock Journey
TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13. -
Sampling the Past: a Tactile Approach to Interactive Musical Instrument Exhibits in the Heritage Sector
KES Transactions on Innovation in Music: Vol 1 No 1 Special Edition - Innovation in Music 2013 : pp.110-125 : Paper im13bk-011 Sampling the past: A tactile approach to interactive musical instrument exhibits in the heritage sector Dr Kenneth B. McAlpine School of Arts, Media and Computer Games, University of Abertay Dundee, DD1 1HG, UK [email protected] 1. Abstract In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor’s encounter and provide them with a sense of experiential authenticity. There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations? This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch- screen interface. We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument. -
Galpin Society Archive Handlist
Galpin Society Archive Handlist BOX 1 Minutes book 1946 to 1955 Minutes book 1955 to 1967 Minutes book 1967 to 1971 Minutes book 1971 to 1982 Minutes book 1982 to 1989 Minutes book 1989 to 1995 Journal of receipts and payments 1992 to 1996 (Tom Dibley) Ledger of Covenants 1990 to 1998 (TD) Alphabetical ledger of subscriptions 1995 to 2001 (TD) BOX 2 Loose committee minutes 1958 to 1977 Folder containing unsorted correspondence and other documents Financial report 1976 to 1996 Folder with correspondence relating to the Broadwood Archive appeal Folder with programme and other documents relating to the International Association of Music Libraries 5th International Congress & Galpin Society 1st International Congress 1959 Miscellaneous circulars Bulletins No.1 (1947) to No.61 (1983) Bulletins No.62 (1983) to No.79 (1990) Minutes of AGMs 1955 to 1982 and other meetings File with accounts documents 1986 to 2000 (TD) File No.1 with correspondence re visits abroad. Rome 1984, Boston 1985, Lisbon 1986, Brussels 1987, USSR 1987 File No.2 with correspondence re visits abroad, Budapest 1988, Paris 1989, Basle 1989, Munich & Nuremberg 1990, Stockholm 1993, Berlin & Potsdam 1994, Vienna 1995, Leipzig, Halle & Markneukirchen 1996, Lisbon 1997, Hamburg & Hasselberg 1999 Box containing unsorted Bulletins and other A5 flyers BOX 3 Bundle of correspondence between auditor/treasurer/secretary 1987-1988 3 Bundles of unsorted correspondence Folder with correspondence between GS & Dr A. McMillan Folder with correspondence re the proposed closure of Antwerp Museum Folder containing periodical with articles relating to GS Folder containing unsorted correspondence Folder with correspondence between GS and Sverre Kolberg & Jan Veltmann Folder marked Confidential Correspondence handed to P. -
'The British Harpsichord Society' April 2021
ISSUE No. 16 Published by ‘The British Harpsichord Society’ April 2021 ________________________________________________________________________________________________ INTRODUCTION 1 A word from our Guest Editor - Dr CHRISTOPHER D. LEWIS 2 FEATURES • Recording at Home during Covid 19 REBECCA PECHEFSKY 4 • Celebrating Johann Christoph Friedrich Bach COREY JAMASON 8 • Summer School, Dartington 2021 JANE CHAPMAN 14 • A Review; Zoji PAMELA NASH 19 • Early Keyboard Duets FRANCIS KNIGHTS 21 • Musings on being a Harpsichordist without Gigs JONATHAN SALZEDO 34 • Me and my Harpsichord; a Romance in Three Acts ANDREW WATSON 39 • The Art of Illusion ANDREW WILSON-DICKSON 46 • Real-time Continuo Collaboration BRADLEY LEHMAN 51 • 1960s a la 1760s PAUL AYRES 55 • Project ‘Issoudun 1648-2023’ CLAVECIN EN FRANCE 60 IN MEMORIAM • John Donald Henry (1945 – 2020) NICHOLAS LANE with 63 friends and colleagues ANNOUNCEMENTS 88 • Competitions, Conferences & Courses Please keep sending your contributions to [email protected] Please note that opinions voiced here are those of the individual authors and not necessarily those of the BHS. All material remains the copyright of the individual authors and may not be reproduced without their express permission. INTRODUCTION ••• Welcome to Sounding Board No.16 ••• Our thanks to Dr Christopher Lewis for agreeing to be our Guest Editor for this edition, especially at such a difficult time when the demands of University teaching became even more complex and time consuming. Indeed, it has been a challenging year for all musicians but ever resourceful, they have found creative ways to overcome the problems imposed by the Covid restrictions. Our thanks too to all our contributors who share with us such fascinating accounts of their musical activities during lock-down. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
Lord Meher Appendices Updated As of 20 September 2018
Lord Meher Appendices updated as of 20 September 2018 Appendix A: Scenario Appendix B: 1942 Discourses Appendix C: Prayers Appendix D: List of Departed Ones Appendix E: List of Those Who Attended the Myrtle Beach Sahavas and the Avatar’s Abode Sahavas, 1958 Appendix F: List of Those Who Attended the Meherabad Gathering, July 1958 Appendix G: Some of the Westerners Who Attended the East-West Gathering, 1962 Appendix H: Meher Baba’s Last Will and Testament Appendix I: English translation of Bhau’s Hindi Arti, Aadi Sachetana Appendix A: Baba’s Scenario The following adaptation, titled A Touch of Maya, was given by Baba and used as the basis for several screenplays: First life, cast of characters: X: Cannibal man who wins the woman; Y: Cannibal woman; Z: Jealous cannibal man who is killed. Cannibals are eating a corpse around a fire in a jungle. One man, X, catches the eye of a young woman, Y. They smile at one another and he throws her a tasty piece of flesh. She eats it. Another man, Z, is jealous and a fight ensues between the two men. X wins and kills Z. Second life, cast: Z: The murdered cannibal is now a cruel king; X: The lover of the cannibal woman is now a foreigner; Y: The cannibal woman becomes the cruel king’s wife who pities X and asks her husband to spare him. A great but cruel king, Z, is reigning in Turkey; he kills all foreigners who fall into his hands. X, a Persian, is captured by the king and is tortured: he is bound to a tree and lashed; pins are thrust down his fingernails; he is hanged upside down while the soles of his feet are lashed. -
Amateur Instrumental Music in America, 1765 to 1810. Benjamin Richard Compton Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Amateur Instrumental Music in America, 1765 to 1810. Benjamin Richard Compton Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Compton, Benjamin Richard, "Amateur Instrumental Music in America, 1765 to 1810." (1979). LSU Historical Dissertations and Theses. 3329. https://digitalcommons.lsu.edu/gradschool_disstheses/3329 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
Download Booklet
Richard Lester’s Complete Scarlatti Sonatas FRESCOBALDI RICHARD LESTER Harpsichord & Virginals NI 1725 NI 1726 Vo lum e 3 NI 1727 NI 1728 NI 1729 NI 1730 NI 1731 NI 5822/3 16 NI 5870 NI5870 1 See NI 5861 Harpsichord by Giovanni Battista Boni (c1619) 2 NI 5870 NI5870 15 Richard Lester’s FRESCOBALDI series: Girolamo Frescobaldi (1583-1643) ‘If you enjoyed the first CD, this second will exceed your expectations. Now to have Volume 3 available as accomplished a projected series of recordings as this is truly a treat. Here is a performance and recording enterprise that deserves landmark status of its RICHARD LESTER own. Unhesitatingly recommended.’ 1 Toccata Seconda 4:33 Mark Sealey. Classical Net 2 Capriccio fatto sopra La Cucchu 5:45 3 Toccata Quarta 4:30 4-6 Balletto Primo - Corrente del Balletto Passacagli 2:28 Volume 1 Harpsichord (NI 5850) 7 Aria detta Balletto 7:08 Toccatas, Canzonas, Capriccios and Partites from 8-9 Balletto Seconda - Corrente del Balletto 1:39 Il primo libro di toccate, Il secondo libro di toccate e canzone and 10 Toccata Undecima 5:19 Il primo libro di capricci. 11 Canzona Prima 3:51 Volume 2 Harpsichord (NI 5861) 12 Toccata Decima 4:35 Gagliardes, Toccatas and Partites from 13 Canzona Quinta 1:51 Il primo libro di toccata and Il secondo libro di toccate 14 Capriccio di Durezze 2:48 15 Capriccio sopra l’aria di Ruggiero 6:22 Volume 4 Organ 16 Recercar Terzo 4:28 Toccatas, Canzonas, Capriccios, Fantasies and Ricercars from 17 Capriccio Fra Jacopino sopra l’Aria du Ruggiero 4:02 Il secondo libro di toccate, Fiori Musicali and the Chigi manuscript 18-20 Balletto Terzo - Corrente del Balletto – Passacagli 3:21 21 Capriccio sopra La Bassa Fiamenga 5:35 22 Correntes 1-4 4:21 Visit www.frescobaldi.org.uk or www.wyastone.co.uk for release dates and track listings.