Clifford Hindley: Pederasty and Scholarship Ian Pace
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Deterrence of Fraud with EU Funds Through Investigative Journalism in EU-27
DIRECTORATE GENERAL FOR INTERNAL POLICIES POLICY DEPARTMENT D: BUDGETARY AFFAIRS Deterrence of fraud with EU funds through investigative journalism in EU-27 STUDY Abstract: The study depicts the state of investigative journalism in the 27 EU member states, with a focus on Denmark, Hungary, Italy, Romania, Spain, UK and a special focus on the interaction between European institutions and investigative journalists. It illustrates conditions promoting or impeding good investigative journalism in general, and in particular for reporting on fraud with EU funds and revenues. It recommends: a swift implementation of workable freedom of information laws across the EU, comprehensiveness of data provided by EU bodies and member states on their spending, targeted training for journalists, promotion of investigative centres and more cooperation between journalists and officials at EU and national levels, this in view of advanced transparency and helping citizens to understand the added value of EU spending. 17/10/2012 PE 490.663 EN This document was requested by the European Parliament's Committee on Budgetary Control. It designated Bart STAES, MEP, to follow the study. AUTHORS Principal author for Fonds Pascal Decroos: Margo Smit, director Vereniging van Onderzoeksjournalisten co-authors: Brigitte Alfter, Mar Cabra, Annamarie Cumiskey, Ides Debruyne, Marcos García Rey, Rafael Njotea, Albrecht Ude Rozenweg 4-B B-1731 Zellik Belgium RESPONSIBLE ADMINISTRATOR Helmut Werner Policy Department D: Budgetary Affairs European Parliament B-1047 Brussels E-mail: [email protected] LINGUISTIC VERSIONS Original: EN Translation executive summaries: DE, FR ABOUT THE EDITOR To contact the Policy Department or to subscribe to its newsletter please write to: [email protected] Manuscript completed in August 2012. -
IICSA Inquiry-Westminster 29 March 2019
IICSA Inquiry-Westminster 29 March 2019 1 Friday, 29 March 2019 1 various matters that arose during Ms Reason's evidence. 2 (10.00 am) 2 That is GNP001006. 3 THE CHAIR: Good morning, everyone, and welcome to the final 3 We invite you to adduce the witness statement of 4 day of this public hearing. Ms Beattie? 4 Christopher Horne, dated March 2019. Mr Horne describes 5 Witness statements adduced by MS BEATTIE 5 how, during the 1972 by-election, there was talk that 6 MS BEATTIE: Good morning, chair. Before we turn to closing 6 Cyril Smith had committed sexual offences with young 7 submissions, there is some further evidence that we 7 boys. Mr Horne, who was a supporter of the Conservative 8 would invite you to adduce. The first is the second 8 Party candidate, David Trippier, says the local police 9 witness statement of Gary Richardson, a detective 9 took action to ensure that this information was not 10 superintendent British Transport Police, dated 10 disseminated, including by a police visit to the 11 13 March 2019. This concerns email correspondence 11 Conservative Party campaign office where the police said 12 received by the British Transport Police from 12 that any mention of Cyril Smith's predilection for young 13 North Wales Police in 2017 about Peter Morrison being 13 boys would be treated as a criminal offence and lead to 14 taken off a train at Crewe Railway Station. The British 14 an order to stay out of the by-election. That reference 15 Transport Police did not take any further action in 15 is INQ004206. -
Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae
Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae: Reflections on a Song of Dowland for viola and piano- reflections or variations? Master thesis For obtaining the academic degree Master of Arts of course Solo Performance Viola in Anton Bruckner Privatuniversität Linz Supervised by: Univ.Doz, Dr. M.A. Hans Georg Nicklaus and Mag. Predrag Katanic Linz, April 2019 CONTENT Foreword………………………………………………………………………………..2 CHAPTER 1………………………………...………………………………….……....6 1.1 Benjamin Britten - life, creativity, and the role of the viola in his life……..…..…..6 1.2 Alderburgh Festival……………………………......................................................14 CHAPTER 2…………………………………………………………………………...19 John Dowland and his Lachrymae……………………………….…………………….19 CHAPTER 3. The Lachrymae of Benjamin Britten.……..……………………………25 3.1 Lachrymae and Nocturnal……………………………………………………….....25 3.2 Structure of Lachrymae…………………………………………………………....28 Conclusion……………………………………………………………………………..39 Bibliography……………………………………….......................................................43 Affidavit………………………………………………………………………………..45 Appendix ……………………………………………………………………………....46 1 FOREWORD The oeuvre of the great English composer Benjamin Britten belongs to one of the most sig- nificant pages of the history of 20th-century music. In Europe, performers and the general public alike continue to exhibit a steady interest in the composer decades after his death. Even now, the heritage of the master has great repertoire potential given that the number of his written works is on par with composers such as S. Prokofiev, F. Poulenc, D. Shostako- vich, etc. The significance of this figure for researchers including D. Mitchell, C. Palmer, F. Rupprecht, A. Whittall, F. Reed, L. Walker, N. Abels and others, who continue to turn to various areas of his work, is not exhausted. Britten nature as a composer was determined by two main constants: poetry and music. In- deed, his art is inextricably linked with the word. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
IICSA Inquiry-Westminster 12 March 2019 (+44)207 4041400
IICSA Inquiry-Westminster 12 March 2019 1 Tuesday, 12 March 2019 1 was looking for a diary secretary? 2 (10.00 am) 2 A. That's correct, yes. 3 THE CHAIR: Good morning, everyone, and welcome to Day 7 of 3 Q. Which you thought was in 1983? 4 this public inquiry. Mr Altman? 4 A. Yes. 5 MR ALTMAN: Good morning, chair. The first witness, sitting 5 Q. But you couldn't remember precisely which month. You 6 in the witness box, is Mrs Susan Hogg. 6 thought about September? 7 MRS SUSAN HOGG (sworn) 7 A. It was probably September, yes. 8 Examination by MR ALTMAN 8 Q. You took the position, ending up working as a diary 9 MR ALTMAN: Sit down, please. 9 secretary for Peter Morrison from between 1983 and 1985? 10 A. Thank you. 10 A. That's correct. 11 Q. Give us your name. 11 Q. What were your functions as his diary secretary? 12 A. Susan Hogg. 12 A. Well, in those days, it was a paper diary, so it was 13 Q. Susan Hogg. Mrs Hogg, I want to ask you, please, for 13 a little bit more complicated than it is presently, but 14 a little assistance about what you did by way of 14 I was responsible for organising all of his departmental 15 occupation in the 1980s? 15 commitments, including regional visits and all of his 16 A. I worked for Sir Peter Morrison as his diary secretary 16 many meetings that he had throughout the day with 17 in the Department of Employment. -
How Leveson Got It Wrong Page 8
FREE£1 No 215 Summer 2018 Journal Press of the Campaign for Press and Broadcasting Freedom MEDIA REFORM 3 END OF THE NINE VOTES, ROAD FOR CPBF AGM to discuss closure THAT’S ALL of the campaign IT CAME TO ON MAY 9, by 304 to 295, the Commons killed off the continuation of the Leveson Inquiry that had done so much to check the power and corruption of Big Media. How Leveson Another vote a week later confirmed the sentence, and Parliamentary support for attempts to enact the got it wrong 4 last elements of Leveson’s proposals for reform fell THEY THINK away. The Labour Party dropped its amendment to Page 8 confirm the incentives for publishers to offer arbitra- IT’S ALL OVER tion to everyone with complaints against the press, But investigative and that was the formal end of a seven-year battle for This was wholly untrue. There had been no journalism thrives media justice. extinction threat, and the move could actually weaken It was back to business as usual with a desperate a free press if a government wanted to. right-wing government pandering to a rampant All along, IPSO has dragged its feet on arbitration. right-wing press. After two years, it grudgingly introduced a voluntary The phone-hacking scandal in 2011 had launched the scheme. Publishers were not required to join this strongest protest ever mounted against the big media scheme, nor to agree to arbitrate every complaint publishers. It brought the sensational Leveson Inquiry even if they did. There were restrictive conditions for and its legal changes to introduce fairness to media complainants on costs and awards, and no cases were regulation. -
Peter Thickett Set & Costume Designer Crispin Lord Lighting Designer Edward Saunders Marketing Manager Thea Waxman
Curlew River Benjamin Britten Cast The Madwoman Richard Robbins The Ferryman Ben Bevan The Traveller Ivo Almond The Abbot Tom Herring The Spirit James Bennett Chorus Tenors Philip Barrett Liam Connery Gethin Lewis Chorus Baritones James Edwards Jevan McAuley Jonny Venvell Chorus Basses Shaun Aquilina Max Loble Production Team Producer / Musical Director Frederick Waxman Artistic Director Peter Thickett Set & Costume Designer Crispin Lord Lighting Designer Edward Saunders Marketing Manager Thea Waxman Ante Terminum Productions Benjamin Britten (1914 - 1976) Several decades after his death, we have a more complete picture of Benjamin Britten as a composer than during his lifetime. Works from his youth and works that he suppressed have been played and published; the late music can now be seen as a distinct phase, in some ways as forward looking and as influential as Stravinsky’s. Above all, Britten’s central place in the history of 20th-century music seems more and more assured. He is one of very few composers born in the last century whose whole output - from operas to solo pieces - has gained a secure place in the repertoire. Britten was born into a middle-class family in Lowestoft, Suffolk, on 22 November 1913. His mother encouraged him to learn the piano and the viola, and to compose; by the age of fourteen he had written over 100 works. Little of this abundant juvenilia has so far been heard, but Britten himself selected Five Waltzes for piano, composed between 1923 and 1925, for publication in 1969: they are not simply charming but have the feel of genuine music. -
IICSA Inquiry-Westminster 7 March 2019 (+44)207 4041400 [email protected] London EC4A 1JS Epiq Europe Ltd
IICSA Inquiry-Westminster 7 March 2019 1 Thursday, 7 March 2019 1 Q. Thank you. For the rest of this morning, we can all 2 (10.00 am) 2 assume that, when we talk about Operation Conifer, we 3 THE CHAIR: Good morning, everyone. Welcome to Day 4 of 3 are talking about your Operation Conifer. 4 this public hearing. Mr O'Connor? 4 Let me ask you this: is that operation still active? 5 MR O'CONNOR: Good morning, chair. Our first witness this 5 A. No, it's not. No, it's concluded. 6 morning, chair, is Mr Kirby, who is in the witness box. 6 Q. You know, Mr Kirby, that Operation Conifer, the 7 MR STEPHEN KIRBY (sworn) 7 Wiltshire Police Operation Conifer, is not, broadly 8 Examination by MR O'CONNOR 8 speaking, within the scope of this investigation. 9 MR O'CONNOR: Could you give your full name, please? 9 However, there is one small exception to that, which 10 A. Yes, my name is Stephen Kirby. I'm from 10 relates to information that you received either towards 11 Wiltshire Police and I'm a detective superintendent. 11 the end of or, in fact, after the conclusion of your 12 Q. Mr Kirby, in your witness statement you describe 12 investigation from two retired police officers named 13 yourself as the senior investigating officer for 13 Sinclair and Holmes. Do you understand? 14 Operation Conifer. Mr Kirby, we, in this room, have 14 A. I do. 15 heard evidence in the last few days about an 15 Q. -
An Independent Review of Two Home Office Commissioned Independent Reviews Looking at Information Held in Connection with Child Abuse from 1979-1999
An Independent Review Of Two Home Office Commissioned Independent Reviews Looking At Information Held In Connection With Child Abuse from 1979-1999 Peter Wanless and Richard Whittam QC INDEX 1. Foreword Page 1 2. Introduction and Context Page 2 3. Executive Summary Page 7 4. Consideration of Review 1 Page 10 5. Further Home Office searches and Page 13 The Brighton Assaults File 6. Our Approach In Detail Page 16 7. Consideration of Review 2 Page 27 8. The Questions Posed In the Terms Page 31 Of Reference 9. Conclusions Page 34 10. Recommendations Page 35 Annexes A Terms of Reference B Association of Chief Police Officers (ACPO) – retention policy C Who we asked D What we asked E Review 1, interim and final F Review 2 G Schedule of redactions H Protocol; Police & Home Office I 114 files schedule J File pre-fixes 1 Foreword 1. The Home Secretary appointed us to conduct an independent review of two previous pieces of work commissioned by her Permanent Secretary. Review 1 had been invited to consider: What, if any, material was provided to the Department [Home Office] in relation to alleged organised child abuse; and What, if any, action was taken in relation to such allegations and whether relevant materials were passed to the police or law enforcement body to investigate; and Whether any member of Home Office staff was alleged or found to be involved or implicated in organised child abuse and what action was taken. 2. Review 2 looked into whether the Home Office ever directly or indirectly funded the Paedophile Information Exchange [PIE]. -
Going Behind Britten's Back
Going behind Britten's back Read at a Britten Colloquium at the University of East Anglia in 2008 The extraordinary scope of the archive held by the Britten-Pears Foundation, with its cache of something like 800 pieces of juvenilia, along with what amounts to at least 95% of the manuscripts of mature works, including many which were withdrawn or unfinished or have been published posthumously, must be unique for any composer. It's a special privilege to have access to so much material, but it brings with it responsibilities, as well as a number of moral questions. Just as biographers are often taken to task for burrowing too deeply into the minutiae of an artist's life, and thereby perhaps missing the bigger picture, or misinterpreting the life, so musicologists may be tempted by this extraordinary abundance of new information - especially about the composer's early development - to place undue weight on it, or exaggerate its importance. In addition, because music is not directly accessible in the way that words (or pictures) are, there is the vexed question of whether or not works that the composer might have suppressed should see the light of day in terms of performance, or publication. Since we have at least 700 unperformed works in the archive (most, but by no means all, consisting of juvenilia) this is an important question for us. It's an issue which we need to consider in several different ways. When a lost manuscript of a composer of several centuries ago resurfaces, no-one is likely to dispute whether or not the music should be performed, even if it adds little or nothing to our understanding of the composer. -
Wanless Whittam Review Report Nov 14 Summary
Summary of An Independent Review of Two Home Office Commissioned Independent Reviews looking at Information Held in Connection with Child Abuse from 1979-1999, by Peter Wanless and Richard Whittam, November 2014 Introduction On 7th July 2014 Home Secretary Theresa May announced two separate inquires to address public concerns: first that in the 1980s the Home Office failed to act on allegations of child sex abuse and, second, that public bodies and other important institutions failed to take seriously their duty of care towards children. In relation to the first concern, Peter Wanless, NSPCC Chief Executive, and lawyer Richard Whittam, QC, were asked to undertake an eight to ten week review into the Home Office handling of historical child sex abuse and how police and prosecutors had dealt with information they had received in the 1980s. That report was published on November 11th 2014. The review was, in fact, a review of two previous reviews commissioned by the Home Office Permanent Secretary. One examined what the Home Office knew and did about cases of organised child abuse from 1979 to 1999 (Review 1 completed in June 2013) whilst the other looked specifically at whether the Home Office had ever given grant funding to the Paedophile Information Exchange (PIE) (Review 2). Both earlier reviews were published as annexes to the Wanless and Whittam report The current review, the findings of which were presented as a single document, had been asked to consider: • Whether the Terms of Reference of the original reviews had been appropriate