King's Parade Spring 2007
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Mothers in Science
The aim of this book is to illustrate, graphically, that it is perfectly possible to combine a successful and fulfilling career in research science with motherhood, and that there are no rules about how to do this. On each page you will find a timeline showing on one side, the career path of a research group leader in academic science, and on the other side, important events in her family life. Each contributor has also provided a brief text about their research and about how they have combined their career and family commitments. This project was funded by a Rosalind Franklin Award from the Royal Society 1 Foreword It is well known that women are under-represented in careers in These rules are part of a much wider mythology among scientists of science. In academia, considerable attention has been focused on the both genders at the PhD and post-doctoral stages in their careers. paucity of women at lecturer level, and the even more lamentable The myths bubble up from the combination of two aspects of the state of affairs at more senior levels. The academic career path has academic science environment. First, a quick look at the numbers a long apprenticeship. Typically there is an undergraduate degree, immediately shows that there are far fewer lectureship positions followed by a PhD, then some post-doctoral research contracts and than qualified candidates to fill them. Second, the mentors of early research fellowships, and then finally a more stable lectureship or career researchers are academic scientists who have successfully permanent research leader position, with promotion on up the made the transition to lectureships and beyond. -
Past Commissions 2014/15
Past Commissions 2014/2015 Season Page 1 of 5 * Denotes commissioned by Wigmore Hall with the support of André Hoffmann, president of the Fondation Hoffmann, a Swiss grant-making foundation September Day Composer Title Performer(s) Première Variations from the 14 Birtwistle, Sir Harrison Nicolas Hodges World* Golden Mountains Study No. 44A after Chopin 15 Godowsky, Leopold Marc-André Hamelin UK nouvelle étude No.1 October Day Composer Title Performer(s) Première gefährlich dünn — fragile pieces Petraškevičs, Jānis for double string quartet (co-commissioned by Ensemble Modern and Wigmore Hall) 10 Ensemble Modern World* Schöllhorn, sous-bois – Sextet (co-commissioned by Ensemble Modern Johannes and Wigmore Hall) November Day Composer Title Performer(s) Première Carnaval for clarinet, piano and cello 11 Mantovani, Bruno (co-commissioned by Ensemble intercontemporain, Ensemble intercontemporain World* Opéra national de Paris and Wigmore Hall) Montague, Stephen nun-mul World 16 Jenna Sung World Pritchard, Gwyn Tide December Day Composer Title Performer(s) Première Uncanny Vale Britten Sinfonia (co-commissioned by Britten Sinfonia with 3 Jones, Patrick John (Emer McDonough, Nicholas Daniel, London* support from donors to the Musically Gifted Joy Farrall, Sarah Burnett, Stephen Bell) campaign and Wigmore Hall) Turnage, Contusion 6 (co-commissioned by The Radcliffe Trust, Belcea Quartet World* Mark-Anthony NMC Recordings and Wigmore Hall) Past Commissions 2014/2015 Season Page 2 of 5 January Day Composer Title Performer(s) Première Light and Matter Britten Sinfonia (co-commissioned by Britten Sinfonia with 14 Saariaho, Kaija (Jacqueline Shave, Caroline Dearnley, London* support from donors to the Musically Gifted campaign Huw Watkins) and Wigmore Hall) 3rd Quartet Holt, Simon (co-commissioned by The Radcliffe Trust, World* NMC Recordings, Heidelberger Frühling, and 19 Wigmore Hall) JACK Quartet Haas, Georg Friedrich String Quartet No. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
NMC164 Watkins-Wyas-Booklet
Huw Watkins In my craft or sullen art Mark Padmore tenor Huw Watkins piano Paul Watkins cello Alina Ibragimova violin The Nash Ensemble Elias Quartet Huw Watkins Sonata for Cello and Three Auden Songs 8’47 The Nash Ensemble Eight Instruments 13’44 10 Brussels in Winter 3’31 Artistic Director Amelia Freedman CBE FRAM 1 Allegro 4’36 11 Eyes look into the well 2’51 Paul Watkins cello 2 Lento 5’04 12 At last the secret is out 2’25 Ian Brown conductor 3 Allegro 4’04 Mark Padmore tenor Philippa Davies flute Paul Watkins cello Huw Watkins piano Richard Hosford clarinet The Nash Ensemble Ursula Leveaux bassoon Laura Samuel violin Ian Brown conductor 15’02 Partita for solo violin Catherine Leonard violin 13 Maestoso 4’07 Lawrence Power viola Four Spencer Pieces 15’15 14 Lento ma non troppo 1’06 Duncan McTier double bass 4 Prelude 1’46 15 Lento 4’31 and Huw Watkins piano 5 Shipbuilding on the Clyde 1’49 16 Comodo 1’04 6 The Crucifixion 1’36 17 Allegro molto 4’14 Elias Quartet 7 The Resurrection of Soldiers 5’51 Alina Ibragimova violin Sara Bitlloch violin Separating Fighting Swans 2’28 8 Donald Grant violin 9 Postlude 1’45 18 In my craft or sullen art: Martin Saving viola Marie Bitlloch cello Huw Watkins piano Goodison Quartet No 4 17’31 Mark Padmore tenor Elias Quartet Total timing 71’01 Mark Padmore appears by arrangement with Harmonia Mundi USA. Alina Ibragimova appears on this recording with kind permission from Hyperion Records. -
SEA EAGLE Works by Gerald Barry • Peter Maxwell Davies • Robin Holloway Colin Matthews • David Matthews • Mark-Anthony Turnage • Huw Watkins RICHARD WATKINS Horn
Richard Watkins horn with Mark Padmore tenor • Huw Watkins piano Paul Watkins cello • The Nash Ensemble SEA EAGLE works by Gerald Barry • Peter Maxwell Davies • Robin Holloway Colin Matthews • David Matthews • Mark-Anthony Turnage • Huw Watkins RICHARD WATKINS horn Peter Maxwell Davies: Sea Eagle 9’08 The Nash Ensemble 1 Adagio 4’05 Marianne Thorsen violin 2 Lento 3’33 3 Presto molto 1’30 Laura Samuel violin Lawrence Power viola Gerald Barry: Jabberwocky 5’44 4 Adrian Brendel cello with Mark Padmore tenor • Huw Watkins piano Saunders photo: Keith Colin Matthews: Three of a Kind 9’34 5 Vivo 1’47 6 Largamente 1’13 7 Calmo 6’34 with Paul Watkins cello • Huw Watkins piano 8 Huw Watkins: Trio 12’48 with Laura Samuel violin • Huw Watkins piano David Matthews: Quintet for Horn and Strings (live recording) 13’13 9 Andante 7’57 10 Molto vivace 5’16 The Nash Ensemble 11 Mark-Anthony Turnage: Prayer for a great man 3’57 with Paul Watkins cello Robin Holloway: Trio for Horn, Cello and Piano 20’08 12 I Liberamente 11’33 13 II Poco allegro 8’35 with Paul Watkins cello • Huw Watkins piano Total timing 75’29 2 SEA EAGLE Introduction by Richard Watkins Matthews and Holloway, it’s certainly years have played in several of his a winning one. chamber works, most notably with the Nash, so when I discovered that his I met Peter Maxwell Davies when I Horn Concerto, and after prolonged David Matthews’ first piece for solo Cello Concerto, written for the joined the Fires of London, my first negotiations, it finally came to fruition horn was his Capriccio for Two Horns brilliant Paul Watkins, had a short professional experience in 1981. -
Emily Howard
© Sam Fairbrother Emily Howard Contemporary Leipzig London New York C. F. Peters Ltd & Co. KG Peters Edition Ltd C. F. Peters Corporation Talstraße 10 2 – 6 Baches Street 70 – 30 80th Street 04103 Leipzig London N1 6DN Glendale NY 11385 Deutschland UK USA ( +49 (0) 341 9897 9231 ( +44 (0) 20 7553 4034 ( + (1) 718 416 7822 * [email protected] * [email protected] * [email protected] BIOGRAPHY Emily Howard Emily Howard’s music is known for its particular connection with science. She first won critical acclaim with Magnetite (“a structural tour de force” – AllMusic), commissioned by Liverpool European Capital of Culture 2008 for the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, the year she received the Paul Hamlyn Foundation Award for Composers. Her works are commissioned, performed and broadcast internationally by leading festivals and ensembles including the BBC Proms, Wien Modern, the London Symphony Orchestra, Bamberger Symphoniker, and New Scientist Live. Howard was a featured composer at the Aldeburgh Festival 2018, which included the world premiere of her opera To See The Invisible. Described by The Times as “visionary” and by The Guardian as “one of this year’s finest new works”, her 2016 BBC Proms commission, Torus (Concerto for Orchestra), gained wide critical acclaim and subsequently won a 2017 British Composer Award. BBC Radio 3’s Record Review described Howard’s 2016 NMC Debut Disc Magnetite as “a confident, major orchestral debut”, hailing its “scientific ideas brilliantly articulated”. Indeed, orchestral writing is key to Howard’s work. Solar (“galactic power on a compact scale” – The Financial Times) received its world premiere in 2010 with the London Symphony Orchestra conducted by Nicholas Collon at the Barbican Centre, and in 2013 was given its Australian premiere (West Australian Symphony Orchestra / Paul Daniel) with further performances by the BBC Symphony Orchestra under Garry Walker. -
Mark Bowden Biography
Mark Bowden Mark Bowden is a British composer of chamber, orchestral and vocal music. His work has been described as ‘an exceptional and absorbing pleasure’ [The Guardian], ‘conjuring up magic and mystery’[Opera], ‘invigorating’ [The Times] and ‘powerfully dramatic’ [BBC Radio 3]. Mark first came to public attention in 2006 when he was awarded the Royal Philharmonic Society Composition Prize for his first orchestral commission, Sudden Light (BBC Symphony Orchestra). Further orchestral commissions followed — The Dawn Halts (BBC National Orchestra of Wales) and Tirlun (Ulster Orchestra) — before being appointed Resident Composer with the BBC National Orchestra of Wales, a post he held from 2011 to 2015. Mark’s four-year tenure with the orchestra resulted in a series of major new works, including a cello concerto, Lyra (for Oliver Coates), a dual function percussion concerto & ballet score, Heartland (for National Dance Company Wales) and A Violence of Gifts, a 40-minute cantata for soprano, baritone, chorus and orchestra that premiered in 2015 to widespread critical acclaim with soloists Elizabeth Atherton and Roderick Williams conducted by Martyn Brabbins. Mark’s growing catalogue of chamber music includes The Breaking Wheel for clarinet and piano (Little Missenden Festival), Five Memos for violin and piano (London Music Masters, for Hyeyoon Park & Huw Watkins), Parable for solo saxophone (London Sinfonietta), Lines Written a Few Miles Below for violin and electronics, (Rambert Dance Company, for Thomas Gould), Airs No Oceans Keep (Fidelio Trio), Black Yew, White Cloud (Arditti Quartet) as well as a number of other works for groups with whom he has developed close partnerships, including Chroma, Kokoro, Ostrava Banda, Phiharmonia Orchestra, Spitalfields Festival, London Handel Festival and many others. -
A Festival of Nine Lessons and Carols 2019
KING’S COLLEGE CHAPEL A FESTIVAL OF NINE LESSONS AND CAROLS Christmas Eve 2019 at 3 pm Welcome to this special service. We are very grateful to you for coming to share with us in this great occasion, which is an act of worship for us here in Chapel as well as for the millions who will join us around the world. Before the service begins, please note the following requests: To a radio audience, coughing is a particular distraction, much more so than to others in the Chapel. You are therefore asked to keep any such sounds to an absolute minimum. Please double-check that your mobile phone is turned off. The same applies to chiming watches or other devices which are likely to be heard by sensitive microphones. Please put your contribution to the collection, which goes to support the work of the Chapel, in the Gift Aid envelope that you will find in this order of service, and add it, duly completed, to the collection as you leave. In the unlikely event of an emergency requiring us to evacuate the Chapel please follow the directions of the stewards, and remain as quiet and calm as possible. Finally, I would like to wish you a very Happy Christmas and invite you to join us for any of our choral services in the future, in particular our Sung Eucharist with Carols at 11 am on Christmas Day. The Revd Dr Stephen Cherry, Dean A BRIEF HISTORY OF THE SERVICE A Festival of Nine Lessons and Carols was first held at King’s on Christmas Eve 1918. -
ARTICLE Redefining “Virgin Birth” After Kaguya: Mammalian Parthenogenesis in Experimental Biology, 2004-2014
ARTICLE Redefining “Virgin Birth” After Kaguya: Mammalian Parthenogenesis in Experimental Biology, 2004-2014 Eva Mae Gillis-Buck University of California, San Francisco [email protected] Abstract Virgin birth is a common theme in religious myths, science fiction, lesbian and feminist imaginaries, and sensational news stories. Virgin birth enters a laboratory setting through biologists’ use of the term parthenogenesis (Greek for virgin birth) to describe various forms of development without sperm. Scientific consensus holds that viable mammalian parthenogenesis is impossible; that is, mammalian embryos require both a maternal and a paternal contribution to develop completely. This essay investigates the historical development of that consensus and the evolving scientific language of parthenogenesis after the birth of Kaguya, a mouse with two mothers and no father. I qualitatively analyze 202 peer-reviewed scientific publications that cite the Kaguya experiment, and find unconventional interpretations of sex and parenthood, even in publications that maintain the impossibility of mammalian parthenogenesis. Though many scientists insist that males are necessary, they also describe eggs as paternal, embryos as sperm-free, and bimaternal sexual reproduction as something distinct from parthenogenesis. I argue that the scientific language used to explain the Kaguya experiment both supports a heteronormative reproductive status quo and simultaneously challenges it, offering bimaternal sexual Gillis-Buck, E.M. (2016). Redefining “Virgin Birth” After Kaguya: Mammalian Parthenogenesis in Experimental Biology, 2004-2014. Catalyst: Feminism, Theory, Technoscience, 2 (1), 1-67 http://www.catalystjournal.org | ISSN: 2380-3312 © Eva Mae Gillis-Buck, 2016 | Licensed to the Catalyst Project under a Creative Commons Attribution Non-Commercial No Derivatives license Gillis-Buck Catalyst: Feminism, Theory, Technoscience 2(1) 2 reproduction as a feasible alternative. -
GWG Dec 2012 Nominee Bios2
Agenda Item #12 ICOC Meeting December 12, 2012 CIRM Scientific and Medical Research Funding Working Group Biographical information of candidates nominated to serve as Scientific Members of the Working Group Stephen Friend, MD, PhD Dr. Friend is the President of Sage Bionetworks. He received his BA in philosophy, his PhD in biochemistry, and his MD from Indiana University. He is an authority in the field of cancer biology and a leader in efforts to make large scale, data-intensive biology broadly accessible to the entire research community. Dr. Friend has been a senior advisor to the National Cancer Institute (NCI), several biotech companies, a Trustee of the American Association for Cancer Research (AACR), and is an American Association for the Advancement of Science (AAAS) and Ashoka Fellow as well as an editorial board member of Open Network Biology. Dr. Friend was previously Senior Vice President and Franchise Head for Oncology Research at Merck & Co., Inc. where he led Merck’s Basic Cancer Research efforts. Prior to joining Merck, Dr. Friend was recruited by Dr. Leland Hartwell to join the Fred Hutchinson Cancer Research Center’s Seattle Project, an advanced institute for drug discovery. While there Drs. Friend and Hartwell developed a method for examining large patterns of genes that led them to co-found Rosetta Inpharmatics in 2001. Dr. Friend has also held faculty positions at Harvard Medical School from 1987 to 1995 and at Massachusetts General Hospital from 1990 to 1995. Christie Gunter, PhD Dr. Gunter is the HudsonAlpha director of research affairs. She earned her BS degree in both genetics and biochemistry from the University of Georgia in 1992, and a PhD in genetics from Emory University in 1998. -
Emerson String Quartet
Emerson String Quartet The Emerson String Quartet has maintained its stature as one of the world’s premier chamber music ensembles for more than four decades. The quartet has made more than 30 acclaimed recordings, and has been honored with nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s “Ensemble of the Year”. The Emerson frequently collaborates with some of today’s most esteemed composers to premiere new works, keeping the string quartet art form alive and relevant. They have partnered in performance with stellar soloists including Reneé Fleming, Barbara Hannigan, Evgeny Kissin, Emanuel Ax and Yefim Bronfman, to name a few. During the 2018-2019 season the Emerson continues to perform as the quartet in residence at the Smithsonian Institution in Washington, D.C. for its 40th season and returns to perform with the Chamber Music Society of Lincoln Center. The group’s North American appearances include a performance at New York’s Alice Tully Hall, and appears around North America that include the Library of Congress in Washington DC, Denver, Vancouver, Seattle, Houston, Indianapolis, Detroit, the Yale School of Music and University of Georgia, among others. The quartet also embarks on two European tours, performing in major venues in the United Kingdom, Germany, France, Italy and Spain. During the summer of 2019, the Emerson will perform at Tanglewood, Ravinia, and the Aspen Music Festivals. Other North American highlights include subsequent performances of Shostakovich and The Black Monk: A Russian Fantasy, the new theatrical production co-created by the acclaimed theater director James Glossman and the Quartet’s violinist, Philip Setzer.