THE OFFICIAL ORGANOF THEB.Bcs

Total Page:16

File Type:pdf, Size:1020Kb

THE OFFICIAL ORGANOF THEB.Bcs Radio Times, FebruaryTHE MAGIC6th, 1925.OF THE MICROPHONE. ByP. P. ECKERSLEY. eed 1 imi Perea (a tLarh a Pothin er}ie pecan TS AoAi?Le Lat b8 -Sra See BF Seal THE OFFICIAL ORGANOF THEB.B cS Regieberead wt bil Vol 6 No. 72 . lens ‘a a Sewa_—| EVERY FRIDAY. OFFICIAL The Religion ‘Thatis.is, Broadcast. PROGRAMMES AN OFFICIAL ANNOUNCEMENT. OF OUNSELS of caution are rarely able and sympathetic spirit. It is not THE BRITISH lacking when a pubhc organization presented as an added accomplishment, adopts 2 definite constructive policy but a5 an integral part of hfe, born ol | BROADCASTING on matters commonly associated with need,” controversy. We decided at the i fr at ai beginning to give religion a permanent Given these basic ideas, we are not COMPANY. place in our programmes. There were concerned with doctrine. Normally there those who resented this attitude on are no transmissions during church hours. For the week commencing the ground that our legitimate function This rule is rarely broken, and then only SUNDAY, _February8th. was entertainment and that religious when a complete religious service is being teaching was certainly not a form of broadcast. There are two hours of MAIN STATIONS. entertainment. There were those who specially chosen music on Sunday after- foretold serious trouble in striking an even noons. Then in the evening at 8 or 8.30 LONDON, CARDIFF, ABERDEEN, GLAS- balance between the various accepted a short religious service is sent out from GOW, BIRMINGHAM, MANCHESTER, forms of religion. There were others again all studios. Familiar hymns: or metrical BOURNEMOUTH, NEWCASTLE, who saw in our decision the death-blowto psalms are sung. Usually there is an BELFAST the already .declining habit of church anthem, and a fifteen minutes’ address, attendance, * * ¢ a HIGH-POWER STATION. me * 4 TF Each station has the benefit of the (Chelmsford) Two years of experienc¢ would seem to advice of a Committee of clergymen prove that our policy is right, and that representative of all the larger denomina- were unfounded. tions. It i worthy of note that the RELAY STATIONS. the fears of early critics There was an advantage perhaps in the Roman Catholics are represented on most SHEFFIELD, PLYMOUTH, EDINBURGH, fact that our conception of the religion of of these Committees. About once a LIVERPOOL, LEEDS — BRADFORD, broadcasting was-more the product of the month a complete church Service is taken HULL, NOTTINGHAM, STOKE-ON- lay mind than that of the ecclesiastic or instead of che ordinary studio service, To convey atmosphere, nothing is missed, TRENT, DUNDEE, SWANSEA theologian. We began from the simple premise that to the average man and from the ringing of the belis to the Bene- woman religion satisfies an important diction. The monthly broadcast services SPECIAL CONTENTS : need, We were not content with ethics are usually held after the ordinary evening WHICH 1S THE MOST POPULAR SONG? or universalism. To influence conduct, service, and are specially framed in con- and raise the standard of citizenship, the sultation with us. Lg * am = DO YOU BROADCAST? religion of broadcasting had to be definite Rules for the Amateur Transmitter. and concrete. It had to embody a robust Our correspondence leaves no room for doubt that the distinctive character of WIRELESS AND WILD WEATHER. and generous faith. Our aim was to com- municate “a thorough-gomg, optimustic, Sunday programmes is Widely appreciated OFFICIAL NEWS AND)VIEWS. and manlyreligion . lt does not and welcomed. The exclusion of doctrinal present the Almightyiin the guise of what controversy’ has silenced ‘theological LISTENERS’ LETTERS. criticiem. here are stiilsome whothink we has been described’ as a lawyer's God CONTINENTAL BROADCASTING. policing His wniverse, but asa companion- (Continual overleaf in column 3.) 1 a) RADIOKelson eoBe {Fuanvany 6rn, 1925, The Relieson That is Becadeast: Whichi1S's the Most Popular Song? Continnsd from (Ag “prewegita, gee. | keep people away from church, But what evi- dence there is pulnts to an oppoeite conclusidu. A Problem for Music Lovers. By A. B. Cooper. There is aleo good reason to believe that our ys the question “ Which is the most popular they will sing * Land of Hope and-Glory.” Tat strvices stimulate religious thought. - = = L4 . song f°’ thera would he many different itwill never be sang very familiarly. [It has all the esi. replies, aa perhaps most people would declare elements of immortality, bot not of wide When the Rev. H. BR. OL. Sheppard, of St. it was inwpossible to-say: yet that very difficulty popularity. Martin-in-the-Fields, asked listenera to meet cece MHkes the discussion of this question ail the It would appear to require a special brard him in the Albert Hall on a certain date, that “2, “*, more interesting. Of all the songs that the and blend of qualities to constitute a song great building waa filled to overflowing: More- ron oer** necple sing, which ia best beloved, oftencat Which has in it immortality and popularity over, broadcasting has brought the message of a.” 3 “es, heard, most widely known ? combined. There are-songs which are immortal religion to many thousands of men and women =" We raat confine iurmclves, naturally, to which have never been widely popular, such os who, otherwise, might never have felt its cn- .., Songs riching and purifying inf renee sung by the Engtishepeaking peoples, “ Drink to Me Only with Thine Eyes” aad ik i és a “ . whitten, as to ther words, in the English tongua, “Go Where Glory Waits Thee,” and many of 7 and this restriction just a8 naturally brings to the great songs of Shakespeare, but there are Most of the various church authorities have ++«+ the fore the various mational anthems and others, whieh inherently have not half their been quick to realize the value of the new patriotic songs which are, undoubtedly, very worth, which will not only live for ever, but be medium, Bishops of the Church of England, wilely sung, and, in some cases, fervently loved always, Roman Catholic, Nonconformists, and the loved, hic Rabbi have all spoken from the London A Touch of Tragely. studio during the past year. The broadcasting More Hanourei Than Loved. But there are songs which both aa literatore of such great religious mectings as. thoze of T suppose “ God-Save the King” is os well and in their musical setting seem: to achieve a Gipsy Smith at the Albert Hall has tncreased the andienoe from thousands to millions, ancl known aa to ita liret verse and ite tone os any: donhle claim to immortality and popularity. In thing of ite kind in existence, and ia played and Scotland Burns achieved this double victory has not diminished the number of those attend- ing the services.. For the bed-ridden—the aged Sung as often as any other piece of music im with “Ye: Banks and’ Braes": “ Monk" an] the steck—the broadcast services lave heen existense, For that very Peasgon one does net Lewis cehieved the feat with “On the exactly love it, even if one can be sail rather an inestimable boon. Banks of Allan Water," and it will be neted is #‘ * fo respect amd-honour it. Ite univeraal nse does instantly that these two songs, one by the bot mean an equal popularity and affection for greatest of Scotemen, the other by ao. rather Nearly all the religions. journals- are. en- the song itgell, apart from ita official assocta- commonplace Englishman, achieve. their end thusiastic supporters of our Sunday programmes, tions, by very similar means. ‘There is in both songs The Charch of Exglamt Newpaper devotes the front page of « recent iseue to an appretialive As for the Scot, although his patriotism ts A tonch of tragedy, a wistfulness of centiment, review of Mr. Reitha book, After declaring not to be doubted for a moment, no one supposra a reminder of the ever-recurring sodneeses of that he would rather sing etther God Save life. That is why Shelley said a profound and that “the Churches posseas a priceless asset in the goodwill and co-operation of the B.B.C,,* ihe King” or “ Rule, Britannia!” than“ The tleeply authentic thing when he told ws that the Editor remarks that ** ia abaord to sigirent Campbells Are Coming,” or “Scots Wha Hae,” our Bweetest songe are those that tell of or “ Bonnie Dundee,’ of “The Cock. o tho saddest thought." that churcheoers will eorrender ther habits of North.” Ewen if be wished to express his attendance for what is obviously a poor sub- highest patriotic fervour, however; be might Akin to Tears. ttitute.s’ But he wants more. He sugpests the formation of a aociely, and the cetablish- not choose any of these, but would more probably Take “Home, Sweet Home,” for instance, ment of a special fund to improve our Sunday turn his thoughts and his voice to “Tho Blue Who will deny thatit is a cud song t Although programmes, particularly on the musical side. Bells of Scotland" or “ The Lando the Leal,” it seta out to be-cheerinl, it ends with a sob, and it is always akin to tears. Even * Annie While we are unable to adopt the suggestion of asociety and a fund, we are none the less gratefil Reachmg the Nation’s Heart. Laurie” seems to have in it “tears from for such splendid encouragement. And why? -Beeause it may be confidently the depth of some divine despair.” It seems ih CJ J c lnid down that no sing which simply and to contain the seeds of perting even in Unfortunately, there are still some ‘church solely voices the spirit of patriatism, of pride of meeting, organizations that will have nothing to do race, or appeals only to the fighting instinct, The same can be said of “ Auld Lang Syne," with broadeacting, St.
Recommended publications
  • The Hills of Dreamland
    SIR EDWARD ELGAR (1857-1934) The Hills of Dreamland SOMMCD 271-2 The Hills of Dreamland Orchestral Songs The Society Complete incidental music to Grania and Diarmid Kathryn Rudge mezzo-soprano† • Henk Neven baritone* ELGAR BBC Concert Orchestra, Barry Wordsworth conductor ORCHESTRAL SONGS CD 1 Orchestral Songs 8 Pleading, Op.48 (1908)† 4:02 Song Cycle, Op.59 (1909) Complete incidental music to 9 Follow the Colours: Marching Song for Soldiers 6:38 1 Oh, soft was the song (No.3) 2:00 *♮ * (1908; rev. for orch. 1914) GRANIA AND DIARMID 2 Was it some golden star? (No.5) 2:44 * bl 3 Twilight (No.6)* 2:50 The King’s Way (1909)† 4:28 4 The Wind at Dawn (1888; orch.1912)† 3:43 Incidental Music to Grania and Diarmid (1901) 5 The Pipes of Pan (1900; orch.1901)* 3:46 bm Incidental Music 3:38 Two Songs, Op. 60 (1909/10; orch. 1912) bn Funeral March 7:13 6 The Torch (No.1)† 3:16 bo Song: There are seven that pull the thread† 3:33 7 The River (No.2)† 5:24 Total duration: 53:30 CD 2 Elgar Society Bonus CD Nathalie de Montmollin soprano, Barry Collett piano Kathryn Rudge • Henk Neven 1 Like to the Damask Rose 3:47 5 Muleteer’s Serenade♮ 2:18 9 The River 4:22 2 The Shepherd’s Song 3:08 6 As I laye a-thynkynge 6:57 bl In the Dawn 3:11 3 Dry those fair, those crystal eyes 2:04 7 Queen Mary’s Song 3:31 bm Speak, music 2:52 BBC Concert Orchestra 4 8 The Mill Wheel: Winter♮ 2:27 The Torch 2:18 Total duration: 37:00 Barry Wordsworth ♮First recordings CD 1: Recorded at Watford Colosseum on March 21-23, 2017 Producer: Neil Varley Engineer: Marvin Ware TURNER CD 2: Recorded at Turner Sims, Southampton on November 27, 2016 plus Elgar Society Bonus CD 11 SONGS WITH PIANO SIMS Southampton Producer: Siva Oke Engineer: Paul Arden-Taylor Booklet Editor: Michael Quinn Front cover: A View of Langdale Pikes, F.
    [Show full text]
  • Vol. 17, No. 3 December 2011
    Journal December 2011 Vol.17, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2011 Vol. 17, No. 3 President Editorial 3 Julian Lloyd Webber FRCM Gerald Lawrence, Elgar and the missing Beau Brummel Music 4 Vice-Presidents Robert Kay Ian Parrott Sir David Willcocks, CBE, MC Elgar and Rosa Newmarch 29 Diana McVeagh Martin Bird Michael Kennedy, CBE Michael Pope Book reviews Sir Colin Davis, CH, CBE Robert Anderson, Martin Bird, Richard Wiley 41 Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 46 Sir Andrew Davis, CBE Simon Thompson Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 49 Andrew Neill Barry Collett, Martin Bird, Richard Spenceley Sir Mark Elder, CBE 100 Years Ago 61 Chairman Steven Halls Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Gerald Lawrence in his Beau Brummel costume, from Messrs. William Elkin's published piano arrangement of the Minuet (Arthur Reynolds Collection). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions.
    [Show full text]
  • Welcome to the Summer Season at the RNCM
    Sonic art, laser beams and technology ignite our artistic programme, with the first-ever RNCM and Welcome FutureEverything collaboration, creating Tools for Unknown Futures – a festival combining innovative art and performance with new devices, insightful discussion and playful social to the experimentation (28 Mar – 1 Apr). Contrast, social debate and fast-changing Summer politics lie at the core of all of this, permeating our entire Summer programme with Zoe Trope (5 Apr), I Came and I Vanished (27 Apr), Youth Perform’s presentation of the post-WW1 season at socio-political Brecht/Weill collaboration, The Threepenny Opera (23 – 26 Apr), and culminating in the music of the salons and the RNCM concert halls between 1890 – 1900, in our Day of Song at the Royal Exchange Theatre (27 Apr). Opera Scenes are back (27, 29 May, 6, 13 Jun) covering a rich and diverse repertoire and RNCM Opera goes to the Capitol Theatre with a fantastic production of Stephen Sondheim’s Company (25 Jun – 4 Jul) Our International Artist Diploma recitals feature the beautiful tenor voice of Kang Wang in Ludwig van Beethoven’s An die ferne Geliebte (30 Apr), as well as the Zelkova Quartet (13 Jun) with Beethoven and Bartók String Quartets; while Chester Cathedral welcomes our International Artist Diploma Concerto Weekend (5 – 7 Jun) featuring Mozart’s glorious, yet wistful, Piano Concerto in E flat major (Yasmin Rowe), Rossini’s rarely performed Bassoon Concerto in B flat major (Alejandra Rojas), Ibert’s high-spirited, yet lyrical Flute Concerto (Helen Wilson) and Schumann’s spontaneously romantic Cello Concerto in A minor (Mikhail Nemstov).
    [Show full text]
  • GCSE, AS and a Level Music Difficulty Levels Booklet
    GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
    [Show full text]
  • Vol. 18, No 3 December 2013
    Journal December 2013 Vol.18, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2013 Vol. 18, No. 3 Editorial The Severn Suite: Manuscripts, Music and Myths 4 President Robert Kay Julian Lloyd Webber FRCM Imperial propaganda and Caractacus: The woodlands and Elgar’s love of country 30 Bryson Mortensen Vice-Presidents Elgar’s Religious Beliefs 42 Sir David Willcocks, CBE, MC Peter Sutton Diana McVeagh Michael Kennedy, CBE Elgar’s Music for Powick Asylum 53 Michael Pope Barry Collett Dame Janet Baker, CH, DBE Music reviews 55 Leonard Slatkin Julian Rushton Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 59 Christopher Robinson, CVO, CBE Martin Bird, David Bury, Diana McVeagh, Carl Newton, John Norris Andrew Neill Sir Mark Elder, CBE CD reviews 71 Martin Bird, Ruth Hellen, Richard Wiley DVD reviews 74 Chairman Martin Bird Steven Halls Letters 76 Tony Jones, Christopher Morley, Carl Newton, Robin Self, Alan Tongue Vice-Chairman Stuart Freed Recording notes 79 Michael Plant Treasurer Clive Weeks 100 Years Ago 80 Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: First recording of The Severn Suite. A 78 of excerpts by the winning band, recorded the day after the Festival (Collection of Michael Plant). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this.
    [Show full text]
  • Vol. 17, No. 1 April 2011
    Journal April 2011 Vol.17, No. 1 The Society President Julian Lloyd Webber FRCM Vice-Presidents Ian Parrott Sir David Willcocks, CBE, MC Diana McVeagh Michael Kennedy, CBE Michael Pope Sir Colin Davis, CH, CBE Dame Janet Baker, CH, DBE Leonard Slatkin Sir Andrew Davis, CBE Donald Hunt, OBE Christopher Robinson, CVO, CBE Andrew Neill Chairman Steven Halls Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary Helen Petchey The Elgar Society Journal 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2011 Vol. 17, No. 1 Editorial 3 Tales from the Complete Edition - 5: 4 Pageant of Empire John Norris Tales from the Complete Edition - 6: 15 Music for Strings Julian Rushton A Letter and a Poem Unmasked: Two Documents from John Bridcut’s film 18 Elgar: The Man behind the Mask18 Kevin Allen A very good idea at the time: 22 Sir Edward Elgar - Principal Conductor, London Symphony Orchestra Martin Bird Did Elgar achieve a century? 37 Stephen Lloyd Book reviews 41 J.P.E. Harper-Scott, Martin Bird, Jane Bird, Andrew Neill Music reviews 47 J.P.E. Harper-Scott, Julian Rushton DVD reviews 54 Martin Bird, Frank Beck CD reviews 57 Kevin Mitchell, Andrew Neill, Martin Bird, Barry Collett, Paul Adrian Rooke Letters 68 Norman Rosenberg 100 Years Ago 69 Geoffrey Hodgkins The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Elgar and Vera Hockmann at a Union of Graduates in Music dinner, March 1933 Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format.
    [Show full text]
  • Eldon Black Album Collection
    Albums Eldon Black Album Collection These albums are only available for use by ASU students, faculty, and staff. Ask at the Circulation Desk for assistance. (Use the Adobe "Find" to locate song(s) and/or composer(s).) Catalog Number Title Notes 1 Falstaff-Verdi Complete 2 La Perichole Complete 3 Tosca-Puccini Complete 4 Cavalleria Rusticana-Mascagni Complete 5 The Royal Family of Opera 5A lo son l'umile ancella from Adriana Lecouvreur by Cilea 5B Come rugiada al cespite from Ernani by Verdi 5C In questo suolo a lusingar tua cura from La Favorita by Donizetti 5D E lucevan le stelle from Tosca by Puccini 5E Garden Scene Trio from Don Carlo by Verdi 5F Oh, di qual onta aggravasi from Nabucco by Verdi 5G In quelle trine morbide from Manon Lescaut by Puccini 5H Dulcamara/Nemorino duet from "Ecco il magico liquor" from L'Elisir D'Amore by Donizetti 5I Il balen from Il Trovatore by Verdi 5J Mon coeur s'ouvre a ta voix from Samson et Dalila by Saint-Saens 5K Bel raggio lusingheir from Semiramide by Rossini 5L Le Veau d'or from Faust by Gounod 5M Page's Aria from Les Huguenots by Meyerbeer 5N Depuis le jour from Louise by Charpentier 5O Prize Song from Die Meistersinger by Wagner 5P Sois immobile from William Tell by Rossini 5Q Cruda sorte from L'Italiana in Algeri by Rossini 5R Der Volgelfanger bin ich from The Magic Flute by Mozart 5S Suicidio! from La Gioconda by Ponchielli 5T Alla vita che t'arride from A Masked Ball by Verdi 5U O mio babbino caro from Gianni Schicchi by Puccini 5V Amor ti vieta from Fedora by Giordano 5W Dei tuoi figli from
    [Show full text]
  • Journal May 1980
    r rhe Elgar Society JOURNAL ( *; MAY I i' <■ 1980 « / 4 I Elgar Society issues its first record ELG 001 Elgar's Interpreter’s on Record - an antholocjy of historiooL ^ recordings 1904-1937 Side 1 Crown of India March (Black Diamonds Band) : Caractacus - Sword Song (Andrew Black) : Land of Hope and Glory (Edna Thornton) : The Dance (Sheffield Choir) : In the Dawn (John Coates) : Pleading (Rosina Buckman) : And King Olaf Heard the Cry (Tudor Davies) : In the South (excerpt) (La Scala Orch.Sabajno) Side 2 Empire March (Pitt) : Like to the Damask Rose (Louise Kirkby Lunn) The Pipes of Pan (George Baker) : The Snow, Fly Singing Bird (Baraldi Trio) : The River (Tudor Davies) : I Sing the Birth (Sar­ gent) : Sospiri (Boult) Following the success o£ the Elgar discography, it was felt that an LP containing some of the early and rare material by Elgar's interpreters would have considerable interest and appeal. Largely owing to the enthus­ iasm of John Knowles, the compiler of the discography, a list of possible recordings was assembled and approved. EMI kindly made the records avail­ able to us and a master tape was made at their Abbey Road studios earlier this year. Pressing of the records is now under way at Nimbiis Records. The sleeve will include full details of each record used (including date and venue of recording) together with historical notes. On the front of the sleeve will be a full colour reproduction of the painting of Plas Gwyn by Elizabeth Parrott, which the Society presented to Sir Adrian Boult to mark his 90th Birthday in 1979.
    [Show full text]
  • 'Pure Dead Brilliant'
    BRITISH MUSIC SOCIETY nDECEMBER 2e018 ws STERNDALE BENNETT Chamber music release from BMS ‘PURE DEAD BRILLIANT’ Scottish composer John McLeod in search of wild musical landscapes Agenda British Music Society’s news and events Honorary life membership for ‘much valued’ John Talbot Chairman’s MS member John Talbot has been awarded an Honorary Life John Talbot welcome BMembership in recognition of his outstanding contribution to the Society since t will be January by the time you he first joined its committee in 1988. receive this so I'll begin by wishing An accomplished pianist and Steinway Artist, John first arrived in the UK in 1966. you all a healthy 2019 full of I While still a music student in Queensland, prosperous endeavours. Australia, he appeared as soloist with the Our review panel has been hard at Queensland and Melbourne Symphony work, so much so that this Printed Orchestras, and in later professional years version can only now be described as a was appointed Lecturer in Music at both Portsmouth Polytechnic and the Victorian sample of what is now appearing in the College of the Arts in Melbourne. His interest monthly E- News. Please provide us in British music is all-embracing, although with your e-mail address so we can keep he has specialised in studying the music of you more up-to-date on all the BMS's E.J. Moeran, editing a thirteen-volume activities. Centenary Edition of Moeran’s vocal, One of our News highlights is our keyboard and choral music for Thames Publishing (now in its second edition with latest BMS release through Naxos of the Music Sales).
    [Show full text]
  • MUSIC CATALOGUE VOCAL Setsfulldocumentpdf
    Performing Arts Library King George Street Yeovil Somerset, BA20 1PY Roger Taylor Ref. RDT/1/RDT Performing Arts Librarian Telephone 01935 472020 Fax 01935 429133 e-mail [email protected] VOCAL SETS CATALOGUE Abbreviations: Languages of Texts English unless stated otherwise. Language(s) stated after publisher statement, as: E English S Spanish F French R(C) Russian (Cyrillic) G German R(t) Russian (transliterated) I Italian W Welsh P Portuguese Abbreviations: Music Formats Ch.pt Chorus score OVS Organ vocal score D.rec. Descant recorder Tun.Perc. Tuned percussion FS Full score VS Vocal score CONTENTS 1. Secular: Mixed Voices: Collections 2. Secular: Mixed Voices: Works 3. Secular: Ladies/Children’s Voices: Collections 4. Secular: Ladies/Children’s Voices: Works 5. Sacred: Mixed Voices: Collections 6. Sacred: Mixed Voices: Works 7. Sacred: Ladies/Children’s Voices: Collections 8. Sacred: Ladies/Children’s Voices: Works 9. Choral Works 10. Operas 11. Operettas, Musicals 12. Title Index 13. Multi-voice Index 14. Contents pages of collections Acknowledgements Appreciation is expressed by Somerset Libraries for permissions granted to reproduce the contents pages of copyright editions published by: Boosey & Hawkes Music Publishers Ltd. Chester Music [j Music Sales Limited] Glyn Court Freeman [jEMI Music Publishing Ltd.] Lawson-Gould [j Schott Music International/European American Music] Oxford University Press Penguin Group UK Peters Edition Limited Stainer & Bell Ltd. Regarding The Treasury of Christmas Music (Blanford Press, 1950/1961), The Orion Publishing Group Ltd. (owner of Blandford Publishing which in turn had acquired Blandford Press) has stated: “Due to lack of sufficient information in our records, we can neither grant nor refuse permission to reproduced material from The Treasury of Christmas Music...” All attempts to trace the copyright holder have failed and Orion Publishing Group Ltd.
    [Show full text]
  • Dutton Epoch CDLX 7228 Her Song Orchestral Songs
    Dutton Epoch CDLX 7228 Her Song Orchestral Songs and Arias by Sir Edward Elgar, Eric Gritton, Sir Hubert Parry, John Sanders, John Ireland BBC Concert Orchestra conducted by Martyn Brabbins Susan Gritton soprano Sir Edward Elgar (1857-1934) The Torch Op.60, No.1 (1909 orch. 1912) Come, O my love! Come, fly to me; All my soul Cries out for thee: Haste to thy home, I long for thee, Faint for thee, Worship thee only, but Come! Dark is the wood, The track’s ever lonely and gray: But joyous the blaze That welcomes and shows thee the way. Come, O my love! Come, fly to me; All my soul Cries out for thee: Haste to thy rest, I long for thee, Sigh for thee, Faint for thee; Come to my breast. Cold is the stream, The ford is a danger to thee: My heart is a-flame, As the beacon that lights thee to me. Come, O my love! Come, fly to me; All my soul Cries out for thee: Haste to thy home, I long for thee, Faint for thee, Worship thee only; but Come! ‘Pietro d’Alba’ [Elgar’s pen name] (‘from a folksong – Eastern Europe’) The Wind at Dawn (1888 orch. 1912) And the wind, the wind, went out to meet with the sun At the dawn when the night was done, And he racked the clouds in lofty disdain As they flocked in his airy train. And the earth was grey, and grey was the sky, In the hour when the stars must die; And the moon had fled with her sad, wan light, For her kingdom was gone with night.
    [Show full text]
  • UNIVERSITÀ DEGLI STUDI DI BERGAMO DOTTORATO DI RICERCA in LETTERATURE EUROAMERICANE XXVIII Ciclo Writing the Nation and Writing
    UNIVERSITÀ DEGLI STUDI DI BERGAMO DOTTORATO DI RICERCA IN LETTERATURE EUROAMERICANE XXVIII Ciclo Settore scientifico disciplinare: L-LIN 10 “Letteratura inglese” Edvige Pucciarelli Writing the Nation and Writing the Empire From Ben Jonson’s The Masque of Blackness and The Masque of Beauty to Edward Elgar’s The Crown of India Supervisori Chiarissima Professoressa Angela Locatelli Chiarissima Professoressa Rossana Bonadei Anno Accademico: 2016-2017 Acknowledgments I would like to express my deepest thanks to both my supervisors, Professor Angela Locatelli and Professor Rossana Bonadei. This dissertation was made possible because of their invaluable critical insight and for their incredible effort in reviewing all the written material. Professor Angela Locatelli and Professor Rossana Bonadei offered me steady moral support and encouragement throughout these years allowing me to complete this work. My deepest thanks go to Antonio Silla, the best loving and supportive brother- friend I could have ever wished for, to Professor Paola Tornaghi, to Doctor Erica Dilk and to Maestro Alessandro Buffone for their precious support throughout years of friendship. There have been many other people who have supported me during these last difficult years and I thank each and every one of them. My special thanks go to Professor Geoffrey Charles Hutchings, who started this study making me discover Ben Jonson and the Masque when I was an undergraduate student so many years ago. Table of Contents I The Textual Literary Space As Political Space .......................................................... 4 I.1 A Turning Point in the Study of Literary Space in 20th-Century Literary Theory .. 9 I.1.1 Modern Spatial Theorists: Bakhtin and van Baak .........................................
    [Show full text]