A sight almost too terrifying to behold – photo by Matt McFarland
In case the pumpkins, fancy dress costumes and decorations in orange and black weren’t enough of a clue, it’s Hallowe’en today. Are you going to do anything to mark the date? How about carving a pumpkin with a favourite tune, or a picture of your favourite composer/performer? (Sadly a quick image search yielded far too many images of Justin Bieber carved into the side of a pumpkin to actually want to share the results of my search with you, but maybe you can do better). Continue reading
Some of the many publications which Chris Hogwood edited or wrote. © Cambridge University Library.
We were all deeply saddened to learn of the untimely death of Chris Hogwood last month. His was a delightful presence when he visited the UL Music Department and he is much missed. Others have eloquently expressed his seminal role in the establishment of historically informed performance, so what we would like to do in this little celebration of his life is to share some personal memories. Continue reading
Southwold. Painted by William Alwyn in 1978.
Copyright The William Alwyn Foundation.
Last weekend I travelled down to Suffolk for the William Alwyn Festival situated in and around Southwold. The Festival is now in its fourth year. As well as promoting the work of Alwyn himself, the Festival concentrates on the work of twentieth-century British composers, often featuring forgotten works, and sometimes even forgotten composers. There are plenty of old friends too.
Interior of St James’s Hall from Routledge’s Guide to London c.1870
This is the post that should have come along before Treasure Grove and Wot no ice cream?. Why? Because St. James’s Hall is the venue where these concerts all took place. We have a small, but fascinating collection of about 250 programmes spanning 1867 – 1904 for the Hall from Hans Richter’s orchestral concerts, to the Monday and Saturday Popular concerts of chamber music together with a pot-pourri of others suitable for all days of the week.
It’s been a busy six weeks so far, with lots to prepare in readiness for the new intake of students next week. For my part, I’ve been steadily working my way through cataloguing about 60 CDs to be added to the Pendlebury’s impressive collection, and hoping that I can finish in time! In the meantime, the staff have been hard at work preparing induction information, updating guidelines and buying in all the new books that students are going to need (some of them look really interesting!).
Just a small fraction of the CDs that the Pendlebury Library has.
April 1st, 1914 was a momentous day. On that day the Performing Right Society was born. The PRS exists to collect money for the publication and recording of music in the UK, and to pay the composers and lyricists who write what we listen to and play. Prior to the founding of the Performing Right Society it was often down to a composer’s relationship with his publisher whether he was able to negotiate a decent “cut” of the proceeds. Astute composers such as Haydn could negotiate hard bargains with their publishers, while others, Sousa for example, were not afraid to complain vociferously to The Times about piracy in the UK. Others however were less fortunate. Samuel Coleridge-Taylor notoriously sold the rights to the hugely popular Hiawatha cycle outright, and died in poverty making very little money from the sheet music sold, or the concerts which would later be staged at the height of “Hiawathamania”. Continue reading
Thomas Busby’s Concert Room and Orchestra Anecdotes. 1825. © Cambridge University Library
If the composer, writer and musician Thomas Busby had been alive today he would have been in his element delighting in the ability to get online and blog away to his heart’s content – hot competition though for us here at MusiCB3. What on earth, you may wonder, am I on about? Read on and find out… Continue reading