Relevant bibliographies by topics / BBC Chorus

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Academic literature on the topic 'BBC Chorus'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "BBC Chorus"

1

Lister, Rodney. "Proms 2004: Turnage, Bingham, Sheng, Silk Road, Henze." Tempo 59, no. 231 (2005): 47–49. http://dx.doi.org/10.1017/s0040298205270055.

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In fulfillment of a commission from the BBC for a work in commemoration of the 75th anniversary of the BBC Symphony Chorus, Mark-Anthony Turnage produced Calmo, an untypically quiet and gentle work for chorus with handbells – and, what has become something of a signature instrument for him, desk bells. The text of the work consists of the words ‘Dona nobis pacem’ and their translations in several languages. It is dedicated to the memory of Turnage's friend Sue Knussen. Calmo's intense eloquence was enhanced by its brevity, and, both despite and because of it, stood out in a program of music for chorus, harp, and organ by an assortment of older and newer Czech and British Composers, including Janáček, MacMillan, Holst, and Eben, presented by the BBC Symphony Chorus, conducted by Stephen Jackson.
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Burton, Anthony. "Millennium Harvest: The BBC Singers Commissions for 1999." Tempo, no. 211 (January 2000): 21–23. http://dx.doi.org/10.1017/s0040298200007361.

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One recurring theme in the 75-year history of the BBC Singers (and their various predecessors) has been the tension between their role as a model for amateur choirs and their capabilities as a professional ensemble. Their longest-serving director, Leslie Woodgate, who was in charge from 1934 until his death in 1961, was also an important figure in the amateur choral movement; he clearly believed that part of the BBC choruses' role in broadcasting was to demonstrate how part-songs and oratorios, and indeed hymns and psalms, should be performed. But, given the quality of the forces he had at his disposal, Woodgate was hardly likely to turn down opportunities to conduct the first performances of, for example, Britten's A Boy was born and Hymn to St Cecilia, nor decline to prepare the chorus for the premieres of Bartok's Cantata Profana and Webern's Das Augenlicht and First Cantata.
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Cole, Hugo. "Jonathan Lloyd's Music." Tempo, no. 164 (March 1988): 2–11. http://dx.doi.org/10.1017/s0040298200023780.

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Jonathan Lloyd, born in 1948, received his first lesson in composition from Emile Spira, a former pupil of Anton Webern. After this Lioyd was a junior exhibitioner at the RCM, then went on to study composition with John Lambert and Edwin Roxburgh. While at College he worked with the Twentieth Century Music Ensemble, and in due course won the Mendelssohn scholarship, thereafter attending classes given by Pousseur, and street muisician before taking up a Composer-in-Residence appointment in the Dartington theatre department in 1978–79. Several of his early works were played while he was still at the RCM, including Cantique for small orchestra. In 1981, Toward the Whitening Dawn, a 10-miniute piece for chorus and chamber orchestra written in memory of John Lennon, was performed at a BBC Concert conducted by Michael Gielen. With that work Lioyd be said to have ‘arrived’ as a compiser of unusual talent and promise.
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Doran, Mark. "VAUGHAN WILLIAMS: The Film Music, Volume 1: Scott of the Antarctic; Coastal Command; The People's Land. BBC Philharmonic Orchestra c. Rumon Gamba, w. Merrin Gamba (sop), John Scott (organ), Sheffield Philharmonic Chorus. Chandos CHAN 10007." Tempo 58, no. 227 (2004): 85–90. http://dx.doi.org/10.1017/s0040298204330068.

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5

Poehlmann, Egert. "Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century." Greek and Roman Musical Studies 3, no. 1-2 (2015): 137–66. http://dx.doi.org/10.1163/22129758-12341005.

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New excavations give clear information about the Athenian Dionysus-Theatre of the 5th century b.c.; and the stage in Western Greece can now be reconstructed by analogy with it. Vase paintings depict wooden theatres in Sicily from 400 b.c. onwards, mainly for comedy. Tragedies were performed only after 476/5 b.c., but the lively tradition of comedy since the late 6th century b.c. must have had a stage. For Epicharmus’ short comedies, which had no lyrics or chorus and were addressed to the elite of Hieron’s court, the small theatre carved into the slope of the Temenites rock was sufficient. But the performances of Aeschylus’ Aitnaiai and Persians were politically motivated productions addressed to the whole Syracusan demos; they required a chorus, and space for large audiences. The form of the theatre and its wooden stage building, designed by Damokopos Myrilla, can be hypothetically reconstructed by analogy with their Athenian counterparts.
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Davidson, J. F. "The Circle and the Tragic Chorus." Greece and Rome 33, no. 1 (1986): 38–46. http://dx.doi.org/10.1017/s0017383500029946.

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It is a well-known and often lamented fact that we know very little about the actual staging of plays in the theatre of Dionysus in the Fifth Century b.c. What snippets of information we do have date from later centuries and may reflect contemporary conditions of performance, or may be mere inference based on fifth-century texts. Even though we can derive considerable comfort from Oliver Taplin's dictum that ‘the Greek tragedians signalled all their significant stage directions in the words’, 2 much that would enhance our knowledge of a fifth-century production remains a mystery.
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Adams, Byron. "Edward Elgar - King Olaf; The Banner of Saint George - Emily Birsan sop, Barry Banks ten, Alan Opie bar - Bergen Philharmonic Choir, Choir of Collegiûm Mûsicûm, and Edvard Grieg Kor, Håkon Matti Skrede director - Bergen Philharmonic Orchestra, Andrew Davis cond - Chandos 5149, 2015 (2 CDs: 112 minutes), $39 - The Dream of Gerontius; Sea Pictures - Sarah Connolly sop, Stuart Skelton ten, David Soar bass - BBC Symphony Chorus, Stephen Jackson director - BBC Symphony Orchestra, Andrew Davis cond - Chandos 5140, 2014 (2 CDs: 124 minutes), $32." Nineteenth-Century Music Review 15, no. 2 (2017): 287–90. http://dx.doi.org/10.1017/s1479409817000453.

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8

Conway, Paul. "BBC Proms 2013: Diana Burrell, Harrison Birtwistle, Param Vir and Charlotte Seither." Tempo 68, no. 267 (2014): 57–59. http://dx.doi.org/10.1017/s0040298213001368.

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As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.
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Tekeli, Sevim. "Trigonometry in Two Sixteenth Century Works; The de Revolutionibus Orbium Coelestium and the Sidra Al-Muntahā." International Astronomical Union Colloquium 91 (1987): 209–14. http://dx.doi.org/10.1017/s0252921100106074.

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In Greece, Autolycos (4th cent. B.C.), Aristarchos of Samos (3rd cent.B.C.), Hipparchos (2nd cent.B.C.), Menelaos (1st cent. A.D.), and Ptolemaos (2nd cent. A.D.) are the forerunners of trigonometry. The Greeks used chords and prepared a table of chords.Later, the Hindus produced Siddhāntas (4th cent.A.D.). The most important feature of these works is the use of jyā instead of chords, and utkramajyā (versed sine).In Islam, al-Battānī al-Ṣābī (858-929) used the sine, cosine, tangent, and cotangent with clear consciousness of their individual characteristics.As is known, trigonometry developed as a branch of astronomy. Although in the thirteenth century Naṣīr al-Dīn al-Ṭūsī (in the Islamic world) and in the fifteenth century Regiomontanus (in the West) established trigonometry as a science independent of astronomy, the essential situation did not change, and the subject went on developing as before.
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Davidson, John. "Prometheus Vinctus on the Athenian Stage." Greece and Rome 41, no. 1 (1994): 33–40. http://dx.doi.org/10.1017/s0017383500023172.

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We know very little for certain about the staging of plays in the Theatre of Dionysus at Athens in the fifth century B.C. The evidence of archaeological remains and contemporary vase painting is difficult to interpret with confidence, the reliability of ancient post-classical commentators is questionable, and the texts of the surviving plays, our chief source of evidence, often raise more problems than they solve. Among the plays which have occasioned most controversy in modern scholarship is the Prometheus Vinctus. What was the ‘rock’ to which the hero was bound? In what part of the theatre space was it positioned? How and where did the chorus of Oceanids make their entry? How was the ending of the play staged? Questions such as these continue to perplex students of the play who also have to face the vexed question of its date and indeed authorship.
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Books on the topic "BBC Chorus"

1

Stravinsky, Igor. BBC Third Programme presents Oedipus Rex: An opera-oratorio after Sophocles ; text by Jean Cocteau, translated into latin by J. Daniélou ...; the BBC Men's Chorus ..., the BBC Symphony Orchestra ..., conductor, Igor Stravinsky ... Brotish Broadcasting Corporation, 2000.

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2

Choruses of young women in ancient Greece: Their morphology, religious role, and social functions. Rowman & Littlefield, 2001.

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3

Choruses of young women in ancient Greece: Their morphology, religious role, and social function. Rowman & Littlefield, 1997.

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4

Lawson-Peebles, Robert. The Beggar’s Legacy. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.24.

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This chapter traces the impact of the 1920 revival of The Beggar’s Opera on a wide variety of texts, ranging from Brecht and Weill’s Die Dreigroschenoper and Ayckbourn’s A Chorus of Disapproval, to BBC dramas of ordinary life, the early productions of Theatre Workshop, Charles Parker’s radio ballads, Osborne’s The Entertainer, and some television plays of Alan Plater and Dennis Potter. It suggests that Gay’s ballad opera, rooted in folk song, provided a model of articulated dramaturgy that raised questions about the nature of authenticity, and that could be adapted by differing media to disintegrate the conventional form of the musical. This open structure responded to the purposes of cultural politics, in particular the needs of a provincial, and sometimes working-class, aesthetic.
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Wright, Simon. Music Publishing, Bibles, and Hymnals. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0016.

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The Music Department, which remained in London until 1983, published sheet music, performance scores, hymnals, books, and educational materials, but was increasingly developing into a rights-management business. The chapter chronicles the department’s move to Oxford and subsequent streamlining—the list of titles in print was cut back and editorial control over music books transferred to New York. Under the directorship of Andrew Potter, the department sought out new composers and developed particular strengths in church, choral, and early music. Successful series included Oxford Choral Classics, Musica da Camera, and Carols for Choirs. The publication of bibles, prayer books, and hymnals is also considered in this chapter. Although historically a significant part of the OUP list, bible publishing had declined in relative importance, with management of the list moving from department to department. Important publications included the New English Bible, Revised Standard Version, and the BBC Songs of Praise.
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6

Dickens, Charles. Barnaby Rudge: BBC (BBC Radio Presents). Random House Audio, 1998.

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7

Darwent, Christyann, and John Darwent. The Enigmatic Choris and Old Whaling Cultures of the Western Arctic. Edited by Max Friesen and Owen Mason. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199766956.013.22.

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The Choris (750–400 B.C.) and Old Whaling (1150–850 B.C.) cultures are both enigmatic manifestations in the archaeological record in a time of significant cultural “flux” in northwestern Alaskan prehistory. Both cultures represent potential first occurrences in the region—novel lithic assemblage and housing forms (implying the movement of new people into the region) and the possibility of whaling in the case of Old Whaling, and the introduction of pottery and new communal house structures for Choris. However, most of the solid evidence for Choris comes from primarily two locations—Choris Peninsula and Onion Portage, and thus far Old Whaling has only been identified at Cape Krusenstern. The chapter explores both of these archaeological cultures, their chronology and geographic distribution, associated artifacts, subsistence economy, and how they articulate with broader culture history of the western Arctic.
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8

1951-, Kenyon Nicholas, ed. The BBC Proms guide to great choral works. Faber, 2004.

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9

Waterlow, David Barry. Between two worlds: Bernard Naylor, English composer in Canada. 1999.

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10

Weiss, Naomi. Hearing the Syrinx in Euripidean Tragedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0007.

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References to the syrinx are mostly absent from extant tragedy until the late fifth century BC, when the instrument suddenly starts appearing in Euripides’ plays, especially in the choral odes. This chapter demonstrates that the syrinx is almost always mentioned alongside the aulos, the double pipe that accompanied dramatic choreia, or in such a way that the aulos is strongly suggested, so that the one instrument is meant to be heard as the other. Such instrumental mimesis in Euripides’ tragedies does more than just show off his own skill and engagement with contemporary musical trends and discourse: it is also always used for a particular dramatic effect, thus providing evidence of his increasing experimentation towards the end of his career with the role(s) music could play within a tragedy.
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