Relevant bibliographies by topics / BBC Symphony Orchestra

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'BBC Symphony Orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "BBC Symphony Orchestra"

1

Cagney, Liam. "Murail, Dufourt, Grisey: BBC Symphony Orchestra, Barbican Centre, London." Tempo 68, no. 269 (June 16, 2014): 66–67. http://dx.doi.org/10.1017/s0040298214000084.

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‘Why shouldn't we be allowed to write symphonic poems?’ Tristan Murail asked the audience gathered at the BBC's Maida Vale Studios for his interview with Jonathan Cross. Murail, now 67, was visiting the UK for the first time in many years, here for the world premiere of his new orchestral work Reflections, which took place on 2 November 2013 in a robust performance by the BBC Symphony Orchestra conducted by Sakari Oramo. Reflections parts one and two evoke certain aspects of early modernist music, and, most of all, the music of Debussy, a composer Murail has come to cite more and more frequently. This diptych premiered by the BBC SO comprises the first two parts, said Murail, of a projected cycle for orchestra of several relatively brief pieces, each of which reflects on a certain image, memory or object of personal significance to the composer.
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2

Stein, Robert. "BBC Proms 2016: Julian Anderson and Thomas Larcher." Tempo 71, no. 280 (March 3, 2017): 81–82. http://dx.doi.org/10.1017/s0040298217000109.

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Julian Anderson has been interestingly public about the genesis of his new orchestral piece Incantesimi, co-commissioned by the Royal Philharmonic Society, Berliner Philharmoniker Foundation and Boston Symphony Orchestra, writing about its genesis in The Guardian as a trailer to its UK Proms premiere. Premiered by the Berlin Philharmonic under Simon Rattle in June 2016, Incantesimi toured to Rotterdam and Lucerne before opening that orchestra's Prom (Rattle's last as their chief conductor) in September. Wanting not to write a ‘showpiece’ but instead ‘something slow and quiet’, Anderson described Incantesimi as a ‘nocturne’ which takes its musical inspiration from Mozart's Jupiter Symphony, in that five themes are deployed ‘in perpetual orbit’. He also spoke of his focus on the Berlin Philharmonic's beauty of sound as a prompt to write something that would unfold slowly.
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Service, Tom. "London, Barbican: Knussen's Symphony in One Movement." Tempo 57, no. 223 (January 2003): 85. http://dx.doi.org/10.1017/s0040298203250087.

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Oliver Knussen's Symphony in One Movement is his latest symphony. It is also his earliest – originally composed as the Concerto for Orchestra in 1969, and premièred by the 17-year old Knussen and the London Symphony Orchestra, with André Previn playing the flamboyant piano part. 33 years later, the piece has finally reached its definitive form, and Knussen conducted the BBC Symphony Orchestra in its world première as part of an all-Knussen programme in celebration of his 50th birthday, at the Barbican Hall on 1 November.
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Conway, Paul. "London, Barbican: Dieter Schnebel, David Sawer." Tempo 67, no. 265 (July 2013): 83–85. http://dx.doi.org/10.1017/s0040298213000569.

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In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?
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5

Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (October 2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.
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Telford, James. "RECONCILING OPPOSING FORCES: THE YOUNG JAMES MACMILLAN – A PERFORMANCE HISTORY." Tempo 65, no. 257 (July 2011): 40–51. http://dx.doi.org/10.1017/s0040298211000258.

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James MacMillan was 50 years old on 16 July 2009 and his birthday was celebrated by musical institutions not just in Britain, but internationally. As a composer and conductor in residence for the BBC Philharmonic he led performances of his Symphony No.3: Silence and The World's Ransoming. The Royal Northern College of Music staged a three-day celebration of his work while The Sixteen toured his music under conductor Harry Christophers. His recent St John Passion was performed in Berlin and Amsterdam by the London Symphony Orchestra and in Rotterdam concerts of his music were given by the Rotterdam Philharmonic, Rotterdam Chamber Orchestra and the Hilliard Ensemble. The widespread regard for MacMillan's music evidenced by these performances is the culmination of a steady rise in popularity, undisputedly catalyzed by the BBC Scottish Symphony Orchestra première of The Confession of Isobel Gowdie. In a 1993 Tempo article on MacMillan, music critic Stephen Johnson describes the premiere thus: ‘there have been warm receptions for other new works at Promenade Concerts, but the thunderous, ecstatic welcome given to James MacMillan's The Confession of Isobel Gowdie at the 1990 Proms was unprecedented’.
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Hooper, Michael. "FORMING, SUBMERGING, FLAMES, AIR: A MUSICAL ARCHITECTURE FOR VIC HOYLAND'S ‘PHOENIX’." Tempo 65, no. 255 (January 2011): 18–30. http://dx.doi.org/10.1017/s0040298211000039.

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In January 2009 the third part of a triptych of orchestral compositions by Vic Hoyland was performed by the BBC Symphony Orchestra. Each of its constituent compositions relates to a particular city: Vixen to Palermo, Qibti to Alexandria, and Phoenix to Venice. This article seeks a positive heuristics and proposes a reading of Phoenix that contemplates some of the ways in which freeing Hoyland's recent music from old arguments and discourses reveals music that is responsive to contemporary thought, fascinating, virtuosically idiosyncratic, and which presents new challenges to musical design.
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8

Conway, Paul. "London, Maida Vale Studios: Beamish, Taylor, Hayes and Lim." Tempo 67, no. 265 (July 2013): 79–80. http://dx.doi.org/10.1017/s0040298213000533.

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In an uncommonly enterprising programme, the BBC Symphony Orchestra, under conductor Garry Walker, presented a world première, a UK première, a London première and a first professional performance in the same Maida Vale Studio concert on 25 January 2013, recorded for future broadcast on Radio 3's afternoon schedules. Despite the inclement weather, all four composers were present, and they all spoke briefly but engagingly about their piece. Though roughly of the same generation, each composer offered a refreshingly contrasting approach to orchestral writing in the present century.
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9

Anderson, Martin. "Proms 2004: Zhou, Casken, Hillborg, Vine, Talbot." Tempo 59, no. 231 (January 2005): 49–51. http://dx.doi.org/10.1017/s0040298205280051.

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The Immortal by the Chinese-American Zhou Long (b. 1953) – commissioned by the BBC World Service (apparently its first-even Proms commission) and premièred by the BBC Symphony Orchestra under its out-going chief conductor, Leonard Slatkin, on 20 July – is a tribute ‘to the influence of Chinese artists and intellectuals in the twentieth century’, as the composer notes in the score. He adds: ‘Having grown up in an artistic family during the time of the Cultural Revolution, I know from personal experience the struggles and hardships that past generations have endured to remain true to these eternal ideals’. Past generations? Zhou himself was sent to labour in the fields; a back injury had him re-allocated to a song-and-dance troupe, where he encountered notionally prohibited western instruments among the Chinese ones – a stylistic integration he maintains even when writing exclusively for the modern symphony orchestra.
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10

Finney, Ian. "Vagn Holmboe: Quartet Composer at Work." Tempo, no. 171 (December 1989): 12–17. http://dx.doi.org/10.1017/s0040298200019951.

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Vagn Homboe, born in Horsens on the Jutland peninsula in 1909, is the doyen of Danish composers. Although he celebrates his eightieth birthday on 20 December, he remains formidably productive: his new Twelfth Symphony was premièred by the BBC Welsh Symphony Orchestra in Cardiff on 21 October. A prolific composer in many genres, his reputation rests securely on the twin pillars of his symphonies and his even more numerous string quartets.
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Dissertations / Theses on the topic "BBC Symphony Orchestra"

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Jones, David Kenneth. "The music of Jeffrey Lewis." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-music-of-jeffrey-lewis(b712684d-e7c0-4194-9932-e484dd60a2e0).html.

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The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.
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Books on the topic "BBC Symphony Orchestra"

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Purser, John. Is the red light on?: The story of the BBC Scottish Symphony Orchestra. Glasgow: BBC Scotland, 1987.

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2

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 ... London: Brotish Broadcasting Corporation, 2000.

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3

BBC Symphony Orchestra: Monday 10 October 1988 7.30pm ... Brahms, Song of destiny, Alto rhapsody, Song of the fates; Schoenberg, Accompaniment to a film-scene, Die glu ckliche Hand, Modern psalm .... [London]: [BBC], 1988.

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4

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

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Book chapters on the topic "BBC Symphony Orchestra"

1

Willcox, Robert. "Why I became an occupational physician …" In Why I Became an Occupational Physician and Other Occupational Health Stories, 200. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780198862543.003.0159.

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Why I became an occupational physician… briefly explores the reasons and influences behind Robert Willcox’s decision to pursue a career in occupational medicine. It takes us through his balance of a dual career in occupational medicine and theatre, and an interesting study with the BBC Symphony Orchestra.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring, 115–49. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

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Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights in the Gardens of Battersea”), written to commemorate the Festival of Britain. Also discussed is her one-act opera, Cupboard Love, the music written for the Christmas plays produced by Angela Bull’s Cygnet Company, and her first performance as a singer at the RCM’s Union “At Home.” A fine example of Dring’s cabaret style is found in the discussion and analysis of her song, “The Lady Composer.” In her personal life, the chapter documents her marriage to Roger Lord, his career as a musician (principal oboe in the London Symphony Orchestra for thirty-three years), and the birth of her son, Jeremy.
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