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Relevant bibliographies by topics / London Concerts

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Academic literature on the topic 'London Concerts'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "London Concerts"

1

Rogers, Victoria. "Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall." Royal Musical Association Research Chronicle 49 (2018): 50–67. http://dx.doi.org/10.1080/14723808.2017.1341204.

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During the 1950s and 1960s in London, in the Royal Festival Hall, an unusual series of concerts took place. These concerts stood apart from the usual offerings in London's post-war musical life. What they offered was early music, principally J.S. Bach's concertos for two, three and four keyboards, played not on the piano, as had hitherto been the case, but on the harpsichord. This article documents, for the first time, the facts, and the implications, of the Royal Festival Hall concert series: how it came about; the repertoire; the performers; and the performances. The article concludes that the Royal Festival Hall concerts were notable in the evolution of the early music movement in the UK, deepening its reach to a broader audience and nurturing an awareness of an issue that was increasingly to gain traction in the later decades of the twentieth century: the idea of historical authenticity in the performance of early music.

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Harbor, Catherine. "The marketing of concerts in London 1672–1749." Journal of Historical Research in Marketing 12, no. 4 (2020): 449–71. http://dx.doi.org/10.1108/jhrm-08-2019-0027.

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Purpose This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business. Design/methodology/approach The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They promoted regular concerts with a clear sense of programme planning to appeal to their audience, held a variety of different types of concerts and made use of a variety of pricing strategies. Concerts were held at an increasing number and range of venues with complementary ticket-selling locations. Originality/value Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period lacks detail (McGuinness, 1988; 2004a; 2004b; McGuinness and Diack Johnstone, 1990; Ogden et al., 2011). This paper illustrates how the development of public commercial concerts made of music a commodity offered to and demanded by a new breed of cultural consumers. Music, thus, participated in the commercialisation of leisure in late 17th- and 18th-century England and laid the foundations of its own development as a business.

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McVeigh, Simon. "The Professional Concert and Rival Subscription Series in London, 1783–1793." Royal Musical Association Research Chronicle 22 (1989): 1–135. http://dx.doi.org/10.1080/14723808.1989.10540933.

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The death of J.C. Bach on 1 January 1782 coincided with a number of changes in London's concert life. The principal subscription series, the Bach-Abel concerts, had been losing support for a number of years; and though Abel continued with the concerts in 1782, there was scope for a new initiative. Such an initiative was provided by Lord Abingdon with an ambitious reorganization of the concerts in 1783, to be succeeded in 1785 by the musicians’ own undertaking, styled the Professional Concert.

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McLamore, Alyson. "‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779–1787." Royal Musical Association Research Chronicle 37 (2004): 71–114. http://dx.doi.org/10.1080/14723808.2004.10541005.

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Musically, London has often stood in the shadow of its European cousins. In early studies of the Classical period, musicological attention was usually concentrated on the leading Viennese composers, with only passing reference to England in so far as it related to the careers of these masters. The situation began to change in the 1950s with Charles Cudworth's and Stanley Sadie's pioneering studies of eighteenth-century England, and in recent years several English towns and cities have been the focus of further research. Investigations into London's burgeoning eighteenth-century musical life have revealed the capital's important role in developing modern performance standards and the evolution of a ‘canonic’ repertory, but most research has been centred around public concerts. Despite this increased scholarly attention, there are many frustrating gaps in our knowledge about these activities, and the dearth of information is even greater for most private concerts. There is, however, rich surviving documentation pertaining to the series conducted for nine successive years by the sons of the Revd Charles Wesley (1707–88), co-founder with his brother John Wesley (1703–91) of Methodism. Until now, scholars have failed to make full use of the Wesley materials, partly because of their scattered locations, but also perhaps from a sense that the concerts stood only on the periphery of London concert life. Nevertheless, a closer examination of the Wesley records—and a comparison between them and what is known about more public concerts—shows that these concerts were not as marginal an enterprise as is sometimes assumed.

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Gibson, Ronnie, and Michael Talbot. "Mudge's Medley Concerto." Journal of the Royal Musical Association 144, no. 1 (2019): 1–28. http://dx.doi.org/10.1080/02690403.2019.1575587.

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AbstractA previously unnoticed concerto for two horns and strings published anonymously in London probably in late 1757 or 1758 is attributable to Richard Mudge (1718–63), a clergyman-composer best known for his Six Concertos in Seven Parts. The print names it A Concerto Principally Form'd upon Subjects Taken from Three Country Dances, and there is evidence to suggest that it is identical to the Medley Concerto listed elsewhere under Mudge's name. The concerto can in turn be linked to so-called ‘Medley Concerts’ that took place in London in 1757. The country dances, on whose material Mudge draws with obvious respect for the originals, are all Scottish tunes found in James Oswald's slightly earlier collections. Mudge's original and attractive work testifies to the great interest in Scottish, in particular ‘Highland’, music in mid-eighteenth-century London, prompting reflection on the many-sided and surprisingly intimate relationship that then existed between traditional music and art music.

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Conway, Paul. "Liverpool, Philharmonic Hall and London, Barbican and Regent's Hall: Mark-Anthony Turnage." Tempo 67, no. 265 (2013): 73–75. http://dx.doi.org/10.1017/s0040298213000491.

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In a baffling case of unhelpful scheduling, major new works by Mark-Anthony Turnage were showcased by the Royal Liverpool Philharmonic Orchestra and the London Symphony Orchestra in concerts held at the Philharmonic Hall, Liverpool and London's Barbican, respectively, on the same evening – 7 February 2013. Apart from necessitating an explanation for the composer's absence from the RLPO concert in their season's programme book, this double booking resulted in audiences being unable to experience live performances of two of Turnage's most substantial recent orchestral pieces. Surely one of these significant premières could have been rescheduled to another date – or, if not, a different time of day, creating a sporting chance to experience both events? Fortunately, the LSO concert was broadcast, enabling those of us who chose to attend the Liverpool concert to catch the London première retrospectively.

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McVeigh, Simon. "Rescuing a Heritage Database: Some Lessons from London Concert Life in the Eighteenth Century." Research Data Journal for the Humanities and Social Sciences 5, no. 2 (2020): 50–61. http://dx.doi.org/10.1163/24523666-00502005.

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Abstract The paper outlines the genesis and subsequent transformation of the database Calendar of London Concerts 1750–1800, now available as a dataset at https://www.doi.org/10.17026/dans-znv-3c2j. Originally developed during the 1980s, the database was used as a primary research tool in the preparation of articles and a 1993 monograph: the first comprehensive study of London’s flourishing public concert life in the later eighteenth century, which culminated in Haydn’s London visits in 1791–5. The database itself, extending to over 4000 records, was derived from an exhaustive study of London newspapers. Following the obsolescence of the relational database in which the material was initially stored, it has recently been transferred to a spreadsheet in csv format, publicly available with free open access. Issues arising out of the standardisation of concert data are explored, especially regarding the layout of complete concert programmes, and the strengths and limitations of the original design are analysed, within the context of the newly available version.

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Fuller, Sophie. "‘Putting the BBC and T. Beecham to Shame’: The Macnaghten–Lemare Concerts, 1931–7." Journal of the Royal Musical Association 138, no. 2 (2013): 377–414. http://dx.doi.org/10.1080/02690403.2013.830488.

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ABSTRACTThis article explores and contextualizes the Macnaghten–Lemare concerts, a London concert series run for six seasons in the 1930s by the violinist Anne Macnaghten and the conductor Iris Lemare, with the help of the composer Elisabeth Lutyens and others. Notable for their performances of the work of emerging British composers such as Benjamin Britten and Elizabeth Maconchy, the concerts are also remarkable for the central role played by women – as performers, organizers and composers – and for the space they provided for the unconventional and ignored. Drawing on interviews with Macnaghten and Lemare as well as extensive archival research, the article provides details of the 20 concerts and argues for their hitherto overlooked importance in understanding the British concert life of this decade.

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Barlow, Jill. "London, The Warehouse: BMIC ‘Cutting Edge’ concerts." Tempo 60, no. 236 (2006): 57–58. http://dx.doi.org/10.1017/s0040298206280136.

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Nex, Jenny, and Lance Whitehead. "A Copy of Ferdinand Weber's Account Book." Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.

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With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.

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Dissertations / Theses on the topic "London Concerts"

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Bashford, Christina. "Public chamber-music concerts in London : 1835-1850 : aspects of history, repertory and reception /." London : King's College, 1996. http://catalogue.bnf.fr/ark:/12148/cb37718172t.

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Harbor, Catherine. "The birth of the music business : public commercial concerts in London 1660-1750." Thesis, Royal Holloway, University of London, 2012. http://digirep.rhul.ac.uk/items/646996db-a880-7e0c-bd3b-13dcd85b0196/1/.

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As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.

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Bartley, Alan Philip. "Chamber music concerts in suburban London, 1895-1915 : aspects of repertoire, performance and reception." Thesis, Oxford Brookes University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404757.

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Bashford, Christina Margaret. "Public chamber-music concerts in London, 1825-50 : aspects of history, repertory and reception." Thesis, King's College London (University of London), 1996. https://kclpure.kcl.ac.uk/portal/en/theses/public-chambermusic-concerts-in-london-182550--aspects-of-history-repertory-and-reception(49fd20fc-be12-4495-b0e9-6cb82deb2914).html.

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Asber, Joyce Ellen. "Clementi the Scientist: Contemporary Reception of His Symphonies." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707289/.

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Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

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Molle, Nicolas. "Beethoven et la Grande-Bretagne du vivant du compositeur : une fascination réciproque aux multiples facettes." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0221/document.

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L'objet de cette thèse est de s'intéresser aux relations entre le compositeur allemand et la Grande-Bretagne. À première vue, cette idée peut paraître surprenante. En effet, Beethoven, compositeur allemand né en 1770, ne foula jamais le sol anglais à l’inverse d’autres compositeurs comme Haydn, Weber et Mendelssohn. Pourtant, ce travail s'efforcera de démontrer qu’une relation véritable s’était établie, qu’elle portait sur de nombreux aspects et qu’elle était mue par un sentiment d'admiration réciproque. En premier lieu, cette thèse s'attachera à définir, d'une part, les origines de l'enthousiasme du compositeur allemand pour la Grande-Bretagne et, d'autre part, les aspects de la culture britannique qui plurent tant au compositeur. Ainsi, la politique, le système parlementaire, la littérature et la musique anglaise furent autant d’éléments sur lesquels Beethoven portait son admiration. Aussi, nous retrouvons le témoignage de cette affection à travers certaines de ses œuvres et inspirations musicales. Ensuite, ce travail de recherche mettra en lumière les mécanismes qui permirent de faire de Beethoven un compositeur célébré dans tout le Royaume-Uni jusqu’à l’ériger en un nouveau héros musical britannique. Par conséquent, ce travail analysera la programmation et la réception des œuvres du compositeur dans tout le royaume et mettra en évidence le rôle du réseau beethovénien à Londres dans la promotion de sa musique. En effet, Beethoven put jouir de l’aide précieuse de deux réseaux : un premier réseau composé d’amis viennois ou étrangers résidant à Londres comme Clementi, Salomon, von Häring, Ries qui le mirent en relation avec un second réseau, composé de Britanniques comme les musiciens Smart, Neate ou l’éditeur Birchall. Ces deux lobbies se retrouvèrent dans l’outil principal de promotion de Beethoven, la Société Philharmonique de Londres, créée en 1813. La thèse démontrera également l'importance des différents aspects contextuels – social, historique et esthétique – favorables à la domination de Beethoven sur la scène musicale britannique. Enfin, ce travail montrera comment la presse fit du compositeur allemand un « citoyen » britannique. Pour terminer, au fil des pages, ce travail tentera de combler une lacune dans les études beethovéniennes, à savoir, l’explication des raisons qui poussèrent Beethoven à abandonner ses projets de visite, pourtant nombreux, en Grande-Bretagne<br>The aim of this thesis is to focus on the relationship between the German composer and Great Britain. However, at first glance, this idea may be surprising. Indeed, Beethoven, born in 1770 in Germany never went to Britain unlike other composers such as Haydn, Weber and Mendelssohn. Nevertheless, this study will attempt to show that a true relationship was established, based on numerous aspects and on a reciprocal feeling of admiration. Firstly, this thesis will try to find the origins of the German composer’s enthusiasm for Britain and it will then define the different cultural aspects that were so dear to Beethoven. Thus, literature, music and politics emerge as the different aspects of British culture which the musician admired the most. As a result, it is possible to find tokens of his fascination for Britain through his works. In the same way, this research work will describe the mechanisms which contributed to make Beethoven a celebrated composer in the United Kingdom who, gradually, became the new British musical hero. Thus, this thesis will analyse the concert programmes and reception of Beethoven’s works and it will shed new light on the importance of networks which promoted the composer within the British musical scene. Indeed, Beethoven benefited from the valuable help of two networks: the first was composed of Viennese or foreign friends living in London like Clementi, Salomon, von Häring or Ries, who put him in contact with a second network, a British one with English musicians like Sir George Smart, Charles Neate or publishers like Robert Birchall. Finally, these two lobbies merged together into one of the key elements promoting Beethoven’s music, The Philharmonic Society, created in 1813. This study will also show the importance of the social, musical and esthetical factors which favoured Beethoven’s domination of the British musical scene. It will show how the British press elevated Beethoven to the rank of “British” citizen especially during his agony. Finally, in Beethoven studies, there is a major gap to fill in: the reasons why Beethoven abandoned the different projects of visiting England

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Salwey, Nicholas Anthony. "The piano in London concert life : 1750-1800." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367847.

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Ngudiankama, Adrien Nginamau. "Concepts of health and therapeutic options among Congolese refugees in London." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/10020365/.

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This thesis is about the perception and experience of health, illness and health care among Congolese refugees. It discusses the role of education, with a particular emphasis on schools, in promoting health in the Congolese refugee community, alongside the role of the Home Office, the health care sector and the Congolese refugee community itself. The thesis identifies three therapeutic systems used by Congolese refugees. These are the Congolese traditional therapeutic systems, the Christo-spiritual therapeutic systems and biomedicine. Analyses of the data demonstrate that in the quest for health, Congolese refugees develop six approaches or options. This is due to their perceptions of illness/disease or predicament, their experiences in the British health care sector as well as their concepts of risk. Moreover, analyses of the fieldwork data establish a correspondence between the conditions in exile and the Congolese refugees' health. Thus, to promote Congolese refugees' health in London, the thesis argues that their culture, their socio-economic and political conditions as well as their experiences in British health care sector must be considered. This, however, cannot be the concern of a single group. It requires the intervention of schools, the Home Office, the health care sector, and the Congolese refugees themselves. The thesis ends by evaluating its main arguments in the light of Congolese refugees' therapeutic options as well as its methodological stances.

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Taylor, Ian. "'A period of orchestral starvation ?' : concert life in London, 1795-1813." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419117.

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García, Carpio Raúl. "Bhattacharyya, Subhes C. Energy Economics: Concepts, Issues, Markets and Governance. Berlín: Springer-Verlag, London Limited, 2011. 722 pp." Economía, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/117453.

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Books on the topic "London Concerts"

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Simeone, Nigel. Poulenc in London and dreamland: His letters to Felix Aprahamian, commentaries on songs and London concerts. Mirage Press, 2000.

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Simeone, Nigel. Poulenc in London and dreamland: His letters to Felix Aprahamian, commentaries on songs and London concerts. Mirage, 2000.

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Concert life in London from Mozart to Haydn. Cambridge University Press, 1993.

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1938-, Hunt John, Hunt John 1938-, and Wilhelm Furtwängler Society UK, eds. Furtwängler and Great Britain. W. Furtwaengler Society UK, 1985.

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Walburga Wegner: Die Karriere einer Sängerin im Spiegel der internationalen Presse : Düsseldorf-Beuthen-Köln-Göttingen-Mailand-Paris-Glyndebourne-Edinburgh-New York-Wien-London-Lissabon-Eutin. Selbstverlag, 1997.

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Simeone, Nigel. French music in wartime London: The festival of English and French music and the Concerts de Musique Française. University of Wales, Department of Music, 2005.

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Far from the fashionable crowd: The People's Concert Society and music in London's suburbs. Whimbrel Pub., 2009.

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Hellmuth Ladies' College (London, Ont.). Hellmuth Ladies' College, London, Ont. s.n.], 1986.

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Keane, Anne. Concepts of healthy eating: An anthropological investigation in South East London. Goldsmiths' College, 1996.

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McVeigh, Simon. The violinist in London's concert life, 1750-1784: Felice Giardini and his contemporaries. Garland Pub., 1989.

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Book chapters on the topic "London Concerts"

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McVeigh, Simon. "Building a concert career in Edwardian London." In The Music Profession in Britain, 1780–1920. Routledge, 2018. http://dx.doi.org/10.4324/9781315265001-11.

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Kirchhelle, Claas. "Becoming an Activist: Ruth Harrison’s Turn to Animal Welfare." In Palgrave Studies in the History of Social Movements. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62792-8_3.

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AbstractThis chapter focuses on Harrison’s life prior to writing Animal Machines. Together with her siblings, Harrison was brought up in close contact to Britain’s cultural elite. After attending schools in London, Harrison commenced her university studies in 1939. The outbreak of war had a transformative impact on her life. Harrison was evacuated to Cambridge where she likely came into contact with ethologist William Homan Thorpe. She converted to Quakerism and subsequently enrolled in the Friends’ Ambulance Unit. The Quaker principles of non-violence, humanitarianism, and bearing witness to injustice would serve as important reference points throughout Harrison’s campaigning. After the war, she completed her studies in the dramatic arts but abandoned a potential career as a theatre producer. In 1954, she married architect Dexter Harrison. Similar to many Quakers, Harrison’s humanitarian concerns motivated her to become involved in the Campaign for Nuclear Disarmament and protest perceived technological, moral, and environmental threats to society.

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Fiala, Michele. "Gordon Hunt." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

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Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.

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Yoshihara, Mari. "The Last Japan Tour." In Dearest Lenny. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190465780.003.0023.

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In conjunction with the Pacific Music Festival, Bernstein was also leading the tour of the London Symphony Orchestra (LSO) and had scheduled performances in Tokyo, Kyoto, and Osaka after leaving Sapporo. After a successful concert at Suntory Hall, however, Bernstein’s health worsened. The decision was made to fly him home immediately, leaving the remaining concerts to Michael Tilson Thomas and Eiji Oue. Hashimoto saw Bernstein off at the airport and, as was instructed by the maestro, looked after the conductors for the remainder of the tour. In early October, Bernstein announced his retirement from conducting, upon which Kazuko Amano sent a message of grave concern. Bernstein passed away on October 14, 1990.

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Fiala, Michele. "Neil Black." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0001.

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Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.

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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military music (Rastatt, London, New York, Paris, Stockholm, Salzburg). Newspaper advertisements include clarinet concerts; archival documents indicate the dates of clarinetists in court and monastery orchestras, and clarinets purchased by aristocrats and courts.

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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.

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Loukopoulou, Eleni. "The Geohistory of Two Cities in Finnegans Wake." In Up to Maughty London. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062242.003.0004.

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“The Geohistory of Two Cities in Finnegans Wake” examines Joyce’s interest in contemporary London-set writings, taking as a case study H. M. Tomlinson’s book London River (1921). Through textual comparisons, it analyzes how the “Anna Livia Plurabelle” section of Finnegans Wake, which captures textually Dublin’s river, the Liffey is inflected by Tomlinson’s writings about the Thames. The last part of the chapter aims to pin down the geo-historical concerns about London and Dublin prevalent in Joyce’s work by investigating the textual presence of London in Finnegans Wake through a plethora of portmanteau words. Such references culminate in the formation of the word “Londub” produced by Joyce for the monumental finale of the book in November 1938. Thus, Clayton’s insightful formation “Londublin” to discuss the negotiations of power and textual interaction between London and Dublin in Ulysses will be pitched against Joyce’s “Londub” to explore how Finnegans Wake describes a dialogue and a correspondence between the two cities in equal terms.

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Johnstone, H. Diack. "Handel's London – British musicians and London concert life." In The Cambridge Companion to Handel. Cambridge University Press, 1997. http://dx.doi.org/10.1017/ccol9780521454254.007.

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"LONDON: Aesthetics of the Seamless." In Concepts on the Move. Brill | Rodopi, 2002. http://dx.doi.org/10.1163/9789004334151_006.

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Conference papers on the topic "London Concerts"

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.

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"Simulation Data Management for Design of Experiments: Concepts and Specifications." In CAD'15 London. CAD Solutions LLC, 2015. http://dx.doi.org/10.14733/cadconfp.2015.291-296.

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Diprose, Graham, Frances Liddell, Marco Pini, Sarah Vollmer, and Racelar Ho. "Research Workshop Collected Paper: Explorations in concepts and the visual arts." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.46.

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Fan, Huan. "The Spectator Fulfilling the Concept of Liveness." In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.65.

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Gasselseder, Hans-Peter, and Maria Kallionpää. "Beyond the Audience Seat: The recording and production of immersive opera and interactive concerto programmes for VR experiences." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.75.

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Vitharana, Wijayasri. "THE EFFECTS OF DRAMA EDUCATION ON STUDENT SELF-CONCEPT IN SENIOR SECONDARY EDUCATION." In 31st International Academic Conference, London. International Institute of Social and Economic Sciences, 2017. http://dx.doi.org/10.20472/iac.2017.031.056.

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"The Development and Study of a Discussion-Based Concept Cartoon System." In March 27-29, 2018 London (UK). Excellence in Research & Innovation, 2018. http://dx.doi.org/10.17758/eirai1.f0318518.

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Meredith, David. "EXPLORING THE INFLUENTIAL FACTORS IN PERCEIVED VALUE OF LINE: ENJOYMENT OF LINE ACTIVITY, PERCEIVED RISK, AND PRIVACY CONCERN OF LINE USERS IN BANGKOK." In 36th International Academic Conference, London. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/iac.2018.036.029.

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"Education of Nutrition and Food Technology Practice in Food Insecurity Group of 1000 First Day of Life Escalated Nutritional Concern." In Dec. 4-6, 2017 London (UK). HEAIG, 2017. http://dx.doi.org/10.15242/heaig.h1217218.

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Marshall, Stephen, and Yuerong Zhang. "Towards a ‘fractal’ typomorphology: integrating concepts of type, form and dimension." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6151.

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While the urban fabric has both three and two dimensional aspects, we rarely if ever experience urban form as a fully three-dimensional object nor as a two-dimensional ground plan. Rather, the urban fabric is experienced more in terms of places with a fractal dimension lying between two and three. Hence we can (re)interpret urban form elements from colonnades to streets as ‘fractal’ types. This in turn suggests the possibility for a ‘fractal’ typo-morphology, addressing elements that occupy a typological space ‘in between’ 3D architectural modelling and 2D urban plan analysis. While Moudon could note that aspects of type were ‘vague and flawed with ambiguity’ (1994), it seems that there is still room for clarity; Dovey’s recent review of type (2016) invites further development and integration of the concept of type what may still be a disparate and ambiguous territory. Meanwhile, fractal approaches to morphology have been traditionally more concerned with larger scale urban patterns (e.g. Frankhauser, 2004) or measurement of architectural elements (e.g. Ostwald et al, 2015) with a fractal dimension less than two. This paper explores the possibilities for establishing a ‘fractal typo-morphology’ that recognises the ‘2.x’ dimensional aspect of the urban fabric and its component types. The paper generates a solution-space of types, illustrated with empirical examples, and organizes these into a typology for onward use, so that ideas of type, form and fractal dimension can contribute more fully as ‘conceptual tools’ both for understanding the urban fabric and for use as building blocks for urban design. References (100 words) Dovey, K. (2016) Urban Design Thinking. London: Bloomsbury Academic. Moudon, A. V. (1994) Getting to know the built landscape: typomorphology, in Franck, K. A and H. Schneekloth (eds) Ordering Space: Types in Architecture and Design. New York: VNR. Frankhauser, P. (2004) Comparing the morphology of urban patterns in Europe – a fractal approach, in Borsdorf, A. and Zembri, P. (eds) European Cities – Insights on outskirts. Brussels: COST. Ostwald, M., Vaughan, J. and Tucker, C. (2015) Characteristic visual complexity: Fractal dimensions in the architecture of Frank Lloyd wright and Le Corbusier, in Williams, K. and Ostwald, M. (eds) Architecture and Mathematics from Antiquity to the Future. Switzerland: Springer.

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