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Journal articles on the topic 'London Concerts'
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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.
2
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.
3
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.
5
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.
7
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.
8
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.
9
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.
11
Rutherford-Johnson, Tim. "‘CONTACT!’: New York Philharmonic Orchestra, Milton Court Concert Hall, London." Tempo 69, no. 274 (2015): 64–65. http://dx.doi.org/10.1017/s0040298215000388.
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The New York Philharmonic Orchestra, under its Music Director Alan Gilbert, spent a week in residence at the Barbican Centre in April, giving four concerts and various other events. Among them was ‘CONTACT!’, a concert of chamber music performed by members of the NYPO in the Guildhall's Milton Court Concert Hall on 18 April 2015. There were five pieces for various small groups. Three were new to the UK, and I will focus on these.
12
Johnson, Bret. "London, St Pancras Parish Church: Philip Moore at 70." Tempo 67, no. 266 (2013): 84–85. http://dx.doi.org/10.1017/s0040298213000983.
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Philip Moore, Organist Emeritus of York Minster was one of the main featured composers at this year's London Festival of Contemporary Church Music, now in its twelfth consecutive year. A week of concerts and services at St Pancras Church in London showcases a number of new works, and this year saw new choral pieces by Gordon Crosse, Diana Burrell and Ed Hughes (whose Chaconne for organ was composed in memory of Jonathan Harvey, who died on 4 December 2012 at the age of 73). The Festival also marked Robin Holloway's 70th birthday, with a concert of his choral works on 17 May.
13
Weber, William. "Redefining the Status of Opera: London and Leipzig, 1800–1848." Journal of Interdisciplinary History 36, no. 3 (2006): 507–32. http://dx.doi.org/10.1162/002219506774929764.
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Between about 1750 and 1800, concerts of any significance usually included several numbers from opera, within strictly patterned “miscellaneous” programs. Around 1800, when the political condition of European society was particularly unstable, idealists began to challenge this old order of musical life, calling for a new, “higher” order of programming and musical taste. Distinct musical worlds evolved from this movement. Some concerts focused almost entirely on opera, or on excerpts from old operas, and others abandoned opera altogether. Chamber music and orchestral concerts tended to draw exclusively from repertories comprised of works from the classical era.
14
Spitzer, John. "The Entrepreneur-conductors and their Orchestras." Nineteenth-Century Music Review 5, no. 1 (2008): 3–24. http://dx.doi.org/10.1017/s1479409800002561.
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The story of the orchestra in the nineteenth century usually focuses on two types of orchestras: theatre orchestras – such as La Scala, the Queen's Theatre (London), and the Paris Opéra – and concert societies – such as the Vienna Philharmonic, the London Philharmonic, the Société des Concerts du Conservatoire (Paris), and the New York Philharmonic. It concentrates on the conductors who led these orchestras, many of whom were also famous composers, such as Weber, Spontini, Berlioz, Mendelssohn and Wagner, whose works form a large part of today's ‘classical’ music repertory. This story is not wrong, but it is incomplete.
15
Yim, Denise. "A British Child's Music Education, 1801–1810: G.B. Viotti, Caroline Chinnery and the French Influence." Nineteenth-Century Music Review 5, no. 1 (2008): 25–45. http://dx.doi.org/10.1017/s1479409800002573.
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Broadly speaking, the British reception of foreign musicians appearing in London at the end of the eighteenth century was one of adulation. Most of these artists had arrived via Paris, where some had acquired a mantle of sophistication unknown in London. Paris was a city of fashion, which, if it could not rival London in economic clout, was the acknowledged European capital of culture, of refined taste and manners. British amateurs were therefore happy to admit these foreign artists into their homes both for private concerts, and in the capacity of music teachers for themselves and their children. One of the most alluring – not to mention gifted – of the performing artists to arrive in London from Paris was Giovanni Battista Viotti, whose public concerts in the last decade of the eighteenth century were among the most popular of the many that were on offer.
16
Redhead, Lauren. "London Ear Festival." Tempo 70, no. 277 (2016): 86–87. http://dx.doi.org/10.1017/s0040298216000206.
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The London Ear Festival is a small contemporary chamber music festival in London, now in its fourth edition. The festival is centred on the venues of the Cello Factory (its festival hub) and the Warehouse, near Waterloo. Despite its centrality and accessibility, the festival maintains a community and village feel: a sort of musical oasis. This year's festival, running 9–13 March, was timetabled against a number of other notable concerts in London – not least those celebrating Michael Finnissy's seventieth year – and so can be commended on its ability to draw audiences despite this clash, suggesting, perhaps, that it is genuinely offering something musically different and desirable.
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Dunn, Lawrence. "London Contemporary Music Festival." Tempo 72, no. 285 (2018): 86–91. http://dx.doi.org/10.1017/s0040298218000177.
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Does intimacy have anything to do with music? Music – especially acoustic chamber music – is regularly, even unthinkingly, labelled intimate. The implications of this common-enough usage were the major preoccupation of the most recent London Contemporary Music Festival. With multiple images and varieties of intimacy foregrounded – bodily, sexual, aural, psychological, somnolent – Igor Toronyi Lalic's curation was masterful. By turns provocative, baffling, emotional and ear-averting, not without some irony, the concerts were held in a vast underground concrete room.
18
Broad, Leah. "Harrison Birtwistle Responses: Sweet disorder and the carefully careless for piano and orchestra, Royal Festival Hall, London." Tempo 69, no. 272 (2015): 61–62. http://dx.doi.org/10.1017/s0040298214001041.
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2014, Sir Harrison Birtwistle's 80th birthday year, witnessed a plethora of events celebrating his music, from the Barbican's ‘Birtwistle at 80’ series to the ‘In Broken Images’ concerts at the Southbank Centre. Included in the latter was the UK premiere of his new concerto for piano and orchestra, Responses: Sweet disorder and the carefully careless, performed on 6 December 2014 by Pierre-Laurent Aimard and the London Philharmonic Orchestra under the direction of Vladimir Jurowski. Birtwistle describes the concerto as addressing the problem of ‘the relationship between the piano and the orchestra’, with the subtitle (taken from essays by architect Robert Maxwell) expressing the ‘essence’ of his composition.
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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.
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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the significance of the Crystal Palace concerts are two audience plebiscites that Manns conducted, in 1880 and 1887, which shed much light on Victorian popular taste and musical values. As well, particular attention is given to his involvement in the ““English Musical Renaissance”” in both of its aspects: as a campaign to raise British composers to canonic stature (to construct a ““British Beethoven””); and as an effort to securely embed classical music within British culture.
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Graham, Stephen. "LCO Soloists + NU:NORD, Roundhouse Dorfman Hub, London; Riot Ensemble, St Leonard's Church, London." Tempo 70, no. 278 (2016): 87–88. http://dx.doi.org/10.1017/s0040298216000413.
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Despite the ever-dwindling pot of public money available to exploratory musicians in the UK and elsewhere, various ensembles are nonetheless busy making hay whilst at least a little sun still shines. In London in the space of only a week or two in the second half of April, for instance, audiences could catch a series of new music recitals given by the Park Lane Group of young musicians, an evening of premieres with the Workers’ Union Ensemble, and concerts by the Riot Ensemble and by the London Contemporary Orchestra Soloists. Other cities, from Glasgow to Birmingham, enjoy a similarly wide range of activity.
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Foreman, Lewis. "London, Barbican: Taneyev Mini-Fest." Tempo 59, no. 234 (2005): 46–47. http://dx.doi.org/10.1017/s0040298205300301.
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The Russian National Orchestra and Moscow State Chamber Choir conducted by Mikhail Pletnev presented two unusually distinctive concerts at London's Barbican Hall at the end of March,3 starting with John of Damascus of 1884 – Taneyev called it Cantata No 1 – and ending the following evening with his tumultuous Cantata No 2, On the Reading of a Psalm (Po prochtenii psalma), from 30 years later. Although not claimed as such, the latter was surely a British première: not even that champion of the choral festival, Sir Henry Wood, seems to have done it.
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Chadburn, Leo. "Live from London: What's Changed and Why." Tempo 70, no. 277 (2016): 91–92. http://dx.doi.org/10.1017/s0040298216000073.
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Gentrification, spiralling rent, economic inequality, traffic chaos – the people of London have come to dread what ‘change’ entails. However, I'm convinced that some things have changed for the better: today's ‘new music scene’ (which I identify as that populated by composers and performers of notated contemporary music, creative improvisers, their concerts, networks and ideas) is radiating a vibrancy that would have been unimaginable 15 years ago. I want to celebrate it.
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Head, Raymond. "London, Trinity College: Roger Smalley at 60." Tempo 57, no. 226 (2003): 69–70. http://dx.doi.org/10.1017/s0040298203250361.
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In the mid-1960s Roger Smalley was a leading exponent of the music of Stockhausen (whose student he became). But except for his own performance of Klavierstück IX (at his piano recital which I did not hear) this early influence was hardly to be felt in the 60th birthday celebrations hosted by Trinity College of Music, London in May. Under the overall artistic direction of Douglas Finch, a series of concerts and recitals presented a cross-section of work from the past two decades.
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Miller, Malcolm. "London, Royal Festival Hall: Steve Reich's ‘Radio Rewrite’." Tempo 67, no. 265 (2013): 78–79. http://dx.doi.org/10.1017/s0040298213000521.
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Radio Rewrite, whose world première by the London Sinfonietta (who co-commissioned it) was warmly greeted by the capacity audience at the Royal Festival Hall on 5 March 2013, represents a fascinating postmodern symbiosis that attests to the veteran minimalist composer's continuing quest to cross new aesthetic boundaries in his eighth decade. It formed the centrepiece of a stunning concert, broadcast live by BBC Radio 3, which marked the first leg of a UK Reich tour that preceded the work's first USA airing (in Stanford on 16 March by the other commissioning ensemble, Alarm Will Sound). Reich concerts are occasions, and here the master himself together with percussionist David Hockings opened the programme with Clapping, then joined Sound Intermedia in their artful shaping of the amplified soundscape in a virtuoso performance by Mats Bergström of Electric Counterpoint. It was a performance of that work in Krakow in 2011, by Johnny Greenwood from the rock band Radiohead, that led to Reich's exploration and exploitation of their repertoire – notably two songs, ‘Jigsaw Falling into Place’ and ‘Everything in Its Right Place’ – in his new work.
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Zucker, Ben. "London Contemporary Music Festival: 13–15 2015." Tempo 70, no. 277 (2016): 84–86. http://dx.doi.org/10.1017/s0040298216000036.
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It seems impossible at first to review multiple nights of the London Contemporary Music Festival all at once – over the course of a week the cavernous Ambika P3 gallery hosted a sensory overload of music that, while not always new, was certainly contemporary in the atypical thematic presentations, bringing together provocative works in provocative ways. Running from 11 to 17 December, the three middle nights of LCMF all dealt with the monumental: large, long works that opened up audience perceptions by virtue of extended contemplation. The concerts on Sunday and Tuesday lasted over three hours; they weren't easy, but they prompted salient experiences.
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Baldwin, Olive, and Thelma Wilson. "Getting and spending in London and Yorkshire: a young musician’s account book for 1799–1800." Royal Musical Association Research Chronicle 51 (January 2020): 137–48. http://dx.doi.org/10.1017/rrc.2019.2.
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AbstractIn March 1799 John White was 20 years old and already an experienced professional violinist and cellist. He kept a detailed account book between March 1799 and March 1800 that provides much information about the economic and professional life of a young musician at the very end of the eighteenth century. White had showed early musical promise, and when he was 15 he attracted the patronage of the future Lord Harewood, who enabled him to take lessons from leading musical figures and appointed him as his director of music. White lived at Harewood House, near Leeds, but he spent some months of the London season each year with the Harewood family in their house in Hanover Square. The accounts show how White earned money in London by playing at private and public concerts and deputising at almost every place of musical entertainment in the capital. In Yorkshire he led orchestras in concerts and oratorio performances, took on pupils and visited Scarborough. White’s meticulous lists of his income and expenditure, from an expensive violin, a harp and harp lessons to silk stockings, waistcoats and hair ribbon, paint a fascinating picture of a young man making his way in the musical profession.
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Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.
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 Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor.
 Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.
 
 
 
 
 
 and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. 
 
 
 
 
 
 
 
 “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. 
 Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. 
 
 
 
 
 exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. 
 Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. 
 
 
 
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Conway, Paul. "Kreutzer Quartet, Wilton's Music Hall, London: Sadie Harrison, Edward Cowie and Michael Finnissy." Tempo 68, no. 268 (2014): 83–84. http://dx.doi.org/10.1017/s0040298213001769.
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The Kreutzer Quartet's ‘Beethoven Begins’ series, based around the great German master's Op.18 string quartets, has included an example of new music in each of its six concerts, a tribute to the players’ eclectic tastes, versatility and accomplishment in diverse repertoire. Their generously filled programmes all take place within the flaky grandeur of Wilton's Music Hall, one of London's quirkiest and most bewitching venues.
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Debenham, Margaret, and Michael Cole. "Pioneer Piano Makers in London, 1737–74: Newly Discovered Documentary Sources." Royal Musical Association Research Chronicle 44 (2013): 55–86. http://dx.doi.org/10.1080/14723808.2012.761771.
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The most historically significant and widely influential pianoforte designs, both for use in public concerts and for domestic music making, first appeared in the later 1760s, mostly as the work of immigrant German-born craftsmen working in London. But their work was preceded by a handful of pioneering instrument makers whose lives have been largely unreported until now. In this paper the authors report on the life and work of three such immigrant craftsmen who made pianofortes and related instruments in London in the period 1740–65. Two of them, Roger Plenius and Herman Viator, met with great personal misfortunes, while the other, Frederick Neubauer, crowned his career with a great triumph which has never been widely reported, though unhappily not one of his instruments is known to survive. The authors' findings are drawn from newly located contemporary newspaper notices and original manuscripts held at The National Archives, Kew and the Bancroft Library, London.
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Crosby, Brian. "Private Concerts on Land and Water: The Musical Activities of the Sharp Family, c.1750–c. 1790." Royal Musical Association Research Chronicle 34 (2001): 1–118. http://dx.doi.org/10.1080/14723808.2001.10540993.
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Hitherto there have only been glimpses into the musical activities of William, James and Granville Sharp in London during the second half of the eighteenth century. These have been afforded by Prince Hoare's Memoirs of Granville Sharp, William Shield's anecdotal review of Granville's A Short Introduction to Vocal Music, the brothers' own catalogue of their music and the Leigh and Sotheby Sale Catalogue of 1814 which marked that music's dispersal, and, more recently, by the publication of the memoirs of R.J.S. Stevens who sang as a treble at the Sharps' concerts in 1772. From these sources it transpired that the three Sharps were capable amateur musicians who hosted private concerts of sacred music in their homes, and that at different times many of the leading professional musicians of the period either played or sang on one of Sharps' vessels on the Thames. These shadowy images gained bodily form in 1978 when the National Portrait Gallery acquired on indefinite loan ‘The Sharp Family’ by Johann Zoffany, a portrait which revealed that the three brothers were but part of a larger musical family.
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Rosand, David. "Exhibition Review: The Genius of Venice." Renaissance Quarterly 38, no. 2 (1985): 290–304. http://dx.doi.org/10.2307/2861666.
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The Genius of Venice 1500-1600,the grand exhibition held at the Royal Academy of Arts from November 25, 1983, to March 11, 1984, transformed the London season, as one brochure announced, into “A Venetian Winter.” Notwithstanding the strong competition of the British Museum's exhibition of Raphael drawings, all London seemed filled with enthusiasm for the Queen of the Adriatic, an enthusiasm that manifested itself on every level of culture consumption and tourism: from gondolier shirts, carnival masks, and tinsof baicolito concerts of Venetian music, programs of films set in the lagoon, and public lecture series on topics such as “Venice: Art and Culture” and “Venice and the Victorians“; and, not least important in setting the tone of the occasion, special travel packages guaranteed the presence of large numbers of live Venetians in the British capital (the show was sponsored by the Sea Containers Group and Venice Simplon-Orient-Express Limited).
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HOLMAN, PETER. "ANN FORD REVISITED." Eighteenth Century Music 1, no. 2 (2004): 157–81. http://dx.doi.org/10.1017/s1478570604000119.
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Twentieth-century accounts of the life and musical activities of Ann Ford, later Mrs Thicknesse (1737–1824), have largely relied on the entry for her in the Victorian Dictionary of National Biography. The rediscovery of a fifty-four-page article on her in Public Characters (London, 1806) has led to a re-evaluation of other sources of information, including her semi-autobiographical novel The School for Fashion (London, 1800), the pamphlets published in the course of her dispute with the Earl of Jersey and her treatises on playing the English guitar and the musical glasses. These throw new light on her musical activities and help us to understand the context and significance of her public concerts in 1760 and 1761. Her public persona and her preference for soft, exotic instruments such as the viola da gamba, the archlute and the guitar are seen as embodying the cult of sensibility, at its height during her period of fame around 1760.
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Telford, James. "RECONCILING OPPOSING FORCES: THE YOUNG JAMES MACMILLAN – A PERFORMANCE HISTORY." Tempo 65, no. 257 (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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PIEKUT, BENJAMIN. "Music for Socialism, London 1977." Twentieth-Century Music 16, no. 1 (2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.
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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.
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MacDonald, Calum. "Birmingham: John Foulds at Symphony Hall." Tempo 58, no. 229 (2004): 75–77. http://dx.doi.org/10.1017/s0040298204250240.
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The City of Birmingham Symphony Orchestra's conductor, Sakari Oramo, took up the cause of the long-neglected and little-regarded British composer John Foulds (1880–1939) in the late 1990s, as soon as he was appointed to his present post. This February saw his most high-profile push on Foulds's behalf so far, with performances of three Foulds works – one of them a UK and concert première, another a world première – in three Symphony Hall concerts, two of them broadcast on BBC Radio 3. This was followed by a CD recording for Warner Classics of these three pieces plus a fourth, Foulds's early elegy for violin and orchestra, Apotheosis. Intervening in one of the pre-concert talks, Oramo stated his conviction that after decades of misunderstanding during his lifetime, and half a century of neglect thereafter, ‘we owe it to this remarkable composer to play his music – and play it often’. It is difficult to think that any London orchestra would dare to programme anything so distant from their narrow core repertoire and so utterly contrary to contemporary fashions. Yet three near-capacity audiences were plainly both surprised and enthralled by the music, and many members of the public expressed a desire to hear more.
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Graham, Stephen. "Georg Friedrich Haas Atthis and Matthew Rogers The Virtues of Things, The Linbury Studio, Royal Opera House, London." Tempo 69, no. 274 (2015): 69–70. http://dx.doi.org/10.1017/s004029821500042x.
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The Linbury Studio Theatre at the Royal Opera House in London has hosted an impressive range of intimate experimental music theatre works over the last few years. The 2014/15 season, for example, has featured prominent premieres of new works by Harrison Birtwistle and David Harsent, and a ballet staging of John Adams' Shaker Loops, amongst a range of other interesting concerts and shows. The late-April premiere run of Matthew Rogers's The Virtues of Things and an early-May staging by Netia Jones of Georg Friedrich Haas's song-cycle on fragments of Sappho, Atthis, showed how well the Royal Opera uses the smaller space and shorter runs common to the Linbury to programme in quick succession such distinctive pieces from across the spectrum of contemporary music. Atthis, which I attended on 24 April 2015, was perhaps the more intriguing of these two shows, since in conception and execution it was so bold; though Virtues has its own qualities, to which I'll get in a moment.
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Guzy-Pasiak, Jolanta. "Polish musical life in Great Britain during the Second World War." Muzyka 64, no. 1 (2019): 144–53. http://dx.doi.org/10.36744/m.249.
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The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String Quartet. The BBC Radio played a huge role in the popularisation of the Polish repertoire and Polish artists, broadcasting complete performances. What became an extremely attractive form of promoting Polish art were the performances of the Anglo-Polish Ballet, founded by Czesław Konarski and Alicja Halama in 1940. The post-war reality meant that most of the scores published at the time were arrangements of soldiers’, historical, folk and popular songs characterised by simple musical means suited to the capabilities of army bands, but conveying the spirit accompanying the soldiers of the Polish Armed Forces during the Second World War. Polish Army Choir established, as the first among such ensembles, on Jerzy Kołaczkowski’s initiative.The author hopes to prompt further studies into the history of migrations of artists and work on monographs on the various composers and performers. Undoubtedly, there is a need to bring this part of our musical culture to light, especially given the fact that interest in Polish music abroad has been growing in recent years.
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Gollapudi, Aparna. "Recovering Miss Rose: Acting as a Girl on the Eighteenth-Century Stage." Theatre Survey 60, no. 1 (2018): 6–34. http://dx.doi.org/10.1017/s0040557418000480.
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This is a portrait of five-year-old Miss Rose, who shone brightly albeit briefly on the London stage in the years 1769–70 before fading away into the gloom of historical obscurity (Fig. 1). She stands here as Tom Thumb, the eponymous diminutive hero of Henry Fielding's farce. With impressively plumed helm, her beautiful black eyes fierce, chin set in a determined tilt, padded right leg stretched out aggressively, and her somewhat chubby hand gripping the hilt of her sword, Miss Rose looks ready to engage some unseen enemy just outside the picture frame. Impressive as she looks, however, there is something poignant about this little girl's confidently heroic stance in the context of her prematurely terminated theatrical career. Miss Rose appears on the Haymarket stage in the summer of 1769, garners much praise and a small degree of celebrity, and then disappears from the theatre by 1771. Her departure is shrouded in nebulous but persistent accusations by her mother, Elizabeth de Franchetti, that she was being blackballed by the powerful theatre managers David Garrick and Samuel Foote, who for some reason refused to employ her despite her talent. After lingering a few years on the offstage London entertainment scene of concerts and variety shows, she drops out of historical view altogether before she is nine years old.
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Silverman, Julian. "Stefan Wolpe Appeal." Tempo 57, no. 223 (2003): 61. http://dx.doi.org/10.1017/s0040298203240055.
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The centenary year of one of the giants of 20th-century music has been and gone. It was all but ignored, so far as the UK is concerned, by his publishers, the musical establishment, the BBC etc. There had been vague plans to mount a number of relatively large-scale performances and broadcasts, to stage his two short operas for the first time and so on. They vanished. Music is a business like any other. Under the auspices of the Stefan Wolpe Society (USA), his daughter, the pianist Katharina Wolpe, managed to put together a short series of concerts in London recently, in which a few of his works received staggering performances before a very few people. The last of these, which would have seen the first performance for 2–3 decades of Wolpe's enormous Enactments for 3 pianos – had to be abandoned at the last minute for sudden lack of funds!
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Lloyd, Sarah. "Pleasing Spectacles and Elegant Dinners: Conviviality, Benevolence, and Charity Anniversaries in Eighteenth-Century London." Journal of British Studies 41, no. 1 (2002): 23–57. http://dx.doi.org/10.1086/386253.
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As the number and interests of charitable institutions expanded throughout Britain during the eighteenth century, so special fund-raising events, anniversary celebrations, and meetings multiplied. During 1775, for example, the major metropolitan charities and a plethora of minor benevolent societies courted middle- and upper-class Londoners with invitations to concerts and exhibitions. Men could support various hospitals and other good causes by dining in taverns and City Livery Halls in company with civic and ecclesiastical dignitaries, even noble and royal dukes. Both men and women might attend charities' anniversary services, ornamented with special music and a sermon, choosing among dispensaries, hospitals, lying-in charities, religious societies, and various efforts to reform and reclaim the poor for public benefit. On Sundays, armed with tickets, special prayer books, and even keys to their rented pews, women and men might attend the chapel of a philanthropic institution. Alternatively, they could listen to a fund-raising sermon and watch charity-school children arrayed in the gallery of a parish church. Toward the end of the year, they might pay half a guinea each to hear Handel's Messiah in the Foundling Hospital Chapel or go to Covent Garden and Drury Lane to watch tragedies and farces. Charitable activity thus extended beyond churches, alms, and sermons into the theater. It spilled onto the streets as gentlemen processed to dinner; it accompanied art and music. Conversely, waves of fashion drove visitors to one philanthropic institution or another to see deserving recipients, hear a particularly popular preacher, or to be observed themselves.
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Gibbs, Alan. "London, Morley College and Leighton House: Mátyás Seiber celebrations." Tempo 59, no. 234 (2005): 43–45. http://dx.doi.org/10.1017/s0040298205270304.
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With Tippett and Rawsthorne centenaries this year, Mátyás Seiber's (1905–60) might have been overlooked, but Morley College, prompted by the composer's daughter Julia, made sure it was not with a well-devised festival comprising four concerts, two lectures (by Michael Graubart and Hugh Wood – both names familiar to Tempo readers, and the latter currently especially featured) and an exhibition. Seiber was one of a number of continental arrivals, the others including Gerhard and Reizenstein, who remained here to our considerable benefit, in Seiber's case becoming a much sought-after teacher of composition. Morley was a fitting focus for the celebrations, having welcomed him onto the staff in 1942 after more august, and blinkered, institutions had shown no interest. The subtitle of the festival – ‘From blue notes to twelve notes’ – neatly encapsulated his wide ambit. As Robert Hanson pointed out in his notes, ‘his refusal to accept the mutual exclusiveness of different types of musical study and practice, first shown publicly in his jazz course at Frankfurt, came to typify the man’. This is in direct line with the Morley philosophy since the days of Dr Hanson's reforming predecessor Gustav Holst, who is reported in the College's magazine of December 1917 to have insisted that the terms ‘classical’ and ‘popular’ were misleading: there was only ‘good’ and ‘bad’ music. (The danger now, as Wood pertinently observed, is that students reluctant to accept the authority of the teacher prefer to think their own opinions equally valid. Seiber would have had no truck with such self-deception. Ruthlessly honest yet tactful in discussing a student's work, he adopted the Socratic approach by indicating a passage and asking ‘why did you do that?’ After listening patiently to the reply, he would quietly explain the fault and request a revision for the next lesson.) Sadly, older pupils like Fricker, Milner and Banks are not around to discuss how he would see an extended piece through to completion. But more recent ones were present at the festival, including Graubart and Anthony Gilbert (also featured in Tempo recently), who can corroborate Wood's testimony to Seiber's belief that composition should be taught as a discipline grounded in tradition and the classics, backed up by thorough analysis and imitation of Bach inventions and Haydn minuets.
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Cheshire, P. C., and G. Gornostaeva. "More useful Londons : the comparative development of alternative concepts of London." Geographica Helvetica 56, no. 3 (2001): 179–92. http://dx.doi.org/10.5194/gh-56-179-2001.
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Abstract. London's development pattern graphically illustrates the importance and problems of urban definition. The pattern we observe is radically different depending on whether one examines the data for administrative definitions of London or London defined on functional boundaries. Even the answer to such an apparently simple question as to whether London was growing or declining varies according to the definition of London taken; the ambiguity as to whether London was decentralising, re-centralising or declining is equally striking. Even functional definitions of London and EU cities produce different pictures of the relative patterns of development, depending on whether those functional boundaries are fixed to reflect spatial patterns of employment and commuting at a given date or are updated lo current patterns. For reasons we can identify, this makes much more difference to results in some cities than it does in others. Updating the functional boundaries of London, for example, makes much more difference to ils measured size than is the case with Paris. London and Londoners are historically adapted lo long dislance commuting and strongly contrasting patterns of residential segregation compared to Continental European cities (especially Paris).These have been re-inforced by land use planning which generates a strong force for London's growth to leapfrog across the South East of England spawning satellite centres as it goes. Despite these measurement problems. however, the evidence allows one to conclude that there has been a sharp change in trends in London both absolutely and relative to other major EU cities. Recently population has been growing and recentralising and London's economic Performance improving.
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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey." Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.
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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
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Harbor, Catherine. "‘At the desire of several persons of quality and lovers of Musick’: pervasive and persuasive advertising for public commercial concerts in London 1672–1749." Journal of Marketing Management 33, no. 13-14 (2017): 1170–203. http://dx.doi.org/10.1080/0267257x.2017.1380687.
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Milhous, Judith, and Robert D. Hume. "James Lewis's Plans for an Opera House in the Haymarket (1778)." Theatre Research International 19, no. 3 (1994): 191–202. http://dx.doi.org/10.1017/s030788330000660x.
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In 1780 James Lewis published the first of two magnificent folios, entitledOriginal Designs in Architecture. The title page explains that it consists of ‘Plans, Elevations, and Sections, for Villas, Mansions, Town-Houses, &c. and a New Design for a Theatre. With Descriptions, and Explanations of the Plates, and an Introduction’. Plates XIX-XXII are for ‘a New Theatre, designed for the Opera’. In fact, the designs are for a new opera house intended to occupy the site on which John Vanbrugh's Queen's/King's Theatre in the Haymarket had stood since 1705. The building would consume all the existing site and much of the surrounding property. Lewis explains the origins of his plans: ‘Our Theatres being upon a very small scale, compared with those of other principal cities in Europe, about two years ago [that is, in 1778] a report prevailed that a New Theatre was intended to be built by subscription, which might serve as well for all Dramatick Performances, as Concerts, Assemblies, Masquerades, &c. And the proprietors of the Opera House intending to purchase several adjoining houses and ground, to render the theatre eligible for the various purposes mentioned, suggested the idea of making a design adapted to the situation of the present Opera House, with the principal front towards Pall Mall’ (p. 12). This grand edifice would be like no other theatre in London.
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Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos." Nineteenth-Century Music Review 13, no. 2 (2016): 195–219. http://dx.doi.org/10.1017/s1479409816000616.
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A concert pianist in his own right and a prodigious youth, Sterndale Bennett composed his five complete piano concertos at the beginning of his career. Although Mozart is often cited as a major influence on Bennett’s musical style, and Bennett was a keen executant of Mozart’s piano concertos throughout his career as a virtuoso (at a time when a performing tradition of Mozart’s concertos was still establishing itself), of equal or even greater impact on Bennett’s style of concerto was the ‘London School’ of pianists, among them Field, Hummel, Potter (Bennett’s teacher), Cramer and Moscheles whose first-movement structural paradigms of ritornello and sonata are especially evident in the corresponding movements of the first four of Bennett’s concertos. Structural and stylistic factors are also discussed in relation to the more romantically inclined slow movements (which includes an examination of the programmatic movement of the Third Concerto in C minor Op. 9, so enthusiastically reviewed by Schumann in Leipzig, and the unpublished ‘Adagio in G minor’) as well as the ‘shared sonata’ schemes of the finales in which the influence of Mendelssohn features more conspicuously. Finally, the stylistic amalgam of Bennett’s concertos, in particular the frequently performed Fourth Concerto in F minor Op. 19 and the unpublished Konzert-Stück in A minor, is considered within the larger context of the first half of the nineteenth century with particular reference to the tensions that existed between the composer’s classical instincts and the desire to experiment with freer Romantic forms.
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Rowland, David. "British Listeners c. 1780–1830." Nineteenth-Century Music Review 17, no. 3 (2020): 359–79. http://dx.doi.org/10.1017/s1479409819000545.
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Evidence from diaries and correspondence shows how 44 individual listeners experienced music in Britain during the years c. 1780–1830. The individuals were not united by social class, but each of them had the financial resources to gain access to operas, concerts and other performances enjoyed by the wealthiest in society. Crucial to an understanding of these listeners’ reactions to music is an evaluation of their personal documents, which demonstrates how their evidence is shaped by genre, readership and a variety of cultural factors. Their descriptions of performances are used to show how London audiences, characterized in general by noise and commotion, contained a wide variety of listeners, ranging from those who appear to have attended largely for social reasons to those who reacted deeply to the music they heard. The evidence shows that those who listened intensely found greater satisfaction in more exclusive, private performances. It also shows that some listeners were deeply moved by what they heard, sometimes expressing their emotions through tears, in keeping with the culture of sensibility which thrived throughout the period. Other themes that emerge from the evidence include the role played by reminiscence in intensifying listeners’ listening, and the strong reactions that were often elicited by the experience of novelty or otherness. Some listeners are shown to have had different reactions to music according to the social context in which it was heard or the repertoire that was performed.
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Дерій, М. А. "ТЕМА «ЗОЛОТОЇ ЛИХОМАНКИ» У ЗБІРЦІ ДЖЕКА ЛОНДОНА «ПІВНІЧНІ ОПОВІДАННЯ»". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, № 93 (2019): 43–53. http://dx.doi.org/10.34142/2312-1076.2019.3.93.04.
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Jack London's «Northern Stories» is the conventional name of the early writer's works, with which he entered the world literature. The collection is composed of a system of motifs related to the theme of «gold rush». The theme of «gold rush» raises serious problems for barbaric looting of nature to satisfy greed. Jack London reproduced beautiful pictures of nature and at the same time the terrible consequences of human activity in Alaska. The testing theme was the central theme in Jack London’s «Northern Stories». The writer consistently reproduced situations in which a person, remaining alone with danger, was given the opportunity to test their own forces in a difficult struggle against circumstances threatening its existence. Reproducing the realities of everyday life of goldsmiths, Jack London, of course, could not escape the naturalistic detail. But the writer’s proposed interpretation of man strongly opposed the leading concepts of naturalists. In particular, he freed characters from biological dependence: even under the worst circumstances, the heroes of the «Northern Stories» are not helpless – they overcome physical deterioration due to solid positions and moral stability. Characters that Jack London frankly sympathizes with embody the romantic ideal of the author: they are strong personalities who adhere to the laws of brotherhood and justice. One of the main features that permeates all Jack London’s writings about the North is the adventure motif, it unites people of different professions and nationalities, includes the danger, uncertainty and romanticism. Jack London wrote his «Northern Stories» based on his practical experience, in which the cruelty of «white silence», on the one hand, and the romance of the struggle for life, on the other hand, and, moreover, the preservation of the moral person’s face and kindness in situations where could stand only a person who has a strong spirit.
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Mühlenbeck, Bettina S. "On Musical Journeys: William Sterndale Bennett’s Diaries, 1836–1842." Nineteenth-Century Music Review 13, no. 2 (2016): 221–32. http://dx.doi.org/10.1017/s1479409816000653.
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The present article explores the travel diaries William Sterndale Bennett kept on his three extended journeys from London to Leipzig between 1836 and 1842. In the autumn of 1836 the young pianist and composer embarked on the first and longest of ultimately three residencies in Leipzig. Invited by Felix Mendelssohn Bartholdy, he came to the burgeoning centre for instrumental music in order to spend productive time in the artistic circle surrounding Mendelssohn. Bennett began keeping a diary, in which he recorded his experiences – from mundane to musical – and which de facto evolved into a silent travel companion. He repeated this process on his subsequent two travels. The diaries offer valuable first-hand accounts of the Leipzig Gewandhaus concerts under Mendelssohn’s leadership (who served as its Kapellmeister from 1835 to 1847) as well as the semi-private soirées in the prestigious salons of the city. In the privacy of the personal journal, Bennett did not shy away from making bold statements concerning compositions, performance practices, the quality of musical instruments or socio-cultural idiosyncrasies. Especially intriguing is the congenial connection he made with Robert Schumann. The two artists shared an ad hoc, allusive affinity and community of solidarity that has been overlooked in the past. All of this is the more revealing in light of his otherwise soft-spoken and reserved personality, particularly since Bennett’s journaling also offers a view into his own compositional and creative process during this important phase of his career. Apart from tracing musical opinions expressed, aesthetic positions maintained and cultural differences observed, this article follows the artistic bond between William Sterndale and Robert Schumann.
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Ford, Vicky. "Concerns about testing." Early Years Educator 22, no. 8 (2021): 12. http://dx.doi.org/10.12968/eyed.2021.22.8.12.
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