Relevant bibliographies by topics / Royal Festival Hall (London, England)

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

Academic literature on the topic 'Royal Festival Hall (London, England)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Royal Festival Hall (London, England)"

1

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 c
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2

Anderson, Martin. "London, Royal Festival Hall: Shostakovich: Prologue to ‘Orango’." Tempo 67, no. 266 (2013): 83–84. http://dx.doi.org/10.1017/s0040298213000971.

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The music of Shostakovich's abandoned opera Orango wasn't itself such a surprise: the première, given in Los Angeles in December 2011, was recorded live and released soon after on a Deutsche Grammophon CD (0289 479 0249 2). But experiencing it in the flesh – at its European première in the Royal Festival Hall on 16 May – revealed the music all over again and left at least this listener slack-jawed in astonishment at the profligacy of Shostakovich's genius.
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3

Clarkson, M. H., D. Birks, P. L. Younger, A. Carter, and S. Cone. "Groundwater cooling at the Royal Festival Hall, London." Quarterly Journal of Engineering Geology and Hydrogeology 42, no. 3 (2009): 335–46. http://dx.doi.org/10.1144/1470-9236/08-080.

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4

Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (2015): 89–90. http://dx.doi.org/10.1017/s0040298215000716.

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John Luther Adams holds a unique position in American contemporary music. His works are as tinged with minimalist virtues as they are rigorously experimental, offering sound worlds that seem at once unearthly and welcoming, unconventional yet accessible. At the core of the Pulitzer Prize-winning composer's work lies a major concern with translating the tenuous and illusory concept of acoustic and natural sonic space into densely textured instrumental works. Exploring the composer's oeuvre, one senses a deep fascination with acoustic phenomena; in works such as the orchestral soundscape Becomin
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5

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 t
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Stein, Robert. "Górecki Symphony No. 4, London Philharmonic Orchestra; Royal Festival Hall, London (12 April 2014)." Tempo 68, no. 270 (2014): 76–77. http://dx.doi.org/10.1017/s0040298214000382.

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It's not the premiere of every Polish symphony that's greeted by a near sell-out audience at the Royal Festival Hall, but then it's not every composer whose previous symphony had the success of Henryk Górecki's Third, his Symphony of Sorrowful Songs. The Upshaw/London Sinfonietta/Zinman recording of this work has sold over a million copies.
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7

Newman-Turner, Roger. "FOUNDATION FOR INTEGRATED MEDICINE: INTEGRATED HEALTHCARE AWARDS 21 NOVEMBER 2001, ROYAL FESTIVAL HALL, LONDON." Complementary Therapies in Medicine 9, no. 4 (2001): 252–53. http://dx.doi.org/10.1054/ctim.2002.0505.

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8

Orlowski, R. J. "Developments in the Acoustic Design of Concert Halls from the Royal Festival Hall, London, to the Segerstrom Hall, California." Building Acoustics 2, no. 1 (1995): 331–40. http://dx.doi.org/10.1177/1351010x9500200101.

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9

Duncan, Craig. "Cutlers' Surgical Prize." Bulletin of the Royal College of Surgeons of England 90, no. 6 (2008): 211. http://dx.doi.org/10.1308/147363508x314816.

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The Worshipful Company of Cutlers, in association with The Royal College of Surgeons of England, each year awards the Cutlers' Surgical Prize, comprising the silver gilt Clarke medal and a sum of £1,000, for the entry judged to be the most outstanding advance in design of a surgical instrument or technique. The award is presented at a dinner held in the spring at Cutlers' Hall in the City of London.
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10

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 orche
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Dissertations / Theses on the topic "Royal Festival Hall (London, England)"

1

Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.

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Books on the topic "Royal Festival Hall (London, England)"

1

Putting Money to Work London Financial Strategy Conference (1985 London). Putting money to work: London Financial Strategy Conference : held on 16 May 1985 at the Royal Festival Hall, London. Greater London Council Industry and Employment Branch, 1986.

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2

Suzanne, Hodgart, Williams Roger, and Stone Jonathan, eds. The Royal Albert Hall: A Victorian masterpiece for the 21st century. Published by the Fitzhardinge Press for the Royal Albert Hall, 2003.

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3

Hall, Royal Festival, and Stable Gallery, eds. The Obsession of dance: Paintings and drawings by Robert heindel : Royal Festival Hall, London, 6 December 1985 to 15 January 1986. Stable Gallery?, 1985.

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4

Hall, Royal Festival, and National Theatre (Great Britain), eds. H.M. Bateman 1887-1970 centenary exhibitions: Royal Festival Hall and the National Theatre, May 15th-20th June 1987, South Bank London. (Royal Festival Hall?), 1987.

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5

David, Miller, and Soar Geoffrey, eds. Little magazines and how they got that way: Exhibition guide, 27 September-25 October 1990, Level 5 Terrace and the Poetry Library, Royal Festival Hall, London. Royal Festival Hall?], 1990.

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6

Rolf, Brandt. Apparitions: An exhibition of drawings and illustrations by Rolf Brandt, 7 March to 2 May 1988, Main Foyer, Royal Festival Hall, South Bank Centre, London, SE1 8XX. South Bank Centre, 1988.

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7

What, is public service broadcasting and how should it be funded? (conference) (1985 Royal Festival Hall London). What is public service broadcasting and how should it be funded?: A report of the conference held by Voice of the Listener on 18th May 1985in the Waterloo Room of the Royal Festival Hall, London. Voice of the Listener, 1985.

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8

Betty, Harris, Nichols Harold, Simpson Margaret H, and Quaker Tapestry Scheme, eds. The Quaker tapestry guide: Prepared for exhibitions in Aberdeen Art Gallery, 29 July-14 August 1989, Royal Festival Hall, London, 13 April-7 May 1990, Centre Guillaume Le Conquerant, Bayeux, France, 1 August-2 September 1990. [Quaker Tapestry Scheme], 1989.

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9

Royal Festival Hall (Architecture in Detail). 2nd ed. Phaidon Press, 1992.

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10

Royal Festival Hall: London County Council, Leslie Martin and Peter Moro (Architecture in Detail). Phaidon Press, 1993.

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Book chapters on the topic "Royal Festival Hall (London, England)"

1

Glendinning, Miles, and Sébastien Jouan. "Royal Festival Hall, 1951 London, UK." In Modern Theatres 1950–2020. Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-20.

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2

Kennedy, Michael. "The Land Without Music?" In The Works of Ralph Vaughan Williams. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163305.003.0001.

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Abstract When Ralph Vaughan Williams was born at Down Ampney on 12 October 1872, English music was still drifting down the years of the Victorian era, leaderless and bereft of a sense of purpose. Music in England, on the other hand, was thriving. August Manns, at his Crystal Palace concerts, and Charles Halle, at his Manchester concerts, were introducing new works and had changed the nature of symphony concerts from a miscellaneous selection of music of varying types into a more selective and substantial evening’s listening. Christine Nilsson, Emma Albani, Trebelli, Santley, Reeves, and Tietje
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3

"Royal Festival Hall, London 1951." In The Buildings Around Us. Taylor & Francis, 2003. http://dx.doi.org/10.4324/9780203362259-35.

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4

Weber Felix. "Two Lines Arup with David Chipperfield Architects." In Challenging Glass 3. IOS Press, 2012. https://doi.org/10.3233/978-1-61499-061-1-157.

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For the 2011 London Design Festival, David Chipperfield Architects and Arup worked closely together to realise Two Lines, a free standing glass pavilion that showcases Sefar Architecture Vision, a metal coated fabric laminated between two glass panels. David Chipperfield Architects wanted the pavilion not only to be a landmark on London's South Bank next to the Royal Festival Hall, but also to invite the public to walk into it, interact and experience the unique appearance of the glass with the shimmering translucent mesh that constantly changes with orientation, view angle and light condition
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5

"A paper to the British Tourist Authority Conference on Tourism and the Environment (Royal Festival Hall, London, 11 November 1971), by Sir Mark Henig, Chairman, English Tourist Board." In Governments and Tourism. Elsevier, 2001. http://dx.doi.org/10.1016/b978-0-7506-4478-5.50025-6.

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6

Kildea, Paul. "Tribute To Dmitry Shostakovitch (1966)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0088.

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Abstract It must have been in 1936 or so, when I had not long since left the Royal College of Music, my mind greedy for every musical experience to come my way, that I went to the old Queen’s Hall, London, to hear a concert performance of an opera by a new, young Russian composer, not many of whose works had reached England. In my experience a concert performance of an opera does not often succeed in giving much idea of its dramatic impact. But this one, of Lady MacBeth of Mtzensk (as it was then called) was a knock-out.1 I imagine it was well done, enough anyhow to give me a sense of the viol
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You might also be interested in the extended bibliographies on the topic 'Royal Festival Hall (London, England)' for particular source types:
Journal articles
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