Podcasts about Aldeburgh

Unlikely as it sounds Anneka Rice has long been part of a small painting group run by the extraordinary artist, Maggi Hambling. Over the years they've developed a strong bond. As Maggi puts it, the painting group is 'like family' to her. In this special episode of Open Country, Anneka travels to Suffolk to find out more about the county that has inspired Maggi's work: from her brooding seascapes, to the once controversial but now lauded Scallop on Aldeburgh beach. They start the day in a dank, dark, tree-covered ditch where Maggi hid as a teenager when she was too nervous to attend a painting class. Then to Maggi's home, where - leaving the verdant overgrowth of her garden - they enter her studio where green (a colour she hates) disappears… there are blacks and greys and just a bit of pink. Next, onto the bleak but beautiful beach at Sizewell, it's here in the shadow of the nuclear power plant that the churning North Sea most speaks to Maggi. And finally to the huge steel sculpture of the Scallop on Aldeburgh beach… a tribute to Benjamin Britten and now one of the area's most popular attractions. As Maggi drives Anneka from location to location, the warmth, humour and friendship between the two shines out.Please see the 'related links' box on the Open Country webpage for this episode to find more info about the Cedric Morris/Arthur Lett-Haines exhibition in July 2024.Presenter: Anneka Rice Producer: Karen Gregor

Saxophonist, composer and bandleader Emma Rawicz, and composer Gavin Higgins, join Anna Phoebe and Jeffrey Boakye as they add the next five tracks.From a Muddy Waters masterpiece, they take us to Aldeburgh for Benjamin Britten's tragic tale, before jumping on their bicycles and heading to Copenhagen for an audacious saxophone composition.The five tracks in this week's playlist:Mannish Boy by Muddy Waters The Passacaglia from Peter Grimes by Benjamin Britten Bicycle Town, Pt 1 by Marius Neset Egyptian Reggae by Jonathan Richman and The Modern Lovers Bad Reputation by Joan Jett and the BlackheartsOther music in this episode:Eejit by Blazin' Fiddles Concerto Grosso written by Gavin Higgins Tusk by Fleetwood Mac I'm a Man by Bo Diddley None Shall Escape the Judgement by Earl Zero I Love Rock 'n Roll by Joan Jett and the BlackheartsGavin's BBC Radio 3 Sunday Feature - Everything Stops:https://www.bbc.co.uk/sounds/play/m001zgft

Chris Skinner shares a moments reflection whilst waiting to see the first swift arrive at Aldeburgh beach. He pinpoints the exact moment when his relationship with wildlife changed forever. Matthew Gudgin arrives at High Ash Farm and the pair take a look at the hidden wonders of the horse chestnut tree. They also study the hawthorne in flower before escaping the chill and retreating to the farm truck to answer questions sent in from listeners.Click here to download the MP3 of the episode. At the beginning of this episode we hear from the audio producers who make Chris Skinner's Countryside Podcast. Their non-profit organisation SOUNDYARD has been nominated for a Norfolk Arts Award. It's a public vote and the business appears under the Broadcast & Media Award. Click here to vote and for more details Click here to donate to the podcast. If you have a question that you'd like Chris to answer on the podcast, send an email to: chris@countrysidepodcast.co.ukJoin the official Chris Skinner's Countryside Podcast newsletterChris Skinner's Countryside Podcast is produced by SOUNDYARD - a non-profit company on a mission to turn up the volume on under-heard voices. Join the SOUNDYARD newsletter

M.R. James's "A Warning to the Curious" (1925) is a seminal ghost story that explores the consequences of disturbing ancient artifacts and the enduring power of folklore. Set in the fictional coastal town of Seaburgh, based on Aldeburgh, Suffolk, where James had strong personal connections, the story follows Paxton, an amateur archaeologist who unearths one of three legendary crowns believed to protect England from invasion. The story draws upon a rich tradition of magical artifacts in British folklore, such as the Glastonbury Thorn and the buried head of Bran the Blessed, situating itself within a larger cultural narrative of Britain's magical defenses. James's deep knowledge of East Anglian history and folklore is evident in his vivid descriptions of Seaburgh's landmarks and his reference to the crown of Redwald, an ancient East Anglian king, foreshadowing the 1939 discovery of the Sutton Hoo treasure. As a work of folk horror, "A Warning to the Curious" explores the clash between modernity and the lingering presence of the past, with Paxton encountering the vengeful ghost of William Ager, the crown's guardian. The story resonates with other works in the genre, such as H.R. Wakefield's "The First Sheaf" (1922), highlighting the dark side of rural traditions and the supernatural. The story's post-World War I context adds depth to its themes, reflecting the profound impact of the war on British society. Paxton's tragic fate, with his broken jaw and mouth filled with sand, evokes the horrific injuries suffered by soldiers in the trenches, serving as a metaphor for the lost potential and unfulfilled promises of a generation scarred by war. Derrida's concept of hauntology and Mark Fisher's extension of these ideas provide a compelling lens for analyzing the story. The ancient crown and Ager's spectral presence embody the past's disruption of the present, while the story's pessimistic tone reflects the post-war zeitgeist and the haunting of society by the specters of war and lost futures. "A Warning to the Curious" showcases James's mastery of the ghost story genre, weaving together folklore, history, and the supernatural to create a haunting tale that continues to resonate with readers, reminding us of the enduring power of the past to shape our present. Learn more about your ad choices. Visit megaphone.fm/adchoices

Escape the debauchery-drenched, randy-dandy dainty nights of sparkling SOHO.Chug along the spaghetti motorways before you peel offSoar and glide through voluptuously verdant countryside -Further, further, further,Further you go.Train stations become quieter. Post offices cuter. Bakeries sweeter. Conversation warmer. Pints slower. Life calmer.The Frontier.Aldeburgh, Suffolk.George Pell is doing things no one's been brave enough to do before.After a illustrious career in Hospitality, Private Members clubs - Home House, The Arts Club, The Brompton Club and Managing Director of institution L'EscargotGeorge is paving his own path. Reinventing Suffolks food scene, with restaurant The SuffolkThe trip to Suffolk was a highlight of 2023.ON THE MENU:You LITERALLY have the ability to transport people with your level of careHow to get people to follow your mission: marry their inner calling with your outer callingWhy All Amazing Paint needs Canvas - how new movements startLearnings from Hospitality Gods at The Arts Club “why all great businesses and brands should feel like a members club”How to go above yourself and escape imposter syndrome and how to transcend your own ego: be hungry and caringFull episode goes live Monday 8am.Can't wait till thenWatch or listen to other episodes in the comments below

Sviatoslav Richter (1915–97), who several times played all three wartime sonatas during the 1945-6 concert seasons, gave his first public recital in Odessa in 1934 and was taught by Heinrich Neuhaus at the Moscow Conservatory. Having played Prokofiev's Fifth Piano Concerto under the composer's direction, Richter gained a formidable reputation in the USSR and played in the West for the first time in 1960. Subsequent visits were eagerly awaited, however Richter became highly selective in his choice of venue, (always preferring smaller venues) and repertoire and often, as with Visions fugitives, selected a few pieces from a single cycle. Following an extensive tour of the USA in 1970, he chose not to return to that country as Aldeburgh and selected sites in France and Italy became his preferred venues outside Russia. In 1986 Richter gave 91 concerts over a four-month period during a tour by car from Leningrad -Vladivostok - Moscow. In addition to numerous solo concerts, Richter often played alongside friends such as Britten, Kagan, Rostropovich, Fischer-Dieskau, Schreier, Oistrakh, and Fournier.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Peter Grimes, Op. 33, is an opera in three acts by Benjamin Britten, with a libretto by Montagu Slater based on the section "Peter Grimes", in George Crabbe's long narrative poem The Borough. The "borough" of the opera is a fictional small town that bears some resemblance to Crabbe's – and later Britten's – home of Aldeburgh, Suffolk, on England's east coast.To learn more about this opera, please visit:Peter Grimes - Wikipedia

Synopsis Back in Bach's day, there were churchmen aghast at the thought that composers were trying to sneak flashy opera music into Sunday services. Church music was meant to be simple, austere, and, well , not “operatic.” So what would they have made of the three “church parables” – mini-operas, really, composed in the 20th century by the great English composer Benjamin Britten? The third of these, The Prodigal Son, debuted on today's date in 1968 at St. Bartholomew's Church in Orford, England. All three impart Christian values and were meant for church performance – scored for a handful of soloists, modest choir, and a small ensemble that would fit in front of and on either side of a church altar where church music was normally performed. But operas they are, and Britten himself let the “o” word slip when he commented in a 1967 interview that he was (quote), “doing another church opera to go with the other two, Curlew River and The Burning Fiery Furnace, to make a kind of trilogy.'” Britten took these mini-operas seriously, and dedicated The Prodigal Son to his new friend, the Soviet composer Dmitri Shostakovich, who in turn would dedicate his 14th Symphony to Britten. Music Played in Today's Program Benjamin Britten (1913 - 1976) The Prodigal Son Peter Pears, tenor; John Shirley-Quirk, baritone; Robert Tear, tenor; Bryan Drake, baritone; English Opera Group Orchestra; Benjamin Britten, conductor. Decca 425713 On This Day Births 1904 - German-born American musical composer Frederick Loewe, in Berlin; 1913 - Soviet composer Tikhon Khrennikov, in Elets (Julian date: May 28); 1960 - English composer Mark Anthony Turnage, in Grays, Essex; Deaths 1899 - French composer Ernest Chausson, age 44, after a bicycle accident near Limay; 1918 - Italian opera composer and librettist Arrigo Boito, age 76, in Milan; 1934 - British composer Frederick Delius, age 72, in Grez-sur-Loing, France; 1964 - American composer Louis Gruenberg, age 75, in Los Angeles; Premieres 1732 - Handel: opera "Acis and Galetea" (in an English/Italian version), in London at the King's Theater in the Haymarket, at the request of Princess Anne (Gregorian date: June 21); 1865 - Wagner: opera "Tristan and Isolde," in Munich at the Hoftheater, conducted by Hans von Bülow; 1921 - Stravinsky: "Symphonies of Wind Instruments" (in memory of Claude Debussy), in London at Queen's Hall, with Serge Kousevitzky conducting; Three days earlier, on June 7, 1921, Stravinsky had attended the British premiere of the concert version of his ballet score "The Rite of Spring," also at Queen's Hall, with Eugene Goossens conducting; 1939 - Bliss: Piano Concerto (with Solomon the soloist) and Vaughan Williams: "Five Variants of Dives and Lazarus," at Carnegie Hall by the New York Philharmonic, with Sir Adrian Boult conducting; These works (Along with Bax's Seventh Symphony, which premiered the previous day) were all commissioned by the British Council as part of the British Exhibition at 1939 World's Fair; 1941 - Poulenc: first public performance of Concerto for Organ, Strings and Timpani, in Paris; 1968 - Britten: church opera "The Prodigal Son," in Orford Church, near Aldeburgh. Links and Resources On Britten

As the CBSO prepares for a summer of tours to Aldeburgh, Japan, and the BBC Proms, the orchestra's new Chief Conductor Kazuki Yamada speaks to presenter Tom Service about the joy of music and the goosebumps he experiences while conducting. Tom travels to the South Downs to speak to Australian director Barrie Kosky about a new production, opening this weekend at Glyndebourne, of Poulenc's Dialogues des Carmélites. He's joined by sopranos Golda Schultz and Sally Matthews, as well as conductor Robin Ticciati, to talk about the story of sixteen nuns who meet their death at the hands of the French Revolution. Amid rehearsals at the Royal Opera House, Music Matters hears about the World Premiere of a new ballet, Untitled 2023 – a collaboration between the Royal Ballet's resident choreographer Wayne McGregor and composer Anna Thorvaldsdottir. They discuss the somatic relationship between body, dance and music, and why listening to Thorvaldsdottir's compositions is not a passive experience. And one hundred years after its premiere at the Aeolian Hall in June 1923, Tom speaks to the writer and broadcaster William Sitwell about his great-aunt Edith Sitwell's creative relationship with the composer William Walton – a collaboration which resulted in the entertainment, Façade. He's also joined by writer and researcher Lucy Walker. Together they discuss the work's nonsensical parody of popular music, jazz, and poetry and knotty issues it presents to contemporary audiences.

Zi Lan Liao is one of the leading exponents of Chinese music.   Her busy career on the international concert circuit, has resulted in her being one of the most widely heard and best appreciated performers on the Gu-Zheng worldwide.  The Gu-Zheng is a twenty one string, harp like instrument established across thousands of years of Chinese Dynastic tradition. She began to learn the Gu-Zheng at the age of three when she lived in Guangzhou.  By the age of nine she was winning major prizes in China, including the prestigious National Youth Music Competition.  By the time she left China for the UK at the age of fifteen, her reputation as a virtuoso performer was already established. She made an immediate impact on her arrival in the UK, by winning at the International Eisteddfod in Llangollen. She continued her music studies at Chetham's School of Music and the Royal Academy of Music, where she also specialised in the western concert harp, besides the traditional Chinese Gu-Zheng.  Zi Lan has captivated audiences around the world as a soloist with leading orchestras, as a recitalist and through the joyous enthusiasm of her incredible musical workshops. She recorded music for the Oscar-winning film “The Last Emperor”; she has collaborated with Peter Gabriel, Nigel Kennedy, Jah Wobble and other internationally known recording artists.  Zi Lan has appeared at most of the major concert venues in the UK, including the Edinburgh, Aldeburgh and World Harp Festivals. In 1996, she featured as soloist in the World Premier of  ‘The River', where she played a Gu-Zheng Concerto with the Royal Liverpool Philharmonic Orchestra. Her collaboration with her husband, Jah Wobble – ‘Chinese Dub' won the best ‘Cross-Cultural Collaboration 2009'.  In 2010, she performed with the Royal Liverpool Philharmonic Orchestra again, this time in Liverpool and at the Shanghai World Expo, playing on the new composition ‘Oxbow' written by Ian Stephens.   Zi Lan is deeply committed to making the music of her native country more well known in the West, and a desire to share her insight into its cultural and spiritual significance. Despite her busy performing schedule Zi Lan still finds time to assist the Pagoda Chinese Youth Orchestra and Dance Group in Liverpool, both as musician and choreographer. Jah Wobble first worked with the Pagoda Chinese Youth Orchestra in 2008, and his album Chinese Dub won Songlines' Best Cross Culture Album award in 2009. His work left a legacy for the youngsters at the time and inspired them to discover new fusions of Chinese music, with other modern genres.  There is a ‘Celebration of Legacy Concert', at the Tung Auditorium in Liverpool, on Saturday 15th July.  The concert is a part of a wider series from Pagoda Chinese Youth Orchestra, marking their 40th anniversary with friends and supporters throughout the years.  This concert will see Jah Wobble and his band performing with Tian, a band featuring his sons, John and Charlie, themselves two past alumni of the youth orchestra, showcasing the exciting new development of Chinese and Western fusion music.

When UK based New Zealand writer Margaret Meyer visited a local museum in the town of Aldeburgh, Suffolk, it sent her on a mission to uncover the story of a group of women accused of being witches, and the men who hunted them.

Synopsis On today's date in 1945 Peter Grimes, a new opera by the English composer Benjamin Britten, debuted at Sadler's Wells Theater in London. The libretto was based on George Crabbe's long poem, The Borough, published in 1810, which described life along England's North Sea coast. In the early 1940's, Britten was living in America, and had read Crabbe's poem in California. The commission for the opera was also American, coming from Serge Koussevitzky, conductor of the Boston Symphony and one of the leading music patrons of the day. But Britten's opera is intensely English – evoking, as it does, the images and sounds of the North Sea off the east coast of Suffolk. Britten was born within sight of this seascape, and lived, for the better part of his later life, a little farther down the coast at Aldeburgh – the "Borough," on which George Crabbe had based his poem. From the start, Peter Grimes was an immediate success. Within a week of its June 7th premiere, Britten conducted the London Philharmonic in an orchestral suite of Sea Interludes from his new opera, and these, too, have since firmly established themselves in the concert repertory. Music Played in Today's Program Benjamin Britten (1913 - 1976) Sea Interludes, fr Peter Grimes London Symphony; André Previn, conductor. EMI 72658

Kate Kennedy chooses her favourite recording of Britten's Peter Grimes The opera Peter Grimes is set in a fictional small town that bears some resemblance to Britten's home of Aldeburgh, Suffolk, on England's east coast. It is a drama about outsiders and oppression. As Britten himself said, it was "a subject very close to my heart – the struggle of the individual against the masses. The more vicious the society, the more vicious the individual". The score is full of great orchestral descriptions of the Suffolk coast and highly dramatic confrontations.

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC's role in reviving the centuries of early music from before the 18th century. Today Kenyon explores how in the creative years of the 1950s and 1960s, the revival of early music had a sense of adventure; new orchestras were established like the Academy of St Martin-in-the-Fields which explored the repertory in broadcasts and recordings. He highlights the work of three contrasted pioneers: Imogen Holst, who programmed concerts of medieval music at Aldeburgh, promoted by the BBC Transcription Service; Denis Stevens, the musicologist and conductor who broadcast and worked for the BBC Third Programme but became a hugely controversial figure because of his argumentative nature; and William Glock, who became the BBC's Controller of Music in 1959 and transformed the repertory of the Proms, welcoming in a whole range of earlier music that had never been heard before at the Proms. Presented by Nicholas Kenyon Produced by Melissa FitzGerald

Bookseller, publisher, Dissenter and dinner-party host, Joseph Johnson was a great enabler in the late 18th-century literary landscape . . . Daisy Hay is the author of Dinner with Joseph Johnson: Books and Friendship in a Revolutionary Age and Associate Professor of English Literature at the University of Exeter, and Kathryn Sutherland is the author of Why Modern Manuscript Matters and Senior Research Fellow in English at the University of Oxford. Together they join the Slightly Foxed editors to discuss Joseph Johnson's life and work at St Paul's Churchyard, the heart of England's book trade since medieval times.   We listen to the conversation around Johnson's dining-table as Coleridge and Wordsworth, Joseph Priestley and Benjamin Franklin, Mary Wollstonecraft and William Blake debate the great issues of the day. And we watch as Johnson embarks on a career that will become the foundation stone of modern publishing. We hear how he takes on Olaudah Equiano's memoir of enslavement and champions Anna Barbauld's books for children, how he argues with William Cowper over copyright and how he falls foul of bookshop spies and is sent to prison. From Johnson's St Paul's we then travel to Mayfair, where John Murray II is hosting literary salons with Lord Byron and Sir Walter Scott, and taking a chance on Jane Austen. To complete our tour, we glimpse the anatomy experiments in the basement of Benjamin Franklin's house by the Strand. Our round-up of book recommendations includes Konstantin Paustovsky's The Story of a Life which begins in Ukraine, Winifred Holtby's conversations with Wollstonecraft and Woolf, a fresh look at Jane Austen's Emma and an evocation of the Aldeburgh coast as we visit Ronald Blythe for tea. Books Mentioned We may be able to get hold of second-hand copies of the out-of-print titles listed below. Please get in touch with Jess in the Slightly Foxed office for more information. Colin Clark, The Prince, the Showgirl and Me, Slightly Foxed Edition No. 61 (1:23) Edward Ardizzone, The Young Ardizzone, Plain Foxed Edition (2:01) Daisy Hay, Dinner with Joseph Johnson: Books and Friendship in a Revolutionary Age (2:52) Kathryn Sutherland, Why Modern Manuscripts Matter William Cowper, The Task (15:46) William Godwin, Memoirs of the Author of A Vindication of the Rights of Woman is out of print (24:09) John Knowles, The Life and Writing of Henry Fuseli is out of print (24:12) Mary Scott, The Female Advocate; a poem occasioned by reading Mr. Duncombe's Feminead is out of print (27:36) Slightly Foxed Cubs series of children's books (31:52) Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (35:53) Maria Rundell, Mrs Rundell's Domestic Cookery is out of print (46:01) Konstantin Paustovsky, The Story of a Life, translated by Douglas Smith (50:52) Joanna Quinn, The Whalebone Theatre (52:40) Jane Austen, Emma (53:16) Winifred Holtby, Women and a Changing Civilisation is out of print (54:07) Winifred Holtby, Virginia Woolf: A Critical Memoir is out of print (54:44) Winifred Holtby, South Riding (55:46) Ronald Blythe, The Time by the Sea (56:46) Related Slightly Foxed Articles Letters from the Heart, Daisy Hay on Mary Wollstonecraft, Letters Written in Sweden, Norway and Denmark, Issue 51 Just Getting on with It, A. F. Harrold on William Cowper, Selected Poems, Issue 23 The Abyss Beyond the Orchard, Alexandra Harris on William Cowper, The Centenary Letters, Issue 53 ‘By God, I'm going to spin', Paul Routledge on the novels of Winifred Holtby, Issue 32 Other Links Henry Fuseli's The Nightmare (11:42) Dr Johnson's House, City of London (49:52) Benjamin Franklin House, Charing Cross, London (49:56) Opening music: Preludio from Violin Partita No.3 in E Major by Bach The Slightly Foxed Podcast is hosted by Philippa Lamb and produced by Podcastable

A soprano of "fearlessness and consummate artistry" (Opera News), Ah Young Hong has interpreted a vast array of repertoire, ranging from the music of Monteverdi to Georg Friedrich Haas. Widely recognized for her work in Michael Hersch's monodrama, On the Threshold of Winter, The New York Times praised Ms. Hong's performance in the world premiere as "the opera's blazing, lone star." Recent performances include solo appearances with violinist Patricia Kopatchinskaja, the BBC Symphony Orchestra, Camerata Bern, and at both the Aldeburgh and Ojai Music Festivals. Highlight concerts of 2021-2022 include the premiere performances in the title role of Hersch's POPPAEA at the Wien Modern and ZeitRäume Basel Festivals. Anticipated this fall is the recording of Hersch's the script of storms with BBC Symphony Orchestra under the New Focus label. Ms. Hong is an associate professor in the Vocal Studies Department of The Peabody Conservatory of Music, Johns Hopkins University. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes as well as Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Ah Young Hong.

In My Own Time: Sir Humphrey Burton in conversation with Tasmin Little   Sir Humphrey Burton is one of Britain's most influential post-war music and arts broadcasters, having worked closely with Leonard Bernstein and Yehudi Menuhin, as well as establishing BBC Young Musician of the Year in 1978. Following the recent publication of his autobiography In My Own Time, Sir Humphrey spoke to the acclaimed violinist Tasmin Little about his extraordinary life in music.   If listeners to this podcast would like to purchase a copy of Sir Humphrey's autobiography, signed and dedicated as instructed, they should contact Mrs Mary James at the Aldeburgh Bookshop.   The Aldeburgh Bookshop 42 High Street, Aldeburgh, Suffolk, IP15 5AB 01728 452389 johnandmary@aldeburghbookshop.co.uk www.aldeburghbookshop.co.uk  

Die Masse gegen den Einzelnen! Peter Grimes, ein im britischen Küstenort Aldeburgh festverwurzelter Fischer, wird verdächtigt, für den Tod seines Fischerlehrlings verantwortlich zu sein. Der richterliche Freispruch interessiert die Dorfgemeinschaft herzlich wenig, für sie stand bereits vor Prozessbeginn fest, dass der sonderbare Grimes schuldig ist. Und so entlädt sich der Hass. Rumor has it! Peter Grimes, die erste Oper von Benjamin Britten, 1945 uraufgeführt, seziert die Mechanismen, die greifen, wenn Menschen sich zu einem Kollektiv gegen ein einzelnes Individuum zusammenschließen. Es ist ein feinfühliger, mitunter verstörender Blick auf die Natur des Menschen – so unkontrollierbar und erbarmungslos wie die See selbst. Autor und Sprecher: Holger Noltze Sprecher: Stefan Herheim Sprecherin: Cathrin Störmer Schnitt: Thomas Rott, Sven Eckhoff Betreuung: Anna Bleib Dramaturgie und Projektleitung: Christopher Warmuth

The quiet seaside town of Aldeburgh on the Suffolk coast has had a long and storied history. However, one story that the locals might want to forget is the day that aliens may have come calling on a housewife. Her story inspired others to come forward and talk about what they had seen in the skies, setting a trend in the region for sightings of unusual objects in the sky. Is it connected to the secretive government base on Orford Ness? Or the infamous Rendlesham incident? We take a stroll along the shore to find out..... Please leave a review, subscribe and recommend this podcast to anyone you know with an interest in East Anglia, history, folklore and the macabre. Contact us at hallowedhistories@gmail.com if the spirit moves you, or check out our website at hallowed-histories.org. This episode was hosted by me, Richard Sheppard, with research by Dr Linda Sheppard and tech wizardry by Stephen L Parkes. --- Send in a voice message: https://anchor.fm/hallowedhistories/message

"This seascape is iconic, not least because of the link with Benjamin Britten, but also because of the nature of the pebble and shape of the beach. I've made several attempts at recording this location in the past, but the lockdown enabled me to record without noise pollution. An unexpected bonus that night were three planets rising across the horizon and a comet!" Aldeburgh Beach, Suffolk, England, recorded 21st July 2020 02.00hrs by Rob Godman.

Two plays recorded live at HighTide Festival in Aldeburgh, set on the edge of the world, weaving myth and archaeology, telling stories of humanity and sacrifice. Created in tandem and with a playful rapport, the plays were presented with live foley. Silver Darlings Rita ..... Cassie Layton Reggie ..... Simon Ludders Sam ..... Joel MacCormack Val ..... Anastasia Hille Writer: Tallulah Brown The Shores Mammoth ..... Clare Perkins Kenny, Shul ..... Joel MacCormack Erin, Dena ..... Cassie Layton Oxir, Carrotson ..... Simon Ludders Thorpe ..... Anastasia Hille Writer: Vinay Patel Sound: Anne Bunting, Peter Ringrose Director: Jessica Dromgoole Tallulah Brown is a published playwright and screenwriter from Suffolk. Her plays have included Songlines, Sea Fret and When the Birds Come. Vinay Patel is best known for writing BAFTA-winning single play 'Murdered by my Father', and Demons of the Punjab for Doctor Who. His stage plays included True Brits, and An Adventure.

"It takes a village to raise a child." What is around you, what is in your community, what does it have to offer? Your community can help close the gap for students, especially disadvantaged students, it can give them experiences which can help them build up their knowledge and culture. It can help you embed and create your own schools culture. Listen to Sarah Gallagher, Headteacher and creator of the Storyshack, talk about how she helps the local community immerse themselves in books, and Joe Carr the music curator at the Red House in Aldeburgh and how he helps children develop and gain musical skill and experiences. 

This week's story takes us from Aldeburgh to Plymouth on the trail of a man and a large sum of money via a chance sighting through a telescope. Buy Coastal Stories a pint here: https://ko-fi.com/coastalstories Coastal Stories on Twitter: https://twitter.com/PodcastCoastal

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Synopsis Today is National Hot Dog Day, but we're taking this opportunity to celebrate the non-grill variety, namely the Weiner dog or dachshund, a breed beloved of some famous composers and performers. Leonard Bernstein was passionate about the many dachshund he owned, all named Henry, and once on a flight to Paris, booked a seat for a furry passenger named “Henry Bernstein.” When composer Benjamin Britten and tenor Peter Pears moved into their house in Aldeburgh, the brick wall surrounding the property soon sported signs in English, German, and Latin, warning “Beware of the Dog,” “Bisseger Hund,” and “Caveat Canem,” lest passersby ankles be savaged by their classically-named dachshunds, Klithe and Jove.  Britten's friend and frequent collaborator, the Russian cellist Mstislav Rostropovich, also a dachshund owner, presented Britten and Pears with an additional warning sign in Russian. We're told that Rostropovich's miniature, long-haired dachshund, Pooks, upon command, would play the piano with its front paws, then, after the humans' appreciative applause died down, would walk up and down the keyboard as an encore. “Pooks” even gets a shout-out in Leonard Bernstein's short orchestral tribute to Rostropovich entitled “Slava!” – at one point in the score members of the orchestra are invited call out the talented dog's name. Music Played in Today's Program Leonard Bernstein (1918 – 1990): Slava! A Political Overture (Israel Philharmonic Orchestra; Leonard Bernstein, cond.) Naxos 8.559813

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

Synopsis On today's date in 1985, a brand-new piece of music had its premiere in a brand-new concert hall in Minnesota. The American composer Paul Fetler wrote his jaunty "Capriccio" to celebrate both the first concert of the 7th season of conductor Jay Fishman's Minneapolis Chamber Symphony and the new Ordway Music Theater in St. Paul, which had just opened its doors to the public that year. "When Jay Fishman commissioned me to compose a dedicatory work for their opening concert," wrote Fetler, "I immediately thought of a composition which would be light-hearted, buoyant, and playful. I felt for once that the 'serious' contemporary music scene (which I often find to be 'super-serious') could stand a bit of contrast. Perhaps the time is ripe to have a few pieces which are less 'profound,' something with the flair of Rossini to divert the listener from the 'daily burdens of life.'" And Fetler concluded: " There is no story behind the 'Capriccio,' but the whimsy and playfulness are intended to suggest a musical caper of a kind. To bring this out, I made primary use of the woodwinds, in particular the flute and piccolo, with their skips, runs, and arpeggios." Music Played in Today's Program Paul Fetler: Capriccio (Ann Arbor Symphony; Arie Lipsky, cond.) Naxos 8.559606 On This Day Births 1757 - Austrian-born composer and piano maker Ignaz Joseph Pleyel, in Ruppertsthal, near Vienna; He studied with Haydn and was one of the older composer's favorite pupils; 1904 - Birth of French composer and conductor Manuel Rosenthal, in Paris; His ballet arrangement of Offenbach melodies, "Gaîté Parisienne," is his best-known work; 1843 - Austrian cellist and composer David Popper, in Prague; 1905 - Estonian-born Swedish composer Eduard Tubin, in Kalaste, near Tartu (Dorpat) (Julian date: June 5); 1942 - English singer, composer and former Beatle, Sir Paul McCartney, in Liverpool; Deaths 1726 - French composer Michel-Richard de Lalande (La Lande, Delalande), age 68, at Versailles; Premieres 1821 - Weber: opera "Der Freischütz" (The Freeshooter), in Berlin at the Königliches Schauspielhaus; 1923 - Gershwin: musical revue, "George White's Scandals of 1923" at the Globe Theater in New York City; 1958 - Britten: opera "Noye's Fludde," in Orford Church, near Aldeburgh; 1980 - Persichetti: "Three Toccatinas" for Piano, by contestants in the International Piano Festival and Competition at the University of Maryland; 1992 - Anthony Davis: opera "Tania" at the American Music Theater Festival in Philadelphia; Others 1837 - Mendelssohn finishes his String Quartet in e, Op. 44, no. 2, in Freiburg (Germany), while on his honeymoon.

Synopsis On today's date in 1985, a brand-new piece of music had its premiere in a brand-new concert hall in Minnesota. The American composer Paul Fetler wrote his jaunty "Capriccio" to celebrate both the first concert of the 7th season of conductor Jay Fishman's Minneapolis Chamber Symphony and the new Ordway Music Theater in St. Paul, which had just opened its doors to the public that year. "When Jay Fishman commissioned me to compose a dedicatory work for their opening concert," wrote Fetler, "I immediately thought of a composition which would be light-hearted, buoyant, and playful. I felt for once that the 'serious' contemporary music scene (which I often find to be 'super-serious') could stand a bit of contrast. Perhaps the time is ripe to have a few pieces which are less 'profound,' something with the flair of Rossini to divert the listener from the 'daily burdens of life.'" And Fetler concluded: " There is no story behind the 'Capriccio,' but the whimsy and playfulness are intended to suggest a musical caper of a kind. To bring this out, I made primary use of the woodwinds, in particular the flute and piccolo, with their skips, runs, and arpeggios." Music Played in Today's Program Paul Fetler: Capriccio (Ann Arbor Symphony; Arie Lipsky, cond.) Naxos 8.559606 On This Day Births 1757 - Austrian-born composer and piano maker Ignaz Joseph Pleyel, in Ruppertsthal, near Vienna; He studied with Haydn and was one of the older composer's favorite pupils; 1904 - Birth of French composer and conductor Manuel Rosenthal, in Paris; His ballet arrangement of Offenbach melodies, "Gaîté Parisienne," is his best-known work; 1843 - Austrian cellist and composer David Popper, in Prague; 1905 - Estonian-born Swedish composer Eduard Tubin, in Kalaste, near Tartu (Dorpat) (Julian date: June 5); 1942 - English singer, composer and former Beatle, Sir Paul McCartney, in Liverpool; Deaths 1726 - French composer Michel-Richard de Lalande (La Lande, Delalande), age 68, at Versailles; Premieres 1821 - Weber: opera "Der Freischütz" (The Freeshooter), in Berlin at the Königliches Schauspielhaus; 1923 - Gershwin: musical revue, "George White's Scandals of 1923" at the Globe Theater in New York City; 1958 - Britten: opera "Noye's Fludde," in Orford Church, near Aldeburgh; 1980 - Persichetti: "Three Toccatinas" for Piano, by contestants in the International Piano Festival and Competition at the University of Maryland; 1992 - Anthony Davis: opera "Tania" at the American Music Theater Festival in Philadelphia; Others 1837 - Mendelssohn finishes his String Quartet in e, Op. 44, no. 2, in Freiburg (Germany), while on his honeymoon.

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Long-time listener first-time guest and big friend of the show Callum Pope is with us tonight! We talk all manner of topics, from our coincidentally familiar experiences in and around Aldeburgh, to the filmmaking of Stanley Tucci, to our mutual level of appreciation for Transformers (save perhaps when it has clearly not aged well), to which song was the first Callum bought on iTunes - you will never, ever guess. Listen in! It's Playing Favorites! Also see Callum in (you guessed it!) The Arbitrator! Streaming now!! https://youtu.be/rOtt3nsSZxY --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nathaniel-brimmer-beller/support

This week Neil is taking us aboard the Golden Hind, a legendary ship that sailed around the world and into history.In 16th century Aldeburgh, which was then an important east-coast port, shipbuilders set to work building a vessel that was to have a profound influence on British history.Once completed and seaworthy Francis Drake and his crew climbed aboard and set sail on an epic 3 year voyage to circumnavigate the globe. On its return the ship was full to bursting with gold, silver and precious jewels, and Francis Drake received a hero's welcome and the thanks of his queen, Elizabeth I.To help support this podcast and get access to New Videos Every Week sign up to Neil Oliver on Patreon.The series Instagram account is – Neil Oliver Love Letter See acast.com/privacy for privacy and opt-out information.

Gareth is a Welsh composer, arranger, conductor and musical director. He has worked extensively in London's West End on musical productions and also conducted orchestras worldwide including the BBC Concert Orchestra, Welsh National Opera Orchestra, BBC Symphony Orchestra, Pasdeloup orchestra, RPO Concert Orchestra, Queensland Symphony Orchestra, ENB Sinfonia, Orchestre de chambre de Paris and many others. After graduating from the Royal College of Music, London, he studied with Sir Peter Pears at Aldeburgh. As Musical Supervisor his theatre credits include:  Kiss Me Kate, Chichester Festival Theatre; Crazy For You, Open Air Theatre and the Novello Theatre; INTO THE WOODS, Regent's Park Open Air Theatre (captured by Digital Theatre); End of the Rainbow, Royal & Derngate, Trafalgar Studios; Strictly Gershwin, ENB, Albert Hall and the Coliseum; Sondheim At 80 Concerts – Merrily We Roll Along and Company at the Donmar Warehouse; The King and I, Royal Albert Hall; Wicked, Apollo Victoria; Acorn Antiques, Haymarket Theatre and UK Tour; Porgy & Bess, Savoy; Sinatra, London Palladium; Aladdin, The Old Vic; Children Will Listen, Theatre Royal, Drury Lane; Musicality, Channel 4; Anything Goes, RNT and Drury Lane; My One & Only, Piccadilly. As Musical Director his credits include: Kiss Me Kate, Victoria Palace; Merrily We Roll Along, Donmar; Chicago, Adelphi London, Madrid, Gottenburg, Moscow and Japan; Damn Yankees, Adelphi; Nine, Donmar; Camelot, Covent Garden; Company, Donmar; Kiss of the Spider Woman, Shaftesbury; Miss Saigon, Drury Lane; The Baker's Wife, Phoenix; Cats, New London; Closer Than Ever, Vaudeville; Kiss Me Kate, RSC; Cabaret, Aldwych; 42nd Street, Drury Lane.

The Symphony No. 14, Op. 135 by Dmitri Shostakovich was completed in the spring of 1969 and was premiered later that year. It is a work for soprano, bass, and a small string orchestra with percussion, consisting of eleven linked settings of poems by four authors. Most of the poems deal with the theme of death, particularly that of unjust or early death. They were set in Russian, although two other versions of the work exist with the texts all back-translated from Russian either into their original languages or into German. The symphony is dedicated to Benjamin Britten (who gave the UK premiere the following year at Aldeburgh). Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1252/Shostakovich%3A_Symphony_No._14%2C_Op._135.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Wenige Wochen nach Ende des zweiten Weltkriegs hat in London Brittens erste Oper Premiere, die ihn schlagartig berühmt macht. In dem vielschichtigen Außenseiter-Drama um den Fischer Peter Grimes verarbeitet der junge Komponist auch seine eigenen Diskriminierungserfahrungen als Homosexueller. (Autor: Michael Lohse)

Sandy Burnett is a Man of Music, especially amphibious in classical waters and jazz streams of consciousness. He is one of the most authoritative classical music broadcasters in the UK, with a huge and impressive CV, which he wears lightly. He is also an outdoor swimmer, Summer and Winter. In this conversation we discuss great rivers like the Thames and the Rhine, the ocean at Aldeburgh, Suffolk, and music that has been inspired by the flow of water. The music in this podcast is Sandy himself, improvising, opening of Sea Interlude III, 'Sunday Morning by the Beach' from Benjamin Britten's opera Peter Grimes (Royal Opera House Covent Garden, Conducted by Sir Colin Davis), opening of Bach Cello Suite I (played by Pieter Whispelwey), and Noe Noe and Vienna Beat, both of Blue Note Sessions. Find Sandy at - www.sandyburnett.com https://www.sandyburnett.com/listeningclub https://twitter.com/sandy_burnett?lang=en

Welcome back to TBOTA! This week of hell I moan about my stolen wallet, crocked knee, hospital visits, cancelled Christmas, tier 4 and how to cook parrotfish Then Arthur comes to the rescue and we talk... An Englishman in LA, name dropping life pre and post pandemic, the LA subway, Highland Park, myth busting and myth confirming about LA, the lack of support in the States for working people, Cancelling Christmas, 2020 AKA the best year, Skid Row, the limitations of Jungle, tech hippies, frog poison scars, the house in Aldeburgh, school memories, the joys and risks of nostalgia, the different ideas of liberalism in the US and the UK, the cognitive dissonance of freedom of speech and smash your enemy's skulls, avoiding the expat lifestyle, american and British lingo and accents, Celsius and Fahrenheit, old Things you miss and new things you love, Doritos and the joy of going to the cinema alone, and the ultimate Hollywood ambition: 'friend' Find Arthur online here Support the show: Become a patron and help me make this show Rent the award-winning One Jewish Boy

"This seascape is iconic, not least because of the link with Benjamin Britten, but also because of the nature of the pebble and shape of the beach. "I’ve made several attempts at recording this location in the past, but the lockdown enabled me to record without noise pollution. An unexpected bonus that night were three planets rising across the horizon and a comet!" Recorded 21st July 2020 02.00hrs by Rob Godman. Part of the #StayHomeSounds project, documenting and reimagining the sounds of the global coronavirus lockdown around the world - for more information, see http://www.citiesandmemory.com/covid19-sounds

Dr Chris Barclay was brought up in Ipswich. He qualified as a doctor at Sheffield University in 1978 (the very same year he got married and Ipswich won the FA Cup - a rather good year). He worked for two years in Sierra Leone before before returning to Sheffield to starting speciality training in Obstetrics and Gynaecology. He swapped over to General Practice in 1989.Chris Barclay is currently a GP and medical writer. His special interest in diet and health began with a chance encounter; a patient told him how he had lost weight by cutting out carbohydrate foods. Chris has researched the subject ever since. He was principal investigator for the ISAIAH-Project, a diet trial in pre-diabetic patients. His conclusion: processed carbs, starchy foods and sugar are the problem; they are driving our Diabesity epidemic. In his book, Beating Diabetes the low-carb way, Chris presents compelling and persuasive evidence and translated it into a practical and effective plan. Chris has written regularly for medical magazines, most recently The Practitioner magazine. He is the lead writer for MaPPs, a drug information website to help health care organisations (Hospital Trusts mainly) provide reliable, easy to read information on medicines that can be printed off for patients to take away (again, translational work). He worked for many years as GP in Sheffield before moving back to Suffolk. He has worked most recently as a GP in Aldeburgh,His new book Beating Diabetes the low-carb way collects the fruits of his research and enquiries in one place.This is the second part of our interview with Dr Chris Barclay.We start by touching on fruit and how the daily recommendation from the ‘Eat Well' plate of ‘five a day' came about.We think of fruit as healthy but fruit has been genetically modified to be sweeter than it was before. If we are going to eat fruit - the best way to eat them. If you are confused about which vegetables are lower in carbohydrates, check out the Diet Doctor: https://www.dietdoctor.com/low-carb/vegetables The Diet Doctor has low carb fruits listed here: https://www.dietdoctor.com/low-carb/fruits We discuss the possibility of giving nutrition advice in the UK.Dr Chris' BookBeating Diabetes The Low Carb Way - Dr Chris Barclayhttps://amzn.to/2SR22EuResources MentionedLife without bread: How a Low Carbohydrate Diet Can Save your life by Christian B Allan and Dr Wolfgang Lutzhttps://amzn.to/2HcpnONGood Calories, Bad Calories by Gary Taubes https://amzn.to/37fPKhpDr Zoe Harcombe PhDhttps://www.zoeharcombe.com/ The Big Fat Surprise by Nina Teicholz https://amzn.to/3k9t4TsThe Pioppi Diet by Dr Aseem Malhotrahttps://amzn.to/3j87dL0The Fast Diet by Dr Michael Mosley and Mimi Spencer (5-2) diethttps://amzn.to/37aYKV4Robert Lustig video Sugar: The Bitter Truth https://robertlustig.com/sugar-the-bitter-truth/ Public Health Collaboration UK https://

Dr Chris Barclay was brought up in Ipswich. He qualified as a doctor at Sheffield University in 1978 (the very same year he got married and Ipswich won the FA Cup - a rather good year). He worked for two years in Sierra Leone before before returning to Sheffield to starting speciality training in Obstetrics and Gynaecology. He swapped over to General Practice in 1989.Chris Barclay is currently a GP and medical writer. His special interest in diet and health began with a chance encounter; a patient told him how he had lost weight by cutting out carbohydrate foods. Chris has researched the subject ever since. He was principal investigator for the ISAIAH-Project, a diet trial in pre-diabetic patients. His conclusion: processed carbs, starchy foods and sugar are the problem; they are driving our Diabesity epidemic. In his book, Beating Diabetes the low-carb way, Chris presents compelling and persuasive evidence and translated it into a practical and effective plan. Chris has written regularly for medical magazines, most recently The Practitioner magazine. He is the lead writer for MaPPs, a drug information website to help health care organisations (Hospital Trusts mainly) provide reliable, easy to read information on medicines that can be printed off for patients to take away (again, translational work). He worked for many years as GP in Sheffield before moving back to Suffolk. He has worked most recently as a GP in Aldeburgh,His new book Beating Diabetes the low-carb way collects the fruits of his research and enquiries in one place.Dr Chris' BookBeating Diabetes The Low Carb Way - Dr Chris Barclayhttps://amzn.to/2SR22EuWhen the food guidelines came in during the 80s Chris just took them on board. He didn't think about them. Assumed that the people who were overweight, it was because they ate too much and moved too little.Through a patient he discovered Dine Out and Lose Weight book (https://amzn.to/3jLmsKS) and found out and about the Glycemic Index.Chris was part of a team running a clinical trial called ISIAH. It was a pilot study to see if the programme could work but they couldn't getting funding for a proper study because there was no money to be made.Dr Chris noticed that when the food guidelines came in the increase in obesity and Type 2 Diabetes took a lurch upwards.He talks about two diets:Thermogenic dietsInsulin modulating dietsMinnesota Starvation Diet - Ancel KeysDuring 1940's test subjects' calories were significantly reduced. Subjects' metabolism slowed, hardly moved, they were cold. Problem with this dieting you have to keep cutting the calories. The body goes into starvation mode.Resources MentionedDine out and Lose Weight - Michel Montignac https://amzn.to/3jLmsKSThe New High Protein Diet - Dr Charles Clarkhttps://amzn.to/3jKVrY9Quotes"I should tell you about my nutritional training as a doctor and it was nil. We got no nutritional training whatsoever."Dr Chris Barclay"Most of the healthcare professionals I have come across are completely unaware of the whole low carb principles and how effective it can be."Dr Chris Barclay"No diet works for everyone, but every diet works for someone."

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

On this episode - recorded at the Fishers gin distillery on Aldeburgh beach William Sitwell talks pizza and Sir Terry Wogan with Homeslice founder Mark Wogan, he catches up with MasterChef finalist Beverley Joiner and speaks to North Yorkshire’s culinary hero Tommy Banks. Plus a two-minute cocktail from Farhad Heydari and this episode he’s shaking a Clubland Cocktail

Formé en 2005, le Quatuor Chiaroscuro est spécialisé dans le répertoire de la période classique, sur instruments d'époque. Il s'est produit au Wigmore Hall de Londres, au York Early Music Centre, à l'Auditorium du Louvre (Paris), au Théâtre du Jeu de Paume d'Aix-en-Provence, au Festival des Vacances de Mr Haydn, au Théâtre de Dijon, à The Sage Gateshead, et en résidence à Aldeburgh. https://bis.se/orchestras-ensembles/chiaroscuro-quartet/

On today's date in 1945, a month after the end of war in Europe, a new opera by the English composer Benjamin Britten debuted at Sadler's Wells Theater in London. Its title was "Peter Grimes," with its story based on George Crabbe's long poem, The Borough, published in 1810, which described life along England's North Sea coast. In the early 1940's, Britten was living in America, and had read Crabbe's poem in California. The commission for the opera was also American, coming from Serge Koussevitzky, conductor of the Boston Symphony and one of the leading music patrons of the day. But Britten's opera is intensely English—evoking, as it does, the images and sounds of the North Sea off the east coast of Suffolk. Britten was born within sight of this seascape, and lived, for the better part of his later life, a little farther down the coast at Aldeburgh—the "Borough," on which George Crabbe had based his poem. From the start, "Peter Grimes" was an immediate success. Leonard Bernstein conducted its American premiere at the Tanglewood Festival, and within three years the opera was playing around the world. Within a week of its June 7th premiere, Britten conducted the London Philharmonic in an orchestral suite of "Sea Interludes" from his new opera, and these, too, have since firmly established themselves in the concert repertory.

On today's date in 1945, a month after the end of war in Europe, a new opera by the English composer Benjamin Britten debuted at Sadler's Wells Theater in London. Its title was "Peter Grimes," with its story based on George Crabbe's long poem, The Borough, published in 1810, which described life along England's North Sea coast. In the early 1940's, Britten was living in America, and had read Crabbe's poem in California. The commission for the opera was also American, coming from Serge Koussevitzky, conductor of the Boston Symphony and one of the leading music patrons of the day. But Britten's opera is intensely English—evoking, as it does, the images and sounds of the North Sea off the east coast of Suffolk. Britten was born within sight of this seascape, and lived, for the better part of his later life, a little farther down the coast at Aldeburgh—the "Borough," on which George Crabbe had based his poem. From the start, "Peter Grimes" was an immediate success. Leonard Bernstein conducted its American premiere at the Tanglewood Festival, and within three years the opera was playing around the world. Within a week of its June 7th premiere, Britten conducted the London Philharmonic in an orchestral suite of "Sea Interludes" from his new opera, and these, too, have since firmly established themselves in the concert repertory.

Jon Canter reads his excellently funny story 'The Jewish Vicar' about a man who finds himself in the wrong clothes at the right time. Recorded at the Jubilee Hall, Aldeburgh, in 2012. The story was later developed into a BBC Radio 4 afternoon play starring Stephen Mangan, Claudie Blakley and Pauline McLynn (2014).

Wildlife sound recordist and sound artist Chris Watson talks to Michael Berkeley about how his favourite music is inspired by the natural world. Chris is most famous for his sound recordings for David Attenborough’s television series – for which he’s won BAFTAs – but he’s a musician too. A member of the influential post-punk band Cabaret Voltaire in the late 70s and early 80s, today he’s a sound artist and composer, creating installations around the world. His 2003 release Weather Report, featuring soundscapes of a Kenyan savannah, a Highland glen, and an Icelandic glacier, was voted one of the 100 best albums to hear before you die by The Guardian, and has been described as ‘cinema for the ears’. Chris’s mission in life is to make us stop what we’re doing and listen to the sounds of the natural world and this is reflected in his choices of music. We hear his own recording of a Sami calling to his ancestors across a Norwegian lake, and northern landscapes echoed in Sibelius’s symphonic poem Tapiola. And Chris chooses the music of multi-award-winning Icelandic film composer Hildur Guðnadottir, who worked with him to record the soundscape for the television series Chernobyl. Chris tells Michael about the challenges of recording in cold and hostile environments for his many series with David Attenborough, and the pleasures of the year he spent recording the sounds around Aldeburgh for Benjamin Britten’s centenary, in 2013. We hear the magical combination of a recording he made of a nightingale in Britten’s garden paired with the Ciaconna from Britten’s Second Cello Suite. Producer: Jane Greenwood A Loftus production for BBC Radio 3

In episode 33 Luke talks to an old friend of his, the conductor John Wilson. John was born in Gateshead and studied composition and conducting at the Royal College of Music, where in 2011 he was made a Fellow. Back in 1994, he formed his own orchestra, the John Wilson Orchestra, dedicated to performing music from the golden age of Hollywood and Broadway, and with whom he has appeared regularly across the UK, including at the BBC Proms annually since 2009. In March 2019, John was awarded the prestigious ISM Distinguished Musician Award for his services to music. He is now in demand at the highest level all over the world, working with some of the finest orchestras and opera houses. In the UK, he performs regularly at festivals such as Aldeburgh, Glyndebourne and the BBC Proms with orchestras such as London Symphony, London Philharmonic, BBC Scottish Symphony and City of Birmingham Symphony. Elsewhere, he has conducted the Royal Concertgebouw, Budapest Festival, Swedish Radio Symphony, Oslo Philharmonic and Sydney Symphony orchestras amongst others. He made his opera debut in 2016 conducting Madam Butterfly at Glyndebourne Festival Opera on their autumn tour and has since conducted Gershwin’s Porgy and Bess at English National Opera and returned to Glyndebourne Summer Festival to conduct Massenet’s Cinderella. John has a large and varied discography which includes a series of discs with the BBC Scottish Symphony Orchestra exploring the works of Richard Rodney Bennett, with the BBC Philharmonic devoted to the symphonic works of Aaron Copland and numerous recordings with the John Wilson Orchestra. In 2019 Chandos released his first recording with the Sinfonia of London which features Korngold’s Symphony in F Sharp. In this conversation we discuss John’s earliest musical experiences, then explore some big topics, such as the idea of artistic perfection, why songs are central to John’s musical world, the importance to him of community music making, and whether you can listen to Ewartung while brushing your teeth (Boulez thinks you can’t).

Donald Macleod talks to Sir Harrison Birtwistle about his life, inspiration and music. This week Donald Macleod meets Sir Harrison Birtwistle, described as “the most forceful and uncompromisingly original composer of his generation.” We hear his major compositions, broadly in chronological order, and reveal the preoccupations and processes behind a singular music imagination. To begin, we’ll hear about, Birtwistle’s daily working life, and about his early years among what became known as the Manchester school of composers. The premiere of his first opera Punch and Judy at Aldeburgh was infamous - much of the audience – including its commissioner Benjamin Britten – walked out at the interval. Next, we’ll hear about Birtwistle’s time in America and his friendship with Morton Feldman. They discuss some of his non-musical inspirations too: the power of mythology, the paintings of Paul Klee and the films of Quentin Tarantino. Birtwistle reveals how time, and the instruments for measuring time, have inspired many of his compositions, and how a lifelong fascination with moths inspired a new work meditating on loss. Music featured: Oockooing Bird Refrains and Choruses Punch and Judy (The Resolve; Passion Aria; Adding Song) Tragoedia Dinah and Nick’s Love Song Trio Chronometer The Triumph of Time Duets for Storab (Urlar; Stark Pastoral; Crunluath) Carmen Arcadiae Mechanicae Perpetuum The Mask of Orpheus (13th, 14th 15th Arch from Act 2, Scene 2) Silbury Air Nine Settings of Lorine Niedecker (There’s A Better Shine; How The White Gulls; My Life; Sleep’s Dream) Earth Dances Harrison’s Clocks (Clock 2; Clock 5) Panic Virelai (Sus une fontayne) The Minotaur (Part Two) The Moth Requiem In Broken Images Duet for Eight Strings Presented by Donald Macleod Produced by Iain Chambers for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Harrison Birtwistle https://www.bbc.co.uk/programmes/m0009r3h And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Panelen skräms av scener ur ett äktenskap i Riddar Blåskäggs borg, tycker att fler borde spela piano fyrhändigt och hör utsökta stunder i Marc-Antoine Charpentiers barockmusik. Veckans skivor: BARTÓK - BLUEBEARD'S CASTLE Opera av Béla Bartók Sångare: John Relyea, Michelle Deyoung m.fl. Bergens filharmoniska orkester Edward Gardner, dirigent Chandos CHSA 5237 Betyg: 4 DOUBLE TROUBLE - WORKS FOR PIANO FOUR HANDS Pianomusik av bland andra Amanda Maier-Röntgen, Jacob Adolf Hägg och Cécile Chaminade David Huang och Bengt Forsberg, piano dB Productions dBCD 189 Betyg: 4 SCHUBERT - WINTERREISE Sångcykel av Franz Schubert Peter Mattei, baryton Lars David Nilsson, piano BIS-2444 Betyg: 4 HISTOIRES SACRÉES Barockmusik av Marc-Antoine Charpentier Ensemble Correspondances Sébastien Daucé, dirigent Harmonia Mundi HMM 902280.81 Betyg: 4 Musikrevyn möter: Brittiske skivbolagsnestorn Colin Matthews - "Vi har aldrig tänkt att gå med vinst" I trettio år har skivbolagschefen Colin Matthews outtröttligt arbetat för att få nyskriven brittisk klassisk musik att nå ut till en större publik. Hans skivbolag heter NMC, en förkortning för New Music Cassettes - nutida musik på kassettband. Kassetter var formatet som gällde 1989 när bolaget startade. Nuförtiden har man gått över till cd, streaming och nedladdning men jubileumsåret 2019 firar bolaget med ett specialgjort blandband. NMC har aldrig gått med vinst och överlever tack vare musikintresserade bidragsgivare. Musikrevyns Hanna Höglund träffade Colin Matthews på Aldeburgh-festivalen i England.  

In this episode I dodge around the Aldeburgh Food & Drink Festival for a few minutes between mouthfuls. The festival is housed in Snape Maltings, get on over in 2020 lovely people it is a winner. Featured: Aldeburgh Food Festival: https://aldeburghfoodanddrink.co.uk/ Hubbub Foundation: https://www.hubbub.org.uk/ Suffolk Pate Company: https://www.bigbarn.co.uk/producer/ipswich/the-suffolk-pate-company-22601/ High House Farm: http://high-house.co.uk/ Imaginative Traveller: https://www.imaginative-traveller.com/ Suffolk Coffee Pod: https://www.suffolkcoffeepod.com/ - 33 Fuel help keep the lights on with this show: 33 Fuel produce natural and powerful sports nutrition products. Completely plant based, gluten free and dairy free, 33 fuel have recently brought out an energy bar and a protein bar: https://www.33fuel.com/all-products/ Use matt10 for 10% off your first order. This podcast is also fuelled by CRU Kafe: CRU Kafe produce certified organic coffee capsules, coffee bags and beans and grounds: https://www.crukafe.com/ UPCRU for 20% off. I am a huge fan of the ground coffee: https://www.crukafe.com/collections/beans-and-ground As always lovely people if you like the show please share it with someone.

In this episode of Poetry Koan, Richard Scott prescribes Practising by Marie Howe which you can read here: https://www.poetryfoundation.org/poems/54778/practicing. RICHARD SCOTT was born in London in 1981. His poems have appeared widely in magazines and anthologies including Poetry Review, Poetry London, PN Review, Swimmers, The Poetry of Sex (Penguin) and Butt Magazine. He has been a winner of the Wasafiri New Writing Prize, a Jerwood/Arvon Poetry Mentee and a member of the Aldeburgh 8. His pamphlet ‘Wound’ (Rialto) won the Michael Marks Poetry Award 2016 and his poem ‘crocodile’ won the 2017 Poetry London Competition. Soho (Faber & Faber) is his first book. Richard is on Twitter @iamrichardscott.

Rana Mitter hears about a project that assesses the experiences of Muslim women in the UK cultural industries and talks to political artist John Keane. Author Katherine Rundell explains why adults should be reading children's books. Plus New Generation Thinker Majed Akhter on the sailor and activist Dada Amir Haider Khan and why his global approach to workers' rights has lessons for us now. Beyond Faith: Muslim Women Artists Today which includes work by Usarae Gul is at the Whitworth, Manchester from Friday 14th June until October 2019 John Keane's exhibition If you knew me. If you knew yourself. You would not kill me. is at Snape Maltings, Aldeburgh as part of the Aldeburgh Festival until Sunday 23rd June. Why You Should Read Children's Books, Even Though You Are Old And Wise by Katherine Rundell is published on 13th June. New Generation Thinkers is a scheme run by the BBC and the AHRC to select ten academics each year who can turn their research into radio. You can hear more from the 2019 Thinkers in this launch programme https://www.bbc.co.uk/programmes/m0004dsv Majed Akhter teaches at King's College London. You find hear the discussion about representations of Rwanda on TV and how the country has moved on from the conflict here https://www.bbc.co.uk/programmes/m0001dt8 Taryn Simon https://www.bbc.co.uk/programmes/b08q2pkg Producer: Torquil MacLeod

This week The Verb is live at The Aldeburgh Festival in Snape Maltings. Joining Ian and a studio audience are Lavinia Greenlaw, Fiona Sampson and Mark Padmore. Presenter: Ian McMillan Producer: Faith Lawrence

A very interesting visit to Slate Cheese in Aldeburgh, Suffolk. Chatting with owner Clare as she talks through cheese fondu, their impressive cheese wall and shop.

It was a delight to talk to the celebrated British baritone and composer Roderick Williams earlier this week about his musical training at school, university and the Guildhall School of Music and Drama, thought processes when singing and performing, technical aspects of singing, and his methods in front of a live audience. Special thanks to: Roddy for additional arrangements and taking the time out of his busy schedule to talk to me. Francesco Bastanzetti at Groves Artists for practical arrangements. Helen Beardsley at English National Opera for organising a room to record at short notice. Published on 18th January 2019. Conversation recorded at the Ellis Room, English National Opera, London on 15th January 2019. Roderick Williams is one of the most sought after baritones of his generation with a wide repertoire spanning baroque to contemporary music in the opera house and on the concert platform and is also in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has sung opera world premières by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel. He performs regularly with leading conductors and orchestras throughout the UK, Europe, North America and Australia, and his many festival appearances include the BBC Proms, Edinburgh, Cheltenham, Aldeburgh and Melbourne. As a composer he has had works premièred at Wigmore Hall, the Barbican, the Purcell Room and on national radio. In December 2016 he won the prize for Best Choral Composition at the British Composer Awards. Roderick Williams was awarded an OBE in June 2017 and was nominated for Outstanding Achievement in Opera in the 2018 Olivier Awards for his performance in the title role of the Royal Opera House production of Monteverdi’s Il ritorno d’Ulisse in patria. A photo of the Ellis Room, which Roddy describes towards the end of the podcast. https://www.venuescanner.com/london/london-coliseum/ellis-room This episode is the second in a two-part series on being a singer today. Listen to the first instalment - a conversation with singer, teacher and scholar Professor Richard Wistreich - in Episode 4 of the Talking Classical Podcast. Subscribe to the Talking Classical Podcast on SoundCloud, iTunes and Spotify. Follow Talking Classical online. SoundCloud – @talkingclassicalpodcast Twitter – @tc_podcasts Facebook – bit.ly/2CvJ7rD Blog – talkingclassicalpodcast.wordpress.com

Kuulame heliteoseid, mille lummav esitus sündis kahe suurmehe - Benjamin Britteni ja Mstislav Rostropovitši kohtumisel Aldeburgh´i festivalil.

Kuulame heliteoseid, mille lummav esitus sündis kahe suurmehe - Benjamin Britteni ja Mstislav Rostropovitši kohtumisel Aldeburgh´i festivalil.

The composer Benjamin Britten is closely associated with the Suffolk coast at Aldeburgh where he lived and worked for most of his life. This episode of Open Country explores how this landscape and the sea inspired some of Britten's most famous work. Lucy Walker from the Britten-Pears Foundation describes how Britten became rooted in Suffolk and how important it was for him to write music specifically for the people and places in Aldeburgh. Two of Britten's well-known operas Billy Budd and Peter Grimes are about people who made their living from the sea - we hear from fishermen in Aldeburgh about how the industry has changed since Britten's day. Britten often walked along Aldeburgh beach to think and compose in his head. An open stretch of this shingle ridge just north of the town is now home to the Scallop, Maggi Hambling's 15-foot stainless steel sculpture dedicated to Britten. Maggi tells the story of how Scallop was inspired by Britten and his achievements, and the row that erupted in the local community after it was installed. Producer: Sophie Anton

The voice is our primary way of expressing ourselves, and vocal problems can have a profound impact on our well-being and relationships. If you've ever been unable to speak for a while, like during laryngitis, you know how challenging it is not to have a voice. I found out for myself just how important the voice is when I experienced vocal difficulties that turned out to be related to a benign growth in my larynx. I had surgery to remove the growth, and then completed vocal training to practice more effective ways to speak and prevent recurrence of the problem. My vocal therapist recommended I pursue additional training to integrate the body and the voice, which led me to Mark Moliterno. Mark has developed a unique blend of vocal training and yoga therapy called YogaVoice®. As we discuss in this week's episode, the voice doesn't begin or end in the throat; it involves the entire body, from our feet to our heads, as well as our minds and energy. Mark has a gift for teaching, as you'll hear in this episode. He treats the whole person, not just the voice, and greater vocal strength and integrity are one of the important results of that work. I'm deeply grateful for the work I've done with him. In this episode we explore: The role of the voice in our self-identity What the quality of our voice can reveal about us The connection between the voice and the body The effects of stress and trauma on the voice How the chakra system relates to the voice How Mark developed the YogaVoice® program Mark's background in professional singing and yoga instruction Mark Moliterno, MM, has extensive experience in both voice and yoga. He is an accomplished professional opera singer as well as a voice and yoga teacher, certified Yoga Therapist, workshop leader, and author. He specializes in helping people understand and overcome blockages to their authentic voices, both physical and energetic. Mark holds bachelor's and master's degrees in voice and opera from the Oberlin Conservatory of music; he completed additional musical studies at Rutgers University, the University of North Carolina at Greensboro, the Britten-Pears School for Advanced Musical Study in Aldeburgh, England, and the Hochschüle für Musik, Mozarteum in Salzburg, Austria. Mark is a longstanding member of the voice faculty at Westminster Choir College in Princeton, NJ, and also maintains private voice and yoga therapy studios in New Jersey and eastern Pennsylvania. In addition to his career as a performer and educator, Mark is a Yoga Alliance Registered Yoga Teacher and an IAYT-certified Yoga Therapist. He presents YogaVoice® workshops at professional conferences and gatherings nationally and internationally. Mark has published articles in YogaLiving Magazine and The Journal of Singing; is co-author of The Musician’s Breath; and is the author and featured instructor of The Musician’s Breath Yoga DVD. His work related to overcoming performance anxiety was featured in an article entitled "How to Be Fearless" in the May 2014 Yoga Journal magazine. For a description of Mark's approach from a singer who worked with him, check out this article: Learning to sing: lessons from a yogi voice teacher. Find Mark online at his YogaVoice® website.

Hearing a performance of Poulenc's Gloria during advent; much more background on the Exegesis on 35 sentences; and a bit of gratitude for a misreading of Plato. show notes at http://www.zenglop.net/zenglop/podcast.html

Hearing a performance of Poulenc's Gloria during advent; much more background on the Exegesis on 35 sentences; and a bit of gratitude for a misreading of Plato. show notes at http://www.zenglop.net/zenglop/podcast.html

David Hendy, Glyn Maxwell, Kate Kennedy and Lucy Walker with Philip Dodd and an audience at Aldeburgh in a discussion exploring Britten's relationship with radio in Britain and in America, with his subjects as varied as mountaineering (with words from Christopher Isherwood), a dramatisation of Homer's Odyssey and short stories by D.H. Lawrence (with a young W.H. Auden). But why was Britten so reluctant to accept a job at the BBC's Music department in the 1930s? David Hendy is a historian of the BBC and Professor of Media and Cultural History at the University of Sussex.Glyn Maxwell is a poet and librettist who has traced the journey of Auden and MacNeice to Iceland.Kate Kennedy is a biographer and editor of the forthcoming ‘Literary Britten'Lucy Walker is Director of Programmes and Learning at the Britten-Pears Foundation. Recorded in front of an audience as part of the Britten on the Radio weekend at the Britten Studio at Snape Maltings.Producer: Fiona McLean.

"You Say You Want A Revolution"? asks the Victoria and Albert Museum. John Wilson takes a tour around its new blockbuster show which explores the great changes in civil rights, multi-culturalism, consumerism, youth culture, fashion and music that took place between 1966 - 1970 and examines how they changed the world.As the Ben Hur remake hits our cinema screens, Kate Muir reviews the biblical epic."Operation Anthropoid," was the code name of a daring mission to assassinate SS officer Reinhard Heydrich, the main architect of the Final Solution and the leader of Nazi forces in Czechoslovakia. Sean Ellis is the director of a new film telling the extraordinary true story which stars Cillian Murphey, Jamie Dornan and Toby Jones as the Czech resistance.The artist Maggi Hambling is best-known for her celebrated and controversial public works - a sculpture for Oscar Wilde in central London and Scallop, a 4-metre-high steel shell on Aldeburgh beach - as well as for her large and colourful portraits. Drawing though has always remained at the heart of her work and a new exhibition at the British Museum captures that. She talks about the creative experience of charcoal, graphite or ink on paper.Image: The Beatles Illustrated Lyrics, 'Revolution' 1968 by Alan Aldridge (c) Iconic Images, Alan Aldridge.

Für das diesjährirge Aldeburg-Festival hat sich Pierre-Laurent Aimard, Pianist und Künstlerischer Leiter, etwas Besonderes einfallen lassen: Messiaens "Catalogue D'Oiseaux". Das Werk wird allerdings nicht am Stück, sondern über einen ganzen Tag und auf unterschiedliche Spielstätten verteilt, dargeboten - als Musiknaturereignis.

Feb. 7, 2015. Ian Bostridge discusses Schubert's song cycle Winterreise, D. 911, following his performance of the work in the Library's Coolidge Auditorium. Speaker Biography: Ian Bostridge's international recital career takes him to the foremost concert halls of Europe, Japan and North America, with regular appearances at the Schubertiade in Schwarzenberg and the Edinburgh, Munich and Aldeburgh festivals. Opera engagements have included Don Giovanni and Ades's The Tempest for the Royal Opera, Covent Garden; The Rake's Progress in Munich; Semele for English National Opera; Don Giovanni for the Vienna State Opera; and Aschenbach (Death in Venice) for both English National Opera and at the Monnaie, Brussels. The recent Barbican production of Curlew River will toured the U.S. in 2014. He is the Humanitas Professor of Classical Music at the University of Oxford for academic year 2014-2015. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6700

Wildlife sound recordist Chris Watson introduces the sounds of a dawn chorus recorded near Aldeburgh in Suffolk in the last in this series of immersive soundscapes. Produced by Sarah Blunt

This is a very rare interview with the potter Usch Spettigue. She is creating artistic work in Suffolk, England, for over fourty years. Here Usch speaks with Markus Zohner and tells about her life, inspiration, about the development of her technique and about her approach to pottery, about the procedures she has developed and about her views on her craft. The interview has been recorded on August 26th and 27th 2014, in Aldeburgh and in Felixstowe, England, both times at the seashore, with strong winds and with spectacular waves. http://spettigue.com Usch Spettigue: CONCENTRATING ON PURE FORM, RESEARCHING FOR NEW COLOUR Colourful and sculptural, her new porcelain pots are designed as one-off artefacts which retain their basic function. The jugs, while suggesting natural forms, have a variety of distinctive handles - ensuring that each one is an individual. Usch Spettigue was born in Germany and settled in England in 1963 with her English husband. She started making hand-built pottery while studying languages in Munich and went back to the craft full-time in 1973. She established her own studio at Harkstead in 1975. Since then she has exhibited widely in East Anglia, as well as in London, the West Country, York, the United States and Germany. Her pots are all thrown. They are porcelain, single-fired at 1220° C in an electric kiln. Some of her pots are decorated with sgraffito, inlay or wax resist. Creative use of slips and glazes on different clays vary texture and colour. At present she is also concentrating on pure form with a variety of large jugs and spherical pots with inturned tops. Some of these pots are carved when they are in a leather-hard state to give a deeply grooved surface. She is a selected member of the Anglian Potters Association and of the Suffolk Craft Society.

Hur är det att vara släkt med en stor tonsättare? Alan, Benjamin Brittens brorson är idag i 70-årsåldern. Som liten vistades han på 40-talet ofta hemma hos sin farbror Benjamin i Aldeburgh. I del 2 om Britten berättar Alan om den tid då Brittens ”Peter Grimes” kom till. Vi går på upptäcksfärd i "Brittenland" och hör om de sista åren i Brittens liv. Premiären av operan ”Peter Grimes” 1945 gör den då 32-årige Benjamin Britten till det engelska musiklivets självklara mittpunkt. Han hade länge varit den engelska musikens unga hopp, lika beundrad som avundsjukt påpassad av kritikerna. ”Peter Grimes” etablerade Britten som en tonsättare av internationell rang och attraktionskraft. Trots att han skrev suverän musik i de flesta genrer kom han att se sig själv framförallt som operatonsättare, och sökte konsekvent ämnen där han kunde få utlopp för sitt sociala patos. Grovt förenklat kan man säga att alla hans operor i någon mening handlar om utanförskap. Britten stod själv som homosexuell, pacifist och politiskt vänster utanför det engelska etablissemanget. Men Britten var en paradoxernas man och med tiden blev han själv en accepterad del av det etablissemang som han som ung vänt sig mot. Själv talade han, kanske ironiskt, om att han hade kunnat vara hovkompositör om det inte varit för just hans pacifism och homosexualitet. Om Brittens liv och verk från hemkomsten till England i början av 40-talet efter några år av självvald exil i USA, till den sista sjukdomsmärkta tiden handlar den andra delen av ”Benjamin Britten – ett fjärde B”. Förutom brorsonen Alan Britten möter vi även tonsättaren Colin Matthews som var Brittens assistent under de sista åren av hans liv och sångerskan Dame Janet Baker. Dessutom går vi på rundtur i Brittens hem, ”Red House” utanför Aldeburgh i sällskap med museiintendenten Caroline Harding. (Repris från nov-13) En P2 Dokumentär i två delar av Johan Korssell.

Louise Fryer walks around Britten’s Aldeburgh

As part of Radio 3's Britten Centenary weekend, Michael Berkeley travels to Aldeburgh beach to meet the artist Maggi Hambling at her controversial memorial to Britten in the form of two giant interlocking scallop shells. Michael also visits her nearby studio to see her paintings inspired by the Suffolk sea and to talk about the effect of Britten's music on her painting and sculpture. She tells Michael about her fascination with drawing and painting people she's loved after they've died; the importance of drawing; and her love of feeling rooted in Suffolk. Maggi's music choices include music from Peter Grimes and the War Requiem, as well as Schubert, a song by her friend George Melly and some surprising music which sums up how she relaxes in the rare moments when she's not working.

A passion for big cars, and memories of a road race from Aldeburgh to Snape

Louise Fryer visits important churches to Britten in Aldeburgh, Blythburgh and Oxford

Louise Fryer views the Aldeburgh house that Britten and Pears called

Följ med till Brittenland, Aldeburgh i Suffolk, orten invid den stormande Nordsjön som Britten älskade och som betydde så mycket för hans verk.  I Johan Korssells dokumentär möter vi en rad röster om Britten, däribland sångare som Dame Janet Baker och Ian Bostridge, tonsättaren Colin Matthews, Brittens brorson Alan och många fler. ”När man hör Benjamin Brittens musik – om man verkligen lyssnar på den så blir man medveten om något väldigt mörkt, det är som kugghjul som nöter mot varandra utan att riktigt gripa tag i varandra och det skapar stor smärta” så uttryckte sig Leonard Bernstein (som gav den amerikanska premiären av Peter Grimes) om Brittens musik. Och Britten var ett komplicerat geni, långt ifrån självskriven i rollen som brittisk nationaltonsättare, ändå var det faktiskt som en sådan som han framstod när han gick bort vid 63 års ålder. Men på det sätt som hans talanger samverkade var han, trots allt, den totale musikern, lika begåvad som pianist och dirigent som tonsättare. Idag är Britten den tredje mest spelade av 1900-talets operakonstnärerer, efter Puccini och Richard Strauss. Han ligger på första plats om man räknar med operor skrivna av kompositörer födda under 1900-talet. Många av de mest framträdande rollerna i operorna och därtill en rad fenomenala sång-cykler skrev Britten direkt för sin livspartner, tenoren Peter Pears. Brittens kärleksbrev till Pears är för övrigt bland de vackraste som skrivits, vilket också får sägas om verk som Les illuminations, Serenaden och Nocturnen. I första delen möter vi världens idag ledande Britten-röst, Ian Bostridge som håller Britten för att vara 1900-talets främste vokale tonsättaren inom den klassiska musiken.    Psst, det var Brittens stolta mor som förutspådde honom att bli det fjärde B:et i tonsättarkanon efter giganterna Bach, Beethoven och Brahms. Han var dessutom det fjärde barnet i en syskonskara efter, Barbara, Bobby och Beth. (Repris från nov-13) En P2 Dokumentär i två delar av Johan Korssell.

In this longer-than-usual podcast SPL Programme Manager Jennifer Williams talks to Kay Ryan (http://www.carcanet.co.uk/cgi-bin/indexer?owner_id=975), American poet and educator and 16th United States Poet Laureate. Kay was a 2011 MacArthur Fellow, won the Pulitzer Prize for Poetry and received the National Humanities Medal from President Barack Obama, among many other awards and accolades. She was in Edinburgh to read at the Edinburgh International Book Festival as part of a tour (http://carcanetblog.blogspot.co.uk/2013/08/kay-ryan-goes-transatlantic.html) including Snape Maltings Concert Hall in Aldeburgh and Dromineer Literature Festival. Before Jennifer and Kay headed out to conquer Arthur’s Seat and to sample Kay’s very first can of Irn-Bru, they read and discussed a number of poems from Kay’s Selected and New Poems Odd Blocks (http://www.carcanet.co.uk/cgi-bin/indexer?product=9781847771308) published by Carcanet in the UK. They also talked about such varied topics as Buddhism, cycling across America, ‘cool’ poetry, the ticklish delights of rhyme and much more. We hope you enjoy! Music by James Iremonger www.jamesiremonger.co.uk.

Rehearsal tapes from The Suffolk Symphony. On August 22nd 2009 Touch will present a multimedia perfomance of The Suffolk Symphony - the culmination of the week's work undertaken during the residency. Faster than Sound comes to the Snape Proms for more experiments in sound and image. Faster Than Sound bring more imaginative experiments with sound and image to the Snape Proms with The Suffolk Symphony, a specially commissioned residency and new work by leading sonic and visual production company Touch. Inspired by the historic coastline of Aldeburgh and its surrounding area including Aldeburgh Music's Snape Proms and its history, Touch will create a new audio-visual symphony from scratch, using only locally sourced sounds and images. Beginning on 16 August, Philip Jeck, BJNilsen, Jon Wozencroft, Philip Marshall and Mike Harding will go on a week-long treasure hunt to unearth old records, field recordings, home-made sounds and images to create a new multimedia Suffolk Symphony, culminating in its first performance on the 22 August.

Sue Lawley's castaway this week is the artist Maggi Hambling. Above all else, she is known as a painter of people. Over the past 30 years she has painted George Melly, Stephen Fry and Michael Gambon among many others. But in the early years, her subjects were not well known; instead they were characters she saw on the streets or in the bars of South London. People whose faces she would commit to memory so that she could draw them when she returned to her studio. She was the first artist to be given a residency at the National Gallery and in 1995 won the Jerwood Prize. But although she remains in great demand as a portrait painter, her work provokes controversy too - her tribute to Benjamin Britten, an enormous scallop shell standing on the shore at Aldeburgh, continues to divide opinion in the town.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Runnin' Wild by Marilyn Monroe Book: The Complete Works of Just William by Richmal Crompton Luxury: A wine cellar from All Soul's, Oxford

Sue Lawley's castaway this week is the artist Maggi Hambling. Above all else, she is known as a painter of people. Over the past 30 years she has painted George Melly, Stephen Fry and Michael Gambon among many others. But in the early years, her subjects were not well known; instead they were characters she saw on the streets or in the bars of South London. People whose faces she would commit to memory so that she could draw them when she returned to her studio. She was the first artist to be given a residency at the National Gallery and in 1995 won the Jerwood Prize. But although she remains in great demand as a portrait painter, her work provokes controversy too - her tribute to Benjamin Britten, an enormous scallop shell standing on the shore at Aldeburgh, continues to divide opinion in the town. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Runnin' Wild by Marilyn Monroe Book: The Complete Works of Just William by Richmal Crompton Luxury: A wine cellar from All Soul's, Oxford