Podcasts about Foundling Museum

'On the ceiling's detailed plasterwork, tendrils of leaves and vines escape their confines, as if they've continued to grow ever since they were made.' With thanks to Joseph from the Foundling Museum, who's voice features in this episode. Please note before you start listening: this podcast is recorded in 3D sound! So make sure that you’re wearing headphones for the very best experience.The small details in life can pass you by. Unless you take the time to stop to notice them.Which is exactly what author, actor and social media personality Miranda Keeling does in this podcast series.Expanding on the observations she shares on her popular Twitter account, she invites you to join her out and about as she captures those small, magical moments of everyday life, in sound.Thanks to 3D recordings, you’ll hear everything she does as if you were right there with her.There are new episodes every Tuesday and Thursday. These short but lovingly crafted episodes are an invitation to escape from life’s hustle, immersing you in Miranda’s world for a few minutes.See omnystudio.com/listener for privacy information.

'Painted on a bench in green letters are the words, "We have hope and so shall you." Please note before you start listening: this podcast is recorded in 3D sound! So make sure that you’re wearing headphones for the very best experience.The small details in life can pass you by. Unless you take the time to stop to notice them.Which is exactly what author, actor and social media personality Miranda Keeling does in this podcast series.Expanding on the observations she shares on her popular Twitter account, she invites you to join her out and about as she captures those small, magical moments of everyday life, in sound.Thanks to 3D recordings, you’ll hear everything she does as if you were right there with her.There are new episodes every Tuesday and Thursday. These short but lovingly crafted episodes are an invitation to escape from life’s hustle, immersing you in Miranda’s world for a few minutes.See omnystudio.com/listener for privacy information.

Wir schreiben das Jahr 1739: Der ehemalige Kapitän Thomas Corum setzt sich für jene ein, die nichts haben: Straßenkinder. Er holt sie von den Straßen Londons, bietet ein Dach über dem Kopf und schenkt ihnen im Foundling Hospital Zukunft und Perspektive. Daran erinnert bis heute das Foundling Museum. -- Alexander-Klaus Stecher und Claus Beling begeben sich in dieser Folge BRITPOD auf eine Reise in die Geschichte der ersten Charity-Organisation der Welt: Das Foundling Hospital. Neben Gründer Thomas Corum gab es einen prominenten Unterstützer: Komponist Georg Friedrich Händel engagierte sich ebenfalls für diese Einrichtung. Im Foundling Museum in London ist bis heute diese besondere Verbindung zwischen Kunst und sozialer Verantwortung zu spüren: Das Haus steht als Symbol für die Kraft der Philanthropie. Welche Rolle spielten die sogenannten Tokens, die verzweifelte Mütter ihren Kindern mitgaben? Wie nutzte Händel seine Kunst, um das Hospital zu unterstützen? Und was lässt sich im Museum über die Bewohner Londons zur damaligen Zeit erfahren? BRITPOD - England at it's best. -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

Polly Braden is a documentary photographer whose work features an ongoing conversation between the people she photographs and the environment in which they find themselves. Highlighting the small, often unconscious gestures of her subjects, Polly particularly enjoys long-term, in depth collaborations that in turn lends her photographs a unique, quiet intimacy. She works on long-term, self-initiated projects, as well as commissions for international publications.Polly has produced a large body of work that includes not only solo exhibitions and magazine features, but a number of books published by Dewi Lewis, including Holding The Baby (2022), Out of the Shadows: The Untold Story of People with Autism or Learning Disabilities (2018), and China Between (2010), and two published by Hoxton Mini Press: London's Square Mile: A Secret City (2019) and Adventures in the Lea Valley), (2016).Polly teaches regularly at The University of Westminster and London College of Communication (LCC), she is a winner of the Jerwood Photography Prize, The Guardian Young Photographer of the Year, 2002, and the Joanna Drew Bursary 2013. Polly is nominated by Hundred Heroines 2020 and she has exhibited at numerous venues internationally. Her most recent solo exhibition, of her project Leaving Ukraine, just ended at the Foundling Museum in London, where it was on show from March 15th to October 20th 2024. In episode 242, Polly discusses, among other things:Exhitibition at the Foundling Museum, Leaving Ukraine and how it came aboutSome of the people she focussed onHolding The Baby , her project on single parentsJena's storyWhy she has started working with film projectsHer introduction to photographyHer first trip to China: “an exercise in isolation”Her project on Chinese factories and their workersGreat Interactions book on people with learning disabilitiesHer current project she's working onSecuring funding, building partnerships and being an entrepreneurReferenced:Patrick SutherlandCheryl NewmanKatz PicturesBecky Sexton Website | Instagram “I'm not someone who wanted to just jump in, point a camera at someone and walk away. I think I've always been someone who wanted it to feel very collaborative. Whether you're on the street and you've made eye contact and you feel like someone's ok with it, at the very basic level, to now as I get older, when I'd be as interested in someone doing all the work and me just being a vehicle through which someone can tell their story.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here.

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Carrie Turansky is our very special guest this week, here to talk about her book, A Token of Love. We discuss how she crafted this dual time novel, what she loves most about London, and what's her favorite thing to bake. Patrons will hear about whether she likes the East Coast or the West Coast better.A Token of Love  by Carrie TuranskySeparated by centuries, the lives of two women intertwine through their shared pursuit of love, truth, and justice.In 1885 London, Lillian Freemont embarks on a treacherous journey to reunite with her long-lost niece, Alice, who was abandoned at the Foundling Hospital eight years ago. Fueled by her sister's plea and armed with the gold token that identifies her niece, Lillian teams up with investigative reporter Matthew McGivern to expose the grim reality of the shadowed streets of London. As Lillian and Matthew unravel the mystery of Alice's disappearance, their partnership blossoms into one of shared purpose and undeniable attraction.In present-day London, Janelle Spencer finds herself unexpectedly running the Foundling Museum. When filmmaker Jonas Conrad arrives to document the museum's history, their collaboration takes a surprising turn as they uncover articles from the past that shed light on a haunting connection to the present. As Janelle becomes caught between exposing the truth and protecting the museum's reputation, she must decide if she can risk everything for what she believes.Get your copy of A Toke of Love  by Carrie Turansky.Carrie Turansky has loved reading since she first visited the library as a young child and checked out a tall stack of picture books. Her love for writing began when she penned her first novel at age twelve. She is now the award-winning author of more than twenty inspirational novels and novellas. Carrie has won the ACFW Carol Award, the International Digital Award, and the Holt Medallion. She lives in New Jersey with her husband, Scott. They have five grown children and twelve grandchildren. When she's not writing, you'll find her walking around the lake near her home, working in her flower gardens, cooking healthy meals for family and friends, or leading women's ministry at her church. Carrie loves to connect with reading friends on social media and through her website: http://carrieturansky.comCreate your podcast today! #madeonzencastr

Carrie Turansky discusses her book 'A Token of Love' and the historical background of the Foundling Hospital in London. The book is a dual time story set in 1885 and present day, exploring themes of love, truth, and justice. Turansky weaves together the stories of a historical heroine searching for her niece who was abandoned at the Foundling Hospital, and a contemporary heroine working at the Foundling Museum who uncovers present-day issues of human trafficking. The book incorporates faith elements and offers a message of hope without being overly dark or heavy.

Today it is my pleasure to host my friend Carrie Turansky on Book Talk. Carrie writes the best books set in England during the Edwardian period. Her most recent book A Token of Love is set in the Foundling Hospital and Foundling Museum. I love the story of how she found the what-if for this book — but you'll have to listen or watch to learn all about it.

Carrie Turansky is back with another fabulous split-time novel, A Token of Love. This time we're looking at a foundling home and a journalist out to uncover well-hidden secrets. Listen in as Carrie talks about her research and get a hint at what isn't coming next! note: links may be affiliate links that provide me with a small commission at no extra expense to you.  A total aside here, but aren't bookstores really orphanages for books seeking shelfie families?  History is riddled with the horrifying secrets within different foundling homes and orphanages, but it never ceases to amaze me when I hear of another one. Carrie Turansky described the museum she attended, the questions she asked, and everything needed to ensure this book was exactly what it should be. She even shared a bit about how she writes split-time novels... and why she is taking a break from them, too!   A Token of Love by Carrie Turansky Separated by centuries, the lives of two women intertwine through their shared pursuit of love, truth, and justice. In 1885 London, Lillian Freemont embarks on a treacherous journey to reunite with her long-lost niece, Alice, who was abandoned at the Foundling Hospital eight years ago. Fueled by her sister's plea and armed with the gold token that identifies her niece, Lillian teams up with investigative reporter Matthew McGivern to expose the grim reality of the shadowed streets of London. As Lillian and Matthew unravel the mystery of Alice's disappearance, their partnership blossoms into one of shared purpose and undeniable attraction. In present-day London, Janelle Spencer finds herself unexpectedly running the Foundling Museum. When filmmaker Jonas Conrad arrives to document the museum's history, their collaboration takes a surprising turn as they uncover articles from the past that shed light on a haunting connection to the present. As Janelle becomes caught between exposing the truth and protecting the museum's reputation, she must decide if she can risk everything for what she believes.  You can get it at 40% off through BakerBookHouse.com Learn more about Carrie Turansky on her WEBSITE. Also, follow her on BookBub and GoodReads To find her Facebook Group, go HERE. Like to listen on the go? You can find Because Fiction Podcast at: Apple  Castbox  Google Play Libsyn  RSS Spotify Amazon and more!

Harriet Constable is a journalist and filmmaker based in London. Her journalism and documentary work has featured in outlets including the BBC, Economist and New York Times. She is a graduate of Colombia University's School of Journalism summer school, is a Pulitzer Center grantee and a fellow of the Royal Society of Arts. Her first novel is The Instrumentalist. Anna Maria della Pietà: the greatest violinist of 18th century, possibly a composer in her own right, fundamental to Vivaldi's music, grew up in the extraordinary Ospedale della Pietà - the original conservatoire of music Synaesthesia: people think it's seeing music through colour - which it is in The Instrumentalist - but it's more than that. Words can have smells and taste, one sense can trigger another in profound ways. Bach's Cello Suite in G minor while standing on a mountain: anyone can enjoy classical music, it's supposed to be listened to LOUDLY, it's supposed to be magnificent. Go somewhere epic, ideally in nature, and play this piece. Track the mountain with your eyes. The Foundling Museum: the UK's first children's charity, a heartfelt ode to the orphans and their parents. Female musicians: Fanny Mendelssohn, Clara Schulman, Nannerl Mozart, Francesca Caccini - listen to Nocturne in G minor. Spaghetti Aglio Olio This podcast is powered by ZenCast.fm

The Human Experience: How To Make Life Better For Your Customers And Create A More Successful Organization by John Sills About the Book: The essential guide to creating a successful organization by making things easier, better, and more straightforward for your customers. Across all sectors, organizations' fixation with functionality has meant that the 'human' elements of the customer's experience have become neglected.  Strict processes and automated procedures have created organizations full of people who aren't allowed to act in a 'human' way. As a result, and despite these new technologies, customers are no more satisfied than they were a decade ago (according to the Institute of Customer Service) and, according to Edelman, they now trust big organizations even less than they did in the past. In The Human Experience, John Sills draws upon extensive research and illustrative case studies to explain that the emotional experience is just as important as the functional one, and, if done right, will create a more efficient business.  He also demonstrates that the customer experience is not just the responsibility of front-line employees, but shared across the company, from the CEO operating as the spokesperson of the business to the programmers developing a seamless and welcoming user interface. Whether you're a well-established incumbent or an early-stage start-up, on either end of your product or service is a human.  Packed full of practical advice and engaging case studies, The Human Experience is the ultimate guide to creating a culture and an experience with humanity at its heart, helping to develop a customer base that will stay with an organization, and a company that will grow in an increasingly efficient way. About the Author: After starting his career at a market stall in Essex, John Sills has spent the last twenty-five years working in and with companies around the world to make things better for customers.  He's advised organizations such as Sky, The Body Shop, Ovo Energy, Invesco, Morrisons, eBay, and UNICEF.  Now Managing Partner at customer-led growth company The Foundation, John also spent twelve years at HSBC, starting on the frontline and finishing as Head of Customer Innovation. John works closely with Young Enterprise, a charity that helps young adults become the next generation of entrepreneurs, and is a mentor for The School of Marketing. His writing has been featured in The Guardian, Management Today, and WARC, as well as having work exhibited at the Imperial War Museum, The Foundling Museum, and as part of the Bloomsbury Festival.  And, interesting fact – he was an award-winning model! Click here for this episode's website page with the links mentioned during the interview... https://www.salesartillery.com/marketing-book-podcast/human-experience-john-sills

Today – in the final episode of this series – historians Helen Berry and John Styles trace connections between babies left at the Foundling Hospital and global forces of war, trade and empire. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Helen Berry, Professor of History in the Department of Archaeology and History at the University of Exeter. View the token Helen chose ⁠here⁠⁠. John Styles, Professor Emeritus in History at the University of Hertfordshire and Honorary Senior Research Fellow at the Victoria and Albert Museum in London. –– The tokens are your passport to Georgian London in our online exhibition, ⁠⁠Tokens of History⁠⁠. Discover different facets of eighteenth-century society, guided by nine historians, including Helen Berry and John Styles, who you heard on this episode. –– You can see Helen and John's tokens, along with many others, on display at the Foundling Museum ⁠⁠40 Brunswick Square London, WC1N 1AZ⁠⁠  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on ⁠⁠Facebook⁠⁠, ⁠⁠Instagram⁠⁠ and ⁠⁠Twitter⁠⁠ ⁠⁠Sign up to our newsletter⁠⁠ Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

We find out what the tokens can tell us about Georgian style and what eighteenth-century women kept in their pockets, with historians Serena Dyer and Ariane Fennetaux. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Serena Dyer, historian of dress, consumption, and material culture in the eighteenth and nineteenth centuries.  View the token Serena chose ⁠here⁠. Ariane Fennetaux, historian of material culture with focus on textiles and dress. View the token Ariane chose ⁠here⁠. –– The tokens are your passport to Georgian London in our online exhibition, ⁠⁠Tokens of History⁠⁠. Discover different facets of eighteenth-century society, guided by nine historians, including Serena Dyer, who you heard on this episode. –– You can see Serena and Ariane's tokens, along with many others, on display at the Foundling Museum ⁠⁠40 Brunswick Square London, WC1N 1AZ⁠⁠  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on ⁠⁠Facebook⁠⁠, ⁠⁠Instagram⁠⁠ and ⁠⁠Twitter⁠⁠ ⁠⁠Sign up to our newsletter⁠⁠ Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

The tokens invite us to imagine untold life stories. Today historian Janette Bright shares insights into a tiny ruby ring and a mysterious newspaper advert, and we hear from jewellery maker and designer Alex Monroe about a divided medal and a hoped-for reunion. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Janette Bright, historian and co-curator of Fate, Hope and Charity. View the token Janette chose ⁠here⁠. Alex Monroe, jewellery maker and designer. View the token Alex chose ⁠here⁠. –– The tokens are your passport to Georgian London in our online exhibition, ⁠⁠Tokens of History⁠⁠. Discover different facets of eighteenth-century society, guided by nine historians, including Janette Bright, who you heard on this episode. –– You can see Janette and Alex's tokens, along with many others, on display at the Foundling Museum ⁠⁠40 Brunswick Square London, WC1N 1AZ⁠⁠  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on ⁠⁠Facebook⁠⁠, ⁠⁠Instagram⁠⁠ and ⁠⁠Twitter⁠⁠ ⁠⁠Sign up to our newsletter⁠⁠ Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

Today our interviewees Sam Lee and Yomi Ṣode imagine different acts of care in lives connected with the tokens. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Sam Lee, folk singer and Foundling Fellow. View the token Sam chose here. Yomi Ṣode, writer, playwright and poet, whose debut collection Manorism was published in 2022. View the token Yomi chose here. –– The tokens are your passport to Georgian London in our online exhibition, ⁠Tokens of History⁠. Discover different facets of eighteenth-century society, guided by nine historians. –– You can see Sam and Yomi's tokens, along with many others, on display at the Foundling Museum ⁠40 Brunswick Square London, WC1N 1AZ⁠  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on ⁠Facebook⁠, ⁠Instagram⁠ and ⁠Twitter⁠ ⁠Sign up to our newsletter⁠ Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

Today we time travel with two historians, David Coke and Gillian Clark. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Music: George Frideric Handel, Organ Concerto No. 2 in B Flat Major, Op. 4 No. 2, HWV 290 - Allegro, featured on 'Handel at Vauxhall' released by Signum Classics. Interviewees: David Coke, curator and historian, and author of Vauxhall Gardens: A History (Yale University Press, 2011), together with Dr. Alan Borg. View the token David chose here. Gillian Clark, an independent researcher who has worked closely with the Foundling Museum for many years. View the token Gillian chose here. –– The tokens are your passport to Georgian London in our online exhibition, Tokens of History. Discover different facets of eighteenth-century society, guided by nine historians, including Gillian Clark who you heard in this week's episode. –– You can see David and Gillian's tokens, along with many others, on display at the Foundling Museum 40 Brunswick Square London, WC1N 1AZ  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on Facebook, Instagram and Twitter Sign up to our newsletter Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

Today, we hear from two great champions of the Foundling Museum – director Caro Howell and writer and artist Lemn Sissay MBE – as we explore tokens and identity. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Caro Howell has been Director of the Foundling Museum since 2011. In May 2023 she is taking up the role of Director-General at the Imperial War Museum. View the token Caro chose here. Lemn Sissay MBE, award winning writer, artist and broadcaster, and Foundling Museum trustee. View the token Lemn chose here. –– The tokens are your passport to Georgian London in our online exhibition, Tokens of History. Discover different facets of eighteenth-century society, guided by nine historians. –– You can see Caro and Lemn's tokens, along with many others, on display at the Foundling Museum 40 Brunswick Square London, WC1N 1AZ Tuesday – Saturday 10am – 5pmSunday 11am – 5pm Follow us on Facebook, Instagram and Twitter Sign up to our newsletter. Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

Today we're looking at one of the most powerful impulses for anyone leaving their child in someone else's care: protection. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Indika, a trainee on the Foundling Museum's Tracing Our Tales programme for care-experienced young people aged 18-29. View the token Indika chose here. Owen Davies, a British historian who specialises in the history of magic, witchcraft, ghosts and popular medicine. Lydia Carmichael, a former residential pupil at the Foundling Hospital. View the token Owen and Lydia chose here. –– The tokens are your passport to Georgian London in our online exhibition, Tokens of History. Discover different facets of eighteenth-century society, guided by nine historians – including Owen Davies who you heard in this week's episode. –– You can see Indika, Owen and Lydia's tokens, along with many others, on display at the Foundling Museum 40 Brunswick Square London, WC1N 1AZ  Tuesday – Saturday 10am – 5pm Sunday 11am – 5pm Follow us on Facebook, Instagram and Twitter Sign up to our newsletter Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

How can such tiny objects hold so much meaning? Hear personal stories, historical insights and creative responses – all inspired by the Foundling tokens. The Founding Hospital was one of Britain's first children's homes established in London in 1739. In its early days, anyone giving a baby into its care would also leave a token. This might be a ring, a metal, a poem, a playing card, or even a hazelnut. These precious, deeply personal objects are on display today at the Foundling Museum in London. We've been talking to people with a connection to the Museum. In this podcast, they take one token and share what they know, what they feel and what they imagine. Today, we begin at the heart of the matter – with tokens of love. Presented by Kathleen Palmer, former Curator of Exhibitions and Displays at London's Foundling Museum. Written and produced by Minnie Scott with Louis Mealing. Music by Ben Jacob. Audio production by Will Jacob. Interviewees: Sally Holloway, a historian of gender, emotions, and visual and material culture in Britain and the world over the long eighteenth and nineteenth centuries. View the token Sally chose here. Bez, a trainee on the Foundling Museum's Tracing Our Tales programme for care-experienced young people aged 18-29. View the token Bez chose here. –– The tokens are your passport to Georgian London in our online exhibition, Tokens of History. Discover different facets of eighteenth-century society, guided by nine historians – including Sally Holloway who you heard in this week's episode. –– You can see Bez and Sally's tokens, along with many others, on display at the Foundling Museum40 Brunswick Square London, WC1N 1AZ Tuesday – Saturday 10am – 5pmSunday 11am – 5pm Follow us on Facebook, Instagram and Twitter Sign up to our newsletter. Take this Token and Tokens of History are supported by the Woven Foundation, previously the Artisa Foundation, and the Deborah Loeb Brice Foundation.

Dr. Susan Bright is an Australian/British curator currently based in London. She has a specialisation in lens-based arts and contemporary visual culture with an emphasis on cross-disciplinary and international programming. She was a curator at the National Portrait Gallery in London before deciding to work independently in the early 2000s. Her professional life has brought her to live in London, New York and Paris where she has worked with many institutions on a wide range of projects. These include: Tate, Barbican, The Royal Academy, The Museum of Contemporary Photography in Chicago, Saint Louis Museum of Art, Phoenix Art Museum, and The New York Public Library. In 2007 she co-curated the landmark exhibition How We Are at Tate Britain. This was the first major exhibition of British photography ever held at Tate. In the same year she curated Face of Fashion at the National Portrait Gallery, London. Other significant exhibitions include: Home Truths at The Photographers' Gallery and The Foundling Museum, London (2014) and Playground at Serlachius Museum, Finland (2018). Her survey exhibition Feast for the Eyes toured to six major museums and galleries in Europe, Canada and the USA (2018-2021). In 2019 she was Guest Curator at PHotoESPAÑA. Exhibitions were held at Fernán Gómez Centro Cultural de la Villa, Museo Lázaro Galdiano and the Museo del Romanticismo in Madrid. In 2021 she was co-curator of f/stop 9: Festival für Fotografie in Leipzig. Bright is regularly invited to be a visiting speaker, critic and scholar at universities worldwide. She taught curatorial practice and visual culture to both art and art history students for fifteen years at institutions including Parsons and the School of Visual Arts in New York and Sotheby's Institute and University of the Arts, London. She has authored and co-authored seven books. These include: Photography Decoded (Tate/Ilex, 2019); Feast for the Eyes: The Story of Food in Photography (Aperture, 2017); Home Truths: Photography and Motherhood (Art/Books, 2013); Auto Focus: The Self-Portrait in Contemporary Photography (Thames & Hudson, 2010); How We Are: Photographing Britain (Tate, 2007); Face of Fashion (National Portrait Gallery, 2007) and Art Photography Now (Thames & Hudson, 2005). Bright holds a PhD in Curating from Goldsmiths, University of London. Interview with Susan Bright recorded by Michael Dooney on 3. November 2021 in London, UK. Portrait photo supplied by interviewee   NOTES Full episode transcript (online soon) Susan Bright Official: https://susanbright.net/ LinkedIn: https://www.linkedin.com/in/dr-susan-bright-0251b5134/ Instagram: https://www.instagram.com/susan_curator/ Going the distance: my mid-life marathon (article in the FT) Mark Haworth-Booth, Curator of Photographs at the V&A (book) Nigel Slater, cook who writes (books) Charlotte Cotton - The Photograph as Contemporary Art (2020 edition) David Campny - Art and Photography Mother! - Exhibition at Louisiana Museum of Art, Denmark   Michael Dooney Official: http://www.michaeldooney.net/ Twitter: https://twitter.com/michaeldooney_ Instagram: https://www.instagram.com/michaeldooney/ LinkedIn: https://www.linkedin.com/in/michaeldooney/ YouTube: https://www.youtube.com/c/MichaelDooney Subtext & Discourse Podcast Apple Podcasts, Spotify, etc: https://pod.link/1475402385 Instagram: https://www.instagram.com/subtextanddiscourse/ JARVIS DOONEY Galerie Official: http://www.jarvisdooney.com/ Artsy: https://www.artsy.net/partner/jarvis-dooney Instagram: https://www.instagram.com/jarvisdooney/

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Nicole Morris on February 25, 2021 and the 44-minute episode featuring portions of the two and a half-hour-long conversation was released on February 24, 2022. The podcast features a conversation that includes discussion of navigating being a solo artist and an art educator, the limitations of the formats of the solo show and the retrospective, motherhood, reproductive labor and care labor, and incidental interruptions in the creative process. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Nicole Morris is an artist working across gallery, education and community settings both in a solo and collaborative context. Her work uses textiles and film to explore themes of domesticity and labour and how these are performed or re-presented in new contexts. Her work has recently been included in exhibitions and projects at The Foundling Museum, London; Southwark Park Galleries, London; Royal Museums Greenwich, London; The Drawing Room, London; [SPACE], London; Baltic, Gateshead; South London Gallery; Bluecoat, Liverpool; G39, Cardiff; Jerwood, London and The National Gallery, Prague.

Past Matters podcast host Ploy Radford interviews Hannah Dennett, Curator of the 'Tiny Traces: African & Asian Children at London's Foundling Hospital', about the stories of these children, uncovered for the first time for this vital and interesting exhibition at the Foundling Museum. Listen to learn more about the lives of foundlings and the complex views on race in 18th century Britain. You can view images of the discussed objects on Past Matters' social media channels and www.ployradford.com.

In this special episode, broadcaster Rob Crossan takes a look back over some of our London-based episodes, including Siobhán McSweeney at the Wellcome Collection, Lolita Chakrabarti at the Horniman Museum & Gardens, Mel Giedroyc at Pitzhanger Manor, and Lemn Sissay at the Foundling Museum.Wherever you go in London this autumn there is so much to love and enjoy. Be inspired, calmed, enthralled and entertained. Make a date with London. #LoveLondon Hosted on Acast. See acast.com/privacy for more information.

On this week's packed live show, we're welcoming guests Joshua Kemble ("Jacob's Apartment") + C.K. Lawson & Aubrey Lyn Jeppson ("Scott Snyder Presents Tales from the Cloakroom") + Caro Howell (Director, The Foundling Museum)! SUBSCRIBE ON RSS, APPLE, ANDROID, SPOTIFY, STITCHER OR THE APP OF YOUR CHOICE. FOLLOW US ON TWITTER, INSTAGRAM AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON. Support the show: https://www.patreon.com/comicbookclub See omnystudio.com/listener for privacy information.

With scores of superhero films due for release, from Spiderman, to Batgirl, Thor and Black Panther, and a global comic book market predicted to grow to $12 billion a year by 2028, we go behind the mask of these larger than life characters, to look at the role Superheroes play in different societies and cultures around the world, and ask, do we need them more than ever today? Canadian Chinese actor Simu Liu discusses becoming the first Asian superhero in a Marvel Universe film, Shang-Chi and The Legend of the Ten Rings. He tells reporter Anna Bailey how his path to acting wasn't always easy or a career his parents originally approved of, as penned in his new memoir We Were Dreamers: An Immigrant Superhero Origin Story. Pakistani illustrator, comic artist and writer Umair Najeeb Khan discusses his new comic book generation of heroes, the Paak Legion, with Tina Daheley. It includes Samaa, born with the ability to manipulate the wind, Afsoon, the Protector of the Mountains and Haajar, a mother of three, fighting crime on the streets of Lahore. Growing up in Pakistan, he couldn't see himself represented in this world, so he designed a set of Pakistani superheroes of his own. And reporter Paul Waters visits the Superheroes, Orphans & Origins exhibition of comic art at London's Foundling Museum and talks to comic artists Woodrow Phoenix and Lisa Wool-Rim Sjöblom about their work exploring the psyche of superheroes. Producers: Andrea Kidd and Simon Richardson (Photo: Simu Liu in Shang-Chi and The Legend of the Ten Rings. Credit: Marvel Studios)

This episode is also available as a blog post: https://hazelstainer.wordpress.com/2017/06/23/the-foundling-museum/

Our top news stories: HBO Max is set to expand into more European countries in March, stars from "Superman & Lois" and "Smallville" are headed to Fan Expo Vancouver, and the Foundling Museum in London is hosting a "Superheroes, Orphans and Origins" exhibition. Superman news for the period January 26 - February 1, 2022. Brought to you by SupermanHomepage.com. Hosted by Steve Younis. Visit our website: https://www.SupermanHomepage.com/ Visit our online store: https://www.SupermanHomepage.com/shop

Introduction: Minutes 0 to 5:00 We will have an episode out next week and we will be off on February 5th. We got a lot of snow and I was still stuck at home when we recorded. The site got an upgrade and it works for the most part but is taking some getting used to. Royals: Minutes 5:00 to 22:00 As Prince Andrew is getting more press for the Virginia Giuffre case, the British press is desperately trying to smear Prince Harry. They brought out this ridiculous complaint that Harry demanded police security when he visited the UK. After that Harry issued a statement saying that it's a risk for his family to come to the UK without police protection and that he offered to pay the British police. In his statement, Harry said his security was “compromised due to the absence of police protection” after the Diana statue unveiling. The Daily Mail then got quotes from a retired metropolitan police officer who complained that the police can't just be available for hire and that Harry can't offer to pay them, since they're the ones who decide which royals need security. Dan Wootten criticized Harry for wanting security for his family, as if he was being petulant and refusing to let his grandmother meet his children unless he got his way. The press was scrambling to react after Harry's statement and removed some of their coverage. We heard that Prince Charles invited the Sussexes to stay with him if they visited the UK. Then royal commentator Angela Levin chimed in to say that Meghan is the one keeping Harry from staying with Charles and reconciling with his family. That doesn't seem to be their dynamic at all. Last week we talked about the fact that Prince Andrew had his military affiliations and patronages stripped and that he will no longer use his HRH title. There are now sympathetic pieces about him in the press, about how sad he was when mummy took away his patronages, and how William thinks his “heart is in the right place.” Chandra thinks that Andrew was able to leverage his departure into getting money from the Queen. A new documentary aired on ITV in the UK called Ghislaine, Prince Andrew and the Paedophile. That documentary featured a former royal police officer who said Andrew kept 50-60 stuffed bears on his bed as an adult and that he would freak out if the chambermaids put the bears back in the wrong place. I play a segment from Zoom where we talked about the royals. William and Kate went to the Foundling Museum together, which was Kate's first event in over a month. Meanwhile Harry and Meghan sent food trucks to the King center in Atlanta to provide free lunches to the volunteers on MLK day. Chandra remembers when William visited refugees and didn't bring anything for them. We wonder why Will and Kate don't copy the Sussexes' charity work. Kate has been blatantly copying Meghan's style though. Kim Kardashian and Kanye West: Minutes 22:00 to 26:00 Kim Kardashian and Kanye West's divorce is not completed yet, and Kim is trying to enforce their custody agreement. Kanye has been complaining bitterly in the press about the fact that he can't come and go from Kim's house and has to adhere to the terms of his custody agreement. He bought the house across the street from her a few weeks ago and now he's complaining when she's enforcing boundaries. He admitted that he sent his cousins over to threaten Kim after Kim's security stopped him from entering her home. He's obviously trying to manipulate and control her. I play a segment from Zoom where we talk about this. Comments of the week: Minutes 26:00 to end My comment of the week is from Colby on the post about Meghan Fox's allegedly painful engagement ring. Chandra's comment of the week is from Becks1 on the post about Lena Dunham forgiving herself for being racist.  Thanks for listening bitches!

This week, what we really think about Prince Andrew handing his titles and patronages back to the Queen we cover Harry's appeal for security from the Home Office. Also, the first joint engagement for the Duke and Duchess of Cambridge at the Foundling Museum, Sophie, Countess of Wessex takes a 4-day trip to Qatar and how Prince Charles and Camilla, Duchess of Cornwall are shedding a light on Holocaust memorial day with their upcoming projects and engagements.  

Shortly before his arrival in London in 1704, composer and conductor Johann Sigismund Cousser recorded some important advice in his notebook. Under the heading ‘What a virtuoso should observe upon arriving in London', Cousser wrote down thirty-three tips given to him by fellow German and musician Jakob Greber. While some instructions are clearly aimed specifically at visiting virtuosi like Cousser, Greber's advice alludes to many of the key practical concerns experienced by a whole range of London's musicians, whether celebrated Italian castrati or inexperienced English instrumentalists. With the help of Cousser's notebook, this podcast seeks to challenge romantic stereotypes that, even today, portray musicians as lone geniuses, wedded to their art, and apparently unmotivated by money. Instead, eighteenth-century musicians are revealed to be hardworking, entrepreneurial, and well-practised in both commercial and musical pursuits. CONTRIBUTOR Lizzy Buckle is a PhD student at the Foundling Museum and Royal Holloway, University of London. Her research explores the musical networks involved in organising charity benefit concerts in eighteenth-century London. Her exhibition ‘Friends with benefits', which runs from 22 October 2021 to April 2022 at the Foundling Museum, visualises the complex connections between musicians working in London in the 1770s. Additional voices by Claudia Chapman, Colin Coleman, Christian Leitmeir, Sam Hillman, and Tom Hillman. ===== Presented by Julien Clin. The Technecast is funded by the Techne AHRC-DTP, and edited by Polly Hember and Julien Clin. CREDITS Image: James Vertue, Harpsichord fin du 18ème siècle (Copyright Gerald Coke Handel Foundation) Royalty free music generously shared by Steve Oxen. FesliyanStudios.com

As the temperature finally rises, but so too do infection rates, Adam and Jo take an episode to reflect on satire released during the between times: that is, the time between lockdown and the often-promised full easing of restrictions. These include: the second season of This Time with Alan Partridge, Borat's American Lockdown and Borat Debunked and a recent exhibition of juvenile satire on display at the Foundling Museum. Along the way Jo and Adam also think about “cancel culture”, whether it exists and what its relationship might be to comedy and satire. Read the full show-notes here.

The Bloomsbury Set embraced a new culture where sexual equality and freedoms were not only practiced but celebrated. They searched for definitions of the good, true, and beautiful. They supported sexual equality and freedom, informality and fierce intellectual debate. All largely at odds with their strict Victorian upbringings. Hear your host Hazel Baker, discuss all things Bloomsbury with Enke Huang, from the Foundling Museum. Learn things about London that most Londoners don't even know in a 20 minute espresso shot episode of London history with a splash of personality. There's so much we can't fit into our tours, no matter how hard we try. This London history podcast is where we can get down and dirty with the detail! You're not going to find this level of detail in any guidebook. Let us know if there's a particular person, event or place you want to know more about in our podcast. Review & Subscribe on Apple Podcasts. Show notes, including transcript, photos and recommended reading: https://londonguidedwalks.co.uk/060-virginia-woolf-and-the-bloomsbury-set --- Send in a voice message: https://anchor.fm/londonguidedwalks/message

The Gerald Coke Handel Collection is the biggest private collection of Handel memorabilia in the world and is on display at the Foundling Museum. Katharine Hogg is the Librarian of the Gerald Coke Handel Collection at the Foundling Museum, where she has worked for over 20 years and will be sharing her vast knowledge and deep love for the Collection. We cover the charity benefit concerts Handel did and how he reworked an unknown piece to make it a sensational hit which is still widely performed across England to this day. Find out how much a star soprano would have been paid compared to a viola player, how the Vauxhall Pleasure Gardens created the perfect environment for Handel's Water Music and who benefitted most from Handel's will. Learn things about London that most Londoners don't even know in a 20 minute espresso shot episode of London history with a splash of personality. There's so much we can't fit into our tours, no matter how hard we try. This London history podcast is where we can get down and dirty with the detail! You're not going to find this level of detail in any guidebook. Let us know if there's a particular person, event or place you want to know more about in our podcast. Review & Subscribe on Apple Podcasts. Show notes, including transcript, photos and recommended reading: londonguidedwalks.co.uk/057-the-gerald-coke-handel-collection --- Send in a voice message: https://anchor.fm/londonguidedwalks/message

Art historian and curator Mary Kisler is back to discuss a major exhibition in London that explores portraits of the pregnant body over 500 years. Portraying Pregnancy: From Holbein to Social Media is on at the Foundling Museum for the next few weeks.

This week, in the aftermath of the killing of George Floyd, we talk about the history of black resistance in the US and how the art world can respond to this latest tragedy. As protests grow throughout the country, Margaret Carrigan, one of The Art Newspaper’s senior editors in New York, speaks to Spencer Crew, the interim director of the National Museum of African American History and Culture, about the museum’s Talking About Race online portal. Also this week, we pay tribute to Christo, who died earlier this week. With his collaborator and wife Jeanne-Claude, Christo most famously wrapped the Pont Neuf in Paris and the Reichstag in Berlin in coloured fabric. And in the latest in our series of Lonely Works behind the doors of closed museums, Caro Howell, the director of the Foundling Museum in London, explores William Hogarth’s portrait of Thomas Coram, the painting that is the cornerstone of the Foundling’s collection—which she now hasn’t seen for months because of the coronavirus lockdown. See acast.com/privacy for privacy and opt-out information.

We visit the Whitechapel Gallery in London to explore their show Radical Figures: Painting in the New Millennium, with the curator Lydia Yee, and talk to one of the ten artists, Tschabalala Self. And we look at the Foundling Museum’s exhibition Portraying Pregnancy: From Holbein to Social Media with the curator Karen Hearn. See acast.com/privacy for privacy and opt-out information.

We promised we’d get to the rest of our Holiday AMA questions eventually, and Sarah’s on deadline, so this seemed like the perfect week to do it! Join us for a freewheeling hour during which Sarah cannot remember Tessa Thompson’s name, we talk about how much we’d like to meet Sandra Brown, and how romance really does have something for everyone, including an entire series about romance during power outages.Also, we forgot to mention that Tuesday was Derek Craven Day! Lots of fun was had by all goofballs who joined us on the Internet to celebrate, and Lisa Kleypas herself even got involved! If you haven’t read Dreaming of You, you can get it for $2.99 right now in ebook! Also, do not miss this incredible Craven Day thread on Twitter from Steve Ammindown and the Browne Pop Culture Library. And if you want Derek Craven t-shirts? Those exist now!Next week, the book is in and we’re back in business! Lorraine Heath’s Waking Up With the Duke is our next read—a book that blooded Sarah. Get it at Amazon, Barnes & Noble, Apple Books, or Kobo.Full Show Notes @ FATEDMATES.NET- Question 1: Weird but true: the more specific the request, the more likely we are to come up with a recommendation. So if you just need "enemies to lovers" and you've already read Her Best Worst Mistake, or "friends to lovers" and you've already read Scoring Off the Field, then you just need to google it.- Question 2: Who are we fancasting? These beautiful people: Nikolaj Coster-Waldau, Henry Cavill, Tessa Thompson, and Tom Hardy. Also, listening to Henry Cavill and Tom Hardy grunt is one of our favorite things.- Question 3: Who do we want to have lunch or tea with? Kresley Cole, obviously! Sarah said Joanna Lindsey. Jen says Julie Garwood. We'd both love to meet Sandra Brown. Jen still can't believe the people she's met, and hopes she was cool like Yolanda.- Question 4: Do we have recommendation for lesbian and f/f romance? Is it more difficult to find? Check out Bold Strokes Books. strands of f/f, and others have different roots. We will keep looking for some history of f/f romance and link to them if we find one. But in the meantime, YA author, critic, and expert Malinda Lo wrote about "The Invisible Lesbian" in YA, and it's right on point and worth your time. But we do have lots of great f/f romances that we love in the photo array below.- Question 5: What about steampunk? Is that ever coming back? We don't know! But all we can do is recommend these ones we do know. Sorry!- Question 6: What is like Harry Potter for grown-ups? Burn For Me by Illona Andrews (Jen also liked the Kate Daniels series). That's it. That's the answer.- Question 7: Books with power outages? Read this Naima Simone series called Blackout Billionares.- Question 8: How to get started with reviewing and NetGalley? You should look at lists that big reviewing clearinghouses make--Kirkus (Jen writes that one!), Booklist, and PW. Just trying to look at some of these lists will give you a sense of what books will be coming out. The Book Queen is keeping a list of 2020 new releaes. But Estelle from Forever Romance wrote a great piece about how to get started with NetGalley.- Question 9: Looking for hardcore enemies to lovers with kids in the mix. Jen recommends Wait For It by Molly O'Keefe. Lord of Scoundrels is great for this, too!- Quesiton 10: Books that made us literally laugh out loud. Jen recommends I Think I Might Love You by Christina C Jones. Sarah recommends It Takes Two by Jenny Holiday. Christina has a huge backlist, and Jenny's newest book, Mermaid Inn, came out last week.- Question 11: Looking for books with a heist plot and polyamory. Jen thinks Katrina Jackson has cornered the market on this request and we have all been blessed by it.- Quesiton 12: A question if there are any romances with a Muslim hero and heroine with on-page sex. Jen couldn't think of any, but asked author Farah Heron. Farah also couldn't think of one, but we do recommend her book The Chai Factor.- Quesiton 13: Jackie from Elyria Ohio (where Jen went to high school!) is looking for historical with a murder and a twist. We recommend Kelly Bowen and Sarah's book No Good Duke Goes Unpunished.- Quesiton 14: Sarah is looking for books with virgin heroes--but hot!- Question 15: A book with a grovel so unconvincing that the character has to do it again. Oh, we have suggestions but also you should check out Jen's treatise on groveling.- Quesiton 16: What are some museums we love? Sarah talked about these in England: The Museum of London, The Foundling Museum, The Soane's Museum, and The British Library. She also loves the Museum of Sex in New York, and the Isabella Gardner Museum in Boston. Jen doesn't research, but in Chicago, she recommends The Art Institute and the National Museum of Mexican Art. If you're ever in Cleveland, the Rock & Roll Hall of Fame is so cool, and in Houston, check out the most meditative place Jen has ever been, The Rothko Chapel.(when this aired in Feb 2020, the chapel was temporarily closed for renovations! Please check the website).

Women's bodies are a constant source of controversy and debate, during pregnancy as much as any other time in our lives. In the first of a series about pregnancy running throughout February, Jen checked out the Foundling Museum's Portraying Pregnancy: From Holbein to Social Media exhibition, and caught up with its curator Karen Hearn, as well as the museum's director Caro Howell, to find out why this stage of a woman's life has historically been so shrouded in mystery, and precisely what an art historian makes of those famous Beyonce snaps.(Picture credit: Beyonce/Instagram) See acast.com/privacy for privacy and opt-out information.

From Hans Holbein sketches to Beyoncé on Instagram – Anne McElvoy looks at the changing image of pregnant women in a new exhibition at the Foundling Museum. We hear about the cultural history of breast feeding with academic Jessica Cox and marvel at the story of a rabbit breeder. In 1726, King George I sent a doctor to examine Mary Toft after it was reported that she had given birth to over a dozen rabbits. Karen Harvey retells this story in a new book called The Imposteress Rabbit Breeder: Mary Toft and 18th Century England. We also look at ideas which were the focus of attention in Davos at this year’s World Economic Forum and the tone of debate – with the WEF’s Managing Director Adrian Monck, and The Guardian’s Economics Editor, Larry Elliot. 'Portraying Pregnancy: From Holbein to Social Media' curated by Karen Hearn runs at the Foundling Museum in London until April 26th. You can hear an Essay from New Generation Thinker Corin Throsby on the Romantic period attitudes towards breast feeding here https://www.bbc.co.uk/programmes/b08wn2rm We have more Free Thinking programmes looking at ideas around pregnancy, including this one which examines surrogacy and baby farming in the Philippines https://www.bbc.co.uk/programmes/m000573q

Britain's first hospital for orphaned children. Fascinating stories behind it. Highly recommend checking it out!

It would be very easy to walk by the small, understated self-portrait of Emma Brownlow at the Foundling Museum in London, but it would be a travesty to not pay more attention to someone whose works provide such an interesting insight into life at the UK's first ever children's charity - the Foundling Hospital. The daughter of a former foundling who then became the head of the charity meant Emma grew up with insider knowledge of what the hospital was like. She was also remarkable for being a female artist who supported her family with her work. Guiding us through the life of Emma Brownlow and what her works tell us about Victorian morals and the life of foundlings at the hospital is Kathleen Palmer, Curator of Exhibitions and Displays at the Foundling Museum.

Poet and chancellor of Manchester University Lemn Sissay takes good friend Asif Khan along to the Foundling Museum in London, where they explore the UK’s first children’s home and first public art gallery. Inside they talk to director Caro Howell about the museum’s rich history, and reflect on the contribution artists have made to philanthropy and social welfare over the years. See acast.com/privacy for privacy and opt-out information.

In this Chops, Mick and Jen catch up with Caro Howell, director of the Foundling Museum, to talk about Bedrooms of London, the museum’s forthcoming exhibition in partnership with The Childhood Trust and highlighting the lives of children surviving below the breadline in our capital. Photographer Katie Wilson has taken shots of the sleeping spaces of children living in poverty in London, and these are accompanied by first-hand narratives collected and written by Isabella Walker. Caro speaks eloquently about child poverty, challenges the prejudices and stereotypes associated with it, and explains what we can all do – and must do – to help these kids and their families. If you’re in London and able to get to the Foundling Museum, Bedrooms of London runs from February 8 to May 5. foundlingmuseum.org.uk See acast.com/privacy for privacy and opt-out information.

2018! Who would have thought it? There’s plenty to do to kick-start the new year in Camden. Visit the Wellcome Trust’s exhibition on how graphic design influences our perception of human bodies; go to the New York MET’s performance of the opera Tosca streaming at the Brunswick Centre; take up learning at Maiden Lane with classes on sewing, run by the Working Men’s College, or working with clay, run by the Camden Town Shed; sing your heart out at a new choir being launched by the Foundling Museum; see the history of magic at the Harry Potter exhibition in the British Library. Read by: Freddy, Jessa, Marian, Martin & Violet Wellcome Trust - Can Graphic Design Save my Life? :: Curzon Cinema :: Maiden Lane Community Centre :: Fire Choir at the Foundling Museum :: Harry Potter - History of Magic :: Back to homepage :: Follow us on Twitter :: File Download (5:36 min / 5 MB)

2018! Who would have thought it? There’s plenty to do to kick-start the new year in Camden. Visit the Wellcome Trust’s exhibition on how graphic design influences our perception of human bodies; go to the New York MET’s performance of the opera Tosca streaming at the Brunswick Centre; take up learning at Maiden Lane with classes on sewing, run by the Working Men’s College, or working with clay, run by the Camden Town Shed; sing your heart out at a new choir being launched by the Foundling Museum; see the history of magic at the Harry Potter exhibition in the British Library. Read by: Freddy, Jessa, Marian, Martin & Violet Wellcome Trust - Can Graphic Design Save my Life? :: Curzon Cinema :: Maiden Lane Community Centre :: Fire Choir at the Foundling Museum :: Harry Potter - History of Magic :: Back to homepage :: Follow us on Twitter :: File Download (5:36 min / 5 MB)

Anyone who would like to provide adult social care services in Camden should book now to attend a session in September on Camden Council’s new care online website that will connect future providers and users of social care services; Camden People’s Theatre is running a day of free workshops for artists and companies looking for help with professional development; budding writers get craicing! The London Irish centre is looking for entrants for its regular Irish playwrights competition; Found exhibition at the Foundling Hospital is finishing soon- visit this week! Read by Catherine Carroll, Freddy Chick, Marian Larragy amd Mario Camden People's Theatre :: Biscuits for Breakfast :: Found at Foundling Museum :: Book Camden Social Care Online Directory :: Back to homepage :: Follow us on Twitter :: File Download (3:33 min / 4 MB)

On Start the Week Andrew Marr talks to the artist Cornelia Parker about the secrets revealed in found objects. Parker's latest exhibition at the Foundling Museum is inspired by the 18th Century tokens left with babies by their mothers. Simon Armitage finds a new way of telling the medieval poem Pearl, an allegorical story of grief and lost love. Archaeologist Cyprian Broodbank explains how Must Farm, the first landscape-scale investigation of deep Fenland, is transforming our understanding of Bronze Age life, while British Museum curator Aurelia Masson-Berghoff celebrates the finding of two lost Egyptian cities submerged at the mouth of the Nile for over a thousand years. Producer: Katy Hickman.

In the run up to Christmas there’s an all day celebration of Latin music at the forge; Carol service at the Foundling Museum; map studio cafe in Kentish Town is always great and this week we’re suggesting an evening of reggae; then there’s a very special Giving Tree in the Finchley Road O2 and an Ellie Goulding gig for charity at the Roundhouse. Music from: Steel City Bigfoot Package by: Alexander Quinn, Joseph Hughes, Freddy Chick The Forge :: Foundling Museum :: Map Studio Cafe :: Kilburn Library Centre :: Giving Tree @ O2 Finchley Road :: Ellie Goulding at Roundhouse :: Steel Bigfoot on Soundcloud :: Back to homepage :: Follow us on Twitter :: File Download (4:50 min / 6 MB)

There’s a mitten on a railing near the children’s playground at Coram Fields. A common enough sight. Go closer though and you will find it is made of painted bronze. What does it mean? Peter Hayes of the Camden Tour Guides Association brings you a story of abandoned babies, accidental art galleries, and a ground-breaking charitable institution that continues to thrive hundreds of years later. Special thanks to Caro Howell at the Foundling Museum and to Carol Harris at Coram. Written and presented by Peter Hayes Produced by Freddy Chick Foundling Museum :: Coram :: Camden Tour Guides Association :: Back to homepage :: Follow us on Twitter :: File Download (13:50 min / 14 MB)

Plenty to keep you going in the cold weather. Catch jazz at the Map Cafe with Andrea Pozza; punk at the Dublin Castle thanks to Proud City Fathers; coming up next weekend at Maiden Lane is another family fun day; two great exhibitions one at the Camden Arts Centre and one at Foundling Museum and a reminder about the Food Bank at Maiden Lane. Maiden Lane Community Centre :: The Dublin Castle :: Map Studio Cafe :: Foundling Museum :: Camden Arts Centre :: Back to homepage :: Follow us on Twitter :: File Download (6:16 min / 6 MB)

As a new term dawns at Birkbeck, we’re out and about in the College’s community speaking with academics and students about what’s keeping them busy. This latest edition features: - Research Focus: A conversation with organizational psychologist Dr Almuth McDowall about current research into fathers and their difficulties in striking a work-life balance. Dr Almuth McDowall - http://www.bbk.ac.uk/orgpsych/staff/academics/mcdowall - Birkbeck People: A new first year undergraduate student talks about her first week of term. - The Calendar: Now that it’s open, we visit the Fallen Woman exhibit at the Foundling Museum to give you a taste of what to expect - http://foundlingmuseum.org.uk/events/fallen-woman

Professor Lynda Nead has curated an exhibition at the Foundling Museum in London which looks at depictions of "the Fallen Woman" in Victorian England by artists including Dante Gabriel Rossetti, Richard Redgrave, George Frederic Watts and Thomas Faed. The display includes a specially-commissioned sound installation by musician and composer Steve Lewinson. Lynda Nead joins Anne McElvoy along with James Bartholomew, an historian of the Welfare State who has studied Victorian responses to poverty. Gillian Tett is managing editor of the New York office of The Financial Times. She reported on the financial crisis of 2007-8 in close detail, but before she became a journalist Tett trained as an anthropologist. Her latest book, The Silo Effect, combines reportage with anthropology to identify the deep structure in our thinking that contributed to the crisis: the tendency to organize things into discrete silos. Steve Silberman is a Wired reporter and author of an article on "The Geek Syndrome" which went viral. He talks to Anne McElvoy about why we need to think about autism in a new way, along with Matthew Smith, an historian of psychiatry at the University of Strathclyde and former Radio 3 New Generation Thinker.

Here’s our second edition of Birkbeck Voices’ new magazine format, featuring conversations with academics, students and members of staff in our three regular platforms: - Research Focus, which this month features Professor Matt Cook - http://ow.ly/Roivb - who will be talking about his recent study on Queer Domesticities. - Next, Birkbeck Alumna Miriam Phillips talks about her educational journey in the Birkbeck People section - And lastly, Professor Lynda Nead - http://ow.ly/RoiFX - takes this month’s The Calendar slot, talking about her involvement in the forthcoming Fallen Woman exhibition at the Foundling Museum - http://ow.ly/RoiVw

Visit the hidden gem of the Foundling Museum to see an exhibition of Jacob Epstein’s sculpture; try out cutting-edge theatre at the Roundhouse with the new play “Mountaineering”; walk round the modernist masterpiece of the Royal College of Physicians. Foundling Museum :: Mountaineering :: Royal College of Physicians :: Back to homepage :: Follow us on Twitter :: File Download (2:54 min / 4 MB)

Yet Another Narrative is an audio-visual piece to be used on a hand-held device at the Foundling Museum in London. The audio track guides the visitor throughout the exhibits, short animations appear on the device screen at specific moments of the tour. The work questions the seemingly objective, authoritative voice of some audio tours by weaving into the narrative a subjective, intimate voice. It explores the role of memory, fiction and affect in constructing meaning in museums. The interaction between on-screen images on the handheld digital device and the museum space creates yet another narrative that critically engages with the collection.

As Dirty Rotten Scoundrels extends its West End run, star Robert Lindsay reflects on the challenges of staging a hit musical, and father son kora stars Toumani and Sidiki Diabaté perform music from their new album. Also tonight, Rachel Cooke reviews series two of the hit Netflix drama Orange is the New Black, and London's Foundling Museum celebrates its 10th birthday and marks the 250th anniversary of William Hogarth's death with a new exhibition of work by David Hockney, Yinka Shonibare, Grayson Perry and Jessie Brennan, inspired by Hogarth's A Rake's Progress.

Matthew Sweet discusses online identity theft and religious belief with American novelist Joshua Ferris, as he publishes his new novel To Rise Again at a Decent Hour. As the London Festival of Architecture opens with a debate on whether London needs more tall towers, Matthew talks to Sir Terry Farrell, Owen Hatherley, Nicholas Boys Smith, Angela Brady, about how London should look in the future. And we head to the Foundling Museum, whose latest exhibition marks the 250th anniversary of the death of William Hogarth to find out how artist Jessie Brennan has re-imagined ‘A Rake's Progress' without people, just a famous London tower block.

Camden Fringe continues with ‘Shelter’ at the Tristan Bates Theatre, 1a Tower Street, WC2, tel: 020 7240 6283; Charles Dickens Bicentenary is being celebrated at Camden Local Studies and Archive Centre, Monday 13th August, tel: 020 7974 6342; London’s famous Vauxhall Gardens is the subject of an exhibition at the Foundling Museum, 40 Brunswick Square, tel: 020 7841 3600. Research & Script: Betiel Baraki Read by: Betiel Baraki, Marian Larragy, Serena Britton & DJ Rudeboy P. Tosh Tristan Bates Theatre :: 'Police, Prison & Punishment in Dickens' novels :: On the Trail of the Ancient Games :: 'Vauxhall Gardens' at Foundling Museum :: Back to Camden Community Radio :: Follow Camden Community Radio on Twitter :: File Download (3:31 min / 3 MB)

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia