Podcast appearances and mentions of Hubert Parry

Brenda Hale, Baroness Hale of Richmond, is a former judge who served as the first female president of the Supreme Court. In 2019 she announced the court's judgement that the prorogation of Parliament was ‘unlawful, void and of no effect'. The twinkling spider brooch she wore that day caused a sensation and set social media aflame. She was the first woman and the youngest person to be appointed to the Law Commission and in 2004 became the UK's first woman law lord.Lady Hale was born in Yorkshire and read law at the University of Cambridge where she graduated top of her class. She spent almost 20 years in academia and also practised as a barrister. Later at the Law commission she led the work on what became the 1989 Children Act. Lady Hale retired as a judge in January 2020.DISC ONE: Messiah - Part 1: O Thou That Tellest Good Tidings To Zion, composed by Georg Friedrich Händel, performed by Kathleen Ferrier and The London Philharmonic Orchestra, conducted by Sir Adrian Boult DISC TWO: Love Me Do by The Beatles DISC THREE: Move Him Into The Sun. Composed and conducted by Benjamin Britten. Performed by Peter Pears (tenor) and Galina Vishnevskaya (soprano) with the Bach Choir and the London Symphony Orchestra DISC FOUR: Part 1 Nos 4 & 5: Gloria in excelsis Deo – Et in terra pax. Composed by Johann Sebastian Bach, performed by The Monteverdi Choir and The English Baroque Soloists and conducted by Sir John Eliot Gardiner DISC FIVE: The Marriage of Figaro), K. 492 Sull'Aria. Composed by Wolfgang Amadeus Mozart, performed by sopranos Charlotte Margiono and Barbara Bonney, Netherlands Opera Chorus and the Concertgebouw Orchestra DISC SIX: Hand in Hand by Glória (Ireland's Gay and Lesbian Choir) DISC SEVEN: Parry: I Was Glad, composed by Hubert Parry, performed by Westminster Abbey Choir, Simon Preston (organ) and conducted by William McKinney DISC EIGHT: Dies Irae. Composed by Giuseppe Verdi, performed by Swedish Radio Choir and the Eric Ericson Chamber Choir, with the Berlin Philharmonic, conducted by Claudio AbbadoBOOK CHOICE: A Desert Island survival manual LUXURY ITEM: A solar-powered computer with sudoku puzzles and a writing application CASTAWAY'S FAVOURITE: Part 1 Nos 4 & 5: Gloria in excelsis Deo – Et in terra pax, composed by Johann Sebastian Bach, performed by The Monteverdi Choir and The English Baroque Soloists, conducted by Sir John Eliot Gardiner Presenter Lauren Laverne Producer Paula McGinley

Hubert Parry - Songs of Farewell: Never Weather-Beaten SailJeffrey Makinson, organ Manchester Cathedral Choir Christopher Stokes, conductorMore info about today's track: Naxos 8.572104Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Charles Hubert Parry (1848-1918) - English Suite “Lady Radnor's Suite” per orchestra d'archi London Symphony OrchestraSir Adrian Boult, direttore ********* Charles Hubert Parry (1848-1918) - From Death to Life  I.      Via MortisII.     Via Vitae London Symphony OrchestraMathias Bamert, direttore ********* Charles Hubert Parry (1848-1918) - Symphony No. 5 in La minore I.     Stress: Slow - Allegro - Tempo III.    Love: LentoIII.  Play: VivaceIV.   Now: Moderato The London Philharmonic OrchestraMatthias Bamert, direttore

El tercer capítulo de nuestra serie dedicada a las primeras sinfonías de autores británicos e irlandeses llega con muy buena música a cargo de 5 autores que no te van a decepcionar: Gustav Holst y Hubert Parry son los más conocidos pero también merecen mucho la pena Ina Boyle, Edmund Rubbra y Edward German. Todos crearon su primera sinfonía entre finales del siglo XIX y comienzos del XX, así que hoy viajamos a esa época tan productiva en las islas de Gran Bretaña e Irlanda. Carlos ha escogido sus movimientos favoritos de esas obras y veremos qué opina Mario de estas 5 piezas, hasta ahora desconocidas para él. Así de interesante es el nuevo episodio de Hoy Toca, el programa de Clásica FM que te quiere sorprender

Psalm 122:1 This verse has a very special place in British history. It has been used upon the entrance of the monarch at every coronation since that of King Charles 1. Since 1902, Hubert Parry's magnificent choral setting of the psalm has been sung. It captures beautifully the joy and celebration of this very special occasion. The roots of this psalm go back thousands of years to the time when pilgrims would use these words as they climbed up the hill to Jerusalem and anticipated the incredible joy of worshipping God in the temple. There is no building in Christianity which is the equivalent of the temple in Jerusalem. With the coming of Christ, a new covenant was established, in which God sought to build a new temple not with stones or bricks but in the lives of those who worshipped him. Paul wrote to the church in Corinth: “Don't you realise that all of you together are the temple of God and the Spirit of God lives in you?” (1 Corinthians 3:16). Our circumstances are very different from those of the psalmist, but we can still experience the same joy of meeting together with God's people for worship. We can still look forward to the experience with gladness and anticipation because, as we meet together, God will be there with us. We can expect that people will be inspired, encouraged and strengthened as we worship. Some will come to worship with heavy hearts and, during the worship, their burdens will be lifted. Others will come with an acute sense of sinfulness and, as they meet with God, they will find the forgiveness which God loves to give to those who are willing to receive it. The next time you worship God with other Christian believers may be very different from a coronation! But I hope you will be glad to be there. QUESTION What are the things that make you glad to worship with other Christians? PRAYER Loving God, I thank you for the blessing and encouragement of worship. Help me never to take this privilege for granted. Amen

Ralph Vaughan Williams arrived on the scene just as a definite English classical music sound was being established. His three main teachers at the Royal Academy of Music were Arthur Sullivan, Hubert Parry, and Charles Stanford. Edward Elgar and Gustav Holst also had an influence on Vaughan Williams.

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Spring mit an Bord. Paul McCartney und The Clash grüßen schon von der Tower Bridge. Diese Musikstücke hast Du in der Folge gehört: Wings - "London Town" // Robert Farnon - "Westminster Waltz" // Hubert Parry - "Jerusalem" // Eric Coates - "London Suite – Westminster" // The Clash - "London Calling" // Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenzimmern muss, dann schreib ihm ebenso eine Mail: playlist@ndr.de.

Every collaboration has a backstory. Ours goes back nearly 30 years, when Chris (the older one, jazz musician, former line-cook and nightclub bouncer, some tattoos) and Tom (the slightly younger one, classical musician, serial migrant, no tattoos) worked together at WFIU, Indiana University Public Radio. Both of us were in grad school at Indiana at the time, Chris in jazz and musicology and Tom in music performance. In radio those were the old days. We worked with reel-to-reel tape and rudimentary hard-wired networks on the studio computers, pulling shifts late nights and early mornings for a listening audience scattered through the southern Indiana hills. And then we went our separate ways: Chris to start his academic career in Texas, Tom to Germany to work as a musician before returning to the US for a PhD in musicology at Cornell. Fast forward fifteen years: we are both in academia, two American scholars on divergent paths. Chris is at Texas Tech building a Vernacular Music Center and much else besides. Tom has landed in Southampton in the UK, beginning to move from pretty old-fashioned art music (ask him about Mozart and he'll tell you a lot of things you didn't know people even knew) to global music history. Fast forward another ten years to the summer of 2018. Chris has just finished the second of two books about American vernaculars, and Tom is wrapping up a book about European experiences of Chinese music around 1800 and starting a new project about jazz and AI. Over the years we'd seen each other at conferences in strange airless hotels. You could count on us (the big guy with the tattoos and the bookish Mozart scholar living as a migrant in Britain) to regale anyone who would listen with stories about small-town radio in the good old days, where you knew your audience because some of them would call you on the control room phone just to talk, and the reel-to-reel machines sometimes did terrible things to you on air.And, curiously enough, we realize that our paths are beginning to align: Chris is working on “history from below,” in music and dance soundscapes across the Americas, and Tom is working in material and social history using soundscapes of global imperial encounter and modern technology.Chris has an idea. Why don't we two surprise people (because despite our shared history, from the outside we seem an unlikely duo in academia, where everyone is trapped in narrow specialties) and do a thing. We're both all-in on global history and empire, on music and what it means in the world. We feel like we need to say something in times of environmental and political crisis. So...an essay collection? Maybe a symposium? You could feel our enthusiasm waning even as one of us suggested these. As energizing as it can be to spend time in a room full of really cool colleagues, neither of us wanted the thing to be that. Instead, after decades in academia, both of us were looking for something more immediate, the kind of experience we know from the classroom and yes, from the old days on the radio. We talk it over some, and agree to meet in England next time Chris is traveling in Europe. You'll have to listen to the episode to get the rest of the story. It didn't take long for us to settle on an ambitious project: a music history book for non-academic readers. And a podcast, a medium Tom and Chris, Old Radio Guys, were just beginning to discover. A few emails later we had found our producer, Tom's sister Tatiana Irvine, and her production company, Seedpod Sound. And here we are.Key PointsHow we came to be writing a book together nearly 30 years after first working at the same public radio station in small-town Indiana (or “How a global history of imperial encounter, across five centuries, was born in the studios of a small public radio station in southern Indiana, 30 years ago”)What it's like to come up with an ambitious joint project in a business that favors lone working (or “Getting our brains, and those of our colleagues and managers, around the idea of an international collaboration across time zones and disciplines--in the midst of a global pandemic.”)What excites us about podcasting as a medium: its immediacy and the possibility of two-way communication with the audience (or “How podcasting engages and unites us through shared personal and scholarly goals: radio skills, expertise in sound as both meaning and technology, a sense of history, and an urgent desire to contribute to global efforts to fight environmental destruction”)How we want to structure the podcast around three themes: labor, energy and data (or “Why ‘labor'; why ‘energy'; why ‘data'? What are the human, ecological, cultural, and historical stories that brought us to this moment?”)Why we want to tell bold new stories about voices most music historians miss (or “The untold stories, the silenced voices, the unseen or unrecognized encounters between people, places, eras, and experience--between labor, energy, and data--for which we seek to create new spaces for encounter and understanding.”)ResourcesTom Irvine's Listening to China: Sound and the Sino-Western Encounter, 1770-1839 is about the shifting responses of Western travellers, musicians, philosophers, and diplomats to China and its soundscapes around 1800, and how these responses shaped their sense of what it meant to be “Western.”Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor, edited by Tom Irvine and the Southampton historian Neil Gregor, explores how Germans reacted in music to the most significant developments of the twentieth century, including technological advances, fascism, and war on an unprecedented scale, and how the world responded to German music in return. The introduction and Tom's chapter on how ideas of “Germanness” shaped the British composer Hubert Parry's heavily racialized approach to music history are available for free on the Berghan Books website.Chris Smith's The Creolization of American Culture: William Sydney Mount and the Roots of Blackface Minstrelsy uses the artworks of painter and musician William Sidney Mount (born in Setauket, Long Island in 1807) as a lens through which to recover the earliest roots of the Black-white cultural exchange that gave birth to the street musics that were the roots of the “Creole Synthesis” of African and Anglo-Celtic sound and movement that lies at the heart of American music.Chris Smith's Dancing Revolution: Bodies, Space, and Sound in American Cultural History is a study of 400 years of movement and noise--street dance and "rough music"--as tools by which minoritized peoples, across many moments in the history of the Americas, have sought to create freedom “from below.”All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

Hubert Parry - Songs of Farewell: Never weather-beaten sail Jeffrey Makinson, organ Manchester Cathedral Choir Christopher Stokes, conductor More info about today's track: Naxos 8.572104 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording AmazonArkivMusic

Diagnosed with autism spectrum disorder at the age of eight, Camilla Pang struggled to understand the world around her; in fact, she asked her mother if there was an instruction manual for humans that could help. Twenty years on – after taking her PhD in biochemistry and embarking on a career as a scientist – Camilla has herself has written that manual. She’s called it “Explaining Humans” and it won the Royal Society Prize in 2020 for the best science book . A highly original blend of scientific theory and personal memoir, it gives a real insight into what it’s like to live with autism. In a fascinating conversation with Michael Berkeley, Camilla Pang talks about how she’s learned to thrive in a world which can seem very overwhelming. One of the issues for her is the sensory overload that people with autism spectrum disorder can experience. She’s very sensitive to certain sounds, and the morning commute to work can jangle her senses to such an extent that it takes much of the morning to recover. Music, on the other hand, restores mental calm. Camilla sings and plays the piano; although she has never learned to read music, she can “catch” a tune after hearing it only once. She did this first as a very young child, hearing her mother’s favourite Michael Nyman track and reproducing it straight away on her toy xylophone. Camilla shares the music that has sustained her over the years; we hear Hubert Parry’s great coronation anthem “I was glad”; Michael Nyman’s music for The Piano; William Byrd’s “Ave Verum Corpus”; Debussy’s “Clair de Lune”, and Teardrop by Massive Attack. Produced by Elizabeth Burke A Loftus Media production for BBC Radio 3

A cura di Massimiliano SamsaCharles Hubert Parry (1848-1918) - English Suite “Lady Radnor's Suite” per orchestra d'archiLondon Symphony OrchestraSir Adrian Boult, direttore*********Charles Hubert Parry (1848-1918) - From Death to Life I.Via MortisII.Via VitaeLondon Symphony OrchestraMathias Bamert, direttore*********Charles Hubert Parry (1848-1918) - Symphony No. 5 in La minoreI. Stress: Slow - Allegro - Tempo III.Love: LentoIII.Play: VivaceIV.Now: ModeratoThe London Philharmonic OrchestraMatthias Bamert, direttore

a cura di Alessandro Achilli. Musiche di Cassiber, Beach Boys, Wildbirds and Peacedrums, Stewart-Gaskin, Hubert Parry, Anthony Adverse, André Duchesne, Ant Orange, Sylvie Courvoisier, Massimo Giuntoli - Gertrude Stein, Sofie Livebrant ecc.

a cura di Alessandro Achilli. Musiche di Cassiber, Beach Boys, Wildbirds and Peacedrums, Stewart-Gaskin, Hubert Parry, Anthony Adverse, André Duchesne, Ant Orange, Sylvie Courvoisier, Massimo Giuntoli - Gertrude Stein, Sofie Livebrant ecc.

a cura di Alessandro Achilli. Musiche di Cassiber, Beach Boys, Wildbirds and Peacedrums, Stewart-Gaskin, Hubert Parry, Anthony Adverse, André Duchesne, Ant Orange, Sylvie Courvoisier, Massimo Giuntoli - Gertrude Stein, Sofie Livebrant ecc.

British composer Errollyn Wallen has been putting the finishing touches to her new arrangement of the Hubert Parry hymn Jerusalem, to be performed as part of a very different Last Night of the Proms. After a public row about whether to drop the traditional favourites that make up the concert's programme, the Proms announced new versions for a smaller, socially-distanced orchestra with no choir. Errollyn joins Samira to discuss the work of arranging well-loved music, her relationship with Jerusalem, and the Proms. As Eastenders returns to our screens, after an unprecedented 3 month hiatus, we speak to the show’s Executive Producer Jon Sen to find out how they’ve been filming with social distancing and how coronavirus has affected the storylines we’ll be seeing on screen. Ryan Gilbey reviews new Netflix psychological horror film I’m Thinking of Ending Things, based on Iain Reid’s book and adapted into a screenplay by director Charlie Kaufman. As Katy Perry makes headlines for her new album Smile and the birth of her first child, Scarlett Russell, Entertainment Editor of The Sunday Times Style, pays tribute to the pop sensation. Producer: Simon Richardson Studio manager: Nigel Dix Main image above: Errollyn Wallen Image credit: Azzurra Primavera

In deze vijfde duurloop van Fit op 4 ga je 45 minuten hardlopen. Een lekkere training op muziek van Beethoven, John Williams, Prokofjev en Hubert Parry. Ren voor de training alvast een paar minuten om op te warmen en vergeet niet naderhand nog even uit te lopen. Zo kun je de volgende keer weer succesvol verder. Go, go, go! FIT OP 4: Met Fit op 4 loop je hard op luchtige klassieke muziek. Het einddoel? Over 10 weken 60 minuten non-stop rennen! Tijdens de trainingen geeft Ab je niet alleen loopinstructies, maar voorziet hij je ook van informatiesnacks: smakelijke weetjes over de muziek waarop je traint. Benieuwd naar de muziek die je hoort? Zoek op Spotify naar 'Fit op 4' voor de afspeellijsten.

In deze vijfde duurloop van Fit op 4 ga je 45 minuten hardlopen. Een lekkere training op muziek van Beethoven, John Williams, Prokofjev en Hubert Parry. Ren voor de training alvast een paar minuten om op te warmen en vergeet niet naderhand nog even uit te lopen. Zo kun je de volgende keer weer succesvol verder. Go, go, go! FIT OP 4: Met Fit op 4 loop je hard op luchtige klassieke muziek. Het einddoel? Over 10 weken 60 minuten non-stop rennen! Tijdens de trainingen geeft Ab je niet alleen loopinstructies, maar voorziet hij je ook van informatiesnacks: smakelijke weetjes over de muziek waarop je traint. Benieuwd naar de muziek die je hoort? Zoek op Spotify naar 'Fit op 4' voor de afspeellijsten.

Ralph Vaughan Williams arrived on the scene just as a definite English classical music sound was being established. His three main teachers at the Royal Academy of Music were Arthur Sullivan, Hubert Parry, and Charles Stanford. Edward Elgar and Gustav Holst also had an influence on Vaughan Williams.

durée : 00:13:17 - Parry, I was glad, par Philip Ledger - L'hymne 'I Was Glad', très populaire en Angleterre, a été composé par Hubert Parry d'après des vers du Psaume 122, et joué pour la première fois lors du couronnement du roi Edouard VII en 1902. Cette version de 2012 a été enregistrée par le King's Consort dirigé par Robert King.

Tash Aw, winner of the Whitbread Award and Commonwealth Book Prize, discusses his new novel We the Survivors, about a man born in a Malaysian fishing village who tries to make his way in a country and society that is transforming. He describes the book as a tribute to those battling to survive in a ruthless, rapidly changing world. As museums such as the National Portrait Gallery and Tate Modern sever ties with the philanthropic Sackler family following controversy over its alleged role in the opioid crisis, what is the wider impact on the ethics of arts sponsorship? How much scrutiny of arts sponsors should there be? Andrea is joined by Heledd Fychan, chair of the Museum Association's Ethics Committee and author and academic Tiffany Jenkins.Dear Lord and Father of Mankind is one of the nation's favourite hymn tunes, yet the tune itself comes from a much bigger work, the oratorio Judith by Hubert Parry, which is about to get its first UK performance in almost one hundred years at the Royal Festival Hall in London next week. Music historian Jeremy Summerly explores the significance of this musical revival. Presenter: Andrea Catherwood Producer: Timothy Prosser

Marking the centenary of his death, Donald Macleod explores the life and work of Hubert Parry. Donald begins with the story of Parry's early years, rooted at Highnam Court in Gloucestershire, before looking at the period he was centred around Orme Square in London, the home of his teacher and mentor Edward Dannreuther. We hear about Parry’s connection with the long-running Three Choirs Festival: Parry’s father, Thomas Gambier Parry, was energetic and generous in his efforts to ensure the Festival’s survival, and the Three Choirs was to prove an important platform for his son’s music. Another hugely important institution to Parry was the Royal College of Music - in time, he would become Director of the College and an inspiration to the next generation of composers. We finish with the final years of Parry’s life, during World War One, when Parry's most enduring composition, Jerusalem, was first performed at the Queen’s Hall in London. Music featured: I was Glad Freundschaftslieder Bright Star Fantasie Sonata in B major Choral Prelude for Organ "On SS Wesley's Hampton" Symphony No.1 (2nd movement) Love is a bable Cello Sonata in A Take, O take those lips away Partita in D Minor String Quintet in E-Flat Major Symphony No. 2 in F major (The Cambridge) Long Since In Egypt's Plenteous Land Blest Pair of Sirens The Soul's Ransom Symphony No.3 in C major (The English) Who Can Dwell in Greatness The Birds of Aristophanes Crabbed Age and Youth From Death to Life Symphony No.4 (4th movement) Jerusalem Ode on the Nativity Lord Let Me Know Mine End Symphony No.5 in B minor (ii. Love) Jerusalem Presenter: Donald Macleod Producer: Martin Williams for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Hubert Parry: https://www.bbc.co.uk/programmes/m0000nl6 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Tom Service meets conductor Jonathan Nott to discuss his passion for music which began as a choral scholar in Worcester, the unanswerable questions that the masterpieces of Mahler and other composers pose as we move through life, and the new concert hall complex being built in Geneva for his Orchestre de la Suisse Romande. Hubert Parry: a major figure in British musical history: Tom travels to Oxford and London to discover two formative musical experiences which changed Parry's life. With Kate Kennedy he discovers what impact studying at Exeter College, Oxford made on his future career as a composer and educationalist, and at 12 Orme Square London, David Owen Norris explains how Wagner was an important stepping-stone in his musical development. Judith Chernaik's new book 'Schumann the Faces and the Masks' reveals new material on Robert and Clara's relationship. Who depended on who? And what couldn't Robert tell the love of his life? The Orpheus and Eurydice myth is re-told in Passion, the first UK production of French composer Pascal Dusapin's dance-opera, currently touring the UK. Members of the production team, Caroline Finn, Michael McCarthy and Pascal discuss the genesis of this work on loss on love.

Katie Derham presents the In Tune Highlights: a selection of musical guests. Including Nicky Spence and William Vann talking about and singing Parry, Eric Lu winner of the Leeds International Piano Competition, an exclusive walk around the Royal Opera House Open Up project and Indian slide guitarist Debashish Bhattacharya.

Gramophone's Editor Martin Cullingford and Editor-in-Chief James Jolly discuss some of the main features and most significant releases covered in the latest issue of Gramophone. Topics include: composer and conductor Esa-Pekka Salonen, the legacy of Parry, this month's best releases - including our Recording of the Month, Crusell's clarinet concertos - and an introduction to some new features in the magazine.

Claude Debussy: Cellosonate | Frank Bridge: Cellosonate | Gabriel Fauré: Cellosonate Nr. 1 | Anton Webern: Drei kleine Stücke, op. 11 Camille Saint-Saëns: "Der Schwan" | Hubert Parry: "Jerusalem" | Ivor Novello:"Keep the home-fires burning" | Steven Isserlis (Violoncello und Trench Cello) | Connie Shih (Klavier)

Writer and historian Dr Amanda Foreman takes a personal journey through the musical history of Britain, introducing works which have inspired her over the years and which reflect different aspects of what it is to be British. Foreman is the author of the award-winning best sellers, 'Georgiana, Duchess of Devonshire' (1999) and 'A World on Fire: A Epic History of Two Nations Divided (2011), and is seen and heard frequently on TV and radio history programmes. Having lived in the UK and the United States, Foreman has both an inside and outside view of Britain and the music which defines it. In her varied choice, she introduces works such as the Medieval "Agincourt Carol", pieces by Byrd and John Bull which entertained women in the Tudor Court, as well as evocative musical portrayals of the 20th century English and Scottish landscapes by Elgar and Hamish MacCunn. 2016 sees the 400th anniversary of the death of William Shakespeare, and in amongst Foreman's choices are works inspired by his writing, including Judith Weir's "Storm" with texts from "The Tempest", incidental music from "A Midsummer Night's Dream" by Mendelssohn and Henry Bishop's "Lo! Here the lark" from his music for "The Comedy of Errors". Other music includes works by Henry Wood, Ethel Smyth, Thomas Weelkes, Henry Purcell, William Walton and Hubert Parry. Producer Helen Garrison.

"Greater Love Has No One Than This" is Dr. Michael B. Brown's message today. Holy Communion. Pre-service Mini-Concert at 10:45am Heralded as one of the most outstanding college choirs in the country, the Mansfield University Concert Choir under the direction of Peggy Dettwiler will sing in worship at Marble on Sunday, February 14th. Be sure to arrive early, as this magnificent 50-voice choir will sing a pre-service mini-concert at 10:45am in the sanctuary. This is part of the Mansfield choir’s tour of the Northeast, which includes an appearance at the American Choral Directors’ Association convention in Boston. They will also combine with The Marble Choir during worship in one of the most majestic masterpieces of choral literature, Hubert Parry’s “I Was Glad”, featuring Ken Dake at our new pipe organ!

Welsh mezzo Della Jones talks to Sara Mohr-Pietsch about her choral favourites including Vaughan-Williams' Toward the unknown region & Hubert Parry's I Was Glad

Donald Macleod explore the life and music of Hubert Parry, regarded as Britain's unofficial composer laureate.