Australian-born composer, arranger and pianist
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Musik, die uns Geborgenheit und inneren Frieden gibt. Es geht musikalisch in die Ferne und wieder zurück zu unserer eigenen Grundtonart – mit dichten Streichern und warmen Holzbläsern. Diese Musikstücke hörst Du in dieser Folge: Michael Bublé – "Home" // Percy Grainger – "Danny Boy" // Michael Bolton – "Home" // Antonin Dvorak – "Romanze für Cello" // Michel Petrucciani – "Home" // Hape Kerkeling – "Der Weg nach Haus" // Den Podcast "Helau und Hell No - Inside Karnevalistischer Tanzsport" vom BR findest Du hier: https://www.ardaudiothek.de/sendung/helau-und-hell-no-inside-karnevalistischer-tanzsport/13854869/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de
Percy Grainger - Children's March (Over the Hills and Far Away)Michigan State University Symphonic Band Keith Brion, conductorMore info about today's track: Delos DE3101Courtesy 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
Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support
Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support
Via Encylopedia Brittanica: Percy Grainger (born July 8, 1882, Melbourne, Victoria, Australia—died Feb. 20, 1961, White Plains, N.Y., U.S.) was an Australian-born American composer, pianist, and conductor who was also known for his work in collecting folk music. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support
Tijdens deze uitzending nemen wij u mee op een tocht in de natuur; de natuur die voor vele componisten de leidraad is, als inspiratie tot vele muzikale scheppingen. Met componisten als Beethoven, Copland, Stravinsky, Mendelssohn, Sibelius, Hamish MacCunn, Strauss, Manuel de Falla, Percy Grainger. Een bont muzikaal spektakel!
Percy Grainger - Country GardensMartin Jones, pianoMore info about today's track: Nimbus NI7703Courtesy 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
Via Wikipedia: Lincolnshire Posy is a musical composition by Percy Grainger for concert band commissioned in 1937 by the American Bandmasters Association.[1] Considered by John Bird, the author of Grainger's biography, to be his masterpiece, the 16-minute-long work has six movements, each adapted from folk songs that Grainger had collected on a 1905–1906 trip to Lincolnshire, England.[2][3] In a similar fashion to these folk songs, many of the movements are in strophic form. The work debuted with three movements on March 7, 1937 performed by the Milwaukee Symphonic Band, a group composed of members from bands including the Blatz Brewery and Pabst Blue Ribbon beer factory worker bands in Milwaukee, Wisconsin.[4] --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support
Synopsis“Country Gardens” is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent early musical training.In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement “Country Gardens,” and it went over so well at his recitals that Grainger decided to have it published.It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune and would say to audiences: “The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it”.In 1931, “Country Gardens” was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director, Grainger prepared his own wind band arrangement, which likewise became a hit.Music Played in Today's ProgramPercy Grainger Country Gardens Royal Northern College of Music Wind Orchestra;Timothy Reynish Chandos 9549
Grüner wird's nicht. Auch mitten in der Stadt kannst Du dem Alltag kurz entfliehen, zumindest in Gedanken. Diese Titel hast Du in dieser Playlist gehört: Alexis Ffrench - "Shine" // James Horner - "Cambodia III" // Elton John - "Rocket Man" // Percy Grainger - "Country Gardens" // Dave Grusin - "An Actor's Life" // Den Podcast "Dorf Stadt Kreis - starke Geschichten aus dem Norden" von den Kolleginnen von NDR 1 Radio MV findest du hier: https://www.ardaudiothek.de/sendung/dorf-stadt-kreis-starke-geschichten-aus-dem-norden/81280474/ Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenschustern muss, dann schreib ihm eine Mail: playlist@ndr.de.
Percy Grainger was a talented Australian composer and a complicated guy. He was weirdly close with his mother. He was kind of a big racist. He invented weird, wacky instruments and challenged musical norms. And he left a package to be opened ten years after his death which shocked the world - because inside were whips, bloody clothes, and photographic evidence of a wild BDSM sexual lifestyle. See omnystudio.com/listener for privacy information.
Episode 89 The Theremin Part 2: Recordings After 1970 Playlist Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11 Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54 McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53 Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36 Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36 Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37 Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04 Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13 The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14 Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11. Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38 Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16 Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03 Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02 Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That's Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23. David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II) Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11 Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19 The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47 The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55 Hecate's Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52 Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12 Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01 Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38 M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83's first album in 2001. But it didn't have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don't mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03 Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They've played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18 Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10 Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine's 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06 Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler's work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder's sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48 Opening background tracks: Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09 Hooverphonic, “L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.
The Country Band March has 12 recognizable popular and folk tunes in it. But Ives was not the only composer to put borrowed tunes in his music. Many classical composers -- including Ludwig van Beethoven, Mily Balakirev, and Percy Grainger -- used folk music in the pieces they wrote.
Emmanuel CHABRIER, Lily BOULANGER, Percy GRAINGER, Ralph Vaugh WILLIAM et d'autres compositeurs pour élargir "la palette"!!!
Emmanuel CHABRIER, Lily BOULANGER, Percy GRAINGER, Ralph Vaugh WILLIAM et d'autres compositeurs pour élargir "la palette"!!!
This week on The Sound Kitchen you'll hear the answer to the question about “homemade” Roquefort. There's “On This Day”, the bonus question and the “Listeners Corner” with Michael Fitzpatrick, and “Music from Erwan”. All that, and the new quiz question, too, so click on the “Audio” arrow above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more. There's Paris Perspective, Africa Calling, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too. As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website and click on the three horizontal bars on the top right, choose “Listen to RFI / Podcasts”, and you've got ‘em ! You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”). There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do! We have new RFI Listeners Club members to welcome: Sufian Babu Sma from Murshidibad, India, and Shovon Hasan and Tahamina Yasmin, both from Rajbari, Bangladesh. Welcome Sufian, welcome Shovan, welcome Tahamina! I look forward to seeing your quiz responses and your bonus question answers every week, as well as your posts on the RFI Listeners Club Facebook page! This week's quiz: On 24 September, I asked you a question about a segment on Alison Hird and Sarah Elzas' excellent podcast, Spotlight on France. On their podcast number 80, Sarah did a story on the French cheese Roquefort, which can only be made within a 100-mile radius of the town of Roquefort-sur-Soulzon, and only from milk from the Lacaune breed of sheep, or it cannot legally be called Roquefort. I asked you to send in the answer to this question: what is the name of the homemade Roquefort that farmers used to make for themselves? The answer is: Bleu de Severac. It's named after Severac le Chateau, a town close to Roquefort-sur-Soulzon. In addition to the quiz question, there was the bonus question: Who are you going to be this time, next year? The winners are: RFI Listeners Club member Yeami Sanday John Turay from Freetown, Sierra Leone, who is also this week's bonus quiz winner. Congratulations Yeami! The other winners this week are Mahesh Jain, the president of the RFI Club Delhi in Delhi, India, and three RFI Listeners Club members from Bangladesh: Adora Athoy from Munshiganj; Shaira Hosen Mo from Kishoreganj, and Sakawat Hossain from Sylhet. Congratulations winners! Here's the music you heard on this week's program: “Molly on the Shore” by Percy Grainger, arranged for violin and piano by Fritz Kreisler and performed by Tobias Ringborg and Anders Kilstrom; Allegro for harpsichord in F major, KV 33B by Mozart, performed by Mario Martinoli; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Allah Léno” by Seckou Keita, performed by Seckou Keita and Omar Sosa. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Paul Myers' article “Benzema's Ballon d'Or triumph gains presidential seal of approval” to help you with the answer. You have until 14 November to enter this week's quiz; the winners will be announced on the 19 November podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France or By text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then 33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number. To find out how you can win a special Sound Kitchen prize, click here. To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.
We are back with another great work by none other than Percy Grainger! We are so excited to talk about one of our favorite pieces of Grainger's as well as talk about what makes this work NOTEWORTHY!Follow us on social media at:Instagram: @notedthepodcastFacebook: Noted the Podcast
Feeling stressed? Need to unwind? Then how about some gentle relaxing music for you to ease into. Come and join me as your host, James Quinn as I take you through some wonderful music as I play for you on my own piano ranging from Bach, Mozart, Chopin and more. In this official premiere episode, I play some music by Bach, Mozart, Chopin, Schumann and a song originally by Faure arranged by Percy Grainger.
Synopsis Australian composer Jodie Blackshaw is passionate about music for wind band and is fond of quoting her famous compatriot composer Percy Grainger on the subject: “Why this cold-shouldering of the wind band?” asked Grainger. “Is the wind band – with its varied assortments of reeds (so much richer that the reeds of the symphony orchestra), its complete saxophone family that is found nowhere else ... its army of brass – not the equal of any medium ever conceived? As a vehicle of deeply emotional expression it seems to me unrivalled.” For her part, Blackshaw has chosen to compose primarily for wind band. She also appears as a guest clinician and adjudicator for band festivals throughout Australia. “The Wind Band offers a varied and colorful contribution to instrumental music,” says Bradshaw, “and with literally millions of children world-wide entering musical performance through this medium, it is worthy of our serious attention.” On today's date in 2014, a new work by Blackshaw intended for middle-school band students was premiered by the Rosemount Middle School Band of Rosemont, Minn., under the direction of John Zschunke. The new piece, “Letter from Sado," was inspired by a Japanese haiku and traditional Japanese taiko drumming. This work is part of the BandQuest series commissioned by the American Composers Forum, intended to offer young musicians a diverse variety of fresh new wind band works by leading composers of our day. Music Played in Today's Program Jodie Blackshaw — Letter from Sado (University of Minnesota Wind Ensemble) Hal Leonard HL04004132 (sheet music)
Percy Aldridge Grainger was an Australian-born composer, arranger and pianist who lived in the United States from 1914 and became an American citizen in 1918.
Queens of the Mines paperback, ebook, and hardback novel now available on Amazon. In this episode, we dive into the life of Isadora Duncan. In How to Lose a Guy in 10 Days, the film from 2003, Kate Hudson's character Andy dons a yellow diamond necklace in one scene that they call the “Isadora Diamond”. That $6 million 80-carat yellow diamond in the necklace was designed by Harry Winston and is named after Isadora Duncan. whose philosophy earned her the title of “the creator of modern dance”. Angela Isadora Duncan, was born in San Francisco on May 26, 1877. The youngest of the four children of banker, mining engineer and connoisseur of the arts, Joseph Charles Duncan and Mary Isadora Gray. Soon after her birth, Joseph was caught embezzling from the two banks that he was hired to set up. He used the money to fund his private stock speculations. Joseph was lucky to avoid prison time. Her mother Mary left Joseph and moved the children to Oakland to find work as a seamstress and piano teacher. The family lived in extremely poor conditions in Oakland and Angela Isadora attended school until she was ten years old. School was too constricting for her and she decided to drop out. To make money for the family, Angela Isadora joined her three older siblings and began teaching dance to local children. She was not a classically trained dancer or ballerina. Her unique, novel approach to dance showed joy, sadness and fantasy, rediscovering the beautiful, rhythmical motions of the human body. Joseph remarried and started a new family, they all perished aboard the British passenger steamer SS Mohegan, which ran aground off the coast of the Lizard Peninsula of Cornwall England on the 14th of October in 1898. Only 91 out of 197 on board survived. Eventually, Angela Isadora went east to audition for the theater. In Chicago, she auditioned for Augustin Daly, who was one of the most influential men in American theater during his lifetime. She secured a spot in his company, which took her to New York City. In New York, she took classes with American Ballet dancer Marie Bonfanti. The style clashed with her unique vision of dance. Her earliest public appearances back east met with little success. Angela Isadora was not interested in ballet, or the popular pantomimes of the time; she soon became cynical of the dance scene. She was 21 years old, unhappy and unappreciated in New York, Angela Isadora boarded a cattle boat for London in 1898. She sought recognition in a new environment with less of a hierarchy. When she arrived, ballet was at one of its lowest ebbs and tightrope walkers and contortionists were dominating their shared music hall stages. Duncan found inspiration in Greek art, statues and architecture. She favored dancing barefoot with her hair loose and wore flowing toga wrapped scarves while dancing, allowing her freedom of movement. The attire was in contrast to the corsets, short tutus and stiff pointe shoes her audience was used to. Under the name Isadora Duncan, she gave recitals in the homes of the elite. The pay from these productions helped Isadora rent a dance studio, where she choreographed a larger stage performance that she would soon take to delight the people of France. Duncan met Desti in Paris and they became best friends. Desti would accompany Isadora as she found inspiration from the Louvre and the 1900 Paris Exposition where Loie Fuller, an American actress and dancer was the star attraction. Fuller was the first to use theatrical lighting technique with dance, manipulating gigantic veils of silk into fluid patterns enhanced by changing coloured lights. In 1902, Duncan teamed up with Fuller to tour Europe. On tour, Duncan became famous for her distinctive style. She danced to Gluck, Wagner and Bach and even Beethoven's Seventh Symphony. Female audiences adored her despite the mixed reaction from the critics. She inspired the phenomenon of young women dancing barefoot, scantily clad as woodland nymphs who crowded theaters and concert halls throughout Europe. Contracts and the commercialization of the art while touring distracted Isadora from her goal, educating the young on her philosophy of dance. "Let us first teach little children to breathe, to vibrate, to feel, and to become one with the general harmony and movement. Let us first produce a beautiful human being. let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance.” In 1904, she moved to Berlin to open the Isadora Duncan School of Dance. The school had around 20 students who mostly had mothers who were the primary breadwinners, and the fathers were either ill or absent. The school provided room and board for the students. For three years, her sister, Elizabeth Duncan was the main instructor, while Isadora was away, funding the school from tour. Elizabeth was not free spirited like her sister and taught in a strict manner. During the third year, Duncan had a child with theater designer Gordon Craig. Deirdre Beatrice, born September 24, 1906. At the school, Duncan created a new troupe of six young girls. Anna, Maria, Irma, Elizabeth, Margot, and Erica. The group was called the "Isadorables", a nickname given to them by the French poet Fernand Divoire. At the start of World War I, the Isadorables were sent to New York with the rest of the new students from Bellevue. Occultist Aleister Crowley founded the religion of Thelema. He identified himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Isadora and her bohemian companion Desti fell into his circle after meeting him at a party. Crowley fell in love with Desti and she became a member of Crowley's occult order. Crowley published widely over the course of his life and wrote that Duncan "has this gift of gesture to a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb 'unconsciousness' — which is magical consciousness — with which she suits the action to the melody." Duncan had a love affair with Paris Singer, one of the many sons of sewing machine magnate Isaac Singer. The fling resulted in a son, Patrick Augustus, born May 1, 1910. A year later, Isadora was dancing on tables until dawn at the Pavillon du Butard hunting lodge mansion in the gardens of Versailles. Paul Poiret, the French fashion designer and founder of the haute couture house, known to throw lavish parties, was recreating the roman festival Bacchanalia hosted by Louis XIV at Versailles. On the table in a Poiret Greek evening gown, Duncan tried to not knock over the 900 bottles of champagne that were consumed by the 300 guests. The following year Isadora acquired the Hôtel Paillard in Paris, which she turned into her new temple of dance called Dionysion. Dionysion was the name of a poem that Crowley had published. Which maakes m e curious how far into Crowleys cult did Isaadora dive? On a rainy afternoon Annie Sims, Isadora's nanny, loaded the children into the car for a drive to meet Isadora in Versailles. Morverand, the chauffeur, had only just pulled onto the road, when a taxi-cab bolted towards the car. Morverand jammed on his brakes, causing the engine to also stop. He got out of the car to check the engine, and turned the starting lever and the car bounded forward towards the river, down the river bank and plunged down 30 feet into the Seine. Morverand was left standing on the street. In the downpour of rain, few were out and about. The only witness, a young woman who watched the car exit the gate then crash, ran back to Duncan's house. Augustine, Isadora's brother, was the only one home. Augustine ran to the scene, seized Morverand by the throat and knocked him down on the bank. A crowd of boatmen stopped the fight and began looking for the sunken car. The search lasted an hour and a half. A motor boat that was dragging the river discovered the car, which was hauled to the surface, where the bodies of the nanny and Isadora's two small children were found inside. Two doctors made efforts to save them but there was no luck. Morverand gave himself up at the police commissary. He explained that he did not understand how the accident happened. All of Paris was sympathetic. Isadora went through a depression while mourning her children, and spent several months on the Greek island of Corfu with her brother and sister. She then went for a stay at the Viareggio Seaside Resort in Italy, where she met the beautiful and rebellious actress Eleonora Duse. Duse wore men's clothing and was one of the first women in Italy to openly declare her queerness. The two had a romantic fling in Italy yet Duncan was desperate for another child. She became pregnant after begging the young sculptor Romano Romanelli, basically an Italian stranger to sleep with her. She gave birth to a son on August 13, 1914 but he died a few hours after birth. She immediately returned to the States. Three months later Duncan was living in a townhouse in Gramercy Park in New York City. Dionysion was moved to Manhattan in a studio at 311 Fourth Avenue on the northeast corner of 23rd Street and Fourth Avenue. The area is now considered Park Avenue South. One month later, The Isadorables made their American debut on December 7, 1914 at Carnegie Hall with the New York Symphony. Mabel Dodge, who owned an avant garde salon at 23 Fifth Avenue, the point of rendezvous for the whole of New York's of the time, described The Isadorables: "They were lovely, with bodies like cream and rose, and faces unreal with beauty whose eyes were like blind statues, as though they had never looked upon anything in any way sordid or ordinary". Duncan used the ultra modern Century Theater at West 60th Street and Central Park West for her performances and productions. The keys were gifted to Duncan by Otto Kahn, sometimes referred to as the "King of New York". Kahn was a German-born American, a well known investment banker, appearing on the cover of Time Magazine. He reorganized and consolidated railroads, was a philanthropist, a patron of the arts and served as the chairman of the Metropolitan Opera. Isadora, somehow, was evicted from the Century by the New York City Fire Department after one month. Duncan felt defeated and decided to once again leave the States to return to Europe to set up school in Switzerland. She planned to board the RMS Lusitania, but her financial situation at the time drove her to choose a more modest crossing. The Lusitania was sunk by a German U-boat 11 miles off the southern coast of Ireland, killing 1,198 passengers and crew. During her voyage to Europe, Isadora discovered that their manager had arranged for a tour for the Isadorables without her. She was so upset that she stopped speaking to her students, despite the man's actions being completely out of their control. After struggling to keep afloat there, the school was dispelled and the younger students sent home to their families. The girls eventually made up with Duncan and in 1917 Isadora adopted all six Isadorables. Yet troubles ensued. The Isadorables were living in Long Island and Isadora urged them to leave New York. Each girl, except for Gretel, had fallen in love and did not wish to go. When Isadora found out her brother Augustine assisted the group in a performance at the Liberty Theater, she forbade them from continuing, producing a legal contract which prevented them from separating from her. They had no choice but to cancel their time at the Liberty. The girls eventually left Duncan a few years later but stayed together as a group for some time. While Duncan ran another school in Paris that was shortly closed due to World War I, the girls entertained troops in the US. Isadora Duncan went against traditional cultural standards. Her scandalous love life as bisexual made her a controversial figure on the front pages of the papers. She was a feminist, a Darwinist, a Communist and an atheist. Her leftist sympathies took her to the Soviet Union at the end of the Russian Revolution. To her, it seemed to be the land of promise. Duncan opened a school in Moscow and Irma, one of the Isadorables, took the teaching position at the school while Isadora toured and performed. She met the poet Sergey Aleksandrovich Yesenin, eighteen years her junior in Russia and they were married in May of 1922, even though matrimony was against her beliefs. Together, they left for a US tour. Fear of the “Red Menace” was at its height in North America, and the couple was unjustly labeled as Bolshevik agents. On tour in Boston, she waved a red scarf and bared her breast on stage in Boston, proclaiming, "This is red! So am I!" For this, her American citizenship was revoked. As she left the country, Duncan bitterly told reporters: “Good-bye America, I shall never see you again!” Yesenin's increasing mental instability turned him against her and they were ultimately unhappy. He returned alone to the Soviet Union after the tour and committed suicide. Her spotlight was dimming, her fame dwindled. For a number of years she lived out public dramas of failed relationships, financial woes, and drunkenness on the Mediterranean and in Paris, running up debts at hotels. Her financial burdens were carried by a decreasing number of friends and supporters who encouraged her to write her autobiography. They believed the books success could support her extravagant waywardness. On September 14, 1927 in Nice, France Duncan was asked to go on a drive with the handsome French-Italian mechanic Benoît Falchetto in a sporting car made by the French Amilcar company. Desti sat with Isadora as she dressed for the occasion. Duncan put on a long, flowing, hand-painted silk scarf created by the Russian-born artist Roman Chatov. Desti asked her to instead wear a cape in the open-air vehicle because of the cold weather, but Isadora paid no mind. A cool breeze blew from the Riviera as the women met Falchetto at the Amilcar. The engine made a rumble as Falchetto put on his driving-goggles. Isadora threw the enormous scarf around her neck and hopped in. She turned to look at Desti and said "Adieu, mes amis. "Je vais à l'amour", "I am off to love'. They sped off and Isadora leaned back in her seat to enjoy the sea breeze. The wind caught her enormous scarf that, tragically, blew into the well of the rear wheel on the passenger side, wrapping around the open-spoked wheel and rear axle. Isadora was hurled from the open car in an extraordinary manner, breaking her neck and nearly decapitating her. Instantly killing her. At the time of her death, Duncan was a Soviet citizen. Her will was the first Soviet citizen to undergo probate in the United States. In medicine, the Isadora Duncan Syndrome refers to injury or death consequent to entanglement of neckwear with a wheel or other machinery. The accident gave rise to Gertrude Stein's mordant remark that “affectations can be dangerous.” Duncan was known as "The Mother of Dance" was cremated, and her ashes were placed in the columbarium at Père Lachaise Cemetery in Paris. On the headstone of her grave is inscribed École du Ballet de l'Opéra de Paris ("Ballet School of the Opera of Paris"). Duncan's autobiography My Life was published in 1927. The Australian composer Percy Grainger called it a "life-enriching masterpiece." A plaque commemorating Isadora Duncan's place of birth is at 501 Taylor Street on Lower Nob Hill, fittingly near the Theater District in San Francisco. San Francisco renamed an alley on the same block from Adelaide Place to Isadora Duncan Lane.
An AFRTS program / transcription. July 21, 1946. Leopold Stokowski conducting. Guest performer is composer-pianist Percy Grainger. Grainger compositions among the works by Lalo, Griffes and Tchikovsky. Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914.
From AFRTS the 525 episode of classical music on The Enchantment of Music produced cast KCBH-FM Beverly Hills, California. Opens with Country Gardens by Percy Grainger.
The series makes for a grand introduction to classical symphonic music at the Hollywood Bowl - selections include the opera Carmen sung in English, featured soloists Isaac Stern, Dorothy Eustis, Roman Totenberg, and Percy Grainger, with selections from Brahms, Tchaikovsky, Mozart, Rachmaninoff, and Cellini. Leopold Stokowski organized the Hollywood Bowl Symphony Orchestra in 1945, drawing on talent from the Los Angeles Philharmonic and from various film studios. The 1946 season was celebrated as the Bowl's Silver Jubilee. The Armed Forces Radio Service was allowed to record all thirty-two concerts that season for broadcast overseas, and those recordings comprise this collection. Most of the performances are conducted by Stokowski, although guest conductors appear for some. This episode is the second in the series from July 11, 1949. Isaac Stern, violinist, is the guest artist.
The Spring Series of the Edict continues with space archaeologist Dr Alice Gorman aka Dr Space Junk and a conversation that covers many curious possibilities.We talk about many things, including some unusual ways of launching things into space, the destruction of Cosmos 1408, Percy Grainger, inter-species romance, the Family D'Alembert science fiction series, telepresence, whether humans will become a multi-gravity society, and the theremin.Full podcast details and credits at:https://the9pmedict.com/edict/00151/Please support this podcast at:https://the9pmedict.com/tip/https://skank.com.au/subscribe/
In Afternoon Delights Tony presents a range of music and composers. This prog features Percy Grainger
Today I spoke to Adele all about her journey with classical music. Make sure to subscribe so you know when our next episode drops and rate and review if you like what we are doing. Socials Find Adele on Instagram (@adele.maralin) and Twitter (@adele_maralin). Find Sam's Socials on this link: https://linktr.ee/samuelobrien Find the Podcast's Socials on this link: http://linktr.ee/contentncapable Plugs and Mentions Plug: Sam plugged A Certain Music by Celeste Walters. Adele plugged This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone. Mentioned in the show: Beethoven, Percy Grainger, Queensland Wind Orchestra, Opera, community bands. Check out the other shows on the Movie Night Crew Network!
Synopsis George Percy Aldridge Grainger was born on today's date in 1882 in Brighton, Victoria. Although born in Australia, Grainger died in America, at the age of 79, in White Plains, New York, in 1961. Percy Grainger led a long and remarkable life as composer, concert pianist, and educator. He counted among his friends the Norwegian composer Edvard Grieg and the British composer Frederic Delius, and Grainger shared their enthusiasm for collecting and transforming folk music themes. From 1917 to 1919 he served in the U.S. Army, first playing oboe and saxophone, and later as a band instructor. “Country Gardens,” a piano setting of a Morris dance tune, was completed during Grainger's Army years, and became his best-known composition after its publication in 1919. His subsequent work with wind bands culminated in a 1937 folksong suite entitled “Lincolnshire Posy,” a work that Grainger once described as a “bunch of musical wildflowers.” Grainger idolized Nordic languages and culture and in 1928 Grainger married a Swedish woman he dubbed his “Nordic Princess,” one Ella Ström, at a very public ceremony at the Hollywood Bowl concert featuring the première of one of his own orchestral pieces entitled (what else): “To a Nordic Princess.” Music Played in Today's Program Percy Grainger (1882 – 1961) Country Gardens Martin Jones, piano Nimbus 7703 Percy Grainger (1882 – 1961) To a Nordic Princess Danish National Radio Symphony; Richard Hickox, cond. Chandos 9721
Synopsis George Percy Aldridge Grainger was born on today's date in 1882 in Brighton, Victoria. Although born in Australia, Grainger died in America, at the age of 79, in White Plains, New York, in 1961. Percy Grainger led a long and remarkable life as composer, concert pianist, and educator. He counted among his friends the Norwegian composer Edvard Grieg and the British composer Frederic Delius, and Grainger shared their enthusiasm for collecting and transforming folk music themes. From 1917 to 1919 he served in the U.S. Army, first playing oboe and saxophone, and later as a band instructor. “Country Gardens,” a piano setting of a Morris dance tune, was completed during Grainger's Army years, and became his best-known composition after its publication in 1919. His subsequent work with wind bands culminated in a 1937 folksong suite entitled “Lincolnshire Posy,” a work that Grainger once described as a “bunch of musical wildflowers.” Grainger idolized Nordic languages and culture and in 1928 Grainger married a Swedish woman he dubbed his “Nordic Princess,” one Ella Ström, at a very public ceremony at the Hollywood Bowl concert featuring the première of one of his own orchestral pieces entitled (what else): “To a Nordic Princess.” Music Played in Today's Program Percy Grainger (1882 – 1961) Country Gardens Martin Jones, piano Nimbus 7703 Percy Grainger (1882 – 1961) To a Nordic Princess Danish National Radio Symphony; Richard Hickox, cond. Chandos 9721
A JOY FOREVER with Miriam Subirana, PhD, creator and director of the International centre for art and spirituality Theresa chats about the pure joy of compassion to Miriam Subirana, creator and director of the space YESOUISI, international centre of art and spirituality www.yesouisi.esTo find out more about Miriam, contact her and order The Joy of Caring visit:http://www.miriamsubirana.com/Click translate if you need to or visit:http://www.miriamsubirana.com/en/the-joy-of-caring/To find out more about Theresa's bestselling birthday, dream, afterlife, heaven, angel, and spiritual titles and mission, visit:Www.theresacheung.comYou can contact Theresa via her author pages on Facebook, Instagram and Twitter and you can email her directly at angeltalk710@aol.comThank you to Cluain Ri for the episode music. The piano music at the end is Percy Grainger's English Country Garden performed by Robert Cheung.White Shores is produced by Robert Cheung
Percy Grainger was renowned as a musical prodigy, but it was his bizarre pastimes from self-flagellation to making his own towelling clothes that set him apart from other brilliant composers. Get history features and much more at heraldsun.com.au/ibaw See omnystudio.com/listener for privacy information.
Sunday 18 April: How Percy Grainger's chance meeting with physicist Burnett Cross changed him and his Free Music experiments. And countertenor Russell Harcourt on that magnificent voice.
The Jungle Book - Rudyard Kipling - Book 1 Title: The Jungle Book Overview: The Jungle Book (1894) is a collection of stories by the English author Rudyard Kipling. Most of the characters are animals such as Shere Khan the tiger and Baloo the bear, though a principal character is the boy or "man-cub" Mowgli, who is raised in the jungle by wolves. The stories are set in a forest in India; one place mentioned repeatedly is "Seonee" (Seoni), in the central state of Madhya Pradesh. A major theme in the book is abandonment followed by fostering, as in the life of Mowgli, echoing Kipling's own childhood. The theme is echoed in the triumph of protagonists including Rikki-Tikki-Tavi and The White Seal over their enemies, as well as Mowgli's. Another important theme is of law and freedom; the stories are not about animal behavior, still less about the Darwinian struggle for survival, but about human archetypes in animal form. They teach respect for authority, obedience, and knowing one's place in society with "the law of the jungle", but the stories also illustrate the freedom to move between different worlds, such as when Mowgli moves between the jungle and the village. Critics have also noted the essential wildness and lawless energies in the stories, reflecting the irresponsible side of human nature. The Jungle Book has remained popular, partly through its many adaptations for film and other media. Critics such as Swati Singh have noted that even critics wary of Kipling for his supposed imperialism have admired the power of his storytelling. The book has been influential in the scout movement, whose founder, Robert Baden-Powell, was a friend of Kipling's. Percy Grainger composed his Jungle Book Cycle around quotations from the book. Published: 1894 Series: The Jungle Books, Collections #11, Jungle Book Series #1 List: 100 Popular Storybook Collection Author: Rudyard Kipling Genre: Children's Book, Action & Adventure Episode: The Jungle Book - Rudyard Kipling - Book 1 Part: 1 of 1 Length Part: 5:24:48 Book: 1 Length Book: 5:24:48 Episodes: 1 - 11 of 11 Predecessor: "In the Rukh" Successor: The Second Jungle Book Narrator: Phil Chenevert Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: jungle, india, feral child, kidnapping, talking animal, singing animal, friend, elephant, ruins, python, human-animal friendship, friends, bear, orphan, orangutan, children, friendship, buddies, Rudyard Kipling Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #jungle #india #feralchild #kidnapping #talkinganimal #singinganimal #friend #elephant #ruins #python #humananimalfriendship #friends #bear #orphan #orangutan #children #friendship #buddies #RudyardKipling Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support
Welcome to our premiere episode of Noted! In this episode, we discuss Percy Grainger's “Shepherd's Hey,” and note all of the details that make it one of the most important pieces in wind ensemble repertoire. We also discuss the origins of Noted, how we met, why we decided to start a podcast, and why we are so obsessed with coffee. Join us every other Friday to listen in on our conversations of the best band music of our time. Follow us on social media at:Twitter: @notedthepodcastInstagram: @notedthepodcastFacebook: Noted the Podcast
durée : 01:57:24 - En pistes ! du jeudi 11 février 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : la musique orchestrale de Percy Grainger ; trois concertos pour piano interprétés par Andreas Haefliger ; les suites de Bach pour violoncelle et un récital du baryton James Newby... - réalisé par : Lionel Quantin
For Ausmusic month, a century of Australian music history from Dame Nellie to Dame Joan, and a walk through Percy Grainger's Hoard House.
Percy Grainger was the Willy Wonka of music. He tinkered, experimented, and invented throughout his musical career that spanned his life. Skeletons in his closet include, self-flagellation, racism, and army oboe tooter. And the root cause of all this is his helicopter mother!
durée : 01:53:12 - Été Classique Après-midi du mercredi 22 juillet 2020 - par : Saskia de Ville - Andreas Staier, soliste du Concerto BWV 1058 de Bach. 2 mouvements du Trio avec clarinette de Louise Farrenc par Brigitte Engerer, Romain Guyot et François Salque. Jean-Pierre Rampal, André Griminelli et l'Orchestre de Chambre Anglais pour Mercadante : Concerto pour flûte en ré Majeur... - réalisé par : Vivian Lecuivre
"Country Gardens" is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent musical training that made him a successful concert pianist in Britain, Europe, and America. In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement "Country Gardens," and it went over so well at his recitals that Grainger decided to have it published. It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune, and would say to audiences: "The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it". In 1931, "Country Gardens" was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director named Graham Overgard, Grainger prepared his own arrangement, and wrote to Overgard: "I now have my own version, quite delicate and unlike the coarse-sounding score you rightly object to. The new setting is not based on the piano version, but on a chamber music sketch of 1908 and is a new piece in every way."
"Country Gardens" is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent musical training that made him a successful concert pianist in Britain, Europe, and America. In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement "Country Gardens," and it went over so well at his recitals that Grainger decided to have it published. It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune, and would say to audiences: "The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it". In 1931, "Country Gardens" was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director named Graham Overgard, Grainger prepared his own arrangement, and wrote to Overgard: "I now have my own version, quite delicate and unlike the coarse-sounding score you rightly object to. The new setting is not based on the piano version, but on a chamber music sketch of 1908 and is a new piece in every way."
Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a small child, Matthew Bourne used to put on shows in his parents’ living room in East London; by the age of eight or nine, he was staging musicals for the whole school, co-opting his friends to star in Mary Poppins and Cinderella. (He played an ugly sister.) Fast forward to today and Sir Matthew Bourne is now Britain’s most popular and successful choreographer and director, with a long list of awards for shows including Nutcracker, Swan Lake, Cinderella, The Car Man (based on Carmen), Edward Scissorhands, and The Red Shoes. Sir Matthew has become particularly associated with Christmas shows and he’s somehow nailed the essence of the Christmas “treat”. He attributes this to memories of the shows his parents took him to. But, despite their outings, it never occurred to anyone in the family that Matthew might make a living in the theatre, and he was twenty-two before he took his first dance lesson. This, he believes, has given him a strong connection with the audiences coming to see his shows. Despite this, there have been some bumps in the road: when he first staged Swan Lake with all-male swans and two male dancers dancing a love duet, some of the audience walked out. He reflects on the challenges of creating dances in which men dance together but are not strong enough to lift each other. Matthew Bourne is a profoundly musical choreographer: he talks about listening to famous pieces of Tchaikovsky and Prokofiev over and over again. Other choices include a Percy Grainger setting of an old Christmas carol; film music by Bernard Hermann; Mary Poppins; and his favourite song from his favourite musical, The Sound of Music: “Climb Every Mountain” – which could describe his own stellar career. A Loftus production for BBC Radio 3 Produced by Elizabeth Burke
Donald Macleod surveys the life, music and quirks of Australian composer, Percy Grainger Donald Macleod begins this week episode about Percy Grainger by tracing the composer's ambivalent relationship with his primary musical instrument, the piano, and the ever-present influence of his mother. He then follows Grainger to London, where his composing took second place to performing, leading to concert tours of Scandinavia, South Africa, New Zealand and back home to Australia. We’ll also hear about his enthusiastic and sometimes controversial role in the folksong revival of the 1900s, away from starchy drawing rooms and concert halls. Donald keeps up with Grainger during an anxiety-ridden move to America during the First World War. To end, he explores some of the composer's more unsavoury views and his quest for musical 'freedom'. Music featured: Mowgli's Song Against People Molly on the Shore Walking Tune Tribute to Foster Marching Song of Democracy Hill-Song 1 and 2 Handel in the Strand English Dance Colonial Song Scotch Strathspey and Reel The Warriors Brigg Fair Creeping Jane I'm Seventeen Come Sunday Four Settings from 'Songs of the North' Green Bushes Lincolnshire Posy Country Garden Suite: In a Nutshell The Power of Rome and the Christian Heart Irish Tune from County Derry The Bride's Tragedy Shepherd's Hey The Power of Love Jutish Melody (Danish Folk Song Suite) To a Nordic Princess Immovable Do Free Music Free Music No 2 The Jungle Book (excerpts) Presented by Donald Macleod Produced by 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 Percy Grainger. https://www.bbc.co.uk/programmes/m000c4kf 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
Joseph Kreines is a legendary conductor in Florida and co-author of Music for Concert Band. Topics: Joseph’s background in music and how a Chicago Symphony Orchestra concert featuring Artur Rubinstein inspired his career as a musician. How he came to Florida as the Assistant Conductor of the Florida Orchestra and his first steps as a conductor and clinician for young bands and orchestras in the state. The story of how, as a young conductor he caught the attention of the faculty at Tanglewood, including Lukas Foss and Aaron Copland. Advice for score study when approaching an unfamiliar work. A discussion of the works on his first Florida All-State Concert band and a more generalized discussion about literature. Links: Joseph Kreines Alfred Music Music for Concert Band Ruggles: Lilacs Carter: Capitol Hill March Glière: Symphony No. 3 'Ilya Muromets' Ribble: Bennet’s Triumphal Willan: Royce Hall Suite Biography: A native of Chicago, Joseph Kreines came to Florida as associate conductor of the Florida Symphony Orchestra, where he served for four years. Subsequently, he was conductor of the Brevard Symphony, associate conductor of the Florida Orchestra in Tampa, and musical director for several opera and musical theatre productions. He has served as clinician and guest conductor with some 300 bands, orchestras and choruses throughout the nation and also appears as piano accompanist at numerous recitals and festivals. In addition, Mr. Kreines has composed a number of original works for various media, and has made numerous transcriptions for concert band and brass choir, and other chamber ensembles, being particularly well-known for those of the music of Percy Grainger. He is also the author of Music for Concert Band, a selective annotated guide to band literature. Kreines received a Masters degree in Music from the University of South Florida and a Bachelor of Arts from the University of Chicago. He did additional study at the Tanglewood Music Festival in 1958 where he was chosen to participate in the conducting class with fellow classmates Zubin Mehta, Claudio Abbado, David Zinman, and Gustav Meier. In 2004, he was honored as an inductee to the Roll of Distinction in the Florida Bandmasters Association Hall of Fame.
This week on The Talent, pianist Jenny Lu and pianist Hannah Shin perform live-to-air and receive feedback from our two industry mentors, pianist Vanessa Sharman and regular mentor for Season 2, pianist Julia Hastings. --Pieces performed:"Irish Tune from County Derry" by Percy Grainger (performed by pianist Jenny Lu)"When what we called our town forever departs from us" and "There once was a poor knight" from Skazki by Medtner (performed by pianist Jenny Lu)"Prelude and Fugue in B-flat Minor" by J.S. Bach (performed by pianist Hannah Shin)Mvt 1 of Piano Sonata in D Major by W.A. Mozart (performed by pianist Hannah Shin)Mvt 4 of Piano Sonata No. 3 in B Minor by Chopin (performed by pianist Hannah Shin)--The Talent creditsHost: Jessica Carrascalao HeardProducer: Grace IpSound Engineers: Joe Gofron, Shay Mosh, Keeju LeeActing Producer for Episode 2: Jem SherwillPodcast Producer: Jessica Carrascalao HeardThis has been a podcast from 3MBS Fine Music Melbourne.
This week on The Talent, pianist Jenny Lu and pianist Hannah Shin perform live-to-air and receive feedback from our two industry mentors, pianist Vanessa Sharman and regular mentor for Season 2, pianist Julia Hastings. --Pieces performed:"Irish Tune from County Derry" by Percy Grainger (performed by pianist Jenny Lu)"When what we called our town forever departs from us" and "There once was a poor knight" from Skazki by Medtner (performed by pianist Jenny Lu)"Prelude and Fugue in B-flat Minor" by J.S. Bach (performed by pianist Hannah Shin)Mvt 1 of Piano Sonata in D Major by W.A. Mozart (performed by pianist Hannah Shin)Mvt 4 of Piano Sonata No. 3 in B Minor by Chopin (performed by pianist Hannah Shin)--The Talent creditsHost: Jessica Carrascalao HeardProducer: Grace IpSound Engineers: Joe Gofron, Shay Mosh, Keeju LeeActing Producer for Episode 2: Jem SherwillPodcast Producer: Jessica Carrascalao HeardThis has been a podcast from 3MBS Fine Music Melbourne.
Radio 3 presenter Kathryn Tickell celebrates a composer whose music is particularly important to her: the Australian-American folksong fanatic Percy Grainger.
The Country Band March has 12 recognizable popular and folk tunes in it. But Ives was not the only composer to put borrowed tunes in his music. Many classical composers -- including Ludwig van Beethoven, Mily Balakirev, and Percy Grainger -- used folk music in the pieces they wrote.
L'8 luglio 1882 nasce a Melbourne Percy Grainger.
Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918.
Works by composer Randall Standridge are consistently among the highest selling and most widely performed music each year. In this episode, he offers insight into his music and career as a composer. Topics: A brief overview of Randall’s career from college student at Arkansas State through the success of his works Afterburn and Adrenaline Engines. Randall’s family influences and high school teachers who fostered his creativity, his first (and only) teaching job, and the story of his transition to becoming a full time composer. Thoughts about composition and Grand Mesa Marching. The story of how Percy Grainger and a guiro led to the creation of the huge Grade 1 consortium for his work Frogs. Links: Randall Standridge Grand Mesa Music Marching Band Barnes: Fantasy Variations of a Theme of Nicholo Paganini Standridge: Frogs Standridge: The Nine Biography: Randall Standridge (b.1976) received his Bachelor's of Music Education from Arkansas State University. During this time, he studied composition with Dr. Tom O'Connor, before returning to Arkansas State University to earn his Master's in Music Composition, studying with Dr. Tom O'Connor and Dr. Tim Crist. In 2001, he began his tenure as Director of Bands at Harrisburg High School in Harrisburg, Arkansas. He left this post in 2013 to pursue a career as a full-time composer and marching band editor for Grand Mesa Music Publishers. Mr. Standridge is currently published by Grand Mesa Music, Alfred Music, FJH Music, Wingert-Jones Music, Band Works Publications, Twin Towers Music, and Northeastern Music Publications. Mr. Standridge's music is performed internationally. He has had numerous works selected to the J.W. Pepper's editor's choice. His composition Snake Charmer,published by Grand Mesa Music, was included in Teaching Music through Performance in Band Vol. 8, and his work Gently Blows the Summer Wind is included in Teaching Music Through Performance in Middle School Band. His works Steel, Gadget, Snake Charmer, The Rowan Tree, Still Still Still, That Old Hound Dog Rag, Danse Bohémien, Aggressivo, When the Spring Rain Begins to Fall, Danse Carnivale, Ruckus, Come Thou Fount of Every Blessing, Angelic Celebrations, Extremis, Darklands Legends, DarkHeart, Companion of My Voice, Kinetic Dances, Brave Spirit, Frogs, Under the Cherry Blossoms, Dark Ride, Four: On a Remix of Beethoven, Imaginarium, and In the Court of the King have been performed at the Midwest Clinic in Chicago, Illinois. His work Art(isms) was premiered by the Arkansas State University Wind Ensemble at the 2010 CBDNA conference in Las Cruces, New Mexico. Mr. Standridge is also a contributing composer for Alfred Music's Sound Innovations: Ensemble Development series. In addition to his career as a composer, Mr. Standridge is active as a clinician. He is also in demand as a drill designer, music arranger, and colorguard designer for the marching arts, as well as a freelance artist/photographer and writer. He lives in Jonesboro, Arkansas with his family.
Synthesisers are the stars of the Grainger Museum’s latest exhibition, Synthesizers: The Sound of the Future. The exhibition celebrates these democratising instruments, with a particular look at Melbourne’s emerging electronic music scene in the 1960s and ‘70s. Chris Hatzis takes a stroll through the exhibition and chats with curator Heather Gaunt, MESS's director and sound artist Byron Scullin, and artist and composer David Chesworth.Music used in episode:"Kraut Mich Mit Einen Dachshund""3 3/4""Flea Circus""Necrophilia"All songs by David Chesworth from the album 50 Synthesizer Greats, originally released in 1979 and reissued by Chapter Music in 2017.Synthesizers: The Sound of the Future exhibition at the Grainger Museum runs until Sept 9, 2018.Episode recorded: August 9, 2018Interviewer: Chris HatzisProducers: Dr Andi Horvath and Silvi Vann-WallAudio engineer: Arch CuthbertsonProducer and editor: Chris HatzisBanner image: Non Event/Flickr
In what’s definitely our most niche episode so far, Emma introduces Darius to the life and work of twentieth-century Australian composer Percy Aldridge Grainger, a folksong collector, failed innovator, and all-round extremely unusual (and highly problematic) person. Links: Rainer Linz on Grainger’s composition machines, Philip Eames' quantitative study of Grainger's harmonic development, Matthew Guerrieri on navigating Grainger's reprehensible beliefs alongside his music. Content warnings: racism, some discussion of incest, BDSM, and suicide... Percy Grainger, everyone. -- Too Much Not Enough This is a podcast about the obsessions of two very intense people. toomuchnotenough.site Emma: emmawinston.me @deer_ful Darius: tinysubversions.com @tinysubversions
Radio 3 presenter Kathryn Tickell celebrates a composer whose music is particularly important to her: the Australian-American folksong fanatic Percy Grainger.
The private pleasures of Australia's greatest composer, only discovered a decade after his death.Music credits Action investigation, Time (Komiku) A queer and pleasant danger (Mystery Mammal) Vervain (Axletree) All archival audio courtesy of the Estate of Percy Aldridge Grainger See omnystudio.com/listener for privacy information.
The private pleasures of Australia's greatest composer, only discovered a decade after his death.Music creditsAction investigation, Time (Komiku)A queer and pleasant danger (Mystery Mammal)Vervain (Axletree)All archival audio courtesy of the Estate of Percy Aldridge Grainger See acast.com/privacy for privacy and opt-out information.
Dylan is not quite ready for summer to be over, so join him as he explores the Sounds of Summer! With works by Percy Grainger, Michael Colgrass and David Maslanka. Featuring the United States Marine Band, Rutgers Wind Ensemble and University of Texas Wind Ensemble. Big thanks to Mark Records for the use of the recordings used on today's episode. Help Support the Band Room Podcast by Becoming a Patron Through Patreonhttps://www.patreon.com/bandroompodBRP Storehttp://www.bandroompod.com/storeSupport the show (https://www.patreon.com/bandroompod)
Compositions by the Australian-American, Percy Grainger. Works include: Country Gardens, Molly On the Shore, Mock Morris, Irish Tune From County Derry and Handel in the Strand. Perfomers include: Percy Grainger, Eugene Ormandy, Boyd Neel, Peter Pears, Leopold Stokowski and the Virtuoso String Quartet.
Learn about the charming music of Austrailian composer Percy Grainger! Music: https://creativecommons.org/licenses/by/3.0/legalcode http://imslp.org/wiki/Molly_on_the_Shore_(Grainger%2C_Percy) http://imslp.org/wiki/Marching_Song_of_Democracy_(Grainger%2C_Percy) http://imslp.org/wiki/Children's_March_(Grainger%2C_Percy)
Pianisten og komponisten Percy Grainger (1882-1961) og dirigenten Leopold Stokowski (1882-1977) er to af den klassiske musiks største excentrikere i det 20 århundrede. Hør dem her i et historisk møde i en amerikansk koncertsal. Grieg: Klaverkoncert. Percy Grainger: Molly On the Shore og In a Nutshell. Percy Grainger, klaver. Hollywood Bowl Symfoniorkester. Dirigent: Leopold Stokowski. (Koncert i Hollywood Bowl, 15. juli 1945). Vært: Svend Rastrup Andersen.
Show Notes: Possible Gang Signs: whitepeoplethrowinggangsigns.tumblr.com/ CMEA - scroll down for programs http://www.cmeaonline.org/ClinicConference.aspx MMEA -this year's handouts coming sometime http://www.mmea.net/content/past-mmea-conferences Richard "Dick" Mayne http://arts.unco.edu/music/faculty-staff/mayne-richard/ Percy Grainger home http://www.percygrainger.org/grahouse.htm John Bird Grainger book http://www.amazon.com/Percy-Grainger-John-Bird/dp/0198166524 Bloom School of Jazz: http://www.bloomschoolofjazz.com/10-commandments it's pronounced "Gay-uh". SHHH Productions http://shhhaudioproductions.com/shhhaudioproductions/Order_Online.html Tips for not socializing w/out drinking: https://www.youtube.com/watch?v=pwcqP5f9otI The Falkland Islands are UTC - 4 hours, or two hours ahead of eastern time. National guard bands: http://www.music.army.mil/organizations/nationalguard/ Push-Ups https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwjztr3nsPvKAhUoyYMKHfDkCZ8QtwIIKzAD&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DJyCG_5l3XLk&usg=AFQjCNG7keIb5jRX7uepxA1NJDvuIAmibg&sig2=V070tMHORw5qj0lZ4WStzw&bvm=bv.114195076,d.amc
Northumbrian piper and fiddler Kathryn Tickell chooses some of her favourite classical pieces inspired by folk music, including works by Antonio Soler, Samuel Barber, Charles Ives, Johan Halvorsen, Percy Grainger, Juan de Araujo, Henry Cowell, Pehr Henrik Nordgren and Howard Skempton.
Over tot de orde van de dag in Vrije Geluiden op Radio 4. Voor zover je van orde kunt spreken natuurlijk. In ieder geval weer een 20e eeuwse kraker in uw eigen BuitenBocht. Wel zo overzichtelijk. Daarnaast een concert voor Ipad. Als dat maar goed gaat. En nog een hoogtepunt uit de Gaudeamus Muziekweek 2015 en een paar fijne concerttips. Verder natuurlijk nog allerlei verschillende varianten en stukgoed. Je vraagt je weleens af: 'Waar hebben wij het aan verdiend?'
WARNING: EXPLICIT - contains talk of things that are not for the faint of heart… or bottom. This week one hit wonders, towelling, Melbourne, suicide and whips. Can you control how you are remembered? One man surely did and to this day few people know his full story. John Robertson bares all when telling this no-holes-barred tale. FEATURING Percy Grainger (http://en.wikipedia.org/wiki/Percy_Grainger) With thanks to Jon Robertson @robbotron John Robertson is a comedian He's also a TV presenter, columnist, multimedia artist, games designer, crowd-surfer and recreational sadist. he is also the creator of the dark room http://www.thejohnrobertson.com/ Iszi Lawrence is a comedian, artist and podcasterer. www.iszi.com The Z List Dead List is a podcast about obscure people from History. Created by Iszi Lawrence @iszi_lawrence To help support the show please share it with your friends and on social media.Do leave us a review on iTunes. For any donations please use the paypal button on the website. Thanks very much! MUSIC All Licensesan be viewed on www.freemusicarchive.org. Theme: Time Trades Live at the WFMU Record Fair - November 24, 2013 by Jeffery Lewis (http://www.thejefferylewissite.com) Chris Zabriskie (http://chriszabriskie.com/) An English Country Garden is Arranged by Percy Grainger and this recording is by Jimmie Rodgers.
Michael Berkeley's guest is the Northumbrian musician Kathryn Tickell. Kathryn Tickell is rooted in the remote hill farms of Northumbria; her grandparents were shepherds, and she grew up playing the Northumbrian pipes and fiddle at village dances. By the age of just 16, she was the official piper to the Lord Mayor of Newcastle and had released her first album. 19 more albums have followed. She was the first folk performer at the BBC Proms, was named Musician of the Year at the 2013 Radio 2 Folk Awards (not for the first time) and holds the Queen's Medal for Music. She's done more than any other musician to preserve the rich musical heritage of the North East of England. In a programme recorded at Sage Gateshead during the 2014 Free Thinking Festival, she talks to Michael Berkeley about how she started visiting old musicians, when she was only nine, taking her tape recorder to capture voices and tunes. This was an oral tradition, so recording the tunes was a way of learning them - they weren't written down. What did the musicians think of this young girl turning up to record them? Most of them, she reflects wryly, were related to her anyway. Kathryn Tickell's lifelong enthusiasm for musical discovery leads to a marvellously eclectic playlist for the programme. She introduces Percy Grainger music for theremin, the Brazilian composer Chiquinha Gonzaga, the Armenian folk-song collector Komitas Vardabet, and John Cage's Sonata No 5 for 'prepared' piano. Plus a comic song from the Tyneside singer Owen Brannigan and a poem in Northumbrian dialect which she warns listeners not even to bother trying to decipher? Producer: Elizabeth Burke A Loftus production for BBC Radio 3. To hear previous episodes of Private Passions, please visit http://www.bbc.co.uk/podcasts/series/r3pp/all.
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
Topics: Concert Band with my duet from "Spoon River" by Percy Grainger Larry Miller update. Pre Nerdist Stuff Recommendations: Another Kickstarter project!!! Article from Nerdist.com http://www.nerdist.com/2012/04/pickstarter-our-favorite-crowdfunded-projects-429/ Podcast art! Matt Peppler made this totally awesome art for Nerdist and crew. I am printing it out for my office and to give to them after the MA show. @mattpeppler http://mattpeppler.com/ Charm by the Wild Colonials Adam Carolla recomended the song. I fell in love with it. Please support the artist by buying the music. iTunes Link Thank you for listening. Seize YOUR burrito! If you haven't subscribed to the Nerdist Channel YouTube Channel, what are you waiting for? There are so many varieties of entertainment, something will grab your fancy! There is Chris Hardwick in Celebrity Bowling! You have weird stuff from Japan. There is even cute things being blown up! If you want more Nerdist content, subscribe TODAY! Twitter @dihard11 Feedback:Dihard@dihard.info Opening music "Spoon River" by Percy Grainger under the direction of Brian Cardanay 2012 URI Concert Band. Closing music Charm by Wild Colonials.
Donald Macleod explores the unconventional life and music of Australian-born composer, arranger and pianist Percy Grainger
1 - "A banda" (Chico Buarque). Chico Buarque. 2 - "Rondo allegro" do/from "Quarteto para oboé/ Oboe Quartet, k.370" (Mozart). The Gaudier Ensemble. 3 - "Constantia" (Anônimo/ Anonymus medieval). Andrew Lawrence-King, harpa/harp. 4 - "Recitativo Oh se fosse il mio core" (Porpora). Iestyn Davie, contratenor/ countertenor. Arcangelo. Jonathan Cohen, diretor/director 5 - Canto do azulão do Paraná/ Brazilian birdcall 6 - "Paráfrase sobre a Valsa da Flores de Tchaikovsky/Paraphrase on Tchaikovsky´s Flower Waltz" (Percy Grainger). Piers Lane, piano.
Sears Radio Theater was an anthology radio drama series which ran weeknightly on CBS Radio in 1979, sponsored by the Sears chain. Often paired with The CBS Radio Mystery Theater during its first season, the program offered a different genre of drama for each day's broadcast. This selection "Punishment and Crime" is a story of the old west hosted by Lorne Greene starring Parley Baer and Howard Culver. The story was writtrn by Percy Grainger and produced by Fletcher Markle.TPW 047 Sears Radio Theater 790716 Punishment and Crime
We can think of world-leading Australians in sport (Don Bradman), media ownership (Rupert Murdoch) and film (Nicole Kidman). In music, some great performers come to mind, especially female singers (Nellie Melba, Joan Sutherland). But how many people can even name an Australian composer? In his...
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Prof. Chalon Ragsdale of the University of Arkansas Department of Music explores folk song collecting using the work of two 20th century collectors as examples: Percy Grainger, who collected in England; and Mary Celestia Parler, who collected in Arkansas. Recorded October 20, 2010.
Nellie Melba was the professional name of Helen Porter Mitchell (1861–1931). The Australian soprano was born in Melbourne, the city from which she took her name. She sang at Covent Garden, London, from 1888 to 1926, and at intervals with the Metropolitan Opera Company, New York. Famous for her lyric and coloratura roles, Sarah Bernhardt described her voice as being ‘pure crystal’ and Percy Grainger claimed that her voice always made him ‘mindsee Australia’s landscapes’. When Bunny painted this portrait, Melba was at the pinnacle of her success and beginning her artistic partnership with the tenor, Enrico Caruso.
Rachel Barton Pine shares excerpts from her 12th CD, dedicated to the repertoire of violinist Maud Powell (1867-1920). Includes Molly on the Shore by Percy Grainger (written for Powell), Songs My Mother Sang by Antonin Dvorak (arranged by Powell), Minute Waltz by Frederic Chopin (arranged by Powell), Aria by Carl Venth (dedicated to Powell), May Night by Selim Palmgren (arranged by Powell), and Romance by Henry Holden Huss (dedicated to Powell). For more information about Maud Powell, please visit www.maudpowell.org. To purchase Rachel's new CD, please visit www.rachelbartonpine.com/merchandise.htm.playing time: 13:43 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Do you have a question you'd like Rachel to answer on her podcast? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com Thanks for listening! visit Rachel online: www.rachelbartonpine.com www.myspace.com/rachelbartonpine www.youtube.com/RachelBartonPine Rachel Barton Pine's podcast is produced by Windy Apple Studios www.windyapple.com
Percy Grainger's life story reveals a most unusual personality who left an enduring legacy as a virtuoso pianist, an inventor of instruments, a collector of English folk songs, and a composer of music for wind band. Works Discussed: Grainger, Lincolnshire Posy, The Immovable Do, Molly on the Shore.