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Another birthday!


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Author Topic: Another birthday!  (Read 4485 times)
Albion
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Frederic Cowen (1852-1935)


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« Reply #390 on: October 28, 2021, 04:11:48 am »

Andrés Isasi (1890), Argentino Valle (1901), Carl Davis (1936), Dmitry Bortniansky (1751), Don Walker (1907), Ernst Anschütz (1780), Folke Rabe (1935), Franz Ignaz von Beecke (1733), Frank La Rocca (1951), Gershon Kingsley (1922), Gilbert Trythall (1930), Hans Asselbergs (1953), Hendrik Thyssen (1862), Henri Bertini (1798), Howard Blake (1938), Howard Hanson (1896), Jo Kondo (1947), Jobst von Brandt (1517), John Henry Hopkins, Jr. (1820), John Mayer (1930), Karl Heinrich Ernst Hauer (1828), Ronald LoPresti (1933), Šimon Brixi (1693), Toshio Masuda (1959)

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
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Frederic Cowen (1852-1935)


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« Reply #391 on: October 29, 2021, 06:36:19 am »

Carlos Bonnet (1892), Cary Boyce (1955), Daniel Emmett (1815), David Chesky (1956), Emmanuel Bondeville (1898), Harold Darke (1888), James Dillon (1950), Kerstin Jeppsson (1948), Vivian Ellis (1904), Natalie Sleeth (1930), Neal Hefti (1922), Nelson Cavaquinho (1910), Ramon Sender (1934), Richard Ayres (1965), Vicente Asencio (1908)

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Lionel Harrison
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« Reply #392 on: October 29, 2021, 10:25:38 am »

Carlos Bonnet (1892), Cary Boyce (1955), Daniel Emmett (1815), David Chesky (1956), Emmanuel Bondeville (1898), Harold Darke (1888), James Dillon (1950), Kerstin Jeppsson (1948), Vivian Ellis (1904), Natalie Sleeth (1930), Neal Hefti (1922), Nelson Cavaquinho (1910), Ramon Sender (1934), Richard Ayres (1965), Vicente Asencio (1908)



Vivian Ellis, of course; combines two of my favourite things, British Orchestral Light Music and steam locomotives (awaits grinding of metal, exploding boilers and ear-splitting screams...)
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Frederic Cowen (1852-1935)


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« Reply #393 on: October 29, 2021, 03:08:44 pm »

Carlos Bonnet (1892), Cary Boyce (1955), Daniel Emmett (1815), David Chesky (1956), Emmanuel Bondeville (1898), Harold Darke (1888), James Dillon (1950), Kerstin Jeppsson (1948), Vivian Ellis (1904), Natalie Sleeth (1930), Neal Hefti (1922), Nelson Cavaquinho (1910), Ramon Sender (1934), Richard Ayres (1965), Vicente Asencio (1908)



Vivian Ellis, of course; combines two of my favourite things, British Orchestral Light Music and steam locomotives (awaits grinding of metal, exploding boilers and ear-splitting screams...)

Your wish is our command...



...yep, sit on the track and just wait for the next one to pile into it.

 Roll Eyes
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Lionel Harrison
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« Reply #394 on: October 29, 2021, 03:15:50 pm »

Carlos Bonnet (1892), Cary Boyce (1955), Daniel Emmett (1815), David Chesky (1956), Emmanuel Bondeville (1898), Harold Darke (1888), James Dillon (1950), Kerstin Jeppsson (1948), Vivian Ellis (1904), Natalie Sleeth (1930), Neal Hefti (1922), Nelson Cavaquinho (1910), Ramon Sender (1934), Richard Ayres (1965), Vicente Asencio (1908)



Vivian Ellis, of course; combines two of my favourite things, British Orchestral Light Music and steam locomotives (awaits grinding of metal, exploding boilers and ear-splitting screams...)

Your wish is our command...



...yep, sit on the track and just wait for the next one to pile into it.

 Roll Eyes

 Cheesy Grin
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Frederic Cowen (1852-1935)


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« Reply #395 on: October 29, 2021, 05:42:49 pm »

...yep, sit on the track and just wait for the next one to pile into it.

 Roll Eyes

 Cheesy Grin

Oh dear. Ker-chuff-ker-chuff-kerbang! I'm afraid that the tartan blanket and the thermos flask of metallic-tasting coffee was no guarantee of safety



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« Reply #396 on: October 30, 2021, 02:48:50 am »

Anatoly Novikov (1896), Antenógenes SIlva (1906), Armin Kaufmann (1902), Catterino Cavos (1775), Charles Fox (1940), Christian Darnton (1905), Edward Miller (1735), Erik Baumann (1889), Germán Alcántara (1863), Horacio Fontova (1946), Johannes Berauer (1979), Karol Lipinski (1790), Luciano Sgrizzi (1910), Manfred Stahnke (1951), Masanori Hikichi (1969), Paul Smith (1906), Peter Warlock (1894), Pierre Wissmer (1915), Reza Namavar (1980), Richard E. Holz (1914), Sven-David Sandström (1942), Unico Wilhelm van Wassenaer (1692)

A beautiful Lipizzaner cuts a caper to celebrate.

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
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Frederic Cowen (1852-1935)


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« Reply #397 on: October 31, 2021, 08:39:21 am »

Andrew Norman (1979), Charles-Louis Triebert (1810), Daniel Roth (1942), David Lumsdaine (1931), Eric Ball (1903), Howard Skempton (1947), Jørgen Malling (1836), Joseph Gelineau (1920), Léonce de Saint-Martin (1886), Louise Talma (1906), Marc Steckar (1935), Naji Hakim (1955), Philippe de Vitry (1291), Ralph Erwin (1896), Robert Graettinger (1923), Walter Steffens (1934)

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
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Frederic Cowen (1852-1935)


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« Reply #398 on: November 01, 2021, 07:58:38 am »

Alessandro Nini (1805), Alexander Spendiaryan (1871), David Briggs (1962), David Roitman (1884), Eberhard Bottcher (1934), Gottfred Matthison-Hansen (1832), Johan Wagenaar (1862), Katsuhisa Hattori (1936), Mohammed Fairouz (1985), Roger Kellaway (1939), Roger Quilter (1877), Salvatore Adamo (1943), Shunsuke Kikuchi (1931), Szymon Laks (1901), William Mathias (1934)

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
Lionel Harrison
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« Reply #399 on: November 01, 2021, 09:21:43 am »

Roger Quilter (for it is he Smiley) is responsible for what I consider to be one of the loveliest of all English art-songs, Now Sleeps the Crimson Petal.
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« Reply #400 on: November 01, 2021, 09:52:08 am »

Roger Quilter (for it is he Smiley) is responsible for what I consider to be one of the loveliest of all English art-songs, Now Sleeps the Crimson Petal.

Quilter was guilty of penning so many beautiful settings and generally chose wonderful texts. One of the finest discs is



 Smiley

An absolute swine to accompany (from traumatic experience) is Love's Philosophy. I chose Fear no more the heat of the sun for my father's humanist funeral and can never hear it without being greatly moved. A wonderful composer - somehow Shakespeare and Quilter just seem to go together with an incredible affinity!

 Roll Eyes
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« Reply #401 on: November 01, 2021, 11:25:34 am »

Roger Quilter (for it is he Smiley) is responsible for what I consider to be one of the loveliest of all English art-songs, Now Sleeps the Crimson Petal.

Quilter was guilty of penning so many beautiful settings and generally chose wonderful texts. One of the finest discs is



 Smiley

An absolute swine to accompany (from traumatic experience) is Love's Philosophy. I chose Fear no more the heat of the sun for my father's humanist funeral and can never hear it without being greatly moved. A wonderful composer - somehow Shakespeare and Quilter just seem to go together with an incredible affinity!

 Roll Eyes

Thank you for the personal note; that is touching indeed. Thank you also for the recommendation of that CD -- more pension money ...  Roll Eyes
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« Reply #402 on: November 01, 2021, 12:10:13 pm »

Thank you also for the recommendation of that CD -- more pension money ...  Roll Eyes

You couldn't do better - beans on toast next week. John Mark Ainsley, like Roderick Williams, is one of those singers who gets to the heart of a text and produces a wonderful sound in the process.

 Cool

Malcolm Martineau is up there with the great accompanists - what he would have made of my rendition of Love's Philosophy is anyone's guess, a scramble to the finish perhaps: I always adopted the approach of "too many notes", applied the red pen and generally gave a "p*ss-artist's impression" of what it MIGHT sound like. Many a performance finished with the audience none the wiser, or too flumoxed to query what they had just been subjected to.



 Cheesy
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« Reply #403 on: November 01, 2021, 12:21:23 pm »

Thank you also for the recommendation of that CD -- more pension money ...  Roll Eyes

You couldn't do better - beans on toast next week. John Mark Ainsley, like Roderick Williams, is one of those singers who gets to the heart of a text and produces a wonderful sound in the process.

 Cool

Malcolm Martineau is up there with the great accompanists - what he would have made of my rendition of Love's Philosophy is anyone's guess, a scramble to the finish perhaps: I always adopted the approach of "too many notes", applied the red pen and generally gave a "p*ss-artist's impression" of what it MIGHT sound like. Many a performance finished with the audience none the wiser, or too flumoxed to query what they had just been subjected to.



 Cheesy

I just looked at the score of Love's Philosophy; it reminds me of all that semiquaverage (and demisemiquaverage) you get in Fauré's Piano Quartets.. A little judicious busking required, I fancy...
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« Reply #404 on: November 01, 2021, 12:27:44 pm »

I just looked at the score of Love's Philosophy; it reminds me of all that semiquaverage (and demisemiquaverage) you get in Fauré's Piano Quartets.. A little judicious busking required, I fancy...

Yep, "vamp 'til ready" a la Mrs Mills...



...in which case, what the bloody hell was she playing with - half a pound of Cumberland sausages, an aubergine and a couple of bananas? The rocking-horse looks a trifle alarmed, after all they built stride-pianists big in them days.

 Grin
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)

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