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I started looking for words for all these voices to sing. I found poems by Charles Causley and Langston Hughes describing the wonder of birth; by Wordsworth, Keats, Traherne and Emily Dickinson conjuring up different aspects of childhood — naughtiness, carefree playfulness, youthful adventures. My choices were informed by stories Rosie and Richard had told me about their son Robert — absolutely particular stories about a unique individual, but which also conjured up archetypal images of youthful liveliness, mischief and outdoor escapades.

Most of the texts are celebratory, but there is no avoiding the terrible moment when a young life is cut short in the midst of adventure. Singing with other people is one of the most joyful activities I know, so this had to be a choral work. The idea of mother and son suggested two soloists, soprano and tenor.


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Accompanying these different voices would be all the colours of the symphony. Jonathan Dove In Detail. The texts are carefully chosen and taken from works by some of the greatest British and American poets. The orchestral writing is dramatic and innovative, making full use of the timbral range of the ensemble; instruments crash and swell, flutter. The writing for soloists is reminiscent of his operatic works, with long, elegant melodic lines and an understanding of how to get the best from the voice. Close canon and other imitative entries are frequent, and contrasted with homophonic sections that provide some of the most dramatic moments in the work.

The latter sings almost exclusively in unison, with some strict canon in one movement. Their music is often witty and fun to sing, covers a limited range and has some challenges in diction from fast-paced passages. The work as a whole is luminously beautiful and all that one might expect when one of the best composers working today sets such profound words, inspired by so emotive a subject.

My mother is a violinist, and one of my earliest childhood memories involves being asked what I wanted for my 4th birthday. Who are the most important influences on your singing? As a boy treble I was taught every day by the great Simon Preston. Those of us who grew up under his direction now aspire to make music with the same ferocious energy and personality, however exhausting it may be.

Then I fell under the influence of Dr Richard Marlow at Cambridge University and his musical personality could not have been more different — a scholar-musician of great humility who taught his students to place themselves in the service of the music score and allow it to speak for itself. I hope I carry a little of both in me. What are the particular challenges and excitements of working with an ensemble?

Which recordings are you most proud of? Dialogues of Sorrow is the recording that defines what I would like our group to be.

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It involves a little scholarship and a lot of adventure. The story behind the music is compelling too… What do you consider to be the most important ideas and concepts to impart to aspiring musicians? As a student a brash one, with quite an ego I thought it was all about me imposing my musical will and proving myself. What is your idea of perfect happiness? How embarrassing and worrying that I have no answer to this question! I would say that learning to adapt to the needs of my American students has presented me with my biggest career challenges and greatest pleasures.

Interview courtesy of www. Frances Wilson is a pianist, piano teacher and blogger on music and pianism as The Cross-Eyed Pianist, and a regular music reviewer for international concert and opera listings site Bachtrack. In a year of celebrations, one British composer had more than many to celebrate: Ben Parry emerged as one of the most important voices in UK music with a string of commissions, high profile performances, and a new position at one of the most important choral institutions in the country. After university he joined the Swingle Singers, touring the world, recording and co-producing albums and arranging pieces for the group.

Many of these works are now published by Edition Peters in the Kikapust range of a cappella music. In , he and his family moved to Scotland where he co-founded the distinguished vocal ensemble, Dunedin Consort, and directed performances at festivals in the UK, Spain, Belgium, France and Canada. He was chorus master of the Scottish Chamber Orchestra Chorus and direc-. He then took up the post of Director of the Junior Academy, an offshoot of the Royal Academy of Music offering music tuition and development to some of the most talented young musicians in the UK.

Last year, Ben Parry took up his most recent and perhaps most high profile professional appointment, as Director of the National Youth Choirs of Great Britain. Founded in as a choir of of the most talented young singers around the country, the organisation now represents seven choirs with almost choristers from 9 to 28 years of age. Their mission is to nurture talent and give their singers access to the best vocal tutors and directors in the UK. With an audience of several thousand and the broadcast beaming around the world, the concert was a great success and lauded in the press, the London Times describing Flame.

The two met and performed together whilst students at Cambridge University but it would be some twenty years before they began to write together. Now their collaborations are in demand from commissioners and performers around the world. Another of these is Three Angels, a buoyant Christmas carol for choir and organ. Started in to compliment the live radio broadcast of A Festival of Nine Lessons and Carols, the service is watched by thousands around the nation, marking the beginning of Christmas for many.

Not only does it have strong personal resonances for me - I sang in the choir as an undergraduate, and the chapel is, without doubt, my favourite building - but it acknowledges my writing partnership with lyricist Garth Bardsley, my admiration of Stephen Cleobury and the choir, and well as my association with Edition Peters as publishers of my choral music. Since then, they have pursued a policy of constant and dynamic renewal, pushing back musical frontiers, exploring ever-new territories and attracting a substantial following right across the musical spectrum, both in Europe and further afield.

The London Quartet has appeared in a huge variety of venues, singing programmes encompassing early polyphony through to jazz and contemporary music. Keen to communicate directly with their. Their own digital record label, TLQ Records, releases new material, live concert recordings, and previously unreleased older recordings. Claude Dupuy: Une correspondance entre deux moderna. Naples Milano For the French manuscripts, humanistes. He rarely left Padua before his death in , devoting himself completely to creating his extraordinary library.

His collections were soon famous not only for their size and quality, but because he was able to establish an informal academy where scholars and professors of the local university could meet travellers from all over Europe. A pupil in Naples of the physician, pharmacist and botanist Bartolomeo Maranta, who dedicated a book to him in , 5 Pinelli retained a lifelong passion for botany which led him to set up a large botanical garden.

Prior to settling in Padua he had created a botanical garden in Naples, and had corresponded with the famous Italian naturalist Ulisse Aldrovandi. Courtesy of traits of illustrious men. His entire library was available to his guests, and BC Bertoliana, Vicenza his main concern was promoting the scholarly interests of others. In fact, he never published any of his own works.

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His library was not only a place where books and manuscripts were kept; it was also a setting where social and cultural relationships were formed. Maria Raugei. Florence ; see the In: Bibliotheca. On Berkeley Cambridge Antonio Stigliola enciclopedista e linceo. Rome , pp. Modena See also Leiden UL: cognoscendorum simplicium libri tres.

GJ Layout Courtesy of BN Braidense, Milan When Pinelli died, his enormous library contained around print- ed books and hundreds of manuscripts. Nicolas-Claude Fabri de Peiresc — was in his house at the moment of his death and spent some of the following weeks studying in his library, taking notes from its cata- logues and keeping up his correspondence. The Peiresc Foundation maintains php3?


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Padua ; Massimo entourage — Florence Various aspects of this complex Bucciantini: Galileo e Keplero. Colloque de Carpentras, forma.

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Turin , especially chapter 2: Peiresc. Paris —; he also published novembre Paris Paris , pp. Geneva , 2 vols. The letters New Haven, Conn. The most recent bibliography de Peiresc dans les anciens Pays-Bas. Turnhout When the collections were taken to Naples, some of them were lost. A biography of Pinelli was written by Paolo Gualdo — ,16 his friend and executor, and published in by the famous private [Fig. Nec press in Augsburg was set up by a group of local humanists who included non tractatus: primo, De hominis generatione. Mark Welser, scholar and friend of Pinelli. Sebastiani Cramoisy Maria veneto.

Milan , pp. Augsburg , pp. Atti del convegno internazionale followed by a bibliography of the press books belonging to Pietro Bembo, one of Udine, 18—20 ottobre Milan —, pp. On his library see patriarch of the Syrian-Giacobite church in Pinelli: la vendita a Federico Borromeo.

Antioch who died about , which was In: Bibliotheca. In qua studiosis und Kultur des oberdeutschen Handelshauses. In: Peiresc e bonarum artium, proponitur typus viri probi et Ed. Augustae Vindelicorum, Ad Insigne Berlin , pp. A fundamental role was played by nearby Venice, a major book market. Of course, none of them was available in printed form. More than twenty catalogues are still preserved today in the Biblioteca Ambrosiana in Milan, while we know from other witnesses that Pinelli once had more than forty catalogues, both of private and of institutional mainly religious collections.

One anonymous cata- logue was recently attributed to the library of the scholar Antonio Querenghi in Padua, but the attribution is not completely convincing. All these library catalogues were drawn up for Pinelli by others, since he rarely left Padua. Only rarely did catalogues describe libraries that were for sale, which would explain why they were available.

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Copies of these catalogues Library, now Ambrosiana Q sup. Paris — Motta: La biblioteca di Antonio 64 , pp. Nota per alfabeto delle scritture Bibliotheca sive antiquitates urbis Costantinopo- Secenteschi 41 , pp. S 77 sup. The In: Italia medievale e umanistica 41 , 25 An exception is the series of cata- catalogues were also included in Antoine Du pp.

Some parts of the catalogues italiane. Venetiis, apud Societatem moderna. In: Manoscritti, editoria e biblioteche Iasi 14 , pp. Here I would like to discuss three types of private library catalogue. These collections began to take on the shape of an institutional library, a process that was neither brief nor simple. For example, the library of Cardinal Bessarion — , which was donated to the Republic of Venice as early as , contained a thousand manuscripts, mainly Greek codices, which were of fundamental importance for the cultural history of Western Europe.

Many were acquired in when he purchased the famous collection of Giovanni Pico Verdier. When Margounios returned from Giovanni Vincenzo Pinelli. Classe di Funde und Forschungen. All these catalogues, both in bessarionei: a coronamento del V centenario della [on Margounios, see Giorgio Fedalto: manuscript copies and printed editions, donazione nicena. In: Rivista antiquitatibus et libris manuscriptis Constantino- Bessarione.

In: Miscellanea marciana 6 , di studi bizantini e neoellenici. Rostock Pinelli had catalogues of two Vene- tian collections which were so renowned they were cited among the librarie particolari listed by Francesco Sansovino in his guide to the city. Zorzi et al. New York Selected essays. Aldershot ; I greci storia dei codici di S. Pietro in Vaticano. Aubrey Diller: The library of Francesco in Occidente. Exhibition catalogue. In: Bulletin of the John items — in the inventory printed Fiaccadori et al. Venice Six early 32 Aubrey Diller, Henry D.

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