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BBC Music MagazineBBC Music Magazine

BBC Music Magazine October 2019

BBC Music Magazine is a must for anyone with a passion for classical music. Classical music connoisseurs and new enthusiast alike will enjoy the fascinating features and reviews of over 120 new works in every issue. Please Note: Our digital edition does not include the cover mount items or supplements you would normally find with printed copies

Country:
United Kingdom
Language:
English
Publisher:
Immediate Media Company London Limited
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13 Issues

IN THIS ISSUE

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this month’s contributors

Ivan Hewett Journalist and lecturer ‘A marriage of a joking Scouse conductor and a glamorous Czech soprano – what better symbol could there be of European harmony? And as I discovered, it’s clearly a marriage made in heaven.’ Page 28 Freya Parr BBC Music’s editorial assistant ‘As the team’s resident millennial, I was delighted to be sent off to try the BBC Phil’s in-concert app, which transformed my listening experience. From now on, putting my phone away before a concert won’t feel quite right.’ Page 72 Mikel Toms Conductor and writer ‘Listening to over 20 recordings of Janáÿek’s colourful, passionate and idiosyncratic Taras Bulba (a mere 101 years young) has opened my eyes anew to this Moravian masterpiece’s depth and innovation.’ Page 82…

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welcome

It’s surely a sign of the times when you’re relieved that only one mobile phone has gone off in a concert. Mind you, I’ve refused to let ringtones ruin my musical experience, even if there’s something ridiculous about a smartphone going off in the middle of a piece of hushed Shostakovich. From there, you might think I hate the idea of programme notes being delivered live to audience members’ mobiles (see p72). Truth is, however, that the smartphone has enhanced my enjoyment of music in more ways than I thought possible, from a clever metronome app that gives me a beats-per-minute from taps on the screen, to its audio and video capabilities that let me scrutinise my own performances. And, of course, I can stream millions of tracks at the…

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bbc music magazine

EDITORIAL Plus the works that inspired us to listen to classical music as children Editor Oliver Condy Prokofiev: Peter and the Wolf Deputy editor Jeremy Pound Tchaikovsky: 1812 Overture Managing editor Rebecca Franks Tchaikovsky: The Nutcracker Reviews editor Michael Beek Holst: ‘Jupiter’ from The Planets Editorial assistant Freya Parr Tchaikovsky: Swan Lake Cover CD editor Alice Pearson Mozart: Papageno’s Song (The Magic Flute) Listings editor Paul Riley Mozart: Ave verum corpus Art editor Dav Ludford Designer Liam McAuley Picture editor Sarah Kennett Thanks to Daniel Jaffé; Rosie Olver; Alice Williams MARKETING Subscriptions director Jacky Perales-Morris Direct marketing executive Craig Ramsay ADVERTISING Advertising Sales Director Mark Reen +44 (0)117 300 8810 Advertisement manager Louise Dunn +44 (0)117 300 8813 Sales and partnership manager Rebecca O’Connell +44 (0)117 300 8814 Senior account manager Rebecca Yirrell +44 (0)117 300 8811 Senior brand sales executives Katie Gibbons +44 (0)117 300 8812 James McMahon +44 (0)117…

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letter of the month

Acoustic marvels With regards to the picture of Elgar and Beatrice Harrison recording the Cello Concerto in your September issue, would they really have used acoustic horns in 1928? And doesn’t Elgar look a few years younger than you would think? I wondered if it was, in fact, the earlier acoustic recording from November 1920? For those who haven’t heard it, that acoustic recording is well worth a listen, despite its cuts. There is a sadness, beauty and authority to it, given the involvement of Elgar and Harrison and the players’ response to their music-making. There is also the added poignancy that it is a recording made only two years after the end of the war, and seven months after Lady Elgar’s death, and this poignancy is evident, despite the acoustic…

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have your say…

Costume drama Geoff Brown’s 15 cinematic nights out (August) brought back many pleasant memories of movies from my childhood, particularly Charlie Chan at the Opera. In his first book, A Smattering of Ignorance, Oscar Levant wrote with wit – as he always did – about composing the make-believe opera: Boris Karloff’s character sang as Mephistopheles because 20th Century Fox had clothing left over from a movie starring Lawrence Tibbett. ‘I had heard of music being written around a singer,’ recalled Levant, ‘but never for a costume.’ Years later, Boris Karloff happily remembered the ease with which he ‘sang’ in synch with the pre-recorded Italian libretto by mouthing the names of California cities: ‘Sacramento, Santa Barbara, San Diego…’. Preston Neal Jones, CA, US Let’s communicate Your Sound of Silents feature (August) came as a lovely…

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gardner heads for the london philharmonic

Edward Gardner has been named as the new principal conductor of the London Philharmonic Orchestra. The Englishman, 44, will join the Southbank-based ensemble on a five-year contract at the beginning of the 2021/22 season, taking over from Vladimir Jurowski as he adds his name to the likes of Thomas Beecham, Adrian Boult and Georg Solti in holding the prestigious post (see right). Chief conductor of the Bergen Philharmonic Orchestra in Norway since 2015, Gardner has long been tipped for a major post with one of the UK’s leading orchestras. A former chorister at Gloucester Cathedral and choral scholar at King’s College, Cambridge, he cut his teeth as assistant to Mark Elder at the Hallé before devoting his attention chiefly to opera as music director of Glyndebourne on Tour and, from 2007-15,…

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