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BBC Music Magazine

BBC Music Magazine June 2018

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

País:
United Kingdom
Idioma:
English
Editor:
Immediate Media Company London Limited
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USD51.68
13 Números

En este número

1 min.
this month’s contributors

Freya Parr Editorial Assistant ‘Vladimir Jurowski’s curious spirit and inspired programming make him a thoroughly deserving RPS Award winner. I’m still pinching myself that I got to interview him for my first magazine feature!’ Page 22 JPE Harper-Scott Writer and academic ‘The biggest mystery about Elgar’s Enigma Variations is why he created the idea of an “enigma” at all, when the piece itself is so endlessly interesting and moving. Still, he liked his “japes”.’ Page 26 Kate Molleson BBC Radio 3 presenter ‘An hour with Danielle de Niese is the interview equivalent of circuit training – apparently she doesn’t need to stop to breathe like us mortals. She is diva incarnate: big ambition, big charisma, big heart. And great fun.’ Page 36…

1 min.
welcome

The BBC Music Magazine podcast is back! Those of you quick off the mark will have noticed that not only do we now produce just the one podcast per month, but that it’s packed with all sorts, from a run-down of the latest classical news and a flick through the month’s magazine, to a discussion of the Recording of the Month and our pick of the latest, most intriguing new discs. But that’s not all – we’ve even commissioned our own jingles (which radio programme is complete without its own jingles? Radio 3 take note). Composed by Christopher Maxim, each one is in the style of a different English choral composer: Tallis, Handel (yes, he’s English – we’re keeping him), Parry, Howells, Rutter and some pastiche Gregorian chant to top…

1 min.
letter of the month

A conductor and a gentleman I was pleased to see the tribute to conductor Jesús López Cobos in your April issue. I will always remember a Beethoven Missa Solemnis just after the death of his wife here in Madrid in the Teatro Real – then still a concert hall – and his concert version of Wagner’s Lohengrin as the season’s closing concert, just before the renovation that brought us back the great Opera theatre that is the Teatro Real. This was during his tenure at our National Orchestra (ONE), a not exactly easy period both privately and professionally for him. But despite that, when I approached him several times as a (then) young concert-goer, he always had a smile and a couple of minutes to talk to me. A longer article…

4 min.
have your say…

Check the halls I enjoyed your article about London’s lost venues (May issue), but as a professional Northerner – and adopted Scot – I can’t but think you’ve missed a trick in your London-centric view. A more balanced article could have included the likes of Manchester’s Free Trade Hall, Glasgow’s St Andrew’s Hall, previous iterations of Liverpool’s Philharmonic Hall, Perth’s City Hall, and The Leith Theatre, to name but a few. How about a future article showcasing our glorious architectural concert heritage outside of the capital? Philip Whitley, Edinburgh Carpet carp When I was 11, I sang in the chorus of a school production of HMS Pinafore, an experience which engendered a deep love for Gilbert and Sullivan, then by extension for all opera and the whole classical genre. I am now in my…

1 min.
sound bites

Treasurable tune The identification of a passage of music in a 1660s painting has led to a song from the era being recorded for the first time. The music, which can be seen in The Paston Treasure by an unknown Dutch artist, has been discovered to be from Robert Ramsey’s 1630 Charon, O Charon heare a wretch oppreste, the manuscript of which is in Oxford’s Bodleian Library. Using the Bodleian source along with the painting, Professor Jo Wainwright of the University of York has constructed a version that can now be performed. St John’s shortfall There are fears that St John’s Smith Square, one of London’s best loved concert halls, may close if a new source of funding isn’t found soon. Richard Heason, director of the venue, a former church, has revealed that…

3 min.
addinsell’s warsaw concerto enchants uk cinema goers

Addinsell, himself a gifted pianist, proved an inspired choice to write the music On Thursday 26 June 1941, war-weary UK cinema-goers had their first chance to seek a few innocent thrills with RKO’s latest release: Dangerous Moonlight. Starring Anton Walbrook, Sally Gray, Cecil Parker and John Laurie (later to find fame as Private Frazer in Dad’s Army), this uplifting story of an injured Polish airman-pianist-composer who falls in love during convalescence proved a major hit on both sides of the Atlantic. Although a popular success, the critics were less charitable, especially regarding Walbrook, who had insisted on performing his own keyboard ‘stunts’. The film is transformed, however, when at around 55 minutes, a stirring piece of freshly composed music that has so far only been hinted at receives a truncated concert performance…