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The violinist Fritz Kreisler and the singers John McCormack and Paul Robeson were without question among the most celebrated musicians of the early 20th century, and each performed in Londonderry within a few months of one another in 1935 and 1936. This was due largely to the efforts of a remarkable man, Henry Bettesworth Phillips, who in a 60-year career as an impresario and owner of the world-renowned Carl Rosa Opera Company brought pleasure to audiences throughout the length and breadth of the country. Drawing on the surviving correspondence and contemporary reports Wesley McCann traces Phillips's varied career and unravels the many twists and turns of the planning which went into the brilliant series of concerts in Derry's Guildhall.
Familia,which was first published in 1985, aims to provide informed writing on sources and case studies relating to that area where Irish history and genealogy overlap with mutual benefit. Members of the Foundation's Guild receiveFamiliaand theDirectory of Irish Family History Researchas part of the return on their annual subscription.
While the musical culture of the British Isles in the 'long nineteenth century' has been reclaimed from obscurity by musicologists in the last thirty years, appraisal of operatic culture in the latter part of this period has remained largely elusive. Paul Rodmell argues that there were far more opportunities for composers, performers and audiences than one might expect, an assertion demonstrated by the fact that over one hundred serious operas by British composers were premiered between 1875 and 1918. Rodmell examines the nature of operatic culture in the British Isles during this period, looking at the way in which opera was produced and 'consumed' by companies and audiences, the repertory performed, social attitudes to opera, the dominance of London's West End and the activities of touring companies in the provinces, and the position of British composers within this realm of activity. In doing so, he uncovers the undoubted challenges faced by opera in Britain in this period, and delves further into why it was especially difficult to make a breakthrough in this particular genre when other fields of compositional endeavour were enjoying a period of sustained growth. Whilst contemporaneous composers and commentators and later advocates of British music may have felt that the country's operatic life did not measure up to their aspirations or ambitions, there was still a great deal of activity and, even if this was not necessarily that which was always desired, it had a significant and lasting impact on musical culture in Britain.
Shipbuilding was a most unlikely success story in Belfast and its prosperity was created by a strange mixture of entrepreneurial ability, timing, technical expertise and employment patterns. It was the last of the 'main' industries to develop in Belfast but in terms of wealth-creation and prestige, it was perhaps the greatest of the city's employers. By the start of the twentieth century Belfast had become one of the main centres of the British shipbuilding industry and, in some years before the First World War, the city's yards were producing up to 10% of British merchant shipping output. But how did the town develop into one of the world's great shipbuilding centres? This book offers the first history of the whole spectrum of the Belfast shipbuilding industry. It is the story of the yards and the ships. Beyond that it explores the social conditions and workplace environment of the tens of thousands whom this great industry embraced.
The Maguires of Tempo, whose substantial estate dated from the Ulster Plantation in 1610, were the only Gaelic family in Fermanagh to survive the upheavals of the next two centuries with their property more or less intact. By the time Constantine Maguire inherited in 1800, however, only a fraction remained. The extraordinary story of this resourceful, not to say ruthless, man's struggle to retain his social standing—in the course of which he married a famous courtesan and then fell in love with a mistress of his own—reads like a novel of the period. His brutal murder in Tipperary in 1832 was a suitably Gothic finishing touch to a rackety career. At a more serious level, the tale of "Captain Cohonny" throws useful light on some obscure aspects of life and death in early 19th century Ireland.
Famous for his Ancient music of Ireland, Bunting was trained in classical music. In 1813 he organized a festival in Belfast with Messiah as a highlight, for which unusually complete records survive. Johnston also charts the relationships between the various versions of Handel's work in Britain and Ireland.
Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfast‘s thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfast‘s musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfast‘s prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.
County Derry dates from the time of the Plantation of Ulster, when lands to the west of the now extinct county of Coleraine were joined to it to form the modern county. It is bounded conveniently by Lough Foyle to the west, the Sperrin Mountains to the south and the River Bann to the east.Sean McMahon's history starts with a consideration of the county's topography. The hills at the south and centre have tended to cut off the Foyle Basin from the east and cause the gaze of Derry City to turn towards Donegal and the west. Likewise, the east of the county around Coleraine tends to look east towards Antrim, Belfast and Scotland. The east-west division is also marked by a preponderance of Protestant population in the east and Catholic in the west.The earliest discovered settlement in all of Irish history - Mount Sandel on the lower Bann - is in the county. It dates to almost 6,000 B.C.