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I've Always Kept a Unicorn tells the story of Sandy Denny, one of the greatest British singers of her time and the first female singer-songwriter to produce a substantial and enduring body of original songs. Sandy Denny laid down the marker for folk-rock when she joined Fairport Convention in 1968, but her music went far beyond this during the seventies. After leaving Fairport she formed Fotheringay, whose influential eponymous album was released in 1970, before collaborating on a historic one-off recording with Led Zeppelin - the only other vocalist to record with Zeppelin in their entire career - and releasing four solo albums across the course of the decade. Her tragic and untimely death came in 1978. Sandy emerged from the folk scene of the sixties - a world of larger-than-life characters such as Alex Campbell, Jackson C. Frank, Anne Briggs and Australian singer Trevor Lucas, whom she married in 1973. Their story is at the core of Sandy's later life and work, and is told with the assistance of more than sixty of her friends, fellow musicians and contemporaries, one of whom, to paraphrase McCartney on Lennon, observed that she sang like an angel but was no angel.
How did a late-blooming midwestern orchestra rise amid gritty Big Industry to become a titan in the world of Big Art? This groundbreaking book tells the complete story of the people and events that shaped the Cleveland Orchestra into a classical music legend. It taps the most authoritative sources to show how decisions were made along the often bumpy road to artistic and financial success. Told with plenty of anecdotes and intriguing behind-the-scenes details.
This second comprehensive and scholarly volume of over 500 pages on the life and work of Andres Segovia contains a biography of the years 1958-1987 and focuses on Segovia's rendition of Spanish/Romantic and Contemporary/Neo-Classical masterpieces by Tárrega, Albeniz, Granados, Llobet and Ponce. A special appendix in each volume presents the original scores for the Segovia editions discussed in the text, some of which have never been published, as well as modern editions of these pieces. Includes access to an online audio recording by Gerard Garno.
(Amadeus). His exceptional good looks made him a matinee idol, and Franco Corelli the Prince of Tenors was dubbed "Mr. Soldout" for 20 consecutive years. In 1958, just seven years after beginning his career, he was already the highest-paid tenor in Italy. Following his Met debut in 1961, he was celebrated as the greatest tenor in the world, a position that he retained until his departure from the Met in 1975. His charismatic performances in such operas as La Vestale and Fedora (both in collaboration with Maria Callas), coupled with a formidable mystique, as well as a number of notorious and colorful incidents, including his real-life sword fight with Boris Christoff in Rome, the Callas walkout there, the beating up of a spectator in Naples, and the alleged biting of Birgit Nilsson on a Boston tour of Turandot , created a mania for Corelli. Nearly a decade in the making, this definitive biography is based on the author's extensive research of theater archives and interviews with the opera star's numerous friends, family members, colleagues (Nilsson, Pavarotti, and many others), as well as the management of some of the world's leading opera houses.
Was it a non-stop psychedelic party or was there more to pirate radio in the sixties than hedonism and hip radicalism? From Kenny Everett's sacking to John Peel's legendary `Perfumed Garden' show, to the influence of the multi-national ad agencies, and the eventual assimilationof aspects of unofficial pop radio into Radio One, Selling the Sixties examines the boom of private broadcasting in Britain. Using two contrasting models of pop piracy, Radios Caroline and London, Robert Chapman sets pirate radio in its social and cultural context. In doing so he challenges the myths surrounding its maverick `Kings Road' image, separating populist consumerism from the economic and political machinations which were the flipside of the pirate phenomenon. Selling the Sixties includes previously unseen evidence from the pirates' archives, revealing interviews and an unrivalled selection of rare audio materials.
Noted organist and scholar Anthony Hammond tells the full story, for the first time, of one of the great organists of the twentieth century. Described by his teacher Marcel Dupré as "a phenomenon without equal in the history of the contemporary organ," Pierre Cochereau is considered one of the twentieth century's greatest French organists.This book tells, for the firsttime, the full story of of his extraordinary life and glittering, worldwide career. In 1955 Cochereau was appointed Organiste Titulaire at Notre-Dame de Paris, where he restored the cathedral's musical glory and oversawa far-reaching and controversial transformation of its organ. As a recitalist, he toured South America, Australia, Asia, Canada, and Europe in addition to twenty-five tours of the United States. He was the first western organist to perform in the former Soviet Union., played with many major orchestras under the batons of distinguished conductors, participated in numerous music festivals in Europe, made over eighty recordings, and was one of the founders of the Chartres International Organ Competition. He was honored several times for his achievements, including being named an Officer of the Legion of Honor (1978). A tireless campaigner for standards in music education, Cochereau also served as director at many of France's prominent conservatories, including Le Mans, Lyons, and Nice, which under his directorhsip became one of the leading music schools in France. Biographer AnthonyHammond draws from a variety of of prominent primary sources, notably Marcel Dupré's papers in the Bibliothèque Nationale, Paris, but also from Cochereau's surviving family and friends, and uses recordings and previously overlooked archive films in the Institut National de l'Audiovisuel, France to construct this definitive account and critical appraisal of one of France's most distinguished organists. Anthony Hammond is an English concert organist, improviser, and musicologist who specializes in French Romantic and twentieth-century organ music.
The debate over modernist music has continued for almost a century: from Berg's Wozzeck and Webern's Symphony Op.21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists in that they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse. The aim of this volume is to negotiate a varied and open middle ground between polemical extremes of reception. The contributors sketch out the possible significance of a repertory that in past discussions has been deemed either meaningless or beyond describable meaning. With an emphasis on recent aesthetics and contexts -- including film music, sexuality, metaphor, and ideas of a listening grammar -- they trace the meanings that such works and composers have held for listeners of different kinds. None of them takes up the usual mandate of "educated listening" to modernist works: the notion that a person can appreciate "difficult" music if given enough time and schooling. Instead the book defines novel but meaningful avenues of significance for modernist music, avenues beyond those deemed appropriate or acceptable by the academy. While some contributors offer new listening strategies, most interpret the listening premise more loosely: as a metaphor for any manner of personal and immediate connection with music. In addition to a previously untranslated article by Pierre Boulez, the volume contains articles (all but one previously unpublished) by twelve distinctive and prominent composers, music critics, and music theorists from America, Europe, Australia, and South Africa: Arved Ashby, Amy Bauer, William Bolcom, Jonathan Bernard, Judy Lochhead, Fred Maus, Andrew Mead, Greg Sandow, Martin Scherzinger, Jeremy Tambling, Richard Toop, and Lloyd Whitesell. Arved Ashby is Associate Professor of Music at the Ohio State University.
This book is the first comprehensive account of classical music on all British radio stations, BBC and commercial, between 1945 and 1995. It narrates the shifting development of those services, from before the launch of the Third Programme until after the start of Classic FM, examining the output from both qualitative and quantitative perspectives, as well as recounting some of the stories and anecdotes which enliven the tale. During these fifty years, British classical music radio featured spells of broad, multi-channel classical music radio, with aspirational and mainstream culture enjoying positive interactions, followed by periods of more restricted and exclusive output, in a paradigm of the place of high culture in UK society as a whole. The history was characterised by the recurring tensions between elite and popular provision, and the interplay of demands for highbrow and middlebrow output, and also sheds new light on the continuing relevance of class in Britain. It is an important and unique resource for those studying British history in the second half of the twentieth century, as well as being a compelling and diverting account for enthusiasts for classical music radio.