#academy of st Martin in the fields

[musicwithoutborders]

William Boyce / Academy Of St Martin In The Fields, Symphony In B Flat Major, Op. 2/7: II. Moderato I Sensational Symphonies For Life, Vol. 1, 2020

[tfblovesmusic]

Feeling sorry for my second favorite countertenor today.

I don’t know the user, but she is a vocalist. I think maybe a hacker got in and posted this explicit, spammy flotsam on Michael Chance’s FB page. I reported both posts.

Moving on from all that, here’s him singing an excerpt from Handel’s Messiah:

[timetestedtimeapproved]

Academy of St. Martin In the Fields with Joshua Bell, Musical Director and Violinist

If you have never seen someone simultaneously conduct and solo, it is crazy. I was so desperately trying to capture his arm as he conducted but he left before I could finish. Imagine my joy when he returned to the stage. He certainly didn't. I'm sorry, Joshua Bell, for being way too enthusiastic about you coming back to the stage and scaring you with my face.

Pictured is Joshua Bell, Louise Goodwin (timpani), and Lynda Houghton (double bass).

[mrbacf]

Boyce: Symphony No. 8 in D Minor

[djfrancuz]

Christine and The Queens, Jay Z - Full Of Life Forever Live Mix @La-Mu...

[onenakedfarmer]

Currently Playing

JS Bach THREE OBOE CONCERTOS

Oboe Concerto in F Major, BWV 1053r

Oboe Concerto in A Major, BWV 1055r

Oboe Concerto in D minor, BWV 1059r

Heinz Holliger

Iona Brown Academy of St. Martin-in-the-Fields

[music-interpretation-review]

Selections from Requiem in D Minor (K. 626) by Wolfgang Amadeus Mozart

[thevoicefrompromise]

Vivaldi: The Four Seasons: Winter, I. Allegro non molto [Academy of St. Martin in the Fields]

We have no interest in those you love, yet others will; You, who fight a war for another. You who strides upon the shores of our seas within an armor ready to lay waste to a woman of undignified corruption.

Let us swallow her, do not allow your hands to grow weary with the blood of another. Let us consume her, do not let your crystalline shores be tainted with a blood most foul. Let us drown her, to drag her into our darkest depths and free her flesh from bone. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. Let us feed. {The Siren's Song} @sirensongtemptation

Agents of HORUS. They damn me. They haunt me.

This is no war I fight this is a duel this is merely one act in a play that I do not star in! I am a duelist, a painter, a performer. For once act I play nay one single scene and I return behind the curtain!

These Sirens.... begone... I BEG AND I IMPLORE!

I AIM TO HARM VIOLET HURST AND HER CRONIES! That is all..... Dearest Mother... Dearest Father.... why me? Why leave me at the whims of these agents of these who wriggle in my mind?

You may not feast upon the flesh.... you may not FEAST!

/Suzerain Arvantiel Sarthis of The House of Promise\

[posttexasstressdisorder]

Sunday, 11-10-24, 8pm Pacific

'Evenin', folks...Mr. Baggins back with you for what I've decided to call "Sunday Serenade": Music to soothe and make ears happy as we head into next week. So to launch this inaugural edition of the program, I didn't have to think too hard, I mean, what else could we begin with, not one but two serenades: the music of Antonin Dvorak, his Op. 22 (Serenade for Strings) & Op. 44 (Serenade for Winds). Both played quite handily by Neville Marriner and The Academy of St. Martin in the Fields, on a Philips recording made in the early '80s. The sound is nothing less than sumptuous. Enjoy.

Shifting to more of an introspective vein, here is one of the most soothing albums I've ever owned: Harold Budd and Brian Eno's ground-breaking Ambient 2: The Plateaux of Mirror, from 1980, followed by their later collaboration, The Pearl.

We continue now with the music of Sir Edward Elgar, his beautiful Serenade for Strings, performed here in a live recording by the Norwegian Chamber Orchestra, earlier this year, in April 2024.

And I thought I would end tonight's Sunday Serenade with the music of Vaughan Williams, his "The Lark Ascending", once again, Sir Neville Marriner conducting the ASMF, with violinist Iona Brown.

Mr. Baggins signing off until tomorrow. Be kind, babies, be kind.

[doyourememberrocknrollradio]

Handel: Water Music Suite No. 2 in D Major, HWV 349 - Hornpipe · Academy of St Martin in the Fields · Sir Neville Marriner · George Frideric Handel

[lesser-known-composers]

Ferdinando Carulli (1770-1841) - Concerto for guitar & orchestra in E Minor, Op. 140 (Petit Concerto de Société),

I. Allegro 0:00 II. Largo + III Allegro (without break) 7:11 - - 10:15

Pepe Romero, guitar,

Academy of St. Martin in the Fields, Iona Brown

[mybeingthere]

Pamela Burns (b 1938) is a British painter.

Burns was born in London and now lives in Pembrokeshire. She studied at the Royal Academy Schools until 1963 and later taught at St Martins and Chelsea College of Art, London.

The technique Burns uses is engrossing and it is hard not to wonder at how these paintings are made. The marks, as if enchased, in their repeated lines, have an almost hallucinogenic quality - one is fixated by their minute scale. Some have been painstakingly created in reverse, with the background colour revealing the contrasting lines. It is a technique with its own mystery, delicately matching the mysteries of her compositions.

Burns paintings from the 1970s and '80s were inspired by the neolithic landscapes of the South West and the deep-rutted fields that lie in the shadows of the Malvern Hills, drenched in the warm greys, endlessly variant greens and deep browns of England's mud-bound cores. In particular, she looked to Maiden Castle, Dorset, and Cherhill in Wiltshire, both sites where the chalky soil had slipped to form narrow parallel ridges along the contours of the landscape.

https://www.jennaburlingham.com/.../197-pamela.../biography/

[paulinedorchester]

Sandro Botticelli (Italian (Florentine), 1445 -1510). La primavera (Spring). Tempera grassa on wood, ca. 1480. Galleria Ufizzi, Florence; 1890 n. 8360

Ottorino Respighi (Italian, 1879-1936), "La primavera," from Trittico Botticelliano (1927). The Academy of St. Martin in the Fields / Sir Neville Marriner. Recorded in ca. 1977.

[justforbooks]

Sir Andrew Davis

One of Britain’s greatest conductors widely admired for leading the BBC Symphony Orchestra at the Proms

One of the most beloved and highly esteemed conductors of his generation, Sir Andrew Davis, who has died aged 80 of leukaemia, was a familiar presence on the podium, not least through his countless appearances at the BBC Proms in his capacity as chief conductor of the BBC Symphony Orchestra (1989-2000).

After Adrian Boult, his was the second longest tenure of the post in the history of the orchestra. During the same period he was also music director of Glyndebourne Opera (1988–2000), conducting works by Mozart, Janáček and Richard Strauss, among many others.

The sheer range of his repertoire was in fact one of the defining features of Davis’s career. Not only was he acclaimed as an empathetic interpreter of British music from Elgar and Vaughan Williams to Holst and Bliss, but he also had the ability to assimilate contemporary scores such as Michael Tippett’s The Mask of Time, Harrison Birtwistle’s The Mask of Orpheus, Nicholas Sackman’s Hawthorn or David Sawer’s Byrnan Wood, all of which were either introduced at the Proms or recorded. The Birtwistle was named record of the year at the Gramophone awards in 1987.

But as he showed season after season in the BBC post, Davis could bring both vitality and a discerning sense of idiom to almost any music. One recalls, almost at random, a 2015 concert featuring a sensuous account of Delius’s In a Summer Garden, followed by a lithe and muscular suite from Ravel’s erotic Daphnis et Chloé, the ecstatic choral shouts and shuddering climaxes leaving little to the imagination. The concert also included music by Carl Nielsen and a new work, Epithalamion, by Hugh Wood.

One of many highlights of his Proms appearances was his commanding premiere in 1998 of Elgar’s Third Symphony in the “elaboration” by Anthony Payne (effectively a performing version made from the composer’s sketches).

Another was his speech from the podium in 1992, delivered as a patter song to the tune of Gilbert and Sullivan’s “I am the very model of a modern major-general”, complete with witty rhymes and repartee with the delighted audience. The trick was repeated on the final night of the 2000 festival, his last as the orchestra’s chief conductor. On his arrival at the BBC Symphony Orchestra, the more truculent members of the ensemble had to be won over, but they were, by his genial humour and charm, as well as his purely musical talents.

He was also popular with soloists, not necessarily offering a radically new perspective of his own, but listening carefully to them to provide an ideal accompaniment. The pianist Stephen Hough said he had “the sharpest ear and the clearest stick”. Both on and off the podium Davis exuded bonhomie and affability. His concern as a conductor was always to create the conditions that enabled musicians to give of their best.

Born in Ashridge, Hertfordshire, he was the son of Robert Davis, a compositor, and his wife, Joyce (nee Badminton). Andrew began to learn the piano at the age of five and attended Watford grammar school. In 1959 he started organ studies with Peter Hurford and subsequently won an organ scholarship to King’s College, Cambridge, where he played under David Willcocks. He then studied conducting at the Accademia di S Cecilia, Rome, under Franco Ferrara, and in London with George Hurst. From 1966 to 1970 he was pianist, harpsichordist and organist with the Academy of St Martin in the Fields.

In 1970 he made his debut with the BBC Symphony Orchestra and in the same year was appointed assistant conductor of the BBC Scottish Symphony Orchestra. He then became principal guest conductor of the Royal Liverpool Philharmonic Orchestra (1974–77) and music director of the Toronto Symphony Orchestra (1975–88), whose stature he boosted with major tours of North America, Europe and Asia. In 1982, he helped establish the orchestra’s new home at Roy Thomson Hall, and advised on the construction of its organ.

Then came the posts at the BBC Symphony Orchestra and Glyndebourne. His debut at the latter had been in Strauss’s Capriccio (1973) and he was to become a noted exponent of the composer’s operas.

In 1989 he married the soprano Gianna Rolandi, whom he had met when she sang Zerbinetta under his baton first at the Metropolitan, New York, in 1984 and again at Glyndebourne in 1988.

On his retirement from the BBC in 2000 he moved to the US with Rolandi and their son, Edward, to take up the appointment of music director, until 2021, of the Lyric Opera of Chicago, where he conducted nearly 700 opera performances including Wagner’s Ring cycle (2004–05). A second cycle was planned for the 2019–20 season, but was never completed on account of the Covid pandemic. He additionally conducted orchestral concerts at the Lyric and free concerts at Millennium Park.

From 2012 to 2019, he also held the post of chief conductor of the Melbourne Symphony Orchestra, becoming conductor laureate, while continuing to live in the US.

In addition to his conducting, he made an orchestration of Handel’s Messiah, performing it with the Toronto orchestra, and of Berg’s Piano Sonata, op 1, and Passacaglia (Berg was a composer who inspired him, he once said, throughout his life). His own compositions included La Serenissima: Inventions on a Theme by Claudio Monteverdi (1980), Chansons Innocentes for children’s chorus and orchestra (1984) and Alice (2003) – settings of Lewis Carroll for mezzo-soprano, tenor and children’s chorus. At his death he was working on orchestrating some of JS Bach’s organ music.

During the pandemic lockdown he drew on his knowledge of the classics, gained as a student, to undertake an original translation of Virgil’s Aeneid. Though modest about his poetic abilities, he did comment that the experience was comparable to that of making music: “The manipulation of sonorities and rhythms and the search for ways of bringing to life the vividness of Virgil’s imagery and at times his great emotional power struck me as remarkably similar to the search that I have been engaged in all my life on the podium.”

His numerous recordings reflect the vast range of his repertoire, British and contemporary music looming large alongside Stravinsky, Strauss, Berlioz, Ives, Sibelius, Weill and the complete Dvořák symphonies. A 16-CD retrospective collection celebrating British composers on Teldec’s The British Line series was released by Warner Classics.

In 1991, he received the Royal Philharmonic Society/Charles Heidsieck music award. He was appointed CBE in 1992 and knighted in 1999.

Rolandi died in 2021. Davis is survived by Edward, a composer, singer and conductor.

🔔 Andrew Frank Davis, conductor, born 2 February 1944; died 20 April 2024

Daily inspiration. Discover more photos at Just for Books…?

[onenakedfarmer]

JS Bach THREE OBOE CONCERTOS

Heinz Holliger

Iona Brown Academy of St. Martin-in-the-Fields

BWV 1053r - Concerto in F Major for Oboe and Strings

BWV 1059r -Concerto in D minor for Oboe and Strings

BWV 1055r - Concerto in A Major for Oboe and Strings