Katherine Manley Vidéos
Dernière mise à jour
2024-04-28
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Ivor Gurney Adolf Busch Busch Carl Flesch Hamilton Harty John Barbirolli Manley Boyd Neel Frank Bridge Benjamin Britten John Ireland Beethoven Ralph Vaughan Williams Lark Bach Henry Purcell Dvořák Arthur Benjamin Benjamin Dale Lennox Berkeley Kenneth Leighton Edmund Rubbra York Bowen Howard Ferguson Arthur Bliss Béla Bartók Handel Rachmaninoff Smetana Arnold Bax Yehudi Menuhin London Symphony Orchestra Aeolian Quartet Salzburg Festival Proms 1686 1697 1718 1908 1909 1911 1927 1930 1935 1936 1937 1938 1940 1942 1947 1952 1963 1966 1978 1979 1987
The Apple Orchard by Ivor Gurney, Frederick Grinke - Violin Ivor Newton - Piano Recorded in 1942. The Apple Orchard is one of two short pieces written for violin and piano by Ivor Gurney that were published posthumously in 1940. Frederick Grinke CBE (8 August 1911 – 16 March 1987) was a Canadian-born violinist who had an international career as soloist, chamber musician, and teacher. He was known especially for his performances of 20th-century English music. He started to learn the violin at the age of 9, and studied with John Waterhouse and others in Winnipeg. He made his first broadcast at the age of about 12, and formed a trio at age 15. In 1927, he won a Dominion of Canada scholarship award to the Royal Academy of Music in London, where he studied with Rowsby Woof. He continued his studies (at age 21) for a summer with Adolf Busch in Switzerland, and afterwards in Belgium and London with Carl Flesch. Hamilton Harty considered appointing him leader of the London Symphony Orchestra at the age of 21, but the offer was not made on account of his youth. From around 1930 to 1936, Grinke was second violin of the Kutcher String Quartet (in which John Barbirolli was for a time the 'cellist). In 1935, with pianist, Dorothy Manley, he gave the premiere of the Canadian composer Hector Gratton's Quatrieme danse canadienne. It was with Manley and Florence Hooton, both fellow students at the Academy, that Grinke formed his trio, Kendall Taylor later replacing Manley. In 1937 he became concertmaster of the Boyd Neel Orchestra, a post he would hold until 1947. His first performance with them was at the Salzburg Festival in 1937, giving the premiere of the Variations on a Theme of Frank Bridge by Benjamin Britten. Thereafter he performed with them in Europe, USA, Australia and New Zealand, the London Proms, and at the Edinburgh Festival. He resigned as concertmaster to pursue his solo career. During the later 1940s, Grinke made numerous recordings, mainly for Decca, many of which were originally released in the last years of 78rpm records. His recordings of John Ireland's chamber music include the Phantasie Trio of 1908, the 1938 Trio no 3 in E major, and The Holy Boy (with Florence Hooton (cello) and Kendall Taylor (piano)), and the Violin Sonata no 1 of 1909 with the composer at the piano. The trio also recorded the Phantasy trio of Frank Bridge and the Beethoven trio in E flat. Ralph Vaughan Williams dedicated his Sonata in A minor, written in 1952, to Grinke, who recorded the composer's Concerto Accademico in D minor, and The Lark Ascending, with the Boyd Neel Orchestra. Grinke and David Martin (also a Canadian violinist) performed J.S. Bach's Concerto for two violins at Vaughan Williams's funeral. Among other recordings from the 1940s were no's 3 and 9 from the 1697 set of 10 Sonatas by Henry Purcell, with Jean Pougnet and Boris Ord, and Purcell's sonata in G minor with Arnold Goldsbrough. He is heard with Kendall Taylor in the Dvořák G major Sonatina op 100, and with Watson Forbes (violist of the Stratton Quartet and Aeolian Quartet) in Mozart duos. He also premiered and recorded works by Arthur Benjamin, Benjamin Dale, Lennox Berkeley, Kenneth Leighton, Edmund Rubbra, York Bowen, Howard Ferguson, Arthur Bliss, Béla Bartók, Beethoven, Handel, Rachmaninoff and Smetana, often accompanied by Ivor Newton. He recorded all six Brandenburg Concertos with the Boyd Neel Orchestra, and made a broadcast of the Arnold Bax violin concerto from Australia. From 1963 to 1966 he taught at the Yehudi Menuhin School at Stoke D'Abernon, Surrey. He frequently sat on juries for international competitions. He retired from the Royal Academy of Music in 1978, where his students included John Georgiadis, and was appointed a CBE in 1979, but continued teaching until his death, which occurred in 1987. The National Portrait Gallery lists 8 portraits of Grinke in its collections.[ Grinke played an instrument by J. B. Rogerius of 1686, with aluminium-covered D and A, and silver-covered G and steel E strings, but also often played a Stradivarius dated 1718, lent by the Royal Academy of Music. He was married in 1942 to Dorothy Sirr Sheldon and had one son. He is buried in the churchyard of St Mary, Thornham Parva, Suffolk.
This clip relates to my new book about variety theatre, Britain Had Talent: A History of Variety Theatre (Palgrave, 2011). Check it out on Amazon: (http•••) Footage of some great variety acts: The Danny Lipton Trio; Dave & Joe O Gorman; Bamberger & Bishop; Gaston & Andree; Larry Adler; Sereno & June; Manley & Austin; Gracie Fields; and the Skating Avalons.
Handel Lucy Crowe Linde Lisandro Abadie David Bates Bates Persson Sweeney 1712 2010
G F Handel IL PASTOR FIDO (1712) world premiere recording Libretto based on original by Rinnuccini Cast Amarilli: Lucy Crowe - Soprano Mirtillo: Anna Dennis / Soprano Eurilla: Katherine Manley / Soprano Dorina: Madeleine Shaw / Mezzo Soprano Silvio: Clint van der Linde / Countertenor Tirenio: Lisandro Abadie - Bass-baritone La Nuova Musica: David Bates / Direction 1st Violins: Bojan Cicic, Sabine Stoffer, Karin Bjork, Elinor Harrison 2nd Violins: Hannah Tibell, James O'Toole, Stephen Pedder Violas: Emma Alter, Malgiosa Zemenkiweiz, Alexandria Lawrence Cellos: Henrik Persson, Graham Walker Viola da Gamba: Henrik Persson (recits only) Double Basses: Dawn Baker, Tomoki Sumiya Oboes: Joel Raymond, Gail Henessey Bassoon: Rebecca Stockwell Harpsichord: Joseph McHardy, David Bates (recits only) Theorbo: Richard Sweeney Producer: Andrew Grifiths Engineer: David Hinett Language Coach: Valentia di Taranto English Translation: Peter Jones Film photographed and directed by: Emanuel Altenburger Film produced by: AltenburgerFilm.com Recorded in The Temple Church, London August 2010
Milton Babbitt Thomas Meglioranza Fred Sherry Hopkins Peel Burns Stark 1955 2005
Two Sonnets (1955) / composer, Milton Babbitt ; baritone, Thomas Meglioranza ; clarinet, Alan Blustine ; viola, Lois Martin ; cello, Fred Sherry Recorded as part of the Works & process performance series at the Solomon R. Guggenheim Museum, New York, on May 23, 2005 1. Spelt from Sibyl’s Leaves BY GERARD MANLEY HOPKINS Earnest, earthless, equal, attuneable, ' vaulty, voluminous, . . . stupendous Evening strains to be time’s vást, ' womb-of-all, home-of-all, hearse-of-all night. Her fond yellow hornlight wound to the west, ' her wild hollow hoarlight hung to the height Waste; her earliest stars, earl-stars, ' stárs principal, overbend us, Fíre-féaturing heaven. For earth ' her being as unbound, her dapple is at an end, as- tray or aswarm, all throughther, in throngs; ' self ín self steepèd and páshed – quite Disremembering, dísmémbering, ' áll now. Heart, you round me right With: Óur évening is over us; óur night ' whélms, whélms, ánd will end us. Only the beak-leaved boughs dragonish ' damask the tool-smooth bleak light; black, Ever so black on it. Óur tale, O óur oracle! ' Lét life, wáned, ah lét life wind Off hér once skéined stained véined varíety ' upon áll on twó spools; párt, pen, páck Now her áll in twó flocks, twó folds – black, white; ' right, wrong; reckon but, reck but, mind But thése two; wáre of a wórld where bút these ' twó tell, each off the óther; of a rack Where, selfwrung, selfstrung, sheathe- and shelterless, ' thóughts agaínst thoughts ín groans grínd. 2. That Nature is a Heraclitean Fire and of the comfort of the Resurrection BY GERARD MANLEY HOPKINS Cloud-puffball, torn tufts, tossed pillows | flaunt forth, then chevy on an air- Built thoroughfare: heaven-roysterers, in gay-gangs | they throng; they glitter in marches. Down roughcast, down dazzling whitewash, | wherever an elm arches, Shivelights and shadowtackle ín long | lashes lace, lance, and pair. Delightfully the bright wind boisterous | ropes, wrestles, beats earth bare Of yestertempest's creases; | in pool and rut peel parches Squandering ooze to squeezed | dough, crust, dust; stanches, starches Squadroned masks and manmarks | treadmire toil there Footfretted in it. Million-fuelèd, | nature's bonfire burns on. But quench her bonniest, dearest | to her, her clearest-selvèd spark Man, how fast his firedint, | his mark on mind, is gone! Both are in an unfathomable, all is in an enormous dark Drowned. O pity and indig | nation! Manshape, that shone Sheer off, disseveral, a star, | death blots black out; nor mark Is any of him at all so stark But vastness blurs and time | beats level. Enough! the Resurrection, A heart's-clarion! Away grief's gasping, | joyless days, dejection. Across my foundering deck shone A beacon, an eternal beam. | Flesh fade, and mortal trash Fall to the residuary worm; | world's wildfire, leave but ash: In a flash, at a trumpet crash, I am all at once what Christ is, | since he was what I am, and This Jack, joke, poor potsherd, | patch, matchwood, immortal diamond, Is immortal diamond.