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2nd time in a week I've been blown away by @Ldn_Sinfonietta. #radiorewrite @THSHBirmingham tonight was stunning,great performances all round

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2nd time in a week I've been blown away by @Ldn_Sinfonietta. #radiorewrite @THSHBirmingham tonight was stunning,great performances all round

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Irmgard Seefried and Elisabeth Schwarzkopf singing (mainly) German Lieder - usually with Gerald Moore. Lisa Della Casa singing, in particular, Brahms'  "Immer leiser wird mein Schlummer". Hans Rosbaud conducting the BBC Symphony Orchestra magisterially in a completely modern concert - Schoenberg, Webern, Berg, Blacher etc. - in such a way that it sounded like music. Clifford Curzon playing Mozart's 24th Piano Concerto with Harry Blech and the London Mozart Players in several successive years.

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Sunday 26th Feb. 1967 and the first appearance on the concert platform in the UK, perhaps anywhere, of Otto Klemperer after he fell asleep with a cigarette alight and nearly burned himself to death. He appeared from the left, the audience errupted as he was helped up the steps to the platform. Then in the most amazing emotional atmosphere, the New Philharmonia and Klemperer performed Mahlers 9th Symphony, whose fourth movement Klemperer has described as "the majesty of death". An incredible unforgettable evening at the Royal Festival Hall.

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of 'Quartettsatz for clarinet, violin, cello & piano'en,Friday, 25 (London).--We began, as usual, at four. A few days since, one who lived in known sin, finding heavy conviction broke away and ran out, she knew, not whither. She met one who offered her a shilling a week to come and take care of her child. She went gladly. The woman's husband hearing her stir between three and four began cursing and swearing bitterly. His wife said, "I wish thou wouldest go with her, and see if anything will do thee good." He did so. In the first hymn God broke his heart and he was in tears all the rest of the service. How soon did God recompense this poor woman for taking the stranger in!

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The great composer and violinist, Spohr, is now here, superintending the performance of his opera, Faust, in which he has been very successful. It has had several representations to full houses, and the author has been much honored. But the opera is too good (musically considered) to be very popular. Musicians will delight to hear it; but it contains too much musical learning for the many. The lighter and more unmeaning compositions of the Italians are better appreciated.

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Back from the #Gruppen gig by @Ldn_Sinfonietta, what an amazing night. 2nd performance more than welcome.

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Back from the #Gruppen gig by @Ldn_Sinfonietta, what an amazing night. 2nd performance more than welcome.

(/http://www.w3.org/1999/02/22-rdf-syntax-ns#HTML,khttp://data.open.ac.uk/led/source/d2285216cdb8f48eea51ae067de33fb6/excerpt/097df423da5270d471fd36870a945aab*http://www.w3.org/2000/01/rdf-schema#label< Until I began to learn to play the piano I expressed no desire to learn, although I did feel a certain interest in music. Sometimes when a quartet was playing next door I would listen with my ear to the wall.

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Until I began to learn to play the piano I expressed no desire to learn, although I did feel a certain interest in music. Sometimes when a quartet was playing next door I would listen with my ear to the wall.

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When Pasta came, later in the year, she produced Anna Bolena, an opera by Donizetti, in which another tenor made his appearance, Rubini, who soon became, and still continues, a great favourite. He possesses one of the sweetest of voices, of great flexibility, and is an excellent singer, but too fond of the over-florid style now so much in fashion. Lablache also performed in this opera. I heard them all three at a private concert sing some of the pieces from it, as a kind of trial, preparatory to bringing it out for Pasta’s benefit. They did not please me, being of a forced, unnatural style;

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of 'Variations on the St Anthony Chorale, Op 56a'en,-http://data.open.ac.uk/led/lexp/1397032661062(http://purl.org/NET/c4dm/event.owl#agent8http://bnb.data.bl.uk/id/person/GardinerWilliam1770-1853,-http://data.open.ac.uk/led/lexp/1397032661062'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/1782-12-uu,-http://data.open.ac.uk/led/lexp/13970326610621http://led.kmi.open.ac.uk/term/meta/initial_graph1http://led.kmi.open.ac.uk/user/Meg+Barclay/claims,-http://data.open.ac.uk/led/lexp/1397032661062$http://led.kmi.open.ac.uk/term/pages<45-47,-http://data.open.ac.uk/led/lexp/1397032661062,http://www.w3.org/2000/01/rdf-schema#comment<Harry Lester was a Leicestershire stocking-maker who, Gardiner tells us, helped to direct the music at the church in the village of Sheepshead.en,-http://data.open.ac.uk/led/lexp/1397032661062.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1397032661062.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1397032661062(http://purl.org/NET/c4dm/event.owl#place*http://dbpedia.org/resource/Leicestershire,-http://data.open.ac.uk/led/lexp/1397032661062 http://purl.org/dc/terms/subjectNhttp://data.open.ac.uk/led/performance/Carols+(,+performance+of)/1397032425923,-http://data.open.ac.uk/led/lexp/1397032661062 http://purl.org/dc/terms/subject|http://data.open.ac.uk/led/performance/'But+thou+didst+not+leave+his+soul+in+Hell',+Messiah+(,+performance+of)/1397032550849,-http://data.open.ac.uk/led/lexp/1397032661062 http://purl.org/dc/terms/subjectUhttp://data.open.ac.uk/led/performance/English+Glees+(,+performance+of)/1397032626871,-http://data.open.ac.uk/led/lexp/1397032661062 http://purl.org/dc/terms/subjectUhttp://data.open.ac.uk/led/performance/English+Glees+(,+performance+of)/1397032604983,-http://data.open.ac.uk/led/lexp/1397032661062/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1397032661062!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/13970326610620http://led.kmi.open.ac.uk/term/has_evidence_text< Lester was a man of a very superior mind, wrote excellent letters, and was a poet as well as musician. At Christmas-time he always furnished a copy of verses which were performed in the church. I remember one of these carols was set to music by Webbe, the celebrated glee-composer; my father set another, and, for a variety, at Lester’s request, one was composed for a full orchestra by myself. On the Monday the voices and instruments took a circuit round the town, and performed the carol at the principal houses, where they were not only regaled with good Christmas cheer, but presented with contributions towards maintaining the choir. These performances were so respectable, that as a treble boy, in the year 1782, I was invited to assist, and sang the song out of the Messiah, 'But thou didst not leave his soul in hell,’ accompanied on the violin by a stranger of the name of Young. I was charmed by the tone of his instrument, and particularly when he sounded the third string in union with the open second, the piece being in the key of A. In addition to the church performances, these musicians of the forest were in the habit of singing the best of our English glees, with a taste and expression rarely equalled in a country village. en,-http://data.open.ac.uk/led/lexp/1397032661062-http://led.kmi.open.ac.uk/term/is_reported_inmhttp://data.open.ac.uk/led/source/Music+and+Friends:+Or,+Pleasant+Recollections+of+a+Dilettante/1396430265944,-http://data.open.ac.uk/led/lexp/1397032661062&http://purl.org/dc/terms/dateSubmitted<2014-04-09T09:37:41+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1397032661062)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,-http://data.open.ac.uk/led/lexp/1435581082214(http://purl.org/NET/c4dm/event.owl#agent%http://dbpedia.org/resource/Ned_Rorem,-http://data.open.ac.uk/led/lexp/1435581082214'http://purl.org/NET/c4dm/event.owl#time.http://reference.data.gov.uk/id/day/1982-04-20,-http://data.open.ac.uk/led/lexp/14355810822141http://led.kmi.open.ac.uk/term/meta/initial_graph/http://led.kmi.open.ac.uk/user/pashworth/claims,-http://data.open.ac.uk/led/lexp/1435581082214$http://led.kmi.open.ac.uk/term/pages<355,-http://data.open.ac.uk/led/lexp/1435581082214%http://purl.org/dc/terms/dateApproved<2016-01-26T12:57:31+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1435581082214.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,-http://data.open.ac.uk/led/lexp/1435581082214.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1435581082214.http://led.kmi.open.ac.uk/term/has_environmentIt was at the suggestion of Malibran that [Sir Julius] Benedict left Paris and
went to England in 1835. He quickly made his mark as an operatic composer, and
successfully competed with Michael Balfe and Vincent Wallace in the race for
fame. Like them, he wrote and produced many operas; like them, he left only one
that really promises to survive. Indeed, Benedict's "Lily of Killarney" is the
sole English opera of the so-called "ballad" type that still shares popularity
with "The Bohemian Girl" and "Maritana." Although such a mediocre conductor, he
was an admirable accompanist. He had studied under Hummel at Weimar before going
to Weber, and was a quite capable pianist. His reputation in this capacity was
not a little enhanced by his association with Jenny Lind on her memorable tour
in the United States (1850-52). At any rate, after his return to London his
services "at the piano" were in request at every kind of musical function, and
he was practically the sole accompanist employed at the Monday Popular Concerts during the first twenty years of their existence. 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Williamsonen,Uhttp://data.open.ac.uk/led/performance/d7800830f5d0a0b5f1ceb336d06970e1/1472670511482.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,Uhttp://data.open.ac.uk/led/performance/d7800830f5d0a0b5f1ceb336d06970e1/1472670511482.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,Uhttp://data.open.ac.uk/led/performance/d7800830f5d0a0b5f1ceb336d06970e1/1472670511482.http://led.kmi.open.ac.uk/term/has_environmentI also discovered in the same village a primitive instrument: a long reed-whistle, with six holes and a cut-in tongue. A kind of primitive oboe! It actually gives a whistle-like sound, just like any ordinary pipe (or bagpipe), but it has no bag. It is blown directly from the mouth. There is only one old man in the village who can play it. It is called cărabă; however, that’s also the name given to the ordinary bagpipe in these parts. It’s rather interesting that this old man with the cărabă is also a quack-doctor and his healing rites include blowing a certain melody (pentru betesug) on his instrument.

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I also discovered in the same village a primitive instrument: a long reed-whistle, with six holes and a cut-in tongue. A kind of primitive oboe! It actually gives a whistle-like sound, just like any ordinary pipe (or bagpipe), but it has no bag. It is blown directly from the mouth. There is only one old man in the village who can play it. It is called cărabă; however, that’s also the name given to the ordinary bagpipe in these parts. It’s rather interesting that this old man with the cărabă is also a quack-doctor and his healing rites include blowing a certain melody (pentru betesug) on his instrument.

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Dr. Burney (no mean authority) said, Gluck was the Michael Angelo of living composers, and called him the simplifying musician. Salieri told me, that a comic opera of Gluck's being performed at the Elector Palatine's theatre, at Schwetzingen, his Electoral Highness was struck with the music, and inquired who had composed it ; on being informed that he was an honest German who loved old wine, his Highness immediately ordered him a tun of Hock.

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[A] lady told me that she had heard nothing in Paris or France to equal these Welsh songs!

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I shall often think of those last holidays at Kekker and of our two beautiful musical soirées. That last evening, when I insisted on hearing 'Tu vois le feu du soir', I knew that I would not be hearing it again ... let's say for quite some time. Think of your Poupoule. Love his music. That is all I ask you. 

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When the great day came [the first public performance in England of an orchestral piece by Ethel Smyth] the excitement at home was immense, even Papa, who had never been at a real concert in his life, insisting on being present. The Serenade was admirably rendered, and since it was a first work, one could more or less count on a good reception; but regardless of how that might be, he had ready in his pocket a short telegram to Bob in India: "Great success," which no doubt would have been dispatched in any case.

I was not sitting in the hall myself, but afterwards learned what had occurred on the family benches.

No sooner was the first movement over than Papa rose to send off the telegram - and get away himself; pulled down by Mother, he attempted the same thing after the second, and again after the third movement. But after the fourth and last, having given up all hope, he remained patiently sitting, and thus had the gratification of seeing his daughter warmly called to the platform by that most delightful of audiences. I went home by a later train than the family, and when I met him before dinner he was beaming with delight, and said: "Well, you had quite a jobation."

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My first visit to the Festival Hall was in Jan 1955 to see 'Where the Rainbow Ends' with Alicia Markova and Anton Dolin. I was 11 years old and the visit was organised by my school - 'The Rocen [?] School' Greenwich. I was fascinated by the sight of the auditorium and the excitement and anticipation before the performance. The ballet was magical and a little bermusing for a child from the suburbs. London was a rather drab place in the 50s, but the Festival Hall seemed from my first encounter to be a place to enjoy sounds and emotions and joy and magic. I still have the programme after 50 years. I became an enthusiastic concert goer and look forward to the next 50 years. 

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supper we amused ourselves on two pianos, and at last had a grand improvisation together, in which Felix was so inspired that in my enthusiasm I almost forgot my own part in listening to him.

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One Saturday night I went to a theatre on Frankstown Avenue where all the Negro shows were booked. But I hardly noticed any part of this show, for my attention was focused on a lady pianist who worked there. She sat cross-legged at the piano with a cigarette in her mouth, writing music with her right hand while accompanying the show with her swinging left! Impressed, I told myself, "Mary, you'll do that one day." (And I did, traveling with Andy Kirk's band in the 'thirties on one-nighters.) The lady turned out to be Lovie Austin, who was working with the pit band and making all the orchestrations. It so happened that she was behind time, and hurriedly arranging a number for one of the acts down the bill. Another week, the fabulous Ma Rainey came into a little theater on Wiley Avenue. 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The congregation was small, and was (as we supposed from the application of almost every one who came in to the Beadleship for a seat) composed mostly of strangers. The service was dull and monotonous, no one appearing to manifest any other interest than a desire to get through. The chanting, however, was an exception, and was of a character somewhat new. It was almost exclusively instrumental, being performed on the organ. Of course, we could find no fault with the articulation of words, or the rapidity of utterance, since the pipes appeared to do their best. But voices could not be heard in this part of the service with the exception of “Gloria Patri,” in which there was a feeble attempt at vocal effect. It may be well for congregations who do not wish to be at the trouble of opening their mouths and speaking forth God’s praises in the “Venite,” “Jubilate Deo,” and other canticles, to confide the matter wholly to a faithful instrument; for, under a master’s hand, it is always sure.

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@Ldn_Sinfonietta world premiere of Steve Reich's #RadioRewrite @southbankcentre - loved it

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@Ldn_Sinfonietta world premiere of Steve Reich's #RadioRewrite @southbankcentre - loved it

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It was my privilege to hear ERNST before he had lost his cunning, nor shall I ever hear his like again. He played once at Her Majesty's Opera House, when the whole assembly seemed to dream through a performance of the "Hungarian Airs." The lightest whisper of the violin controlled the house; the magician hardly stirred his wand at times, and no one could tell from the sound when he passed from the up to the down bow in those long cantabile notes which had such power to entrance me.

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In the evening attended the second performance of the Britten opera (which Virgil calls "The Screw of the Century") with Denise Bourdet and "drove" her home in a gondola to the Bestigui Palace. In Munich last winter Peter Pears had already warned me that the little girl's role would be taken by a lady-midget of forty. Of course it was a flop. Why not a boy dressed up as a girl? 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In September, 1827, we embarked on board the steamer at the Tower stairs for Rotterdam [...] As soon as we had dressed I repaired to the cathedral, and was just in time for the morning service. On entering, at the eastern end, I had a full view of the organ, which so much surpassed in magnitude anything of the kind I had seen before, that for a while I was at a loss to conjecture even at what I was looking. The massive columns of silver rising from the floor up to the roof, and filling up the whole width of the middle aisle, was a spectacle without parallel. The sounds did not correspond with the appearance, as but few stops were used, and those not of a quality to be admired.

(/http://www.w3.org/1999/02/22-rdf-syntax-ns#HTML,khttp://data.open.ac.uk/led/source/ca81c690f7de471ba875745f6f121fb2/excerpt/714d5d22246ba1cbc133b438714895d1#http://purl.org/ontology/bibo/pages<532-533,khttp://data.open.ac.uk/led/source/ca81c690f7de471ba875745f6f121fb2/excerpt/714d5d22246ba1cbc133b438714895d1*http://www.w3.org/2000/01/rdf-schema#label<dexcerpt from 'Music and Friends: Or, Pleasant Recollections of a Dilettante' pp. 532-533 (130 words)en,-http://data.open.ac.uk/led/lexp/1430255876765'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/1856-01-uu,-http://data.open.ac.uk/led/lexp/14302558767651http://led.kmi.open.ac.uk/term/meta/initial_graph1http://led.kmi.open.ac.uk/user/Meg+Barclay/claims,-http://data.open.ac.uk/led/lexp/1430255876765$http://led.kmi.open.ac.uk/term/pages<366,-http://data.open.ac.uk/led/lexp/1430255876765%http://purl.org/dc/terms/dateApproved<2015-10-25T07:07:11+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1430255876765.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,-http://data.open.ac.uk/led/lexp/1430255876765.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1430255876765.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1430255876765(http://purl.org/NET/c4dm/event.owl#place&http://dbpedia.org/resource/Manchester,-http://data.open.ac.uk/led/lexp/1430255876765 http://purl.org/dc/terms/subjectshttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Finale+of+Lucia/1430255713332/1430255713343,-http://data.open.ac.uk/led/lexp/1430255876765 http://purl.org/dc/terms/subjectihttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Volks/1430255805657/1430255805678,-http://data.open.ac.uk/led/lexp/1430255876765 http://purl.org/dc/terms/subjectjhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Truite/1430255670620/1430255670634,-http://data.open.ac.uk/led/lexp/1430255876765 http://purl.org/dc/terms/subjectwhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Sonata+in+C.+Op.+53/1430255628091/1430255628103,-http://data.open.ac.uk/led/lexp/1430255876765 http://purl.org/dc/terms/subjectshttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Fruhling's+Lied/1430255848459/1430255848470,-http://data.open.ac.uk/led/lexp/1430255876765/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1430255876765!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/14302558767650http://led.kmi.open.ac.uk/term/has_evidence_text<The public quite as numerous, but very intelligent and appreciative. I have seldom played better ; my pieces the same as last evening: Beethoven's Sonata in C. Op. 53, Thalberg and de Beriot, Heller's Truite, and the Finale of Lucia by Liszt. The duet pleased so well that part of it had to be repeated, and after Liszt's Fantasia I had to play Mendelssohn's 'Volks' and 'Fruhling's Lied' as an encore. 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To this day is incised on my brain the device, in the Adagio, of two impassioned muted violins juxtaposed with the savage viola and cello - a device devised by Ives in The Unanswered Question (disparate simultaneity), and, before that, in Nuages, where Debussy's Cor Anglais rends the cloudily indifferent strings. 

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On the same evening, Stephen Storace and myself called upon Mr. Linley at his house in Norfolk Street in the Strand, where I found his accomplished daughters, Mrs. Sheridan and Mrs. Tickell. Mrs. Sheridan asked me if I had seen " Richard Coeur de Lion," in Paris ; and on my telling her that I had, only four evenings before, she requested me to go and see it at Drury Lane that evening, as she was most anxious to know my opinion of the relative merits of the French and English pieces. General Burgoyne had translated it,- and Mrs. Sheridan adapted it to the English stage. I and Storace, accompanied by a young gentleman, set off for the theatre, but the piece was nearly half over. I must premise, that I was then totally uninformed as regarded the actors and actresses at Drury Lane. Just as we entered the boxes, Richard was singing the romance from his prison, most loudly accompanied from behind the scenes by two French horns ; I was astonished to hear an accompaniment so completely at variance with the intention of the composer, and which entirely spoiled the effect of the melody, nor did I think much of the vocal powers of the royal captive; and turning to Storace, said, "If His Majesty is the first and best singer in your theatre, I shall not fear to appear as his competitor for public favour." Storace laughed, and told me that the gentleman who upon that special occasion was singing, was Mr. John Kemble, the celebrated tragedian, who, to serve the proprietors, had undertaken to perform the part of Richard, as there was no singer at the theatre capable of representing it. However, as I was not gifted with intuition, my mistaking him for the principal vocalist of the theatre was natural enough, having a few days back seen Philippe, the first singer at the French theatre, perform the same part. My friend Kemble laughed heartily when he was told that I had mistaken him for the Drury Lane Orpheus. By the way, I heard that when Kemble was rehearsing the romance, sung by Richard, Shaw, the leader of the band, called out from the orchestra, " Mr Kemble, my dear Mr. Kemble, you are murdering time."" Kemble, calmly and coolly taking a pinch of snuff, said, " My dear Sir, it is better for me to murder time at once, than be continually beating him as you do." Mrs. Jordan's acting in this drama was delightful, and the Laurette of Mrs. Crouch most interesting. I was struck with admiration of her wonderful beauty, and delighted to hear that she was to be my prima donna in the opera in which I was to perform. She seemed to me to aggregate in herself, like the Venus of Apelles, all that was exquisite and charming. I agreed with Mr. Linley for the remainder of the season at Drury Lane, and to make my debut in the part of Lionel, on Friday, the 20th of April, 1787. 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It must be remembered, also, that the sudden revelation at the start of either of these concerts is no revelation at all for the members of the orchestra. They have rehearsed this performance...

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it will surprise many to know that the [Boston Jubilee] orchestra numbered quite a thousand—with the patriotic Ole Bull at the head of the violins, and Carl Rosa playing at the same desk. Gilmore had engaged all the principal sopranos of Boston, constituting a “bouquet of artistic singers.” These were placed on a special raised balcony between the orchestra and the chorus, and they sang in unison the obligato parts as they occurred in the choral pieces.

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[My] younger brother, Max, had shown considerable aptitude for the violin, and was taking lessons from Louis Ries, the well-known " second violin " of the Monday "Pops." Afterward he studied under the late J. T. Carrodus, and joined the orchestra of the Royal Italian Opera, Covent Garden, of which Carrodus was for many years the chef-d'attaque. I used to play Max's accompaniments in the family circle; and it was solely the fraternal spirit of emulation, impelling me to try to shine side by side with my younger brother, that led me to keep up my study of music.

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In these classic soirees of ours, we have played every composition for strings worth playing; and have given also special sets of concerts where only the most modern works, like the Brahms sextettes, Bruch, Goldmark, and Rubinstein, were played. We also gave for many seasons the so-called popular Saturday night concerts; for which we secured other artists to play septettes, octettes, and nonettes of mixed wind and string instruments. Nearly every pianist of distinction played repeatedly with us; among them were Mr. William Scharfenberg, Otto Dresel, Ernst Perabo, J. C. D. Parker, B. J. Lang, Hugo Leonard, Gustav Satter, J. Trenkle, John L. Hatton, and Miss Fay (now Mrs. Sherwood).

Singers also helped us in large numbers. One was Mile. Caroline Lehman, sister of our flute player, who came from Copenhagen and sang with us two seasons. Other vocal assistants were Mrs. J. H. Long, Mrs. Went worth, Mrs. Harwood, Miss Addie S. Ryan, Mrs. H. M. Smith, Adelaide Phillips, and Annie Louise Cary—all good singers. I think it can be safely said that the Mendelssohn Quintette Club has done its share in cultivating a taste for music, especially chamber music.

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hear His Majesty say to the delighted composer : " Ah, my dear Mr. Hauptmann, I am so glad to make your personal acquaintance. ... I have always been a great admirer of your excellent compositions. . . . There is especially a Sonata . . . I think it is in G ... which I am particularly devoted to. ... Such a lovely Adagio . . . Joachim must always play it twice to me; isn't that so, Joachim?" Of course, poor Joachim not only had to bow his assent, for the King could not have seen that, but audibly to express it!

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the Frost Scene is exceſsive fine; the first Scene of it is only a Cascade, that seems frozen; with the Genius of Winter asleep & wrapt in furs, who upon the approach of Cupid, after much quivering, & shaking sings the finest song in the Play: just after, the Scene opens, & shows a view of arched rocks coverd with Ice & Snow to ye end of ye Stage; between the arches are upon pedestals of Snow eight Images of old men & women, that seem frozen into Statues, with Icicles hanging about them & almost hid in frost, & from ye end come Singers, viz: Mrs Chambers, &c: & Dancers all rubbing their hands & chattering with cold with fur gowns & worsted gloves in abundance; there are several more beautiful Scenes; but rather than describe 'em, I ought to beg pardon for interrupting your happineſs so long, and conclude myself. en,-http://data.open.ac.uk/led/lexp/1388181515062-http://led.kmi.open.ac.uk/term/is_reported_inehttp://data.open.ac.uk/led/source/letter+from+Thomas+Gray+to+Horace+Walpole+14+Jan+1736/1388181161348,-http://data.open.ac.uk/led/lexp/1388181515062&http://purl.org/dc/terms/dateSubmitted<2013-12-27T21:58:35+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1388181515062)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,8http://data.open.ac.uk/led/agent/Stokowsky/1448989363328/http://www.w3.org/1999/02/22-rdf-syntax-ns#typehttp://xmlns.com/foaf/0.1/Agent,8http://data.open.ac.uk/led/agent/Stokowsky/1448989363328/http://www.w3.org/1999/02/22-rdf-syntax-ns#type'http://purl.org/ontology/mo/MusicArtist,8http://data.open.ac.uk/led/agent/Stokowsky/1448989363328!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,8http://data.open.ac.uk/led/agent/Stokowsky/1448989363328*http://www.w3.org/2000/01/rdf-schema#label< Stokowskyen,-http://data.open.ac.uk/led/lexp/1409483677188(http://purl.org/NET/c4dm/event.owl#agent'http://dbpedia.org/resource/Louis_Spohr,-http://data.open.ac.uk/led/lexp/1409483677188'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/1798-uu-uu,-http://data.open.ac.uk/led/lexp/14094836771881http://led.kmi.open.ac.uk/term/meta/initial_graph-http://led.kmi.open.ac.uk/user/tlisboa/claims,-http://data.open.ac.uk/led/lexp/1409483677188$http://led.kmi.open.ac.uk/term/pages<11-12,-http://data.open.ac.uk/led/lexp/1409483677188%http://purl.org/dc/terms/dateApproved<2016-02-23T13:47:00+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1409483677188.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1409483677188.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1409483677188(http://purl.org/NET/c4dm/event.owl#place.http://dbpedia.org/resource/Duchy_of_Brunswick,-http://data.open.ac.uk/led/lexp/1409483677188 http://purl.org/dc/terms/subjectshttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Mozart's+operas/1409483645803/1409483645813,-http://data.open.ac.uk/led/lexp/1409483677188/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1409483677188!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/14094836771880http://led.kmi.open.ac.uk/term/has_evidence_text<From this time, the young Kammermusicus was in full activity. His duties consisted in playing at the Court – concerts and in the Theatre, for which latter, a French operatic and dramatic company had been engaged shortly before. I therefore became earlier acquainted with the French dramatical music than with the German; and this was not without influence upon the tendency of my taste, and upon my compositions of that time. At last, during the two fairs, a German operatic company from Magdeburgh was also engaged, and the grandeur of Mozart’s operatic music burst upon me. Mozart now became for my life time my ideal and model. 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Between 1925 and 1935 I did not dare to read or to listen to Mahler’s music. I was afraid that my aversion to it in a preceding period might return. Fortunately, when I heard in Los Angeles a moderately satisfactory performance of the Second [Mahler's Second Symphony], I was just as enchanted as ever before; it had lost none of its persuasiveness.  

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Between 1925 and 1935 I did not dare to read or to listen to Mahler’s music. I was afraid that my aversion to it in a preceding period might return. Fortunately, when I heard in Los Angeles a moderately satisfactory performance of the Second [Mahler's Second Symphony], I was just as enchanted as ever before; it had lost none of its persuasiveness.  

(/http://www.w3.org/1999/02/22-rdf-syntax-ns#HTML,khttp://data.open.ac.uk/led/source/328a54f30aeb66cd36ae33f86276a452/excerpt/a026e4b4b2d294a44b060d31a233e535#http://purl.org/ontology/bibo/pages<264,khttp://data.open.ac.uk/led/source/328a54f30aeb66cd36ae33f86276a452/excerpt/a026e4b4b2d294a44b060d31a233e535*http://www.w3.org/2000/01/rdf-schema#label<;excerpt from 'Arnold Schoenberg Letters' pp. 264 (62 words)en,As a matter of fact the theatrical bands of this metropolis can stand comparison, favourably to themselves, with those of any Continental city. I venture to make this assertion somewhat confidently, having, in the course of the past twenty years, attended every imaginable sort of theatrical performance in all the countries of Europe, except the Scandinavian kingdoms and the Hellenic realm... Of course bands engaged to play ballet music and the accompaniments of comic opera, operetta, etc., are expected to be of a quality superior to that of the average theatrical orchestra. But the latter, in London at least, has attained so high a standard as to leave little to be desired.

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The trombones were on the left of the bandstand facing the theater and the trumpets would be to the right. Cab would be in front, singing a beautiful ballad. And Tyree [Glenn] and Dizzy would act like they were playing football. Dizzy would throw a pass and Tyree would act like he was catching it, and as he caught it, Cozy Cole would hit the bass drum a tap, and the people would laugh in the middle of a beautiful ballad. Cab didn't know exactly what was going on.

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Fanny played the harmonium nicely and the singing was capital. The congregation were delighted and some of them could hardly believe their ears and the Squire said nothing for or against, but he came to Church twice.en,-http://data.open.ac.uk/led/lexp/1395749702099-http://led.kmi.open.ac.uk/term/is_reported_in_http://data.open.ac.uk/led/source/Diary+of+Francis+Kilvert,+Allhallowmas+Day+1874/1395749636084,-http://data.open.ac.uk/led/lexp/1395749702099&http://purl.org/dc/terms/dateSubmitted<2014-03-25T12:15:02+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1395749702099)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,-http://data.open.ac.uk/led/lexp/1435934837910(http://purl.org/NET/c4dm/event.owl#agent&http://dbpedia.org/resource/Tony_Scott,-http://data.open.ac.uk/led/lexp/1435934837910'http://purl.org/NET/c4dm/event.owl#time=http://data.open.ac.uk/time/interval/1945-uu-uu/to/1947-uu-uu,-http://data.open.ac.uk/led/lexp/14359348379101http://led.kmi.open.ac.uk/term/meta/initial_graph1http://led.kmi.open.ac.uk/user/5011Henning/claims,-http://data.open.ac.uk/led/lexp/1435934837910$http://led.kmi.open.ac.uk/term/pages<367,-http://data.open.ac.uk/led/lexp/1435934837910%http://purl.org/dc/terms/dateApproved<2016-09-05T15:29:26+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1435934837910.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,-http://data.open.ac.uk/led/lexp/1435934837910.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1435934837910.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1435934837910(http://purl.org/NET/c4dm/event.owl#place)http://dbpedia.org/resource/New_York_City,-http://data.open.ac.uk/led/lexp/1435934837910 http://purl.org/dc/terms/subjectshttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/jazz+horn+music/1433525395824/1435934801134,-http://data.open.ac.uk/led/lexp/1435934837910/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1435934837910!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/14359348379100http://led.kmi.open.ac.uk/term/has_evidence_text<Yes, more and more of the modern guys began to come onto The Street [52nd St., New York]. Around 1947, J.J. Johnson had a group and Bud Powell had started. Al Haig had come in with Bird [Charlie Parker] and Dizzy [Gillespie]. That was in 1945. It was a fabulous thing--Bird and Diz both blowing together and blowing great. Dizzy finally got a big band together--with Kenny Clarke on drums--and that hit The Street toward the tail-end of The Street's importance in the jazz scene. en,-http://data.open.ac.uk/led/lexp/1435934837910-http://led.kmi.open.ac.uk/term/is_reported_inhttp://data.open.ac.uk/led/source/Hear+Me+Talkin'+To+Ya:+The+Classic+Story+of+Jazz+as+Told+by+the+Men+Who+Made+It/1433263159756,-http://data.open.ac.uk/led/lexp/1435934837910&http://purl.org/dc/terms/dateSubmitted<2015-07-03T15:47:18+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1435934837910)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,Dhttp://musicbrainz.org/artist/1854eb73-1fac-412d-b378-a0998c4ed76d#_/http://www.w3.org/1999/02/22-rdf-syntax-ns#typehttp://xmlns.com/foaf/0.1/Agent,Dhttp://musicbrainz.org/artist/1854eb73-1fac-412d-b378-a0998c4ed76d#_*http://www.w3.org/2000/01/rdf-schema#label<#George Wein & The Newport All-Starsen,7http://data.open.ac.uk/led/agent/Graziani/1431113961809/http://www.w3.org/1999/02/22-rdf-syntax-ns#typehttp://xmlns.com/foaf/0.1/Agent,7http://data.open.ac.uk/led/agent/Graziani/1431113961809!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,7http://data.open.ac.uk/led/agent/Graziani/1431113961809*http://www.w3.org/2000/01/rdf-schema#label<Grazianien,5http://dbpedia.org/resource/Claremont_(country_house)*http://www.w3.org/2000/01/rdf-schema#label<Claremont (country house)en,-http://data.open.ac.uk/led/lexp/1431612419375(http://purl.org/NET/c4dm/event.owl#agent,http://bnb.data.bl.uk/id/person/KellyMichael,-http://data.open.ac.uk/led/lexp/1431612419375'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/1787-uu-uu,-http://data.open.ac.uk/led/lexp/14316124193751http://led.kmi.open.ac.uk/term/meta/initial_graph-http://led.kmi.open.ac.uk/user/cathcoyne/temp,-http://data.open.ac.uk/led/lexp/1431612419375$http://led.kmi.open.ac.uk/term/pages<278,-http://data.open.ac.uk/led/lexp/1431612419375%http://purl.org/dc/terms/dateApproved<2016-01-03T17:56:30+00:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1431612419375.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1431612419375(http://purl.org/NET/c4dm/event.owl#place"http://dbpedia.org/resource/Munich,-http://data.open.ac.uk/led/lexp/1431612419375 http://purl.org/dc/terms/subjectvhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Non+so+donde+viene/1431612515117/1431612515131,-http://data.open.ac.uk/led/lexp/1431612419375/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1431612419375!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/14316124193750http://led.kmi.open.ac.uk/term/has_evidence_text<The Storaces and myself, by appointment, went to pay our respects to Raff, the justly celebrated tenor, esteemed by far the finest singer of his day, and for many years the delight of Naples and Palermo. 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Horowitz playing "Stars and Stripes Forever" during the Festival of Britain.  Karajan/Philharmonia Concerts (Karajan sometimes on harpsichord in Bach etc.). Following an outstanding Tchaikovsky 2nd Piano Concerto my (non-musical) mother asked Shura Cherkassky: "How can such a small man such as yourself play so well?" Cherkassky replied: "Why not! Do big ones play better?" We became friends for life after great laughter!

 

2.  Following a concert Emil Gilels, Sir Malcolm Sargent conducting, I handed to Gilels an LP of his Chopin Concerto No. 1 to sign which he graciously did. Then walking over to Sargent's empty table, Sargent said: "Ah well! I can see nobody wants me! I think I'll toddle off home!"  I handed him the Gilels/Philadelphia LP to sign hoping to make Sargent feel "Better and wanted." He looked carefully at the LP cover; then he signed it . . . "Eugene Ormandy"!!! 

 

 

3.  (1970s): After a superb Ashkenazy  (former long-term pen friend to me!) concerto performance, I went to his dressing room to enquire why he had received damning reports in the media that Ashkenazy had only "used the Iceland Symphony Orchestra" to practice/study through them to be a conductor."  (After all, Ashkenazy had even taken Icelandic citizenship!) "Yes; that's right!" came Ashkenazxy's reply to my question. "I have offers of (a first-rate orchestra) to conduct at the Festival and so why not! The Icelandic Orchestra isn't in the same league!!!" 'Vlodiya' is the most honest man I have ever met! What a great politician he would have made indeed! (Ashkenazy always knew me 'Samuel Sheldon')           

 

(1970s)

1979 - Mikhail Pletneyev made his concerto debut at Royal Festival Hall. My girlfriend and I went back to his dressing-room during the interval (he only appeared in Part One of the concert playing the Tchaikovsky First Piano Concerto). What a charming person we found as we spoke with him after everyone else had left him to return to their seats for Part 2. My own piano teacher had studied with Clara Schumann and we discussed our thoughts together.  Then Pletneyev sat down at his upright piano in his dressing-room and was playing for us the Bach/Busoni "Charconne" when a little Royal Festival Hall backstage usher and shouted: "Kindly stop this racket and get out of this room! You can be heard by the audience outside! You've no business here at this time!!!"

 

(TRUE STORIES! Each of them) NB Just a handful of many Royal Festival Hall memories!

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My functions at the subscription concerts were of a different nature. I had taught myself the violin up to a certain degree, in the hope of being enrolled as an amateur second violin, but it so happened that the gentleman who played the kettle-drums left the town, and I, although seven years old, was considered so good a time- keeper that my father promoted me to that important and dangerous post. And for eight years did I hold it, though not altogether to my credit ; for although I found no difficulty in coming in at the right time, perhaps on the third beat after fifty-seven bars' rest, I could never accomplish a satisfactory roll, hard as I laboured at it. The kettle-drum is not exactly an instrument suited to a drawing-room, so I could get no practice, and I remember even now how I envied and admired the drummers of any military band that passed through our town, recognising them by far my superiors.

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Well, it was in the winter of 1868 that [Eugen] Franck invited me to come and pay him a little visit, holding out to me, as a special inducement, the pleasure of meeting a young Englishman who, with his mother and two charming sisters, was spending the year in Berlin for the purpose of studying the piano under Carl Tausig. Needless to say I accepted with alacrity. The meeting between the young Englishman and me, at a supper-party arranged for the occasion by our mutual friend, developed in the course of the evening into something like an Olympic contest. Evidently bent on doing credit to his master, the young Englishman, a striking looking, handsome boy of sixteen, with finely-cut features and very pleasant manners, played wonderfully well, thus spurring me on to do my best when my turn came. So we went on, actually for hours, he playing and I singing, to the great delight of our host, who, equally interested in us both, confessed to being baffled as to which of us in his opinion had the greater talent, until, at the end of a most enjoyable evening, he had to be satisfied with declaring that both Frederic Cowen-- for that was the boy's name-- and I had the chance of a brilliant future before us : a future which, alas, at the time I am writing, has turned into a past, though, I am sure, one we neither of us two old friends need be ashamed of. 

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did our next show in Seattle at a similar type of hall. The band [Miles Davis's band] had picked up a new member in Portland, a guitarist named Pete Cosey. Pete was a strange one: He was a big man, with a large afro and a huge beard that ended in little braids, like Blackbeard the pirate. He wore long, flowing robes and Wellington boots, and he played a Les Paul cherry top, using a guitar tuning that I never quite figured out. Whatever it was, it sounded unearthly. He had a rather unusual set-up, too--he played through a Leslie J-145 with a Combo pre-amp and a separate straight guitar amp, in this case an Acoustic 360 bass rig.

I loved the sound he got out of it. The Leslie is designed for use with Hammond organs, with a 15-inch woofer in the bottom of the wooden enclosure and a flat disc laced with holes over it. Up top are two treble horns. When the player hits a switch, the disc and the horns rotate at two different controlled speeds, creating the throatiest tone imaginable. You can hear it on Cream's "Badge" and on Clapton's work with Blind Faith--it's a rich, full, almost pleading sound, and Pete used it well.

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At Mr. Neat's soirée, I heard a piano-forte trio of this author, in Bb, accompanied by the clarionet and violoncello, but I like it better with th viollin.

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As a teenager during the Festival of Britain, dancing and listening to the Ted Heath Orchestra with Lita Roza and Dennis Lotis, on the riverside in front of the Royal Festival Hall.

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1800en,-http://data.open.ac.uk/led/lexp/1437642237202(http://purl.org/NET/c4dm/event.owl#agenthttp://data.open.ac.uk/led/agent/Dorothie+Machen/1442404155704,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004$http://purl.org/ontology/mo/listenerDhttp://musicbrainz.org/artist/20c7afe6-e490-4348-bfa8-8f08376fe009#_,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004/http://www.w3.org/1999/02/22-rdf-syntax-ns#type'http://purl.org/ontology/mo/Performance,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004*http://purl.org/ontology/mo/performance_ofFhttp://data.open.ac.uk/led/music/G+mi+Fantasia+and+Fugue/1442404247406,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004%http://purl.org/ontology/mo/performer>http://data.open.ac.uk/led/agent/Dorothie+Machen/1442404155704,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004%http://purl.org/ontology/mo/performerDhttp://musicbrainz.org/artist/20c7afe6-e490-4348-bfa8-8f08376fe009#_,Uhttp://data.open.ac.uk/led/performance/6ef90a7a95839d31bba7c83083a94483/1442404368004*http://www.w3.org/2000/01/rdf-schema#label<+performance of 'G Minor Fantasia and Fugue'en,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577$http://purl.org/ontology/mo/composer-http://dbpedia.org/resource/Alexander_Borodin,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577/http://www.w3.org/1999/02/22-rdf-syntax-ns#type-http://purl.org/ontology/mo/MusicalExpression,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577http://purl.org/dc/terms/title<$'Polovtsian Dances' from Prince Igor,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577"http://dbpedia.org/ontology/writer-http://dbpedia.org/resource/Alexander_Borodin,Shttp://data.open.ac.uk/led/music/'Polovtsian+Dances'+from+Prince+Igor/1438266794577*http://www.w3.org/2000/01/rdf-schema#label<$'Polovtsian Dances' from Prince Igoren,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691(http://purl.org/NET/c4dm/event.owl#place"http://dbpedia.org/resource/Berlin,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691$http://purl.org/ontology/mo/listener7http://data.open.ac.uk/led/person/Amy+Fay/1413213259053,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691/http://www.w3.org/1999/02/22-rdf-syntax-ns#type'http://purl.org/ontology/mo/Performance,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691*http://purl.org/ontology/mo/performance_of8http://data.open.ac.uk/led/music/quartette/1417366974685,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691%http://purl.org/ontology/mo/performer*http://dbpedia.org/resource/Clara_Schumann,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691%http://purl.org/ontology/mo/performerBhttp://data.open.ac.uk/led/agent/Wilhelm+M%C3%BCller/1417366974697,mhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/quartette/1417366974685/1417366974691%http://purl.org/ontology/mo/performerAfter spending a delightful summer, which was productive both of pleasure and
profit, I returned to London about the end of September 1807. On the 3rd May,
1808, Mr. Cumberland produced, at Drury Lane Theatre, a piece entitled "The
Jew of Mogadore," to which I composed the music: It was with great reluctance
that the Board of Management at Drury Lane accepted it : therefore, when I had
finished the music of the first act, I rested upon my oars until I knew their
final determination. I met Mr. Sheridan one day in Essex Street in the Strand,
and told him of it. He desired me to go on with it by all means ; "For," said
he, "if the opera should fail, you will fall with a fine classical scholar,
and elegant writer, as well as a sound dramatist," (such was his expressed
opinion of Cumberland's abilities.) "Go, instantly," continued he, "to those
discerning critics, who call themselves the Board of Management, and tell them, from me, if you please, that they are all asses, to presume to sit in
judgment on the writings of such a man as Cumberland ; and say, further, that
I order the opera to be accepted, and put into rehearsal." "And pray, Sir,"
said I, "in what light am I to view this ' Board of Management?' What are they?" "Pegs to hang hats upon," said Sheridan. I went to the pegs,
communicated Mr. Sheridan's command, and the opera was performed accordingly-
Braham sang in it charmingly. (/http://www.w3.org/1999/02/22-rdf-syntax-ns#HTML,khttp://data.open.ac.uk/led/source/adc1d4784eba0f29f751573bb13b0a03/excerpt/f0100649898ebdaa8f3e2417d2acfce0#http://purl.org/ontology/bibo/pages<237-238,khttp://data.open.ac.uk/led/source/adc1d4784eba0f29f751573bb13b0a03/excerpt/f0100649898ebdaa8f3e2417d2acfce0*http://www.w3.org/2000/01/rdf-schema#label<Eexcerpt from 'Reminiscences of Michael Kelly' pp. 237-238 (250 words)en,-http://data.open.ac.uk/led/lexp/1438609131672(http://purl.org/NET/c4dm/event.owl#agent?http://data.open.ac.uk/led/person/Benjamin+Lumley/1438607277398,-http://data.open.ac.uk/led/lexp/1438609131672'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/1842-uu-uu,-http://data.open.ac.uk/led/lexp/14386091316721http://led.kmi.open.ac.uk/term/meta/initial_graph+http://led.kmi.open.ac.uk/user/sp327/claims,-http://data.open.ac.uk/led/lexp/1438609131672$http://led.kmi.open.ac.uk/term/pages<42-4,-http://data.open.ac.uk/led/lexp/1438609131672%http://purl.org/dc/terms/dateApproved<2016-04-24T15:47:07+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1438609131672.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,-http://data.open.ac.uk/led/lexp/1438609131672.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1438609131672.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1438609131672(http://purl.org/NET/c4dm/event.owl#place1http://dbpedia.org/resource/Her_Majesty's_Theatre,-http://data.open.ac.uk/led/lexp/1438609131672 http://purl.org/dc/terms/subjectUhttp://data.open.ac.uk/led/performance/534277e1b0f7b3a7fd167bd93e381934/1438609061762,-http://data.open.ac.uk/led/lexp/1438609131672/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1438609131672!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/1438609131672-http://led.kmi.open.ac.uk/term/is_reported_inkhttp://data.open.ac.uk/led/source/11af3c14fbf284f75e57bd48464328e5/excerpt/fca642d06824394db2ba2c5fe413bd31,-http://data.open.ac.uk/led/lexp/1438609131672&http://purl.org/dc/terms/dateSubmitted<2015-08-03T14:38:51+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1438609131672http://xmlns.com/foaf/0.1/pagekhttp://data.open.ac.uk/led/source/11af3c14fbf284f75e57bd48464328e5/excerpt/fca642d06824394db2ba2c5fe413bd31,-http://data.open.ac.uk/led/lexp/1438609131672)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019$http://purl.org/ontology/mo/composerDhttp://musicbrainz.org/artist/0e85eb79-1c05-44ba-827c-7b259a3d941a#_,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019/http://www.w3.org/1999/02/22-rdf-syntax-ns#type-http://purl.org/ontology/mo/MusicalExpression,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019http://purl.org/dc/terms/title<Lord of Burleigh,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019"http://dbpedia.org/ontology/writerDhttp://musicbrainz.org/artist/0e85eb79-1c05-44ba-827c-7b259a3d941a#_,?http://data.open.ac.uk/led/music/Lord+of+Burleigh/1434663338019*http://www.w3.org/2000/01/rdf-schema#label<Lord of Burleighen,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6!http://purl.org/dc/terms/languageurn:iso:std:iso:639:ed-3:eng,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6/http://www.w3.org/1999/02/22-rdf-syntax-ns#type%http://purl.org/ontology/bibo/Excerpt,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6!http://purl.org/dc/terms/isPartOfNhttp://data.open.ac.uk/led/source/Reminiscences+of+Michael+Kelly/1426674530118,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c60http://www.w3.org/1999/02/22-rdf-syntax-ns#value<

It was during the summer of [1787], that the commemoration of Handel took place. The last grand performances given at Westminster Abbey were on the 28th and 31st of May, the 1st and 4th of June : upon those four mornings, I sang there, but to give an idea of the effect of that magnificent festival is far beyond my power; indeed, it has already been described most elaborately by those more competent to the task. I can only endeavour to express the effect which it produced on me. When I first heard the chorus of the Hallelujah, in the " Messiah," and " For unto us a child is born," my blood thrilled with rapturous delight it was sublime ; it was, in the inspired words of the chorus, "Wonderful." The orchestra was led by the Cramers ; the conductors were Joah Bates, Esq. father of the present secretary of the Tax Office, Drs. Arnold and Dupuis. The band consisted of several hundreds of performers. The singers were Madame Mara, Storace, Miss Abrams, Miss Poole, Rubinelli, Harrison, Bartleman, Sale, Parry, Norris, myself, &c. and the choruses were collected from all parts of England, amounting to hundreds of voices. The King, Queen, and all the royal family sat opposite the orchestra ; the body of the church, the galleries, and every corner crowded with beauty, rank, and fashion : such was the rage to procure seats, that ladies had their hair dressed the night previous, to be ready to get to the Abbey in good time. The performers unanimously exerted their great talents to admiration; but what made an everlasting impression on me was, the powerful effect produced by Madame Mara, in the sublime recitative, " Sing ye to the Lord, for he hath triumphed gloriously ;" in that Her voice was heard around, Loud as a trumpet with a silver sound. I have often sung with her the recitative tenor part, "And Miriam the Prophetess took a timbrel in her hand;" and never heard her but with increased delight. No place could be more appropriate to give effect to the divine strains of Handel, than the spacious Abbey. His Majesty 's partiality for Handel's music was generally spoken of ; but I believe it was not universally known what an excellent and accurate judge he was of its merits. The fine chorus of " Lift up your heads, O ye gates," was always given in full chorus, and indeed intended to be so given by Handel. The King suggested that the first part of it should be made a semi-chorus, and sung only by the principal singers ; but when it came to the passage, " He is the King of Glory !" he commanded that the whole orchestra, with the full chorus, should, with a tremendous forte, burst out ; the effect produced by the alteration was awful and sublime. A strange coincidence happened at one of the performances: the morning, during part of the grand selection, was cloudy and lowering; but when the grand chorus struck up " Let there be light, and light was over all !" the sun burst forth, and with its rays illuminated every part of the splendid edifice. Every one was struck with the coincidence, and the effect produced by it.

(/http://www.w3.org/1999/02/22-rdf-syntax-ns#HTML,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6#http://purl.org/ontology/bibo/pages<298-300,khttp://data.open.ac.uk/led/source/b4545d14fbf83b75b033914aed187161/excerpt/a89e0c813f2cd8e3cd48812cff05d6c6*http://www.w3.org/2000/01/rdf-schema#label<Eexcerpt from 'Reminiscences of Michael Kelly' pp. 298-300 (531 words)en,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823$http://purl.org/ontology/mo/listener,http://dbpedia.org/resource/Benjamin_Britten,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823/http://www.w3.org/1999/02/22-rdf-syntax-ns#type'http://purl.org/ontology/mo/Performance,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823*http://purl.org/ontology/mo/performance_ofLhttp://data.open.ac.uk/led/music/Chamber+Symphony+No.+1,+Op.+9/1394188278813,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823&http://purl.org/ontology/mo/instrument-http://dbpedia.org/resource/Chamber_orchestra,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823!http://purl.org/ontology/mo/genre8http://dbpedia.org/resource/20th-century_classical_music,ehttp://data.open.ac.uk/led/performance/Chamber+Symphony+No.+1,+Op.+9+(,+performance+of)/1394188278823*http://www.w3.org/2000/01/rdf-schema#label<.performance of 'Chamber Symphony No. 1, Op. 9'en,-http://data.open.ac.uk/led/lexp/1429303469197(http://purl.org/NET/c4dm/event.owl#agentDhttp://musicbrainz.org/artist/3af06bc4-68ad-4cae-bb7a-7eeeb45e411f#_,-http://data.open.ac.uk/led/lexp/1429303469197'http://purl.org/NET/c4dm/event.owl#time+http://data.open.ac.uk/time/edtf/192u-uu-uu,-http://data.open.ac.uk/led/lexp/14293034691971http://led.kmi.open.ac.uk/term/meta/initial_graph1http://led.kmi.open.ac.uk/user/5011Henning/claims,-http://data.open.ac.uk/led/lexp/1429303469197$http://led.kmi.open.ac.uk/term/pages<125,-http://data.open.ac.uk/led/lexp/1429303469197%http://purl.org/dc/terms/dateApproved<2015-09-01T10:31:51+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1429303469197.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,-http://data.open.ac.uk/led/lexp/1429303469197.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,-http://data.open.ac.uk/led/lexp/1429303469197.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Public,-http://data.open.ac.uk/led/lexp/1429303469197 http://purl.org/dc/terms/subject}http://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/'East+St+Louis+Toodle-oo'/1429303431456/1429303431467,-http://data.open.ac.uk/led/lexp/1429303469197/http://www.w3.org/1999/02/22-rdf-syntax-ns#type2http://led.kmi.open.ac.uk/term/ListeningExperience,-http://data.open.ac.uk/led/lexp/1429303469197!http://rdfs.org/ns/void#inDataset"http://data.open.ac.uk/context/led,-http://data.open.ac.uk/led/lexp/14293034691970http://led.kmi.open.ac.uk/term/has_evidence_text<Bubber Miley was from the body and soul of Soulsville. He was raised on soul and saturated and marinated in soul. Every note he played was soul filled with the pulse of compulsion. It don't mean a thing if it ain't got that swing was his credo. Before he played his choruses, he would tell his story, and he always had a story for his music, such as: "This is an old man, tired from working in the field since sunup, coming up the road in the sunset on his way home to dinner. He's tired but strong, and humming in time with his broken gait--or vice versa." That was how he pictured "East St. Louis Toodle-oo." Both Miley and Whetsol painted pictures in music, one in one style and one in another. They spoke different languages, and though the listener didn't understand their language, he believed everything they had to say. His [Bubber’s] growl solos with the plunger mute were another of our early sound identities, and between 1925 and 1929 he laid the foundation of a tradition that has been maintained ever since by men like Cootie Williams and Ray Nance. en,-http://data.open.ac.uk/led/lexp/1429303469197-http://led.kmi.open.ac.uk/term/is_reported_inThttp://data.open.ac.uk/led/source/Duke+Ellington:+Music+is+my+Mistress/1429000021664,-http://data.open.ac.uk/led/lexp/1429303469197&http://purl.org/dc/terms/dateSubmitted<2015-04-17T21:44:29+01:00()http://www.w3.org/2001/XMLSchema#dateTime,-http://data.open.ac.uk/led/lexp/1429303469197)http://led.kmi.open.ac.uk/term/has_medium*http://led.kmi.open.ac.uk/term/Medium.Live,chttp://data.open.ac.uk/led/performance/When+Irish+eyes+are+smiling+(,+performance+of)/1399905493241.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,chttp://data.open.ac.uk/led/performance/When+Irish+eyes+are+smiling+(,+performance+of)/1399905493241.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,chttp://data.open.ac.uk/led/performance/When+Irish+eyes+are+smiling+(,+performance+of)/1399905493241.http://led.kmi.open.ac.uk/term/has_environmenthttp://data.open.ac.uk/led/person/Lionel+Bradley/1393946065319,-http://data.open.ac.uk/led/lexp/1393948020221'http://purl.org/NET/c4dm/event.owl#time.http://reference.data.gov.uk/id/day/1937-10-05,-http://data.open.ac.uk/led/lexp/13939480202211http://led.kmi.open.ac.uk/term/meta/initial_graph4http://led.kmi.open.ac.uk/user/kerriedinburgh/claims,-http://data.open.ac.uk/led/lexp/1393948020221,http://www.w3.org/2000/01/rdf-schema#comment<pLondon Contemporary Music Centre, at Cowdray Hall London. 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When Sophie Tucker came to New orleans in about 1910 or 1911, they would have a ballyhoo truck. (There was always a big to-do about shows and dances, and the bands would get on those trucks and wagons and ride all over town.) Sophie Tucker and the Avon Four, who were playin' at the Orpheum Theatre, were on one of the those trucks, and I followed them around all day. At that time, she was singin' "Some of These days" and "Alexander's Ragtime Band", and other new songs, and after hearin' her sing them, I'd go home and play them over until I got them under control.

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J and Mrs. Evans-Pughe,  Tovil Vicarage, Maidstone, Kent

FROM: John Evans-Pughe, 14073964 l/Cpl Evans Pughe, S.I.C. c/o A.P.O SALONIKA

DATE: November 20 1947

…It’s just 1 o’clock now and we’re just listening to the commentary on the Wedding (of Princess Elizabeth and Philip, Duke of Edinburgh).  We get the B.B.C. European service very well here at all times of the day.  It’s also dinner time now so I shall stop now, and perhaps write more after dinner…

…The time is now just after 2 o’clock.  The Wedding Service is just finishing – the singing was very good.  They are just playing God Save the King again for about the 6th time.  The choir are now singing “Blessed be the God and Father of our Lord Jesus Christ”.  I suppose we’ll see it all at the cinema in a few day’s time…

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The applause is still tempesting on as I write.  Never have I heard such infallible tempi, nor singers inspired to such fire.  never have I heard such applause, breaking in like a finale to the final chords. Freude, Schöner Götterfunken...Oh, it is true! In his 89th year, Monteux proves it. He gave such life, such fluency to his singers that even in the barking passage they didn't bark, they clamoured.

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On the 12th, visit to Paul Jacobs in his marvellous new apartment on Riverside Drive, he played me Busoni; after which dined tête-à-tête chez Lenny Bernstein and spent the next six hours examining his weird, semi-successful cycle Songfest.

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Paris has fallen - has been abandoned.  My father used to make a face at the Schubert Marche Militaire because it was to that tune the Germans marched into Paris in the war of '70.

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Regimenten,yhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Kinderst%25C3%25BCcke/1431952262112/1431952262123.http://led.kmi.open.ac.uk/term/has_environment:http://led.kmi.open.ac.uk/term/ListeningEnvironment.Indoor,yhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Kinderst%25C3%25BCcke/1431952262112/1431952262123.http://led.kmi.open.ac.uk/term/has_environment?http://led.kmi.open.ac.uk/term/ListeningEnvironment.Accompanied,yhttp://data.open.ac.uk/led/performance/http://data.open.ac.uk/led/music/Kinderst%25C3%25BCcke/1431952262112/1431952262123.http://led.kmi.open.ac.uk/term/has_environmentLast night Lukas, with his Brooklyn Philharmonia, conducted my Six Songs for High Voice and Orchestra which hadn't been done complete since 1954 in Paris. Geanie Faulkner, who sang in Kirchner's opera, was the pretty able soloist.

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One night scuffling around Harlem, I fell in the Savoy. After dancing a couple of rounds, I heard a voice that sent chills up and down my spine (which I never thought could happen). I almost ran to the stand to find out who belonged to the voice, and I saw a pleasant-looking, brown-skinned girl standing modestly and singing the greatest. I was told her name was Ella Fitzgerald and that Chick Webb had unearthed her from one of the Apollo's amateur hours.

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