Derek Cable committed the offences on a boy in 1975-76 at Stowmarket Middle School. He was sentenced to five years.
Details here. Cable, 74, has already served time for other offences at the school.
Martin Green is one of three composer winners of the Paul Hamlyn Foundation 20th annual Awards for Artists. The prize is £50,000 over three years.
Martin Green (b.1977) writes music and plays the accordion, and anything with knobs on that you can plug into the mains. The traditional music he grew up with is at the core of his approach, as is the use of live electronics. His interest is in taking the power he finds in traditional music into new contexts and settings…. Green lives in Pathhead near Edinburgh.
The other winners are:
Shabaka Hutchings (b. 1984) plays the saxophone and clarinet. He is a band leader and composer and part of London’s community of younger jazz musicians as well as the city’s thriving improvised music scene. As part of the Caribbean diaspora, he sees his role as that of pushing the boundaries of what musical elements people consider to be Caribbean.
and
Pat Thomas (b. 1960) has been involved with some of the leading practitioners in creative music, whether that music be composed or improvised, for over 30 years. He has developed a personal vocabulary on the piano, as well as a personal approach to electronics particularly, in the use of interactive playing with computers in a real time setting.
Ours not to reason….
Indiana University Opera Theater is live-streaming Giancarlo Menotti’s The Last Savage this coming weekend, Nov 14 & 15, in an acclaimed production from Santa Fe.
There are no videos available of this opera. This could be your only chance.
Click here to watch. Let us know what you think.
Britain’s foremost Wagnerian can be heard on November 25 with the Kensington Symphony Orchestra, made up of high-achieving amateurs.
Why?
Because the late conductor Leslie Head, who founded the orchestra, enabled music graduates to try out their stuff at a time in their lives when they could not afford professional accompaniment. John Tom was one of them. He tells Slipped Disc:
‘For a young singer, bridging the gap between Music College and the profession is usually quite a tortuous transition: you are relatively inexperienced, and no one will employ you until you have experience – which you cannot gain until someone employs you… It’s a vicious circle, a quandary which in my case was largely solved by my working on several projects in the early 1970s with Leslie Head.
‘With limitless energy, whether resurrecting a neglected Donizetti Opera or gathering the forces for a Berlioz or Wagner epic, he confidently developed the talents of singers young and old to spectacular effect. I and many of my colleagues in the profession will always be grateful to him, and those impressive performances of his will be long remembered.’
Go hear him.
KENSINGTON SYMPHONY ORCHESTRA
PRESENTS SIR JOHN TOMLINSON
FOR A CONCERT IN MEMORY OF LESLIE HEAD
DETAILS:
Date: Tuesday 25th November 2014
Time: 7.30pm
Venue: St John’s Smith Square, London SW1P 3HA
Tickets: £12.50-17.50
Box office: 020 7222 1061 /www.sjss.org.uk
PROGRAMME:
WALTON Variations on a Theme of Hindemith
VAUGHAN WILLIAMS Three Songs of Travel*
MONTAGUE From the Ether (new commission by St John’s Smith Square)
SIBELIUS Symphony No.5
Kensington Symphony Orchestra
Conductor: Russell Keable
Leader: Alan Tuckwood
Bass: Sir John Tomlinson*
It happened this week at a Hollywood screening of Mike Leigh’s ‘Mr Turner’, but you could imagine the same at a concert or opera. Perhaps we should all agree to surrender our phones at the door.
Just like the bad old days when the StB watched everything, the Czechs have reverted to close observation.
During a performance of Richard Strauss’s Tod und Verklärung in Prague’s Rudolfinum, 24 GoPro cameras were fixed to the musicians and the conductor, Manfred Honeck.
For what purpose?
The city is planning a new Beethoven concert hall on the Rhine. The adventurous Zaha was longlisted, but has been dumped from the final three.
This is what Bonn can expect – London’s South Bank, only drearier.
This is the David Chipperfield design. There are two others on the shortlist.
No wonder young people find classical music dull.
Basel is cracking the whip. Measures against non-EU musicians, outlined on Slipped Disc three weeks ago, have been reinforced with expulsion orders, to take effect next summer. The musicians are working in local orchestras and ensembles. Read here.
They’re erasing the founder’s name for 30 pieces of silver. Now what? Watch. Despair.
(Click on word ‘Post’ if video does not pop out)
You’ve heard about the letter Peter Gelb sent out, asking Metropolitan Opera singers to slash their fees.
He is not alone.
Several British companies have done the same.
Here is a candid, regretful letter sent to artists and agencies earlier this year by David Pountney, head of Welsh National Opera. Mark it as a sign of our times.
Dear Colleague,
I apologise for writing to you on the subject of money, but we have reached a point where we are obliged to involve everyone with whom we are working with the evolving financial reality.
You have probably been aware of a series of announcements of cuts by the Arts Councils (we are funded by both Wales (ACW) and England (ACE)), some of them “in year” cuts – i.e. cuts made to an already agreed level of funding within the year to which the funding applies….
We have been sustaining our artistic programme over the last two years and up to 2016 by judicious use of our reserves. This will not be an option beyond 2016 as these will be exhausted. During this period, our permanent staff have had either very low or no pay rises so that their average earnings have also fallen well behind inflation.
In addition, since 2007/8 we have reduced our permanent staff by over 60, through non-replacement and redundancy – this is a reduction of 24%.
We have managed to protect our artistic personnel from these redundancies, believing that the orchestra and chorus are essential to the future of the company, though as I say above, these bodies have both endured declining financial rewards.
Sadly, in the future, we can no longer protect either the artistic personnel or the programme from the effects of the financial reality, as the base line from which we are now operating does not give us any other direction to turn in the future.
As a result we are regretfully asking our artistic partners to take some small share in this situation. We believe that on the whole you would probably prefer that we are able to continue with projects at a slightly reduced rate of reward, rather than abandon them altogether, for as long as that is at all possible. We are therefore asking all our guest artists in every area to agree to a 5% reduction in your contractually agreed fees.
This is a polite request because of course you already have contracts. That is the pernicious aspect of the “in-year” cuts we are receiving. You are of course at liberty to refuse, or to withdraw from your contracts altogether. But in all honesty, I hope it is clear to you what the long term consequences must then be for the Company. There is really no further place to hide.
This is not a confidential letter, but an open request. I am happy if you feel inclined to share this letter with others, as I think it is helpful for our funders and our partners of all kinds to know and to understand the situation that we are facing in the immediate future. I hope I can count on your understanding and good will. By all means also feel free to challenge anything I have said. We are all in this situation together, and I favour direct communication and open debate.
Best wishes
David Pountney
The Mariinsky conductor is dedicating a Moscow concert to the memory of his friend – and Vladimir Putin’s – the French Total Oil boss, Christophe de Margerie. Total was a big sponsor of Gergiev’s White Night’s Festival. De Margerie (r.) was killed in a recent accident at Moscow airport.
This is seriously bad news.
A sociologist at the University of Limoges has been studying the demographics of concert audiences.
A survey of 5,000 audience members at 11o performances by 19 orchestras revealed an average age of 61.
Not bad?
In 1981, the average was … 36.
It looks like the same people are still going to the same concerts. No sign of renewal.
And Paris is building two new halls (pictured).
Not good.
Read here.
